The lyrics describe the blameless end of a loving relationship.[5] Music critic Dave Marsh saw implicit feminism because the woman leaves the man.[6] Marsh also remarked on the maturity of the theme.[6] Music critic Robert Christgau wrote that "if there's a truer song about breaking up than 'It's Too Late,' the world (or at least AM radio) isn't ready for it."[7] Marsh described the melody as Tin Pan Alley and the arrangement as a cross between light jazz and "L.A. studio craftsmanship."[6]Rolling Stone remarked that Carole King's "warm, earnest singing" on the song brought out the song's sadness.[8] According to author James Perone, the feel of the song is enhanced by the instrumental work of Danny Kortchmar on guitar, Curtis Amy on saxophone and King on piano.[5] Kortchmar and Amy each have an instrumental solo.[5]Cash Box described the song as "a sensitive ballad with a strong rock under-beat."[9]Record World said that it is "quality contemporary pop."[10]
King's version of "It's Too Late" was gold-certified by the RIAA.
"It's Too Late" won a Grammy Award for Record of the Year in 1972.
"It's Too Late" is ranked No. 469 on Rolling Stone's list of the 500 greatest songs of all time. It was dropped in the 2010 version but updated to No. 310 in the 2021 version.
Together with its other A-side, it was named by the RIAA as No. 213 of 365 Songs of the Century.
British dance music production duo Quartz (Ronnie Herel and Dave Rawlings) released their version of "It's Too Late" in 1991 on their album Perfect Timing, introducing British singer-songwriter Dina Carroll. The single, released by Mercury Records, earned Carroll her first hit, reaching number eight on the UK Singles Chart and on the Music Week Dance Singles chart.[29][30] It was also a top-5 hit in Israel and a top-30 hit in Austria, peaking at number 21.
James Hamilton from Music Week described the cover as a "gentle Carole King revival" in his weekly Dance column.[31] Anthony James from NME wrote, "'It's Too Late' should see a reversal in their fortunes. Featuring the gutsy vocals of Dina Carroll it's a truly kickin' track but with a commercial edge. Carole King will turn in her rave."[32] Another NME editor, Ian McCann, complimented it as "a genuine hit".[33]
Cuban American singer and songwriter Gloria Estefan released her cover of "It's Too Late" in 1995 as the third promotional single (in the US), and fourth overall single released from her fourth studio album, Hold Me, Thrill Me, Kiss Me (1994). It was produced by Emilio Estefan, Jr., Jorge Casas and Clay Ostwald, and released in May 1995 by Epic Records.
AllMusic editor Eddie Huffman described Estefan's version as "[a] moment of genuine pathos" in his review of the Hold Me, Thrill Me, Kiss Me album.[38] Steve Baltin from Cash Box felt the singer "does a decent job with the vocals, but this is one of those songs that everybody feels they own. As such, it’s better off being left alone."[39] Chuck Campbell from Knoxville News Sentinel viewed it as a "faithful" remake of Carole King's 1971 hit, "though Tim Mitchell's intrusive electric-guitar solo is an unwelcome addition."[40] Phil Shanklin of ReviewsRevues remarked that King's voice does possess the same warmth as Estefan's.[41] Tony Cross from Smash Hits gave Estefan's version two out of five, writing that "Glo's done a fine job tweeking it into shape by funking it up a bit."[42]
^Harrison, James (2015). "Carole King - "It's Too Late". In Dimery, Robert (ed.). 1001 Songs You Must Hear Before You Die. New York: Universe. p. 289. "...over a gently laid-back, percussion-driven jazz samba [King] plays a string of figures...the verse-chorus segues nicely into some cool jazz-guitar grooves...
^"Picks of the Week"(PDF). Record World. May 1, 1971. p. 1. Retrieved 2025-08-14.
^Steve Sullivan (2013). Encyclopedia of Great Popular Song Recordings, volume 2. Scarecrow Press. pp. 326–327. ISBN978-0810882959.
^Sheila Weller (2009). Girls Like Us: Carole King, Joni Mitchell, Carly Simon - and the Journey of a Generation. Washington Square Press. pp. 325–328. ISBN9780743491488.
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