Carole King’s solo success in the 1970s is often summarized by the impact of Tapestry, but the Billboard charts reveal a more precise story. When King stepped out from behind the scenes and into the spotlight, her connection with radio audiences was immediate, measurable, and—while relatively brief—exceptionally strong. This article ranks Carole King’s Top 10 songs strictly by Billboard Hot 100 performance, focusing on peak position, total weeks on the chart, and sustained radio presence.
Unlike lists based on legacy or songwriting influence, this ranking is grounded in how King’s music actually performed in real time. Only songs released under her own name are included, and each entry is evaluated using consistent criteria tied to Billboard’s chart methodology. Cultural impact matters, but only insofar as it translated into chart longevity and audience engagement.
Together, these songs trace a focused arc: a breakthrough moment that reshaped pop radio, followed by a gradual shift away from singles competition. What emerges is a clear, data-driven picture of Carole King as a charting artist—one whose biggest successes aligned with emotional clarity, accessibility, and impeccable timing.
Howard Dee’s Take
When people talk about Carole King, they often start with what she meant rather than how she performed. I think it’s worth separating those two things. Billboard doesn’t measure influence, hindsight, or reputation — it measures response. These songs show the moments when listeners didn’t just admire Carole King’s work, but actively chose it on the radio, week after week.
What stands out to me is how focused that window was. King didn’t linger on the charts out of habit or chase trends to stay visible. When her music connected, it did so because it felt grounded, emotionally clear, and accessible without being simplistic. This list isn’t about her importance to music history — that’s already settled. It’s about the specific songs that met the audience where they were, and stayed there long enough to leave a measurable mark.
1. It’s Too Late (1971)
Why This Song Ranks Here
Released in April 1971, It’s Too Late became the cornerstone of Carole King’s commercial peak. The song reached #1 on the Billboard Hot 100, where it remained for five consecutive weeks, and spent 19 total weeks on the chart — an exceptional run for a reflective breakup song with no dramatic hook or vocal theatrics.
Although released as a double A-side with I Feel the Earth Move, Billboard credited It’s Too Late as the primary charting track. Its success was driven by heavy rotation across Top 40 and adult contemporary formats, allowing it to dominate radio without relying on novelty or controversy.
In measurable terms, no other Carole King solo performance combined this level of peak position, sustained airplay, and cultural timing. It wasn’t just a hit — it set the tone for an entire shift in pop radio toward emotionally realistic songwriting.
Howard Dee’s Take on the Song
What makes It’s Too Late resonate is not heartbreak, but resolution. This isn’t a song written in the heat of emotion; it’s written after the decision has already been made. There’s no attempt to persuade, no lingering argument, just the calm acknowledgment that something meaningful has ended and that pretending otherwise would be dishonest.
That emotional clarity was uncommon on pop radio at the time. Carole King doesn’t dramatize the moment or invite pity — she simply states the truth as she understands it. Listeners heard that restraint and trusted it, which is why the song didn’t just feel relevant in 1971 — it still feels grounded today.
2. I Feel the Earth Move (1971)
Why This Song Ranks Here
I Feel the Earth Move reached #1 on the Billboard Hot 100, sharing the top position with It’s Too Late as part of one of the most successful double A-side singles of the 1970s. The song spent 22 total weeks on the Hot 100, giving it the longest chart run of any Carole King solo release.
Where It’s Too Late dominated through emotional restraint and adult contemporary appeal, I Feel the Earth Move thrived on immediacy. Its driving piano line, steady rhythm, and confident vocal delivery made it a natural fit for Top 40 radio, ensuring heavy rotation across a broader range of stations.
From a purely numerical standpoint, this song stands shoulder to shoulder with It’s Too Late. It ranks just below it only because Billboard designated the latter as the primary A-side — not because of weaker airplay, longevity, or audience response.
Howard Dee’s Take on the Song
This is Carole King in motion. It sounds physical and instinctive, like momentum taking over before doubt has a chance to enter. There’s confidence here, but it isn’t flashy or aggressive — it’s grounded, rhythmic, and assured.
What I like most is how unforced it feels. Nothing about this song sounds calculated, yet everything about it works. That balance — between control and spontaneity — is what made listeners lean in and stay with it week after week.
3. Jazzman (1974)
Why This Song Ranks Here
Released in late 1974, Jazzman became Carole King’s most successful single after the Tapestry era. The song peaked at #2 on the Billboard Hot 100 and remained on the chart for 18 total weeks, giving it one of the longest post-peak runs of her career. It narrowly missed the top spot but consistently outperformed many contemporaneous releases in terms of sustained airplay.
By this point, pop radio had shifted toward tighter production and faster turnover, yet Jazzman managed to bridge formats. Its melodic familiarity kept it in Top 40 rotation, while its jazz-inflected structure and storytelling appealed to adult contemporary audiences. That dual-format strength is what gave the song its longevity.
From a Billboard standpoint, Jazzman represents the final moment when Carole King was still competing at the highest level of singles radio. Numerically and historically, it stands as her last near-peak chart success.
Howard Dee’s Take on the Song
This song feels like reflection without nostalgia. It doesn’t sound like someone trying to reclaim a moment — it sounds like someone acknowledging what shaped them and moving forward with clarity. There’s admiration here, but no longing.
What stands out is how relaxed it feels. By the time Jazzman arrived, Carole King no longer needed to prove anything, and you can hear that confidence in the performance. It’s unhurried, grounded, and self-assured — a song that knows exactly what it is and doesn’t need to push beyond that.
4. Sweet Seasons (1972)
Why This Song Ranks Here
Released in early 1972, Sweet Seasons reached #9 on the Billboard Hot 100 and remained on the chart for 14 weeks, giving Carole King her only Top 10 solo hit not drawn from Tapestry. That distinction alone makes it a crucial data point in her chart history.
By the time the song was climbing the charts, pop radio was already shifting. Competition was heavier, formats were tightening, and the novelty of Tapestry had worn off. Sweet Seasons succeeded not by redefining King’s sound, but by reinforcing what listeners already trusted — warmth, clarity, and emotional steadiness.
Numerically, its Top 10 peak outweighs several longer-lasting but lower-charting singles, placing it firmly in the upper tier of her Billboard-ranked catalog.
Howard Dee’s Take on the Song
This song feels like perspective rather than ambition. There’s no sense of urgency here — just the quiet confidence of someone who understands that cycles change, and that not every moment needs to be chased.
What I’ve always liked about Sweet Seasons is how unpressured it sounds. It doesn’t try to repeat Tapestry or outdo it. It simply exists in the aftermath, comfortable with where things landed. That calm acceptance gives the song a different kind of staying power.
5. So Far Away (1971)
Why This Song Ranks Here
So Far Away peaked at #14 on the Billboard Hot 100 and remained on the chart for 14 weeks, giving it one of the most balanced peak-to-longevity performances in Carole King’s catalog. While it never cracked the Top 10, its sustained chart presence reflected steady airplay rather than a brief promotional surge.
The song benefited from Tapestry’s unprecedented album momentum, but it also stood on its own. Unlike more immediate singles, So Far Away relied on repetition and listener identification, slowly embedding itself into radio rotations across both Top 40 and adult contemporary formats.
From a ranking standpoint, its combination of mid-teens peak and solid duration places it above several later singles that charted briefly but failed to linger. It’s a textbook example of quiet chart durability.
Howard Dee’s Take on the Song
This song feels like distance without drama. There’s no confrontation here, no emotional spike — just the acknowledgment of separation and the space it creates. That restraint is what makes it feel honest rather than heavy.
What’s striking is how little the song tries to resolve itself. It doesn’t offer comfort or closure; it simply stays with the feeling. That willingness to sit in uncertainty is why it connected so deeply, even without the chart fireworks of her biggest hits.
6. Smackwater Jack (1971)
Why This Song Ranks Here
Smackwater Jack peaked at #14 on the Billboard Hot 100 and remained on the chart for 12 weeks, placing it just behind So Far Away in terms of overall chart durability. While it shared the same peak position, its slightly shorter run reflects a more front-loaded radio cycle.
Released during Carole King’s most crowded chart year, the song stood out by doing something different. Rather than leaning into introspection, it delivered a narrative-driven story with an upbeat tempo, giving programmers variety without breaking continuity with the Tapestry sound.
From a ranking perspective, its identical peak but shorter longevity places it below So Far Away, but comfortably ahead of later singles that struggled to maintain consistent airplay.
Howard Dee’s Take on the Song
This song often surprises people because it doesn’t sound like what they expect from Carole King. There’s a looseness here — almost a sense of play — that shows she wasn’t boxed into one emotional register, even at her commercial peak.
What I like most is how effortlessly it moves. She tells a complete story without asking the listener to linger on it, and that confidence carries the song. It’s proof that restraint wasn’t her only strength — timing and pacing mattered just as much.
7. Beautiful (1971)
Why This Song Ranks Here
Beautiful peaked at #19 on the Billboard Hot 100 and spent 13 weeks on the chart, placing it just outside Carole King’s top tier of singles while still demonstrating notable staying power. It never surged into the Top 10, but it maintained consistent airplay during one of the most competitive stretches of her chart run.
Released amid a cluster of Tapestry singles, the song benefited from the album’s sustained momentum rather than aggressive promotion. Its chart performance reflects steady listener engagement rather than a quick spike, which is why it ranks above later songs with shorter or more fragmented runs.
From a numerical standpoint, its balance of moderate peak position and solid duration earns it a place in the upper half of King’s Billboard-ranked catalog.
Howard Dee’s Take on the Song
This song doesn’t feel like encouragement — it feels like recognition. There’s no attempt to lift the listener up or tell them who they should be. Instead, it meets them where they already are and quietly affirms it.
What stands out is how little the song pushes. It doesn’t build, it doesn’t resolve, it doesn’t insist on anything. That restraint gives it a kind of permanence, which is why it’s often remembered more vividly than its chart position would suggest.
8. Been to Canaan (1972)
Why This Song Ranks Here
Been to Canaan peaked at #24 on the Billboard Hot 100 and remained on the chart for 10 weeks, marking a clear transition point in Carole King’s singles trajectory. While no longer a dominant Top 40 presence, the song still generated enough sustained airplay to register a meaningful chart run.
Released after the peak momentum of Tapestry, the song arrived during a period when pop radio was becoming less forgiving and more tightly formatted. Been to Canaan held on not because it chased trends, but because it maintained listener trust built during King’s earlier successes.
From a ranking standpoint, its mid-20s peak and double-digit chart duration place it above later, shorter-lived singles, while clearly below her earlier Top 10 and Top 20 performances.
Howard Dee’s Take on the Song
This song feels like motion rather than arrival. There’s a sense of having passed through something important and coming out changed, even if the destination isn’t fully defined yet.
What I hear most is steadiness. Carole King isn’t reaching for momentum here — she’s continuing forward at her own pace. That quiet assurance gives the song weight, even without the chart dominance of her earlier work.
9. Corazón (1973)
Why This Song Ranks Here
Corazón peaked at #37 on the Billboard Hot 100 and remained on the chart for 9 weeks, making it one of Carole King’s shorter-lived chart entries but still a measurable singles success. By 1973, her releases were no longer automatic radio fixtures, and chart runs depended more heavily on format fit and listener familiarity.
The song arrived during a period when pop radio was tightening playlists and favoring brighter, more immediate production. Corazón leaned instead into warmth and subtlety, which limited its Top 40 ceiling but allowed it to maintain a brief, steady presence rather than disappearing immediately.
From a ranking standpoint, its sub-40 peak and near–double-digit chart duration place it above her final singles, while clearly below the more durable performances earlier in her career.
Howard Dee’s Take on the Song
This song feels inward-looking. There’s no push for attention here, no attempt to compete with the radio climate of the moment. It sounds like someone writing for themselves first and trusting that the right listeners will find it.
What I appreciate is its calm confidence. Corazón doesn’t chase momentum or resolution — it simply unfolds at its own pace. That choice may have limited its chart life, but it gives the song a quiet integrity that still holds up.
10. Only Love Is Real (1976)
Why This Song Ranks Here
Only Love Is Real peaked at #38 on the Billboard Hot 100 and spent 8 weeks on the chart, making it Carole King’s final appearance in the Hot 100 Top 40 as a solo artist. By 1976, the singles landscape had shifted dramatically, and King was no longer operating in a chart-driven mode.
The song’s modest performance reflects that transition. Radio formats were tightening, disco and harder pop were ascendant, and King’s strengths—subtlety, warmth, emotional clarity—were better suited to albums than singles competition. Still, the fact that the song charted at all speaks to the residual trust she had built with listeners.
From a ranking standpoint, its sub-40 peak and limited duration place it at the bottom of the list numerically, but its historical role as the closing chapter of her Billboard singles run gives it significance beyond the numbers.
Howard Dee’s Take on the Song
This feels like a settling rather than a fade-out. There’s no sense of striving here, no urgency to reassert relevance. Instead, it sounds like someone comfortable with where they are and unconcerned with chasing the moment.
What I hear most is acceptance—not resignation, but balance. Only Love Is Real doesn’t try to compete with the era it was released into. It simply states its truth and lets that be enough, which makes it a fitting end to Carole King’s run as a singles-chart artist.
Frequently Asked Questions
What was Carole King’s biggest solo hit on Billboard?
It’s Too Late was Carole King’s biggest solo hit on the Billboard Hot 100. The song reached #1, stayed there for five consecutive weeks, and spent 19 total weeks on the chart, making it her strongest combination of peak position and longevity as a performer.
How many #1 songs did Carole King have as a solo artist?
Carole King had two #1 songs on the Billboard Hot 100 as a solo artist: It’s Too Late and I Feel the Earth Move. Both songs were released together as a double A-side single in 1971 and shared the top position on the chart.
Why aren’t songs Carole King wrote for other artists included?
This ranking includes only songs released and charted under Carole King’s own name. While she wrote numerous #1 hits for other artists, Billboard performance is credited to the performer, not the songwriter. Including those songs would distort how her solo career actually performed on the charts.
Did Carole King have any Top 10 hits after Tapestry?
Yes. Sweet Seasons reached #9 on the Billboard Hot 100 in 1972, making it Carole King’s only Top 10 solo hit not taken from Tapestry. After that, her singles continued to chart but did not return to the Top 10.
What was Carole King’s last charting single on the Billboard Hot 100?
Only Love Is Real (1976) was Carole King’s final single to appear on the Billboard Hot 100, peaking at #38. After this release, her career shifted away from singles competition toward albums, touring, and long-term legacy.
Explore more Carole King
More Top 10 Lists You’ll Love
- Top 10 Elton John Songs of the 1970s
- Top 11 Billy Joel Songs
- Top 15 Harry Chapin Songs
- Top 10 John Lennon Songs
Discover More ’70s Music Lists
Explore more rankings, deep dives, and curated lists from the greatest decade in music:
👉 Top 1970s Music Lists: Best Bands, Artists & Songs
External Resources
- Billboard – Carole King Profile
- Rock & Roll Hall of Fame – Carole King Profile
- Official Carole King Website
