The conclusion is written to apply to the congregation the doctrine of the sermon. Leave that off, then, and it will do for another Sunday. The introduction seems to me always written to show that the minister can preach two sermons on one text. When you have written your sermon, leave off the introduction and leave off the conclusion. When I began to preach, another of my Nestors said to me, "Edward, I give you one piece of advice.
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I advise you to say the thing you want to say. I remember, when they tried to teach me to sing, they told me to "think of eight and sing seven." That may be a very good rule for singing, but it is not a good rule for talking, or writing, or any of the other things that I have to do. That is, do not begin by saying something else, which you think will lead up to what you want to say. It was time to move on, alone this time.„Our first rule is, then, Know What You Want To Say. Here were Carole King’s versions of the Carole King 1960s songbook. The endgame was a song called A Man Without A Dream – “I feel that I’m growing old much too soon.” Did she feel as embarrassed as her now ex-husband about their early hits? Surely not, as she then went on to record a dozen of them for Tapestry’s understated predecessor, the 1970 album Writer. It contained the last songs Goffin and King wrote together – Lady, All My Time, the disorientating and lovely Snow Queen. Before that, she had a stab at forming a band called the City, who made one exceptional album in 1969 called Now That Everything’s Been Said. It took another four years for King to write It’s Too Late. Soon there was little more than disintegration. Almost all of their songs from 1965 onwards reflected considerable difficulties in their relationship (Erma Franklin’s The Right To Cry, Dusty Springfield’s No Easy Way Down, Carole’s own single Road to Nowhere), and all of them featured bottomless timpani, string sections recorded in cavernous chambers, impassioned vocals.
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Post-Beatles, and by now in their mid-20s, came Goffin and King’s rococo period.
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Of course, when they grew older they became embarrassed about the way they had felt when they were young, feelings that had been spelled out, recorded, and promoted for all the world to hear. Goffin and King were living and writing in real time. They understood the parts anyone over 21 might have forgotten, or taken for granted as part of adulthood: Make the Night a Little Longer … just a little longer. Working out of a cubbyhole at 1650 Broadway with nothing but a piano for company, the native New Yorkers wrote about the obsessiveness and giddiness of a crush ( Steve & Eydie’s I Want To Stay Here) and the bleakness of a break-up ( the Everly Brothers’ Crying in the Rain) better than any of their contemporaries. It was a life-changer for the newlyweds Goffin and King – he was 21, she was 18. The question she had asked in 1960 was Will You Love Me Tomorrow?, and she been rewarded with an international hit, an American No 1 for the Shirelles, who first recorded the song. “Doesn’t anybody stay in one place any more?” she asks. To the east? To the past, maybe? And, while we’re looking at the sleeve more closely, what about those lyrics? “Wherever I am … I’ll come running.” Outside the window, there’s a soft silver sadness in the sky, the sadness of displacement. Instead, the session is made up of King looking wistfully from her Laurel Canyon home, looking elsewhere. If you look at the rest of photographer Jim McCrary’s session for Tapestry, there is no cat – Telemachus, King’s mackerel tabby, was moved into the frame for the very last shot of the session.
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Carole King, photographed by Jim McCrary in Laurel Canyon, Los Angeles.