Carly Simon -

Carly Simon (born June 25, 1943) is an American singer/songwriter from the Bronx who released eight albums between 1971 and 1979 on Elektra, followed by 1980s titles on Warner, Epic, and Arista.

Simon first charted with “That’s the Way I’ve Always Heard It Should Be,” an evergreen ballad that won her the 1972 Best New Artist Grammy. She hit No. 1 with “You’re So Vain,” a much-speculated song from her third album, No Secrets. In 1974, she dueted with husband James Taylor on the soul classic “Mockingbird.” After her 1975 album Playing Possum and its hit “Attitude Dancing,” she employed Little Feat and the Doobie Brothers for her 1976 release Another Passenger.

In 1977, Simon charted with “Nobody Does It Better,” the love theme to the James Bond film The Spy Who Loved Me. After her 1978 album Boys in the Trees and its hit Doobies cover “You Belong to Me,” she embraced a rockier sound on the 1979–80 albums Spy and Come Upstairs. She experimented with retro pop on her 1981 release Torch, then explored hi-tech modern rock on her 1983–85 albums Hello Big Man and Spoiled Girl.

Simon scored a comeback hit with “Coming Around Again,” the love theme to the 1986 romantic dramedy Heartburn and the title-track to her thirteenth album. She rounded the decade with the soundtrack to the 1988 business dramedy Working Girl.

Early Life

Simon was born Carly Elisabeth Simon on June 25, 1943, in the Bronx. She is the third of four children born to classical pianist and Simon & Schuster co-founder Richard Simon (1899–1960) and civil rights activist Andrea Heinemann Simon (1909–1994).

The Simon children all pursued careers in the arts. Carly’s oldest sister, Joanna (1936–2022), was a mezzo-soprano for the New York City Opera; she later served as an arts correspondent for the MacNeil/Lehrer News Hour. The middle daughter, Lucy (1940–2022), recorded three folk-pop albums with Carly and later became a theater composer. Their younger brother, Peter Simon (1947–2018), was a noted celebrity photographer.

At age eight, Carly developed a speech impediment. She began singing and songwriting, partly because stutterers can sing without stuttering.

Simon Sisters

In the summer of 1964, Carly and Lucy started performing folk songs as the Simon Sisters. They signed with Knapp Records and released Meet The Simon Sisters later that same year. It yielded a minor hit with “Winkin’, Blinkin’ And Nod,” the Eugene Field children’s poem set to music composed by Lucy. The same sessions produced their second album, Cuddlebug, which appeared in 1966. They cut one further album, The Simon Sisters Sing the Lobster Quadrille and Other Songs for Children, before Lucy quit to get married. After Carly’s solo success, Lucy released two mid-’70s albums on RCA before going into theater composition.

In 1968, Carly sung briefly with the brass-psych big band Elephant’s Memory, which would later serve as John Lennon’s backing band. She also had a bit part in Miloš Forman’s 1971 comedy film Taking Off, where she plays an auditioning singer who sings “Long Term Physical Effects,” included on the film’s soundtrack. Meanwhile, Elektra Records co-founder Jac Holzman signed her to the label as a solo artist.

Carly Simon

Carly Simon released her self-titled debut album on February 9, 1971, on Elektra.

The album blends introspective ballads and lightly orchestrated singer-songwriter pop, framed by piano-led arrangements with acoustic guitar shading and string embellishments. Simon sings with careful phrasing over chamber-tinged textures on key tracks like “That’s the Way I’ve Always Heard It Should Be,” where sustained piano chords and cello underscore a lyric of relational resignation. Several cuts adopt a freer structure, allowing for dynamic rhythmic passages or lyrical character sketches, particularly on the extended “Dan, My Fling.”

Simon plays acoustic piano and guitar. Keyboardists Paul Griffin, Moogy Klingman, and Billy Mernit alternate across tracks. David Bromberg, Jimmy Ryan, and Jimmy Johnson handle guitars, with Jeff Baxter on pedal steel. Jerry Jemmott, Tony Levin, and Jim Wilkins supply bass; John Siomos plays drums. Harvey Shapiro adds cello; Ed Freeman and Pat Rebillot arrange the strings.

Simon composed six songs alone and co-wrote two others with lyricists Jacob Brackman and Bill Mernit. Brackman also co-wrote the lead single, while two further tracks originate from Moogy Klingman, Fred Gardner, and Buzzy Linhart.

A1. “That’s the Way I’ve Always Heard It Should Be” (4:15) — written by Carly Simon & Jacob Brackman
A2. “Alone” (3:36)
A3. “One More Time” (3:32)
A4. “The Best Thing” (4:14)
A5. “Just a Sinner” (3:10) — written by Moogy Klingman

B1. “Dan, My Fling” (5:28) — written by Jacob Brackman & Fred Gardner
B2. “Another Door” (3:16)
B3. “Reunions” (3:06) — co-written with Bill Mernit & Eddie Kramer
B4. “Rolling Down the Hills” (3:35)
B5. “The Love’s Still Growing” (4:14) — written by Buzzy Linhart

Sessions took place in 1970–71 at Electric Lady Studios in New York City with producer Eddie Kramer, who also engineered and mixed the album with Dave Palmer.

The album features art direction and design by Robert L. Heimall. Front cover and inner poster photography is by Peter Simon; the back cover is by Joel Brodsky.

“That’s the Way I’ve Always Heard It Should Be” appeared in April 1971, backed with “Alone.” The single reached No. 10 on the Billboard Hot 100, No. 6 on the Adult Contemporary chart, and No. 15 in Canada. The album peaked at No. 30 on the Billboard 200, No. 20 on Cash Box, and No. 17 in Canada. Simon won the 1972 Grammy for Best New Artist; the single earned her a nomination for Best Female Pop Vocal Performance.

Anticipation

Carly Simon released her second album, Anticipation, in November 1971 on Elektra.

The album builds on the introspective tone of her debut with a fuller ensemble sound, centering her voice against fluid acoustic piano, interwoven guitars, and subtle rhythmic pulses. “Anticipation” opens with a winding acoustic figure and resolves in a sudden final refrain that underscores the lyric’s thematic cycle. Tracks like “Our First Day Together” and “Three Days” shift toward a quiet chamber intimacy, while “Legend in Your Own Time” and “The Girl You Think You See” adopt a more declarative tone with syncopated phrasing and dynamic tempo shifts. The closer, “I’ve Got to Have You,” intensifies with a slow-build arrangement that peaks in a climactic vocal display.

Simon plays acoustic guitar and piano throughout. Paul Glanz contributes piano on select tracks. Jim Ryan handles acoustic, electric, and bass guitar, with John Ryan on double bass. Andy Newmark provides drums and percussion. Del Newman arranged the horn and string parts.

Simon wrote seven tracks alone and co-wrote three with Jacob Brackman. “Summer’s Coming Around Again” credits Simon, Jim Ryan, and Paul Glanz. The closing track was written by Kris Kristofferson.

A1. “Anticipation” (3:19)
A2. “Legend in Your Own Time” (3:45)
A3. “Our First Day Together” (3:29)
A4. “The Girl You Think You See” (3:07) — written by Carly Simon & Jacob Brackman
A5. “Summer’s Coming Around Again” (4:10) — written by Simon, Jim Ryan & Paul Glanz

B1. “Share the End” (3:58) — written by Simon & Brackman
B2. “The Garden” (4:08) — written by Simon & Brackman
B3. “Three Days” (3:19)
B4. “Julie Through the Glass” (3:23)
B5. “I’ve Got to Have You” (4:45) — written by Kris Kristofferson

Sessions took place in late summer 1971 at Morgan Studios, London, with producer Paul Samwell-Smith and engineer Michael Bobak. Editing was handled by Barry Hammond. The album was mastered by Lee Hulko at Sterling Sound in New York.

Cover photography was taken by Peter Simon at Queen Mary’s Garden in Regent’s Park, London. Art direction and design by Robert Heimall.

“Anticipation” appeared in November 1971, backed with “The Garden.” It reached No. 13 on the Billboard Hot 100, No. 10 on Cash Box, No. 9 in Canada, and No. 3 on Billboard’s Adult Contemporary chart. The follow-up single “Legend in Your Own Time,” backed with “Julie Through the Glass,” reached No. 50 on the Hot 100 and No. 11 on the Adult Contemporary chart. A third single, “The Girl You Think You See,” was issued in early 1972. In Australia, “I’ve Got to Have You” was released as a standalone single and reached No. 6.

The Anticipation album peaked at No. 30 on the Billboard 200, No. 31 on Cash Box, No. 36 in Canada, and No. 55 in Australia. It was certified Gold by the RIAA in 1973.

No Secrets

Carly Simon released her third album, No Secrets, on November 28, 1972, on Elektra.

The album presents a polished expansion of Simon’s confessional songwriting, set against crisp ensemble arrangements produced by Richard Perry. Strings, horns, and rhythm section dynamics bolster her melodic phrasing on tracks like “The Right Thing to Do,” which opens with lyrical piano and soft harmonies. “You’re So Vain” interlocks a rolling bassline, layered acoustic guitars, and orchestral surges to support her most acerbic lyric.

Introspective cuts like “We Have No Secrets” and “Embrace Me, You Child” contrast the upbeat polish with sparse piano-guitar frameworks and vulnerable narratives. Side two closes with the hushed ballad “When You Close Your Eyes,” arranged with minimal instrumentation and subtle woodwinds.

Simon plays piano, guitar, and (on the fourth track) ARP synthesizer. David Hentschel adds ARP synthesizer on “His Friends Are More Than Fond of Robin.” Nicky Hopkins, Peter Robinson, and Bill Payne play piano and organ across side two. Jimmy Ryan plays guitar on eight tracks and bass on two, with Klaus Voormann handling most other bass duties. Andy Newmark, Jim Gordon, and Jim Keltner rotate on drums. Ray Cooper plays congas; Paul Buckmaster, Kirby Johnson, and Simon arrange strings and woodwinds.

Simon wrote six songs alone and co-wrote songs with Bill Mernit (“When You Close Your Eyes”) and Esquire film critic Jacob Brackman (“The Carter Family,” “It Was So Easy”). Backing vocalists include Mick Jagger (a rumored “You’re So Vain” subject), Bonnie Bramlett, Linda McCartney, Paul McCartney, Doris Troy, and fellow singer-songwriter James Taylor, who married Simon in a private New York ceremony two weeks before this album’s release. Taylor submitted the penultimate track, “Night Owl.”

A1. “The Right Thing to Do” (2:57)
A2. “The Carter Family” (3:29) — written by Carly Simon & Jacob Brackman
A3. “You’re So Vain” (4:17)
A4. “His Friends Are More Than Fond of Robin” (3:00)
A5. “We Have No Secrets” (3:57)

B1. “Embrace Me, You Child” (4:06)
B2. “Waited So Long” (4:30)
B3. “It Was So Easy” (3:06) — written by Simon & Brackman
B4. “Night Owl” (3:47) — originated in the setlist of The Flying Machine, Taylor’s pre-fame folk rock band with Danny Kortchmar. Taylor recorded the song for his 1968 solo debut on Apple Records.
B5. “When You Close Your Eyes” (3:05) — written by Simon & Bill Mernit

Sessions took place in September and October 1972 at Trident Studios, London, with producer Richard Perry and engineers Robin Geoffrey Cable, Bill Schnee, and Mark Berry. Doug Sax handled disc mastering. Ed Caraeff shot the cover photograph in front of the Portobello Hotel, Notting Hill. Art direction and design by Robert Heimall; inner sleeve photography by Peter Simon.

“You’re So Vain” appeared on November 8, 1972, backed with “His Friends Are More Than Fond of Robin.” It reached No. 1 on the Billboard Hot 100, Adult Contemporary, Cash Box, RPM (Canada), and Kent Music Report (Australia); No. 3 in the UK; No. 4 in Ireland, Quebec, and South Africa; and Top 10 across Belgium, the Netherlands, and West Germany.

The follow-up, “The Right Thing to Do” (b/w “We Have No Secrets”), reached No. 17 on the Billboard Hot 100 and UK Singles chart, No. 10 on Cash Box, No. 4 on Adult Contemporary, and Top 20 in Canada and New Zealand.

No Secrets spent five weeks at No. 1 on the Billboard 200 and topped the charts in Canada and Australia. It reached No. 3 in the UK and Japan, and Top 10 in Norway and Finland. It was certified Platinum by the RIAA in 1997 and Gold by the BPI in 2011.

Hotcakes

Carly Simon released her fourth album, Hotcakes, on January 11, 1974, on Elektra.

Hotcakes shifts toward domestic narrative themes, blending light piano pop and relaxed acoustic textures with brisk ensemble passages and string-enhanced refrains. Songs like “Think I’m Gonna Have a Baby” and “Forever My Love” reflect her new domesticity, while “Just Not True” and “Misfit” revisit personal reckoning with a more subdued edge. Simon closes the album with “Haven’t Got Time for the Pain,” a mid-tempo confessional layered in strings and restrained percussion. “Mockingbird,” a duet with husband James Taylor, reworks the Inez and Charlie Foxx classic with expanded horn voicing and syncopated vocal interplay.

Simon plays piano, guitar, and (on “Mind on My Man”) Fender Rhodes electric piano. She’s backed by multiple guitarists (David Spinozza, Robbie Robertson, Jimmy Ryan, Bucky Pizzarelli), bassists (Klaus Voormann, Richard Davis, Larry Brean), and drummers (Jim Keltner, Billy Cobham, Andy Newmark, Rick Marotta, Russ Kunkel). Her husband adds acoustic guitar to five tracks. Paul Buckmaster arranged strings and woodwinds on six tracks. Additional contributors include Ralph MacDonald (percussion), Bobby Keys and Michael Brecker (horns), and background singers including Lani Groves, Lucy Simon, and the soul group Revelation.

Simon wrote seven songs alone and co-wrote three with Jacob Brackman. “Forever My Love” was co-written with Taylor, who also arranged the brief title track. “Mockingbird” adapts the Inez and Charlie Foxx original with new lyrics credited to Taylor.

A1. “Safe and Sound” (3:36) — written by Carly Simon & Jacob Brackman
A2. “Mind on My Man” (2:57)
A3. “Think I’m Gonna Have a Baby” (3:55)
A4. “Older Sister” (3:06)
A5. “Just Not True” (5:16)
A6. “Hotcakes” (1:07) — written by James Taylor

B1. “Misfit” (3:04)
B2. “Forever My Love” (3:25) — written by Simon & James Taylor
B3. “Mockingbird” (4:11) — written by Inez & Charlie Foxx; additional lyrics by James Taylor
B4. “Grownup” (3:44)
B5. “Haven’t Got Time for the Pain” (3:50) — written by Simon & Jacob Brackman

Sessions took place in fall 1973 at The Hit Factory (New York) and Producers Workshop (Los Angeles) with producer Richard Perry and engineers Harry Maslin and Bill Schnee. Doug Sax mastered the album at The Mastering Lab (Los Angeles). Art direction and design by Vincent Cesi at Push Pin Studios. Cover photography by Ed Caraeff; centerfold by Vieri Salvadori.

“Mockingbird” appeared in January 1974, backed with “Grownup.” It reached No. 5 on the Billboard Hot 100, No. 10 on Adult Contemporary, No. 3 in Canada, No. 7 in New Zealand, No. 8 in Australia, and No. 34 in the UK. It was certified Gold by the RIAA.

“Haven’t Got Time for the Pain,” backed with “Mind on My Man,” appeared that April and reached No. 14 on the Hot 100, No. 2 on Adult Contemporary, No. 1 on Canadian Adult Contemporary, and Top 10 on Cash Box.

Hotcakes peaked at No. 3 on the Billboard 200 and Cash Box, No. 7 in Canada, No. 9 in Australia, and No. 19 in the UK. It was certified Gold shortly after release.

Playing Possum

Carly Simon released her fifth album, Playing Possum, on April 21, 1975, on Elektra.

Playing Possum moves Simon into glossier territory, balancing assertive rock production with late-night balladry, dancefloor polish, and orchestral pop gestures. “Attitude Dancing” leads with rhythmic punch and brass accents, contrasting her sassy vocal presence with fluid strings and harmonized refrains.

“Waterfall” and “Slave” return to confessional motifs, framed by subtle piano, layered backing vocals, and Taylor’s acoustic textures. “More and More,” built on a barrelhouse pattern, pairs her with Ringo Starr and songwriter Dr. John. The album closes with the title track—lyrically oblique and texturally restrained, backed by pedal steel, harmonica, and clarinet overlays.

Simon plays acoustic piano, acoustic guitar (“Look Me in the Eyes” ), and co-arranges horns (“After the Storm”) and strings (“Playing Possum”). Andrew Gold guests as a dual-instrumentalist among multiple guitarists (Lee Ritenour, Jeff Baxter, Alvin Robinson, Sneaky Pete Kleinow), bassists (Klaus Voormann, Willie Weeks, Leland Sklar, Joe Mondragon), and drummers (Ringo Starr, Jim Gordon, Russ Kunkel).

Simon wrote eight of the ten tracks, including two with Jacob Brackman. Pianist Billy Mernit co-wrote “Sons of Summer.” James Newton Howard plays ARP synthesizer and electric piano. Paul Riser and Perry Botkin Jr. oversaw orchestration and horn arrangements. Backing vocalists include Carole King, Rita Coolidge, Clydie King, and husband James Taylor.

A1. “After the Storm” (2:47)
A2. “Love Out in the Street” (3:40)
A3. “Look Me in the Eyes” (3:34)
A4. “More and More” (4:02) — written by Mac Rebennack & Alvin Robinson
A5. “Slave” (3:54) — written by Simon & Jacob Brackman

B1. “Attitude Dancing” (3:52) — written by Simon & Brackman
B2. “Sons of Summer” (3:05) — written by Billy Mernit
B3. “Waterfall” (3:31)
B4. “Are You Ticklish” (2:26)
B5. “Playing Possum” (3:57)

Sessions took place in 1974–75 at Sound Labs, Sunset Sound Recorders, Crystal Sound, A&M Studios, and Burbank Studios, all in California, with producer Richard Perry and engineers Bill Schnee, Norm Kinney, and Andrew Berliner; remixing by Kinney and Schnee.

The album cover, shot by Norman Seeff, features Simon in black negligee, pantyhose, and boots, kneeling in a provocative pose. Art direction by Glen Christensen. The cover was nominated for Best Album Package at the 18th Grammy Awards and ranked No. 20 on Rolling Stone’s 1991 list of greatest album covers.

“Attitude Dancing,” backed with “Are You Ticklish,” reached No. 21 on the Billboard Hot 100 and Canadian RPM, and No. 18 on Billboard’s Adult Contemporary chart. “Waterfall,” backed with “After the Storm,” peaked at No. 78 on the Hot 100 and No. 21 on Adult Contemporary.

“More and More,” backed with “Love Out in the Street,” reached No. 94 on the Hot 100. Playing Possum peaked at No. 10 on the Billboard 200, No. 9 on Cash Box, No. 22 in Canada, No. 25 in Australia, No. 32 in New Zealand, and No. 70 in Japan.

Another Passenger

Carly Simon released her sixth album, Another Passenger, on June 5, 1976, on Elektra.

Another Passenger marks a stylistic shift toward live-band dynamics and laid-back California rock production under Ted Templeman. “It Keeps You Runnin’,” a cover of the Michael McDonald–penned Doobie Brothers track, sets the tone with its jazz-tinged keyboard bed, soft harmonic buildup, and tight rhythm section. “Half a Chance” adds a slicker polish and rhythmic bounce, while “Cow Town” and “Darkness ’Til Dawn” embrace sparse arrangements and character vignettes. The closing track, “Be With Me,” ends the album on a hushed note, framed by electric piano and acoustic guitar.

Simon sings lead and contributes piano (“Fairweather Father,” “In Times When My Head”), celesta, guitar (“He Likes to Roll,” “Playing Possum”), and backing vocals on nine tracks. She’s backed by members of The Doobie Brothers and Little Feat, including Michael McDonald (keys, vocals), Bill Payne (organ), Paul Barrere (guitar), and Kenny Gradney (bass). Other guests include James Taylor, Van Dyke Parks, Glenn Frey, and Dr. John. She’s supported by multiple guitarists (Jeff Baxter, Andrew Gold, Lowell George), bassists (Klaus Voormann, Bob Glaub), and drummers (Jim Keltner, Andy Newmark, Richie Hayward, Rick Jaeger). Linda Ronstadt and Jackson Browne appear among the background vocalists.

Simon wrote nine of the twelve tracks, collaborating with Jacob Brackman on three, and Zach Wiesner on two.

A1. “Half a Chance” (2:55) — written by Carly Simon & Jacob Brackman
A2. “It Keeps You Runnin’” (3:56) — written by Michael McDonald
A3. “Fairweather Father” (3:30)
A4. “Cow Town” (4:15)
A5. “He Likes to Roll” (3:34)
A6. “In Times When My Head” (3:27)

B1. “One Love Stand” (3:27) — written by Paul Barrere, Bill Payne & Kenny Gradney
B2. “Riverboat Gambler” (3:53) — written by Simon & Brackman
B3. “Darkness ’Til Dawn” (3:18) — written by Simon & Brackman
B4. “Dishonest Modesty” (3:06) — written by Simon & Zach Wiesner
B5. “Libby” (4:42)
B6. “Be With Me” (1:53) — written by Simon & Wiesner

Sessions took place at Sunset Sound (Hollywood) with producer Ted Templeman and engineer Donn Landee. David Campbell, Kirby Johnson, and Van Dyke Parks arranged strings and woodwinds across multiple tracks.

The album cover features a barroom photo by Mary Ellen Mark; art direction by Glen Christensen with design by Anne Garner. Film director Terrence Malick appears on the back cover.

“It Keeps You Runnin’,” backed with “Look Me in the Eyes” (US) and “Be With Me” (UK), reached No. 46 on the Billboard Hot 100 and No. 27 on Adult Contemporary. The follow-up, “Half a Chance,” backed with “Libby,” peaked at No. 39 on Adult Contemporary. Another Passenger peaked at No. 29 on the Billboard 200 and No. 21 on Cash Box, with lower charting in Canada and Japan.

“Nobody Does It Better”

Carly Simon released the soundtrack single “Nobody Does It Better” in July 1977 on Elektra. It served as the theme for the James Bond film The Spy Who Loved Me, the tenth in the series and the third starring Roger Moore.

Richard Perry produced the ballad, composed by Marvin Hamlisch with lyrics by Carole Bayer Sager. This was the first Bond theme since Dr. No (1962) whose title did not match the film name, though the phrase appears within the lyric. Simon’s performance foregrounds intimacy and restraint, aligning romantic vulnerability with the film’s suave espionage framing.

A. “Nobody Does It Better” (3:29)

The song appeared as the main title and end title on the film’s soundtrack, surrounding the instrumental score by Hamlisch. Simon’s “After the Storm,” from Playing Possum, was reused as the b-side.

The single became one of the most successful Bond themes and Simon’s longest‑charting hit. It reached No. 2 on the Billboard Hot 100 for three weeks, held from the top position by Debby Boone’s “You Light Up My Life,” and topped the Billboard Adult Contemporary chart for seven weeks, finishing as the No. 1 AC single of 1977. Internationally, it reached No. 7 in the UK, No. 1 in Ireland, and charted across Europe, Canada, Australia, and South America. The song earned Gold certification in the U.S. and Silver in the UK.

The song received Academy Award, Golden Globe, and Grammy nominations, including Song of the Year, with Simon nominated for Best Pop Vocal Performance, Female. In later retrospective rankings, it placed among the highest‑rated Bond themes, including AFI’s 100 Years…100 Songs list and multiple industry polls.

Boys in the Trees

Carly Simon released her seventh album, Boys in the Trees, in April 1978 on Elektra.

Boys in the Trees returns Simon to polished studio production with a blend of soft rock, jazz-inflected pop, and ballads underscored by orchestral finesse. “You Belong to Me” opens the album with layered Fender Rhodes, saxophone accents, and a smooth fusion pulse. “Devoted to You,” a duet with James Taylor, reshapes the Everly Brothers’ ballad into a softly harmonized centerpiece. Elsewhere, tracks like “Tranquillo (Melt My Heart)” and “De Bat (Fly in Me Face)” inject subtle Latin and funk inflections, while the title track and “Back Down to Earth” anchor the set in acoustic reflection.

Simon sings lead throughout and contributes guitar on three tracks, plus backing vocals and arrangement duties. She’s joined by a core rhythm section featuring pianist Richard Tee, drummer Steve Gadd, and bassists Gordon Edwards and Tony Levin. Guitarists include Cornell Dupree, Jeff Mironov, John Hall, and Stuart Scharf, with Michael Brecker, David Sanborn, and Don Grolnick among the supporting soloists and arrangers. Arif Mardin oversees production, conducting the string and horn arrangements with vocal contributions from Luther Vandross, Cissy Houston, Lucy Simon, and James Taylor.

Simon wrote eight tracks, including “You Belong to Me” with Michael McDonald and “Tranquillo (Melt My Heart)” with Taylor and Mardin. She co-wrote “For Old Times Sake” with Jacob Brackman. “Devoted to You” was composed by Felice and Boudleaux Bryant. “One Man Woman” is credited to Taylor.

A1. “You Belong to Me” (3:52) — written by Carly Simon & Michael McDonald
A2. “Boys in the Trees” (3:13)
A3. “Back Down to Earth” (3:08)
A4. “Devoted to You” (2:29) — written by Felice & Boudleaux Bryant
A5. “De Bat (Fly in Me Face)” (2:28)
A6. “Haunting” (2:28)

B1. “Tranquillo (Melt My Heart)” (4:02) — written by Simon, James Taylor & Arif Mardin
B2. “You’re the One” (3:38)
B3. “In a Small Moment” (3:08)
B4. “One Man Woman” (3:39) — written by James Taylor
B5. “For Old Times Sake” (3:41) — written by Simon & Jacob Brackman

Sessions ran from December 1977 to March 1978 at Atlantic and A&R Studios, NYC, with Arif Mardin producing and Lew Hahn engineering. George Piros mastered the album at Atlantic Studios. Art direction and design by Tony Lane and Johnny Lee; photography by Deborah Turbeville. The cover, airbrushed to conceal nudity, won the 1979 Grammy for Best Album Package.

“You Belong to Me,” backed with “In a Small Moment,” reached No. 6 on the Billboard Hot 100, No. 4 on Adult Contemporary, and earned Simon a Grammy nomination for Best Pop Vocal Performance, Female.

“Devoted to You,” backed with “Boys in the Trees,” reached No. 36 on the Hot 100, No. 2 on Adult Contemporary, and No. 33 on Country Songs. It peaked at No. 9 in Canada. “Tranquillo (Melt My Heart),” backed with “You’re the One,” reached No. 86 on the Cash Box chart.

Boys in the Trees peaked at No. 10 on the Billboard 200, No. 8 on Cash Box, No. 4 in Canada, and No. 27 in Australia. It was certified Platinum by the RIAA on August 7, 1978.

Spy

Carly Simon released her eighth album, Spy, in June 1979 on Elektra.

Spy blends post-disco textures with jazz-inflected pop and lyrical undercurrents of detachment and romantic fracture. Opener “Vengeance” combines clipped guitar figures, pulsing syndrums, and urgent vocals, pairing Simon’s sharp phrasing with a tightly arranged backing. “We’re So Close” anchors the album with hushed piano and drawn-out vocal tension, while “Never Been Gone” revisits introspection with layered harmonies and subdued orchestration. The title track adds rhythmic restraint and tonal ambiguity, framed by Taylor’s acoustic voicings and soft modulations.

Simon sings lead and plays piano on two tracks. She’s joined by multiple guitarists (David Spinozza, John Hall, Joe Caro), bassists (Will Lee, Tony Levin), and drummers (Steve Gadd, Rick Marotta). Don Grolnick, Richard Tee, and Warren Bernhardt split keyboard duties across piano and electric textures. Woodwind solos by David Sanborn and Michael Brecker are featured alongside string arrangements by producer Arif Mardin. Additional vocals come from Tim Curry, Ullanda McCullough, James Taylor, and Lucy Simon.

Simon wrote six of the nine tracks, including “Never Been Gone” with Jacob Brackman and “Love You By Heart” with Brackman and Libby Titus. She co-wrote “Spy” with Taylor and Mardin, and “Pure Sin” with Frank Carillo.

A1. “Vengeance” (4:14)
A2. “Just Like You Do” (4:14)
A3. “We’re So Close” (5:10)
A4. “Coming to Get You” (2:49)
A5. “Never Been Gone” (3:36) — written by Simon & Jacob Brackman

B1. “Pure Sin” (3:56) — written by Simon & Frank Carillo
B2. “Love You By Heart” (3:55) — written by Simon, Brackman & Libby Titus
B3. “Spy” (4:14) — written by Simon, James Taylor & Arif Mardin
B4. “Memorial Day” (8:29)

Sessions ran from December 1978 to April 1979 at Atlantic Studios (NYC) with Arif Mardin producing and Lew Hahn engineering. George Piros handled mastering. Album photography by Pam Frank with art direction and design by Robert Heimall.

“Vengeance,” backed with “Love You By Heart,” reached No. 48 on the Billboard Hot 100 and No. 52 on the Cash Box chart. It earned Simon a Grammy nomination in the new category of Best Rock Vocal Performance, Female. “Spy,” released as the second single, peaked at No. 34 on the Billboard Adult Contemporary chart.

Spy reached No. 45 on the Billboard 200, No. 35 on Cash Box, and No. 33 in Australia. It was Simon’s final release for Elektra.

Simon filmed a Super 8 video for “Vengeance” on a soundstage with Caro, Levin, and Gadd. On August 1, 1981, it became the 34th aired clip on MTV during the cable music channel’s first day of broadcast, slotted between Styx (“The Best of Times”) and Iron Maiden (“Wrathchild”).

Come Upstairs

Carly Simon released her ninth album, Come Upstairs, on June 16, 1980, on Warner Bros.

Come Upstairs marked a stylistic shift for Simon, introducing electric instrumentation and new wave–inflected synth textures into a sound previously grounded in acoustic balladry. Produced by Mike Mainieri, the album features layered Oberheim and Prophet synthesizers, programmed rhythms, and guitar-driven arrangements offset by emotionally direct lyrics. The title track opens with kinetic pulse and innuendo-laced delivery, while “Take Me As I Am” layers electric slide with chorused vocals and rhythmic drive.

The album’s centerpiece is “Jesse,” an acoustic ballad that reverts to Simon’s earlier style. With a narrative of backsliding desire, it’s framed by delicate piano, brushed guitar textures, and harmonized family vocals. Other tracks confront alienation (“Them”), marital collapse (“James”), and raw anguish (“In Pain”), delivered over stark arrangements and angular progressions.

Simon sings lead throughout and plays acoustic guitar on “Jesse.” She’s backed by guitarists Pete Hewlett and Sid McGinnis, bassist Tony Levin, and drummer Rick Marotta, with synthesizer work from Mainieri, Ed Walsh, and Larry Fast. Don Grolnick contributes acoustic piano. James Taylor joins on backing vocals alongside their daughter Sally Taylor and siblings Hugh and Alex Taylor.

Simon wrote all nine songs, including two with Mainieri and one each with Don Grolnick and Sid McGinnis.

A1. “Come Upstairs” (4:18)
A2. “Stardust” (4:13)
A3. “Them” (3:44)
A4. “Jesse” (4:15)
A5. “James” (2:28)

B1. “In Pain” (6:10) — written by Simon, Mainieri & Don Grolnick
B2. “The Three of Us in the Dark” (4:14)
B3. “Take Me As I Am” (4:50) — written by Simon, Mainieri & Sid McGinnis
B4. “The Desert” (4:44)

Sessions took place from October 1979 to May 1980 at Power Station (NYC) with producer Mike Mainieri and engineer Scott Litt. Bob Ludwig mastered the album at Masterdisk. Photography by Mick Rock, with art direction by Peter Whorf and design by Bill Gerber.

“Jesse,” backed with “Stardust,” reached No. 11 on the Billboard Hot 100 and No. 8 on the Adult Contemporary chart. It also reached No. 9 on the Cash Box chart, No. 12 in Canada, and No. 4 in Australia. The single was certified Gold by the RIAA for U.S. sales over one million. “Take Me As I Am,” backed with “Them,” charted modestly, as did “Come Upstairs,” issued as a third single.

Come Upstairs peaked at No. 36 on the Billboard 200, No. 37 on Cash Box, and No. 43 in Australia.

Torch

Carly Simon released her tenth album, Torch, in August 1981 on Warner Bros.

Torch marked Simon’s first full-length venture into traditional pop, focusing on torch songs—melancholic ballads of heartbreak, longing, and emotional resignation. Arranged with orchestral finesse and rooted in midcentury songwriting, the album trades her usual rock-leaning sound for cabaret poise and smoky introspection. Mike Mainieri produced, curating a rich blend of jazz combo textures, big band flourishes, and intimate piano-vocal moments.

Simon interprets standards by Hoagy Carmichael (“I Get Along Without You Very Well”), Rodgers & Hart (“Spring Is Here”), Ellington (“I Got It Bad and That Ain’t Good”), and Wilder (“I’ll Be Around”) with tonal restraint and lyrical nuance. She also includes one original—“From the Heart”—a modest, inward-facing ballad of ache and endurance. The closing track, Stephen Sondheim’s “Not a Day Goes By,” is the album’s emotional apex, sung with raw, minimalist intensity.

Simon is backed by pianist Warren Bernhardt, bassist Anthony Jackson, and drummer Rick Marotta, with jazz soloists David Sanborn, Phil Woods, and Randy Brecker contributing. Hugh McCracken and Lee Ritenour provide guitar textures, and Don Sebesky, Marty Paich, and Robert Freedman handle orchestration. Saxophonist Michael Brecker and violinist David Nadien appear in key moments.

Simon wrote or co-wrote three tracks: “Blue of Blue,” “From the Heart,” and “What Shall We Do with the Child.”

A1. “Blue of Blue” (3:38) – written by Simon and Nicholas Holmes
A2. “I’ll Be Around” (2:30) – Alec Wilder
A3. “I Got It Bad and That Ain’t Good” (3:46) – Ellington/Webster
A4. “I Get Along Without You Very Well” (3:23) – Hoagy Carmichael
A5. “Body and Soul” (4:12) – Heyman/Sour/Eyton/Green

B1. “Hurt” (3:21) – Jimmie Crane & Al Jacobs
B2. “From the Heart” (2:47) – Carly Simon
B3. “Spring Is Here” (3:02) – Rodgers & Hart
B4. “Pretty Strange” (2:59) – Jon Hendricks & Randy Weston
B5. “What Shall We Do with the Child” (2:44) – Holmes, Kate Horsey & Simon
B6. “Not a Day Goes By” (2:40) – Stephen Sondheim

Recorded at Power Station (NYC) between early and mid-1981, Torch was produced by Mainieri and engineered by Scott Litt. Bob Ludwig mastered the record at Masterdisk. The cover photo, by Lynn Goldsmith, features Simon gripping the arm of actor Al Corley (known for Dynasty), evoking the album’s themes of emotional grasp and detachment.

“Hurt” was released as the lead single and peaked at No. 106 on Billboard’s Bubbling Under Hot 100 chart. A second single, “I Get Along Without You Very Well,” received modest airplay. Though the album didn’t generate hits, it received strong reviews, with Stephen Holden of Rolling Stone calling it “a superb example of modern mood music.” Simon later cited “Not a Day Goes By” as one of her most emotionally revealing recordings.

Hello Big Man

Carly Simon released her eleventh album, Hello Big Man, on August 31, 1983, on Warner Bros.

Hello Big Man marked Simon’s final album for Warner Bros. and a return to romantic balladry, folk-based introspection, and subtle pop sophistication after two experimental records. Mike Mainieri produced the album across sessions in New York and Los Angeles, assembling a cast that included Robbie Shakespeare, Sly Dunbar, David Sanborn, and jazz-fusion players like Eric Gale, Tony Levin, and Andy Summers.

“You Know What to Do” leads with a synth-driven pop arrangement and layered chorus vocals. The title track closes the album with a lyrical recounting of her parents’ first encounter, backed by acoustic piano and atmospheric textures. Bob Marley’s “Is This Love” is recast with Simon’s soft soprano over Sly & Robbie’s reggae cadence and a warm horn section. “It Happens Everyday” and “Orpheus” explore heartbreak and self-reckoning in sparse, low-lit settings, while “Menemsha” and “Such a Good Boy” shift between steel drums, electric piano, and programmed percussion.

Simon wrote or co-wrote all ten tracks, including three with Peter Wood and one each with Jacob Brackman, Mike Mainieri, and Robbie Shakespeare. She plays acoustic and electric guitars and is joined vocally by family members (Lucy, Kate, Hugh, and Sally Taylor) and background session luminaries Tawatha Agee, Fonzi Thornton, and Marcus Miller.

A1. “You Know What to Do” (4:16) – written by Simon, Brackman, Wood & Mainieri
A2. “Menemsha” (4:39) – written by Simon & Wood
A3. “Damn You Get to Me” (3:16)
A4. “Is This Love?” (4:13) – written by Bob Marley
A5. “Orpheus” (3:50)

B1. “It Happens Everyday” (2:44)
B2. “Such a Good Boy” (4:01) – written by Simon, Shakespeare & Mainieri
B3. “Hello Big Man” (5:29) – written by Simon & Wood
B4. “You Don’t Feel the Same” (2:43)
B5. “Floundering” (3:46)

Sessions took place in 1982–83 at Power Station (New York City), Village Recorder (Hollywood), and Ocean Way (Los Angeles). Engineering was handled by Neil Dorfsman and Scott Litt, with mixing by Frank Filipetti. The cover photograph was taken by Lynn Kohlman; inner sleeve photos by Peter Simon. The title refers to a phrase exchanged between Simon’s parents when they first met—“Hello little woman” / “Hello big man”—evoked visually and lyrically in the title track’s music video.

“You Know What to Do,” backed with “Orpheus,” peaked at No. 83 on the Billboard Hot 100 and No. 36 on the Adult Contemporary chart. “Hello Big Man” was issued as the second single, accompanied by a video featuring archival family footage. Hello Big Man received positive reviews but was a commercial disappointment.

Spoiled Girl

Carly Simon released her twelfth album, Spoiled Girl, in June 1985 on Epic.

Spoiled Girl was Simon’s sole release for Epic Records and her most overt embrace of modernist stylings, incorporating synth-rock textures, LinnDrum programming, digital keyboards, and multiple producers. Recorded at multiple New York studios, the album features contributions from Arthur Baker, Paul Samwell-Smith, Don Was, Phil Ramone, and G.E. Smith. Thematically, the songs explore gender roles, romantic fatigue, media voyeurism, and emotional resilience.

“Tired of Being Blonde,” penned by Larry Raspberry, leads with a polished synth-rock framework under G.E. Smith’s guitar lines. “My New Boyfriend” pairs satirical lyrics with rhythmic Fairlight pulses, robotic fills, and call-and-response vocals. “Black Honeymoon” explores sexual jealousy through subdued harmonies, processed textures, and a chill electronic undercurrent. “Interview” and “Make Me Feel Something” use synthetic layering and LinnDrum overlays to contrast with Simon’s expressive vocal tone.

Simon wrote or co-wrote nine of the eleven album tracks, working with Jacob Brackman, Andy Goldmark, Arthur Baker, and others. She sings lead and backing vocals on all tracks, and contributes synthesizer parts on “Anyone But Me.” Backing vocalists include Lucy and Kate Taylor, Luther Vandross, Lotti Golden, and Marcus Miller.

A1. “My New Boyfriend” (4:19)
A2. “Come Back Home” (4:22) – written by Simon, Brackman, Aaron Zigman, Jason Scheff & Guy Thomas
A3. “Tonight and Forever” (4:53) – written by Simon & Eddie Schwartz
A4. “Spoiled Girl” (3:20) – written by Simon, Russ Kunkel & Bill Payne
A5. “Tired of Being Blonde” (4:46) – written by Larry Raspberry

B1. “The Wives Are in Connecticut” (4:28)
B2. “Anyone But Me” (4:19) – written by Simon, Arthur Baker & Stuart Kimball
B3. “Interview” (4:49) – written by Simon & Don Was
B4. “Make Me Feel Something” (4:40)
B5. “Can’t Give It Up” (3:43) – written by Simon & Andy Goldmark

CD bonus track
11. “Black Honeymoon” (4:32) – written by Simon, Brackman & Goldmark

Sessions took place at Right Track Recording, Electric Lady Studios, The Hit Factory, and Shakedown Sound in New York City. Engineering was handled by Frank Filipetti, Andy Wallace, and David Thoener, with mastering by Ted Jensen at Sterling Sound. Cover photography was by Duane Michaels.

The cassette and CD versions include “Black Honeymoon,” which was absent from the original LP. In 2012, Hot Shot Records reissued Spoiled Girl as a deluxe CD with four bonus tracks: “Black Honeymoon,” the 7″ single mix of “Tired of Being Blonde,” and two extended mixes of “My New Boyfriend.”

“Tired of Being Blonde,” backed with “The Wives Are in Connecticut,” reached No. 70 on the Billboard Hot 100 and No. 34 on the Adult Contemporary chart. “My New Boyfriend,” backed with the same B-side, charted at No. 83 and was supported by a music video depicting Simon in ancient, jungle, and futuristic settings.

Spoiled Girl peaked at No. 88 on the Billboard 200 and No. 70 on Cash Box.

Coming Around Again

Carly Simon released her thirteenth album, Coming Around Again, on April 13, 1987, on Arista.

Coming Around Again marked Simon’s return to prominence with a confident synthesis of adult contemporary pop and confessional lyricism. Produced across multiple studios with an array of collaborators, the album blends soft rock textures with orchestral and electronic elements. It includes four Top 10 Adult Contemporary hits and reestablished Simon as a major chart presence after a five-year lull.

The title track, originally composed for the 1986 film Heartburn, leads the set with understated instrumentation and introspective tone. Its B-side, “Itsy Bitsy Spider,” appears in medley form with the same harmonic structure and became a live concert favorite. “Give Me All Night” and “The Stuff That Dreams Are Made Of” both feature Simon’s vocal restraint over gliding synth arrangements and expressive backing choirs. “All I Want Is You,” a minor pop hit featuring Roberta Flack, expands the sonic palette with a layered arrangement and string accents. Simon’s reading of “As Time Goes By” features Stevie Wonder on harmonica and orchestral backing by Rob Mounsey.

Simon sings lead throughout, contributes keyboards and piano on multiple tracks, and arranges two songs. She’s joined by instrumentalists Tony Levin, Jimmy Ryan, Russ Kunkel, Andy Goldmark, and Michael Brecker. Rob Mounsey oversees key arrangements; Paul Samwell-Smith, Bill Payne, and John Boylan share production duties across tracks.

A1. “Coming Around Again” (3:38)
A2. “Give Me All Night” (4:20) – written by Simon & Gerard McMahon
A3. “As Time Goes By” (5:06) – written by Herman Hupfeld
A4. “Do the Walls Come Down” (3:48) – written by Simon & Paul Samwell-Smith
A5. “It Should Have Been Me” (4:20) – written by Bryan Adams & Jim Vallance

B1. “The Stuff That Dreams Are Made Of” (5:01)
B2. “Two Hot Girls (On a Hot Summer Night)” (4:51)
B3. “You Have to Hurt” (4:04) – written by Frank Musker & Dominic King
B4. “All I Want Is You” (3:58) – written by Simon, Andy Goldmark & Jacob Brackman
B5. “Hold What You’ve Got” (3:40) – written by Simon & Joe Tex
B6. “Itsy Bitsy Spider” (3:40) – written by Simon, based on the nursery rhyme

Sessions took place in 1986–87 at Right Track Recording, The Power Station, Unique Recording Studios, Pin Wheel Studio, and Flying Monkey (New York), with additional work at Cliffhanger Studio (Vancouver). Executive producer Clive Davis oversaw the album. Engineering was handled by Frank Filipetti and George Massenburg. The cover photography is by Lynn Goldsmith.

“Coming Around Again,” backed with “Itsy Bitsy Spider,” reached No. 18 on the Billboard Hot 100, No. 5 on Adult Contemporary, and No. 10 in the UK. “Give Me All Night,” backed with “Sleight of Hand,” peaked at No. 5 AC and No. 61 pop.

“The Stuff That Dreams Are Made Of,” backed with “As Time Goes By,” reached No. 8 AC and No. 1 on Canada’s AC chart. “All I Want Is You,” backed with “Two Hot Girls,” peaked at No. 54 pop and No. 7 AC.

Coming Around Again reached No. 25 on the Billboard 200 and UK Albums Chart, and went Platinum in the US.

Discography: