ALBUM REVIEW: Paul Simon - There Goes Rhymin' Simon

    Where we last left off in the Paul Simon story, Simon was knocking it out of the park with his proper solo debut - his '72 self-titled record is filled to the brim with distinct and varied sounds and instrumentation, memorable and rich lyricism, and a Paul Simon unshackled and unrestrained in his vocals. Paul Simon is a glorious debut, but of course, Paul isn't one to do the same thing twice (as we've already seen with Simon & Garfunkel). There Goes Rhymin' Simon still continues his singer-songwriter brand of genre melding and distinct lyricism, albeit it's decisively less complex and more contemporary than anything on Paul Simon. This isn't necessarily to the album's detriment, though, as Paul Simon crafts a new landscape that's indebted to gospel, soul, and New Orleans jazz - the result isn't as sharp as his self-titled, sure, but it's an entirely new experience that feels like a proper follow-up to what he's started.

    Musically, Rhymin' Simon is both a continuation and a subversion from what was coming out your speakers when spinning Paul Simon. THAT album found its musical style to be in a handful of concepts and ideas, from reggae to samba to blues to soft rock. Now, make no mistake, Rhymin' Simon has just as many eclectic influences, but I'd argue it generally falls more contemporary - soft rock permeates many of the songs. Even still, Paul Simon's love of the world's music worms its way into the DNA of his music, this time with a distinct and prominent influence from black music - soul, gospel, and a healthy pinch of jazz fuse their sounds with Paul Simon's brand of folk to create memorable and hook-y moments, like the climactic gospel finale of "Loves Me Like a Rock." Simon also makes sure to get backing vocalists that can carry his vision to reality, employing the Dixie Hummingbirds as his backup of choice both on "Loves Me Like a Rock" and the soulful "Tenderness." Rev. Claude Jeter even gets a falsetto solo on "Take Me to the Mardi Gras," a song that, if nothing else, puts his full appreciation and love for these musical styles on full display - listen to the New Orleans jazz instrumental as the song fades out. Genius.

    Tonally and lyrically, I find the album to be a lot more upbeat than Paul Simon ever was, too. Most of the moments on this record play like a nostalgia-filled and loving reflection on Paul Simon's world. "Kodachrome" is a sweet reflection on the past with a wit and charm that's always permeated his style - all the girls he knew when he was single "could never match my sweet imagination," and his optimistic affirmation that "everything looks worse in black and white." The penultimate "St. Judy's Comet" is a lullaby for his son with a sweet melody and a beautifully gentle instrumentation - Paul Simon's playful side is on full display: "If I can't sing my boy to sleep, well it makes your famous daddy look so dumb." Perhaps the lyrics are a step-down from the layered density of Paul Simon, but they work for the material he's presenting here. There's still plenty of weight and depth to his material here - the lovely "American Tune" is a song of the American experience; tiredness, crushed dreams, weariness, and the Statue of Liberty, ultimately resolving with the idea that "you can't be forever blessed." Even the mysterious atmosphere and tinge of violence on "One Man's Ceiling is Another Man's Floor" has a decisive playfulness to it in the bumping R&B rhythm.

     While not quite the same defining triumph that Paul Simon had with his '72 self-titled, There Goes Rhymin' Simon is an album with just as much energy, more of Simon's excellent approach to songwriting, and a whole lot of heart and love to give. It's a record that knows how to have a fun time from start to finish, gentle when the occasion needs it to be and playful and bouncy all the same. Paul Simon continues his infallible winning streak with Rhymin' Simon with seemingly no signs of slowing down or stopping - plenty of tenderness beneath the honestly.

RATING: ✯✯✯✯✯✯✯✯✯✯

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