I can be your long-lost pal.
I can call you Betty,
And Betty, when you call me you can call me Al.
Paul Frederic Simon (born October 13, 1941) is an American folk and rock musician known both for his initial career in the folk-rock duo Simon & Garfunkel and his eclectic solo career, which has ranged from straightforward pop, rock and folk to world music explorations.
Simon first got together with Art Garfunkel in 1957 under the name "Tom and Jerry", but the partnership only became permanent with the success of their 1964 Signature Song "The Sounds of Silence". The duo released a string of critically acclaimed albums and became famous for their close harmonies and Simon's alternately surreal, poetic and humorous lyrics, before calling it a day in 1970.
Simon quickly moved on to a solo career, releasing the eponymous Paul Simon in 1972. For the rest of The '70s, Simon pursued a jazz-pop sound with occasional elements from other genres such as gospel ("Loves Me Like a Rock") and reggae ("Mother and Child Reunion"). While his first three albums were greeted warmly by the record-buying public and critics, he went on a hiatus after 1976, dabbling with acting for a while. His supposed "comeback" records between 1980-1986 saw him abandoning his jazzy sound in favour of more experimentation and sold poorly.
However, Simon rebounded with Graceland (1986). Recorded in South Africa with a cast of talented African musicians and containing a fusion of Western pop-rock and folk music with African genres such as isicathamiya and mbaqanga, the album was released in 1986 to a wildly positive response despite considerable controversy surrounding Simon's decision to record in South Africa at the height of both Apartheid and a United Nations-led cultural boycott against South Africa meant to protest Apartheid. The album re-established Simon as a successful artist and became an enduring benchmark by which "world music" experiments by other pop artists are measured, though the Graceland controversy still chases him around here and there even today.
Away from the music world, Simon is a member of the Saturday Night Live Five-Timer's Club (even appearing in the original titular sketch). His memorable music video for "You Can Call Me Al" features Chevy Chase.
- The Paul Simon Songbook (1965)
- Paul Simon (1972)
- There Goes Rhymin' Simon (1973)
- Still Crazy After All These Years (1975)
- One-Trick Pony (1980)
- Hearts and Bones (1983)
- Graceland (1986)
- The Rhythm of the Saints (1990)
- Songs from the Capeman (1997)
- You're the One (2000)
- Surprise (2006)
- So Beautiful or So What (2011)
- Stranger to Stranger (2016)
- In the Blue Light (2018)
"You Can Call Me Tropes":
- Album Title Drop: From "Everything About It is a Love Song"At a birthday partyMake a wish and close your eyes.Surprise, surprise, surprise.
- American Title: "American Tune".
- Born in the Wrong Century: Inverted and defied by "Born At the Right Time".
- Call-Back: The line about "The little harbor church of St. Cecilia" in "The Coast" might be one to Simon & Garfunkel's "Cecilia".
- Coming-of-Age Story: "Duncan" is largely this, complete with dose of Sex as Rite-of-Passage towards the end.
- Concept Album: Graceland.
- Culture Clash: All the questions in "How Can You Live in the Northeast?" point to one.
- Either/Or Title: "The Myth of Fingerprints, or, All Around the World".
- Father's Quest: Simon recorded "Slip Slidin' Away" in 1977. The third stanza describes a father who's been absent from his son's life, and decides to make amends.And I know a father who had a son
He longed to tell him all the reasons for the things he'd done
He came a long way just to explain
Kissed his boy as he lay sleeping, then turned around and headed home again.
- Lyrical Dissonance:
- "Boy In The Bubble" - in Simon's own words, "Hope and dread... that's the way I see the world a balance between the two, but coming down on the side of hope."
- Also from Graceland - "That Was Your Mother" - The upbeat zydeco music disguises the fact that the lyrics are basically a father complaining to their child that he and his mother don't have much fun since he was born.
- "Mother and Child Reunion" - An upbeat, reggae-flavored song about a father trying to console a child about the death of the mother.
- Mohs Scale of Rock and Metal Hardness: Averaging 2-3 before the world music started. After, we probably need a different scale.
- Noodle Incident: Not even Simon knows what Mama saw in "Me And Julio Down By The Schoolyard".
- Non-Actor Vehicle: 1980's One Trick Pony, which he wrote as well as starred in and composed the music for. Interesting since his character is explicitly not an Author Avatar; he's a One-Hit Wonder from The '60s struggling to make a comeback. It famously has a character (played by Rip Torn) who's a blatant Take That! to Columbia Records president Walter Yetnikoff (whose feuding with Simon led to him switch labels), among other In-Jokes about the music industry. The movie completely bombed, but it generated a hit song with "Late in the Evening".
- Not Christian Rock:
- 2011's So Beautiful Or So What contains many references to God and angels. Paul says he didn't notice.
- There's been plenty of speculation over the meaning of the line "The cross is in the ballpark" in "The Obvious Child".
- Performance Video: "You Can Call Me Al" is a parody of this, with Chevy Chase lip-syncing the lyrics while Simon plays various instruments.
- Right Through the Wall: Alluded to in "Duncan".
- Rule of Three: "The Late Great Johnny Ace" features three Johns: Ace, Kennedy and Lennon.
- Self-Titled Album: Simon's 1970 album.
- Sesquipedalian Loquaciousness: "A Simple Desultory Philippic (Or How I Was Robert McNamara'd Into Submission)"
- From "You Can Call Me Al": "All along along/There were incidents and accidents/There were hints and allegations"
- "The Dangling Conversation".
Clifton Chenier, the King of the BayouStanding in the shadow of Clifton Chenier
- "Old", from You're The One. It not only name drops Buddy Holly, but is very reminiscent of Holly's guitar riffs.
- The zydeco song "That Was Your Mother":
- "The Late Great Johnny Ace", from Hearts and Bones, is at once a Shout Out to Johnny Ace, John F. Kennedy and in memorial to John Lennon — three Johns who were killed by a firearm.
- "Rene and Georgette Magritte with Their Dog after the War" shouts out the famed surrealist painter as well as the popular doo-wop groups of The '50s: The Penguins, The Moonglows, The Orioles and the Five Satins.
- Signature Style: Lyrically, at least.
- Sliding Scale of Idealism vs. Cynicism: Started cynical-ish, especially on early Simon & Garfunkel records, but he's always had a foot in idealism.
- Spiritual Successor: "Graceland" is similar to "Hearts and Bones" musically and lyrically, since they're both about actual road trips Simon took and both were inspired by the collapse of his marriage with Carrie Fisher. And they were both the title songs of their respective albums.
- Then there's "Rhythm of the Saints" which is in itself a sort of successor to "Graceland"; while "Graceland" was heavily influenced by South African music and recruited African musicians to help formulate the sound, "Rhythm" did something similar but turned to South American genres and musicians.
- To Absent Friends: Combined with Drowning My Sorrows at the end of "The Late Great Johnny Ace".
- Trope Codifier: He was the first to succeed at bringing world music to mainstream America's attention. That is, if you don't count The Beatles experimenting with Indian music on Rubber Soul and Revolver.
- Truck Driver's Gear Change: Done in the middle of the last verse of "Still Crazy After All These Years".
- Uptown Girl: "Diamonds on the Soles of Her Shoes" from Graceland is explicitly about this trope.
- Word Salad Lyrics: "Boy In The Bubble" borders on this.
- World Music: His experiments in this date back to the Simon & Garfunkel days (most memorably "El Condor Pasa", where he wrote English lyrics to a Peruvian song), and he dipped into it occasionally in his earlier solo career, using Latin rhythms in songs like "Me and Julio Down by the Schoolyard" and "Late in the Evening". But he embraced the concept wholeheartedly with the exploration of South African music on Graceland, and continued it on his next album, The Rhythm of the Saints, with Brazilian music as its focus.