Song of the Day: Music About Other Artists (Day Seven). Carly Simon on ?: “You’re So Vain, You Probably Think This Song is About You”.

Carly Simon’s You’re So Vain, from her 1972 breakthrough album No Secrets has been the subject of much debate for decades.  Many of her ex-boyfriends have wondered whether they were the inspiration behind the singer’s cutting description and Simon has relished in it, throwing curveballs and adding to the mystery at every opportunity.  Other than You’re So Vain being a wonderful pop song with one of the most classic choruses in music history, together with an array of brilliant and sometimes witty lines, this mystery is the key to the song’s longevity.  So, let’s line up the vain suspects.

Prior to You’re So Vain becoming a hit, Simon told interviewers that the song was about “men” in general and not a specific “man”.  However, this didn’t stop potential subjects wondering whether the song was about them and Simon’s audience trying to unravel the clues in the lyrics.

Mick Jagger wondered whether the song was about him.  Jagger provided backing vocals for You’re So Vain and in Angie Bowie’s 1993 book Backstage Passes, she claimed that Jagger had been “obsessed” with Simon.

Additionally, Angie Bowie claimed to be the “wife of a close friend” mentioned in the final verse of the song.

When You’re So Vain was sampled for Janet Jackson’s 2001 single, Son of a Gun (I Betcha Think This Song is About You), from the album All for You, Simon stated that “The apricot scarf was worn by Nick [Delblanco].  Nothing in the words referred to Mick”.  Simon started dating Delblanco in the early 1960s whilst he was studying at Harvard University and was being hotly tipped as the next big thing in literature.  She and Delblanco travelled to France together where Simon acted as her boyfriend’s helpmeet.  The couple broke up in 1964.

Could the song be about Kris Kristofferson, with whom Simon had a summer-long love affair with in 1971?  During their romance, Simon wrote the song Three Days, from the album Anticipation (1971), about Kristofferson.

In return, Kristofferson wrote I’ve Got to Have You, from the album Breakaway with Rita Coolidge (1974), about Simon.

As quoted in Sheila Weller’s 2008 book, Girls Like Us, Kristofferson said of the Simon:  “Looking back on the romance, I was pretty self-absorbed in those days.  Carly was funny and really smart – she had more brains than I did.  I have a hard time now believing she tolerated my company”.

In a 1989 interview, Simon said that the song is a little about Warren Beatty, whom she dated in the early 1970s, but is actually a composite of three men from her days in Los Angeles.  In a 1983 interview with The Washington Post, Simon said:  “It certainly sounds like it was about Warren Beatty.  He certainly thought it was about him – he called me and said thanks for the song.  At the time I met him, he was still relatively undiscovered as a Don Juan.  I felt I was one among thousands at that point – it hadn’t reached, you know, the populations of small countries”.

To keep her audience on their toes, Simon has divulged letter clues as to the mystery man over the years.  During an interview with CNN in 2004, she said, “Well, I guess for those who are interested in clues – the name of the person it was about had an ‘E’ in it … Maybe I could disclose another letter.  Ok, it also has an ‘A’ … Well listen, two vowels ain’t bad!”  Additionally, in an interview with Regis and Kelly in 2004, when asked by Regis Philbin who the mystery man was, Simon dropped another letter clue, this time saying, “If I tell it, it’s going to come out in dribs and drabs.  And I’ve given out two letters already, an ‘A’ and an ‘E’.  But I’m going to add one to it.  I’m going to add an ‘R’, in honour of you”.

Between 1972 and 1983, Simon was married to singer / songwriter James Taylor, who is often cited as a potential source of inspiration for the song.  However, in an interview with Rolling Stone in 1973, she said, “No, it’s definitely not about James, although James suspected it might be about him because he’s very vain.  No, he isn’t, but he had the unfortunate experience of taking a jet up to Nova Scotia after I’d written the song.  He was saved by the fact it wasn’t a Lear”.

Cat Stevens has also been cited as a speculative candidate.  Simon opened for Stevens at The Troubadour for three nights in April 1971.  Following the sell out shows, Simon travelled back to New York with Stevens, where he asked her out and the pair became romantically involved.  Simon wrote her single 1971 Anticipation, from her second album, also called Anticipation, whilst waiting for Stevens to pick her up for a date.  She also dedicated the aforementioned album to him, using his real name, Steve (Steven Demitri Georgiou).

In return, Stevens wrote the song Sweet Scarlet, from his 1972 album Catch Bull at Four, about Simon.

For his 2006 book, Is Tiny Dancer Really Elton’s Little John?, Gavin Edwards interviewed Simon’s ex-husband James Hart, whom she was married to between 1987 and 2007, who said, “I’m sure that the song wasn’t about anybody famous”.  Hart was the subject of another of Simon’s songs, Coming Around Again, from the album Coming Around Again (1987).

On the 19th June 2008, disc jockey Howard Stern claimed on his show on Sirius Satellite Radio that Simon had privately revealed to him whom the song was written about following an interview.  Stern said of the revelation that, “There is an odd aspect to it … he’s not that vain”.  On the 17th March 2009, again on his radio show, Stern claimed that it was a “composite of three people”.  Most recently, Stern said on air on the 5th May 2014, “She takes me aside, pulls me close, whispers in my ear three names.  She goes, it wasn’t one person, it was three people”.  Stern also said that he thought one of the names could have been Warren Beatty and another might be American business magnate and Geffen Records boss, David Geffen, but said he “forgot”.

Another possible candidate may be musician Dan Armstrong, whom Simon had first known whilst performing in nightclubs in the mid 1960s.  Armstrong owned Armstrong’s Guitar Repair Shop and in 1968, the two met officially and started a relationship when Simon took her guitar to be fixed.  Their relationship lasted for two years.  In Sheila Weller’s 2008 book Girls Like Us, she states that “Although Simon described him as an arrogant, opinionated Neanderthal, she found him to be overwhelmingly handsome and very gifted musically”.  In his 2012 biography of Simon, More Room in a Broken Heart, Stephen Davis claims that Simon described herself as “naive” at the time.  Could Armstrong be at least the inspiration behind the lines “Oh, you had me several years ago, When I was still naive”?  After Simon broke her relationship with Armstrong off, he moved to Los Angeles to set up a new business.  Simon regretted her actions and tried to make it up to Armstrong but tono avail.  Her heartbreak over the end of the relationship inspired the song Dan, My Fling from her 1971 debut album, Carly Simon.  Armstrong’s full name of Daniel Kent Armstrong feature all three letters of Simon’s clue.

During an interview with WNYC’s Soundcheck on the 4th November 2009, Simon stated that she had hidden the identity of the vain man, whispered backwards, in a certain version of the song.  The next day, the show revealed that the name was “David”.  Simon, however, denied that the name was David, saying that she spoke “Ovid” both forwards and backwards and that it sounded like “David”.  In the February 2010 issue of Uncut magazine, Simon once again stated that the subject of the song was whispered backwards in a re-recording of You’re So Vain.

At this time, a representative for Simon confirmed that the name was indeed “David”.  Following this, various publications quickly reported that David Geffen was the subject of the song and that the song had been inspired by Simon’s jealousy over the attention that Geffen had paid to label-mate Joni Mitchell.

However, Simon’s publicist stated that the song was not about Geffen but there was indeed “a David who is connected to the song in some way, shape, or form”.  In an Email to Showbiz 411, quoted in the March 2010 issue of Rolling Stone magazine, Simon said “What a riot!  Nothing to do with David Geffen!  What a funny mistake!  Someone got a clue mistaken for another mistake”.  Simon went on to say that she didn’t know Geffen when she wrote the song in 1971.  This would be true as the song was written prior to Simon’s label Elektra Records being merged with Geffen’s Asylum Records in 1972, when Geffen assuming control of the combined companies.  If the David in question is not David Geffen, then could it be David Bowie?  Taking Simon’s  ‘A’, ‘E’ and ‘R’ clues and using Bowie’s real name, David Robert Jones, then perhaps.  Additionally, and to add further confusion, the February 2010 issue of Vanity Fair noted that the names “David”, “Warren” and another unintelligible name are whispered during the recording.

That’s cleared that one up then.

Song of the Day: Music About Other Artists. Pete Doherty and Carl Barat on Each Other. “An Ending Fitting For A Start”.

When artists write about each other, it usually either takes the form of a songwriter writing about a musician outside of their own creative sphere (take for example, previous posts this week such as Patti Smith writing about Kurt Cobain or Ian Dury writing about Gene Vincent) or bands writing about members who are no longer with them (take for example, my posts earlier this week about Pink Floyd writing about Syd Barrett).  Occasionally, bands who have split up may write out their grievances with their ex-band mates in a song (take for example, John Lennon writing about Paul McCartney and vice-versa on my post earlier this week).   It is more unusual, however, for members of a band who are still together to write about other members in the band, particularly in a frank and personal manner.

One band who did just this was The Libertines.  Their second and final album before their original break up, The Libertines, from 2004 was bookended by the tracks Can’t Stand Me Now and What Became of the Likely Lads, frank and honest duets co-written and sung by Pete Doherty and Carl Barat detailing their grievances with each other, their love for one another and questioning whether there was any future in their relationship.  The love affair between Doherty and Barat had kept us enthralled, and had been an endless source of press interest, for the previous two years.  On these songs, we were witnessing a divorce; the messy fag end of a turbulent relationship being pulled apart largely by Doherty’s addictions to crack, cocaine and heroin.

In a 2004 interview for the BBC Radio One documentary, Whatever Happened to the Likely Lads, Roger Sargeant, the band’s photographer and a close friend, described the relationship between Doherty and Barat as like “first love, and all the jealousy and obsessiveness that comes with that … I think there’s, y’know, obsession and jealousy on both of their sides.  They bitch about each other to each other or to other people.  They have a bond, intellectually and spiritually, like nothing I’ve ever seen … but sometime, you know, you just think, God, why don’t you just get a room”.  In the same documentary, when asked how close the relationship between him and Barat was, Doherty responded: “I love him.  Wouldn’t go, um – certainly not on Radio one – go into much detail, but we had lots of wonderful times together, yeah”.  When questioned similarly by The Guardian in 2010, Barat fervently denied that the relationship had involved anything “physical” and insisted that “people are really into conjecture”.  In a 2011 interview with Attitude magazine, when asked if the two had ever had a physical relationship, Barat replied:  “Does that include violence?  There have been moments in our relationship where physicality has ensued.  I’ll leave it there.  I wouldn’t like to say.  The volatile nature of Doherty and Barat’s relationship informed a significant part of the music of The Libertines, as well as their live performances.

Whilst the band were recording their debut album Up the Bracket (2002) and on its supporting tour, Doherty’s drug addictions had increased greatly, with the singer now regularly using both crack cocaine and heroin.  His ever-heightening drug problems were already starting to cause a serious deterioration in relationships between him and the three other members of the band.  During a trip to the US to promote the band, The Libertines stopped off in New York, where they recorded the Babyshambles Sessions, versions of current and future Libertines and Babyshambles (Doherty’s other band) releases such as Last Post on the Bugle (featured on The Libertines), as well as Albion and In Love with A Feeling (featured on Down in Albion by Babyshambles, 2005) and Side of the Road (featured on Shotter’s Nation by Babyshambles, 2007).

It was whilst they were in New York that Doherty and Barat got the “Libertine” tattoos that they have on their arms.  The tattoos, written in Barat’s handwriting, were a sign of commitment to the band and probably to each other, and can be seen on the front cover of The Libertines.  The pair had obviously been thinking about the tattoos for a while because on The Good Old Days, from Up the Bracket, after the lyric “A list of things we said we’d do tomorrow!”, Doherty shouts, “Get a tattoo!”

Despite this sign of commitment, Barat was becoming increasingly exasperated with Doherty’s drug-fuelled behaviour, the people whom he was choosing to spend time with and the drugs they brought into the band’s circle. Barat quit in disgust, leaving Doherty to finish the recording alone.  The resulting sessions were given to a fan named Helen Hsu, who under Doherty’s instruction, put them on the internet for free.

Once back in the UK, tensions between Doherty and Barat continued to grow.  Doherty organised guerrilla gigs which Barat did not attend.  During the recording sessions for the non-album single Don’t Look Back into the Sun (2003), Doherty did not work well with producer, ex-Suede guitarist Bernard Butler and was very rarely present.  Because of this, Doherty’s vocal parts had to be pieced together from what he provided whilst he was in the studio and Butler, who had previously produced the band’s debut single What a Waster / I Get Along, had to play Doherty’s guitar parts.

For Barat’s birthday on the 6th June, Doherty organised a special celebration gig, which he hoped would relieve the tensions between the pair.  However, Barat was already attending a party organised by friends and the hosts convinced him not to leave.  Doherty was left to play the gig alone.  Feeling hurt and betrayed, Doherty refused to travel to Germany the following day for the band’s European tour.  The band were forced to play without Doherty and a guitar technician learned and played his parts whilst several songs had to be dropped altogether.  Angry at Doherty’s behaviour, Barat refused to let Doherty back in the band unless he cleaned himself up.  Whilst The Libertines toured Japan without him, Doherty concentrated on his side project Babyshambles.  Distraught and angry at his exclusion from the group, Doherty burgled Barat’s flat and was arrested as a result.  He pleaded guilty to the charge of burglary at the preliminary hearing on the 11th August 2003, a week before the release of The Libertines’ Don’t Look Back into the Sun.  On the 7th September, Doherty was sentenced to six months in prison, although his sentence was later reduced to two months.

When Doherty was released in October 2003, Barat was waiting for him at the prison gates.  The band played an emotional reuinion gig at the Tap ‘n’ Tin pub in Chatham, Kent on the same day.  The show was later named as the NME’s Gig of the Year.

Shortly afterwards, the band started to record what would become The Libertines with Bernard Butler producing.  However, the relationship between Doherty and Butler was just as unsuccessful as before and Butler left, forcing the entire sessions to be abandoned.

Doherty recorded a single, For Lovers, with his friend, local poet Peter ‘Wolfman’ Wolfe, credited to Wolfman and Peter Doherty.  Despite Barat’s distaste for Wolfe and the associated drugs, he recorded guitar for the single’s B-side Back from the Dead.  The single was released on the 13th April 2004, reaching number 7 in the UK charts, higher than any Libertines singles up until that point (Don’t Look Back into the Sun had reached number 11).

The Libertines attempted to record their second album again, this time with Mick Jones, formally of The Clash, who had also produced their debut album.  Security guards had to be hired in order to stop Doherty and Barat from fighting.  In spite of the in-band tensions, the album was finished.  Doherty left the mixing and dubbing to the Jones and the rest of the band and would never return to a recording session with the band again.  On the 14th May, he was admitted to high-profile retreat The Priory in order to overcome his addictions.  He left early, then went back only to leave again a week later on the 7th June.  The Libertines played their final UK until their first reunion in 2010 shortly afterwards; Doherty wasn’t permitted to play with them.  Doherty continued to concentrate on Babyshambles, who were gaining a large following and exposure in the media.

Meanwhile on the 9th August, the first single from the second Libertines album, Can’t Stand Me Now was released.  The highly autobiographical Can’t Stand Me Now reached number 2 in the UK singles chart (the band’s highest entry) and details the breakdown of the relationship between Doherty and Barat.  In the BBC documentary series The Seven Ages of Rock, Doherty describes the song as “a Samuel Beckett-like dialogue between me and Carl”, whilst in a March 2008 interview with Q Magazine, Libertines bassist John Hassall said, “The song that stands out is Can’t Stand Me Now.  Maybe the only thing Pete and Carl could honestly sing about was the situation, what they felt about each other.  Almost a sort of therapy in itself”.  The harmonica section of the song is an allusion to the harmonicas which Barat would buy as Christmas presents for the rest of the band.

The music of Can’t Stand Me Now is also notable for the way in which it starts with a snippet of music taken from the end of the previous single, Don’t Look Back into the Sun, cleverly reflecting Can’t Stand Me Now’s opening lyric, “An ending fitting for a start”.  “An ending fitting for a start” details the fact that what brought Doherty and Barat together (i.e. the freedom of an undisciplined life, music, drugs etc) is now tearing them apart.  The following line “You twist and tore our love apart” has a double meaning.  Firstly, we have Doherty’s point of view referring to Barat, with Doherty feeling that Barat betrayed him when he was struggling with his drug habit and secondly, Barat’s point of view referring to Doherty, with Barat feeling that Doherty twisted and tore the pairs’ love apart with his drug-influenced behaviour and the events caused by his addiction.  The lines, “Your light fingers through the dark, Shattered the lamp, into darkness it cast us all” are a reference to Doherty breaking into Barat’s flat.

We then find Doherty telling Barat that it was him who started the disintegration of their relationship by trying to cut him out of his life and using Doherty’s various drug addictions as an excuse in the lines “No, you’ve got it the wrong way round, You shut me up and blamed it on the brown”.  These lines are followed by the lyrics “Cornered the boy, kicked out at the world, The world kicked back a lot fuckin’ harder now”, a reference to Doherty’s arrest for burglary and his subsequent punishment.

Following this, the lines “If you wanna try, if you wanna try, There’s no worse you can do” find Barat and Doherty deciding that it wouldn’t hurt to give their friendship another try.  The next lyrics, “I know you lie, I know you lie, I’m still in love with you” tell of how, despite Doherty’s broken promises of staying clean, Barat still loves him.  The bridge of “Can’t take me anywhere, I Can’t take you anywhere, Can’t take me anywhere, Well, I won’t take anywhere, I’ll take you anywhere, I’ll take you anywhere you wanna go” is a prime example of the Barat and Doherty so wonderfully bounced off each other whilst singing The Libertines’ songs and perfectly encapsulates their love / hate feelings towards each other at that point in time.  The chorus of “Can’t stand me now …” finds Doherty lamenting that Barat hates him because of his various misdemeanours and Barat feeling that Doberty no longer likes him in return.

Possibly the key lines in the song, “Have we enough to keep it together?  Or do we just keep on pretending and hope our luck is never ending?” which finds the pair wondering if they have enough of a relationship left after all they have been through in order to be able to keep The Libertines together.

“You tried to pull the wool, I wasn’t feeling too clever is Doherty feeling that Barat betrayed him whilst he was in a bad way, whilst the next line, “And you take all that they’re lending, Until you needed mending” is Barat telling Doherty that he has taken all that the drug dealers (“they”) are selling (“lending”) and now, as a result, he needs “mending”.

The brilliance of Doherty and Barat trying to struggle through their problems with each other put to music on Can’t Stand Me Now, the opening track of The Libertines, is complimented by the closing track of the album, What Became of the Likely Lads.  Very much the band’s swansong, thus being perfectly positioned as the last song on their last album, What Became of the Likely Lads was also released as the second single from The Libertines and the band’s final single overall.  The song’s title and the lyrics of the chorus echo the title and theme tune of 1970’s British situation comedy Whatever Happened to the Likely Lads.

Interestingly, there are parallels to be drawn between the stories of Doherty and Barat and Rodney Bewes and James Bolam, the actors who played the two main characters, Bob and Terry in the series with Bewes and Bolam having fallen out with each other at the end of the programme’s run.  Additionally, the bond between Doherty and Barat could be seen as being quite similar to the bond between the programme’s main characters.  Doherty particularly is known to be a fan of classic British comedy, which perhaps inspired the humour and distinct brand of Britishness found in many of The Libertines’ songs.

What Became of the Likely Lads starts with the lines “Please don’t get me wrong, See I forgive you in a song, We’ll call The Likely Lads”, a verse in which Doherty and Barat forgive each other for past misdemeanours before the song moves on to talk about the pair’s brotherly bond.  This bind is discussed in lines such as “Just blood runs thicker, oh, We’re thick as thieves, you know”.  The allusion to the term ‘Blood runs thicker than water’, meaning family obligations before friends, reinforces the idea of Doherty and Barat being family.  The use of the term “thick as thieves”, as well as emphasising the pair’s closeness, could also be an allusion to Doherty burgling Barat’s flat.

The bridge of What Became of the Likely Lads echoes the bridge of Can’t Stand Me Now in its back and forth conversation style and further emphasises the bond between the two singers, showing both agreement and argument:  “If that’s important to you, It’s important to me, I tried to make you see, But you don’t want to know!”

In the following verse, we find a reference to Doherty’s drug use in the lines in the period leading up to the recording of the song:  “If you pipe all summer long, Then get forgiven in a song, Well, that’s a touch, my lad”.  Next, we find the lines “They sold the rights to all my wrongs, And when they knew you’d give me songs, Welcome back, I said” which are a riposte to the record industry, which doesn’t much care about the personal and emotional effects Doherty’s drug use and such had on Barat; it cares more about the songs that will be produced from it, thus record sales and money.

Can’t Stand Me Now and What Became of the Likely Lads are brilliant confessional conversations which perfectly frame an album which has become a classic.  The Libertines has become a snapshot of a period in the lives of its songwriters and of our lives as we listen and remember being right there watching the saga of Doherty and Barat unfold.