It represents a lot of listening. Still Crazy After All These Years won two Grammy Awards for Album of the Year, and Best Male Pop Vocal Performance in 1976, and it contains two of Simon's best-ever songs: 50 Ways to Leave Your Lover, and Still Crazy After All These Years. Following a short transition, once more by fifths progression back to G, the final section brings the emphasis on A to a logical conclusion by modulating to and closing in A major; this underscores the song's punchline that "I would not be convicted by a jury of my peers" even if the protagonist resorts to violence. Note the corresponding change in function of the diminished seventh chord from incomplete neighbor to A, to initiation of the fifths progression to; the latter returns at the end of the instrumental break as well, cutting off what otherwise would be a strict 2:1 augmentation of the introduction. ) 28 And it is precisely these songs that define the second of the key patterns to be completed, beginning on C (the next fifth in the preceding sequence from G), down by step through and A to at the beginning of "Silent Eyes. I could still hear that it was pretty, or arresting, or whatever. 21 Readers familiar with the album may have observed that "50 Ways To Leave Your Lover" breaks the associative pattern of Part I in its formal and harmonic simplicity. 29 From "Silent Eyes, " Copyright ©1975 Paul Simon. Remastered at Sterling Sound and pressed at RTI, these are beautiful pressings with equally pristine covers, also restored to their original colors.
It's bizarre how dynamically clipped this LP sounds. 36 Analogously, "I Do It For Your Love" articulates its narrative division with the first of the tonal pattern completions, once more by descending fifth. As a result, the modal shift from C major to minor occurs both at the level of the song and also that of Side 2 as a whole—spanning the beginning, end and aftermath of the affair. Each LP comes with a thick plastic inner sleeve for the vinyl, and a thin outer plastic jacket. By way of background, "Still Crazy After All These Years, " Simon's third solo album, was both a critical and commercial success, garnering the Grammy award for Best Album and producing the hit single "50 Ways to Leave Your Lover. " His 1972 eponymous album, and 1973's There Goes Rhymin' Simon showed he was just as strong solo as he was with Art Garfunkel; Still Crazy After All These Years boasts some of his best songwriting. That is quite a coughing-up, and a very long way from the innocent, low-budget doo-wop days of the '50s in Queens, New York, when he considered himself lucky to get booked at a teen dance in a church basement. Like "50 Ways, " each song is relatively up-tempo, and each is based on a simple three-chord I-IV-V progression related to its genre: gospel for "Gone At Last, " 8-bar blues for the other two songs. By Simon and Garfunkel. But then, it would look silly if Paul Simon, author of "The Sounds of Silence, " started screaming music at this stage of the game. Hit single "My Little Town" marked a reunion of sorts with Art Garfunkel, but the overall mood is bitter, disillusioned and cynical as in the bitchy "Have a Good Time. D#dim A. Oh, still crazy.
And I aint no fool for love songs. 31 The closing scene in the movie finds the anti-heroic hairdresser played by Warren Beatty high up on a hill observing Julie Christie, his true love among many lovers, who is deciding whether to accept the marriage offer from the rich investor to whom she has been mistress, or to go off with Beatty. 23 Tonally, the song restates the previous untransposed fifths pattern, the 8-bar introduction (and verse 1) comprising nested fifths progressions from E7 through A7 to D7. They still keep in touch, he said. At the concluding words "War alles, alles wieder gut! But Still Crazy After All These Years topped the charts, spawned four Top 40 hits, and won Grammys for Song of the Year and Best Vocal Performance. Sometimes there are second verses, and I say, "Oh, that's really not a second verse; it's a first verse. Where Rhymin' Simon was the work of a confident family man, Still Crazy came off as a post-divorce album, its songs reeking of smug self-satisfaction and romantic disillusionment. God Bless The Absentee. 2 (Summer 1991): 301-323; and Barbara Bradby and Brian Torode, "'Maybellene' meaning and the listening subject, " Popular Music 4 (1984): 183-206. THE true masters of music. Simon's tough, " said Randy Newman. My Little Town reunited Simon with former partner Art Garfunkel for the first time since 1970, while Gone at Last was a duet between Simon and Phoebe Snow. And though you'd be hard pressed to find a songwriter below the age of 40 who cites Simon as an influence, can you name a better pop song than "Kodachrome"?
Bridge over Troubled Water. "Still Crazy, " however, veers back and forth between A major and G major from the introduction to the ending. I take a similar position in speaking of the relative structural subservience of non-narrative songs on the album. But the overall feel of Still Crazy was of a jazzy style subtly augmented with strings and horns. The second pattern consists of a stepwise motion away from and back to C spanning Side 2. 32 And although I have not called attention to them, these specific analogies to earlier compositions are present in individual songs on "Still Crazy" as well. I probably wouldn't describe myself that way. I hope this paper has suggested some possible approaches toward that end. One Is The Loneliest Number. One subject which has received little attention, however, is the presence of large-scale structural principles spanning a whole album or CD.
Simon employed the mighty Muscle Shoals Sound Studios house band to fuel many tracks, from the gospel good-foot shimmy of "Love Me Like a Rock" to the Dixieland sway of "Take Me to the Mardi Gras. " That was a long time ago. Musically, the harmonic simplicity and driving beat of the chorus of "50 Ways To Leave Your Lover" is taken up by the subsequent narrative songs—i.
Thursday's extravaganza is a moment of musical good cheer in New York, a once-vibrant hamlet battered by crime, red ink, rising taxes and constantly lowering expectations. Scarborough Fair - Canticle. The Call of the Wild. Musically, I was beginning to put together a kind of New York rock, jazz influenced, with a certain kind of lyrical sophistication.... " Playboy 31, no. 10 The term "associative tonality" was coined by Robert Bailey in "The Structure of the Ring and its Evolution, " 19th-Century Music 1, no. For a survey of interpretations see Nicholas Marston, "Schumann's Monument to Beethoven, " Nineteenth-Century Music 14, no. I probably wouldn't think that way at all". In a sense, the basic message of the song is that things in reality are not as they appear to be. I fear I'll do some damage. See Gustav Mahler: The Wunderhorn Years (Great Britain: Faber and Faber, 1975), 125-6.
Those changes distinguish it from almost all his other songs, which are all rooted in one key center. Coming Around Again. Or "An American Tune"? Finally, it is worth noting that the album coincided with the filming of the Hal Ashby movie "Shampoo" starring Warren Beatty and Julie Christie.
Composer: Lyricist: Date: 1974. As the durational reduction of the bass line shows, each 8-bar unit avoids resolution to G by the elision from D7 to E7 (end verse 1), or by the motion to minor (end verse 2 and break). Analyses of individual songs, albeit within broader contexts, include Don Michael Randel, "Crossing Over with Rubén Blades, " Journal of the American Musicological Society 44, no. For Simon, they were when Alan Freed ruled the New York radio roost, and he was learning his trade, a small, skinny kid making the rounds of record companies in Manhattan, doing demonstration records of songs by others. However, actual resolution to G is averted until the last chord of the song. The movie ends with her getting in the car with the investor, the camera panning back up to the forlorn Beatty on the aforementioned F-minor chord. That whisper in my ears. Simon said he didn't invite him, but insists it's not because of troubled waters over which there is no bridge.
When I lie upon your breast / a heavenly happiness comes over me; / but when you say: I love you! Surely I do not wish to imply the influence of Schubert, Schumann, Mahler et.
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