I love music so much; that I don't see what good comes from choosing one cultural export as the song that defined our year 2014. The investigation of the word "artistry" is the only good thing to emerge from this media blip.
Carole King and Gerry Goffin, her husband and writing partner, didn't single-handedly compose the sound track to my adolescence, but it's hard to imagine coming-of-age without 'Up On The Roof,' 'Natural Woman,' and 'The Lo-co Motion.'
Before we get to what's wrong with Beautiful: The Carole King Musical at the Stephen Sondheim, let's establish what's so right that it instantly joins the ranks of irresistible jukebox tuners Jersey Boys, Motown The Musical and Mamma Mia.
Gotta love this time of year. Some of the finest projects involving some of our greatest classic artists in every genre are strategically positioned in the marketplace trying to take advantage of what might be the last hurrah for music's brick and mortar releases.
Premiering in San Francisco before its January New York opening, Beautiful, The Carole King Musical, is yet another Juke box musical. But unlike other recent musical biographies about musical careers, the Carole King story is really about music making.
Driving home to "Lawn Guyland" the day after graduating from Bucknell U. in Lewisburg, PA and blasting progressive rock station WNEW on the radio, I was struck by one of those other-worldly, pull-over-to-the curb musical moments.
If you think Kirshner was just some guy who Paul Shaffer impersonated, you would be very wrong. He was a central figure in the Brill Building era that brought the world lots of the most sublime popular music of the 20th century.
Collins remembers, "When I was twelve or thirteen The Beatles' first album came out. They had some Motown and early soul record covers, like the Stones did. This is the music that I kind of lived my life to."