Paul Simon Hearts And Bones Rarest

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“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. Mind Of A Serial Killer Video Questions What Darwin. 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.

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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. 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.