Fantasy

Product Information

This is the kind of thing that makes you realize how random the selection of hits are from respective albums. All in all, it would be pretty hard to argue that this is anything other than more decent pop product from King Carole. In it, Carole King tells us: “Maybe I’m living/With my head in the sand/I just want to see people giving/I want to believe in my fellow man. It really is a very enjoyable listen from beginning to end if you are into that lovely, soft and slightly comforting seventies sound. The album is more RnB as Carole has ever been and is very experimental from Caroles previous albums.

Vote up content that is on-topic, within the rules/guidelines, and will likely stay relevant long-term.In the opening and title cut of Carole King‘s first, and I hope last, “conceptual” album, the format is made crystal clear: “I may step outside myself/And speak as if I were someone else/ … In fantasy I can be black or white/A woman or a man. This pressing sounds fine, King's piano has fullness and warmth, vocals and instruments are clear and well separated, resulting in an open, spacious soundstage. Only the musical tide has changed and Laura employs members of the jazz funk band The Crusaders to beef up her sound that put her in the vanguard of this relatively new subgenre.

When I listened to "Fantasy" again after all these years, it was like picking up a 1973 newspaper and reading story after story.The songs transition seamlessly into one another, which created a cohesive whole despite the wide range of styles and sounds. It was less commercially successful than her other 1970s hit albums, which was a shame, as it was her more creative one. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Allmusic critic Jason Elias said that "'Corazón' has Latin intonations and King certainly doesn't embarrass herself.

It's got the pleasant melancholy and strong melodies that characterize most Carole King albums, but there's an extra dose of grooviness here that, as another reviewer has mentioned, sounds inspired by Marvin Gaye's landmark What's Going On. By this point Carole had a string of hit albums and songs and sell out concerts and to bag it all up a few Grammys. The album did go gold, got excellent reviews, went to number 6 a bit of a let down and spawned the hit Believe In Humanity and the minor hit You Light Up My life, not to be mistaken for Debbie Boones massive hit a few years later.

It's hard to judge where this falls in the Carole King discography in terms of critical and fan reaction since both things seem to begin and end purely at Tapestry, but from my cursory experience, I'll just say that this at least feels like, the lone other time where Carole King consciously tried to make a major album statement to be held up against her one big album. Moving beyond the spare arrangements of its predecessors, for Fantasy Carole scored brass and string arrangements and experimented with Latin and funk styles. Married women were questioning their lives ("Weekdays"), and unwed mothers were wondering if they could make it ("That's How Things Go Down").