This came out in 2004 – or at least that’s when I got it. Here’s what I said about it back then (with some minor editing):
I don’t know if there really are 50 ways to leave your lover. But right now, there are nine ways to get reacquainted with Paul Simon — musically, anyway.
This month, the archivists at Rhino have reissued a nonet of studio albums by the legendary folk-pop troubadour. Beginning with his self-titled debut from 1972 and ending with his 2000 comeback disc You’re The One, the series pretty much covers his entire solo career aside from live albums, compilations and reunions with old partner Art Garfunkel. Every impeccably crafted disc has been remastered and expanded with bonus tracks and lyrics, so now there’s even more to love. Here’s a quick look at the series. And remember: You don’t need to be coy, Roy.
Paul Simon (1972)
Picking up where his partnership with Garfunkel left off, the singer-songwriter debuts with a folky set peppered with funkier fare like Mother and Child Reunion and Me And Julio Down By The Schoolyard. Demos and alternate versions of three tracks (including Julio) are included as bonus cuts.
There Goes Rhymin’ Simon (1973)
Simon’s sophomore solo set finds him expanding his palette with shades of blues, country, reggae and gospel, resulting in gems like Kodachrome and Loves Me Like A Rock. A trio of acoustic demos and the unfinished Let Me Live In Your City round out the program.
Still Crazy After All These Years (1975)
This wistful, nostalgic affair starts off strong thanks to the jazzy title cut, the gorgeous My Little Town and the gently frisky 50 Ways To Leave Your Lover, but the downbeat tone eventually douses the playful spark of his earlier discs. The bonus demo of Slip Slidin’ Away is a nice touch; too bad they didn’t include the finished version (which debuted on a 1977 best-of set).
One-Trick Pony (1980)
Paul makes his first misstep with this so-so soundtrack to a film about the unravelling life of a fading rock star. The Latin groover Late In The Evening was a minor hit and the funky title cut is decent, but the bulk of it is bland, forgettable folk and jazz-funk. The three bonus outtakes are cut from the same cloth, though you do get Stranded In A Limousine from that 1977 greatest-hits disc.
Hearts And Bones (1983)
Simon makes an artistic rebound from One-Trick Pony with this musically ambitious and lyrically personal set. Too bad it also turned out to be his biggest commercial dud, yielding no hits — though his mournful John Lennon tribute The Late Great Johnny Ace is superb. An acoustic demo version is the standout of the four bonus cuts.
Graceland (1986)
It doesn’t get any better than this. Or any bigger. Seamlessly blending African rhythms and vocalists with his pop melodies and contemplative lyrics, Simon crafts an original and striking work that rejuvenates and redefines his career, spawning hits like the title cut, Diamonds On The Soles Of Her Shoes and You Can Call Me Al. Three bonus cuts include an alternate version of Diamonds.
The Rhythm Of The Saints (1990)
Simon trades African percussion for Brazilian grooves on this Graceland followup, but the results pale by comparison. Extras include three acoustic demos and one outtake.
Songs From The Capeman (1997)
Paul combines ’50s doo-wop and Puerto Rican salsa with the tale of a teenage gang murder to create a Broadway show. Incredibly, crowds did not flock to the theatre — or to the CD store for this soundtrack, which comes with two demos and one leftover.
You’re The One (2000)
“I am heading for a time of quiet,” sings Simon, and he means it; this is a tranquil, restrained affair that reins in the musical anthropology in favour of endearing, direct songcraft with longing lyrics. Live versions of three songs close out the set.
