Paul Simon: You're The One (Expanded + Remastered) CD Track Listing

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Paul Simon You're The One (Expanded + Remastered) (2000)
2004 Warner Strategic Marketing\n\nOriginally Released October 3, 2000 (September 26, 2000)\nRemastered + Expanded CD Edition Released July 27, 2004\n\nAMG EXPERT REVIEW: On his first album following 1997's ill-fitting Songs from the Capeman, Simon travels on familiar back roads, writing humable songs about love, life, and traveling. The title track is a darkly cheery sing-song letter to a lost love, clearly influenced by his musical journeys to South Africa for the Graceland album, while the single "Old" finds the singer recounting different points in his life with a light jangle reminiscent of hangin' with Julio down at the schoolyard, again with subtle worldbeat textures. "That's Where I Belong" is a subtle, Brazilian influenced tune that would feel right at home on Rhythm of the Saints. With You're the One, Paul Simon is back on track, writing and recording timeless music that keeps him on par with Neil Young and David Bowie, but in his comforting familiar way. -- Zac Johnson\n\nAmazon.com Editorial Reviews\nThe manner in which a superstar responds to a setback says a great deal about the artist. Some choose to conclude that the world is simply off its orbit and they're the only ones who've noticed. Others cower in semiretirement and never again climb to great heights. And another bunch go back to what brung 'em, which is the route Paul Simon has opted to take with his first outing since his misbegotten Broadway debut, Capeman. The title of this 11-song collection says it all. You're the One is as understated as they come; this time out, Simon is a singer-songwriter, not a composer. As such, You're the One is more reminiscent of initial insular post-Simon & Garfunkel LPs like There Goes Rhymin' Simon and Still Crazy After All These Years than the expansive Graceland. With no new lands to conquer, Simon has fashioned a collection whose appeal lies with its 11 crafty, catchy tunes, all of which are delivered with spirit and wit, particularly on the character-driven likes of "Pigs, Sheep and Wolves," "Darling Lorraine," and "Old." The lesson is that you don't need to make a Broadway production of life's little joys and heartaches; they fit quite nicely into a four-minute song. --Steven Stolder \n\nAmazon.com Customer Review\nNot the special one, June 8, 2004 \nReviewer: Timothy Brough "author and music buff" (Springfield, PA United States)\nI guess anything that sounded like a reasonable facsimile of Paul Simon would get raves after the disaster of "Capeman." But after repeated listening, nothing here really sticks around. Only two songs are at all memorable -- in that I can recall any of the sounds or words -- and they are "Darling Lorraine" and the title track. The rest of "You're The One" sounds like a computer programmed to make a "Paul Simon" CD, but doesn't quite match up. \n\nNovelty songs like "Old" and "Pigs Sheep and Wolves" are beyond slight. "Hurricane Eye" at least has an interesting arrangement, and the album's closer, "Quiet" does leave me wondering what Simon's rumored collaborations with Brian Eno will sound like. But "You're The One" is just lackluster. I'll not count Paul Simon out of the game; as his recent tour with Art Garfunkle has shown, he is still a great performer, and a great many people had written him off prior to "Graceland." Here's hoping the "Old Friends" tour gave his muse a jolt. \n\nAmazon.com Customer Review\nTeaches you how to listen, February 21, 2004\nReviewer: Dan (Chicago, IL USA)\nThis album teaches you how to listen to it, if you give it a chance. It is not about melody and catchy hooks. Rhythm and sound have almost taken the place of melody on many of these tracks, and it takes time and repeated listens to appreciate. Rather than humming a melody off this album, I find myself tapping out the rhythm of the toms in "Old," for example. Or, for days, I'll have in my head the sound of the drum that signals the subtle shift in "That's where I belong" to a Carribean feel. Once you get acclimated to it, it is pretty amazing how this album makes a certain rhythm or sound "mean" something just like a melody does on other albums. Put it on in the background for a year or two and eventually, the power of this album will hit you one day when you least expect it!\n\nAmazon.com Customer Review\njust review the record; cease handing out gold watches, February 8, 2001\nReviewer: A music fan\nYes, Paul Simon's lyrics are generally very good, but not so good that they can make a song without strong musical and vocal support--unlike Leonard Cohen's for example. The lyrics on this record are spotty--some appealing lines, but nothing really coheres. The main problems are that music is almost non-existent, that Paul Simon's voice is unpleasant-sounding, and that he is often singing out of tune (not way out of tune, just enough out of tune to be grating). It seems to me from the way they keeping harping on Paul Simon's age (which is utterly irrelevant), that most of the favorable reviews here think they're handing him a gold watch or something. Just review the record, please.\nBut speaking about lyrics, there are a lot of little things that bug me about those on this record. One of them is that the songs here that try to sustain some kind of polemical argument are so illogically reasoned. Take "Old" for example: It ends with a rhetorical flourish (which doesn't quite scan), but not convincingly. As compare the aging of humans to the aging of the universe (the vessel that contains all things that age) and the aging of God (an invention of man's imagination DEFINED to be ageless) we'd might as well (at least) compare it the aging of various insects, the lives of which are measured in hours. Either way we're comparing apples and oranges. By dropping the names of fifties and sixties pop stars and alluding to sixties cultural artifacts, the first part of "Old" seems to be saying that it matters less how old you are than whether you are a member of the "Chosen" generation. Sorry, pal: I like Buddy Holly and the Rolling Stones, but culturally and artistically they aren't any more significant than, say, Guy Lombardo or, for that matter, Britney Spears. "Buddy Holly still lives on, but his catalog's been sold" is a good line, if a little inside-the-industry incestuous. It would be better if it were spoken convincingly, or at least not so artificially. (It would be better still if it were set to music and actually sung, of course.) By the bye, the owner of Buddy Holly's catalog happens to be one Paul McCartney, who recently became the first rock and roll billionaire.\n\nAmazon.com Customer Review\nyikes, December 19, 2000\nReviewer: A music fan\nI'm sure there are quite a few people here who can't tell that Paul Simon is singing flat on this record (not consistently, but often enough). I don't expect everyone to be able to--just the ones setting themselves up as musical authorities by submitting reviews. \nAnd while I'm at it: "begging the question" DOES NOT mean "asking or eliciting a question". It means proving by assuming the thing you want to prove is true. It is a particular kind of error in reasoning logicians call petitio principii, a material fallacy of presumption. Review "You're the One" favorably or unfavorably, but please stop abusing this phrase.\n\nAmazon.com Customer Review\nshort shelf life, December 13, 2000\nReviewer: A music fan\nAs has been pointed out ad nauseum, this record's various virtues are not readily accessible; they do bubble to the surface eventually. The problem is that its many obvious faults never disappear, and in a short while one tires of the whole thing, virtues as well as faults, baby as well as bath water. Simply put: you shouldn't have to work this hard to enjoy a product this perishable. \n\nI like little bits of lyric here and there, but not any whole songs--"The Teacher" comes closest, I suppose. I hate "That's Where I Belong". I like the "release my fists at last" line in "Quiet", but consider the rest of its lyric--as well as its music and noise--rubbish. "Darling Loraine" rambles; "Love" never quite comes together; etc.\n\nAmazon.com Customer Review\nsad, November 2, 2000\nReviewer: A music fan\nThe saddest thing about this record is Paul Simon's singing. It's sad that he is obviously either losing his voice or else having a series of very off sessions at the studio. (He tries to compensate by talking a lot and greatly restricting the ranges of his songs--he tends mostly to sing in a monotone.) It's sadder still that most of his high notes are noticeably flat (to a musically trained listener such as myself, painfully flat). \nSince we seem to be keeping score here: I've listened to this record five times. I liked it better the second time because I couldn't completely assimilate it the first time (coming from a grizzled veteran such as myself, this is praise). I liked it still better the third time because I was able for a while to ignore its many and obvious faults. I liked it less the fourth time because it became more difficult to ignore its many and obvious faults. I liked it still less the fifth time because it became impossible to ignore its many and obvious faults. As for listening again...well, really, there are only so many times you can stand to hear talking songs like "Pigs, Sheep, and Wolves". Be sensible.\n\nNow, I hold a Master's degree in music, and I teach it, play it, and write it professionally, but I'm not going to bore you with a technical analysis. Suffice it to say there is very little happening here melodically and harmonically. Back to personal experience and opinion: The percussion is often pleasant if unassuming, and occasionally there is an appealing guitar moment. On the other hand, I'd as soon listen to a vacuum cleaner as listen to the drone accompaning Simon's vapid chanting in "Quiet"--maybe this is just me.\n\nAmazon.com Customer Review\nTremendous poetry, artful simplicity., October 20, 2000\nReviewer: Bruce (Cambridge, MA) - See all my reviews \nThe CD begins: "Somewhere in a burst of glory, sound becomes a song; I'm bound to tell a story, that's where I belong." Paul Simon has come of age, producing a hauntingly dark body of potent poetry put to music. Each poem is a penetratingly honest commontary on life, death and the many contentious points in between. The music verges on simplistic, of the sort that one would expect from Leonard Cohen, Tom Waits or Bob Dylan; rather than being the focus (as is so common in today's releases), the melodies simply deliver the stories. Although not as singable as some of his previous work, the sound is (yet again) new, fusing drums and rythm that harken of Graceland with refreshingly new banjos and pan flutes. He ends the CD, having told his stories, and hauntingly ponders his own demise: "I'm heading for a place of quiet, where the sage and sweet grass grow; by a lake of sacred water from the mountain's melted snow". Don't you dare go anywhere, Paul; your fans want MORE!\n\nHalf.com Album Credits\nAbraham Laboriel, Contributing Artist\nAndy Snitzer, Contributing Artist\nDan Duggan, Contributing Artist\nSteve Gadd, Contributing Artist\nSteve Gorn, Contributing Artist\nSteve Shehan, Contributing Artist\nAndy Smith, Engineer\nPaul Simon, Producer\n\nAlbum Notes\nPersonnel: Paul Simon (vocals, acoustic & electric guitars, sitar); Vincent Nguin (acoustic & electric guitars); Mark Stewart (electric & pedal steel guitars, banjo, dobro, sitar, cello, tromba doo); Larry Campbell (pedal steel guitar); Jay Elfenbein (vihuela, vielle); Dan Duggan (dulcimer); Steve Gorn (wooden flute); Evan Ziporyn (bass clarinet, soprano & tenor saxophones); Andy Snitzer (soprano & tenor saxophones); Alan Mallet (harmonium, Wurlitzer piano); Howard Levy, Skip La Plante (harmonica); Clifford Carter (celeste, keyboards, glockenspiel); Abraham Laboriel, Bakithi Kumalo (bass); Peter Herbert (upright bass); Steve Gadd (drums); Jamey Haddad, Steve Shehan (percussion).\n\nRecorded at The Hit Factory, New York, New York.\n\nYOU'RE THE ONE was nominated for the 2001 Grammy Award for Album Of The Year.\n\nIf you discount his musical theater endeavor THE CAPEMAN, as many are quick to do, YOU'RE THE ONE ended a 10-year silence in the recording career of Paul Simon. The wait was not in vain; this album unites GRACELAND's effervescence (guitar and bass chores are handled by Simon's South African accomplices from that era), RHYTHM OF THE SAINTS' free-floating poetry and languid cool, and the mix of humor and introspection that made HEARTS & BONES Simon's most underrated album."Darling Lorraine" is a devastatingly poignant portrait of a turbulent relationship, where language and melody are somehow simultaneously liquid and cutting. "Old" finds the pushing-60 Simon casting a humorous eye on humanity's relative age in the universe, over backing that mates South African fluidity with the '50s rock & roll of Simon's youth. Throughout the album, Simon continually manages to wring new emotional truths out of words and music without ever sounding labored; the mark not only of a seasoned vet, but also of a true artist in full flower. YEAR: 2000
This folk cd contains 14 tracks and runs 56min 42sec.
Freedb: b20d480e

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