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James Taylor, Carole King announce reunion tour dates

In the four decades since James Taylor and Carole King helped launch each other's storied careers, the notion of someday recapturing that magic never completely faded.

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In the four decades since James Taylor and Carole King helped launch each other’s storied careers, the notion of someday recapturing that magic never completely faded.

“Every time we would run into each other at a benefit or at an event … we’d say we have to get the band back together, get that band back together and do some touring before the chance slips away,” Taylor said in a recent interview.

On Monday, Taylor and King announced dates for the U.S. leg of their much-anticipated “Troubadour Reunion” tour. The tour, marking the 40th anniversary of the pair’s breakthrough shows, will launch May 7 in Portland, Ore.

As previously announced, the tour will begin overseas in Melbourne, Australia, on March 26.

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“In a sense we started our solo careers sharing a band, sharing a stage, we did a show at the Troubadour in Los Angeles that really sort of broke both of us out of the box and established our careers,” Taylor said.

King played on Taylor’s 1970 “Sweet Baby James” album and Taylor on King’s 1971 “Tapestry” album.

“We started performing, originally she was in my band, and then I increasingly encouraged her to sing her own songs,” said Taylor. “She was used to being a writer, and to having other people do her tunes.”

King, in fact, had already written 22 Top 40 hits, including Aretha Franklin’s “(You Make Me Feel Like a) Natural Woman.”

“Tapestry,” released in 1971, sold more than 25 million copies worldwide and made King the first woman to win four Grammys in a single year.

Taylor, 61, has won five Grammys during his career. Both Taylor and King, 67, are members of the Rock and Roll Hall of Fame and the Songwriters Hall of Fame.

The idea for a reunion tour had been brewing for years, Taylor said.

“Finally, two years ago we played at a sort of anniversary celebration for (the Troubadour), with the original band and that was so great we decided to take it on the road.”

The tour will reunite not only Taylor and King, but key members of their original band, including guitarist Danny Kortchmar, drummer Russ Kunkel and bassist Lee Sklar.

While the shows will be at larger venues such as the Hollywood Bowl or Madison Square Garden, the performers hope to recapture at least some of the intimacy of those early Troubadour days, in part by staging the concerts in the round. Taylor said he and King will remain on the stage together throughout the show.

“I think we’ll do two sets, both of us will be on stage the whole time, either singing backup for each or playing behind the other. We’ll sort of skip back and forth, do a song of hers, a song of mine, but we’ll stay on the stage,” he said.

“It’s just going to be a blast.”

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James Taylor, Carole King Team Up for Troubadour Reunion Tour

• By Daniel Kreps

Daniel Kreps

James Taylor and Carole King , a pair of Rock and Roll Hall of Fame-inducted singer-songwriters, will bring their Troubadour Reunion tour to North America this May. The trek marks the first time in 40 years — since the original Troubadour shows back in 1970 — that the two have toured together, though the pair did reunite for six shows at Los Angeles’ Troubadour in 2007 to celebrate that venue’s 50th anniversary. (Read our report from the show here: James Taylor and Carole King Return in High Style to the Troubadour .) “This is like one of those dreams where you go back to school,” Taylor joked onstage in ’07.

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Before they hit the road, King and Taylor will both serve as musical guest on the January 20th episode of The Late Show With David Letterman and the Today show. Tickets for the Troubadour Reunion show go on sale starting January 23rd. Before the stateside leg starts May 7th, Taylor and King will perform shows in Australia, New Zealand and Japan. Check out the North American dates below.

James Taylor/Carole King May 7 – Portland, OR @ Rose Garden Arena May 9 – Seattle, WA @ Key Arena May 11 – San Jose, CA @ HP Pavilion May 13-15 – Los Angeles, CA @ Hollywood Bowl May 19 – Phoenix, AZ @ Jobing.com Arena May 21 – Kansas City, MO @ Sprint Center May 22 – Nashville, TN @ Sommet Center May 24 – Chicago, IL @ Allstate Arena May 25 – St. Paul, MN @ Xcel Energy Center May 27 – Detroit, MI @ The Palace of Auburn Hills May 28 – Toronto, ON @ Air Canada Centre May 30 – Columbus, OH @ Schottenstein Center Jun. 2 – Charlotte, NC @ Time Warner Cable Arena Jun. 3 – Atlanta, GA @ The Arena at Gwinnett Center Jun. 5 – Fort Lauderdale, FL @ Bankatlantic Center Jun. 6 – Tampa, FL @ St. Pete Times Arena Jun. 8 – Washington, DC @ Verizon Center Jun. 10 – Philadelphia, PA @ Wachovia Center Jun. 12 – Hartford, CT @ Mohegan Sun Arena Jun. 15 – New York, NY @ Madison Square Garden Jun. 19 – Boston, MA @ TD Garden

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Touchstones in Concert, Reweaving Harmonies

By Anthony DeCurtis

• June 3, 2010

EAST PALO ALTO, Calif.

PERCHED on the arm of a couch in a hotel room here, James Taylor recalled the first time he heard Carole King sing “You’ve Got a Friend.”

“I stood outside a little dressing room up on the balcony,” Mr. Taylor said, referring to the Troubadour, the Los Angeles club that served as ground zero for the singer-songwriter movement in the early 1970s, “and I just had to find my guitar and figure out how that song went. I said: ‘She’s written it. That’s ‘The Star-Spangled Banner’ right there.’ ”

Mr. Taylor recorded the song, and in 1971 it provided the first and only No. 1 hit of his career. That same year Ms. King included “You’ve Got a Friend” on “Tapestry,” a landmark album that established her as a superstar and went on to sell more than 10 million copies in the United States. Perhaps more important, however, is the song’s enduring theme. As the critic Jon Landau, who would go on to manage Bruce Springsteen, wrote in Rolling Stone, the album’s subject is “the search for lasting friendship, friendship that can be trusted, friendship that can be felt.”

Those words might also serve as the theme of Ms. King and Mr. Taylor’s “Troubadour Reunion” world tour, which will come to Madison Square Garden for three shows this month. Since they hit the road in March, visiting Australia, New Zealand and Japan before arriving in the United States last month, their sets have been stretching close to three hours (including a brief intermission) with the two of them onstage the entire time.

They are performing more than two dozen of their individual hits, while providing harmony vocals and instrumental support for each other (Mr. Taylor on guitar, Ms. King on piano). The core of their band — the guitarist Danny Kortchmar, the bassist Leland Sklar and Russ Kunkel on drums — further rounds out the reunion. All of these musicians played with Ms. King and Mr. Taylor at the moment of their ascent four decades ago. Mr. Kortchmar introduced Mr. Taylor to Ms. King in 1969; the two men first played together in their teens.

Those deep connections have made the tour’s shows something like a Thanksgiving dinner in an Ann Beattie novel. “Tapestry” and Mr. Taylor’s albums “Sweet Baby James” (1970) and “Mudslide Slim and the Blue Horizon” (1971) are definitive boomer touchstones, and because they capture the collaborative apex of the singers’ interwoven careers, they account for many of the songs in the show. Their fans remain perhaps the last reliable — and dependably solvent — demographic in a music industry that has been hammered into fragments by the Internet. Since the tour arrived in the United States, they have been turning out in force, leaving sold-out arenas and million-dollar-plus grosses in their wake.

“Softer rock doesn’t tend to do well in arenas,” said Gary Bongiovanni of Pollstar, a magazine that tracks the concert industry. “You need something really special to make it work, and that’s these two together.”

At their hotel before a performance in San Jose, Ms. King, 68, and Mr. Taylor, 62, communicate with the ease of old friends. They affectionately defer to each other, careful not to hog the interview spotlight. Wearing a long-sleeve blue T-shirt and black jeans, Mr. Taylor is cerebral and self-effacing. His sentences, lightly honeyed with the drawl of his North Carolina upbringing, meander with professorial grace.

Ms. King, in a sleek black suit, alternates the New Age mysticism of the American West — she has lived in Idaho for many years — with no-nonsense street smarts. However far removed, she’s a Brooklyn girl born and raised, with the accent to prove it. “James says things more quietly,” Ms. King explained at one point. “I gush.”

Ms. King has been a formidable presence on the music scene since, as a teenager, she wrote “Will You Love Me Tomorrow?” for the Shirelles in 1960 with her husband at the time, Gerry Goffin. Working primarily with Mr. Goffin, she wrote a staggering number of hits for other artists in the 1960s, including “Up on the Roof,” “(You Make Me Feel Like) A Natural Woman” and “Don’t Bring Me Down.” She was reluctant to perform, however, until Mr. Taylor invited her to play piano in his band. He had a hidden agenda. In the middle of his sets, he would bring Ms. King forward to sing a few of her songs.

“It was time for Carole to step into her shoes,” Mr. Taylor said. “That was an exciting thing to see.”

Ms. King said, “James is modestly leaving out that he was the one who made me go forward.”

“To hear him sing ‘Sweet Baby James’ or ‘Something in the Way She Moves,’ ” she added, “I used to stand backstage when I was his piano player while he did an acoustic set by himself, and I would listen and mentally sing the harmonies. I would think, ‘I can just listen to him do that forever and ever.’ ”

The idea for a collaborative tour first came up in 2007 when Mr. Taylor and Ms. King performed a series of shows together at the Troubadour to commemorate the club’s 50th anniversary. (A live album drawn from those performances currently sits at No. 11 on the Billboard charts.) Whenever they ran into each other over the years, they often spoke of doing “something” together. Suddenly the time seemed right.

As reunions go, this one is less dramatic than some others from the period. While Ms. King and Mr. Taylor performed and recorded together quite a bit in the early 1970s, they were never formally a duo. They never fell out and never broke up. Most significantly — and highly uncharacteristically for those freewheeling times — they were never lovers, so there was no complicated personal history to resolve. If the tour can be said to have a message, it’s that not everything has to end — or end badly.

“It’s nice to see a man and a woman who have continually respected what they meant to each other professionally,” said Sheila Weller, the author of “Girls Like Us,” a book about Ms. King, Joni Mitchell and Carly Simon. “It’s like the people in ‘The Big Chill’: ‘I will never let you down. No matter where you are, call me and I’ll come.’ ”

The filmmaker Morgan Neville, who is working on a documentary about Ms. King and Mr. Taylor, said: “You almost can’t believe that two people with that much history can still feel that warm toward each other. But it’s genuine, and it comes across onstage. I think that’s a lot of what people are responding to — that rapport. The tour is definitely more than the sum of its parts.”

That much was evident when Ms. King and Mr. Taylor strolled onto the stage smiling, hand in hand, at the HP Pavilion at San Jose. The crowd itself seemed surprised by the depth of feeling the sight of them unleashes, so its greeting started out as polite applause but steadily built into a resounding roar. As the two unfurled a stream of instantly recognizable songs — “So Far Away,” “Carolina in My Mind,” “It’s Too Late” — pictures of them from 40 years ago appeared on screens above the stage. The images were received with the giddy delight — and occasionally tears —of old family photos. Suddenly Mr. Taylor, with his thick, dark hair down to his shoulders, is back to the days when he looked like a brooding young poet; Ms. King, with her soft curls and soulful eyes, is once again a hippie earth mother.

All of this might seem like little more than a warm nostalgic hug were it not for the quality of Ms. King’s and Mr. Taylor’s songs, which have earned each of them a place in the Rock and Roll Hall of Fame. Then there is the matter of all the blood on the tracks, the inevitable breakage on the trail of their long lives and those of their fans. Mr. Taylor may be a reassuring figure now, but for decades he was a drug addict who hung desperately on the edge of the abyss.

“Lookit, I been in and out of mental institutions, strung out on drugs, and living with friends for the past five years,” Mr. Taylor told The New York Times in 1971. “I’m not strong right now to be blown up to superstar proportions. It may destroy me.”

Both he and Ms. King have endured ravaging divorces and breakups, career ups and downs. Yet here they are, still telling their stories and performing their songs together. They are both grandparents now, and Mr. Taylor is the father of 9-year-old twin boys with his wife, Kim, whom he married in 2001.

“When you reach a certain age, I don’t think anybody escapes unscathed,” Kim Taylor said. “Maybe that’s why his songs have endured, and Carole’s too. I mean, ‘Tapestry’ was so important for me. Those songs were real anchors. I went to a girls’ school, Smith, and every single room you went into, there was that cover of her with the cat and the jeans.”

Nor is the impact of their songs exclusively confined to their demographic. The ferociously contemporary Lady Gaga brought her father to see Ms. King and Mr. Taylor perform in Sydney, Australia, and went backstage with him to meet them. (Lady Gaga’s outfit prompted a question from Mr. Taylor’s son Rufus: “Dad, why is she wearing a rubber bathing suit?”) As they spoke, Lady Gaga began to cry, saying she was overwhelmed to meet two people whose music, particularly “You’ve Got a Friend,” had helped her through adolescence.

It was a scene the two artists have witnessed many times. “We’ve been lucky to have our music be the soundtrack to people’s lives — and, by the way, our own,” Ms. King said.

That sense of a long, rich relationship between the artists themselves, and between the artists and their fans, also lends a certain urgency to the tour. “It’s like we went away and had a lifetime of performing and experience, and now we’re getting together,” Mr. Taylor said. “That’s the energy of a reunion. But I don’t think we would have wanted to wait a whole lot longer than doing it now. This was the time to do it.”

Part of the reason is simply chronology. “I feel gratitude to have the stamina to do this show at 68,” Ms. King said. “Frankly, that was the one thing I was concerned about. I was a little concerned about my vocal stamina, but that seems to be there. But it’s a very high-energy show. I’m doing the Carole King earth-move workout out there.”

Despite interest from promoters to take the tour to Europe and South America, current plans are for it to end in Anaheim, Calif., on July 20.

“Carole said something interesting early on,” Mr. Taylor noted. “She said, ‘Not only do you want to leave the people wanting more, you want to leave yourself wanting more.’ That’s really wise. It’s smart to know when to quit.”

Ms. King added brightly: “But we’re just at the beginning of it right now. We’re really psyched.”

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Carole king, james taylor: together, 40 years later.

James Taylor and Carole King first collaborated 40 years ago and are now reunited for a joint tour. James O'Mara hide caption

James Taylor and Carole King first collaborated 40 years ago and are now reunited for a joint tour.

Songs From 'Live At The Troubadour'

'sweet baby james', 'you've got a friend'.

Carole King and James Taylor first collaborated 40 years ago. They recently reunited for the Troubadour Tour, named for the club in Los Angeles where the two first performed together in 1970.

Joining King and Taylor on the Troubadour Tour are guitarist Danny Kortchmar, bassist Leland Sklar and drummer Russ Kunkel. Taylor calls them the "original cats" -- they've been performing together since 1970.

James Taylor and Carole King at the A&M Records studio in 1971. Courtesy of the artists hide caption

James Taylor and Carole King at the A&M Records studio in 1971.

"It's a real reunion of Carole and me and these three guys," Taylor tells Melissa Block, host of All Things Considered. "It's great."

They've been playing their repertoire of classics -- songs such as "You've Got A Friend," "Fire and Rain," "Sweet Baby James" and "You Can Close Your Eyes" -- but Taylor says it doesn't get old.

"I've played ["You've Got A Friend"] for audiences over and over again, and it never grows tired for me," he says. "I always make a connection with the tune, and I'm brought back to that moment at the Troubadour when I stood outside the dressing room ... and looked down at Carole playing her set on the stage below. As soon as I heard the tune ... to me, it was so compelling, musically. I just had to play it. I was desperate to get to my guitar and wander through those changes and sing that song."

Younger listeners are connecting with the songs, too. While King and Taylor may have supplied the soundtrack for a generation of listeners, King says she surprised to see much younger fans at her concerts.

"The thing that I continue to find astonishing, and increasingly so as this tour builds momentum," she says, "is the number of people for whom it was not the soundtrack of their lives. It was the soundtrack of their parents', and -- in some cases -- their grandparents' lives."

Taylor says the audience is part of what keeps him and King on the road. They both agree, though, that all good things must come to an end.

"Carole said to me something I'll never forget," he says. "She said, 'Not only do you want to leave the audience wanting more, you want to leave yourself wanting more.' "

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Carole King & James Taylor: Troubadour Reunion on May 21 Live at T-Mobile Center

Jan 16 , 2010.

Iconic musicians James Taylor and Carole King bring the "Troubadour Reunion" world tour to T-Mobile Center on May 21. This once-in-a-lifetime event brings together two of the most beloved singer/songwriters for a rare concert experience. The set list will include a breadth of material including songs they performed during their 1969 debut show at the Troubadour in Los Angeles, which helped propel them both to the world stage. Both have since become multi-platinum-selling artists, GRAMMY® winners, and members of the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. Taylor and King will be joined on stage by their original bandmates guitarist Danny "Kootch" Kortchmar, drummer Russ Kunkel and bassist Lee Sklar, famous in their own right as "The Section.”

Tickets on sale now through all Ticketmaster Outlets, online at ticketmaster.com, charge by phone at 800.745.3000 or in person at T-Mobile Center Box Office.

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Garth Brooks Talks Kelly Clarkson Duet, Working With James Taylor, and Releasing ‘Time Traveler’

Cindy Watts

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For Garth Brooks fans who have been biding their time to hear his new album Time Traveler on Amazon Music, the wait is over. Brooks originally released his 14th studio album Time Traveler last year as part of his seven-disc boxed set “The Limited Series,” which was sold exclusively at Bass Pro Shops. But now fans can stream it for the first time.

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The collaboration-rich10-song collection includes Brooks’ Ronnie Dunn duet “Rodeo Man,” his reimagined version of David Allan Coe’s “The Ride,” his Kelly Clarkson collaboration “The Ship and the Bottle,” and more. “Right now, country music’s all over the place,” Brooks said of the album. “You’ll hear this rush of ’90s sounding country, and then you’ll hear a more modern song you can tell has been influenced by current pop music.” Brooks named the album Time Traveler because the collection covers a diverse amount of sounds in country music’s history.

[Listen Here to Time Traveler ]

“My favorite genre of country music has to be the ’60s and ’70s,” he said. “Then, if there’s a second, it’s the ’80s because of (George) Strait, (Randy) Travis, (Ricky) Skaggs, and (Keith) Whitley. This was a fun thing to get to do and visit all the different eras of country music.” He’d like for people to start listening at the top of the album with “Me Without You” and follow the journey. “It’s got a beautiful, kind of hooky front-end on it,” he said.

View this post on Instagram A post shared by Garth Brooks (@garthbrooks)

“I just think that’s why the title kind of tied it all together,” he continued. Coe released “The Ride” in 1983 – one of Brooks’ favorite tracks on Time Traveler .

Garth Brooks Wrote the Second Verse of “The Ride”

One of the song’s writers, Gary Gentry, told NSAI’s Bart Herbison that “The Ride,” a song about an aspiring musician hitchhiking to Nashville and receiving a ride from Hank Williams’ ghost, is somewhat reality-based. Gentry said he wrote the song at 4 a.m. and saw the ghost of Williams sitting shirtless on his couch. Brooks was thrilled when they let him write the middle verse for his album. “For as long as I can remember, I always wanted to know what happened between when he picked him up and dropped him off,” Garth said. “But it’s not in the song. So, I got to write the middle verse, and it’s so good. My favorite line is, ‘Every story smelled like whiskey, and every word is gospel truth.’ To me, that defines Hank Williams’ music.”

“Ship and the Bottle” Was “So Right” for Kelly Clarkson

He explained it was Yearwood’s idea to invite Kelly Clarkson to sing on “Ship and the Bottle.” “It was so right for her,” Brooks said of Clarkson, who he remembers drove herself to the Los Angeles studio instead of having a driver. “I was outside when she pulled up in her truck. She wasn’t in there 30 minutes, and she was done. It was pretty neat to watch professional work like that.” His Ronnie Dunn duet “Rodeo Man” came together in a different way. Brooks recorded the song in Dunn’s key at his beats per minute. Then, they married the two vocal performances in the studio. “There’s a band in there that’s never been put together, never seen each other,” Brooks said. “They were all put together in post-production.”

Garth Brooks Felt Fabulous When James Taylor Agreed To Produce His Song

While Brooks is the first to admit he loved the ’90s in country music and is flattered that people want to revisit the era’s sound – he explains that “Rodeo Man” isn’t meant to be that. He and Dunn have already been there. “I don’t think it sounds like the ’90s myself,” Brooks said. “I just think it sounds like something from Ronnie Dunn and Garth Brooks.” He turned to another musical icon for support on “St Paul/Minneapolis (A True Story)” – James Taylor. He wrote the song alone based on a pleasant conversation he had with a mystery woman in the city. Brooks asked Taylor to produce the song, and Taylor agreed before he heard it. After listening, Taylor told Brooks he thought the song was perfect the way it was. “He just said, ‘Hey man, just believe,’” Garth said, explaining he sped the song up slightly to give it more of a groove. “It feels so, so good.” Brooks’ greatest gift was Taylor telling him he’d be happy to produce whatever he had. “That felt fabulous,” Brooks said. “The guy has always been a friend to me before I ever met him, but he’s really been a friend to me since I’ve met him. I really enjoy that relationship and the fact that he didn’t hesitate and just said, ‘Yeah, I’ll produce,’ whether it ever happened or not didn’t matter for me after that. It’s just like, ‘Wow, that was my favorite thing.”

(Photo by Theo Wargo/Getty Images)

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