Carole's First Venture into Electronics

With "Speeding Time" Carole King effectively launched herself into the electronic 80's synthesized pop world. While this recording is quite melodic track for track, the tunes would probably have been more palatable and intimate with strictly accoustical arrangements. Lyrically, the album addresses with cynicism the growing materialism and self-centeredness of the decade both politically and romantically...not a lighthearted venture by any means. The most effective tracks include "Computer Eyes", "One Small Voice", "Sacred Heart of Stone", "Speeding Time" and the multi-faceted "Alabaster Lady" written years ago during the "Thoroughbred" era of the mid-70s. The sound and mood created here on "Speeding Time" is much better utilized six years later on King's ambitious and triumphant "City Streets" album (unfortunately still out of print, but her finest project since her early Ode years...it easily merits a five-star rating.) "Speeding Time" is a pleasant listen though for King fans with many fine tunes. One additional footnote: her producer here is Lou Adler, who produced her string of top ten hit albums in the seventies including "Tapestry".

KING ENTERS THE "DECADE OF GREED" PLAYING SYNTHESIZERS

One of Carole King's few offerings during the 1980s, she officially joined the decade's trend of utilizing synthesizers and electronics with "Speeding Time." While this recording (composed, of course, by King herself or with other co-writers) is very melodic track-for-track, the tunes would probably have been more palatable and intimate with strictly accoustical arrangements (which I guess would have defeated the album's theme and purpose.)

Lyrically the album addresses with cynicism the growing materialism and self-centeredness of the decade both politically and romantically...not a lighthearted venture by any means. Most interesting tracks include "Computer Eyes", "One Small Voice", "Sacred Heart of Stone", the title track, and the multi-faceted "Alabaster Lady" written years ago during the "Thoroughbred" era of the mid-1970s. She even includes a cover of one of her own songs written with ex-husband Gerry Goffin entitled "Crying in the Rain" (and gives it an electronic facelift!)

The sound and mood created here on "Speeding Time" is much better utilized six years later on King's ambitious and triumphant "City Streets" album (unfortunately still out of print, but her finest project since her early Ode years...it easily merits a five-star rating.) "Speeding Time" is a pleasant listen though for King fans with many fine tunes. One additional footnote: her producer here is Lou Adler, who produced her string of top-ten hit albums in the seventies, including "Tapestry".

KING ENTERS THE "DECADE OF GREED" PLAYING SYNTHESIZERS

One of Carole King's few offerings during the 1980s, she officially joined the decade's trend of utilizing synthesizers and electronics with "Speeding Time." While this recording (composed, of course, by King herself or with other co-writers) is very melodic track-for-track, the tunes would probably have been more palatable and intimate with strictly accoustical arrangements (which I guess would have defeated the album's theme and purpose.)

Lyrically the album addresses with cynicism the growing materialism and self-centeredness of the decade both politically and romantically...not a lighthearted venture by any means. Most interesting tracks include "Computer Eyes", "One Small Voice", "Sacred Heart of Stone", the title track, and the multi-faceted "Alabaster Lady" written years ago during the "Thoroughbred" era of the mid-1970s. She even includes a cover of one of her own songs written with ex-husband Gerry Goffin entitled "Crying in the Rain" (and gives it an electronic facelift!)

The sound and mood created here on "Speeding Time" is much better utilized six years later on King's ambitious and triumphant "City Streets" album (unfortunately still out of print, but her finest project since her early Ode years...it easily merits a five-star rating.) "Speeding Time" is a pleasant listen though for King fans with many fine tunes. One additional footnote: her producer here is Lou Adler, who produced her string of top-ten hit albums in the seventies, including "Tapestry".