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Paul Simon – Still Crazy After All These Years. "Still Crazy, " however, veers back and forth between A major and G major from the introduction to the ending. PAUL SIMON: It's very helpful to start with something that's true; if you start with something that's false, you're always covering your tracks. 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. 27 From "50 Ways To Leave Your Lover, " Copyright ©1975 Paul Simon. The sound, though not as detailed, dynamic and rich as the three-years-in-the-future There Goes Rhymin' Simon thoroughly relates its folk storyteller leanings. In simplest terms, for the former a pattern is stated, typically at the opening of a work in prominent fashion, and later is replicated, possibly transformed and expanded; hence the subsequent completion of the pattern may be weighed against its original statement. That whisper in my ears. Example 2 provides a synopsis of the narrative and tonal progress of the album. 16 Briefly, the 8-bar introduction leads through a somewhat disguised fifths motion from E to G, followed by a fairly conventional progression in G of verses 1 and 2. Retaining the musical feel of Paul Simon, but attaining a more produced, glossier yet still soulful production sheen, Simon reveled in songs where every genre he touched, each stylistic shift, hit paydirt gold both financially and creatively. Once more the chorus holds open the possibility of redemption, precisely by closing in the major mode. In Simon's album, the most important of the above strategies are pattern completion and association, since they subsume most of the other properties.
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Earlier I suggested possible analogies between "Still Crazy After All These Years" and earlier art songs and cycles. Simon co-produced the album along with Phil Ramone and is responsible for a good part of the arranging as well. Musically, the harmonic simplicity and driving beat of the chorus of "50 Ways To Leave Your Lover" is taken up by the subsequent narrative songs—i. An insular record made with producer Phil Ramone and a handful of New York session players, it's also rather monochromatic sounding, the muted drums and flat acoustic guitars perhaps mirroring Simon's state of mind. This point, obvious though it is, has important analytical ramifications, especially for the imputation of Schenkerian or quasi-Schenkerian structures to the key succession of a multi-movement cycle. Tonally this coincides with the arrival of the key succession on G major, which completes the first of two successions by fifth descent spanning the first ten songs. 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). That freedom spawned top ten hits in the reggae tinged "Mother and Child Reunion" and the joyful "Me and Julio Down by the Schoolyard. " Start the discussion! The question I ask myself is: why is this analogy significant, beyond its mere presence? 32 And although I have not called attention to them, these specific analogies to earlier compositions are present in individual songs on "Still Crazy" as well. 28 And it is precisely these songs that define the second of the key patterns to be completed, beginning on C (the next fifth in the preceding sequence from G), down by step through and A to at the beginning of "Silent Eyes. His work became more sophisticated, then more international, drawing from a wide variety of melodic and rhythmic influences.
Following the breakup with Art Garfunkel in 1970, Simon's music begins to move away from the clean-cut button-down folk style and incorporates genres such as reggae, various sorts of blues and jazz, rhythm and blues, and gospel. Written after the end of Simon's marriage, 1975's Still Crazy After All These Years was infinitely darker than its predecessor, the music revealing a bitterness and cynicism that belied the album s feelgood tracks "My Little Town" and "Gone At Last. " Simon says the tour will end early next year in Africa after stops in Japan, China, Australia and South America. The record as a whole has a very wide soundstage peppered with unusual instrumental sounds darting around the mix like scurrying farm animals. 22 Both of these non-narrative songs concern identity: in "Night Game, " the implicit identification of the protagonist with the baseball pitcher who dies before the game is over; in "Some Folks' Lives, " the identification, not with some folks whose lives roll easy, but rather with most folks whose lives do not roll at all. I think Still Crazy After All These Years is among his top-five solo efforts, and it is an album that everyone needs to hear. Alan Sheridan (New York: Columbia University Press, 1982), 133ff. Given the prevalence of fifths progressions in popular music including Simon's, questions could be raised regarding a descending fifths pattern completion as a structural determinant. One subject which has received little attention, however, is the presence of large-scale structural principles spanning a whole album or CD. The example sketches the basic tonal progression in the form of a bass line sketch. 33 Chords used in the song: Amaj7, Emaj7, Emmaj7, Am7, Cmaj7, G, G7, C, F, F#dim, Bsus4, B7, Em, Ebm7, Dm7, C#dim, D7, Cm, G9, E, G#m7, C#sus4, C#, F#maj7, B, F7, D, A, A7, D#dim, E#dim, F#m, E7. It isn't a small one. 4 These are too numerous to cite here.
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All, all was well again, All, all—love and pain, And world and dream! 31 In revising the song for the album, the most obvious changes include the addition of the lyrics and the substitution of piano for guitar. 17 The term, "crowbar modulation, " refers to an abrupt modulation to a higher pitch level for greater expressive intensity, most often occuring at the end of a song. Tonally, the song hinges on the conflict between the keys of G major and A major, and the progression of descending fifths, E-A-D-G. Like many songs on the album, "Still Crazy After All These Years" is based on 32-bar song form, A A B A. Original Published Key: G Major. The analogy does not end there, however.
Cat's in the Cradle. "And that's why, in songs like 'Still Crazy After All These Years' or 'Something So Right, ' I used chord changes that, uh, were not in the lexicon of rock 'n' roll ballads. I probably wouldn't think that way at all". This was the mid 70s after all, and perhaps the mire of Nixon, Vietnam, and "women's lib" (! ) 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. 36 Analogously, "I Do It For Your Love" articulates its narrative division with the first of the tonal pattern completions, once more by descending fifth.
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Now I sit by my window. Of course, "My Little Town" also marked a return to working with Art Garfunkel, and another Top Ten entry for S&G. Note the corresponding change in function of the diminished seventh chord from incomplete neighbor to A, to initiation of the fifths progression to; the latter returns at the end of the instrumental break as well, cutting off what otherwise would be a strict 2:1 augmentation of the introduction. ) In an age of punk, heavy metal and robo-rock, he still writes and sings harmonically rich melodies. The music for the verses, as he shows, came from the chords he played on guitar, all of which were informed and expanded by his study of jazz, as he discusses. Hence my interpreting the album in light of nineteenth-century possibilities for coherence in multi-movement works—including foreshadowing, association, reference and pattern completion—suggests that these practices cast a very wide net indeed across both historical and generic boundaries. C#dim G D7 Cm D7 G C. Oh, still crazy after all these years.
THE true masters of music. The climactic section B2 is meant to sound like the conclusion of the album and in effect represents a first ending. I take a similar position in speaking of the relative structural subservience of non-narrative songs on the album. Thus the musical unpredictabilities almost subliminally communicate the inner meaning of the text, which is itself hinted at in the double meaning of the title: "You're Kind" also implying "your kind, " i. e., your type of lover who is literally too good to be true. 16 This sketch, as well as those in subsequent examples, adopts Schenkerian analytical conventions, in that rhythmic values denote relative structural importance rather than duration (thus, stemless noteheads are least important, half notes most important); notes beamed together denote a significant linear/harmonic pattern, and dotted lines indicate the prolongation of a single pitch. Still Crazy After All These Years has sections analyzed in the following keys: G Major, and E Major. 7 One of the first analyses of large-scale musical unity in cycles is Arthur Komar's groundbreaking essay, "The Music of Dichterliebe: The Whole and its Parts, " in Schumann, Dichterliebe, ed. By Danny Baranowsky. I could still hear that it was pretty, or arresting, or whatever. "Some Folks' Lives, " an odd mixture of pop ballad (replete with lush strings), country ballad and jazz progression, not only interrupts the narrative but also looks back to Part I in its slow groove, chromatic complexity, and introspective mood.
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Still Crazy... was a huge success for Simon, but the recording quality had nothing to do with it. E., songs that advance the sequence of events understood as a "story"—and non-narrative songs, marked in the example with an asterisk. That was a long time ago. Also, I believe that the song has the hidden and serious undertones noted below, notwithstanding its origin as a rhyming game Simon played with his son ("Just slip out the back, Jack / Make a new plan, Stan" etc. Thus the final two lines—"but when you say: I love you! 9 See, for example, Schumann's Carnaval and the Heine, Liederkreis, Op. The musical setting matches the narrative dialogue: the verses feature a chaconne-like descending tetrachord in E minor and flowing melodic line, underpinned by the famous snare-drum ostinato; the chorus by contrast shifts to G major and cut time, substituting for the legato melody and snare-drum part a driving rock groove underpinned by the simple three-chord progression I--IV-I.
"I couldn't bend it, I couldn't play. And yet it is precisely the use of such strategies that links "Still Crazy" to earlier cyclic compositions. Here, "still crazy" connotes positive feelings, coming after carousing with his old lover. By Simon and Garfunkel. Click on the linked cheat sheets for popular chords, chord progressions, downloadable midi files and more! With A Few Good Friends. See Gustav Mahler: The Wunderhorn Years (Great Britain: Faber and Faber, 1975), 125-6. Rather, in "Die zwei blauen Augen" the obvious but telling uncertainty of mode until the final chord holds in suspense our emotional response to the cycle.
The title song opens the album and introduces important narrative and musical ideas for the work as a whole (Example 1a and b). Simon said he didn't invite him, but insists it's not because of troubled waters over which there is no bridge. Or "An American Tune"? I fear I'll do some damage. 3 Third, assertions of cyclic principles are both controversial and difficult to prove, as for example a survey of interpretations of Schumann's Dichterliebe would demonstrate. Marching Through the Wilderness. 13 The album also coincided with the breakup of Simon's first marriage.