Is Paul Simon americana? For all his early involvement with the folk scene (including the British one), and his movement into various different world music threads, Paul Simon can ultimately be seen as a writer whose very essence is entwined with America. Or so I shall seek to argue in this little trip through some of his finest paeans to the American Dream (and its underside).
Number 10: ‘Gone At Last’ (from “Still Crazy After All These Years” 1975)
What a rattling good time of a song this is! Some gospel stride piano hammers in, the backing singers coo and whoop, and Simon’s generally worried tenor sounds like he’s ready to have some fun, even doing some vocal duelling against the powerhouse vocals of Phoebe Snow. Of course, being Simon, it’s couched in a little uncertainty (“I’ve had a long streak of bad luck, but I pray it’s gone at last”). Still, it’s good to hear him having some fun! See also ‘Love Me Like A Rock’ for a similar vibe.
Number 9: ‘Cecilia’ (from “Bridge Over Troubled Water”, Simon and Garfunkel 1970)
With its weirdly syncopated reggae-influenced rhythms, ‘Cecilia’ was a markedly different sound for Simon and Garfunkel. Simon’s acoustic guitar is right ahead in the mix, like a busker gate crashing a marching band’s party. ‘Cecilia’ is a wondrously catchy song, lightweight but joyous (in that way, perhaps a sister song to the ’59th Street Bridge Song‘). Both these songs demonstrate that however earnest and thoughtful Simon was as a lyricist, if a song presented itself to him as some light relief, he was not going to turn it away.
Number 8: ‘Mrs Robinson’ (from “The Graduate” soundtrack 1968)
Ultra-smart playing, with a truly memorable acoustic guitar and bass riff, and some very cool chord sequences in situ to follow, that frame this sideways commentary on an America that could be unsettling and scary. “Anyway you look at it, you lose” was the central element of a song that called for requiems but left little hope to hold onto.
Number 7: ‘Kodachrome’ (from “There Goes Rhymin’ Simon” 1973)
Another proof that Simon at his best can entwine his aloof, somewhat cynical presence around danceable tunes to great effect. Snappy lyrics with music to match, and a party of an outro, too. “When I think back on all the crap I learned in high school / it’s a wonder I can think at all”. There you go, kids, that’s how to start a record.
Number 6: ‘Keep The Customer Satisfied’ (from “Bridge Over Troubled Water”, Simon and Garfunkel 1970)
Alongside ‘Baby Driver’, this is just the most fun in the middle of Simon and Garfunkel’s biggest record. The pair whoop and holler their way through a country-tinged rocker, building to an unforgettable chorus that makes the stress of life sound every bit worth it. “Everywhere I go, I get slandered, libelled, I hear words I never heard in the bible.. I’m just trying to keep the customer satisfied!” Keep on keeping on, S & G – your despair is so uplifting!
Number 5: ‘America’ (from ‘Bookends’, Simon and Garfunkel 1968)
A tour de force of songwriting, ostensibly following a journey across America on a Greyhound bus (essence of Americana right there). Beautifully realised lyrics, with some equally lyrical touches in the musical production, from smart chord changes, to crashing timpani, church-like organs, while a clarinet weaves around the playful bus games interlude (“she said the man in the gaberdine suit was a spy – I said be careful his bow tie is really a camera”), before moving to the most heartfelt “Kathy, I’m lost, I said – though I knew she was sleeping”, before looking out at the myriad cars, full of people “all come to look for America”. Stunning.
Number 4: ‘Slip Sliding Away’ (from “Greatest Hits” 1977)
Recorded in 1975 but for some reason not included on the ‘Still Crazy...’ album, ‘Slip Sliding Away’ may be the archetypal Paul Simon lyric. Deeply empathic, and deeply sad and troubled, the first three verses deal with three different people facing the difficulties of modern life, and the impotency to do anything about it. In the end, he has a summing up – “We work in our jobs, collect our pay, believe we’re gliding down the highway but instead we’re slip sliding away”. Take whatever meaning you want, but what’s undeniable is the quality of thought behind it.
Number 3: ‘Peace Like a River’ (from “Paul Simon” 1972)
Hang on, what are these opening notes? Paul Simon does the blues??? Oh, it’s ok, once he starts singing, it sounds like Paul Simon again. But what a strange and cool song this is, combining elements of his usual worried poetry (“As I remember, misinformation followed us like a plague”) and a musical background that moves through different stages in its brief three minutes, not unlike a river itself.
Number 2; ‘The Only Living Boy In New York’ (from “Bridge Over Troubled Water” 1970)
This list seems to highlight just what an Americana album ‘Bridge…‘ is! And it doesn’t even include ‘The Boxer’ (please feel free to include it in your own list)! Some songs are both simple and perfect, and in any list of those, this would be my exhibit A. Once again, Simon demonstrates that for all of his questing for the complex both musically and lyrically, he may be at his best when he just relaxes and lets the song do the work. There is something so emotional and so heartfelt in this ostensibly straightforward tale. Was it a message to Garfunkel, who went off on an acting assignment as Simon was left to write the songs for what became their biggest album by far? Doesn’t matter. It is a beautiful meditation which can apply to us all. The soothing vocal choir effect, the simplicity implied by “I get the news on the weather report”, the reiteration of “Half of the time we go, but we don’t know where”, followed by the plaintive message of “Here I am”. It’s just wonderful. ‘Nuff said.
Number 1″ ‘Graceland’ (from “Graceland” 1986)
Only one place to top the Paul Simon americana chart, surely, even if it was from a ‘world music’ album. “Graceland” the album smashed into everyone’s living rooms in 1986, made with South African artists (causing more than a little consternation and debate at the time of a cultural boycott, which indeed continues to this day). What is undeniable is that the music was extraordinary, sinuous and smooth. Superbly constructed on so many levels, and yet thrillingly commercial. ‘Graceland’ the song gave the collection its title, so Simon clearly recognised its importance (though strangely it didn’t open the record). Again, he uses fine detail to somehow suggest a wider notion; this time, it’s a trip to Elvis’ home and resting place along with “the child of my first marriage”. The music slinks in with a few bars setting the scene before the chord changes, and a glittering guitar motif shines through. As he heads on his road trip, Simon’s thoughts seem to wander, with his usual long-suffering wit (“She comes back to tell me she’s gone- as if I didn’t know that!”). The chorus line “I’ve reason to believe, we all will be received in Graceland” seems to suggest that in America, everyone is welcome – though perhaps also that there is an emptiness to worshipping in a dead entertainer’s house. Whatever, the strength of this song, as with most of Simon’s output, is that he works hard on the song, but it’s up to the listener to glean what they want from it; and if the goal is just to have a good time with the music, then that’s catered for, too.
Too many songs to mention but American Tune and The Renee Magritte song deserve a mention. Saw him at BST a while ago. Brilliant.
There really were too many when it came to it – definitely shows the breadth of his writing. Love both your suggestions, both really amazing songs.
What? No ‘Mardi Gras’? Such a great song, and very Americana i.m h.o.
There’s definitely a case for it! As there were for all too many songs, really – what a songwriter he is.
I remember growing up in remote North East Scotland and buying a Paul Simon songbook which contained the song”I wish You Could be here” which was co written with Bruce Woodley of The Seekers and recorded by them but never released by Simon:
” Sundays in this town, there’s not a lot for me to do, I’ve been listening to some records but my thoughts return to you..”
Decades later “You’re the One” contained the following lyrics; “May twelve angels guard you while you sleep, Maybe that’s a waste of Angels , I don’t know, I’d do anything to keep you safe from the danger that surrounds us…”
A songwriter of immense standing and, in my view, very much underrated as both a writer and guitarist.