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38 By analogy, in the concluding "Silent Eyes" on "Still Crazy After All These Years, " the possibility of redemption comes with the second entrance of the gospel chorus. I fear I'll do some damage. "You can hear how hard he works, like the changes in 'Still Crazy. Rather, association and pattern completion make compositional sense as constraints in putting together an album, and these constraints may be realized as aurally perceivable patterns. In "Still Crazy After All These Years, " that title phrase came to me first and it didn't come with melody either.

Still Crazy After All These Years Chords In D Major

Simon says the tour will end early next year in Africa after stops in Japan, China, Australia and South America. Tom: C. Intro: A7ME7MEm7Am7C7MGGG7. I have been listening back to Still Crazy After All These Years a lot on its forty-fifth anniversary and seeing where Paul Simon headed after that album.

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In short, the words of Simon's protagonist in the opening song, "I ain't no fool for love songs / That whisper in my ears, " turn out to be too true, and the "slip out the back, Jack" of "50 Ways To Leave Your Lover" becomes a slip into a spiritual abyss. It was a "mathematical game, " as James Taylor called it, but one which worked. 25 In making this claim I am assuming that Simon, as co-producer of the album with Phil Ramone, made the decision as to the order of the song. 12 Both musical and lyrical tendencies reach a kind of culmination in "Still Crazy. " 1 For a representative sample of stylistic and cultural studies, see Simon Frith and Andrew Goodwin, eds., On Record: Rock, Pop, and the Written Word (New York: Pantheon Books, 1990). Simon said he didn't invite him, but insists it's not because of troubled waters over which there is no bridge. About this song: Still Crazy After All These Yeas (easier). 31 The closing scene in the movie finds the anti-heroic hairdresser played by Warren Beatty high up on a hill observing Julie Christie, his true love among many lovers, who is deciding whether to accept the marriage offer from the rich investor to whom she has been mistress, or to go off with Beatty. The first pattern spans the first three songs and comprises a descending fifths motion from and back to G, with a strong emphasis on E-A-D-G, first heard in the introduction to the title song; in "50 Ways To Leave Your Lover, " the truncation of this motion to E-G serves as a sort of harmonic summary gesture. 1986's Graceland changed all that, its pop, a cappella, rock, isicathamiya and mbaqanga (singing styles of the South African Zulus) styles recorded in Johannesburg, South Africa with many local musicians including Ladysmith Black Mambazo. It's all gonna fade. I am going to bring in a review for Still Crazy After All These Years, but I wanted to concentrate on the title track for a moment. By a jury of my peers. However, hope once more gives way to sorrow with the turn to the parallel A minor at the start of the next verse, a semitone higher than the opening.

Still Crazy After All These Years Chords In D Chord

Hence these four songs are interrelated by musical idiom and narrative progression. Example 7 summarizes the key succession of Side 2 and the tonal progression of "Silent Eyes. It represents a lot of listening. I think Still Crazy After All These Years was the last classic Simon album before there was a little dip with 1980's One-Tricky Pony. 30 Note that this is analogous to the semitone transposition of the opening material at section A3. From "Still Crazy After All These Years, " Copyright © 1974 Paul Simon. Hence the association of Part I of the narrative with the complex ballad and Part II with the simpler genres helps convey the two sides of the protagonist's personality: the sensitive soul trying to rationally understand his dilemma, and the man of action who wishes to stop thinking so much and just live his life. Tonally, the song is by far the most complex on the album, beginning in minor and ascending by step to C minor.

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Scorings: Piano/Vocal/Chords. 13 Paul Simon, when asked some eight years after the release of "Still Crazy After All These Years" whether the album was his best work, responded "I felt I was defining a real identity. 30 Compare, however, the harmony at the arrows in the corresponding sections: in B1, the C-major chord represents leading to V and supports the melodic highpoint G5 ("She burns like a flame"); in B2, however, the harmony is not a triad but rather 7, which leads directly to V7 and hence functions like a German augmented sixth ("To stand before the eyes of God / And speak what was done"). That was when he hung out with Art Garfunkel, with whom he became the Jerry of a duo called Tom & Jerry, later to become the somewhat better-known team of Simon & Garfunkel. 35 As we have seen, Simon's "I Do It For Your Love" is strikingly similar in its musical depiction of irony, associating the concluding tonic resolution with the demise of the marriage, and, conversely, the avoidance of tonic with its remembrance. Given the correlation between fond memories of the marriage and the deliberate avoidance of the tonic triad, the song takes on a strongly ironical cast with the closing tonal resolution to G (which, with the repetition of the refrain "I Do It For Your Love, " "restores" the two measures deleted from the break). Un movimiento internacional de concientización para el control del cáncer de seno, el Pink October fue creado a principios de la década de 1990 por Susan G. Komen para la Fundación Cure. While a few of the songs are directly autobiographical, more importantly the marital breakup provides a kind of psychological backdrop for the album and contributes to a sense of unified narrative. Under this interpretation, "Night Game" closing Side 1 and "Some Folks' Lives" on Side 2 represent interruptions to the broad narrative and musical progression. The title song opens the album and introduces important narrative and musical ideas for the work as a whole (Example 1a and b).

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6, 8 and 9 comprise a stepwise descent from C major through and A major and on to minor at the beginning of "Silent Eyes. " Together they flesh out the narrative conflict introduced in "50 Ways, " leading respectively from the start of an affair, to egoistic desire by the protagonist, and finally to the breakup of the affair. Transpose chords: Chord diagrams: Pin chords to top while scrolling. Singer-Songwriter Trifecta: Sony/Legacy reissues Paul Simon's Paul Simon, There Goes Rhymin' Simon, and Still Crazy After All These Years.

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These musical deceptions reflect the progressive change in meaning of the refrain, specifically the multiple meanings of "still crazy. " The narrative divides into 5 + 5 songs corresponding to Sides 1 and 2 of the record. Example 3 shows in greater detail how the principal tonal progressions of the opening song—the motion by descending fifths from E to G, and the modulation from G to A major—provide a structural frame for Part I of the album. D#dim A. Oh, still crazy. Simon employed the mighty Muscle Shoals Sound Studios house band to fuel many tracks, from the gospel good-foot shimmy of "Love Me Like a Rock" to the Dixieland sway of "Take Me to the Mardi Gras. " The second pattern consists of a stepwise motion away from and back to C spanning Side 2.

Since that applies to the entire history of Western music, let us focus more pointedly on a single aspect relating to song and song cycle composition: the possibility of not confirming the modality of the song until the very end. And, like the first chorus, the progression modulates down a fourth from F to C major. Garfunkel won't join him this time. His work became more sophisticated, then more international, drawing from a wide variety of melodic and rhythmic influences. In the 80s Simon's career became directionless, the songwriter claiming writer's block. Words & music By Paul Simon 1974. But the overall feel of Still Crazy was of a jazzy style subtly augmented with strings and horns.

Another strategy at once the most obvious and yet the easiest to overlook is, simply, the expressive use of major / minor modality. Hit single "My Little Town" marked a reunion of sorts with Art Garfunkel, but the overall mood is bitter, disillusioned and cynical as in the bitchy "Have a Good Time. 21 Readers familiar with the album may have observed that "50 Ways To Leave Your Lover" breaks the associative pattern of Part I in its formal and harmonic simplicity. 10, corresponds with the low point of the cycle, i. e., the outpouring of grief following the marriage of the poet's love to another. ) Alan Sheridan (New York: Columbia University Press, 1982), 133ff. Once again assisted by top session cats, from Cornell Dupree, David Spinozza, Barry Beckett, Paul Griffin and Roger Hawkins to Airto Moreira and gospel vocal group The Dixie Hummingbirds, There Goes Rhymin' Simon is carefree and upbeat, track by track, each song a joy. 2 Second, the issue of intention comes into play. This was not, as Simon said, the original concept.

Simon co-produced the album along with Phil Ramone and is responsible for a good part of the arranging as well. He reached a new peak on Graceland and continued putting out phenomenal albums until his final studio album, In the Blue Light, in 2018. 15 Moreover, by invoking the past, present and future in verses 1, 2 and 4, respectively, the song provides a sort of temporal microcosm for the album. In the case of song cycles, the choice of final closure in major or minor can recast the entire meaning of the cycle, either in support of or, more interestingly, in contradiction to the specific text. On Thursday, Simon and a 17-piece band drawn from five nations will step on stage in Central Park for a free concert of almost three hours. It was, at the time, an assessment of where I was at in terms of my life. Go and buy the album on vinyl if you can, as it makes for a wonderful listening experience.

The example sketches the basic tonal progression in the form of a bass line sketch. Genette further notes that, even in narrative genres in which description may play a quantitatively larger role than the narrative proper, it is still dependent on narrative. And I aint no fool for love songs. This not only marks the de facto first ending: it was the actual ending of the first version of the song (albeit in a radically different arrangement) as it appeared in the movie "Shampoo" with soundtrack, such as it was, by Paul Simon. Humphries does not mention that the odd snatches of humming and guitar strumming in the movie account for most of the material of "Silent Eyes. See Gustav Mahler: The Wunderhorn Years (Great Britain: Faber and Faber, 1975), 125-6.

The next song, the hit single "50 Ways to Leave Your Lover, " was actually the last song to be composed for the album. Given his perfectionism regarding all details of production, this seems a safe bet. I probably wouldn't think that way at all". See White, Rock Lives, 372-3.

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