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In 1972, American singer songwriter Carly Simon | 0:00:04 | 0:00:07 | |
recorded her most famous album in London. | 0:00:07 | 0:00:11 | |
Well, about the No Secrets album, | 0:00:11 | 0:00:14 | |
as a piece of work that I've done in this lifetime, it's pretty good. | 0:00:14 | 0:00:17 | |
No Secrets was to become a platinum-selling global hit. | 0:00:17 | 0:00:21 | |
It is a classic album. There's a sheen, there's a kind of glossiness. | 0:00:21 | 0:00:27 | |
The players are fantastic. | 0:00:27 | 0:00:28 | |
# You're so vain... # | 0:00:28 | 0:00:31 | |
Its chart-topping single, You're So Vain, | 0:00:31 | 0:00:34 | |
is celebrated by stars to this day like Taylor Swift. | 0:00:34 | 0:00:37 | |
# You're so vain... # | 0:00:37 | 0:00:39 | |
That is the most direct way anyone has ever addressed a break-up. | 0:00:39 | 0:00:43 | |
It's amazing. | 0:00:44 | 0:00:46 | |
# I bet you think this song is about you, don't you, don't you? | 0:00:46 | 0:00:51 | |
# Don't you...? # | 0:00:51 | 0:00:53 | |
The album defined the era it was written in. | 0:00:54 | 0:00:57 | |
Carly Simon becomes a voice for the feminist movement and it's that | 0:00:58 | 0:01:03 | |
voice that comes through crystal clear in songs like You're So Vain. | 0:01:03 | 0:01:08 | |
# And that you would never leave... # | 0:01:08 | 0:01:10 | |
Her songs are intimate and autobiographical, | 0:01:11 | 0:01:14 | |
drawing on relationships with her parents, friends and lovers. | 0:01:14 | 0:01:17 | |
It's a holistic experience, writing, living, breathing and singing. | 0:01:19 | 0:01:23 | |
# Some of those secrets of yours... # | 0:01:23 | 0:01:25 | |
Some songs were inspired by her then partner, | 0:01:26 | 0:01:29 | |
the legendary singer-songwriter, James Taylor. | 0:01:29 | 0:01:32 | |
I mean Carly Simon and James Taylor? You couldn't get better than that. | 0:01:32 | 0:01:38 | |
# We had no secrets... # | 0:01:38 | 0:01:40 | |
We'll explore this classic album through | 0:01:40 | 0:01:42 | |
a revealing interview with Carly Simon herself... | 0:01:42 | 0:01:46 | |
I was being pushed off a diving board because I was doing | 0:01:46 | 0:01:49 | |
things that I didn't want to do. | 0:01:49 | 0:01:50 | |
# Some of those secrets of yours... # | 0:01:50 | 0:01:52 | |
..and with her collaborators on No Secrets. | 0:01:54 | 0:01:57 | |
This entire process was absolute magic. | 0:01:57 | 0:02:00 | |
Every song that she brought to the party was a really good song. | 0:02:00 | 0:02:05 | |
And we'll hear exclusive extracts from the album's master tapes. | 0:02:05 | 0:02:09 | |
Of course, as soon as I started mixing it, | 0:02:09 | 0:02:11 | |
I heard this wonderful sound of Mick Jagger... | 0:02:11 | 0:02:16 | |
# You're so vain | 0:02:16 | 0:02:18 | |
# You probably think this song is about you... # | 0:02:19 | 0:02:23 | |
I got back to New York and I heard You're So Vain in | 0:02:23 | 0:02:26 | |
a cab and it sounded so bloody good over the radio. | 0:02:26 | 0:02:29 | |
# Don't you, don't you, don't you now... # | 0:02:29 | 0:02:31 | |
APPLAUSE | 0:03:05 | 0:03:10 | |
# My father sits at night with no lights on | 0:03:16 | 0:03:21 | |
# His cigarette blows in the dark... # | 0:03:23 | 0:03:29 | |
My father was a classical pianist, | 0:03:29 | 0:03:32 | |
so I had all these influences and I was open to all of them. | 0:03:32 | 0:03:35 | |
I thought music was music. | 0:03:35 | 0:03:37 | |
But then there was also Peggy Lee and Joan Baez and Judy Collins | 0:03:38 | 0:03:42 | |
and folk singers. | 0:03:42 | 0:03:44 | |
# I tiptoe past the master bedroom where | 0:03:44 | 0:03:49 | |
# My mother reads her magazines... # | 0:03:50 | 0:03:56 | |
You had to write your own material to figure out who you were. | 0:03:58 | 0:04:01 | |
The songs that I owned were the ones that really came from | 0:04:01 | 0:04:05 | |
me and came from my writing. | 0:04:05 | 0:04:07 | |
That's the way I've always heard it should be. | 0:04:07 | 0:04:09 | |
# Well that's the way I've always heard it to be | 0:04:09 | 0:04:14 | |
# You want to marry me... # | 0:04:14 | 0:04:17 | |
I just said to her, "Where did this come from?" | 0:04:19 | 0:04:22 | |
She said, "I don't know. I just found my muse." | 0:04:22 | 0:04:25 | |
# I'll never learn to be just me first by myself... # | 0:04:25 | 0:04:33 | |
People told me that they stopped their cars when they heard | 0:04:37 | 0:04:40 | |
that song because it was so different. | 0:04:40 | 0:04:42 | |
It was the song that got me on the radio. | 0:04:42 | 0:04:44 | |
You know, there's a lot of love and tenderness and warmth and | 0:04:47 | 0:04:53 | |
vulnerability in Carly's music and, you know, | 0:04:53 | 0:04:56 | |
that's what music should really be about. | 0:04:56 | 0:04:59 | |
And then I was in love with the Anticipation. It was a group album. | 0:05:00 | 0:05:04 | |
I mean, there was so much love between everybody and | 0:05:04 | 0:05:08 | |
Cat Stevens was around during that time, too, | 0:05:08 | 0:05:10 | |
and he sang backups on a lot of the songs. | 0:05:10 | 0:05:13 | |
Carly Simon helps to recreate sexuality and romance in | 0:05:13 | 0:05:19 | |
the 1970s by singing about and modelling an alternative | 0:05:19 | 0:05:24 | |
which is a relationship, serial monogamy. | 0:05:24 | 0:05:27 | |
To me, I fell in love every time I slept with a man. | 0:05:27 | 0:05:32 | |
I thought, well, this is it, this is absolutely it. | 0:05:32 | 0:05:35 | |
Her many loves are all over the popular culture, | 0:05:35 | 0:05:40 | |
so that everyone can recite, "Oh, well, there was Cat Stevens, | 0:05:40 | 0:05:43 | |
"there was Warren Beatty and now there's James Taylor." | 0:05:43 | 0:05:48 | |
So James' first album, Sweet Baby James, | 0:05:50 | 0:05:53 | |
had made him a big star. | 0:05:53 | 0:05:54 | |
Carly and he were soon the most famous couple in rock and roll | 0:05:54 | 0:05:59 | |
and on the cover of Rolling Stone together. | 0:05:59 | 0:06:01 | |
And they were together for a whole decade and had two children together. | 0:06:01 | 0:06:07 | |
But for now, James stayed in America while Carly recorded her new | 0:06:07 | 0:06:11 | |
album in London. | 0:06:11 | 0:06:13 | |
When I was in England making the No Secrets record, sometime | 0:06:13 | 0:06:17 | |
during the summer, he decided that maybe marriage was a good idea. | 0:06:17 | 0:06:22 | |
Carly Simon, she's in London now recording her third album | 0:06:28 | 0:06:31 | |
with Richard Perry and it really is the greatest pleasure to be | 0:06:31 | 0:06:34 | |
-able to say, welcome to Carly Simon. -Thank you. | 0:06:34 | 0:06:36 | |
How long are you in London, Carly? | 0:06:36 | 0:06:37 | |
Until the record is finished, which will probably be another two weeks. | 0:06:37 | 0:06:41 | |
I've been into it now for two, almost three weeks. | 0:06:41 | 0:06:45 | |
We got very close during the making of the record and have | 0:06:46 | 0:06:51 | |
remained extremely close to this day, 45 years later. | 0:06:51 | 0:06:57 | |
What's the difference between working in London and working in | 0:06:57 | 0:07:00 | |
studios in America? There must be a difference in field, presumably. | 0:07:00 | 0:07:04 | |
I just like London as a city better than New York as a city. | 0:07:05 | 0:07:08 | |
And I like... | 0:07:09 | 0:07:11 | |
I just like to live here better. | 0:07:11 | 0:07:14 | |
I don't know about the studios, so I thought I'd try and although | 0:07:14 | 0:07:17 | |
it wasn't totally my decision, Richard Perry wanted to work there. | 0:07:17 | 0:07:20 | |
Richard pretty much got his way because he's very dominating | 0:07:20 | 0:07:24 | |
and very good. | 0:07:24 | 0:07:26 | |
Perry's sensibility was far more commercial than Carly's. | 0:07:26 | 0:07:30 | |
After all, he produced Barbra Streisand, | 0:07:30 | 0:07:32 | |
he produced Diana Ross and Art Garfunkel. | 0:07:32 | 0:07:36 | |
I like his sound, I like the slickness of his sound. | 0:07:36 | 0:07:40 | |
He was one of the key early '70s producers. | 0:07:40 | 0:07:45 | |
He just hears something and he lives... | 0:07:45 | 0:07:49 | |
It's almost as if inside his mind is a radio playing, | 0:07:49 | 0:07:53 | |
and he knows what a hit sounds like. | 0:07:53 | 0:07:55 | |
I was there because I was in Carly's band, and she said, | 0:07:55 | 0:08:00 | |
"I want to bring my band to London," | 0:08:00 | 0:08:02 | |
and Richard consented, | 0:08:02 | 0:08:03 | |
so he tolerated me, and said, | 0:08:03 | 0:08:07 | |
"OK, we'll give you guys a shot, but no guarantees. | 0:08:07 | 0:08:10 | |
"I need to make the record I need to make with my guys, | 0:08:10 | 0:08:14 | |
"and are you cool with that?" | 0:08:14 | 0:08:15 | |
And he brought very good people in to work with me | 0:08:15 | 0:08:19 | |
and I was influenced by them. | 0:08:19 | 0:08:20 | |
Klaus Voormann on bass for most of the cuts. | 0:08:20 | 0:08:24 | |
Yes, I mean, the best example is You're So Vain. | 0:08:30 | 0:08:33 | |
What happened was, when we started the song, | 0:08:34 | 0:08:37 | |
David played it on the piano and I heard the lyrics. | 0:08:37 | 0:08:42 | |
# You walked into the party | 0:08:42 | 0:08:46 | |
# Like you were walking onto a yacht. # | 0:08:46 | 0:08:50 | |
And I saw the lyrics on a sheet, | 0:08:50 | 0:08:53 | |
and I was definite that it was about a guy who was very flashy, | 0:08:53 | 0:08:57 | |
so I thought, "I should be playing something flashy," you know? | 0:08:57 | 0:09:01 | |
So I... | 0:09:01 | 0:09:02 | |
PLAYS RIFF | 0:09:02 | 0:09:04 | |
And then Richard Perry came in - "Oh, yeah, that's great. | 0:09:08 | 0:09:11 | |
"Let's start the song with that!" | 0:09:11 | 0:09:12 | |
I said, "Klaus, what did you just play?" | 0:09:12 | 0:09:16 | |
He says, "What are you talking about? | 0:09:16 | 0:09:18 | |
"I was just warming up my fingers." | 0:09:18 | 0:09:20 | |
I said, "Do me a favour and play exactly what you just played." | 0:09:20 | 0:09:24 | |
Lots of bass players asked me how I was doing this. | 0:09:24 | 0:09:27 | |
You only can do it if you know how to play a classic guitar, | 0:09:27 | 0:09:32 | |
and I learned classic guitar, and then it's really easy. | 0:09:32 | 0:09:35 | |
And then as soon as Carly heard it, | 0:09:38 | 0:09:41 | |
she spontaneously came in with this "son of a gun." | 0:09:41 | 0:09:45 | |
# Son of a gun. # | 0:09:46 | 0:09:48 | |
And then when I started mixing it, and had all the tracks open, | 0:09:48 | 0:09:52 | |
as I do now, | 0:09:52 | 0:09:53 | |
I found out that there were actually quite | 0:09:53 | 0:09:54 | |
a few other little fun things that they decided not to use. | 0:09:54 | 0:09:58 | |
Ah. | 0:09:59 | 0:10:01 | |
Prrrrr! | 0:10:01 | 0:10:03 | |
Pssssst! | 0:10:03 | 0:10:06 | |
Ccch! Psssst! | 0:10:08 | 0:10:11 | |
Tt-tt! | 0:10:12 | 0:10:13 | |
The history of the song is I had a clever little saying in the | 0:10:16 | 0:10:22 | |
back of my notebook saying, that said, "You're so vain, you probably | 0:10:22 | 0:10:26 | |
"think this song is about you," and I don't know where that came from. | 0:10:26 | 0:10:29 | |
I was at a party and a man walked into my apartment | 0:10:29 | 0:10:33 | |
and he looked at himself in the mirror, his hat was, like, | 0:10:33 | 0:10:36 | |
tiered over one eye, and he had an apricot scarf, so... | 0:10:36 | 0:10:41 | |
I wrote "You walked into the party like you were walking onto a yacht." | 0:10:41 | 0:10:44 | |
# You walked into the party | 0:10:44 | 0:10:49 | |
# Like you were walking onto a yacht | 0:10:49 | 0:10:53 | |
# Your hat strategically dipped below one eye | 0:10:53 | 0:10:58 | |
# Your scarf, it was apricot. # | 0:10:58 | 0:11:03 | |
So, I got that far and then I had... | 0:11:03 | 0:11:06 | |
# And all the girls dreamed that they'd be your partner | 0:11:06 | 0:11:11 | |
# They'd be your partner and | 0:11:11 | 0:11:13 | |
# You're so vain | 0:11:13 | 0:11:17 | |
# You probably think this song is about you | 0:11:17 | 0:11:21 | |
# You're so vain | 0:11:21 | 0:11:23 | |
# I'll bet you... # | 0:11:23 | 0:11:25 | |
I think by about this time in the mix, by the first chorus, | 0:11:25 | 0:11:29 | |
I knew this was going to be a huge smash. | 0:11:29 | 0:11:32 | |
I feel it was close to a perfect record. | 0:11:32 | 0:11:36 | |
You're looking for a different feel on this album from Anticipation. | 0:11:36 | 0:11:39 | |
-Is that why now you're working with Richard Perry? -Er... | 0:11:39 | 0:11:42 | |
Not really a different feel as much as an expansion, perhaps, | 0:11:42 | 0:11:47 | |
of the feel it was on the Anticipation album. | 0:11:47 | 0:11:50 | |
I didn't really like the direction of the record. | 0:11:50 | 0:11:55 | |
Richard was rock and roll, and I was still being kind of a folk singer. | 0:11:55 | 0:11:59 | |
Timing, the way I felt it, timing was just like a bird. | 0:11:59 | 0:12:03 | |
A bird'll stop sometimes and slow down | 0:12:03 | 0:12:06 | |
or a wave - something natural, | 0:12:06 | 0:12:08 | |
and to be forced to go with bom bom bom bom bom was new to me | 0:12:08 | 0:12:12 | |
and so I fought it all the way. | 0:12:12 | 0:12:15 | |
Richard, he could keep his focus for four or five hours | 0:12:17 | 0:12:22 | |
on a song and keep manipulating the players | 0:12:22 | 0:12:29 | |
till he got what he wanted. | 0:12:29 | 0:12:32 | |
It's, er, an emotional thing. You just know when it's right. | 0:12:32 | 0:12:38 | |
So, whatever I was doing, it wasn't doing it for Richard Perry, | 0:12:38 | 0:12:45 | |
and he then said, | 0:12:45 | 0:12:49 | |
"Carly, I'm going to bring Jim Gordon in," | 0:12:49 | 0:12:53 | |
and I just was huddled up in the corner of the drum room, | 0:12:53 | 0:12:59 | |
about this far away, six feet away from him, | 0:12:59 | 0:13:03 | |
and watched him do his thing. | 0:13:03 | 0:13:08 | |
I mean, and Jim really got inside the tune. | 0:13:08 | 0:13:12 | |
He's in like this, playing on the snare drum in the verses. | 0:13:12 | 0:13:17 | |
But then there's a bit coming up where it drops down quiet, | 0:13:20 | 0:13:25 | |
and he very sneakily just goes down from... | 0:13:25 | 0:13:30 | |
He goes to... | 0:13:30 | 0:13:32 | |
Something where Carly drops down and it goes quiet, | 0:13:34 | 0:13:37 | |
he found the places to come down and go up and where to drop out. | 0:13:37 | 0:13:44 | |
It is a classic drum part. | 0:13:44 | 0:13:47 | |
# Bet you think this song is about you | 0:13:47 | 0:13:50 | |
# Don't you? | 0:13:50 | 0:13:52 | |
# Don't you? # | 0:13:52 | 0:13:53 | |
The only thing that changed was the upbeatness of it, | 0:13:53 | 0:13:58 | |
the Richard Perry-ness of it, and so the lyrics didn't really get | 0:13:58 | 0:14:03 | |
any less intrinsic to what I was feeling. | 0:14:03 | 0:14:08 | |
# You had me several years ago | 0:14:08 | 0:14:12 | |
# When I was still quite naive | 0:14:12 | 0:14:16 | |
# Well you said that we made such a pretty pair | 0:14:16 | 0:14:22 | |
# And that you would never leave | 0:14:22 | 0:14:25 | |
# But you gave away the things you loved... # | 0:14:25 | 0:14:30 | |
I had endless numbers of people asking me who it was about. | 0:14:30 | 0:14:35 | |
I think they were just asking me or Carly, | 0:14:35 | 0:14:38 | |
and we never talked about it at all and we wouldn't reveal it. | 0:14:38 | 0:14:43 | |
The answer wasn't as important as the game. | 0:14:43 | 0:14:45 | |
# I had some dreams | 0:14:45 | 0:14:47 | |
# They were clouds in my coffee | 0:14:47 | 0:14:50 | |
# Clouds in my coffee and | 0:14:50 | 0:14:53 | |
# You're so vain... # | 0:14:53 | 0:14:55 | |
We know Beatty had something to do with it, and there were | 0:14:55 | 0:14:59 | |
at least two others, and we can't say for sure who those were. | 0:14:59 | 0:15:03 | |
It was my publisher who called up and said, | 0:15:03 | 0:15:06 | |
"People magazine will put you on the cover if you tell | 0:15:06 | 0:15:08 | |
"who You're So Vain is about, or just give one verse up." | 0:15:08 | 0:15:13 | |
# Don't you? | 0:15:13 | 0:15:15 | |
# Don't you...? # | 0:15:15 | 0:15:17 | |
And so...so I therefore decided to give a little bit away. | 0:15:17 | 0:15:21 | |
Now, that doesn't mean the other two verses aren't also about Warren. | 0:15:21 | 0:15:26 | |
Just means that the second one is. | 0:15:26 | 0:15:28 | |
And also the subject about who it was about loved the fact, | 0:15:28 | 0:15:34 | |
couldn't have been more pleased with the fact. | 0:15:34 | 0:15:38 | |
# I bet you think this song is about you | 0:15:38 | 0:15:42 | |
# Don't you? | 0:15:42 | 0:15:43 | |
# Don't you? # | 0:15:43 | 0:15:46 | |
If you were sitting in the guitar chair, it was a piece of cake. | 0:15:47 | 0:15:50 | |
Richard and I synchronised very, very well about what should be done. | 0:15:50 | 0:15:56 | |
This guitar was the one that I used. It's a 1961, I guess, Gibson ES3 35. | 0:15:56 | 0:16:02 | |
I said, "All right - I've got an idea. | 0:16:02 | 0:16:04 | |
You guys can give me some feedback, see if this works." | 0:16:04 | 0:16:07 | |
# I had some dreams | 0:16:24 | 0:16:26 | |
# They were clouds in my coffee | 0:16:26 | 0:16:28 | |
# Clouds in my coffee and... # | 0:16:28 | 0:16:30 | |
So, I played the solo and Richard said, "That's great. Perfect." | 0:16:33 | 0:16:38 | |
I said, "OK. Let's do another and we'll clean it up and perfect it." | 0:16:38 | 0:16:42 | |
He says, "No. No. No, you're done. That was it - one take." | 0:16:42 | 0:16:46 | |
That's my recollection. Now, Richard may tell you, | 0:16:46 | 0:16:48 | |
"Oh, no, it was awful - we had him to do it 17 times." | 0:16:48 | 0:16:52 | |
The wonders of memory! | 0:16:52 | 0:16:53 | |
My memory of is we spent most of the weekend on that song. | 0:16:53 | 0:16:59 | |
It was hardly one take. | 0:16:59 | 0:17:01 | |
I did play with the reverb on it. | 0:17:02 | 0:17:05 | |
SONG PLAYS | 0:17:05 | 0:17:10 | |
# I had some dreams | 0:17:13 | 0:17:14 | |
# They were clouds in my coffee... # | 0:17:14 | 0:17:17 | |
Great solo, just a great solo. | 0:17:17 | 0:17:19 | |
Richard really believed in the record so completely | 0:17:19 | 0:17:22 | |
and he made me do the vocal 100 times. | 0:17:22 | 0:17:25 | |
I was only 27 at the time, so I had a lot more energy then. | 0:17:25 | 0:17:30 | |
For some reason! | 0:17:30 | 0:17:32 | |
It was Mick Jagger who said to me, you know, | 0:17:32 | 0:17:36 | |
"You're really a rock and roll singer! Forget this folk stuff." | 0:17:36 | 0:17:39 | |
That wasn't my best Mick Jagger - I can do a really good one. | 0:17:39 | 0:17:42 | |
I had met Mick Jagger at a party. | 0:17:42 | 0:17:45 | |
No, the song is not about him. | 0:17:45 | 0:17:48 | |
So he came by the studio, and Mick and I went on to make history. | 0:17:48 | 0:17:52 | |
And of course, as soon as I started mixing it, | 0:17:52 | 0:17:56 | |
I heard this wonderful sound of Mick Jagger. | 0:17:56 | 0:17:59 | |
# You're so vain. # | 0:18:01 | 0:18:03 | |
TWO DISTINCT VOICES | 0:18:05 | 0:18:10 | |
# I bet you think this song is about you | 0:18:10 | 0:18:14 | |
# Don't you? | 0:18:14 | 0:18:16 | |
# Don't you? # | 0:18:16 | 0:18:18 | |
At one point, I remember we were leaning over and looking into | 0:18:18 | 0:18:21 | |
the shine of the black Yamaha piano, | 0:18:21 | 0:18:24 | |
and it was Narcissus and Goldmund looking into the pond together | 0:18:24 | 0:18:28 | |
at themselves and seeing themselves in the other, | 0:18:28 | 0:18:31 | |
and it was very...it was very sexy. | 0:18:31 | 0:18:35 | |
She was so turned on after they finished putting | 0:18:35 | 0:18:39 | |
the backgrounds on that she asked me if she could go out and do | 0:18:39 | 0:18:44 | |
a new lead vocal track, to which I certainly said yes. | 0:18:44 | 0:18:49 | |
She did it in one take, and that was the take that we used on the record. | 0:18:49 | 0:18:54 | |
So this is a verse which I haven't ever sung, | 0:18:56 | 0:19:00 | |
and I'm going to try to sing it for the first time. | 0:19:00 | 0:19:02 | |
I wrote it on a pad a while ago but it never made it into the song, | 0:19:02 | 0:19:05 | |
so... | 0:19:05 | 0:19:07 | |
# A friend of yours | 0:19:07 | 0:19:09 | |
# Revealed to me | 0:19:09 | 0:19:11 | |
# That you loved me all the time | 0:19:11 | 0:19:15 | |
# Kept it secret from your wives | 0:19:17 | 0:19:20 | |
# You believed it was no crime | 0:19:20 | 0:19:24 | |
# You called me once... | 0:19:26 | 0:19:30 | |
# You called me once to ask me things | 0:19:30 | 0:19:34 | |
# I couldn't quite divine | 0:19:34 | 0:19:39 | |
# Maybe that's why I have tried to dismiss you | 0:19:39 | 0:19:43 | |
# Tried to dismiss you and | 0:19:43 | 0:19:46 | |
# You're so vain. # | 0:19:46 | 0:19:49 | |
# Well I hear you went to Saratoga | 0:19:51 | 0:19:56 | |
# And your horse naturally won. # | 0:19:56 | 0:19:59 | |
When I got back to New York and I heard You're So Vain | 0:19:59 | 0:20:02 | |
in a cab the first day that I was back, | 0:20:02 | 0:20:05 | |
and it sounded so bloody good over the radio, and I thought, | 0:20:05 | 0:20:09 | |
"No matter what the other songs sound like, | 0:20:09 | 0:20:11 | |
"I don't mind cos this one turned out so well." | 0:20:11 | 0:20:14 | |
# And when you're not you're with... # | 0:20:14 | 0:20:18 | |
I can remember when I was in college, | 0:20:18 | 0:20:21 | |
that everybody was singing that song. | 0:20:21 | 0:20:23 | |
# You're so vain. # | 0:20:23 | 0:20:27 | |
So much of music until that point | 0:20:27 | 0:20:30 | |
from a woman's point of view was about, this man left me, | 0:20:30 | 0:20:34 | |
I'm so unhappy, I'm so miserable, I'm a victim. | 0:20:34 | 0:20:38 | |
It's a defining song of that moment | 0:20:40 | 0:20:46 | |
in pop music, the early '70s. | 0:20:46 | 0:20:49 | |
For Carly, too, | 0:20:49 | 0:20:51 | |
she said that it seemed like her whole musical life had led to | 0:20:51 | 0:20:55 | |
that vocal performance, | 0:20:55 | 0:20:57 | |
including her early love of the great folk singer Odetta. | 0:20:57 | 0:21:01 | |
I always loved Odetta. I wanted to be like her. | 0:21:03 | 0:21:06 | |
# The songs that show no pain | 0:21:06 | 0:21:10 | |
# I can't hear the echo of my footsteps. # | 0:21:12 | 0:21:20 | |
I just knew that she had this wonderful, low, sexy, | 0:21:20 | 0:21:24 | |
raunchy, husky range. | 0:21:24 | 0:21:27 | |
And I used to go around and sing, # I don't want no bald-headed woman | 0:21:35 | 0:21:41 | |
# Oh she too mean, Lord | 0:21:41 | 0:21:43 | |
# Lordy, she too mean. # | 0:21:43 | 0:21:46 | |
A lot of white woman singers talk about how they would study Odetta's voice. | 0:21:46 | 0:21:54 | |
It's not just an attempt to mimic her sound as performers, but also | 0:21:54 | 0:22:00 | |
the soul of her sound. | 0:22:00 | 0:22:03 | |
She could resonate with black freedom fighters such as | 0:22:03 | 0:22:08 | |
Martin Luther King, who named her the queen of American folk music. | 0:22:08 | 0:22:13 | |
You're So Vain has the strong tones of female empowerment. | 0:22:13 | 0:22:20 | |
And it's those tones that I think come closer to approximating | 0:22:20 | 0:22:25 | |
the spirit of Odetta's music. | 0:22:25 | 0:22:28 | |
And I felt my womanhood in a way that I hadn't felt it before, | 0:22:28 | 0:22:33 | |
sort of as if I was, you know, | 0:22:33 | 0:22:36 | |
I was kind of coming out into...into a time that I was respected. | 0:22:36 | 0:22:41 | |
I wasn't just being told what to do. | 0:22:41 | 0:22:43 | |
Carly Simon becomes a voice that is inspiring young women activists. | 0:22:43 | 0:22:50 | |
I put on my boots and became part of the feminist movement. | 0:22:50 | 0:22:53 | |
This was the really early '70s... when, first of all, | 0:22:56 | 0:23:01 | |
the female artists were not at all treated like the male artists. | 0:23:01 | 0:23:05 | |
Carly was a trendsetter. | 0:23:05 | 0:23:08 | |
Her songs, everything she did brought more attention to women in | 0:23:08 | 0:23:12 | |
the right way. | 0:23:12 | 0:23:13 | |
I think it is. It is a classic album. | 0:23:16 | 0:23:20 | |
And just the blend of moods, the mix, it's an eclectic record. | 0:23:20 | 0:23:26 | |
# At night in bed I heard God whisper lullabies | 0:23:30 | 0:23:36 | |
# While Daddy next door whistled whisky tunes... # | 0:23:37 | 0:23:44 | |
This represented a shift for me in the mixing of the album, | 0:23:44 | 0:23:48 | |
when this one came up. Because I wasn't expecting anything like this, | 0:23:48 | 0:23:52 | |
and it's such an explosive song. It's amazing. | 0:23:52 | 0:23:57 | |
-Here we are. -# Embrace me | 0:23:57 | 0:24:00 | |
# Child, you're a child of mine | 0:24:00 | 0:24:05 | |
# And I'm leaving everything I am to you... # | 0:24:05 | 0:24:11 | |
There was a period of time for about two months that I talked | 0:24:11 | 0:24:15 | |
myself into a writer's block. | 0:24:15 | 0:24:17 | |
And I said to my friend Jimmy Ryan, I said, "Help me sign a document | 0:24:17 | 0:24:24 | |
"that promises you that I will turn out a song by the end of this week. | 0:24:24 | 0:24:28 | |
"No matter what it is, no matter if it makes sense." | 0:24:29 | 0:24:32 | |
And so I signed the document, he wrote it out, I signed it. | 0:24:32 | 0:24:35 | |
I leaned on him. For emotional support, for musical support. | 0:24:38 | 0:24:43 | |
I would do my absolute best to, you know, | 0:24:44 | 0:24:46 | |
to be her rock and say, "It's going to be OK, I'm going to be | 0:24:46 | 0:24:48 | |
"standing right there with you, don't worry about a thing. | 0:24:48 | 0:24:51 | |
"Everybody here loves you." And it was that kind of thing. | 0:24:51 | 0:24:54 | |
We were just really, really good friends. | 0:24:54 | 0:24:56 | |
So, I played my 12-string guitar and just played the harmonics high. | 0:24:56 | 0:25:00 | |
And I came out with the first words I thought of, | 0:25:00 | 0:25:02 | |
which are, "At night in bed I heard God whisper lullabies." | 0:25:02 | 0:25:07 | |
# At night in bed I heard God whisper lullabies... # | 0:25:07 | 0:25:12 | |
And, "Daddy next door whispered whisky tunes." | 0:25:14 | 0:25:17 | |
And then it just kind of started from there. | 0:25:17 | 0:25:20 | |
The melody followed really easily. | 0:25:20 | 0:25:23 | |
"And sometimes when I wanted, they would harmonise, | 0:25:23 | 0:25:25 | |
"there was nothing that those two couldn't do." | 0:25:25 | 0:25:28 | |
And then the chorus, "Embrace me, you child, you're a child of mine. | 0:25:28 | 0:25:32 | |
"And I'm leaving everything I am to you. | 0:25:32 | 0:25:35 | |
"Go chase the wild and night-time streets, sang Daddy. | 0:25:35 | 0:25:39 | |
"And God said, 'Pray the devil doesn't get to you.' " | 0:25:39 | 0:25:43 | |
# The devil doesn't get to you... # | 0:25:43 | 0:25:46 | |
And the span of that song, the explosion of it, | 0:25:46 | 0:25:49 | |
the, "Embrace me, you child!" | 0:25:49 | 0:25:52 | |
And it was exciting to do. | 0:25:52 | 0:25:54 | |
# And I'm leaving everything I am to you... # | 0:25:56 | 0:26:02 | |
The whole kind of phrasing, | 0:26:02 | 0:26:04 | |
the changes are not something you'd every hear on | 0:26:04 | 0:26:10 | |
a record by Carole King | 0:26:10 | 0:26:13 | |
or Joni or Judy Collins or Judee Sill or anybody else. | 0:26:13 | 0:26:19 | |
# For the magic that they made | 0:26:19 | 0:26:23 | |
# When they played wasn't... # | 0:26:23 | 0:26:27 | |
Absolutely gorgeous string arrangement. | 0:26:27 | 0:26:31 | |
# Embrace me, you child | 0:26:32 | 0:26:35 | |
# You're a child of mine | 0:26:35 | 0:26:39 | |
# And I'm leaving everything I am to you... # | 0:26:39 | 0:26:45 | |
She said, "Here it is, do your thing." | 0:26:46 | 0:26:48 | |
I think that's the kind of attitude she had. | 0:26:48 | 0:26:51 | |
I haven't heard this since the day it was released. Let's go. | 0:26:51 | 0:26:56 | |
MUSIC STARTS | 0:26:56 | 0:26:58 | |
MUSIC STOPS | 0:27:07 | 0:27:08 | |
The string section is probably 21 or 22, with two double basses. | 0:27:08 | 0:27:14 | |
MUSIC RESUMES | 0:27:14 | 0:27:16 | |
I think Carly doubled the top line of the violins with the vocal. | 0:27:23 | 0:27:28 | |
AFTER I'd done the strings. I think. | 0:27:28 | 0:27:32 | |
Harmonics... | 0:27:32 | 0:27:34 | |
Wonderful. Wow. | 0:27:43 | 0:27:45 | |
-MUSIC STOPS -Wow. It's very impressive. | 0:27:52 | 0:27:55 | |
After all this time, it sounds great. | 0:27:55 | 0:27:57 | |
One of the things I noticed is the incredible jump in the chorus | 0:27:59 | 0:28:03 | |
that she has vocally. Quite something. | 0:28:03 | 0:28:07 | |
# Lost between their heaven and their hell | 0:28:07 | 0:28:12 | |
# Embrace me, you child | 0:28:12 | 0:28:15 | |
# You're a child of mine | 0:28:15 | 0:28:19 | |
# And I'm leaving everything I am to you... # | 0:28:19 | 0:28:25 | |
SHE HUMS | 0:28:25 | 0:28:27 | |
Is that...? Dum-ba! Is that an octave? | 0:28:31 | 0:28:34 | |
# Embrace me, you CHILD. # | 0:28:34 | 0:28:37 | |
So I can do a three and a half octave range, | 0:28:37 | 0:28:40 | |
as long as I don't have to go through that BREAK period. | 0:28:40 | 0:28:44 | |
Because between G, A, B, C, there's a real break. | 0:28:44 | 0:28:48 | |
# Embrace me, you CHILD! Child! | 0:28:48 | 0:28:51 | |
-HIGH-PITCHED: -# You're a child of mine. # | 0:28:51 | 0:28:53 | |
SHE LAUGHS | 0:28:53 | 0:28:55 | |
Sorry, terribly sorry. | 0:28:55 | 0:28:57 | |
# Go chase the wild | 0:28:57 | 0:29:00 | |
# And night-time streets, sang Daddy | 0:29:00 | 0:29:04 | |
# And God sang... # | 0:29:04 | 0:29:06 | |
Yeah, so, it must have been an octave plus a sixth. | 0:29:08 | 0:29:11 | |
And I did it just because I could. | 0:29:13 | 0:29:16 | |
There was no Auto-Tune then, there was nothing digital, it was all, | 0:29:16 | 0:29:19 | |
you had to be really honest and do it, be good, you had to be good. | 0:29:19 | 0:29:23 | |
# Embrace me, you child... # | 0:29:23 | 0:29:28 | |
I'm not sure I ever really understood what it meant, | 0:29:28 | 0:29:31 | |
because it came from my subconscious, but it makes | 0:29:31 | 0:29:36 | |
enough sense for me to understand it consciously too. | 0:29:36 | 0:29:39 | |
# Go chase the wild... # | 0:29:39 | 0:29:44 | |
A scream. | 0:29:44 | 0:29:47 | |
A scream of anguish, a scream of | 0:29:47 | 0:29:51 | |
pleading, of pleading with my father to be with me. | 0:29:51 | 0:29:56 | |
I don't want to feel sorry for myself, | 0:29:56 | 0:29:57 | |
but I didn't have my father's love. | 0:29:57 | 0:30:00 | |
And I got to do without it, but I didn't know how much I needed it. | 0:30:00 | 0:30:06 | |
And so sometimes it would come out in songs. | 0:30:06 | 0:30:08 | |
# Then one night Daddy died | 0:30:08 | 0:30:11 | |
# And went to heaven... # | 0:30:11 | 0:30:14 | |
I realised that the attention that I needed from men was really | 0:30:14 | 0:30:18 | |
about the attention I needed from my father. | 0:30:18 | 0:30:21 | |
# I pretended not to know I'd been abandoned... # | 0:30:22 | 0:30:28 | |
I've always had a paradoxical nature. | 0:30:29 | 0:30:33 | |
I am at once very shy | 0:30:33 | 0:30:36 | |
and also, at the same time, very outgoing. And very forthright. | 0:30:36 | 0:30:41 | |
And I'm so attracted to talent, the looks don't even matter. | 0:30:41 | 0:30:45 | |
-The talent and the smell are what matters. -SHE LAUGHS | 0:30:45 | 0:30:49 | |
And the humour. | 0:30:49 | 0:30:51 | |
And so as long as a man has talent, smell and humour, I'm a goner. | 0:30:51 | 0:30:56 | |
Carly had... | 0:30:56 | 0:30:58 | |
..had affairs with the producers of her first two albums. | 0:31:00 | 0:31:04 | |
Well, everybody wanted to have an affair with Carly. | 0:31:04 | 0:31:07 | |
So, Arlyne made, | 0:31:07 | 0:31:09 | |
made Carly sign a blood oath that we would never have an affair. | 0:31:09 | 0:31:15 | |
And I'm not one to mix business and pleasure, | 0:31:16 | 0:31:22 | |
but I feel that if she were to have an affair with any of her producers, | 0:31:22 | 0:31:26 | |
I would have been the best candidate. | 0:31:26 | 0:31:28 | |
When I was in an England making the No Secrets record, | 0:31:32 | 0:31:35 | |
the most pressure I felt was in leaving James. | 0:31:35 | 0:31:38 | |
I just wanted to get done with it and get back to James. | 0:31:38 | 0:31:41 | |
I remember we were travelling back to the Vineyard from | 0:31:46 | 0:31:49 | |
New York, or New York from the Vineyard, and he was asleep. | 0:31:49 | 0:31:54 | |
And I just looked at him and I just looked at his face, | 0:31:54 | 0:31:57 | |
the way the sun was hitting it, and I thought, | 0:31:57 | 0:32:00 | |
"God, there's nothing he could do to turn me away." | 0:32:00 | 0:32:03 | |
And then it just went on from there. | 0:32:03 | 0:32:06 | |
I finished writing the words by the time we landed. | 0:32:06 | 0:32:09 | |
And then I wrote the melody as soon as I sat down at the piano. | 0:32:09 | 0:32:12 | |
# There's nothing you can do to turn me away | 0:32:19 | 0:32:23 | |
# Nothing anyone can say | 0:32:23 | 0:32:28 | |
# You're with me now and as long as you stay | 0:32:28 | 0:32:33 | |
-# Loving you's the right thing to do -Loving you's the right thing | 0:32:33 | 0:32:38 | |
# Loving you's the right thing... # | 0:32:38 | 0:32:41 | |
Carly's telling me, here's how relationships are going to happen. | 0:32:41 | 0:32:46 | |
Maybe the guy will cheat, | 0:32:46 | 0:32:48 | |
maybe I will feel some ambivalence | 0:32:48 | 0:32:53 | |
about what I'm about to do. | 0:32:53 | 0:32:56 | |
# I know you've had some bad luck with ladies before | 0:32:56 | 0:33:00 | |
# You drove them, or they drove you crazy | 0:33:00 | 0:33:04 | |
# But more important is I know you're the one and I'm sure | 0:33:04 | 0:33:10 | |
-# Loving you's the right thing to do -Loving you's the right thing | 0:33:10 | 0:33:15 | |
# Loving you's the right thing... # | 0:33:15 | 0:33:18 | |
Yeah, The Right Thing To Do is a beautiful statement of love | 0:33:18 | 0:33:22 | |
for this guy who she already knew was a troubled soul. | 0:33:22 | 0:33:27 | |
And, you know, "I've seen you shoot up. | 0:33:27 | 0:33:32 | |
"I've seen you shake with withdrawal, but I'm going to, | 0:33:32 | 0:33:37 | |
"I'm going to find the sensitive soul within you, | 0:33:37 | 0:33:42 | |
"I'm going to bring that out and it's going to be OK, you and me." | 0:33:42 | 0:33:46 | |
# And it used to be for a while | 0:33:47 | 0:33:52 | |
# That the river flowed right to my door | 0:33:52 | 0:33:57 | |
# Making me just a little too free | 0:33:57 | 0:34:02 | |
# But now the river doesn't seem to stop here any more... # | 0:34:02 | 0:34:09 | |
It's just a bit of a metaphor, isn't it? | 0:34:13 | 0:34:16 | |
It used to be for a while that the river, the river of life, | 0:34:16 | 0:34:19 | |
the river of men, of opportunity, of... | 0:34:19 | 0:34:23 | |
of young girlship flowed | 0:34:23 | 0:34:25 | |
through my door, making me just a little too free. | 0:34:25 | 0:34:29 | |
But now the river doesn't seem to stop here any more because | 0:34:29 | 0:34:32 | |
there's one place that I wanted to get to, and I got to. | 0:34:32 | 0:34:37 | |
# Hold me in your hands like a bunch of flowers... # | 0:34:37 | 0:34:42 | |
Carly played piano on this one and a good bit of the vocal was | 0:34:44 | 0:34:48 | |
her live vocal with the piano. | 0:34:48 | 0:34:50 | |
-# Loving you's the right thing to do -Loving you's the right thing | 0:34:53 | 0:34:58 | |
# Loving you's the right thing | 0:34:58 | 0:35:01 | |
# Loving you's the right thing to do... # | 0:35:01 | 0:35:04 | |
Such a great record, | 0:35:06 | 0:35:08 | |
and I remember thinking this has to be the second single. | 0:35:08 | 0:35:13 | |
And I believe it was. | 0:35:13 | 0:35:15 | |
Loving You's The Right Thing To Do was another song that was one | 0:35:15 | 0:35:19 | |
of the many songs that started out much slower. | 0:35:19 | 0:35:25 | |
And Richard said, "Speed up the tempo a little bit." | 0:35:25 | 0:35:27 | |
So it started out... | 0:35:27 | 0:35:29 | |
-SLOW TEMPO: -# There's nothing you can do to turn me away... # | 0:35:29 | 0:35:34 | |
It started about like that. And by the end it was... | 0:35:34 | 0:35:37 | |
-FASTER TEMPO: -# There's nothing you can do to turn me away... # | 0:35:37 | 0:35:40 | |
So it sped up that much. And the key probably got higher too. | 0:35:40 | 0:35:44 | |
I'm very happy with that track. | 0:35:45 | 0:35:47 | |
# Loving you's the right thing | 0:35:47 | 0:35:49 | |
# Loving you's the... # | 0:35:49 | 0:35:52 | |
This is an interesting song because it's | 0:35:55 | 0:35:59 | |
a basic track of Carly's piano, acoustic guitar, bass and drums. | 0:35:59 | 0:36:04 | |
Not any big, dramatic stuff like in You're So Vain. | 0:36:07 | 0:36:12 | |
Just a supportive role, keeping the rhythm. | 0:36:12 | 0:36:17 | |
Basically, all the listener is really hearing is this... | 0:36:17 | 0:36:21 | |
Listener's just hearing... | 0:36:23 | 0:36:25 | |
HE PLAYS BEAT | 0:36:25 | 0:36:27 | |
Because all the other instruments are going on. | 0:36:27 | 0:36:30 | |
-There is that. -HE PLAYS BEAT | 0:36:30 | 0:36:32 | |
But it's down in the mix. | 0:36:32 | 0:36:35 | |
Some of the depth comes from the brass and strings. | 0:36:35 | 0:36:39 | |
And that great conga part. | 0:36:39 | 0:36:41 | |
MUSIC STARTS | 0:36:41 | 0:36:43 | |
And yet it sounds... There's a lot more going on than meets the eye. | 0:36:51 | 0:36:56 | |
A lot more going on in the ear than meets the eye. | 0:36:56 | 0:36:59 | |
Carly does melodic shifts in a really unusual way, I think. | 0:36:59 | 0:37:04 | |
In a really interesting way. | 0:37:04 | 0:37:05 | |
# Loving you's the right thing | 0:37:05 | 0:37:08 | |
# Loving you's the right thing to do | 0:37:08 | 0:37:13 | |
# Is the right thing to do... # | 0:37:13 | 0:37:17 | |
You're sort of vaulted into something completely different. | 0:37:18 | 0:37:22 | |
I think she's very underrated as a writer. | 0:37:22 | 0:37:25 | |
# Nothing you can ever do will turn me away from you | 0:37:25 | 0:37:28 | |
# I love you now and I love you now... # | 0:37:28 | 0:37:34 | |
I start with words... | 0:37:34 | 0:37:37 | |
that are usually emotionally brought on, | 0:37:37 | 0:37:39 | |
they're brought on by having to figure out something, | 0:37:39 | 0:37:42 | |
by having to move through an emotion and get outside of myself. | 0:37:42 | 0:37:46 | |
So I put it on paper and I look at it from the third person. | 0:37:46 | 0:37:50 | |
And then I add the melody. "If I find you somewhere, I'll know it's you." | 0:37:50 | 0:37:56 | |
Just to pick a line. And then I go, I think about the rhythm. | 0:37:56 | 0:38:00 | |
# If I find you somewhere, I'll know it's you. # | 0:38:00 | 0:38:05 | |
Or it could be... | 0:38:05 | 0:38:07 | |
-SLOWER TEMPO: -# If I find you somewhere, I'll know it's you. # | 0:38:07 | 0:38:12 | |
So it can go in lots of different directions. | 0:38:12 | 0:38:15 | |
You can make up a line, for instance, and tell me what it is and I can phone | 0:38:15 | 0:38:18 | |
you my instant melody to it. | 0:38:18 | 0:38:21 | |
And that's just something I was born with, that's a little asset, | 0:38:21 | 0:38:27 | |
I suppose you could call it. | 0:38:27 | 0:38:29 | |
Are you able to express yourself more freely on record than...? | 0:38:32 | 0:38:35 | |
-I mean, do you feel pressure, from live performances? -Yes, I do. | 0:38:35 | 0:38:39 | |
In fact, the more well-known I've become, | 0:38:39 | 0:38:42 | |
I find it more and more difficult to do live concerts. | 0:38:42 | 0:38:45 | |
Even though it's a very... It's a great experience in one way, | 0:38:45 | 0:38:49 | |
but I think anything that's that exciting is also partly terrifying. | 0:38:49 | 0:38:53 | |
At least it is to me, I don't know whether it is to everybody. | 0:38:53 | 0:38:56 | |
'I was having a lot of anxiety attacks.' | 0:38:56 | 0:38:58 | |
We'd go into the studio and even a cup of tea could put | 0:38:58 | 0:39:02 | |
me into an anxiety attack. | 0:39:02 | 0:39:03 | |
And my heart would start beating really fast. | 0:39:03 | 0:39:06 | |
Well, Richard is enough to make anybody a little bit blarmy. | 0:39:06 | 0:39:10 | |
But he's also so much fun that he intensified my energy, | 0:39:10 | 0:39:15 | |
and whatever... Wherever my energy was that day was going to be | 0:39:15 | 0:39:19 | |
intensified, and if it was in a very moody kind of, | 0:39:19 | 0:39:23 | |
His Friends Are More Than Fond Of Robin-esque things, | 0:39:23 | 0:39:27 | |
it was very mellow. | 0:39:27 | 0:39:29 | |
His Friends Are More Than Fond Of Robin, | 0:39:30 | 0:39:33 | |
which is not an easy title to remember. | 0:39:33 | 0:39:36 | |
It feels like something that might be out of a Sondheim piece. | 0:39:36 | 0:39:41 | |
# His friends are more than fond of Robin | 0:39:42 | 0:39:46 | |
# He doesn't need to compliment them | 0:39:46 | 0:39:50 | |
# And always as he leaves | 0:39:50 | 0:39:53 | |
# He leaves them feeling proud just to know him... # | 0:39:53 | 0:39:59 | |
Richard was notoriously late for sessions. | 0:39:59 | 0:40:04 | |
He was sometimes four and five hours late. | 0:40:04 | 0:40:06 | |
We would tell Richard the session would be 10 o'clock, | 0:40:06 | 0:40:09 | |
and we'd all show up at 11 or a little bit after. | 0:40:09 | 0:40:12 | |
And inevitably, we'd still beat him there. | 0:40:12 | 0:40:14 | |
But we wouldn't waste an hour of studio time. | 0:40:14 | 0:40:17 | |
I'm not sure we ever let him in on the joke. | 0:40:17 | 0:40:19 | |
And so I decided this time just to go downstairs and just began | 0:40:19 | 0:40:24 | |
to write it, and it just came to me really, really fast. | 0:40:24 | 0:40:27 | |
And I said, "Richard, if you're going to be late, | 0:40:27 | 0:40:29 | |
"I'm going to be doing what I want to do." | 0:40:29 | 0:40:32 | |
He loved the song, and it was very, it was a very simple song. | 0:40:32 | 0:40:34 | |
# When Robin goes on holiday | 0:40:34 | 0:40:38 | |
# There's no-one living in our lane | 0:40:38 | 0:40:43 | |
# Oh, yes, folks still live in our lane | 0:40:43 | 0:40:47 | |
# But they're not like Robin... # | 0:40:47 | 0:40:51 | |
Such a lovely little track that really | 0:40:54 | 0:40:57 | |
has nothing but a guitar, acoustic guitar and piano, | 0:40:57 | 0:41:02 | |
with the voices. And then this little choir of synth sounds. | 0:41:02 | 0:41:06 | |
MUSIC STARTS | 0:41:06 | 0:41:08 | |
This is in the very early days of synthesisers, when they were | 0:41:12 | 0:41:15 | |
monophonic, meaning you could only play one note at a time. | 0:41:15 | 0:41:18 | |
And they created these wonderful little melodies. | 0:41:18 | 0:41:22 | |
HE PLAYS NOTE | 0:41:22 | 0:41:25 | |
The thing with Carly was always, "Never get in the way of what | 0:41:33 | 0:41:37 | |
"she's doing, because what she's doing really is perfect, | 0:41:37 | 0:41:40 | |
"and we're embellishing it rather than changing it." | 0:41:40 | 0:41:44 | |
She was just playing those softer arpeggios on the piano, and there | 0:41:44 | 0:41:47 | |
was no space. Every space was completely filled. | 0:41:47 | 0:41:50 | |
So, instead, what I did, | 0:41:50 | 0:41:52 | |
was I added an additional voice to what she was already doing. | 0:41:52 | 0:41:56 | |
Just the pingingness of a guitar, which a piano doesn't have that sound. | 0:41:56 | 0:42:01 | |
And a little bit of... A little bit of vibrato to it. | 0:42:01 | 0:42:05 | |
I played almost exactly what she played, which is... | 0:42:05 | 0:42:08 | |
MUSIC PLAYS | 0:42:22 | 0:42:24 | |
On this song, Jimmy complements her quite nicely, | 0:42:25 | 0:42:29 | |
not just playing around her, but actually playing with her. | 0:42:29 | 0:42:32 | |
MUSIC PLAYS | 0:42:32 | 0:42:35 | |
Well, there's a very personal part of that song, which is the chorus. | 0:42:39 | 0:42:42 | |
"Robin, I've never told you, but I'll be here until we're old. | 0:42:42 | 0:42:46 | |
"Please learn to call me in your dreams. | 0:42:46 | 0:42:49 | |
"The way I'm looking at you is just as it seems." | 0:42:49 | 0:42:52 | |
Which has a forever quality to it. | 0:42:52 | 0:42:56 | |
I think it's a homage to Jake Brackman. In her autobiography, | 0:42:56 | 0:42:59 | |
she writes about the impact that Brackman had on her when she | 0:42:59 | 0:43:04 | |
first met him, when they were working at the summer camp together. | 0:43:04 | 0:43:07 | |
Carly was the guitar teacher, led the sing-alongs around the campfire. | 0:43:09 | 0:43:16 | |
She heard a lot about me before I arrived and was kind of set | 0:43:16 | 0:43:20 | |
up by other people that we were going to become friends. | 0:43:20 | 0:43:25 | |
He was writing for The New Yorker. He was a bigwig. | 0:43:25 | 0:43:28 | |
I mean, he was such an important guy at the age of 21. We became friends. | 0:43:28 | 0:43:34 | |
And there's a real understanding between the two of us. | 0:43:34 | 0:43:38 | |
And it will go on and on and on. | 0:43:38 | 0:43:40 | |
It won't be thrown off its course by having a romantic relationship. | 0:43:40 | 0:43:45 | |
This one will just stay pristine. | 0:43:45 | 0:43:47 | |
# Robin, I've never told you | 0:43:47 | 0:43:52 | |
# But I'll be yours until we're old | 0:43:52 | 0:43:56 | |
# Please learn to call me | 0:43:56 | 0:44:00 | |
# In your dreams... # | 0:44:00 | 0:44:03 | |
You remove all the complexities and all the ambivalences | 0:44:03 | 0:44:07 | |
and you make it just more heartfelt that way. | 0:44:07 | 0:44:13 | |
It's sweet, what can I say, it's sweet. | 0:44:13 | 0:44:15 | |
By the time we got around to making the No Secrets album, | 0:44:17 | 0:44:21 | |
he was already very much there as a strong collaborator. | 0:44:21 | 0:44:26 | |
When I didn't write all by myself, I wrote with Jake. | 0:44:26 | 0:44:29 | |
So there was another melody that I had for a song called | 0:44:29 | 0:44:34 | |
It Was So Easy. And I gave him just a little guitar demo... Dun, dun, dun... | 0:44:34 | 0:44:39 | |
A little kind of a simple folk thing, like... | 0:44:39 | 0:44:44 | |
It was... # Duh, ba-da, duh, duh, duh, duh, duh | 0:44:44 | 0:44:47 | |
# Duh, duh, duh, duh, duh, duh, duh, duh | 0:44:47 | 0:44:51 | |
# Duh, duh, duh, duh, ba-da, duh, duh...# | 0:44:51 | 0:44:54 | |
She'd just given me "La-las" on a cassette machine. | 0:44:54 | 0:44:59 | |
I just gave him just the little bit of the guitar part. | 0:44:59 | 0:45:02 | |
And he came up with the lyrics. And they're such good lyrics. | 0:45:02 | 0:45:05 | |
# I remember a time romping through the woods | 0:45:09 | 0:45:16 | |
# Sun against our skin instead of clothes | 0:45:16 | 0:45:22 | |
# When we felt hungry, we would eat | 0:45:23 | 0:45:26 | |
# When we felt glad, we'd dance | 0:45:26 | 0:45:30 | |
# And whenever we felt drowsy, we would doze... # | 0:45:30 | 0:45:35 | |
It's a song you could almost imagine being sung around a, you know, | 0:45:35 | 0:45:40 | |
a campfire on the beach, on the Vineyard. | 0:45:40 | 0:45:43 | |
# Easy then... # | 0:45:43 | 0:45:46 | |
Ah. | 0:45:46 | 0:45:47 | |
# Never making any plans, it was so easy then | 0:45:47 | 0:45:53 | |
# Holding hands | 0:45:53 | 0:45:55 | |
# And there was a time when our fears could be named | 0:45:56 | 0:46:02 | |
# A courage meant not refusing dares... # | 0:46:03 | 0:46:08 | |
As opposed to what we experience when we grow up, | 0:46:08 | 0:46:13 | |
that's more like free-floating anxiety. | 0:46:13 | 0:46:17 | |
# I remember when we took such cares to step never on the cracks, | 0:46:17 | 0:46:21 | |
# No, only in the squares | 0:46:21 | 0:46:24 | |
# Or else we'd be abducted by the bears... # | 0:46:24 | 0:46:29 | |
Carly grew up with Winnie the Pooh. | 0:46:29 | 0:46:32 | |
It was so easy, it's kind of like a Christopher Robin thing. | 0:46:32 | 0:46:36 | |
It's not sort of "earth mama", sort of, you know, | 0:46:38 | 0:46:41 | |
pounding, Laurel Canyon piano rock. | 0:46:41 | 0:46:45 | |
You feel very much that it comes from New York, | 0:46:45 | 0:46:49 | |
it comes from the East Coast, it comes from Martha's Vineyard. | 0:46:49 | 0:46:53 | |
# It was so easy then | 0:46:53 | 0:46:57 | |
# Never making any plans | 0:46:57 | 0:47:00 | |
# It was so easy then... # | 0:47:00 | 0:47:04 | |
I heard the song for the first time and immediately it reminded me | 0:47:04 | 0:47:08 | |
of Teach Your Children Well from Crosby, Stills & Nash. | 0:47:08 | 0:47:11 | |
And there was a pedal steel solo on that song that I absolutely loved. | 0:47:11 | 0:47:16 | |
And I thought it should really be that kind of solo, but I don't think | 0:47:16 | 0:47:20 | |
Carly and Richard were in agreement, or they hadn't thought about it. | 0:47:20 | 0:47:24 | |
So what I decided to do was take a little initiative and do what | 0:47:24 | 0:47:28 | |
I thought would be a solo every single take. | 0:47:28 | 0:47:33 | |
On the live session, rather than do it as an overdub. | 0:47:33 | 0:47:37 | |
So I just stopped playing whatever chords I was doing, | 0:48:07 | 0:48:09 | |
just jumped into the solo and it ended up on the record. | 0:48:09 | 0:48:13 | |
Making the No Secrets record, | 0:48:16 | 0:48:18 | |
we had no idea it was going to be the name of the album. | 0:48:18 | 0:48:21 | |
Until we were in the art department, | 0:48:21 | 0:48:24 | |
because we were going to call it all kinds of other things. Like... | 0:48:24 | 0:48:28 | |
..The Ballad Of A Vain Man. We didn't know what to call it. | 0:48:29 | 0:48:33 | |
So, No Secrets came up, | 0:48:33 | 0:48:35 | |
it was so obvious once we had the album artwork. | 0:48:35 | 0:48:40 | |
It's this powerful woman, you know, kind of walking out of the | 0:48:40 | 0:48:45 | |
Portobello Hotel, going about her business. | 0:48:45 | 0:48:48 | |
We shot and we shot and we shot. | 0:48:52 | 0:48:54 | |
And then I had to get to the studio, and I said, | 0:48:54 | 0:48:57 | |
"Just let me run in and put on my clothes." | 0:48:57 | 0:49:00 | |
So I went in and I put on my red jeans and my blue top and my | 0:49:00 | 0:49:04 | |
red hat that matched the jeans and my boots. | 0:49:04 | 0:49:07 | |
And I went outside and I was just about to get into the cab door | 0:49:07 | 0:49:13 | |
and I put out my finger like that, and he shot, and that was the cover. | 0:49:13 | 0:49:16 | |
My photograph captures a casual... | 0:49:20 | 0:49:25 | |
dynamic posture of an artist caught in their natural setting. | 0:49:25 | 0:49:32 | |
I certainly didn't tell her to put her hand on her hip and hold | 0:49:32 | 0:49:34 | |
her hand that way. | 0:49:34 | 0:49:35 | |
I loved it, it was the most, you know, | 0:49:39 | 0:49:42 | |
unposed for picture you could have asked for. | 0:49:42 | 0:49:45 | |
And it seemed just exactly like what my summer was like in London. | 0:49:45 | 0:49:50 | |
Just as natural and unpretentious as can be. | 0:49:51 | 0:49:55 | |
And then there was questions about whether we should airbrush | 0:49:55 | 0:49:58 | |
the nipples, because I was braless. | 0:49:58 | 0:50:00 | |
And the nipples were a focal point of the picture. | 0:50:00 | 0:50:05 | |
There was an argument about whether those should go. | 0:50:05 | 0:50:08 | |
I had not noticed that until the first time someone mentioned it. | 0:50:09 | 0:50:13 | |
I grew up in Hollywood, went to love-ins, the beach. | 0:50:13 | 0:50:17 | |
I just never noticed it. | 0:50:19 | 0:50:20 | |
I was used to them. | 0:50:20 | 0:50:22 | |
I was used to my nipples. | 0:50:22 | 0:50:25 | |
So therefore to see them gleaming there through my | 0:50:25 | 0:50:29 | |
blue shirt looked right. | 0:50:29 | 0:50:31 | |
Number 19. | 0:50:35 | 0:50:37 | |
Take 19, Rich. | 0:50:37 | 0:50:39 | |
I guess there were 19 takes | 0:50:39 | 0:50:41 | |
but I'd been known to do a lot of takes. | 0:50:41 | 0:50:44 | |
# We have no secrets | 0:50:46 | 0:50:48 | |
# We tell each other everything | 0:50:50 | 0:50:53 | |
# About the lovers in our past | 0:50:55 | 0:50:58 | |
# And why they didn't last. # | 0:50:58 | 0:51:01 | |
And I think that song I wrote, | 0:51:05 | 0:51:07 | |
I wrote just before I left LA to go to London for the summer | 0:51:07 | 0:51:11 | |
and James and I were leaving each other. | 0:51:11 | 0:51:14 | |
There was some harrowing things that happened just before I left | 0:51:14 | 0:51:17 | |
and he felt as if he had to tell me. | 0:51:17 | 0:51:21 | |
He had to tell me because | 0:51:21 | 0:51:23 | |
he needed to come clean. | 0:51:23 | 0:51:25 | |
I don't know many other songs that actually talk about that. | 0:51:31 | 0:51:34 | |
They're really open with each other | 0:51:34 | 0:51:36 | |
but I sort of, in some ways, wish we didn't have to be completely | 0:51:36 | 0:51:38 | |
open. I wish I didn't know who you'd been out with. | 0:51:38 | 0:51:41 | |
I wish I didn't know about Joni. | 0:51:41 | 0:51:44 | |
And I wish you didn't know about, you know, | 0:51:44 | 0:51:47 | |
Warren and Jack and | 0:51:47 | 0:51:51 | |
Chris and all the others. | 0:51:51 | 0:51:54 | |
And so it was the pain of, it was the happiness that | 0:51:55 | 0:51:59 | |
he was answering my questions but so often they don't answer my prayers. | 0:51:59 | 0:52:04 | |
# And though we know each other | 0:52:05 | 0:52:08 | |
# Better when we explore | 0:52:08 | 0:52:12 | |
# Sometimes I wish | 0:52:12 | 0:52:15 | |
# Often I wish | 0:52:17 | 0:52:20 | |
# That I never knew... # | 0:52:20 | 0:52:23 | |
On the first mix, there's this nice sweeping guitar | 0:52:24 | 0:52:27 | |
and Carly came to call it the sea monster. | 0:52:27 | 0:52:31 | |
# The water was cold | 0:52:34 | 0:52:38 | |
# The beach was empty but for one... # | 0:52:38 | 0:52:42 | |
There was a reference to a beach in this song. | 0:52:42 | 0:52:45 | |
By coincidence, prior to doing this, we were in England but back | 0:52:45 | 0:52:49 | |
in New York I had gone on a whale watching boat ride | 0:52:49 | 0:52:53 | |
and I just thought, wouldn't it be interesting to have a whale solo. | 0:52:53 | 0:52:57 | |
And it was simply... | 0:52:57 | 0:53:00 | |
Using the volume pedal, rather than hit the note like that, | 0:53:00 | 0:53:05 | |
I go. | 0:53:05 | 0:53:07 | |
WHALE SONG | 0:53:07 | 0:53:08 | |
Just a kind of mystical sound like that and the whole | 0:53:10 | 0:53:13 | |
solo was nothing but the whale, just... | 0:53:13 | 0:53:15 | |
WHALE SONG | 0:53:15 | 0:53:17 | |
Like that. | 0:53:20 | 0:53:22 | |
You faded in with the pedal and you put tonnes and tonnes of echo | 0:53:22 | 0:53:25 | |
on it so it just kind of sounds like underwater. | 0:53:25 | 0:53:27 | |
That was the genesis of this guitar part. | 0:53:27 | 0:53:30 | |
Here's the sea monster. | 0:53:30 | 0:53:32 | |
# ..a pint of your rum | 0:53:32 | 0:53:34 | |
# And later when you told me | 0:53:34 | 0:53:38 | |
# You said she was a bore | 0:53:38 | 0:53:42 | |
# Sometimes I wish... # | 0:53:42 | 0:53:45 | |
GUITAR WHALE SONG | 0:53:45 | 0:53:47 | |
# Often times I wish... # | 0:53:47 | 0:53:49 | |
GUITAR WHALE SONG | 0:53:49 | 0:53:50 | |
# That I never, never knew | 0:53:50 | 0:53:53 | |
# Some of those secrets of yours. # | 0:53:53 | 0:53:57 | |
BASS GUITAR LICK | 0:53:59 | 0:54:01 | |
That's a typical sort of thing where you feel the song is lagging then | 0:54:05 | 0:54:10 | |
suddenly something comes in that makes it lift up again, you know. | 0:54:10 | 0:54:14 | |
That's why I picked that particular lick for that moment. | 0:54:14 | 0:54:20 | |
Sometimes it works and sometimes it doesn't. | 0:54:20 | 0:54:23 | |
PLAYS BASS GUITAR LICK | 0:54:23 | 0:54:26 | |
That was there already. | 0:54:26 | 0:54:27 | |
I think Carly had that idea, or whatever. I can't remember. | 0:54:27 | 0:54:31 | |
-But this other one. -PLAYS BASS GUITAR LICK | 0:54:31 | 0:54:34 | |
That was one of mine. | 0:54:36 | 0:54:39 | |
# Sometimes I wish | 0:54:39 | 0:54:43 | |
# Often times I wish | 0:54:43 | 0:54:46 | |
# That I never, never knew | 0:54:47 | 0:54:51 | |
# Some of those secrets of yours. # | 0:54:51 | 0:54:54 | |
It's very seductive. | 0:54:56 | 0:54:58 | |
It's very, you know, um... | 0:54:58 | 0:55:00 | |
It repays listening. | 0:55:00 | 0:55:03 | |
There's a sort of web of sound. | 0:55:03 | 0:55:06 | |
There's a sheen, there's a kind of glossiness. | 0:55:06 | 0:55:09 | |
The players are fantastic. | 0:55:09 | 0:55:11 | |
You can feel the perfectionism. | 0:55:11 | 0:55:13 | |
We should also mention the magnificent string | 0:55:13 | 0:55:18 | |
arrangement by Kirby Johnson. | 0:55:18 | 0:55:21 | |
# You always answer my questions... # | 0:55:21 | 0:55:25 | |
STRINGS INTRODUCED | 0:55:25 | 0:55:27 | |
# But they don't always answer my prayers. # | 0:55:27 | 0:55:32 | |
I prefer the arrangement that I do now | 0:55:33 | 0:55:35 | |
which is a bossa nova version. | 0:55:35 | 0:55:39 | |
# In the name of honesty | 0:55:39 | 0:55:41 | |
# In the name of what is fair | 0:55:41 | 0:55:44 | |
# You always answer my questions | 0:55:46 | 0:55:49 | |
# But they don't always answer my prayers. # | 0:55:49 | 0:55:55 | |
I like singing it more softly and more sort of sinewy now. | 0:55:57 | 0:56:02 | |
# Some of those secrets of yours... # | 0:56:04 | 0:56:08 | |
-DEEPER: -# Some of those secrets of yours. # | 0:56:08 | 0:56:14 | |
When I got the record home and listened to it, | 0:56:16 | 0:56:18 | |
I remember saying to James, "I hate this record." | 0:56:18 | 0:56:21 | |
With the exception of You're So Vain and Loving Is The Right Thing To Do | 0:56:21 | 0:56:24 | |
and His Friends Are More Than Fond Of Robin. | 0:56:24 | 0:56:26 | |
Then, when my album zoomed to Number One, | 0:56:29 | 0:56:32 | |
it was on New Year's Eve. | 0:56:32 | 0:56:34 | |
And I remember just feeling very embarrassed. | 0:56:34 | 0:56:38 | |
Very embarrassed that... | 0:56:38 | 0:56:40 | |
You know, I didn't want to be Number One | 0:56:40 | 0:56:42 | |
if James wasn't going to be Number One. | 0:56:42 | 0:56:45 | |
The records were released at the same time | 0:56:45 | 0:56:46 | |
and I felt very uncomfortable about it. | 0:56:46 | 0:56:49 | |
If they were both about to release albums at the same time, | 0:56:49 | 0:56:52 | |
she wanted to hold back. | 0:56:52 | 0:56:55 | |
She was always more concerned about James than herself. | 0:56:55 | 0:56:58 | |
He was the best writer, the best singer, the best man, everything. | 0:57:00 | 0:57:04 | |
So I didn't... I never felt happy. | 0:57:04 | 0:57:08 | |
I never felt really happy because I was always thinking, | 0:57:08 | 0:57:12 | |
"I want to hide. I want to hide from it." | 0:57:12 | 0:57:15 | |
I don't know how many women would do that now, or would be required to. | 0:57:15 | 0:57:19 | |
I suppose it took the long way around to really double back | 0:57:21 | 0:57:25 | |
on me and make me realise how proud I am of it | 0:57:25 | 0:57:28 | |
and how significantly, as a life's work. | 0:57:28 | 0:57:32 | |
As a piece of work that I have done in this lifetime, it's pretty good. | 0:57:32 | 0:57:35 | |
There's a goodness there. There's a vulnerability. | 0:57:35 | 0:57:38 | |
She has sort of got it all, really. | 0:57:38 | 0:57:40 | |
You warm to the person on this record. | 0:57:40 | 0:57:43 | |
And decades later the songs still have so much to say. | 0:57:43 | 0:57:46 | |
Recently Carly did, | 0:57:47 | 0:57:50 | |
at some big stadium with Taylor Swift. | 0:57:50 | 0:57:53 | |
I think tonight is one of the most special nights of the tour | 0:57:54 | 0:57:57 | |
because I'm sitting here with Carly Simon and we are going to | 0:57:57 | 0:58:00 | |
sing You're So Vain tonight and I'm so excited. | 0:58:00 | 0:58:03 | |
-BOTH: -# ..clouds in my coffee | 0:58:03 | 0:58:06 | |
# You're so vain | 0:58:06 | 0:58:08 | |
# You probably think this song is about you... # | 0:58:08 | 0:58:13 | |
Taylor called me. She wrote me first and asked me whether I would do it | 0:58:13 | 0:58:17 | |
with her at the Foxborough, which is near here. | 0:58:17 | 0:58:21 | |
And I said I would love to. | 0:58:22 | 0:58:24 | |
When I heard You're So Vain I just thought that is the best song | 0:58:24 | 0:58:27 | |
that has ever been written. | 0:58:27 | 0:58:29 | |
That is the most direct way anyone has ever addressed a break-up. | 0:58:29 | 0:58:33 | |
It's amazing. | 0:58:33 | 0:58:34 | |
-BOTH: -You're so vain -You're so vain | 0:58:34 | 0:58:37 | |
# I bet you think this song is about you. | 0:58:37 | 0:58:41 | |
# Don't you? Don't you? # | 0:58:41 | 0:58:43 | |
We sang the whole thing, it was great. It was great. | 0:58:43 | 0:58:46 | |
Ladies and gentlemen, give it up for one of your own, Carly Simon! | 0:58:46 | 0:58:50 | |
# You're so vain | 0:59:02 | 0:59:05 | |
# You probably think this song is about you | 0:59:05 | 0:59:10 | |
# You're so vain | 0:59:10 | 0:59:14 | |
# You probably think this song is about you... # | 0:59:14 | 0:59:17 |