Showing posts with label 1972. Show all posts
Showing posts with label 1972. Show all posts

Thursday, September 17, 2009

Paul Simon

Paul Simon
(1972)

Paul Simon, the eponymous solo debut by Simon & Garfunkel mastermind Paul Simon (I say all this like you don't know who he is... *shakes head*), is the only album I can credit with having saved my life. In December and January of this past winter, Paul Simon preserved my sanity. I'll spare you the details and simply note that I was in a bad place. I was in a very, very bad relationship, and I was alone in Chicago for five weeks. There were three-or-four day stretches when I would not see even the hall outside my apartment door. These were not high times. I wrote an unprecedented amount of material in those five weeks; between the solitude and the ever-shifting emotional space I occupied, it was a prolific period, certainly. I threw myself as fully into my work as I ever have, and that was very rewarding, but the writing I did in that period was intensely personal, and required me to stare straight in the face of the very things which were tearing me apart inside. The only thing that brought me back at the end of each day, and every day ended with me frustrated, exhausted, and unable to stop thinking, was listening to Paul Simon as I fell asleep, night after night.

I often listened to it during the day, as well. I listened to it three or four times a day, on occasion, though I usually did my best to restrict the habit to once a night, when it was a balm, a salve to my sanity. During the day, it simply kept me from falling apart entirely. Any time I felt myself losing what composure I had, I put it on, and it would stop the bleeding, if only for a few hours. But, at night, laying in bed, with nothing to focus on but breathing and the music, it took on a healing power I've never found in any other music. Everything was alright, everything would work out, and I was going to survive this.

To be fair, I'd never been in as intense a situation as I was at that time, and, if Paul Simon hadn't been there, I'm sure I would have found something else. But it was there, and it was all I needed. I didn't have much else in the way of input during that time; television, movies, and all other music allowed my mind to wander, and I found it hard to focus. Books weren't even close to an option. I couldn't focus for a sentence. When I wasn't writing, I was probably listening to Paul Simon.

Not surprisingly, once that period was over, I didn't listen to it much. It wasn't a conscious choice, but there's no sense in arguing that I wouldn't have found the emotions attached to it overwhelming and unpleasant. It became a sort of talisman, a box in which I poured everything negative from that time, and I left it on the shelf, afraid to touch it, to disturb what was inside. I remembered the important role it played, but the music was lost in the shuffle. So to speak.

A little over a week ago, due to circumstances in my life which have brought the tail end of that chapter to a close, I listened to Paul Simon for the first time in eight months. Every note of it was still familiar to me, I could sing every word; it was almost as if the album had never left, but, this time, it wasn't serving a function. It was there to be enjoyed, not to be relied on. And I discovered, rediscovered, how truly amazing a piece of work it really is.

On a technical level, I'm only now really appreciating all there is to appreciate about it. It was a blanket before. Now it's a tapestry. There is a remarkable, subtle variety to the songs here; it was meant to be appreciated as a whole, and that shows, as the songs are all dissimilar yet still familiar with one another. Paul Simon's voice is calming, weary, withdrawn even; he wrote the album in the aftermath of a divorce, and the sadness, hurt, resolve, and real, true pain are all found throughout these songs, without ever being reduced to a cliche. He manages to dissect the pains of dissolved love with a combination of empathy and intelligence which many strive for, but almost none achieve.

I bought the LP today, as I've only ever heard it as mp3s. The fullness of the sound, and the details I could hear, as this thing which was so familiar and important to me took on a whole new beauty and quality, a whole new existence, almost brought me to tears. I can't recommend it enough.

Wednesday, May 6, 2009

Wednesday Classics, Vol. 2: Sail Away

Sail Away
(1972)
Randy Newman

There's much, much more to this man than Toy Story. To those of you who are already aware, that will seem like an obvious statement, but it's not. Many people of my age group don't know Randy Newman outside of two things; The music he wrote for various Pixar films, and his appearance on Family Guy. Go ahead, talk about Lois biting the apple. He's one of the great songwriters of the pop era. He earned that skewering.

On his first, self-titled album, Randy Newman wrote mostly off-kilter love songs. On his second, 12 Songs, he started to reach out. Sail Away is when he figures out just what exactly he's capable of. The title track introduces popular music to the concept of the unreliable narrator. Think of it as a Mark Twain book rendered in song. It's a sales pitch given by a slave trader to a group of Africans, persuading them to come to America. He describes America as a wondrous place, without a hint of insincerity. It's a stirring ode to the United States if you aren't paying attention. "Lonely at the Top" is an examination of an egotistical showman; "I've been around the world, had my pick of every girl. You'd think I'd be happy, but I'm not." It's bluesy and boozy, a wonderful song, and it's even funnier if you listen to it aware that Newman wrote it for Frank Sinatra, who (understandably) wouldn't touch it. "He Gives Us All His Love" addresses God, from the perspective of humanity. It can be read as sincere, and has even been covered by Christian Rock bands, or it can be read as sarcastic and withering. Given the track the album ends with, the latter seems more likely. "Political Science" is written in the guise of a man who believes we should nuke the world (except Australia, don't want to hurt no kangaroos), to solve all our problems.

The album ends with the astonishing "God's Song (That's Why I Love Mankind)." It's effect when you listen to the album is devastating. Over a quiet, sparse blues shuffle, Newman speaks as God, and what makes it eerie is how thoroughly accurate he sounds:

I burn down your cities, how blind you must be.
I take from you your children, and you say, "How blessed are we?'
You all must be crazy to put your faith in me.
That's why I love mankind.
You really need me...
That's why I love mankind.

Grade: A+