The Sounds Of Simon : Singer Returns To Central Park (Without Garfunkel) For Hbo Concert / Lure Colour And Contrast - Part 2 - By David Hodge

The third song, "I Do It For Your Love, " provides the critical link in the pattern by achieving closure in G (Example 4a and b). PAUL SIMON: It's very helpful to start with something that's true; if you start with something that's false, you're always covering your tracks. This is what AllMusic said when they reviewed the album: "The third new studio album of Paul Simon's post-Simon & Garfunkel career was a musical and lyrical change of pace from his first two, Paul Simon and There Goes Rhymin' Simon. I didn't say, "Oh, that's clever, that's a good one, I can use that. " Thursday's show is part of a longer trip, a pause in his marathon "Born at the Right Time" tour of almost 14 months, which includes stops this fall at the Hollywood Bowl and Pacific Amphitheatre in Costa Mesa. Go and buy the album on vinyl if you can, as it makes for a wonderful listening experience. This paper has demonstrated that "Still Crazy After All These Years" represents a bonafide song cycle in its use of broad musical strategies—in particular tonal pattern completion and association—analogous to 19th-century lieder cycles. The climactic section B2 is meant to sound like the conclusion of the album and in effect represents a first ending.

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In "Still Crazy After All These Years, " that title phrase came to me first and it didn't come with melody either. This possibility, however, is cruelly negated with the return of the opening motif transposed to F minor to conclude the song and the cycle. Thursday's Central Park gig, though, will include the plain, simple music of his early days with Garfunkel, with whom he teamed in 1981 for a Central Park reunion concert taped and shown later by HBO. Given the correlation between fond memories of the marriage and the deliberate avoidance of the tonic triad, the song takes on a strongly ironical cast with the closing tonal resolution to G (which, with the repetition of the refrain "I Do It For Your Love, " "restores" the two measures deleted from the break). As a result, section B2, which began a semitone higher than B1, ends a minor 3rd higher in F minor, and the section concludes with rumbling piano tremolandos signifying the wrath of God. By Simon and Garfunkel. Thus, despite the sorrow and loss of love in this and the previous songs of the cycle, and in spite of the prevailing motion of major to parallel minor with each section change, it appears as if redemption of a sort can be won, signified simply by the major-mode conclusion. Words & music By Paul Simon 1974. 33 Kofi Agawu notes that the actions in the poem of the protagonist and his lover become progressively more intimate, from the look into her eyes, to the kiss on her mouth, to lying on her breast. It took more than a year waiting for the finger to heal. The lyrics read: "Silent Eyes / Watching / Jerusalem / Make her bed of stones // Silent Eyes / No one will comfort her / Jerusalem / Weeps alone. ") The narrative division is further articulated by two tonal pattern completions which are generally congruent with the grouping by association. Simon co-produced the album along with Phil Ramone and is responsible for a good part of the arranging as well.

"Love Me Like A Rock" is the zenith of this approach, the Dixie Hummingbirds singing over Simon's playful vocals, Roger Hawkins' drums arcing from channel to channel. 2 Second, the issue of intention comes into play. The concert is a retrospective of his career, from the simple beginnings to the pulsing South African sounds and rhythms of his 1986 "Graceland" album and the Afro-Brazilian drumming and Antonio Carlos Jobim chord chemistry of his latest, "The Rhythm of the Saints. But Still Crazy After All These Years topped the charts, spawned four Top 40 hits, and won Grammys for Song of the Year and Best Vocal Performance. 6, 8 and 9 comprise a stepwise descent from C major through and A major and on to minor at the beginning of "Silent Eyes. " 31 In revising the song for the album, the most obvious changes include the addition of the lyrics and the substitution of piano for guitar. 30 Compare, however, the harmony at the arrows in the corresponding sections: in B1, the C-major chord represents leading to V and supports the melodic highpoint G5 ("She burns like a flame"); in B2, however, the harmony is not a triad but rather 7, which leads directly to V7 and hence functions like a German augmented sixth ("To stand before the eyes of God / And speak what was done"). 3 Of course analogous issues sometimes apply to earlier works, such as Schubert's Schwanengesang, which was ordered as a set by his publisher. In Simon's album, the most important of the above strategies are pattern completion and association, since they subsume most of the other properties. By way of background, "Still Crazy After All These Years, " Simon's third solo album, was both a critical and commercial success, garnering the Grammy award for Best Album and producing the hit single "50 Ways to Leave Your Lover. " Formally, the song is an expanded 32-bar song form, modified by the gospel chorus following section B1, the transposed and transformed return of the B material, and the return of the gospel chorus immediately following. Product Type: Musicnotes.

Plotwise, Part I of the narrative introduces the protagonist in the opening song and in flashback describes his childhood, his marriage and its breakup. The movie ends with her getting in the car with the investor, the camera panning back up to the forlorn Beatty on the aforementioned F-minor chord. But the overall feel of Still Crazy was of a jazzy style subtly augmented with strings and horns. With a few exceptions (including Robert Gauldin's exemplary analysis of Side Two of the Beatles' "Abbey Road"), current writing on popular music has mainly focused on either general style, socio-cultural issues, or the analysis of individual songs. With the demise of the marriage the protagonist finishes reflecting on his past and now considers his present situation, initiating the next section of the cycle. To review, the narrative songs nos.

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By a jury of my peers. "And that's why, in songs like 'Still Crazy After All These Years' or 'Something So Right, ' I used chord changes that, uh, were not in the lexicon of rock 'n' roll ballads. And we drank ourselves some beers. 19 There are three non-narrative songs which may be categorized as fable ("Night Game"), meditation on the protagonist's psychological state ("Some Folks' Lives"), and epilogue ("Silent Eyes"). He even commented on the state of the country in "American Tune, " singing of feeling "weary to my bones" and offering the kicker anti-war line "you can't expect to be bright and bon vivant so far away from home. 2 (Summer 1991): 301-323; and Barbara Bradby and Brian Torode, "'Maybellene' meaning and the listening subject, " Popular Music 4 (1984): 183-206.

RELEASED forty-five years ago…. This month, I wanted to put Paul Simon's Still Crazy After All These Years into Vinyl Corner. It's bizarre how dynamically clipped this LP sounds. 36 Christopher Lewis makes this point in "Text, Time and Tonic": 50. One Is The Loneliest Number.

Originally two songs were intended for the soundtrack ("Have A Good Time" and "Silent Eyes"); 14 in the end, however, only one was used, representing a kind of sketch for "Silent Eyes" which, as we shall see, has interesting ramifications for large-scale closure on the album. Musically, the harmonic simplicity and driving beat of the chorus of "50 Ways To Leave Your Lover" is taken up by the subsequent narrative songs—i. Given the extensive literature on the criteria distinguishing multi-movement cycles from mere collections, I shall defer from reevaluating this issue here. While the possibilities are virtually limitless, in the nineteenth century the predominating associations link tonality with character (or image, or idea); this is most clearly operative in opera, but is also crucial to Schubert's song cycles as well. About this song: Still Crazy After All These Yeas (easier). The LP's seriously warm low end can be a bit boomy, and long decay trails on guitar and cymbals aren't particularly natural sounding, but this is a "studio as instrument" approach that revels in its own sense of nuanced hyperrealism. When I lie upon your breast / a heavenly happiness comes over me; / but when you say: I love you!

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The narrative divides into 5 + 5 songs corresponding to Sides 1 and 2 of the record. The predominance of the piano, its gospel fervor and the gospel chorus recall "Gone At Last" opening Side 2 and naturally convey the Biblical overtones of the text (see below). I take a similar position in speaking of the relative structural subservience of non-narrative songs on the album. As the durational reduction of the bass line shows, each 8-bar unit avoids resolution to G by the elision from D7 to E7 (end verse 1), or by the motion to minor (end verse 2 and break). In 1970, at about the time he and Garfunkel called it quits, he began evolving from the category called folk-rock, a bag that included their sweetly olde English hit "Scarborough Fair. But elsewhere, as on "Have a Good Time, " the singer's cynicism seemed unearned. This strategy of noting similarities between contemporary popular music and earlier Western art music is nothing new to popular music criticism.

Then I must weep bitterly. " Top Tabs & Chords by Paul Simon, don't miss these songs! 38 Donald Mitchell, in his analysis of "Die zwei blauen Augen, " does not mention this aspect of the tonal strategy and its relation to the text. That "You're Kind" is exceptional in this respect may be significant. 7 We shall assume that certain works generally considered to be cycles—e. 27 From "50 Ways To Leave Your Lover, " Copyright ©1975 Paul Simon. "I couldn't bend it, I couldn't play. Includes 1 print + interactive copy with lifetime access in our free apps. But, in the end, Simon's crazy protagonist embraces the same gloomy fate as Mahler's sensitive Wayfarer.

Bridge over Troubled Water. Simon says the tour will end early next year in Africa after stops in Japan, China, Australia and South America. He isn't a big guy and hasn't a big voice, just a light, floating tenor. This suggests that, while the marital breakup is too painful a prospect to be addressed directly, its inevitability is musically symbolized by the resolution to G major. And I aint no fool for love songs. And we talked about some old times.

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