Simon mines a varied past on 'The One'

Paul Simon

You're the One

****

By Jake McKim

Singer-songwriter Paul Simon is back in flight.

After The Capeman, Simon's disastrous 1998 Broadway musical, he bounces back with You're the One, a collection of new songs and Simon's first non-concept album since 1983's Hearts and Bones.

Simon has been in the business for more than 35 years, but has only released 13 studio albums. His work with Art Garfunkel in the late '60s proved to be his best until the 1986 release of Graceland, a true masterpiece that expanded Simon's horizons and introduced fans to his love for African music.

Simon's love for native sounds was only hinted at on later works of Simon and Garfunkel ("El Condor Pasa," "Cecilia" and the rare "Feuilles-O") and some Simon tunes ("Mother and Child Reunion" and "Late in the Evening").

In 1991, Simon released Rhythm of the Saints, another masterpiece that featured collages of African music and the rhythms of South America. Between Graceland and Rhythm, Simon mastered the new genre, producing such classics as "Diamonds on the Soles of Her Shoes," "Boy in the Bubble," "Born at the Right Time," "Can't Run But," "Graceland" and the masterful "The Cool, Cool River."

Nine years after the release of Rhythm, Simon has taken his golden talent to yet another level. You're the One puts its arms around every aspect of Simon's 30-plus-year-old catalogue.

There are hints of Simon and Garfunkel, hints of his early solo days and hints of the African-Brazilian connection.

The album opens with the delicate "That's Where I Belong," a song about a sort of "comfort place." Simon's signature voice breaks through the beautiful instrumentation in a short, autobiographical phrase: "Somewhere in a burst of glory/ Sound becomes a song/ I'm bound to tell a story/ That's where I belong."

The guitar playing of Simon and Graceland collaborator Vincent Nguini come together in a gorgeous, harmonious way that is reminiscent of the angel-like voices of Simon and Garfunkel.

"Darling Lorraine" follows with a witty story about marriage. Simon plays with his knowledge of rhythms and melodies as each takes on a path of its own, countering each other throughout the song but still finding a way to come together.

The syncopated hand claps in the introduction lead smoothly into the first verse, a feeling very similar to S&G's "Cecilia." Simon's vocal range stretches beautifully in the chorus as he sings about domestic woes.

"Old" is a fun tune that plays off the guitar riff of the Buddy Holly classic "Peggy Sue." Simon's testament of getting old inspires the lyrics in this track as the singer-songwriter displays his views on God, humanity and his own older and wiser self.

The title track is one of the best songs on the album and another Simon song about pointing fingers. "You're the One" features classic guitar riffs from the artist and Nguini, along with amazing and delicate percussion by Jamey Haddad and Steve Shehan.

The tone of the lyrics is nothing new for Simon as he portrays lovers putting the blame on each other (as he did in S&G's "Overs" and "You Don't Know Where Your Interest Lies"). The chord progression is a pretty one, giving Simon the liberty to create a more melodious sound.

"The Teacher" is a dark song filled with beautiful instrumentation, including a bamboo flute (Steve Gorn) and a bass clarinet (Evan Ziporyn).

"Senorita With a Necklace of Tears" is another great track. The lyrics are reminiscent of 1974's "Something So Right," one of Simon's best songs.

Dealing with maturation, love and life's inevitable consequences, "Senorita" is driven by a Caribbean feel with its guitar riffs and light percussion.

It is not so obvious that the song is autobiographical. If it is, Simon, who has always been a private person, appears to be opening up on You're the One much more than he has on previous albums.

"Love" is a nice track dealing with the obvious while "Pigs, Sheep and Wolves" stems from a game Simon plays with his three children. An almost nursery-rhyme song, Simon manages to use playful characters to express his views on politics, government and the media.

"Hurricane Eye" uses clever instrumentation to create the feeling the title suggests and "Quiet," a solemn, peaceful work, closes the album with Simon's mysterious voice floating over a chant-like song.

This piece features a pump reed organ (Alain Mallet), a vihuela (Jay Elfenbein), a 96-tone harp, a whirly pipe, a rubbed steel bowl (all played by Skip La Plante) and a tromba doo (Mark Stewart). Peter Herbert is featured on the upright bass.

The album is a reminder to Simon fans that he continues to grow musically, lyrically and emotionally with each and every album.

You're the One portrays the Paul Simon of now: older, wiser and at a place where music is the language that every soul can understand. He's right where he belongs.