
Paulson: We had Art Garfunkel on the show not long ago, and I asked him, "Did you think you'd be singing Bridge over Troubled Waters for the rest of your career?" And he said, "No, not really." He was proud of the song, but I don't think he saw it as the anthem it was about to be. Same question for you and "Bette Davis Eyes." Did you know it was going to be a song that would be with you forever? Carnes: We did. Right after we recorded it, we just knew — the whole band, we all had this great feeling, how special it was. And it was just unique-sounding; the lyrics were unique. And different musicians and acts over the next months that would come and work in the adjacent studio would hear "Bette Davis Eyes," and they'd always come in every night before leaving and say, "We got to have our fix. Please, just play it for us." And it is one of those times — I fought very hard for it to be released as a first single 'cause I believed so much in it. We all did. I mean, we were — we were united, definitely. Paulson: Well, it turned out very well and opened other doors for you. You ended up winning your second Grammy writing music for "Flashdance." Carnes: Yeah, that was great. Paulson: Was it different to write for a film? Carnes: I love writing for projects. Dave Ellingson, my husband, and I had written — I guess right before "Bette Davis Eyes" — a concept album for Kenny Rogers called Gideon, and that was basically coming up with a story of a modern-day cowboy, writing a story <b>...</b>
kim carnes
interview
bette davis eyes
flashdance
kenny rogers
usa for africa
we are the world
quincy jones