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Australia’s homegrown heroes and ARIA Hall of Fame inductees Human Nature are returning to their roots, bringing together 30 years of performances for a never-before-seen intimate, bespoke concert tour of the Australian heartland.
Get ready for a night of the best songs ever written, including their original hits, Motown classics and more – all performed with vocals upfront in an acoustic mode. Fans will know all the words to their big hits including Telling Everybody, Wishes, When You Say You Love Me, Reach Out I’ll Be There, Will You Love Me Tomorrow, and many more. Australian band Human Nature in new pic to celebrate Hall of Fame induction, pic supplied
From Las vegas to Lismore: Popular band confirms show
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The location was A&M Recording Studios in Los Angeles. It was January 1971. Two of the great singer-songwriters of their generation were at work in adjoining rooms. In Studio B, Carole King was galloping through the sessions for what would become the Tapestry album. In Studio C, Joni Mitchell was taking considerably longer to record her fourth album, the aptly named Blue. Studio A, incidentally, was occupied by the Carpenters, who were making a self-titled third album now considered to be one of their best.
Rarely has any studio been as stuffed with such gilded talent. It had been home to the Charlie Chaplin Studios for most of the 20th century but A&M Records took it over in 1966. The label chose it as the location for its top signings to realise their sonic dreams and in January 1971, a great deal of gold was mined just off Sunset Boulevard in Hollywood.
The sound of someone finding their way in the world : Carole King s 1971 album Tapestry
The sky was blue, the breeze was cool, the Hollywood Hills twinkled in the sun. And as she sped towards Laurel Canyon with the roof down, 26-year-old Carole King could feel life hurtling forward to met her at a headlong pace.
“I turned right onto Laurel Canyon and revelled in the rush of wind blowing through my hair,” the singer-songwriter would write of her first experiences of LA in her 2012 memoir, A Natural Woman. “Other drivers were cruising up and down the canyon without a specific destination. I was going to the West Coast office of Columbia Music.”
Last modified on Fri 12 Feb 2021 04.44 EST
James Taylor
The singer-songwriter genre was named around 1970, give or take, and was said to apply to me and, among others Joni Mitchell, Cat Stevens and Jackson Browne. Why that supposed movement didn’t begin with Bob Dylan or even Woody Guthrie or Robert Johnson beats me – maybe they were still “folk”. But, if it means anything, Carole King deserves to be thought of as its epitome. I’d been deep into her songs – Up on the Roof, Natural Woman, Crying in the Rain – for a decade before Danny Kortchmar introduced us in Los Angeles in 1970. She played piano on my Sweet Baby James album while working on the songs for her own Tapestry. Our collaboration, our extended musical conversation over the next three or four years was really something wonderful. I’ve said it before, but Carole and I found we spoke the same language. Not just that we were both musicians but as if we shared a common ear, a parallel musical/emotional path.
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