Top 20 Songs You Didn't Know Were Written by Carole King

#20: “The Reason” (1997)

Celine Dion

Carole King is most closely associated with the sounds of the ’60s and ’70s, which makes her collaboration with Celine Dion particularly unexpected. Appearing on Dion’s blockbuster album “Let’s Talk About Love,” “The Reason” was co-written by King, who also played piano on the recording. It may have been overshadowed by “My Heart Will Go On,” but the fact that it’s a collaboration between these two titans makes “The Reason” worthy of recognition. Dion brought the vocal firepower, while King helped build the song’s emotional, gospel-tinged foundation. They later performed it together at the inaugural VH1 Divas Live concert in 1998, marking a rare meeting of pop icons from different generations.

#19: “If It’s Over” (1991)

Mariah Carey

Celine Dion wasn’t the only ’90s vocal powerhouse to collaborate with Carole King. After seeing Mariah Carey perform early in her career, King reached out and proposed that they write a song together. The result was “If It’s Over,” which appeared on Carey’s second album, “Emotions.” Drawing on gospel, blues, and classic soul, the song gave Carey room to showcase both her vocal range and her flair for dramatic performance. She later sang it at the Grammy Awards and during her acclaimed “MTV Unplugged” appearance. Only Carole King could help create a song that sounded unmistakably like Mariah Carey while still bearing her own musical fingerprints.

#18: “Wasn’t Born to Follow” (1968)

The Byrds

It’s easy to assume this song was written by a member of The Byrds. Instead, it came from Carole King and Gerry Goffin, who had evolved considerably beyond the teen romances that first made them famous. The Byrds included the track on their 1968 album “The Notorious Byrd Brothers,” wrapping King’s melody and Goffin’s mystical lyrics in psychedelic country rock. Its cultural legacy grew even larger when it appeared in the 1969 film “Easy Rider,” accompanying a motorcycle journey through the American landscape. The song’s sense of freedom proved perfectly suited to the film and showed that King and Goffin could capture the spirit of the counterculture just as effectively as they had captured adolescent longing earlier in the decade.

#17: “Goin’ Back” (1966)

Dusty Springfield

Here, Gerry Goffin’s reflective lyrics reject the idea that maturity has to mean losing your curiosity, sincerity, or imagination, while Carole King’s gentle melody gives the song its bittersweet pull. Dusty Springfield released her version in 1966, bringing warmth and restraint to a song that could easily have become overly sentimental. Her recording reached the UK Top 10, and The Byrds later offered their own folk-rock rendition. King would eventually reclaim the composition on her 1980 album “Pearls: Songs of Goffin and King.” Still, Springfield’s tender performance remains deeply associated with the song, turning King and Goffin’s meditation on aging into something intimate and timeless.

#16: “Hey Girl” (1963)

Freddie Scott

“Hey Girl” is essentially a desperate plea from a man watching his relationship collapse. Freddie Scott moves from quiet disbelief to outright begging as the arrangement swells around him. Written by King and Goffin, “Hey Girl” reached #10 on both the Billboard pop and R&B charts. King’s melody gives the track the grandeur of a classic soul ballad, while Goffin’s blunt lyrics keep the emotions raw. The song proved durable enough to attract later versions from Donny Osmond and Billy Joel, among many others. But Scott’s performance remains the definitive recording, transforming a King-Goffin composition into three minutes of beautifully controlled heartbreak.

#15: “Don’t Say Nothin’ Bad (About My Baby)” (1963)

The Cookies

After The Cookies scored a hit with “Chains,” Carole King and Gerry Goffin gave them another song packed with girl-group attitude. The song became The Cookies’ biggest hit, reaching #7 on the Billboard Hot 100 and #3 on the R&B chart. Goffin also produced the recording, while King’s bright melody helped balance the lyrics’ mix of confidence and youthful devotion. The result captures the magic of the era’s best girl-group records: conversational storytelling, infectious hooks, and just enough uncertainty beneath the surface to make the narrator’s fierce loyalty sound authentic.

#14: “Don’t Bring Me Down” (1966)

The Animals

Carole King’s reputation for warm piano melodies might make her seem like an unlikely source for an aggressive Animals single. Yet she and Gerry Goffin wrote “Don’t Bring Me Down,” a song that became a forceful showcase for Eric Burdon’s gritty vocals and the band’s blues-rock sound. Produced by Tom Wilson, The Animals’ 1966 recording pulverized the polished feel associated with many King-Goffin hits. The song reached #6 in the UK and also became a major American hit. Beneath the heavier arrangement, however, the writing still carries the emotional directness that defined King and Goffin’s work. Its narrator is tired of being criticized and neglected, turning a relationship complaint into something like an ultimatum.

#13: “Go Away Little Girl” (1962)

Donny Osmond

It takes a talented songwriter to reach #1 with a song. King and Goffin effectively managed it twice with “Go Away Little Girl.” Steve Lawrence first carried the composition to the top of the Billboard Hot 100 in 1963. Eight years later, a 13-year-old Donny Osmond introduced it to a new generation and repeated the achievement. Osmond’s version spent three weeks at #1 in 1971, becoming his only solo chart-topper in the United States. The success of two drastically different recordings demonstrated the strength of King’s melody, which survived the transition from early-’60s traditional stylings to early-’70s teen pop without losing its emotional appeal.

#12: “Crying in the Rain” (1962)

The Everly Brothers

Most of Carole King’s early classics were written with Gerry Goffin, but “Crying in the Rain” came from an unusual creative experiment. As the story goes, King and lyricist Howard Greenfield temporarily switched their usual songwriting partners for a day. The pairing produced the only major hit credited exclusively to King and Greenfield. The Everly Brothers released the song near the end of 1961, and it reached #6 on the Billboard Hot 100 the following year. King’s wistful melody blends beautifully with the duo’s harmonies, while Greenfield’s lyrics use stormy weather as a metaphor for hiding one’s heartbreak. The song later found a new audience in 1990 through a cover by Norwegian synthpop superstars a-ha.

#11: “You’ve Got a Friend” (1971)

James Taylor

James Taylor heard Carole King perform this newly written song while they were working and performing in the same Los Angeles music scene. He quickly recorded it for his album “Mud Slide Slim and the Blue Horizon,” with Joni Mitchell contributing backing vocals. Taylor’s gentle rendition hit #1 on the Billboard Hot 100, becoming his only American chart-topper. Taylor received the Grammy for Best Male Pop Vocal Performance, while King earned Song of the Year. So, while dedicated fans already know the credit, plenty of casual listeners still primarily associate “You’ve Got a Friend” with James Taylor.

#10: “One Fine Day” (1963)

The Chiffons

Released in July 1963, when The Chiffons belted out “One Fine Day,” they captured the hearts of teenagers everywhere with its upbeat melody and hopeful lyrics about a boy finally noticing a girl. This track is pure Brill Building brilliance, springing from the fertile partnership of Carole King and Gerry Goffin at their creative hub at 1650 Broadway. King’s piano demo helped shape the song’s vibrant feel and infectious hook, influencing the final arrangement that listeners fell in love with. The song climbed to #5 on the Billboard Hot 100, becoming The Chiffons’ signature hit and further cementing King and Goffin as elite hitmakers, even when their names stayed behind the scenes.

#9: “I’m into Something Good” (1964)

Herman’s Hermits

At the height of the British Invasion, Herman’s Hermits scored their first major U.S. breakthrough with a song that sounded surprisingly American. That’s because “I’m into Something Good” was written by Carole King and Gerry Goffin. Originally recorded earlier in 1964 by Earl-Jean McCrea, formerly of The Cookies, the song was reworked by Herman’s Hermits into a bright, bouncy pop smash. “I’m into Something Good” soared to #1 on the UK Singles Chart and hit #13 on the Billboard Hot 100, launching the band into international stardom. With its irresistible melody and Goffin’s simple, optimistic lyrics about finding happiness, the song showcased King’s uncanny ability to craft feel-good pop that effortlessly crossed borders.

#8: “Take Good Care of My Baby” (1961)

Bobby Vee

Bobby Vee’s tender rendition of “Take Good Care of My Baby” became one of the defining teen-idol ballads of the era. The song climbed to #1 on the Billboard Hot 100 in September 1961, giving Vee his only chart-topper and solidifying his status as a pop heartthrob. The emotional core of the track came from Carole King and Gerry Goffin, whose songwriting captured the bittersweet vulnerability of asking someone else to look after a former love. It was an early triumph for the duo and a clear sign of their ability to turn youthful emotion into timeless pop.

#7: “Chains” (1962)

The Cookies

“Chains” holds the rare distinction of being both a girl-group gem and a Beatles deep cut. The Cookies’ harmony-rich version explored the frustration of being trapped in a painful relationship, led by vocalist Earl-Jean. The song’s legacy expanded dramatically when The Beatles recorded it for their debut album, Please Please Me, in February 1963. With George Harrison on lead vocals and a raw, harmonica-driven arrangement, the Beatles introduced “Chains” to a massive international audience. That the most influential bands in history chose to cover a King/Goffin composition speaks volumes about the power of their songwriting.

#6: “Pleasant Valley Sunday” (1967)

The Monkees

“Pleasant Valley Sunday,” released in July of 1967, gave The Monkees one of their most enduring and critically respected hits. A top 5 Billboard hit, the song offered a sharp, satirical take on suburban conformity, providing a witty counterpoint to the idealism of the Summer of Love. Gerry Goffin’s lyrics were inspired by his and Carole King’s experiences living in suburban West Orange, New Jersey, observing the routines and pressures of middle-class life. King’s driving composition, anchored by a distinctive guitar riff often attributed to Michael Nesmith and producer Chip Douglas, added urgency and edge. The result was a pop song that doubled as social commentary, proving King and Goffin could evolve with the times while still delivering chart-dominating hooks.

#5: “Some Kind of Wonderful” (1961)

The Drifters

When The Drifters put out “Some Kind of Wonderful” in May 1961, they delivered a soulful classic that blended pop, R&B, and doo-wop into a timeless love anthem. Coming shortly after Ben E. King’s departure, the song featured Rudy Lewis on lead vocals and reached #6 on the R&B chart and #32 on the Billboard Hot 100. King’s gospel-tinged melody and sophisticated chord progressions gave the track emotional richness, while Goffin’s heartfelt lyrics celebrated the magic of recognizing a truly special love. It’s a perfect example of how their songwriting could become the emotional backbone of legendary vocal groups. And don’t feel too bad for Ben E. King — you might remember a little song of his called “Stand by Me.”

#4: “The Loco-Motion” (1962)

Little Eva

Few songs have enjoyed as many chart-topping lives as “The Loco-Motion.” Released in May 1962, Little Eva’s original version became a global dance craze, spending two weeks at #1 on the Billboard Hot 100. The inspiration came from Eva Boyd, the King-Goffin household babysitter, who demonstrated a dance while working in their home, sparking the idea for a dance-instruction hit. Over a decade later, in 1974, Grand Funk Railroad turned it into a hard-rock anthem that also hit #1. Then, in 1988, Kylie Minogue introduced it to a new generation, topping charts in Australia and becoming a major hit worldwide. Three eras, three styles, and three massive successes, all from the same King and Goffin classic.

#3: “Up on the Roof” (1962)

The Drifters

Released in December 1962, “Up on the Roof” stands as a rare moment where pop songwriting reaches true poetry. The Drifters’ version, led by Rudy Lewis, reached #5 on the Billboard Hot 100 and #4 on the R&B chart, capturing the fantasy of escaping city stress for peace and romance above the streets. Gerry Goffin’s lyrics vividly portray the rooftop as a refuge from urban chaos, while Carole King’s elegant melody adds warmth and longing. Produced and arranged by the legendary Jerry Leiber and Mike Stoller, the song elevated pop songwriting into something closer to urban poetry.

#2: “Will You Love Me Tomorrow” (1960)

The Shirelles

A true milestone in pop history, “Will You Love Me Tomorrow” became the first #1 hit on the Billboard Hot 100 by an all-female group when it topped the chart in January 1961. Written by a very young Carole King and Gerry Goffin, the song broke new ground with its candid exploration of intimacy, vulnerability, and emotional uncertainty. Shirley Owens’ heartfelt lead vocal gave voice to feelings rarely addressed so openly in early-’60s pop, while King’s sweeping melody and orchestration gave the song its emotional weight. The track didn’t just top charts, it helped redefine what pop lyrics could address, cementing King and Goffin as writers willing to push boundaries while still delivering massive commercial hits.

#1: “(You Make Me Feel Like) A Natural Woman” (1967)

Aretha Franklin

Topping our list is one of the most iconic songs ever recorded. Released in September 1967, Aretha Franklin’s “(You Make Me Feel Like) A Natural Woman” became a defining moment in her legendary career, reaching #8 on the Billboard Hot 100 and #2 on the R&B chart. The song’s origin is legendary. Producer Jerry Wexler suggested the phrase “natural woman” to Carole King and Gerry Goffin, who went home and wrote the song almost immediately. King’s gospel-infused melody and Goffin’s deeply moving lyrics created the perfect foundation for Aretha Franklin’s transformative vocal performance. Recognized by the Library of Congress, “A Natural Woman” stands as the ultimate testament to King and Goffin’s songwriting legacy.

Which Carole King songwriting credit surprised you most? Are there any songs we missed? Be sure to let us know in the comments.