Carole's song, "I Think I Can Hear You," which is directed straight at her audience: "What must I do/How can I serve you/Is it true what I do is the way to be near you/I'm listening, though sometimes I can't hear you." Though the song, a slow imploring ballad, ends on a note of tentative optimism—"I'm listening, and I think I can hear you"—its overall mood is not happy, and since Carole has the gift of consistently being able to communicate at a gut emotional level, it is somewhat upsetting to hear her express so nakedly a dependent relationship to an unseen audience. That Carole King is able to carry it off, and even to uplift us with her honesty, is part of her greatness, for it is finally the extramusical dimension of her personality that makes her records so compelling.

Having listened to it many times, I think that Rhymes and Reasons is a major work, a record that you have to live with for awhile, and refer to often, in order to assimilate its full impact. Though I find it musically less exciting than most of Tapestry and some of Writer and Music, I think that structurally it is Carole's most unified, personal album. The theme, implied by the title, is homespun philosophical "Some say that time brings a better understanding/Of the rhyme and reason to it all" and the lyrics are meant to be taken as seriously as the music. This will present a problem for those who will find the words too simplistic, as well as for those who will miss the transcendent musical vitality present in varying degrees on her three previous albums, and here considerably attenuated. For the first time, there are no reprises of her great hits from the 60s. Of the album's 12 songs, all of them new, six are collaborations (four by King-Stern, one by King-Goffin, and one by King-Larkey); the rest are by Carole alone.

The musical virtues of Rhymes and Reasons are subtle. The importance of Carole's longstanding relationship to black music has diminished. There are no tunes with both the tightness and memorability of "You've Got a Friend" and "It's Too Late," not to mention the King-Goffin songs of earlier days. Since the lyric content of Rhymes and Reasons is openly philosophical, the tunes have a roughly equivalent quality they debate more than they proclaim. Two of the three best songs—"Come Down Easy" and "Gotta Get Through Another Day" have the same tough