Paul Simon
You're The One

THE REVIEW

New millennium: same music, same Simon.

"You're The One" was released in 2000. It had been a full ten years since his previous studio work, "Rhythm Of The Saints" from 1990 (except for the not entirely conventional work "Songs From The Capeman", soundtrack of the eponymous musical from 1997).
Paul Simon's records are immediately recognizable. His sound harbors a strong influence from World Music, while being driven by a purely singer-songwriter compositional vein. This blend makes his songs very original, setting them apart from the more classic works of American songwriters of his generation, particularly Taylor. Taylor has a style quite similar to Simon in both melody and lyrics, but with evidently more traditional arrangements that ultimately result in a distinctly different expressive outcome.
I have never encountered a Paul Simon record that was bad, poorly made, or lacking in poetic and musical inspiration. "You're The One" is certainly no exception to this rule. There are many beautiful songs, and very few that are less successful.
The two tracks opening the album are gorgeous: "That's Where I Belong" and "Darling Lorraine", soft and slow ballads but full of beautiful percussion (a legacy of the 'World') which are one of the most prominent qualities of this album's music.
The third track, "Old", is a fun cowboy saloon song from the Wild West, quirky and somewhat eccentric compared to the rest of the album. More splendid and infectious percussion beat the catchy chorus of the title track "You're The One".
"The Teacher" is the most precious piece of the album, very contemplative with slow and mysterious music punctuated by beautiful guitar riffs that lead the mind on a desolate journey back to the past.
Also noteworthy: "Senorita With Necklace of Tears", calm and wonderful, "Pigs, Sheep And Wolves", whispered and ironic, and finally "Hurricane Eye", a typical Simon song (full of 'World' influences).
Disappointments include: "Love", cloyingly saccharine and "Quiet", a closing song with a soporific rhythm.

It may not appeal from the first listen but after a while, it captures the ear. Overall, it is an extremely positive effort. It does not stray far from Simon's older works. Stylistically much closer to the masterpiece of "Graceland" 1986, even if much further chronologically, compared to the very different and more modern (probably due to the collaboration with Brian Eno), "Surprise", which would be released only a few years later, in 2006.
The old master Simon may lose his hair, may lose Garfunkel, but not the melodies nor the words. Always highly refined and extremely inspired.