Chords for Carly Simon - Mick Jagger sang backup on You're So Vain.

[G] Ladies and gentlemen, let's [D] welcome Carly Simon.
[N] _ _ _
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_ _ _ _ _ _ How are you feeling this morning?
I'm feeling great.
Just watching that little intro about me, well you know everything now.
Show's over, see you tomorrow.
When you go about putting together a box set like this, you're walking through your past.
As you're rummaging through all of that, how do you decide what goes in, what goes out, what stays, what do you want to give up?
Well, in this case there was a lot of politics to sidestep.
There were record companies, well my first record company, Elektra, [Abm] didn't want to, there were deals [B] that had to be made.
I've also been with a number of different record companies, so there was a lot, you know I couldn't use very many from the Elektra catalog.
I really had to pick and choose, so there were a number [F] of songs from the Elektra days, which constituted the first six albums that I did, that are not on there.
Because we had just a certain number of songs that we could do.
And then I thought about balance, and I thought about my favorite things, about little gems that had always been special to me, but which other people didn't either know or care about.
So there was a wide variety of things which went into [Gm] figuring out what [A] songs to put on.
You know Carl, I can remember, sometimes you remember exactly where you were when you hear a song, and that's the way I've always [E] heard it should be.
I remember the imagery, a father sitting in a room and you could see the light on his smoke.
And also it was at a time when people were living together, and okay I guess that's the way it should [B] be, we'll marry.
And the imagery of that song, I was [Eb] wondering, tell me about the blocks that you had to build to get up to that song, because it seemed like it just [B] flowed out perfectly.
Well that song actually was [Eb] _ originally written, the melody of that song was written for a television special called Who Killed [A] Lake Erie.
_ [Db] Who knew?
So [Cm] da da da dee da da da da da da was played over the stench rising from Lake Erie.
[B] When the river was on fire and everything else.
Yes, yes.
[Gb] And in fact the [F] first review I ever got on my music was for that.
They said it was overly, [E] there was weltschmerz, I remember that word.
What did they know, right?
What did they know, and that was before I made my first album.
But I always liked the melody and so wanted to use [Abm] it for a song.
But once I've [N] written a melody I can't write words to it.
And so, I mean that's the hardest thing for me, usually with my songs I'll write the words first and then I can put the melody to the words.
But if the melody comes first I'm lost.
So I tried and I had three different sets of lyrics for that.
Finally I gave up and gave it to my friend Jake Brackman who I write some songs with.
And Jake was the one who wrote that lyric.
To the rotten Lake Erie.
To the rotten Lake Erie. Unbelievable.
Is writing hard or easy for you?
It depends upon when and where and why.
Sometimes it can be very easy.
Usually if I get one song under my belt two more will follow.
But if I haven't written a song in a long time and I can build up this nice little block.
You know where I just sit around for days saying I'm no good, I'm no good, I can't write, oh my god that word, oh that's a cliche.
You know everything just sounds awful to me and is embarrassing.
Well in the end it all sounds pretty darn good to us.
We [Em] need to take a break but we've got lots more to talk about [N] and we're going to hear from you two this morning.
Got it.
[Eb] We are back with Carly [D] Simon.
You were talking about blocks and building the song [Eb] in blocks and whatnot in blocks and creative blocks.
One of the most public blocks we've heard about you is [E] about performing.
Why is it hard for you to perform in public?
It's not really any harder for me to perform in [Eb] public than it is for me to live in public.
_ How about that?
_ I mean sometimes it's just hard to be [N] in a department store or in a shop or on the street or in my apartment.
So if I'm on stage I'm not very good at concealing my feelings.
So if I'm upset about something it's not as if I can put on this mask and it's all all right again.
I can't.
If I'm feeling terrible inside it comes out.
And so whether that terrible means nervous or anxious or sad or angry or frustrated, it's there for you.
And sometimes it's not appropriate.
As long as we've been having conversations, which is several years now,
I never knew until just this year that you stammered.
When you were a kid was it because Mark did.
No, no, I had a list.
You had a list.
[Abm] Well, that's a different thing altogether.
He's suckering, suckertashing, snooky, [Gm] snook, snook every day.
That [Bb] was something else altogether.
How pronounced was it?
It was extreme.
It was so extreme that I couldn't complete a sentence.
[F] I could very often [E] not start a word.
And there were certain words that would change days.
I had certain [Bb] certain consonants that I could say [F] on a Tuesday, but [N] I couldn't say on a Friday.
For instance, [F] answering the telephone, saying the word hello [A] was very, very hard for me.
So on the days that I couldn't do [F] it, which were most days, it was only sort of every other Sunday that I could say hello.
But on the days that [E] I couldn't, I would have to start on one side of the room when I heard the telephone ring.
And I'd have to exhale all of my breath so that I had no breath left by the time I picked up the phone so that then I could do it.
I'd have to do it if I had no breath.
[Cm] Like, [N] _ hello. _ _
People could hear me coming.
Talking about early songs, I was a disc jockey for nine years.
And I remember when You're So Vain came out.
Nowadays, you can't stop people from singing on other people's records.
Bono singing with Sinatra, everybody's on everybody's records.
And I'm listening and I'm listening and I hear Mick Jagger singing at the end of this song.
And I remember the guy, the DJ said, let's look at the credits.
That's not Mick Jagger.
And it wasn't on the album.
And I said, that's Mick Jagger.
How did you get Mick Jagger to sing on that song? _
I guess it was kind of chance in a way.
I was in London.
It was 1973.
No, no, 72, I guess.
And he happened to call at the studio while I was doing the background vocals with Harry Nilsson.
And Mick called and there was just a message that Mick was on the phone.
And I took the call and he said, hi, what you doing?
And I said, we're doing some backup vocals on a song of mine.
Why don't you come down and sing with us?
He said, okay, when shall I come?
And I said, come down now.
And so Mick and Harry and I stood around the mic singing You're So Vain.
You probably think the song is about you.
And Harry was such a gentleman.
He knew that the chemistry was between me and Mick in terms of the singing.
And so he sort of bowed out and said, you know, the two of you have a real blend.
You should do it yourselves.
And that's how [C] it happened.
And is there a final answer to who [Eb] is the person that's so vain?
I don't know.
Oh, [Dbm] stop.
It was Warren Beatty.
It was Mick Jagger.
[Eb] It was everybody.
But you've never really said who it [E] was.
Yeah.
I don't know.
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[N] I don't know.
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