CK Retro Review: You’re The One by Paul SimonPosted: September 30, 2013
Considering that there was a decade-long hiatus between 1990’s The Rhythm Of The Saints and 2000’s You’re The One in the catalog of Paul Simon proper studio albums, one might have expected the latter to be a grand statement sort of album. Although it got the requisite Grammy love, You’re The One is, in truth, a muted, elusive affair, rhythmically complex and lyrically vague to the point of impenetrability. In other words, it’s a grower, although you’re forgiven if you give up on waiting for the payoff. Here is a song-by-song review.
11. “Senorita With A Necklace Of Tears”- Another samey-sounding rhythm, a repetitive melody, New Age musings on time and South American frogs: This one is a snooze, even with a nice verse toward the end about the intertwining of memory and music.
10. “Look At That”- Session man extraordinaire Larry Campbell provides a little bit of color in this one with his pedal steel work. Other than that, this meandering mid-tempo track is hard to remember once it’s over.
9. “Hurricane Eye”- There are what seems like two distinct songs going on here, with the banjo work of Mark Stewart distinguishing the first half before a more aggressive second half. You get the feeling, based on its placement as the penultimate song, that Simon thought he had an album-defining track. Instead, it’s much ado but little impact.
8. “You’re The One”- Simon can’t decide just what he wants this song to be (a problem that permeates many of the weaker tracks on the album.) Is it a jaunty, caustic send-up of the unrealistic expectations of love or a more probing meditation on its frailties? The music is similarly conflicted, partly jumpy and partly subdued. Maybe that was the intent, but the song is difficult to embrace.
7. “The Teacher”- While it musically sustains its mysterious mood, Simon’s weird narrative sounds a little like something at which he might have poked fun back in the day. When he sings, “I was a child of the city,” some might fight the urge to yell at him to get back there. I know I did.
6. “Pigs, Sheep And Wolves”- I’m not sure whether this is just a children’s lark, a goof on a fairy tale, or some deeper parable about the dangers of misperceiving appearance. What I can say for certain is that it’s one of the few times on the album that Simon seems to be legitimately having fun, and that fun is infectious.
5. “Quiet”- The lyrics about shunning the pursuit of material goods sound like they could have been penned by a 60’s spiritual healer (or at least George Harrison.) Still, the music is cinematically vivid and eerily pretty, like mist settling on a mountainside.
4. “Love”- For all of the intricate percussion and rhythmic complexity on the album, one of the highlights is hearing Simon’s vocals, at the forefront if only for a few moments, singing the word “love” here and reminding us how moving his vocals can be. This is one of the more focused songs on the record as a whole, although it rarely rises again to that aforementioned high.
3. “Old”- Holy Horn-rims, are those “Peggy Sue” guitars ever welcome. They bring a little grit and vigor into the otherwise bloodless proceedings. Simon’s lyrics are funny without trying too hard to be, nicely suiting the rocking rhythm. Mentioning the Stones and Holly next to Jesus and Buddha, Simon indulges his album-long obsession with the relativity of time in much more pleasurable fashion than he manages to do in some of the more ponderous tracks.
2. “That’s Where I Belong”- It’s too slight and sleepy to rise into four-star category. That said, it’s by far the best melody on the album, one which Paul sings in touching fashion. The lyrics also win points for their simple yet affecting nature, especially the lovely first verse, which pretty much tells the whole Simon story in a nutshell, doesn’t it?
1.”Darling Lorraine”- From “The Dangling Conversation” to “I Do It For Your Love” to “Hearts And Bones,” Simon has always been painfully honest in detailing the ebb and flow of a romantic relationship. He takes it to the extreme on the marvelous “Darling Lorraine.” From early infatuation to boredom to reconciliation to petty bickering, it’s all there. We end up rooting for this couple, which is why the song’s end is so potent. Some people might find it end morbid, but it is the absolute truth about how it all plays out, rather than the phony, prettified version that usually passes for a love song. Frank and Lorraine, in their flawed glory, feel startlingly real, making them stand out in an album full of cosmic intangibles.
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