Carly's "punk rock album"? PLEASE. Maybe too much time has gone by for casual music fans to make the distinction between new wave and punk influences, but one listen to "Come Upstairs" ought to set the record straight. Though I will admit that this album has some of her rawest lyrics/performances as well as a self-conciously trendy production, this is not the kind of stylistic contradiction that Linda Ronstadt's "Mad Love" album was.

Producer/keyboardist Mike Mainieri may have been borrowing too many Top 40 ideas to suit Carly's established cult, but his direction gave "Come Upstairs" a solid, tight musical foundation. And though I wouldn't label "Come Upstairs" as a new wave record, there's at least one fundamental thematic similarity: it doesn't pander to those who have pre-existing expectations. I'd be the last person to blame Carly for wanting to ditch the kind of El Lay/Noo Yawk formula soft rock that dominated radio in the 70s...her own hits included.

In any case, the strength of her writing and performances are similar to past efforts. The enhanced percussion and synthesized trappings can't hide the fact that this is the same sensitive, observant and thoughtful Carly Simon who recorded "Anticipation." Several tracks ("Jesse," "James," "The Desert") are reminiscent of earlier songs, and could well have appeared on previous albums with slightly different arrangements. The hard-rocking edge of "Stardust" and "In Pain" is a bit of an eye-opener, though. Unfortunately, the latter track is too big a vocal stretch, and Carly hasn't sounded this 'squawky' since "Playing Possum."

Some highlights: the unrelenting melodic hooks of "Come Upstairs," the romantic dilemma of "The Three Of Us In The Dark," and the pedal-to-the-metal emotional joyride of "Take Me As I Am." Even the tongue in cheek paranoia of "Them" is an enjoyable listen.

Though "Come Upstairs" may look like a one-off novelty on the surface, you don't have to dig far to find Carly...hard at work and enjoying a new fashion in the process.

-Mic

I was so excited in the summer of 1980 when this was released. There was no warning, one hot summer afternoon I heard this great dance song, and to my amazement it was Carly singing "Come Upstairs"! I thought it was the greatest song ever. Later, radio started playing "Jesse" and it was a huge hit. It made it to the top 5 over here on the west coast. "Jesse" was considered a "Carly" song, "James" too. I was so proud of her for trying something different, and watched the charts that summer, the album stuck around in Rolling Stones LP chart for about 6 months. "In Pain" was a favorite at the beginning, but she really sounded "in pain" while she screamed the title. Was "The Three of Us In the Dark" really about her, John Travolta, & James? It sounded like a Dire Straits song (COOL!) "Take Me As I Am" was the second single, but it didn't go anywhere, it was a good song too. "The Desert" is still one of my favorite songs. She deserves a LOT of credit, and this album is really good.

A pop precurser to Sinead O'Connor and PJ Harvey, this is one of my favorite albums of all time. I love the music, a great, cheesy, early 80's disco/new wave/pop mixture, but the strength for me is in the lyrics. The music is a populist vehicle for a very private expression, a document wrested from the heart of a woman struggling with contradictory desires. I first heard as a 5 year old - driving up to the country past feilds rushing by - and my newly divorced mom put this album in the Volkswagon rabbit's cassette deck. The songs became interwoven with the way I see my mother and the struggles and complexity of that whole generation of women coming into their newfound independance. "Come Upstairs" is an unabashed come-on popsong still unmatched in its expression of real female desire, not prancing around like a teenager in your underwear, but full-on adult desire. "Them" is a intense growl from deep within the reptilian soul of women's fear, hatred and confusion over men (how many times has a pop singer broached that topic?) "James" is one of the most beautiful love a songs a woman has ever written to man, objectifying her lover while mantaining intimacy with him - wrapping a sinewous melody around the paradox of their differences and similarities. "Pain", "Take me as I am" and "Jesse" are rokcin and heartbreaking songs of a woman's need to be accepted and loved for her inner self, struggling with lovers who discount them. All of the songs are rare gems of universal narratives, filled with raw energy and passion.

"Come Upstairs" reeks of the divorce-induced depression that Carly seemed to experience during and after her split from James Taylor. This is one of my favourites though, in that it's memorable and interesting melodically.

The most memorable song on this album was the Top 20 hit "Jesse", reminiscent of 60's pop/rock. It's sensitive and tailor-made for radio airplay and stands the test of time. Its b-side, "Stardust", seems like a weird commentary on the ups and downs of stardom, the weird key changes seeming to suggest delusion with fame. It's one of my favourites, even though the music borders on arrogant rock. "Come Upstairs", "Them", and "Take Me As I Am" are all fast-paced numbers. The title track suggests a semi-sleazy one night stand, "Them" is a creative, slightly robotic, edgy feminist anthem, and "Take Me As I Am" is a song with an edge but without sounding harsh or mean. "In Pain" screams and whimpers for over 6 minutes and is extremely effective in its lyrical content. It says what many pained people are thinking but without sounding innappropriately poetic or unreal. "The Three Of Us In The Dark", actually more about thinking about someone else while being with a lover than about a threesome, is another dark song with a memorable and pleasing harmony in the chorus. "The Desert" is eerie and humbling lyrically, but with a sort of pretentious melody.

At only 9 songs, this album is a little short in duration, but still works cohesively in the end. However, I would only recommend this for people wanting to get to know Carly Simon beyond her biggest hit songs.

As a long-time Carly Simon fan, I have to wonder what she was thinking when recording COME UPSTAIRS. Wanting to explore the "punk rock" and 80s synth-rock scenes is no crime, but her selection of songs is erratic and her vocals are really disappointing, especially her imitation of Janis Joplin on the interminably long IN PAIN. THEM sounds like a Devo reject and THE DESERT rips off her own "Memorial Day" from her far superior SPY.

Her big hit, JESSE, is passable but nowhere near the quality of previous or future singles. COME UPSTAIRS is an engaging opener, but there are no real WOW moments.

Producer Mike Manieri should've examined the material more carefully. COME UPSTAIRS is a pothole in a usually smooth road.