Oct 10, 2011 Hearts and Bones Before we get into. Paul Simon married his. 'You take two bodies and you twirl them into one/ Their hearts and their bones/ And they. I heard that the Hearts & Bones album was supposed to be a S&G album at one point. Does anybody know whether any songs for the Heart and Bones album were recorded.

• Paul Simon Hearts And Bones Album
• Paul Simon Hearts And Bones Youtube

Paul Simon's new album is all about heart versus mind, thinking versus feeling, and how these dichotomies get in the way of making music or love. He addresses the issue directly in 'Think Too Much' (which was once to have been the title of this album), goes at it metaphorically in 'Train in the Distance,' resolves it temporarily in 'Hearts and Bones' and fashions a sort of fable about it in 'Rene and Georgette Magritte with Their Dog after the War.' The latter song ranks among the best Simon has written. There they are, a Belgian surrealist painter, his old lady and their pooch, dancing naked in a hotel room, window-shopping on Christopher Street and getting dolled up to dine with 'the power elite.' Wherever they go, though, they are haunted by the likes of the Penguins, the Moonglows, the Orioles and the Five Satins.

It's a hilarious and magical juxtaposition of images that's also touching, because Paul Simon obviously identifies with the figure of the grown-up, respectable artist irrevocably smitten with those doo-wop groups, 'the deep forbidden music' that originally made him fall in love with rock & roll. In an earlier era, Paul Simon would have written for Broadway, a craft that demands that a song tell a story or define a character. But like any youngster in the Fifties, he got hooked on the sheer sexual energy of rock & roll — not so much the guitar-based electricity of Chuck Berry, Elvis and the Beatles, but the dreamy soulfulness of groups that euphemized their teenage romantic longings in nonsense lyrics. The trouble was that Simon was too clever for either kind of rock & roll. The words always came first for him, the music was secondary, and the rock & roll he loved — the delicate Spanish guitar, the hushed doo-wop harmonies — lingered faintly in the distance like a disembodied ideal. The same conflict between the ideal and the actual threads through his songs about relationships. 'Train in the Distance' and 'Think Too Much' recall such classic postmortems as 'Overs' and '50 Ways to Leave Your Lover.'

Simon's always been good at writing about ending love affairs, perhaps because he thinks too much about his mate's faults and how perfect she should be. But the song that really goes the distance is 'Hearts and Bones,' which Simon gave Carrie Fisher as a present.

'One and one-half wandering Jews' go mountain climbing in New Mexico, witness some exotic marriage ritual, discuss 'the arc of a love affair' (as if it were a mathematical problem!) and toy with the idea of a quickie wedding south of the border. But as usual, they think too much about it, retire to separate coasts, do that mature but stupid thing of seeing other people to test the strength of their bond and nearly throw away the entire relationship before coming to their senses in a triumphant epiphany: 'You take two bodies and you twirl them into one/Their hearts and their bones/And they won't come undone.' The tunes on Hearts and Bones are subtle, not immediately singable and certainly less startling than the lyrics, but the music has a certain playfulness that matches the album's cerebral self-consciousness. 'Cars Are Cars' stops and starts like a traffic jam; 'Think Too Much' appears in two very different versions, a folk-jazzy rendition and a snappy rock version featuring Nile Rodgers and Bernard Edwards of Chic. And Simon's superb eulogy for John Lennon, 'The Late Great Johnny Ace,' manages to place four decades of rock & roll history on a continuum from Fifties R&B balladeer Johnny Ace to new-music maestro Philip Glass, whose poignant coda to the song ends with terrifying abruptness. The only real dud is 'Allergies,' which, unfortunately, opens the album—it's sort of like 'Kodachrome' with Vocoder, and it could have stayed in the drawer.

Hearts and Bones was meant, for a while, to be a Simon and Garfunkel album. It's just as well that it isn't. A reunion package would have made the album a different event than what it really is: a thinking man's homage to the Penguins, the Moonglows, the Orioles and the Five Satins. Not so crazy after all these years, the artist gets to be alone with his earth angel, sincerely, in the still of the night.

“Hearts and Bones” (1983) was Paul Simon’s fifth solo album, following three consecutive hit albums and a mediocre success (“One Trick Pony”, #12, buoyed by the hit ‘’), and preceding a megasuccess (“Graceland”). “Hearts and Bones” reached #35 on the charts, left little impression on the listening public, and discouraged Simon to the point that he thought his creative juices had dried up. The album has since grown in prestige, at least among critics. That it was a commercial failure is almost enough to make me esteem it above its populist/popular younger brother, “Graceland”.

But it’s not that, really. I’ve been listening loyally, hundreds of times each, to every Paul Simon release since the beginning, since ‘Sounds of Silence’ unwittingly invented Folk Rock. I interviewed him in the spring of 1967, when ‘’ and ‘’ were big hits (ouch). Jewfros weren’t so common back then. “Hey, Art, this guy looks like you,” said Paul.

Paul Simon Hearts And Bones Album

I was 18, and it was a moment of glory. But my admiration for “Hearts and Bones” isn’t for its underdoggedness, or from my knee-jerk snobbery. It’s that good. I don’t want to argue about why I think “Graceland” isn’t such a great album.

We come to praise Paul, not to trash him. “H&B” the album, and especially the song, are works of rare beauty – consummately crafted and emotionally searing. They are the pinnacle of Simon’s pantheon corpus, scaling heights rarely achieved in popular music in our times. Eddie, Debbie, Carrie It’s as beautifully produced a song as Simon has ever made.

Production is one of Paul Simon’s overlooked talents—the aural palette, the sonic composite. One of Simon and Garfunkel’s unappreciated gifts was for painting beautiful sound pictures (together with engineer/producer Roy Halee, who also recorded ‘Like a Rolling Stone’). Listen to “Bookends” or “Bridge Over Troubled Waters” with headphones (as I’ve done three or four bejillion times). The beauty of the texture, layer over layer under layer of weavings and surprises and nuances and tapestries.

Beauty for the ears. My understanding is that although Simon was of course the creative artist in the mix, he and Garfunkel and Halee were equal partners in the studio. Simon’s first four solo albums were made under the tutelage of Phil Ramone. They evolved soundwise from the bare-boned acoustic first album (but, oh, what compositional wonders Paul can create with two or three acoustic guitars! And a modest rhythm section) through the band-based “Rhyming Simon” to the “Bridge”-like broadly canvassed “Still Crazy”, then stepping back into a live club sound for “Pony”.

“H&B” reunites Simon with Halee. Technically, the song ‘Hearts and Bones’ is rather unassuming. A very simple AABA structure, mostly in 4/4 time, except at the start of the second sentence in each verse (“On the last leg”, “These events” “Easy time”) where he adds two beats and simultaneously shifts the accent from the backbeat to stressing each beat (ᴗ/ᴗ/, ᴗ/ᴗ/, // ᴗ/ᴗ/), creating a momentary reverse movement. Note that we don’t have the bass drum guiding us through that section, enabling the fluid shift. The instrumentation employed is standard Simon. The first verse is based on two (three?) acoustic guitars, one heavily strummed Everly-style to provide the rhythmic counterpart to the pattering hand drum.

Two or three background voices and a strange little creak which becomes rhythmic provide the ambient colorings, followed later in the first verse by some touches of electric guitars, a Fender Rhodes filler, and a marimba for good measure–all backing Paul’s unadorned, very naked voice. Most people who talk about the song like to address the autobiographical elements. The memorable opening line, “One and one-half wandering Jews” according to even Simon himself, refers to him and his soon-to-be wife Carrie Fisher, Princess Leia of “Star Wars”, the author and subject of “Postcards from the Edge”. Carrie’s father was Eddie Fisher, son of Jewish immigrants, a pre-rock teen idol, with 35 Top 40 singles in the early 1950’s. Confession: his song ‘’ (theme song from the Oscar-winning film “Around the World in 80 Days”, produced by Fisher’s best friend Mike Todd) was the first record I ever bought. Wandering Jew Carrie Fisher is half-Jewish, soand Wandering Jew is a flower, isn’t it? Q: Was it a conscious move to get Jews and Christ into the beginning of a love song?

The next lines discuss wandering together in the Blood of Christ mountains. PS: No, it wasn’t conscious. Pause In fact, I thought it was actually funny. One and one-half anything is funny. That’s what we call emotional disingenuousness, a very fine example of why we shouldn’t listen to artists explicating their own work.

It’s not funny at all, Paul. Wandering Jew Q: It’s your only song, with the exception of “Silent Eyes” that discusses being Jewish. And once you said that you try to keep spirituality and religion out of your songs– PS: Yeah, but it seems to come in all the time. Not so much religion but spirituality.

Q: Do you think that your Jewish consciousness has anything to do with your abilities as a songwriter? PS: I don’t know that there’s a connection, no. Q: I ask because so many great songwriters are Jewish– PS: That’s so.

I guess it’s not a coincidence, but I don’t spend a lot of time connecting the two things. But maybe their wordsbrain and heart, you know? I think one would have to strain to make the connection. I don’t think there’s an obvious connection, but I think everything is explainable and connected. So there’s a connection, but I don’t know what it is.

That’s what I would call historical disingenuousness. In the middle of the twentieth century, Jews comprised less than 3% of the American population and perhaps 80% of the great songwriters. You need to do some pretty tricky self-denying calisthenics to jump through those statistical loopholes. But of course in the end it comes down to The Song.

‘Hearts and Bones’ is a work of utter beauty, describing the disintegration of the very core of two people’s shared life, about the emotional essence (heart) coming undone from its framework (bones). The soft and hard, that which can only feel pain, and that which can only be broken. The vital and the inflexible, the palpitating and the rigid. The pulsating, quivering, throbbing passions within us, and the structures and strictures and scaffoldings that hold it all up.

It’s about how they cohabit within us – intimate, interdependent, synergetic, yet profoundly and inherently separate. Like a married couple. I have a couple of degrees in poetry, so if I had to, I could parse images such as ‘rainbows in the high desert air’, or perhaps even describe how the rhythm guitar breathes life into “The arc of a love affair/His hands rolling down her hair/Love like lightning shaking till it moans.” But ultimately I would have no words to describe the beauty that is this song. It’s incandescent and transcendent and ineffable. It deserves to be listened to, cried over, appreciated, and loved.

Paul Simon Hearts And Bones Youtube

One and one-half wandering Jews free to wander wherever they choose Are travelling together in the Sangre de Cristo The Blood of Christ Mountains of New Mexico On the last leg of the journey they started a long time ago. The arc of a love affair, rainbows in the high desert air Mountain passes slipping into stones Hearts and bones Thinking back to the season before, l ooking back through the cracks in the door Two people were married, t he act was outrageous The bride was contagious, s he burned like a bride. These events may have had some effect o n the man with the girl by his side. The arc of a love affair, h is hands rolling down her hair. Love like lightning shaking till it moans Hearts and bones She said why, wh y don’t we drive through the night And we’ll wake up down in Mexico? Oh I, I don’t know nothin’ about nothin’ a bout Mexico. Tell me why, wh y won’t you love me f or who I am, w here I am.

Aerofly fs keygen download bandicam. He said, “ Cause that’s not the way the world is baby. This is how I love you, baby. This is how I love you, baby.” One and one-half wandering Jews returned to their natural coasts To resume old acquaintances, step out occasionally And speculate who had been damaged the most. Easy time will determine if these consolations will be their reward. The arc of a love affair waiting to be restored.

You take two bodies and you twirl them into one Their hearts and their bones, they won’t come undone. Hearts and bones If you enjoyed this post, you may also like.