Send "Paul Simon " Ringtones to your Cell 
| Popmatters |
 In the modern world we are, more often than not, instantly gratified and prone to fashion. In these days of miracle and wonder it is always refreshing to hear from an artist who has lasted long enough to hand down a body of work that contributes to our collective sense of American history—the bulk of whose work could not easily be accused of being instantly gratifying, nor always fashionable. Paul Simon’s songwriting continues to stick in our collective consciousness because it really is that good. He is a meticulous craftsman. The kind whose guild many would be envious to join. As an artist he has mastered the skill of staying accessible while always pushing his listeners further, even challenging them. I know it might not always seem that way. A few years back, we witnessed the pillow-inducing nostalgia and corporate bundling of his persona through the pricey Simon and Garfunkel Reunion concerts. But Paul Simon still remains. He is still fighting with furry through a heart of wisdom. If you don’t believe me, check out his recent performance of “So Beautiful Or So What?” on Saturday Night Live. Watch it, then remind yourself that the guy is 70 years old. I caught Bob Dylan live a few years ago and it looked as if he was being propped up behind a keyboard by a collection of marionette strings. Not so with Paul Simon—he is still engaged. You can be sure, this is no “objective” review from a detached connoisseur of Paul Simon’s career. I was in 10th grade when I was handed my first collection of Paul Simon tunes by a friend. It was a mix-tape that had been carefully compiled from more than a few other recordings. I still listen to Paul Simon for the same reason I secretly enjoy wearing the kind of cardigan sweaters that my grandpa might have donned. Still, in spite of the timeless comfort he may induce, Simon’s music has remained subversively unsettling and progressive, which is a classy kind of thing to pull off. At least two other retrospective collections of Simon’s music have been released over the course of the last few years. So, why another one? And how is the 32-track Paul Simon: Songwriter different than The Essential Paul Simon or The Paul Simon Collection? The fan appeal of this collection is Simon’s self selection of the music. It is also the key to interpreting the scope of this compilation, of which I am afraid some critics may have missed the point. Allowing Simon to redact this collection guarantees that Paul Simon: Songwriter is not a typical “best-of”. Instead, it is a modest protest against the kind of deconstructed essential-ism that are like nails in the coffin at the end of an artist’s career. His most recent album, So Beautiful or So What?, proves that Simon is still relevant, and this take on a “best-of” package honors his struggle to stay that way. ...full text |
| Bbc |
| In interviews shortly after his 1970 professional split from Art Garfunkel, Paul Simon spoke of fulfilling a desire to produce the more rhythmic work that the penchant for lushness of his dulcet-toned partner of five albums had stymied. As this 32-track compilation of his solo career demonstrates, he then puzzlingly proceeded to issue a string of albums marked by an increasingly laidback tone. Tracks like American Tune and Still Crazy After All These Years are only saved from soporific stupor by melodies so gorgeous you can almost taste them. Even the geo-political thoughtfulness of allusion to Latin American insurrection Peace Like a River doesn't break the mould of tuneful gentleness. With odd exceptions such as the percolating reggae Mother and Child Reunion and the breakneck and surprisingly vehement denunciation of American corn Kodachrome (Paul Simon knew the word "crap"!), the artist seemed to be sinking into MOR. Only with 1986’s Graceland did Simon fulfil that promise of musical funkiness. Typical of this collection’s wilful eccentricity, though three Graceland tracks are included, its blockbuster single You Can Call Me Al is not among them. So successful was Graceland in introducing Simon to a whole new generation, he could have gotten away with not including Simon & Garfunkel material herein. In point of fact, he does throw in a trio of songs associated with S&G. Unnecessary at best – none are the familiar, well-loved versions – their presence becomes positively irritating in light of the absence of quality Simon solo hits like Me and Julio Down by the Schoolyard, 50 Ways To Leave Your Lover and Slip Slidin' Away....full text |
| Themortonreport |
| Paul Simon is one lucky man and his time with Art Garfunkel as the great Simon & Garfunkel duo produced many timeless classics. After that relationship dissolved, Paul Simon began a fruitful career as a solo artist, writing many more songs that sit very well amongst some of the best songs that rock and roll has to offer. Simon is a lucky man because he had found a steadfast audience that adored his creative output. The new collection, Songwriter, is a celebration of that magic, if not a little disjointed in offered tracks. You may be dismayed to find that there are some hit songs missing. There are no “Loves Me Like A Rock,” “Me And Julio Down By the School Yard,” “Slip Sliding Away,” or surprisingly, “50 Ways To Leave Your Lover.” Instead, Songwriter represents Paul Simon’s selective mind rather than a simple collection of accumulated and successful Paul Simon “hits.” For you, there are many of the endless parade of Paul Simon ‘best-of’ collections. To be fairly complete, you should seek out The Essential Paul Simon. ...full text |
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