Paul Simon

The current reissues sound amazing. I doubt there's much they could do to improve them, nor is there probably much in the vaults of note that didn't make the current batch.

This is like the Stones reissuing/remastering on a different label every few years.

i should get those reissues probably. all of my 70s-80s simon is on vinyl. bonus trax are good?

most of the bonus material I could take or leave, with the glaring exception of the alternate version of "Gone At Last" with the Jessy Dixon Singers from Still Crazy.

They run from really good to never going to play that again. But the sound on all the albums is pristine. He had the best of the best backing bands and they sound like the best - warm, clean 70s studio sound. I only have the three 70s records (I never warmed to the 80s work outside of a track here and there), but I understand the remasters are equally great if you care for the material.

xpost

I love the "Duncan" and "Take me to the Mardi Gras" demos.

This is like the Stones reissuing/remastering on a different label every few years

dunno what this means. abkco series came out 20+ years after the original cd releases. the reamaining ones came out about a year ago. it's not like Elvis Costello who's had about 4 This Years Models since 1987

xxxxpost

^^^Bowie is the other one who does this

and Zappa - all three of those guys got the "Rykodisc treatment", too, coincidentally

Stones issued Sticky Fingers on cd in 90, 94 & 09. Costello issued This Year's Model in 86, 93, 02 & 07. One more time - what a huge difference! Point is, these artists that control their catalog have huge incentive to switch labels and reissue stuff whenever they can.

Hell, I've bought the Soft Boys' Underwater Moonlight four times on cd. I'm an enabler.

i was actually thinking of the Stones' early ones, which only came out once before they were done perfectly in 2001 or whatever it was. had to take exception 'cuz there's a night and day difference between the two issues.
sorry for derailing on Paul Simon's watch

I wasn't clear to start - those abkco remaster are great. The Stones don't own those though so can't milk 'em.

A really talented guy who since the mid 80s has done the mistake of letting other people control a bit too much of his sound and songwriting style. "Hearts And Bones" is fantastic, and seems to be his peak. "Surprise" was an aptly titled Eno collaboration though, just need to relax the rhythm section even a good bit and find back to his good, old pre-"Graceland" style.

New album streaming on NPR. Sounds pretty good, glad to hear him dabbling in Afropop again, the rhythms overall are stronger than anything he's done in a long time (and I think rhythm is really key to his best songwriting).

He's touring the US and doing mid-sized halls and some club gigs (930 club and others).

this sounds good!

"dazzling blue" kinda dazzling!

Haven't kept up with his new output since Rhythm of the Saints (other than hearing the ghastly Capeman). This is nice, in a pleasantly unassuming sort of way. Nothing jumped out me after one listen but it was solid throughout.

you're the one is worth hearing.... surprise has its moments, but some of those moments are not so hot.

The coupla tracks I heard from the new one implies Simon learned a few lessons from Eno, even if that last record was a stiff.

Stuff I read about this: He samples Sonny Terry. "Amulet" was originally an instrumental he wrote for Brazilian singer Luciana Souza who added her own vocal melody overtop.

Here's part of the L. Souza with Simon duet at the Beacon in NYc awhile back doing "Amulet". The Simon album version is just an instrumental

http://smg.photobucket.com/albums/v517/paulfournier/Paul%20Simon%20Beacon%20NYC%202-13-09/?action=view¤t=Amulet2-13-09016.flv

He samples a bit of Reverend J.M. Gates' sermon "getting Ready for Christmas Day" in “Getting Ready For Christmas Day"

http://dust-digital.com/gates

http://www.avclub.com/articles/paul-simon,53706/

some interesting bits in this interview. He explains the "Jay-Z" lyrical reference and talks about Eno and his 18 year-old son playing James Blake for him

I listened to some of the Panda Bear (from Animal Collective) stream on NPR after this one on NPR and I think Simon, despite utilizing some of his same ol' techniques, is less monochromatic than Panda Bear who is stuck on his dreamy Brian Wilson thing. Not that either one is great, but this appears to be more listenable. Does this type of thinking mean I'm old?

the rhythms overall are stronger than anything he's done in a long time (and I think rhythm is really key to his best songwriting).

I swear I read somewhere that while Simon had done so on ocassion before Graceland, that starting with that cd he began emphasing the usage of interesting rhythms that he heard from others to get him out of a songwriting block. He uses influences from others to kickstart his writing. Now previously we have discussed how some of his collaborators (Los Lobos, Terrance Simien) have grumbled that they have not gotten any songwriting credit on songs(some defend Simon on this).

I hear the so-called "rhythmic" approach on his first solo album!

Sometimes over the years he added rhythm himself via guitar in the songwriting process and sometime in the studio via supporting musicians at various stages of the songwriting process. With some albums he notes in that AV Club interview that he started with drums first.

at the end of the day, will any bed of exotica rhythms or chance operations overcome the preciousness inherent to simon's songwriting though?

Will any message board put an end to rhetorical questions?

But, to answer it, the preciousness is his most charming feature, cuz it's so precise.

You won't find an answer to your question here bb, we've got diamonds on the soles of our shoes.

or: xp

i knew he was talking about that jay-z billboard, it was close to my house.

Interview is interesting. Funny how to him this is less of a 'drum' record, but to me it seems more rhythmically alive than the last few. I like this, because it makes sense of some things I've long thought about him, that people miss a lot of what makes him great by focusing so much on his lyrics:

I like working with sound—sound and rhythm. I like the abstract more than “What does that mean?” Nobody ever says to you, “Why did you use a harmonium?” Or “What is that ringing sound that occurs here?” The questions are always “What does that song mean?” or “What were you trying to say here?” The abstract is just more interesting because it doesn’t really have anything to say, but if it is good, it creates thoughts and feelings, and I enjoy that. For me, once the music creates those thoughts and feelings, I begin to write a song about it. But if I just left it at the instrumental track, I think people would listen to it and think up their own songs and thoughts. That would be fun, too.

Surprise isn't bad at all, I just never listen to it.

btw there's some docfilm on the way about the making of Bridge over Troubled Water

yeahhh, i think it's included w/ the new reish of that album.
preciousness, eh? i mean, maybe at times, but to me it's more clarity of intent. or something.

it's interesting to me how the real "serious" sorta folk songwriting giants of the 60s - Dylan, Neil Young, Paul Simon - who could all be comfortably resting on their laurels by now, are still cranking out records. and genuinely interesting records at that. whereas all the more rock guys are burned out and worthless (lol Rolling Stones)

probably something to do with being a band vs. a solo artist? all of the dudes you mentioned (dylan, young, simon) have been able to swtich things up in terms of collaborators and sounds over the years, whereas the stones are kinda locked in one thing.

hmm yeah that makes sense.

otoh Lou Reed, not so vital a songwriter anymore eh

yeah not really. i sort of expect lou to have one more good to great album, but maybe that is expecting too much. does he even really write songs anymore?

A Bigger Bang was better than Surprise.

harsh

A- vs B record.

playing Glastonbury if the hints are owt to go by
http://www.nme.com/news/glastonbury/55932

how come no one told me paul simon did a solo acoustic tour in 1984? just found a recording, sounds amazing. great set list, cool reworkings of the songs.

Christgau loves it – his first A for a Simon record since Graceland.

A Bigger Bang was better than Surprise.

OTM. "A Bigger Bag" is pretty good! "Surprise" was super dull, especially considering the Eno imprimatur and compared to the underrated "You're the One."

BTW, I don't know if there's a thread for this, but what's up with Jewish songwriters like Simon, Leonard Cohen and Dylan (even pre-Christianity) invoking lots of Christian imagery?

you know all the best Christmas songs? written by Jews

Paul Simon is sitting at a desk in his study. He’s holding a magnifying glass to his face, staring down at something spread out before him.

Paul Simon: (under his breath) Fascinating …

There is a knock at the door. Paul lifts his head.

Paul Simon (raising his voice): Who is it?

Meredith: (muffled) Um, it’s Meredith. I’ve got Walter Bauman here to see you.

Paul Simon: Walter … ?

Meredith: Bauman, sir. Your accountant.

Paul sets the magnifying glass down on his desk.

Paul Simon: (under his breath) That’s strange, is it the first of the month already? Oh well.

Paul stands, tightening his deep-red smoking jacket.

Paul Simon: Send him in!

The door opens and Walter Bauman, Paul Simon’s long serving accountant enters the room.

Paul Simon: Walter!

Walter: Um, good evening Mr. Simon.

Paul Simon: “Mr. Simon?” Please. (sings) “You can CAALLL MEEEEEEE Paul!”

Walter: (chuckling awkwardly) Uh, if you prefer, um, Paul.

Paul Simon: Great! Walter, come over here, you’ve got to see this.

Walter walks over to the desk.

Walter: What exactly am I looking at?

Paul seems surprised.

Paul Simon: Oh, sorry, you might need this.

He hands him the magnifying glass.

Paul Simon: It really brings out all the little details.

Walter politely takes the magnifying glass.

Walter: They look like … packs of bubblegum cards?

Paul Simon: Well, yes, but not just any! Look.

He waves Walter to his side.

Paul Simon: It’s a complete set of vintage KISS trading cards! Still sealed! I mean, check this out.

He holds up a pack.

Paul Simon: Sniff.

Walter leans forward and gives the pack a sniff.

Paul Simon: You can still smell the gum! Incredible. I found them online. Still sealed! Only cost me fifteen.

Walter: Fifteen dollars for stale bubblegum cards?

Paul laughs.

Paul Simon: “Tell me you know nothing about collecting bubblegum cards without saying you know nothing about collecting bubblegum cards.” No, not fifteen dollars. Fifteen hundred dollars. It’s a complete set! Unopened! I outbid Gene Simmons himself. Too rich for his blood, I guess. Maybe he shouldn’t have retired.

Walter: That’s what I’m here to talk about, er, Paul.

Paul Simon: Are you planning to retire? Let me tell you, it’s great stuff, doing nothing. The trick is to get yourself a hobby, some niche to stick your nose in. Huh, that’s funny. In the past I might have grabbed a pencil to make a note of that line – “Get yourself a hobby, some niche to stick your nose in” – but I just don’t feel the need. What’s done is done, you know? Let the new generation have their day.

Walter: No, I’m not retiring. I’m here to talk about *your* retirement.

Paul Simon: But I’m already retired?

Walter: That’s just it, Paul. It’s the money.

Paul Simon: The money? Do I have too much of it? That was a joke, Walter.

Walter: Yeah, I got it. It’s just that, well, I’m here because it’s really about the opposite situation: your money is running out.

Paul sits down slowly, in shock.

Paul Simon: No, that’s impossible. Do you know how many records I’ve sold? Well, I mean, I suppose you do – you’re my accountant, after all – but you get what I’m saying.

Walter: That’s just it, Paul. No one is buying records anymore. That revenue stream has dried up.

Paul Simon: (thinks) Um, OK. But didn’t we just sell the catalog for $250 million?

Walter: Sure, sure. That was definitely a lot of money. But after taxes and fees, and that new addition Edie built ...

Paul Simon: The new addition was a joint decision. Wow, I should really be writing these down ...

Walter: A joint decision? Even the pool? You can't swim, Paul.

Paul Simon: OK, the pool was her decision. But the lifeguard stand? That was mine. I thought it would be, what's the word, whimsical? Like putting urinals in your home bathrooms. The urinals were my idea, too, by the way. OK, so what about streaming income?

Walter: Your most listened to song is “You Can Call Me Al” …

Paul Simon: (singing under his breath) “You can call me Al …”

Walter: … at something like 600 million streams.

Paul Simon: That’s a lot.

Walter: It is. And it only paid $10,000.

Paul Simon: What, $10,000? That can’t be right. I go through at least $20,000 a week on bubblegum cards alone! Hmm, what do you recommend, Walter?

Walter: I think the answer is clear. Mr. Si – Paul.

Paul Simon: And that is … ?

Walter: I’m afraid you’re going to have to tour again.

Paul Simon stands at his desk. He spreads the vintage bubblegum cards before him into a foil-wrapped rainbow and focuses. He takes a deep breath.

Paul Simon: If tour I must, then tour I will! Charge up the electric bus, Walter, I’m hitting the road again!

I loved seeing yesterday that he's doing another tour. I've never seen him live and figured I'd missed my chance.

Despite mentioning it above, I forgot that he's on tour. Set list looks good, opening with Seven Psalms in full and then:

Graceland
Slip Slidin' Away
Train in the Distance
Homeward Bound
The Late Great Johnny Ace
St. Judy's Comet
Under African Skies (with Edie Brickell)
Rene and Georgette Magritte With Their Dog After the War
Spirit Voices
Mother and Child Reunion
Me and Julio Down by the Schoolyard

Encore:
50 Ways to Leave Your Lover
The Boxer
The Sound of Silence

Saw him tonight and didn't realize how affecting it would be. I really got into his songs from age three or four on, unlike Dylan and the other major ones who I didn't really connect with until my teens or after.

The show has about 10 musicians and 40 instruments, so many layers of guitars and percussion and keyboards. Since the setlist above, he added "Rewrite" a few weeks ago and "The Cool, Cool River" earlier this week. The setup feels a bit like MTV Unplugged, just as far as songs redone for intimacy and mostly acoustic instruments; and Seven Psalms as a final album is even more moving in this context.

Tickets are steep (though less steep on resale sites, and luckily a friend covered the tickets), but I'd rather pay extra to see someone in a classical concert hall (this was at Chicago Symphony Center) than somewhere with worse acoustics or sightlines.

man i wish i could afford it

$77 dollars for a Paul Simon lawn seat at Wolf Trap Park near DC!

If it's like previous cities, there should be some cheaper ones on StubHub within a day or two of the show. I don't do this often, but this time it was a kind of now-or-never situation and I'd never seen him (and again, luckily, a friend with a v good job covered the tickets; especially in a classical concert hall, it did feel like being among the elites).

All that said, I bet there will be at least a live album if not a concert film of some kind from this. The arrangements weren't too different from In The Blue Light versions a few years back, plus the many layers of percussion (and a pump organ!) on Seven Psalms.

I lucked out with the Corona Park show hyped as the "final" tour stop. Most people who got there before me preferred to stay on the grass so they could lay out their blankets, so I kept walking across the blacktop and got close to the edge of the stage. It meant standing for an additional hour on a hard surface, but it was worth it. (tbf it was a much older crowd so I could understand why they oped to stay further back on the grass.)

I just heard his cover of "Biko" for the first time, from an (unknown to me until yesterday) Peter Gabriel tribute album. (It also includes a noisy "Salisbury Hill" from Lou Reed, Randy Newman doing "Big Time," and others.)

Especially interesting to hear because Simon has so little good to say about his contemporaries. (He did once put in a good word for Bob Seger's "Night Moves.")

https://www.youtube.com/watch?v=rXnbxy9duOA

Savvy choice. I wonder if Gabriel suggested it, given how he conceived and coordinated the whole covers project.

https://en.wikipedia.org/wiki/Scratch_My_Back#Background

Simon has so little good to say about his contemporaries
is that true? was just reading him raving about Randy Newman.

The intro he gave Newman on his first SNL performance is also very flattering.

not all of it but here it is: https://www.instagram.com/reel/DJK2QjXyG7j/

My much prized Sondheim book box set is emblazoned thus

https://m.media-amazon.com/images/I/81PeSBJtJpL._AC_UF1000,1000_QL80_.jpg

This is good to hear! I was going from a number of interviews where he was asked to name contemporaries he admired and came up short (his Playboy interview in the 70s/80s, Paul Zollo's Songwriters on Songwriting).

Yeah, didn’t he say something like the only songwriters in his league were Dylan and Kurt Weill?

He changes the lyric slightly in his Biko cover to a more abstract and poetic line (“the outside world is black and white / all the colour’s dead”) vs. Gabriel’s stark and somewhat hackneyed lyric (“the outside world is black and white / with only one colour dead”).

Looking through the credits of a Paul Simon solo compilation, it's kind of interesting how often he would hire top names for music that I wouldn't immediately associate with them. Obviously he's better known for hiring musicians for songs that fit right in their comfort zone - the Dixie Hummingbirds for "Loves Me Like a Rock," the South African musicians for Graceland - but then you have the Oak Ridge Boys for "Slip Slidin' Away" and the Muscle Shoals crew for "Still Crazy After All These Years," two singles that I always associated with a specific "New York City in the '70s" vibe.