The intricate workings of a great legendary mind like Paul Simon’s remains a mystery as we embark on the journey through his most recent album, ‘Surprise’. This extraordinary album must first be categorized and a myth must be dispelled. Ever since the incredible impact of the definitive ‘Graceland’, back in 1986, we’ve been in limbo, not far from the feeling of floating on a World Music trip to the point where their next three albums (Concert In The Park Live; November 1991, Songs From The Capeman; November 1997 and You’re The One, October 2000) have simply passed us by. So why did this album quite ‘shock’ us back in 2006? What the hell was it that made us sit so stiff?

Could it be the fact that this small-proportioned geeky guy who looks like an English teacher is turning sixty-five in October of this year? May well be. Simon has once again enchanted us with his commitment to modern music. He could, let’s face it, easily have taken the stage every few years and enlightened us with renditions of ’50 Ways To Leave Your Lover’ and possibly ‘Mother And Child’, both unique records in their own right, but it may be a smoother path to tread. at a certain age in the life of an artist you have to embark on the cold and hostile route of dipping your old toes into the sea of ​​youth culture.

Therefore, we must embrace this man who has allowed us to participate in his lifelong campaign to awaken us both politically and culturally, as well as immerse ourselves in his spiritual ability to produce such music to allow us to dream and expand our sometimes narrow minds. .

This title, perhaps, says it all. What does it mean to us to hear someone say ‘Surprise!’ We are alarmed, amazed and completely bewildered. Well, in that case, I have summed up this entire album in those few words. ‘Graceland’ is not. A ‘lightning bolt from the blue’, it definitely is.

The perfection and simplicity of a baby’s face stands out, staring back at us, from this pure album cover. Just this image automatically evokes questions in the listener’s head; Is the child surprised? Is it the surprise of the birth of a child? The idea of ​​being reborn comes to mind and it is these thoughts that accompany me throughout the album.

I would suggest that the impression we get when listening to this album is just that. The feeling of being reborn. Without a doubt, Simon is finding new steps in his journey through these songs. Or maybe, it’s just the easy feeling of putting on new, comfortable shoes. Continuing faithfully with Warner Bros once again and producing the album himself, he gives us a small collection of songs; eleven in all, and so it’s up to him to decide if these shoes fit him well enough.

In the current moods of the current state of the planet through the eyes of a wise and mature artist, the images within the cover booklet are simple, touched with strong and sobering nuances. We see an image of a giant ocean wave about to drown a sleepy beach resort on the coast. An American city shrouded in smoke. A child’s ear, right in the camera shot. A man drenching another man by throwing a bucket of water on him. A monkey-like couple, arms around each other. A missile plummeting into the sea. The face of an oriental baby. Foxgloves growing on a fern covered hillside. A photograph of a family, lying on the dirt of a footpath. The reflection of the Empire State Building in a puddle at night. A very young photograph of the man himself, and lastly the lovely face of a happy little girl, playing. These images are inspiring and dare I say so, reminding us of events that in today’s daily life, we seem to have forgotten.

However, it is these images that, in a way, are reflections of the musical content they contain. While it is incorrect to equate a piece of music or a single song to a global disaster, it is the fusion of the music and the images we see that shapes a definition of what the world looks like through this man’s eyes.

The album opens with a question. The song, ‘How can you live in the Northeast?’, builds to a swirling crescendo of heavy guitar riffs and looting drums. These lyrics are in true Simon style, immediately bombarding the listener with question after question about religion and creed. Hitting every note that identifies a human being, this song could be seen as quite intrusive, but somewhere there is a moral. The mood is somewhat depressing throughout this track and the next. We wonder, as listeners, where Simon thought he was going with this album. He seems like he has a lot to say. We witness abstract sounds and disjointed noises that we could probably only hear from artists like Coldplay or David Gray. The theme is thoughtful and painful, but don’t let this put you off. Simón’s music creates messages for us, so we must take note and appreciate what this gentleman has to say.

Famous for dipping his talented fingers into the sounds of the musical world, Simon taps into our humorous bones with ‘Outrageous’, which, lyrically, briefly touches on the comedy of ‘You Can Call Me Al’ from ‘Graceland’. ‘ He sings, ‘Who’s gonna love you when your looks are gone?’ that will create a smile on any face. The theme is funky and straight to the point. It is Simon’s trait light, happy and welcome. We embrace it with the delicious and familiar sounds we already recognize as Paul Simon.

Delving further into the sea of ​​current sounds, Simon dares to play with some of today’s funkiest styles, just drum beats and vocals. A small compliment is noticeable here, and an experimental piece with Prince’s idea of ​​a high-pitched voice surprisingly works as well. So, in deep thought, we understand the need to come down to Earth in slow motion in ‘Prayers in Time of War’. Smooth and beautifully crafted around the angelic vocals and acoustic guitar style that is Paul Simon. Paired with the warm arm hair-swinging voices of Jessy Dixon Singers, this song is as powerful as an anthem based on Michael Jackson’s planet. It glides up and down and along our musical spines like ripples on a calm lake. Simon wraps his arms around the world in this song. Poignant we find it in this mood and also through the calypso themes of ‘Beautiful’. Simon still wows us with his unusual church voice. His voice, like Elvis’s, I don’t think will ever leave him.

These drifting and coming together moods travel throughout the rest of this retrospective album. Throughout these tracks, Simon is joined by some of the best musicians he could have laid his hands on. There are a handful here that also appeared on ‘Graceland.’ So it’s no surprise that on ‘Another Galaxy’ we find these men delivering their extraordinary sounds like audible pixie dust to our ears.

This track has a delicate country undertone to it, almost as prominent as Dire Straits ever came to country music, yet this track will likely stun you with still poise. There is a distant element that captures the ears more than the rest. A hint of this distant theme is also present in ‘Once Upon A Time The Was An Ocean’. These titles are again, of such simplicity that they ignite our mind with world themes of Global Warming, War, pain, happiness and beauty. All the elements, it seems, constitute the foundations of a human being today.

“I’ll just skip the boring parts of chapters one, two and three and get to the place where you can read my face and my bio…” are the first lines of the heavy rhythm lived “That’s me”, mixed with scraping. guitar strings play at the beginning, this track is literally a mini autobiography that includes the first surge of young love. He seems to have questioned himself throughout this album. He is almost asking to justify himself for ‘being here’. Actually, we wonder if Simon has reached a point in his career where he feels introspective of his work. We all have a brief idea of ​​analyzing ourselves at some point in our lives, and I feel like that was the perfect moment for Paul Simon.

Perhaps the track that completes the album in the listener’s mind is ‘Father And Daughter’, with heavy bass; however, it is a soft, rocking piece with country tones and stomping themes. It’s unassuming and as non-offensive as any track could be. It’s the same elements that we love so much about Simon; a strong snap back to reality. It’s almost as if Simon is realizing his own ability to produce a song that is warm, welcoming, and encompasses love and life. Not just his own, though touching on his own ideas and feelings has always led to his best works. This track can only be another brush with his own reality. Used as the ending theme to ‘The Wild Thornberries’ (the movie), it is as fitting for a children’s cartoon as it is for the ending of such a sobering adult album.

On another thought, one would be quite disappointed to hear this album come to a quiet ending. Once again, we have been allowed to wander through the mind of this unique and generous artist who still, today, campaigns his political path through the baronial lands of Africa and the rest of the world. Over the years, Simon has become an institution, both musically and politically. He has moved us and, at the same time, introduced us to sounds, ideas and musicians that we have never heard before. It is a legacy of how music should be written, produced and appreciated. Effortless, hassle free and completely appreciated.

So for those of you who were expecting an old man with wasted talent, no originality, and no funds…

I’ll let the inside page of the cover booklet say it all…

tracks;

How can you live in the Northeast?

Everything about it is a love song

Outrageous,

You sure don’t feel like love

Prayers in time of war,

Beautifull,

I don `t believe,

another galaxy,

Once upon a time there was an ocean

That’s me,

Father and daughter.

Paul Simon – Lyrics/Music/Production

Sonic Landscape and Addition of Words and Music – Brian Eno

Bass – Pino Palladino/Abraham Laboriel/Alex Al

Drums – Steve Gadd/Robin Dimaggio

Harmonium – Gil Goldstein

Electric Guitar – Bill Frisell

Fretless Bass – Leo Abrahams

Percussion – Jamey Haddad

Warner Bros. 2006

©Michelle Hatcher ‘Saturday 1942’ 2006

Ciao/dooyoo and everywhere