I started listening to Paul Simon in late January 2021. Simon's discography is unique because Paul Simon and Graceland are easily among my top 30 favorite albums as of early 2021, but his next best release is somewhere in the low 100s or early 200s.
Paul Simon (1972): A+ [Originally: A]
There Goes Rhymin' Simon (1973): B+
Paul Simon in Concert: Live Rhymin' (1974): C
Still Crazy After All These Years (1975): B
One-Trick Pony (1980): C+
Hearts and Bones (1983): B-
Graceland (1986): A
The Rhythm of the Saints (1990): B
Paul Simon's Concert in the Park (1991): C+
Songs from the Capeman (1997): C
You're the One (2000): B-
Surprise (2006): B
So Beautiful or So What (2011): B+
Stranger to Stranger (2016): B-
In the Blue Light (2018): C+
Seven Psalms (2023): C+
Paul Simon (1972):
There are a number reasons why leaving Garfunkel has liberated Simon--he can explore different genres and his melodies and the songwriter is no longer restrained by harmonies--but perhaps the most important one is that he's mostly writing in the first person, leading to incredibly beautiful, moving, and personal lyrics like "Duncan," "Run that Body Down," and "Paranoid Blues." And "Peace Like a River"! I can't remember the last time lyrics and music has wed so well on an album. The choice of session musicians is no less impressive than Simon's nimble singing and nothing gets me dancing my dorm quite like "Hobo's Blues" with Grappelli's violin. A+
There Goes Rhymin' Simon (1973):
Unfortunately, no one visited this page in time to see my initial review of this album, so I'll fill you in: I gave it a B- and called it "worse than anything Simon & Garfunkel released" and "the most disappointing follow-up I can think of." I presume I had such a difficult time with it because it was such a different direction than his debut which was my favorite album I had listened to in 2021 in mid-Feburary. After listening to Still Crazy and One-Trick Pony, I found myself listening to Rhymin' Simon often and softening to some of the songs--"Take Me to the Mardi Gras" and "Something So Right"--I was originally turned off by. Although I still find "One Man's Ceiling Is Another Man's Floor," "Love Me Like a Rock," and "Was a Sunny Day" a little underwhelming, the majority of this is excellent. B+
Paul Simon in Concert: Live Rhymin' (1974):
Simon is studio perfectionist, which means the songs have to in some way be different than the studio versions to be worthwhile. Unfortunately, this is far from memorable--he sings too sweetly and the backing singers don't pair well with him. The only two songs that are worthwhile are "American Tune" and "Something So Right," which Simon doesn't have the luxury of adding strings to. Simon is a studio perfectionist and he's better for it. C
Still Crazy After All These Years (1975):
Not a bad effort, but Simon takes this opportunity to return to the style Simon & Garfunkel already perfected. "50 Ways to Leave Your Lover" and "Still Crazy After All These Years" are the two excellent songs. B
One-Trick Pony (1980):
Like Still Crazy, most of this is secondary. Although the songs are all well produced and performed, Simon's singing and melodies lack contrast and liveliness. Surprising, the two of the best songs are performed live--"One-Trick Pony" and "Ace in the Hole." C+
Hearts and Bones (1983):
With synthesizers and guitar solos here and there, this is Simon's most grabbing album in ten years, which is a start. However, much of the best material on the album falls towards the beginning and the good songs run out pretty quickly. I'm glad to have "Allergies" and "Hearts and Bones" but I'm tired of Simon dicking around with songs like "Think Too Much" and "Cars Are Cars." Let's hear some world music Paul! B-
Graceland (1986):
After several somewhat underwhelming albums following his magnificent self-titled, I'm grateful and relieved that Simon has lost none of that old magic. The lyrics are gleeful, the melodies are effortless, the singing is animated, and all three are his best in fourteen years. Some may wish there were political lyrics on an album recorded in the heart of an apartheid South Africa but--not only would that have been difficult to pair with the bright guitar, jumping bass, and dancing rhythms--my main gripe (though no less trivial) is that not all the songs were exclusively products of the South African musicians. Sure, all of the songs are superb and zydeco band is killer, but the title track, "Under African Skies," and "Diamonds on the Soles of Her Shoes," are good enough to get anyone interested in the music from the vast African continent and I'm no exception. A
The Rhythm of the Saints (1990):
I wish this had just a bit more indelible songwriting. The Rhythm of the Saints has all the exotic and enjoyable sounds of Graceland and more, but Simon takes a less joyful tone, settling instead for soft, introspective songwriting. And you're right that his self-titled was introspective but it was indelible--I can hum any of those eleven songs if you want. B
Paul Simon's Concert in the Park (1991):
Frankly, this sounds like a concert that would have been great to go to, but that doesn't always mean it will translate to an album worth sitting through at home--especially not an album that's two hours long. Simon has vastly improved his stage presence since 1974--vocals, choice of touring band, and his charisma are all better--but he's still better as a studio musician and I don't have the energy to sift through this to find the really great single LP that lurks in this triple LP's dark corners. C+
Songs from the Capeman (1997):
It's clear that Simon spent a significant amount of time constructing the music--it's one of his strongest albums based simply on that. Unfortunately, the lyrics, which narrate the plot to the play, are unlistenable. Simon doesn't have the voice to be spitting out an f word (or n word) every song and I don't care for the other vocalists on the record. C
You're the One (2000):
Besides a few tracks--"Darling Lorraine" and "You're the One"--Simon's songwriting is subpar. The strong production is usually able to hide that fact and the album isn't unnecessarily long, making it forgivable and occasionally pleasant. The only times when Simon really does something new and exciting is on the silly, but charming "Old" and "Pigs, Sheep and Wolves." B-
Surprise (2006):
Though his previous album was pleasant enough, it didn't signal a late career resurgence. This does. There are a few forgettable songs but the soundscape of the album is unique to anything I've heard. On top of that, the songwriting is engaging and his best since The Rhythm of the Saints. It fizzles out a little bit in the middle but comes back as strong as ever at the end with "That's Me" and "Father and Daughter," two of the best songs of his career. B
So Beautiful or So What (2011):
Simon's third experimentation with world music barely outdoes The Rhythm of the Saints and doesn't touch Graceland. I don't care for the cheesy lyrics on "Getting Ready for Christmas Day" or "Rewrite" but, like the rest of the album, the music is inventive and fun. More so than Surprise, the album sounds modern--many electronic effects and a reference to Jay-Z--and surprisingly, the 70 year old Simon fits comfortably there. Occasionally, I wish it were more melodic, which is usually Simon's biggest strength, but the record is fine as it is--along with Rhymin' Simon, it's the closest he's ever gotten to matching the power of his two masterpieces. B+
Stranger to Stranger (2016):
Simon continues to expand his musical horizon and influences. This one is less impressive than So Beautiful or So What in its final product. Simon offers three impressive songs--"Proof of Love," "The Riverbank," and "Cool Papa Bell"--and it works as a whole album but it lacks significant stimulation. I'd like to give it one grade higher, but I'm afraid most Simon fans, myself included, will not be inclined to ever reach for it again after admiring its craft on introduction. B-
In the Blue Light (2018):
The concept of redoing songs that Simon felt never got the credit they deserved is brilliant and I especially appreciate such a project because, being the completist I am, I already know his whole catalogue. Therefore, I can relate to his wish to elevate songs that should have made more of an impact--why isn't "Peace Like a River" just as well-loved as "The Sound of Silence"? Unfortunately, I didn't think much of these songs when they were first recorded and I don't think much of them now that Simon has pointed them out. The recording of the songs are generally strong but never beat the original recordings. C+
Seven Psalms (2023):
Simon's lyrics in 2023 might be better than Joni Mitchell's in 2007 and Neil Young's in the entire 21st century but the music has to be a lot more convincing in order to pull of lines like "the covid virus is the Lord." It'd be nice if his voice--a weak whisper these days--was better too. Even my mom objected to me playing it a second time. C+
