The first album by Paul Simon in five years is full of big business: life of what it means, as soon as possible, brutality and beauty. "So beautiful or" is a spiritual meditation can not answer the big questions"""So beautiful or well what" is outmoded in its brevity - 10 songs, 38 minutes
All Simon seems to know with certainty is that there is love and beauty
(rolling stone) - of "Death", a stressed with africano-pop taste of their album solo XII, Paul Simon describes the wait at the Pearly Gates as it is a journey to the Court of trafficking, all long lines, excuses aside and whispered humorous. (The Narrator even tries to return to a woman while killing time). But beneath the antics are serious concerns.
"Seems as our fate to suffer and wait for the knowledge that we are looking for", Simon sings in the middle of a sharply syncopated slot and Heavenly power riffs. "Beyond" solves darkness and light with a charm threw out - a specialty of poets Frank O'Hara New York Biggie Smalls, including Paul Simon.
The first album in five years at Simon is full of big business: life of what it means, beauty, brutality and brevity. Simon is pushing 70; We should have the mortality in his mind. But the songs rarely feel heavy. Instead, they combine the bold folk of Paul Simon's 1972 with the sculpture of bright studio of "graceland". Their best album is since 1990 the rhythm of the Saints, and also summarizes much of what makes great Simon.
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Mergers of music of the world "so beautiful or well what" sound so realistic as ever, common languages in a modern world polyglot. In "Rewrite", on a veterinarian's Viet Nam work in a car wash and check a script or your own haunted memory, Simon trades righteous lines with an acoustic guitar with harp kora Yacouba Sissoko (politely refuses to overshadow him; 21 strings against six-string is a unfair competition) in what could be an afternoon jam session in Washington Square Park. "Dazzling blue" feels just as organic, combines folk melodies of the country with percussion Indian of the South in a love song about driving to the beach on Long Island.
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"So beautiful or well what" is outmoded in its brevity (10 songs, 38 minutes) and vivid in his narration. In "Love is Holy eternal light," a jam roadhouse blues who rides a ghostly techno pulse, a character who seems to be the Almighty (in one of several appearances on album) dogs while driving "a vehicle Ford ' 96" by the motorway: "withdraw the station radio/Pop-music/that does not sound like my music to me". Yes, Yes: everyone is a critic.
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But Simon reveries through a lens of the present. "Ready for the day of Christmas for" dialogues with history by a sermon of 1941 sampling on mortality by preacher Rev. J.M. Gates, whose words will appear between the rhymes of Simon about a child in Iraq returned for a third term of Office.
As pop collage goes, Ain ain't Girl Talk. But another recent song on war is disturbing in a modern manner, deformation of Internet time as "Written on the front of PJ Harvey" - and human madness repeated over and over again, in an infinite loop.
Ultimately, "so beautiful or well what" is a spiritual meditation can not answer the big questions: does God exist in a world of pain and inequality? There is death? All Simon seems to know with certainty is that there is love and beauty - and that, beyond or not, great songs live forever.Copyright © 2010 Rolling Stone.
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