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  The title song Anticipation was written by Carly while she was waiting for Cat Stevens to pick her up for a date.
Anticipation album
Legend In Your Own Time
Our First Day Together
The Girl You Think You See
Summer's Coming Around Again
Share The End
The Garden
Three Days
Julie Through The Glass
I've Got To Have You



Carly Simon performed before a live audience for "Good Vibrations from Central Park" which aired on ABC -Thursday, August 19, 1972.

Legend In Your Own Time

Filmed in 1995 for Live At Grand Central

I've Got To Have You

Filmed in 1995 for Live At Grand Central

Check out more videos from this album here ~

Lyrics & Music by: Carly Simon

We can never know about the days to come
But we think about them anyway
And I wonder if I'm really with you now
Or just chasing after some finer day

Anticipation, Anticipation
Is making me late
Is keeping me waiting

And I tell you how easy it is to be with you
And how right your arms feel around me.
But I rehearsed those words just late last night
When I was thinking about how right tonight might be

Anticipation, Anticipation
Is making me late
Is keeping me waiting

And tomorrow we might not be together
I'm no prophet and I don't know natures way
But I'll try to see into your eyes right now
And stay right here
'Cause these are the good old days

Musicians: See Credits section

© 1971 Quackenbush Music, Ltd. ASCAP

Lyrics & Music by: Carly Simon

Well I have known you
Since you were a small boy
And your mama used to say
My boy is gonna grow up and be
Some kind of leader some day

Then you'd turn on the radio
And sing with the singer in the band
And your mama would say to you
This isn't exactly what she had planned

But you're a legend in your own time
A hero in the footlights
Playin' tunes to fit your rhyme
But a legends only a lonely boy
When he goes home alone.

And although I know you
Still have the heart of that small boy
Well, you lend it out far too much
And no one woman loving you
Can ever tell if she's been really touched

Then you turn on the radio
And sing with the singer in the band
And think kind of sadly to yourself
This isn't exactly what you had planned

But you're a legend in your own time
A hero in the footlights
Playin' tunes to fit your rhyme
But a legends only a lonely boy
When he goes home alone

Musicians: See Credits section

© 1971 Quackenbush Music, Ltd. ASCAP

Lyrics & Music by Carly Simon

Our first day together
Was after we'd been close in dreams
Was after we'd shared hell and heaven
And all the places in between
And all the places in between

After we'd spent nights together
And breathed secrets without words
After we'd made promises
That could but might not have been heard
Might not have been heard

Knowing me the way you do
Then why did you just say that our first day together
Was today?

Musicians: See Credits section

© 1971 Quackenbush Music, Ltd. ASCAP

Lyrics by: Jacob Brackman
Music by: Carly Simon

Tell me who you long for
In your secret dreams
Go on and tell me who you wish I was
Instead of me

I'm not necessarily
The girl you think you see
Whoever you want is exactly who
I'm more than willing to be
I'll be carefree
A Peace Corps trainee
Your Gypsy Rose Lee
To please you

Who cares what I might be for real
Underneath my games
I'll let you chose from a thousand faces
And a thousand names

I'm not necessarily
The girl you think you see
Whoever you want is exactly who
I'm more than willing to be
I'll be insane
A mathematical brain
You Tarzan, me Jane
To please you

I'm not necessarily
The girl you think you see
Whoever you want is exactly who
I'm more than willing to be
I'll be a queen
A foul-mouthed marine
Your Mary Magdalene
To please you
To please

Musicians: See Credits section

© 1971 Quackenbush Music Ltd./Kensho Music ASCAP

Lyrics by: Carly Simon
Music by: Carly Simon, Jimmy Ryan, Paul Glanz

Here now summer's coming around again
Every year it seems to come in this way
Before you know it you've fallen in love
But be sure it's love before you sail away

You see someone wearing a sunny face
You want to know him anyway that you can
Tell him you're just in from Shanghai
And his smile you just can't pass by

Follow him away
Follow him away

Sad to say he hasn't seen you come by this way
His sunny smile just reflects sunny days
Haven't you seen his face before
Every year it seems to come this way
It seems to come this way

Musicians: See Credits section

© 1971 Quackenbush Music Ltd./Musckender Music ASCAP

Lyrics by: Jacob Brackman
Music by: Carly Simon

Here come the priests, each one wailing and bemoaning
Lordy, they got their heads bowed down
Here come the madmen, they're too excited for atoning:
"Burn the mosque," they're shouting, "Burn it down!"

Save me a place, surrounded with friendly faces
All of us have gathered here to share the end
To watch the world go up in flames

Please, Lord we're not ready
Give us a day
Give us an hour

Here come the kings, let's dispense with their apologizing
Just bring on the acrobats and clowns
Here comes the rumble, hang on for universal dying
Please ignore the baying of the hounds

Save me a place, surrounded with friendly faces
All of us have gathered here to share the end
To watch the world go up in flames

Please, Lord we're not ready
Give us some time to work things out
Please, Lord we're not ready
Give us a day
Give us an hour
Please, Lord we're not ready
Give us some time to work things out
Please, Lord we're not ready
Give us a day
Give us an hour

Musicians: See Credits section

© 1971 Quackenbush Music / Kensho Music, ASCAP

Lyrics by: Jacob Brackman
Music by: Carly Simon

Come into the garden
It's magical trees
Dapple the sun as they sway with each lazy breeze
They'll set your mind at ease

Pretend you're a child
With nothing to hide
Then we'll join hands and let the universe swing wide
We'll lay our fears aside

Hold me, here we can soon be born again
Trust me, believe we can still be born again
We've been sleeping all our lives
At last we can open our eyes

Our gates are unguarded
I've stolen the key
To where everything holy inside us is free to run free
To smell and taste and touch and see

Hold me, here we can soon be born again
Trust me, believe we can still be born again
We've been sleeping all our lives
At last we can open our eyes

Musicians: See Credits section

© 1971 Quackenbush Music Ltd./Kensho Music ASCAP

Lyrics & Music by: Carly Simon

If I have known you only three days
Then how will I remember you in ten?
But I could swear I'll love you always
And if the Gods will please be kind
Darling, I'll be with you soon
Soon again

And on the road you have some good times
But when the show is over you go home
And it hurts me so to leave you behind
And Lord I feel lonesome
Lonesome for the you I might have known

You'll be in L.A. in the morning
And I'll be in London by sundown
But when I sing
My song is filled with longing
And the memory of your last look
The way you took me by surprise
And the way you turned my head around
And the way you turned my head around

Musicians: See Credits section

© 1971 Quackenbush Music, ASCAP

Lyrics & Music by: Carly Simon

Julie through the glass
Lookin' up at me
You've just got to be
The sweetest thing I've ever seen

Julie through the glass
Just born a day ago
And who knows where you've been
And where you're gonna go

We want you to love the world
To know it well and play a part
And we'll help you to learn to love yourself
'Cause that's where loving really starts

Julie through the glass
I'm looking forward to
Doing things with you
For many years to come

Musicians: See Credits section

© 1971 Quackenbush Music, ASCAP

Lyrics & Music by: Kris Kristofferson

You came smilin' softly, shyly movin'
Easy as a dreamer into my room
And before I realized the danger
I found myself looking into your eyes
Somewhere in their colors I saw promises
Of things I'd never seen before
It's all over
I've got to have you

Holding onto, talking, saying nothing
Knowing in a moment I could lose you
Then without a warning I remembered that
You trembled at the touch of my hand
Knowing when you came to me that no one else
Would ever feel the same in my arms
It's all over
I've got to have you

Wakin' in the morning to the tenderness
Of holding you asleep in my arms
Dreaming while your hair was blowing
Softer than a whisper on my cheek
I don't know the feeling so I don't know if it's love
But it's enough
It's enough
I can't help it
I've got to have you
It's all over
I've got to have you

Musicians: See Credits section

© 1971 Buckhorn Music Publishers BMI

Anticipation album cover image

Anticipation album LP cover
Location: Regent's Park in London
Photo by: Peter Simon

Back photo of Anticipation album

Back cover image from Anticipation
Location: Regent's Park in London
Photo by: Peter Simon

Anticipation album sleeve

Anticipation Album Sleeve
Location: London, England
Photos by: Peter Simon

Anticipation band members

Carly with the musicians who played on Anticipation
Carly, Jimmy Ryan, Andy Newmark, Paul Glanz
Photo by: Peter Simon

Front cover outtake

Album cover outtake with pedestrian
Location: Regent's Park in London
Photo by: Peter Simon

Carly Simon performs at Carnegie Hall

Carnegie Hall tour 1971
Carly Simon opens for Cat Stevens
Photos by: Peter Simon

Carly Simon & Cat Stevens

Carly with Cat Stevens in London
Photo by: Peter Simon

Carly Simon on the Tonight Show

Carly Simon performing on The Tonight Show
June 2, 1971

Carly Simon 1971

Carly in London

Dedicated to Steve

Release Date: November 1971
Label: Elektra Records
Album Billboard Peak: #30
Single (Anticipation) Billboard Hot 100 Peak: #13 - Adult Contemporary:#3
Single (Legend In Your Own Time) Billboard Hot 100 Peak: #50 - Adult Contemporary:#11

Produced by: Paul Samwell-Smith for Silven Productions, Ltd.

Carly Simon: Acoustic Guitar & Piano
Jim Ryan: Acoustic & Electric Guitars & Electric Bass
Paul Glanz: Piano
Andy Newmark: Percussion
John Ryan: Acoustic Bass

Strings arranged by Del Newman
Engineer: Michael Bobak
Edited by: Barry Hammond
Production Supervisor: Jac Holzman
Photography: Peter Simon
Art Direction: Robert L. Heimall


Carly Simon Talks

Rock Magazine - Carly Simon Talks

ROCK magazine - March 1972
Written by: Sue Donoghue

Carly Simon has been interviewed, photographed, Rolling Stoned, Timed and analyzed into a common household word all in the course of one year's turning.

ROCK: I think everyone knows that your family is the Simon half of Simon & Schuster publishers. How did you get into the music thing?
Carly: "My father was always very interested in us all taking music lessons as children. Actually my father wanted to be pianist more than he wanted to be a publisher, but his father wanted him to be a businessman. Max Shuster was a friend of his from college and they rented an office on West 57th St., just one little room, still not knowing that they wanted to be publishers. As the story goes, one day when they left for lunch they hung a sign on the door 'Simon and Shuster - Publishers' and just decided 'What the hell; books!' I don't how true that is, but that's the ancecdote that I've been told."
Carly: Oh, I've got another good story! As children we had a house with a large barn and we used to put on plays, most often musical ones. We got into music that way. My oldest sister (JoAnna) wanted to be an actress, or a ballet dancer, or an opera singer. She wasn't sure. So, when someone asked her which one she wanted to be, she asked back, "Which one has more maids?" I think she was told that opera singers had the most maids, so she began to study opera.

On her Songs:
ROCK: Do you have favorites among your own songs: ones that you like better than others?

Carly: "Yeah, but luckily, at one time or another, they've all been my favorites or I wouldn't consider them good enough to put on a record in the first place. I mean, I really have to love a song, in order to finish writing it. If I don't love it, I just discard it, and use sections of it in a new song, or just change it around so much until I do love it. If I only like a song, then it isn't good enough to finish."

ROCK: Do you run into the problem of not being able to weed out the songs that are not that hot, but which you've put so much labor into that you hate to give them up?

Carly: "Pieces that I don't love, no. Pieces that I do; well, I have hundreds of little scratchings on pieces of paper. Unfortunately, I've lost them. I lost thirty-five pages of exactly that kind of thing about four months ago. I've finished one song that was lost, only because I'd sung it and therefore could remember it from beginning to end."

On Jacob Brackman:
ROCK: How did you and Jacob Brackman meet?

Carly: We met in summer camp. I was teaching guitar and he was teaching literature. We were both about 22 or 23. I wrote the melody for That's The Way I Always Heard It Should Be, and I tried very hard to put lyrics to it, and I just couldn't do it. So I asked Jake if he'd help me write a song. He wrote the lyric for that song as well as Dan My Fling.

ROCK: Was there really a Dan? From "Dan My Fling"?

Carly: Yeah..yeah. It wasn't taken from a life-experience; just that Dan was my boyfriend and I was breaking up with him at the time. It wasn't verbatim, but it was verbatim Jake's imagination wouldn't have gotten put to the good use that it did. I mean he invented the fold-back seats in the car.

Simon Says Softly

Chicago Tribune - January 14,1972
Written by: Lynn Van Matre

Carly Simon, putting on an excellent show at the Quiet Knight thru Sunday, is a singer with a voice smoky and earthy by turns, a performer whose stage manner is as beguiling as the smile that turns up the corners of her generous mouth. She is a songwriter whose creations are often fragile – though the accompaniment never is. But for all their fragility, Carly’s songs are based on beliefs solid as bedrock.

Their themes – mostly love and marriage viewed from a variety of angles – are never unusual ones, but they ring true, reflecting the feelings of many of their listeners and the background of their composer.

It is a background that, on the surface, seems devoid of the “dues” people in the music business are always talking about paying: her father is the Simon of Simon and Schuster, the publishers. A Sarah Lawrence graduate. Product of an upper-class Manhattan home, out of a past of music lessons, the arts, culture.

One of her sisters is an opera singer: another, who once sang folk music with Carly as The Simon Sisters [they made two albums together before sis split to get married], is settled with her doctor husband. The first composing Carly did was in school, where she was studying Italian and found it easier to memorize long Italian poems if she set them to music.

Albert Grossman, whose stable of performers includes Bob Dylan and very briefly included Carly, once told her, “You haven’t suffered enough.”

Carly disagrees. “I think that dues thing is a tired old excuse,” she says. “I think people are a little bit hipper now than to think that because of the amount of money your family had you had to suffer less. Maybe I didn’t have to be a waitress in some seedy, dingy bar, working all night, but there are other kinds of dues that people from middle and upper-class homes have to pay. Emotional dues – there are all kinds of dynamics about living with people, families. Emotional problems, nervous breakdowns, drugs – I’m not talking specifically about myself but about the other kinds of things that can happen to us poor souls that come from families with a little bit of money.”

Almost all of her songs are written when she’s down, feeling deeply emotional about something. They are not tragic songs, but often reflect a certain amount of disturbance.

“There’s a lot of irony in them,” she agrees. “Anticipation” especially – the idea of not being able to live in the present, always looking back on something in the past, reminiscing or else anticipating something in the future. And that keeps you late for the good old days, which are right here now. I do that myself. That song was a kind of moral lesson to myself, but I don’t think I’ve really changed…I still anticipation a lot.”

Carly anticipation marriage someday, but her portrayal of that institution in “That’s the Way I’ve Always Heard It Should Be,” the song which was her first hit, is a jaundiced look at the middle-class attitudes that surround it. Like several of her other songs, it was written with Jacob Brackman, a writer and critic whom Carly describes as probably her best friend, someone whose ideas reflect her own.

Chicago Tribune

My friends from college, they’re all married now
They have their houses and their lawns
They have their silent noons, tearful nights, angry dawns

But it ends up the way she’s always heard it should be:

But you say it’s time we moved in together
And raised a family of our own, you and me
Well, that’s the way I’ve always heard it should be
You want to marry me….we’ll marry.

“I don’t want to get married because everyone else does,” Carly says, “but because there doesn’t seem to be a better way yet. You know, I don’t believe you can successfully raise children on your own. I want to raise a family with a father, certainly in some sort of stable situation.”

“I live alone now, and I love it, and sometimes it’s very difficult to think of sharing a home with a man even though I intend to do it. I don’t think I’m happiest living alone. Of course, when I say live alone I don’t mean I’m celibate or any of that stuff.”

I figured that was a good a cue as any to ask about Carly’s relationship with Kris Kristofferson. Apparently, that’s all over now – anyway, she didn’t want to talk about it. She would, however, talk about the Kristofferson song that appeared on her last album – and the only song she didn’t write.

“I liked that song, ‘I’ve Got To Have You’ because of the emphaticness of it. I think it reveals a compulsive nature about the writer, or even about the singer – it’s a very insistent, almost spoiled child song, but it’s very romantic and earthy.”

Like Kristofferson, Carly Simon in invariably tossed into a convenient bag: in her case, the old “new breed of female singer-songwriter” sack. She doesn’t like it a whole lot.

“That woman singer-songwriter hook is a chauvinistic think I’ve never really liked,” she says, a statement a little surprising for a girl who says she’s for women’s lib yet in her songs consistently seems to meet men more than halfway. “I’d rather be known as an upcoming singer-songwriter…who happens to be a woman.”

Shopping, Singing, Talking with Carly

Chicago Daily News - January 15,1972
By: Jack Hafferkamp

On their way to Chicago, Carly Simon’s suitcases were lost, and that was a problem. Waiting for the airline to find her things, Carly had been wearing the same skirt for five days, and although it was a nice skirt, it wasn’t exactly what she had in mind for her Chicago debut this week at the Quiet Knight.

So, after the Wednesday afternoon sound check in the club at 953 Belmont, Carly, her manager Arlyne Rothberg, a friend named Nicole and I taxied to New Town in search of appropriate duds. Surrounded by such glamour, I was suitably enraptured (but it’s nonetheless true, women shop funny).

Actually, it would be more accurate to say that poor Carly (a lady who had much to do with making 1971 into the year for women’s music) had a hard time. Pressed for time and understandably anxious about her performance, she ran from store to store in a nearly futile effort to find something “interesting” to fit her angular, nearly six-foot frame.

Meanwhile – and since my selections, a sheer blouse and argyle anklets, had been politely vetoed – she had to put up with an interview. Imagine, if you will, this lovely woman hobbling on one boot while trying to slip on the other, and answering questions about the lyric structure of her song, “Anticipation.” (Also the title of her current Elektra LP.)

After she had tried on countless dresses, skirts, blouses and boots, we eventually landed at a funky little beads, bells, incense and Indian-print bedspread store named Airport where Carly finally found the right stage gear: blue jeans and a loosely-fitting man’s Mexican shirt.

Later, at dinner in her hotel room, I couldn’t help noticing just how lovely she is. Her face defies glib description; curiously acute, yet soft with a big smile that almost reminds one of an infinitely more feminine, more expressive Mick Jagger. While we sat, James Taylor called to say hello from him home on Martha’s Vineyard, and her face became even more softer.

Growing out of a very comfortable childhood (her late father founded the Simon & Schuster publishing house), Carly has paid her own way, knocking around the music business since the early 60’s when she and her sister were known as The Simon Sisters. (Remember seeing them on TV’s Hootenanny?)

When her sister married, Carly tried to go it alone, but had an unfortunate experience with Albert Grossman, then Bob Dylan’s manager. “He had Dylan rewrite a song for me” she remembers, “and tried to make me into a female Dylan. Of course, I was very young and anxious to please everybody; so I did it. But it was awful.”

Consequently, she dropped out for a while before getting involved with an ill-fated rock band, Elephant’s Memory. It didn’t last long, but it led her to try her luck again as a solo act.

The Big Break came last year when she recorded the achingly accurate “That’s the Way I’ve Always Heard It Should Be,” a song she wrote with Jacob Brackman (otherwise known for his film criticism in Esquire Magazine).

Carly Simon and John Prine on stage - Chicago 1972

Born a Cancer near Gemini (I assured her there are people who want to know these things), Carly says she usually writes songs when feeling confused. “It helps straighten me out,” she explains. “Not that I write them just about myself – nobody would care – but that state seems to help me write songs relating to other people, too.”

Three of the people she touches are Steve Goodman, John Prine and Kris Kristofferson. Shortly after Prine’s record was released, Kris hit on the idea of playing it for Bob Dylan. Says Carly, “We jumped into a car and went to his house in the village, be we couldn’t get in. So we went across the street to the Bitter End, where Kris phoned him. Dylan said he was busy that evening, but would come to my place the next day.”

“At first, we were all pretty nervous – Dylan, too. But we finally spent the whole afternoon sitting on the floor, passing the guitar. I just couldn’t play – I mean there I was sitting with the best songwriters in America. When they handed me the guitar, I’d just pass it on.”

She shouldn’t have worried. Her performance Wednesday night at the filled-to-capacity Quiet Knight (where she’ll be playing through Sunday) was superb. Her records, enjoyable as they are, barely capture the amazing vocal strength and command she displays on stage. (Having been with her for nearly a year, her side men – Andy Newmark on drums, Jim Ryan on guitar and bass, and Paul Glanz on piano have developed an impressive ability to play to one another while they compliment perfectly her wide-ranging style.). I honestly had tingles from her strong version of Prine’s “Angel from Montgomery.”

And I wasn’t the only one; the audience gave her such an extended ovation that a beaming Carly could only say, “Thank you; that’s very gratifying, and what’s even more gratifying is that John Prine is here,” And he was. Together they sang his “Donald and Lydia” and “Paradise.”

“Before I go on stage,” she told me, “I try not to think about what I’m going to say or do. I don’t have any pattern or patter – and I’d like to be free enough to do whatever songs come into my head. A set program gives you something to fall back on, but it’s much better if everything is free. I’d rather just have it happen naturally.”

For Carly Simon, it is indeed happening naturally.

Carly's Still Anticipating

Chicago Tribune - Carly's Still Anticipating

Chicago Tribune - April 17,1972
Written by: Lynn Van Matre

THAT “new breed of female singer-songwriter” sack is the simplest one to toss Carly Simon into; it’s also a term and a bag she doesn’t like very well [ “too chauvinistic,” ] she told me last time she was here, playing the Quiet Knight in January. But it’s still a description that fits, except you’ve got to add a second hyphen and, if not showman, them “show person.”

On her return trip to Chicago Friday night, Carly was playing what looked to be about a half-full Auditorium rather than a small, crowded club, but the transition was a smooth one, the set fine, with Carly casually in command at all times. Some of her songs may be fragile in the emotions they deal with, but Carly herself seldom is. Neither is her accompaniment, the same threesome that backed her last time around – Jim Ryan on acoustic and electric guitars and bass, Paul Glanz on piano, and Andy Newmark on drums and congas.

Carly herself stuck to acoustic guitar for most of the evening, thru a well-paced program of her own songs, John Prine’s “Angel From Montgomery” [not up to the original], an Everly Brothers’ medley, and a romantic, earthy Kris Kristofferson song, “I’ve Got To Have You,” which she included on her “Anticipation” album. At the time, the two were seeing quite a bit of each other. These days, that old “Silver-Tongued Devil” Kris has got Rita Coolidge. And Carly – Carly’s got a great sense of humor. “…a song by an old, dear friend of mine,” she remarked in introducing it, adding half to herself, “He has a silver tongue.”

Only at the end of the concert did Carly put down her acoustic and head for the piano for “That’s the Way I Always Heard It Should Be,” the rather jaundiced look at middle-class marriage that was her first hit, and “Anticipation,” her second, about how living in the future makes you late for the present – “’cause these are the good old days.”

For Carly Simon, they really are. She may have faded from the Top 40, but as a singer-songwriter she’s come a long way and as a performer she deserves to go a lot farther.

Carly, incidentally, has canceled her previously announced engagement at Ravinia this summer.

Rolling Stone

Album Review ~ by Stephen Davis Read

"Carly Simon is really is a maturing musician who is making excellent music."

Your song, "Share the End," sent chills down my spine the first time I heard it, so many years ago. For some reason, the lyrics were going through my head this week as the world seems to be crashing down around us. I went back and played the song again this morning and it made me weep. It seems to be coming true.

I beg you to re-release this song to make everyone, everywhere, stop and think about the road we're heading down. Please sing this song to anyone who'll listen. Thank you, Debra Lo Guercio - A longtime fan from Winters, CA

That's a great idea. Maybe Jodie would put it up on the website. It's much too complicated to play on the piano. I've just recently been learning "Coming Around Again" again. That bridge is NOT easy. I'm not very good at repeating my enchanting little chords that I believe to be so memorable at the time of writing.

"Share the End" has that blood curdling scream. Which by the way let out an anger that had lasted more or less a life time up until then. Love, Carly - 2/22/03

I am a 32 year old woman who has loved your music ever since my father introduced me to you at the age of 12.

My question is: Who was Julie Through the Glass written for and is there a story behind that song? As a Julie, I have so enjoyed that song through the years and often wondered from what memory of yours it sprang.
Julie Keller - Niskayuna, NY

Julie is my dear adorable beautiful smart niece. She is Lucy and David's daughter and she is a singer and a writer and remarkable in every way.

She is the same girl who was then a few days old and behind the glass in a maternity ward in a NY hospital where they keep babies safe and warm. Love, Carly - 5/30/01

Which of your albums (I guess I'm dating myself) actually discs did you most enjoy recording, and which is your current favorite to listen to? I say current because I know that I change favorites whenever my mood changes. Thanks for having something to fit all my many moods!
Carol - Carolina, RI

There are two albums I enjoyed recording the MOST: "Anticipation" and "My Romance". The former because I was in London recording for the first time and I was tight with my band (Jimmy Ryan, Andy Newmark and Paul Glanz) who were living across the street from me in Regents Park. It's the only 'band' album I have ever made
The latter because it took only twelve days from start of recording until the end of mixing. There was something so compact and wonderful about recording it all live with the orchestra. Carly Simon 5/18/01

Dear Carly,
Thank you so much for many years of wonderful, thought provoking, music. I've grown up with you and feel like I "almost" know you (though I'm sure that's not true!) My question concerns Cat Stevens. He was also a huge part of my teenage years, along with you, James and Joni. I've heard that you dated him and wrote "Anticipation" about waiting for him to show up for a date. I'm wondering if you remained friends after you dated and what your favorite Cat Stevens song is. Did you ever write another song about him? And have you written a song for your husband, Jim Hart? Thank you so much. Keep the songs coming!!
Love, Brenda Ellis - Huntington Beach, CA

I wrote Anticipation for Steve. He wrote "Sweet Scarlett" for me. I love many of his songs. I think the one I love most is "How Can I Tell You?" but "Sad Lisa" is great too. What else did you ask?
Love, Carly - 5/18/02