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This Kind Of Love
2008

  Subtly infused with the rhythms of Brazil, this is a stylistically diverse collection of new original songs by Carly Simon.
The Kind Of Love by Carly Simon
This Kind Of Love
Hold Out Your Heart
People Say A Lot
Island
How Can You Ever Forget
Hola Soleil
In My Dreams
When We're Together
So Many People To Love
They Just Want You To Be There
The Last Samba
Sangre Dolce
Too Soon To Say Goodbye

   

This Kind Of Love

Video musicians include: Ben Taylor, Peter Calo, Jill Dell'Abate

Island

Video musicians include: Ben Taylor, Peter Calo, Jill Dell'Abate

Hold Out Your Heart

Regis & Kelly - Air Date 05/02/08
Band members include: Ben Taylor, David Saw, Peter Calo, Jimmy Parr, Jill Dell'Abate

Check out more videos from this album here ~

Lyrics by: Carly Simon
Music by: Carly Simon (Outro music: Jimmy Webb & Peter Calo)

Once you were just a friend of a friend at the bar
I didn't see you as my type at all
But I was stranded with no ride home
So, we drove the beach road in your car

You're the melody I never had to write down
You're the fantasy I forgot to forget
You're the magician who sings the sun down
Your face in silhouette

Meeting you at midnight
And moving to a moan
Motions giving moonlight meaning
I've never known this kind of love
This kind of love

You're the water I never dared to jump into
You're the place my body belongs
You're the radio I tune into
Plays my favorite songs

The tide is rolling sideways
A jealous sky above
Motions giving moonlight meaning
I've never known this kind of love
This kind of love, this kind of love

Meeting you at midnight
A jealous moon above
Motions giving moonlight meaning
I've never known this kind of love
This kind of love
This kind of love
This kind of love

Portuguese

É amor e calor, amando você abraçando você e mais forte e mais forte

 


Drums: Robbie Ameen
Bass: Lincoln Gaines
Guitars: Peter Calo, David Saw
Percussion: Cyro Baptista, Rick Marotta
Saxaphone: Aaron Heick
Background Vocals: Jill Dell'Abate, Frank Filipetti
Children's Choir: Sarah Barnaby, Ben Brooks, Amy Cass, Melanie Clarke, Aidan Cron, Emily Graffeo, Ryan King, Josie Mangold, Lucas Mangold, Emily Powers, Amanda Scopelliti
Concertmaster: Elena Barere
Orchestration: Teese Gohl

© 2008 C’est Music/Jimmy Webb Music, Ltd. (ASCAP)/Tater Music (BMI)

Lyrics by: Carly Simon
Music by: Carly Simon & Peter Calo

Oh my boy, what have you done?
Did you go out surfing on a frozen sea?
Did you scare the livin' daylights out of me?

Did you go too far to drive away the demons?
Did you go too far to know what love really means?
Did you imagine it was more cause she went away first
Or did you force her hand to renew your thirst?

Well if you ever want an endless night
Or you need a moon and stars to shine
Just hold out your heart my darling
Hold out your heart my darling
Hold out your heart
And I will give you some of mine

Oh my girl, what have you done?
Is it something we can't even talk about?
Did you silence me, remove me from your faith?

Did you make me all but a stranger to your love?
Did you look right through me
Below me and above?
Did you try to ignore me, make me all but lost?
Did you cloud up the sky when you needed me most?

Well if you ever want an endless night
And you need the moon and stars to shine
Just hold out your heart my darling
Hold out your heart my darling
Hold out your heart
And I will give you all of mine

It's gonna be fine
It's gonna be fine, just fine
Just hold out your heart my darling
Just hold out your heart my darling
Hold out your heart
And I will give you all of mine


Drums: Robbie Ameen
Bass: Lincoln Gaines
Guitars: Peter Calo, David Saw
Electric Piano: Carly Simon
Percussion: Cyro Baptista, Rick Marotta
Background Vocals: Tawatha Agee, Jill Dell'Abate, Vaneese Thomas, Fonzi Thornton
Concertmaster: Elena Barere
Orchestration: Teese Gohl

© 2008 C’est Music (ASCAP)/Tater Music (BMI)

Lyrics & Music by Carly Simon

People say a lot when they want the job, yeah
Lining up sideways around the block
"It's not for the money" she say to you
Almost convincing herself that it's true
"I'll take care of your dog when you're away"
"I don't mind working Saturdays"
"When you wanna work I'll work with you", she say
"And I'll go on working when you wanna play"
"Nothing gonna hurt you when I'm around"
"I'll keep my eyes wide open and my nose to the ground"
"I'll be like a mama with a baby cub"

People say a lot when they want the job
People say a lot when they want the job, yeah
People say a lot when they want the job

When you begin to see a sinister gleam
You're locked in too tight on the same team
There's a little holiday in her heart
When she sees you slip up, Ahhhhh
It's like Christmas Eve just to see you trip up
Ooops, then down again
She'll sit on the floor hardly hiding a grin
When her tears spill out, crocodile chagrin
It's her contempt for you, she thinks you're a slob

People say a lot when they want the job, yeah
People say a lot when they want the job
People say a lot when they want the job

Greatest cook to bring a meal (didn't need a recipe)
Said she'll also deal the cards (dealt the knave and two and three)
Said she also feel the thrill of the willow in the wind (feel the thrillo the willow---- or oak or elm or ash or pine sol)

It's already too late when she's reading your mail
Calling your agent and making the deal
She'll just copy and paste it and make it last
Nothing is sacred about your past

She'll tell of the poppies in the July fest
Maybe her brother with the badge can make the arrest
"You could go to jail, fail all the tests"
"Forget your keys and your secrets and your little black box"

People say a lot when they want the job, yeah
People say a lot when they want the job, yeah
People say a lot when they want the job

She was awfully good at fire (fiery fiery hussy burn)
She burned bridges where she could (she really couldn't burn them very well)
She turned young men into torches (burning scarecrow)
She had a way with wood (do away with wood, do away with wood)

People say a lot when they want the job
Lining up eager around the block
Promising, promising never to quit
Well it's a full time job to be a hypocrite
Maybe they remember that they've done it before
Practicing, with their dolls on the floor
The lie itself becoming the seed
The messy mascara, the future deed
The actor's bow, the junkie's need
They line up again just to wipe you clean

They line up again just to wipe you out
Line up again around the block
A mighty force of youth for hire
Spouting ideas that geniuses would rob ohhhhh

People say a lot when they want the job, oh
People say a lot when they want the job, ah
People say a lot when they want the job. yeah
People say a lot when they want the job
People say a lot when they want the job
People say a lot when they want the job

"Tell me Phoebe, do you want someday to have an award like that of your own?"

"More than anything else in the world"

"Then you must ask Miss Harrington how to get one
…Miss Harrington knows all about it"



Programming: Sammy Merendino
Bass: Jimmy Webb
Percussion: Cyro Baptista, Rick Marotta
Guitars: Peter Calo
Background Vocals: Carly Simon, Ben Taylor, David Saw, Jimmy Webb, Peter Calo, Jimmy Parr
Concertmaster: Elena Barere
Orchestration: Teese Gohl
Footage from All About Eve courtesy of Twentieth Century Fox

© 2008 C’est Music (ASCAP)

Lyrics by: Ben Taylor
Music by: Ben Taylor


I'm an island
Everyone can see that I'm an island
I've got ocean just about everywhere that I can see
And I'll be stranded unless you come to me
And I'm lonely

I would rather fall from grace completely
Than let you change my mind
And I would rather bet my life against the rising of the sun

Can't be too careful bout the friends you keep around you
Some who never let you down
Some who fail you every day
And it's a blatant disrespect of privacy
It amazes me

I would rather fall from grace completely
Than let you change my mind
And I would rather bet my life against the rising of the sun

I'm an island
Can't you understand me?
I'm an island?
And I'm finally by myself, the way I've got to be
And that's exactly the thing that's been killing me

I would rather fall from grace completely
Than let you change my mind
And I would rather bet my life against the rising of the sun

I would rather fall from grace completely
Than let you change my mind
And I would rather bet my life against the rising of the sun

I would rather fall from grace completely
Than let you change my mind
And I would rather bet my life against the rising of the sun
The rising…

Drums: Robbie Ameen
Bass: Lincoln Gaines
Acoustic Guitars: Ben Taylor, Peter Calo
Electric Guitar: Peter Calo
Synthesizer: Jimmy Webb
Percussion: Cyro Baptista
Background Vocals: Peter Calo, Jill Dell'Abate, Ben Taylor, Carly Simon
Concertmaster: Elena Barere
Orchestration: Teese Gohl


© 2008 CNMNE Music (ASCAP)

Lyrics by: Carly Simon & David Saw
Music by: Carly Simon & David Saw


I love you more than the first sunset
The first star I saw I would surely bet
So how could you ever, could you ever forget?

You're here but you're gone
It's in your eyes
Something's gone wrong
You've stifled your cries
You can't expect that I'll ever forget

All the details of your mind you would tell me through the night
After we'd made love and the way was so open
Now you turn your back to me
As if we'd never spoken

But I still love you more than the first sunset
I swear I caught a shooting star the first time we met
So how could you ever
I know that I'll never
How could you ever, ever forget?

Bass: Lincoln Gaines
Guitars: David Saw
Guitars & Mandolin: Peter Calo
Acoustic Piano, Synthesizer & Percussion: Carly Simon
English Horn: Aaron Heick
Background Vocals: David Saw, Ben Taylor, Frank Filipetti, Carly Simon, Jill Dell'Abate
Concertmaster: Elena Barere
Orchestration: Teese Gohl


© 2008 C’est Music (ASCAP)/RAK Publishing (PRS)

Lyrics and Music by: Carly Simon, Ben Taylor, Jacob Brackman, Jimmy Webb, Peter Calo & David Saw

 


Free my eyes
Fill the skies
We've been dancing in your absence

Da da da…
Morning, hola, soleil
We've kept the darkness light
Dancing for the sun
To come back and rise up shining

Welcome home
Mother sun
Children reaching up like flowers

Da da da...
Morning, hola, soleil
We made it through the night
Knowing you'd return
To bless us with another morning

Baking sand, shining sea
Turning world
Dissolving shadows

Da da da...
Morning, hola, soleil
Behold the warmth of day
Rising near the shore
Hear the music start up playing

Acoustic Piano: Jimmy Webb
Guitar: Peter Calo
Alto Flute: Aaron Heick


© 2008 C’est Music/CNMNE Music/Maya Productions, Ltd./Jimmy Webb Music, Ltd. (ASCAP)/ Tater Music (BMI)/RAK Publishing Ltd. (PRS)

Words by Carly Simon, Music by Jimmy Webb, Peter Calo

The only place I hang my hat is in my dreams
The only time I feel at home is in my dreams
The only place I'm not alone is in my dreams
The only place I recognize is in my dreams

That's the only place I know
To wander to and fro
I move about and go
As slow as time will let me go

Sometime I'll only dream and I'm not scared of that
I'll move through farther galaxies, wear other hats

Trip on a wink, an inkling of a shadow fill
An eclipse in less than half a blink
Where you love me still

That's the only place I know
To wander to and fro
I move about and go
As slow as time will let me go

That's the only place I know
To wander to and fro
I move about and go
As slow as time will let me go
As slow as time will let me go
Let me go… let me go

Acoustic Piano: Jimmy Webb
Guitar: Peter Calo
Alto Flute: Aaron Heick

© 2008 C’est Music / Jimmy Webb Music, Ltd. (ASCAP) Toter Music (BMI)

Words & Music by Sally Taylor

"Hi," he says
"Higher than the stars," he says
And "I know I've seen you before," he says
She looks up deep into his eyes and stares
"Where were you into my life till now?"

I know that when we're together our hearts fall into line
And I know why I'm afraid, this is my first time
And the stars will be quiet while I sing you this song
And I know I've been here before, and all day long

"Why," he says, "run away from faded prayers?"
"Are you so scared that we might not get along?"
Shy, she is, weary to speak of love
And too tired to sleep, too tired to dream

I know that when we're together our hearts will fall in line
And I know why you're afraid, this is your first time
And our hearts will be quiet while I sing you this song
And I know I've been here before, and all day long

Winter comes, brings with it its shortened days
Leaves us less time in between deep nights
And she stays because there's no time to wait
And the morning stillness still leaves no time for the light

I know that when we're together our hearts will fall in line
I know why we're afraid, this is our first time
Our hearts will be quiet while I sing you this song
And I know I've been here before, and all along
I know I've been here before, and all along
All day long, and all along. all along...

Drums: Robbie Ameen
Bass: Lincoln Gaines
Guitars, Dobro: Peter Calo
Percussion: Cyro Baptista, Rick Marotta
Concertmaster: Elena Barere
Orchestration: Teese Gohl

© 2008 Blue Elbow Music (BMI)


Words & Music by: Carly Simon, Wade Robson & Carole Bayer Sager

They're praying on bended knees
In their beds and on the dirty streets
Lights are out on all the Christmas trees
Feels like everyone's about to freeze
Makes me worry
Everywhere I look someone's counting on me

So many people to love
And so little time
Gotta hurry
Big girls and little boys
Broken hearts and dreams destroyed now
They need me to make it better
What's an angel gonna do when she needs some lovin' too?
I'm just askin'

They're using their money up
On shiny things no one will ever use
And the ones without can't buy a pair of shoes
Nothing gentle in the Daily News
Makes me worry
Everywhere I look someone's counting on me

So many people to love
And so little time
Gotta hurry
Big girls and little boys
Broken hearts and dreams destroyed now
They need me to make it better
What's an angel gonna do when she needs some lovin' too?
I'm just askin'

Can't find neighbors who are mending fences
From the mansions, to the Hamptons, to the Central Park benches
City folk wearing all their armor
Another St. Nick rings a bell on the corner

So many people to love
And so little time
Gotta hurry
There are big girls and little boys
Broken hearts and dreams destroyed now
They need me to make it better

What's an angel gotta do when she needs some lovin' too?
I'm just askin'. askin'
I'm just askin'

Produced by: Wade Robson for WaJeRo Sound
Recorded at WaJeRo Sound Studios, Los Angeles, CA
Guitar: Ben Mauro
Vocal Arrangement: Wade Robson
Background Vocals: Sherree Brown
Benjamin Taylor: Background Vocals
String Arrangement: David Campbell, Wade Robson

 

© 2008 C’est Music (ASCAP)/WaJeRo Music/All About Me Music (BMI)

Words By Carly Simon

They don't care if you brush your hair
They just care that you're there
They don't mind if you stay upstairs
They just care that you're there

They don't know if you're all you've ever wanted to be
Or if life has answered your prayers

They just want you to be there
They just want you to be there

They don't mind if you're mad and yell
As long as it's not at them
Doesn't matter you're sad, they can tell
It's not because of them

They don't know that you're striving to be someone
And you're not sure how you will fare

They just want you to be there
They just want you to be there
They just want you to be there

Just as long as you're somewhat right
You can do no wrong
Their trusting eyes looking up at you
Believing you're so strong

They don't know that in time they'll grow into your shoes
They'll pound the ground and they'll swear
But they'll want you to be there
They just want you to be there
They just want you to be there

And you know, I know, you know, I know, it's clear
A thousand percent for you, I am, I am, I'm here

And you know I know I know you know it's clear
A thousand percent for you I am, I am I'm here
A thousand percent for you I am, I am, I am, I'm here
And I know, I know, I know
And I know, I know, it's clear
And I know, I know, I know, it's clear

Drums: Robbie Ameen
Bass: Lincoln Gaines
Guitars, Dobro: Peter Calo
Acoustic Guitar: Carly Simon
Synthesizer: Jimmy Webb
Background Vocals: Jill Dell'Abate, Frank Filipetti, Carly Simon

© 2008 C’est Music (ASCAP)

Words & Music by Jimmy Webb

The last samba
The last samba is playing
Don't waste me it seems to be saying
For soon this crescent moon will fade
Becoming only broken shell
And half remembered tunes

So take me then
Here on this sand in the midst of these stars
Swaying in thrall to the fading guitars
Lost on the beach in this trance

They're playing the last samba
Shall we dance?

And half remembered tunes
So take me then
Here on this sand in the midst of these stars
Swaying in thrall to the fading guitars
Lost on the beach in this trance

They're playing the last samba
The last samba
The last samba
Shall we dance?
Hmm, shall we dance?
Shall we dance?

Bass: Lincoln Gaines
Acoustic Piano: Jimmy Webb
Cahones: Rick Marotta
Percussion: Cyro Baptista
Alto Flute: Aaron Heick

© 2008 Jimmy Webb Music, Ltd. (ASCAP)

Words & Music by Carly Simon

The soft winds of Buenos Aires
Once blew into her room
Now all she can do is kneel and pray
Sangre dolce
Sangre dolce

She's lost in the streets
Lost in her thoughts
She's lost in the smiles of the baby all day
She's new in New York, dressed up like a doll
But broken like clay
Sangre dolce
Sangre dolce

She cries when underneath the crystal moon
She hears a sultry Spanish song
But coming from that neighborhood saloon
It sounds all wrong

Puts the child in the stroller
And walks through the park
"What a beautiful baby you have"
The women all say
"Thank you" she says, pretending it's hers
Her own is so far away

Sangre dolce
Sangre dolce
Sangre dolce...

Produced by: Carly Simon
Drums: Steve Gadd
Bass: T-Bone Wolk, Carly Simon
Electric Piano, Guitars, Percussion: Carly Simon
Guitar Solo: Michael Lockwood
Strings Arranged & Orchestrated by: Teese Gohl

© 2008 C’est Music (ASCAP)

Words & Music by Jimmy Webb

For Art Buchwald, Love from Carly (Aug.10,2006)

Too soon to say goodbye, my dear
Too soon to let you go
Too soon to say, "Auf Wiederschen"
"Au revoir," no, no

Too soon to say goodbye, my dear
Too soon to rest my case
Too soon to start another journey
When we've just won the race

Not while the lanterns and chandeliers
Sway in the pale moonlight
Not while the shimmer of far and near
Holds us both so tight

Too soon to say goodbye, my dear
Too soon the tide will rise
But not 'til it reaches another shore
Will I ever say "goodbye"

Not while the music and fireworks
Sing down the hill to the sound
Not while the girls in their summer gowns
Are dancing round and round

Too soon to see the world beyond
I'm willing to be late
Let's stay right here beneath the stars
Let the voyage wait

Cause it's too soon,
Too soon, to soon to say goodbye
Too soon

Drums: Robbie Ameen
Bass: Lincoln Gaines
Guitar: Peter Calo
Acoustic Piano: Jimmy Webb
Electric Piano & Synthesizer: Carly Simon
Harmonica: William Galison
Background Vocals: Tawatha Agee, Jill Dell'Abate, David Saw, Carly Simon, Ben Taylor, Vaneese Thomas, Fonzi Thornton

© 2008 C’est Music (ASCAP)



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This Kind of Love album CD cover
Photo: Lynn Goldsmith

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This Kind Of Love album CD back cover
Photo: Lynn Goldsmith

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Press photo

Dedicated to Artie Buchwald and Antonio Carlos Jobim


Special Thanks to: Alan Mintz and all my new friends at Hear Music and Concord Records. To Richard, Jezzy Jessie, Tamara, Andy Chase, Lee Phillips, Heather, Judie, Don, Joe, Mark, Alan, Ulla and Brian, Mark of Newton International, Steve and Andy, Arlene Graff, Evelyn Pons, Eleanora Baptista, Don Oliver and Robin Siegel

 

The tale is that a lonely gaucho visited an old man
for some wise advice on what to do about his loneliness. The cure was in carving. In this case, the old man took a glorious piece of wood and carved it into the shape of a woman's body. To this creative and sensually crafted wood, complete with hips and other important torso considerations, he added strings. This was the beginning of the samba. Though the story has a good chance of being made up, it's a good one. And the story itself may have had something to do with the origins of what we think of as samba, tango or bassa nova.


There was always a celebration of Brazilian music in the music bin in our house. Alongside of Brahms, Peggy Lee, The Weavers, the sound track of Guys and Dolls, the most scratched LPs were records by Antonio Carlos Jobim, Luiz Bonfa, Maria Toledo and Laurindo Almeida. An LP and film that forever changed my life was Black Orpheus. After I saw and heard that, nothing else seemed important for a long time. The legend was underscored by a melodic, rhythmic and spiritual message that has stirred me always.


I realized that music could evoke passion and tragedy more than could painting or dancing or any other form of art. This being a subjective point of view, but very strongly inculcated into my system. I wondered how or if I could lend my gifts to it.

I watched the lusty, energetic carnival scenes and sunrise scenes with the same hypnotic sensation as I had when I had seen the Sistine Chapel a year before. Only more so. The relevance of this introduction is only to tell a little history of what this album's inspiration was. When I discovered, only last year, the music of Caetano Veloso and Jorge Ben, I was shocked as one might be after tasting an avocado or a honeydew melon after everyone but I had been eating them for many years. Why hasn't I known? As I listened all last winter and spring, I heard that the singer doesn't necessarily have to be singing with a bassa nova or samba or tango beat. There are songs written by these great Brazilian composers that have no such obviously Brazilian beat. What they do seem to have in common is a freedom. You only need to bend like the willow of Jorge Ben's voice, almost yodeling like a bird that has never been seen. These beautiful voices reach to places that I have rarely heard. I am just a novice.


Jimmy Webb called me out of the blue last February '07 and said, "Hey, want to make a Brazilian album? I think you have the voice for it." I'm not sure he realized the synchronicity of this golden idea, but I was very flattered that he asked. Very soon, we linked up with Frank Filipetti and Peter Calo. We started recording here on the Vineyard at Jimmy Parr's studio with a rhythm section who spent a lot of time playing Latin music. It was clear that these players, Lincoln Gaines and Robbin Ameen, were going to go all the way with us (whatever way that was going to be). Ricky Marotta was suddenly there and so was Cyro Baptista and Sammy Merendino and we had a groove from which we would and could depart at any time we were in the mood to write songs that might attempt to sound more like a Lennon McCartney creation. But perhaps it was the memory of the wooden guitar on the back of gaucho which never left us.

It was a sexy and joyous experience to work out all the slant and irony as we did; into introspective, sometimes into angry and sometimes into sad songs.

It was inspiring to sing two songs of my children's authorship: "When We're Together" by Sally Taylor and "Island" by Ben. Jimmy Webb wrote a classic Webb song for me called "The Last Samba". It certainly isn't the last samba that will be written but it was the last samba for the particular night he writes about. Then I wrote a song, which is the last song on the album, "Too Soon To Say Goodbye," for my friend Art Buchwald, who has asked me before he died to write a eulogy for him. I was almost unable to sing it, but it seemed to fit the category, ever widening, of our initial idea. The samba has many faces.


In may songs, we were led down a garden path in Rio. We lingered in gardens and had wonderful conversations with Brazilians about music, about what they loved and what they thought was particular to their culture. It seems that it's widening for them too. We stepped lightly on the path and followed its many directions. We hardly ever said "no."

----Carly, 2008



“When I write songs, I usually come up with the words first and then work out the melody. The words are inspired by things that happen to me or conversations that I overhear. Or I may be moved by something that I’ve seen in a film or read in a book. The songs on this album are very personal. They’re autobiographical.”— Carly Simon

 

This is a sexy song with a Brazilian samba feel. I originally wrote this with a slightly different melody. It was a rock ‘n’ roll song, which is still in there but now it’s done in a softer, gentler way. The song comes from something my boyfriend said one day in the gaze of love: “You’re the fantasy that I will never forget.” And I said, “That’s a song.” So I wrote the lyrics around what he said. So the lines are, “You’re the fantasy that I forgot to forget/You’re the musician who sings the sun down.” When I wrote it, I imagined being on the beach in Rio, with “the motions giving moonlight meaning.” I love the bridge with all its alliterations. The children’s choir at the end came in very late. They’re also on “Hola Soleil,” and we decided to try the choir here and it worked. Plus, I left the studio for a minute and [co-producer/arranger] Jimmy Webb sat down at the piano and he and Peter Calo started singing a wordless vocal. I came back in and said that we had to include that too.

 

2. Hold Out Your Heart

This is one of two songs about my kids. Ben called me one stormy winter day and told me he was going to go surfing at Jones Beach while it was snowing and there were high winds. I begged him not to go, but he went anyway. But by the time he got there he was afraid to go in. The song is also about his love life. I hold my heart out to my kids. The reserve is always open for them. I’m like a bank if they need me. The song is also about Sally. There have been some recent woes, but the same reserve for her exists. I’ll give her all my heart. There’s finger snapping in there that Peter did. It came very naturally. He wrote a lot of the music. He started out by playing four guitar chords and asked me if I had anything to go with it. And I said, “Of course I do,” and I ran and got my black book of lyrics.

 

This is such a personal song that also resonates on a larger scope. The funky style is based on a Caetano Veloso song. I wrote it in 15 minutes. I was very angry at the time. On one level it’s about people coming to me and promising to give me a lot, but eventually take a lot instead. It’s like having an assistant or personal secretary who promises a lot to get the job of assisting you and then wants to become you. It’s what happens in Hollywood all the time, and its also happened to me. The story of the song is based on Joseph Mankiewicz’s 1950 film All About Eve, starring Bette Davis, Anne Baxter and George Sanders, where the assistant connives to take on the identity of her boss. There are even a few lines lifted from the film in the song. I always refer to this song as “Eve-ington’s.” But on a whole other level, it’s like the presidential candidates making promises and not keeping them. They say a lot when they want the job. They’re out on the stump promising to reduce taxes and end the war and bring the soldiers home, but then they get into office and they don’t follow through.

 

I love this song. This is a song Ben wrote about Sally after she broke up with one of his friends. The friend was so despondent, but Sally shut off her feelings quickly. Ben wrote about her ability to be an island—how she has the arrow in her quiver to cut off feelings that she needs to when she needs to. That trait is much more like her father than me. I wasn’t born with that DNA. This song is islandy and watery and fits in with the feeling of water we wanted to have on this album. Ben thought that I’d be able to sing it. At one point, I almost dropped it from the album because I was trying to sing it religiously like Ben. But when I got into the studio [co-producer/engineer] Frank Filipetti told me to just sing it the way I normally sing and that worked.

 

Oh, this is a wonderful song. It’s one of my favorites. David Saw wrote the song “Quiet Evening” on my last album, Into White. It was the first song he ever wrote. David was writing this song and he came up with the first verse. He said while we were driving to the studio on Martha’s Vineyard, “Before we get there, do you think you can work on this?” It was a seven-minute drive, so I pushed myself and wrote the rest of the song in that time. I wrote the melody to the bridge too. It was a true collaboration. David and I sing this together. We sing the exact same part on the second verse and break into harmony on the bridge. There’s a synth part I play that’s also a cop from a Veloso record, and Peter plays a mandolin that took the place of a synth line I had.

 

Everybody in the band was sitting around in my kitchen one day, and one of us said, “Let’s play a fast samba.” It was kicked off and everyone went for it. We got by the mikes and each person contributed things. We just started playing and I had no idea what we were going to use for lyrics. So I told David and Ben to go off and come up with some. I called up my friend Jacob Brackman to come over and write some lyrics too. It’s just a goofy, goodmood song about the morning. It was so much fun. Everyone contributed ideas about the music. My vocal mike was in the stairwell and I was just singing wordless vocals. It’s the only song in my entire career that started like that— completely spontaneous. There was a lot of laughter that day.

 

What a beautiful melody this is. I had the lyrics for a long time—a year and a half or two years. The lyric was much longer than what appears here. It’s a song of dreams into death: “Sometime I’ll only dream and I’m not scared of that/I move through farther galaxies, wear other hats.” There are some far-out images like “Trip on a wink, an inkling of a shadow fill” that I don’t even know what they mean. Those make for the best kind of lyrics when you dip into that special salad of the unconscious where words and ideas go back and forth. I gave these lyrics to Jimmy and Peter and asked them to write a beautiful melody—and they did. I love the original piano part Jimmy played to make sure the words fit, so we kept a ghost of that that you can hear if you listen carefully.

 

This is such a sunny song by Sally that she recorded on her first album, Tomboy Bride. The song on her album was produced by Donald Fagen and Walter Becker. I wonder how Sally knew how to write a bossa nova. She tells me that she picked up a guitar and played some bass lines and then came up with a melody. I’ve always loved this song which I feel is so mysteriously sophisticated. I had a major meltdown in the studio just before I recorded it and I left, walking the streets of New York, crying. I had heard some really bad news. I went back to this place where we were staying in Greenwich Village, and my boyfriend told me that everyone in the studio was freaked out about me leaving. They were worried. So I went back to the studio and the band got this song right away and I got it right away. The song is a natural.

 

I recorded this last year in Los Angeles. Carole Bayer Sager and I wrote a bunch of songs together. We asked Wade Robson, who is a fantastic dancer and singer, to help finish this song. Then we decided to produce it at his house. Wade told me how to sing every single note. I wanted him to. Wade was a student of Michael Jackson, so he taught me how to sing it in that sultry, Michael Jackson vibe. We wanted the r&b sound. I love this song and the lines, “What’s an angel gonna do when she needs some lovin’ too/I’m just askin.’” I had just seen Wim Wender’s film Wings of Desire, which is the inspiration for this song. I was thinking about the angels and how they could listen to all the whispering voices of sad people in the subways and the library in Berlin and how they desired to help. So they touched the shoulders of people and they felt something and their spirits were lifted.

 

This is also about my kids and basically has the same message as “Hold Out Your Heart”—“You know I know you know I know it’s clear/A thousand percent for you I’m here.” I was thinking about when they were small and how strong the attachment of a mother is to her children. It’s unconditional love. This is one of the last songs I wrote for the album. I wrote the lyrics and melody at the same time, which is unusual for me. I remember where I was— sitting in the guesthouse while my kitchen was being renovated in the main house. I started with a C# minor chord, to F# minor on my guitar—and I wrote the words while I was singing it.

 

I was hoping Jimmy would write a song for the album, especially since he had worked with [Brazilian songwriter] Antonio Carlos Jobim. I loved what Jimmy came up with. It’s so beautiful. It was a tough choice of whether to end the album with this. It could have been a perfect end, but, then again, the album isn’t all sambas.

 

This is actually a true story. I was in Central Park and I saw this woman with a baby and I commented that it was so beautiful. The woman broke down in tears and told me that it wasn’t her baby, that she was taking care of it for someone who lived on the Upper East Side. This woman said that her own baby was in Buenos Aires and that she was working in New York to make enough money to send back to her family. That was the only way she could take care of her own baby. So I wrote this song imagining her life. Because it’s about Buenos Aires and not Rio, there’s a flavor of tango in the tune.

 

This is my tribute to my friend [humorist/columnist] Art Buchwald. His health was poor and he asked me to write a song with this title, which is the same title of his book that’s a collection of eulogies. I said I would, but I kept putting it off. Finally, in the midst of being of being sick one day, I dragged myself out of bed. I wrote it and recorded it in my house, so you can hear how hoarse my voice is. Ben wants me to rerecord it in good voice, but I’m more interested in having that feeling that was captured that day. I wrote it thinking of how wonderful Art was—so entertaining, so cheerful. The only thing I added was New Orleans-styled drum beats. Art only had a cassette recorder, so I made him a cassette. He listened to the song every day and cried. I’m going to dedicate this album to Art [who died in January 2007] and Jobim.

 

Release Date: 04.29.08
Label: Hear Music
Album Billboard Peak: # 15


Produced, Engineered & Mixed by Frank Filipetti*

Produced & Arranged by: Jimmy Webb
Musical Director: Peter Calo
Associate Producer: Jimmy Parr
Additional Production & Engineering: Ben Taylor, Carly Simon
Production Manager & Contractor: Jill Dell'Abate
Additional Engineering: Jimmy Parr, Derik Lee
Assitant Engineers: Derik Lee, Missy Webb

Recorded at Legacy Recording Studios ( New York City), Carly's kitchen (Martha's Vineyard, MA), Parr Audio (Martha's Vineyard, MA), Ma & Egberto's Garden (Lagoa)
Mixed at Legacy Recording Studios (New York City)
Carly’s Personal Assistant: Meghan La Roque
Mastered by Bob Ludwig at Gateway Mastering (Portland, ME)

Personal Assistans to Carly Simon: Meghan La Roque, Amanda Ziskin
Webmaster: Jodie Wright

* except for "So Many People To Love," Produced by Wade Robson & "Sangre Dolce," Produced by Carly Simon


Photography: Lynn Goldsmith
Art Direction + Design: Tommy Steele

Ben Taylor appears courtesy of Iris Records

 

Los Angeles Times

Carly Simon: Coming Around Again with 'This Kind Of Love' ~ by Randy Lewis Read

USA Today

Carly Simon has a quiet rhythm of life, and a new 'Love' ~ by Elysa Gardner Read

NPR Music

Carly Simon performs eight songs on Live Fridays from XPN (One Hour Concert) Listen

Starbucks

Carly Simon gave live performances and signed CD's at two Starbucks locations: May 1, 2008 - 13-25 Astor Place, NYC and May 17, 2008 - 605 Lincoln Rd, Miami, FL

Howard Stern

Carly Simon and her band performed live on the show, Howard interviewed Carly & Ben Taylor about music and not being able to talk with ex-husband James Taylor. Stern's website doesn't allow linking to a specific page, so please search for Carly Simon - week of June 20, 2008. Read

On her first album of original material in eight years, Simon ventures into Brazilian music with a passion, turning out a delicious, fresh pop record that will make you feel as if you're dancing on a beach with sand between your toes and a sultry breeze in your hair.
Wayne Parry / Associated Press

This Kind Of Love has both the personal touch of Simon's finest observations plus some of the most involving melodies and unusual arrangements of her career.
Jim Farber / NY Daily News

 

For Carly Simon's fans, this will ultimately be a most welcome return to her songwriting form. This is the best album of mostly original material she's cut since 1979's Spy.
Thom Jurek / All Music Guide

This stylistically diverse collection ranks among her most melodic and pleasing, This Kind of Love captures an array of moods and universal conflicts with intelligence and depth.
Howard Cohen / Miami Herald

"Hola Soleil" is a jubilant samba, while "Island" is a heartbreakingly stunning piece. The title cut is quintessential Carly, richly melodic and rhythmically soothing.
BOTTOM LINE: There isn't a dud here. Note to Ms. Simon: You're too good for covers. Write some more gems.
Mario Tarradell / Dallas Morning News

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