Nothing beats some mellow soft-rock to start off the new year, especially after sitting through one of the worst years in recent history. Opener "The Right Thing to Do" certainly provides a soothing sonic balm: the gently rhythmical congas, the rich but not overly busy arrangement with piano and strings, and the sweet lead and backing vocals - not to mention the lyrical content, about how great it is to find true love at last. It's the album's second hit after "You're So Vain", one of the biggest hits of the 70's and perennial staple of oldies radios. Putting down a self-centered ex-lover, the song is ironic rather than vitriolic - the benefits of being able to look back at past relationships from the point of one who is satisfied with her current lot in life. The identity of the song's subject has been a topic of speculation ever since: it's not James Taylor, her lover at the time. Could it be Warren Beatty? Mick Jagger? the latter can be heard here on backing vocals, by the way. He's not credited, but after reading about it, I can now hear him distinctly. The tune is upbeat, with a killer hook and perfectly balanced: the guitar solo is just right, the strings play a catchy motif out of Spector-ish 60's pop, etc. The vocal is playful and self-assured. The only other song where she sounds as sassy and lively as here is the R&B-styled "Night Owl", written by Taylor and featuring the cream of session musicians: Rolling Stones associates Nicky Hopkins and Bobby Keys on piano and sax, Beatles associates Klaus Voorman and Jim Keltner on bass and guitar, and Paul and Linda (McCartney) on backing vocals. I guess having such company was reason enough to record in London, even though this is the quintessential soft-rock Californian record: easy going, melodic, well-played and immaculately produced ear candy. The intelligent autobiographical lyrics raise it above the usual pop standards by infusing it with a slice of real life - albeit a privileged, middle-upper-class, life. Still, the inclusion of a lyric like "Daddy, I'm not a virgin/ and I've already waited too long" on a commercial pop record must be given points for boldness - if Madonna caused such a fuss when she sang about feeling "like a virgin" in the 80's, surely this was much more provocative? Apparently, by the 80's the world had taken a turn towards conservatism. Musically, "Waited So Long" is a somewhat country-ish mid-tempo song, while most of the rest is pleasant but unexceptional country-ish balladry with confessional lyrics revolving around relationships. "Embrace Me, You Child" stands out somewhat, both thematically (it's a nostalgically sentimental song about her dead father, an affluent Jewish intellectual) and musically, as it's more complex featuring pace changes and a theatrical/semi-classical instrumentation. Finally, it seems that the songs were just one of the reasons behind the record's success. I researched the record a bit before presenting it, and many writers in online forums cite the album cover as one of the reasons for buying it. So what exactly is so special about it? Carly's pose is very natural, almost as if she's surprised by the camera (some call it a "paparazzi-style photo") - and sexy, even though she's dressed head to toe. One of course immediately notices that her nipples are showing; it'd be hard not to, as the photographer has strategically placed them at the center of his frame. But, contrary to the era's pin-up girls, this picture is equally appealing to men and women: it is the image of a stylish, confident and happy young woman with whom men would want to sleep with and with whom girls would like to identify - after all, not wearing a bra was at the time not so much sexually suggestive but rather a sign of feminist emancipation. Well, whatever the reason was, this record sold extremely well, which is why you can still find the original vinyl in bargain bins everywhere. And even though you probably won't play it often, and won't remember much afterwards except for the earwormy "You're So Vain", it makes a fine addition to any collection: a classic album of the singer-songwriter era, maybe lighter and not as sophisticated as Joni Mitchell whom she often resembles, but very listenable indeed.
***** for You're So Vain
**** for The Right Thing to Do, Embrace Me You Child, Night Owl
*** for The Carter Family, His Friends Are More Than Fond of Robin, We Have No Secrets, Waited So Long, It Was So Easy, When You Close Your Eyes
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