Review: Paul Simon ' as beautiful or as well as '

The first album by Paul Simon in five years is full of big business: life of what it means, as soon as possible, brutality and beauty. "So beautiful or" is a spiritual meditation can not answer the big questions""
"So beautiful or well what" is outmoded in its brevity - 10 songs, 38 minutes
All Simon seems to know with certainty is that there is love and beauty

(rolling stone) - of "Death", a stressed with africano-pop taste of their album solo XII, Paul Simon describes the wait at the Pearly Gates as it is a journey to the Court of trafficking, all long lines, excuses aside and whispered humorous. (The Narrator even tries to return to a woman while killing time). But beneath the antics are serious concerns.

"Seems as our fate to suffer and wait for the knowledge that we are looking for", Simon sings in the middle of a sharply syncopated slot and Heavenly power riffs. "Beyond" solves darkness and light with a charm threw out - a specialty of poets Frank O'Hara New York Biggie Smalls, including Paul Simon.

The first album in five years at Simon is full of big business: life of what it means, beauty, brutality and brevity. Simon is pushing 70; We should have the mortality in his mind. But the songs rarely feel heavy. Instead, they combine the bold folk of Paul Simon's 1972 with the sculpture of bright studio of "graceland". Their best album is since 1990 the rhythm of the Saints, and also summarizes much of what makes great Simon.

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Mergers of music of the world "so beautiful or well what" sound so realistic as ever, common languages in a modern world polyglot. In "Rewrite", on a veterinarian's Viet Nam work in a car wash and check a script or your own haunted memory, Simon trades righteous lines with an acoustic guitar with harp kora Yacouba Sissoko (politely refuses to overshadow him; 21 strings against six-string is a unfair competition) in what could be an afternoon jam session in Washington Square Park. "Dazzling blue" feels just as organic, combines folk melodies of the country with percussion Indian of the South in a love song about driving to the beach on Long Island.

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"So beautiful or well what" is outmoded in its brevity (10 songs, 38 minutes) and vivid in his narration. In "Love is Holy eternal light," a jam roadhouse blues who rides a ghostly techno pulse, a character who seems to be the Almighty (in one of several appearances on album) dogs while driving "a vehicle Ford ' 96" by the motorway: "withdraw the station radio/Pop-music/that does not sound like my music to me". Yes, Yes: everyone is a critic.

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But Simon reveries through a lens of the present. "Ready for the day of Christmas for" dialogues with history by a sermon of 1941 sampling on mortality by preacher Rev. J.M. Gates, whose words will appear between the rhymes of Simon about a child in Iraq returned for a third term of Office.

As pop collage goes, Ain ain't Girl Talk. But another recent song on war is disturbing in a modern manner, deformation of Internet time as "Written on the front of PJ Harvey" - and human madness repeated over and over again, in an infinite loop.

Ultimately, "so beautiful or well what" is a spiritual meditation can not answer the big questions: does God exist in a world of pain and inequality? There is death? All Simon seems to know with certainty is that there is love and beauty - and that, beyond or not, great songs live forever.Copyright © 2010 Rolling Stone.


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Review: Big Audio Dynamite back with a bang

London (CNN) - former Clash guitarist Mick Jones, no doubt, has rediscovered his mojo: after years of relative inactivity, it has now become one of the 50-busiest in rock.




Fresh from playing on the tour world of Gorillaz and after releasing two albums with Carbon/Silicon, Jones has now met the original members of Big Audio Dynamite, the band formed in 1984 after his expulsion from The Clash the previous year. And performance tests on Sunday in London Shepherds Bush Empire, seems to be savoring every minute in the spotlight.




Back in his home turf in West London after playing a series of dates in England before heading to the United States, Jones is greeted like a conquering hero as bad take to the stage with "medicine show", their first album. Perhaps recognizing that once innovative spaghetti western samples now seem to dates, the band works more stripped of their old songs, such "V. Thirteen" and "c" Mon each Beatbox. "




Jones is, as always, in the form of sparky, chatting easily to the crowds at the front and interact with the sit high this old Victorian theatre. It pays respects to television personalities such as Terry Wogan that used to appear in this place and later a sincere tribute to the film composer beloved John Barry, who died last month.




After 34 years as a performer, Jones said now is superior to his early days in The Clash and bad his guitar, and this shows the band playing an exceptionally narrow set, at breakneck speed. Drummer Greg Roberts is excellent, as bassist Leo "E-Zee kill" Williams, while Don Letts limits of film around the stage director strongly, occasionally rapping along to Jones.




Some music critics have claimed that they were wrong pioneers more musicians than The Clash. No doubt his fusion of punk and hip hop was ahead of its time, and your use of multimedia had opened the way for bands such as Gorillaz's Damon Albarn.

But, as this London concert showed, ill never had the melodies that match that Jones composed with late, lamented to Joe Strummer in the late 1970s and early 1980s. In addition to the successes mentioned above and a wonderful end of "E = mc2," the songs to be a little monotonous. No matter, the band make a great noise, and it is quite fair to Mick back. As implores the crowd half derisively: "We really want to be loved". You don't need to worry about.

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