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DISCID=88098b0a
DTITLE=Paul Simon / Hearts And Bones (West German ''Target'' Pressing)
DYEAR=1983
DGENRE=Rock
TTITLE0=Allergies
TTITLE1=Hearts And Bones
TTITLE2=When Numbers Get Serious
TTITLE3=Think Too Much (b)
TTITLE4=Song About The Moon
TTITLE5=Think Too Much (a)
TTITLE6=Train In The Distance
TTITLE7=Rene And Georgette Magritte With Their Dog After The War
TTITLE8=Cars Are Cars
TTITLE9=The Late Great Johnny Ace
EXTD=Hearts And Bones (West German ''Target'' Pressing)\n2004 Warner S
EXTD=trategic Marketing\n\nOriginally Released October 1983\nCD Editio
EXTD=n Released 1986 ??\nRemastered + Expanded CD Edition Released Jul
EXTD=y 13, 2004\n\nAMG EXPERT REVIEW: Hearts and Bones was a commercia
EXTD=l disaster, the lowest-charting new studio album of Paul Simon's 
EXTD=career. It is also his most personal collection of songs, one of 
EXTD=his most ambitious, and one of his best. It retains a personal vi
EXTD=sion, one largely devoted to the challenges of middle-aged life, 
EXTD=among them a renewed commitment to love; the title song was a not
EXTD=able testament to new romance, while "Train in the Distance" refl
EXTD=ected on romantic discord. Elsewhere, "The Late Great Johnny Ace"
EXTD= was his meditation on John Lennon's murder and how it related to
EXTD= the mythology of pop music. Musically, Simon moved forward and b
EXTD=ackward simultaneously, taking off from the jazz fusion style of 
EXTD=his last two albums into his old loves of doo wop and rock & roll
EXTD= while also incorporating current sounds with such new collaborat
EXTD=ors as dance music producer Nile Rodgers and minimalist composer 
EXTD=Philip Glass. The result was Simon's most impressive collection i
EXTD=n a decade and the most underrated album in his catalog. ~ Willia
EXTD=m Ruhlmann\n\nAmazon.com Editorial Reviews\nOne of Paul Simon's m
EXTD=ost accomplished albums, Hearts & Bones is also among his least a
EXTD=ppreciated, a commercial disappointment at the time of its releas
EXTD=e due more to Simon's darker themes than to any discernible decli
EXTD=ne in his powers as a songwriter or instincts as a producer. The 
EXTD=best songs here are among his most nakedly self-referential, from
EXTD= the bittersweet title song, sifting through the ashes of his fai
EXTD=led marriage, to the self-recriminating "Think Too Much (a)" (as 
EXTD=if to prove the point, he includes two songs with the title) and 
EXTD=the fatalistic "Train in the Distance." "Ren and Georgette Magri
EXTD=tte with Their Dog after the War" is a polished gem, both a music
EXTD=al analogue to the artist's dead- pan surrealism and a unique lov
EXTD=e song, and "The Late Great Johnny Ace" links the slain doo-woppe
EXTD=r to the slain John Lennon. If there were justice in the set's co
EXTD=ol reception, it was Simon's subsequent decision to ignore commer
EXTD=cial stratagems altogether--a leap that yielded his next, groundb
EXTD=reaking album, Graceland. --Sam Sutherland \n\nAmazon.com Custome
EXTD=r Review\nPaul Simon's best album?, July 29, 2002 \nReviewer:  Vo
EXTD=odooLord7 (Oklahoma, USA)\nThis album was a commercial letdown, a
EXTD=nd is not normally mentioned early on when people think of Paul S
EXTD=imon. That said, it's an overlooked masterpiece, and just might b
EXTD=e his best album. In addition to some great and very inventive mu
EXTD=sic (Paul being caught here between the melancholy electric piano
EXTD=-led ballads of Still Crazy After All These Years and the musical
EXTD=ly ground-breaking Graceland), this is the album where Simon's en
EXTD=igmatic lyricism really came to the forefront (who else would wri
EXTD=te a song about allergies?.) One can tell merely from looking at 
EXTD=the song titles that Paul was attempting something rather off-bea
EXTD=t here - and he succeeds. The lyrics are not abstract, however: t
EXTD=hey're more of, as the editorial review says so well "dead beat s
EXTD=urrealism." Some of the songs (the aforementioned Allergies, whic
EXTD=h features some awesome guitar work from Al Di Meola; the very st
EXTD=range When Numbers Get Serious; and the semi-hilarous but borderl
EXTD=ine facetious Cars Are Cars) are very lyrically strange, and one 
EXTD=may well question their meaning - or intention. It's always good 
EXTD=to hear such clever and well-crafted lyrics, however - regardles 
EXTD=of their intent or meaning. That said, some of the other songs (s
EXTD=uch as the title track, Train In The Distance, and others) show S
EXTD=imon laid emotionally bare, and are great songs that touch the he
EXTD=art, as well as the mind and the soul. Rene and Georgette Margrit
EXTD=te With Their Dog After The War and The Late Great Johnny Ace (wh
EXTD=ich features an excellent musical coda from the great Philip Glas
EXTD=s) are flat-out masterpieces. Hearts and Bones is an emotional, c
EXTD=omplex, and challenging album from Paul Simon that is not an easy
EXTD= listen. Like most great albums, it takes some time to get used t
EXTD=o and some time to get into. The album, though, is well worth you
EXTD=r time and effort. It is Paul Simon's masterpiece. \n\nAmazon.com
EXTD= Customer Review\nDecades gliding by like Indians. . ., September
EXTD= 23, 2001 \nReviewer:  Ben C-F (Cedar Falls, IA United States)\nT
EXTD=his album, sorely underrated (as every other review on this site 
EXTD=is quick to point out), is also one of Simon's best, musically an
EXTD=d lyrically. It's really a companion piece to STILL CRAZY AFTER A
EXTD=LL THESE YEARS, this time documenting his rocky love affair with 
EXTD=(and brief marriage to) Carrie Fisher, and the effects of that re
EXTD=lationship on his own thought process. He realizes, twice in fact
EXTD=, that he probably thinks too much, seems to search for similarit
EXTD=ies between his current relationship and his first marriage ("Tra
EXTD=in in The Distance," which documents his relationship with Peggy 
EXTD=Harper), and even starts to think about just how he goes about wr
EXTD=iting a song ("Song About The Moon"). Originally set to be the Si
EXTD=mon & Garfunkel reunion studio album, after erasing Artie's track
EXTD=s Paul handled all of the vocals himself, and did an amazing job.
EXTD= The results are probably Simon's best recorded vocals, and the s
EXTD=ongs are also both catchy and sophisticed. "Rene And Georgette Ma
EXTD=gritte" is one of my favorite Simon songs, the melody is hauting 
EXTD=and bittersweet, just as the story is. "Hearts And Bones" is also
EXTD= a Simon classic, a teriffic musical setting and some amazing mat
EXTD=ter-of-fact lyrics that perfectly explain a hot-and-cold relation
EXTD=ship ("One and one half wandering Jews return to their natural co
EXTD=asts, to resume old acquaintences, step out occasionally, and spe
EXTD=culate who has been damaged the most"). Simon rarely views love a
EXTD=s a magical feeling that will see you through life-- he knows bet
EXTD=ter. And yet, he addresses such painful issues as breakups and de
EXTD=ad ends, in words and music so tender and touching that they comf
EXTD=ort you. And his ode to John Lennon is wonderful, Phillip Glass's
EXTD= haunting coda the perfect ending, with its Beatlesque strings an
EXTD=d somber tones. This would be Simon's last introspective album fo
EXTD=r nearly 20 years-- what lie ahead was something completely diffe
EXTD=rent, but just as wonderful. \n\nHalf.com Album Credits\nAirto Mo
EXTD=reira, Contributing Artist\nAl Di Meola, Contributing Artist\nEri
EXTD=c Gale, Contributing Artist\nMarcus Miller, Contributing Artist\n
EXTD=Mike Mainieri, Contributing Artist\nNile Rodgers, Contributing Ar
EXTD=tist\nRichard Tee, Contributing Artist\nSteve Gadd, Contributing 
EXTD=Artist\nRoy Halee, Engineer\n\nAlbum Notes\nPersonnel: Paul Simon
EXTD= (vocals, guitar, drum programming); The Harptones (vocals); Dean
EXTD= Parks, Eric Gale, Al DiMeola, Nile Rodgers, Sid McGinnis (guitar
EXTD=); Marin Alsop (violin); Jill Jaffee (viola); Jesse Levy, Frederi
EXTD=ck Zlotkin (cello); Carol Wincenc (flute); George Marge (bass cla
EXTD=rinet); Mark Rivera (alto saxophone); Peter Gordon (French horn);
EXTD= Greg Phillinganes, Richard Tee (Fender Rhodes piano, synthesizer
EXTD=); Rob Sabino (keyboards, synthesizer); Rob Mounsey (synthesizer,
EXTD= vocoder); Mike Boddiker, Michael Reisman (synthesizer); David Ni
EXTD=chtern (Synclavier, programming); Tom Coppola, Wells Christie (Sy
EXTD=nclavier); Mike Manieri (vibraphone, marimba); Anthony Jackson (t
EXTD=riple contra-bass); Marcus Miller, Bernard Edwards (bass guitar);
EXTD= Jeff Porcaro, Steve Ferrone, Steve Gadd (drums); Airto Moreira (
EXTD=percussion).\n\nProducers: Roy Halee; Paul Simon; Russ Titelman.\n
EXTD=\nCasual listeners view GRACELAND as a comeback/rejuvenation for 
EXTD=Simon, not realizing that throughout his recording career, he nev
EXTD=er stopped growing, with each album expanding on the artistic adv
EXTD=ances of the previous one. HEARTS AND BONES was the last link in 
EXTD=the chain that led to the epiphany of GRACELAND, the adventurous 
EXTD=bridge between that album and the poetic insights of ONE TRICK PO
EXTD=NY. Simon hadn't yet given himself over to the impressionistic, n
EXTD=on-linear lyrical style he would eventually pursue, but here he i
EXTD=nvests his more traditional story-telling lyrics with a high degr
EXTD=ee of poetic imagery.The arrangements are equally imaginative. Th
EXTD=e moving title tune, which details the breakup of Simon's marriag
EXTD=e to actress Carrie Fisher, moves from a folky, acoustic feel to 
EXTD=a sensuous, swaying rhythm and back, seamlessly. The witty "Aller
EXTD=gies" calls on the services of an unlikely guest, Al Dimeola, to 
EXTD=provide guitar pyrotechnics that perfectly capture the song's cla
EXTD=ustrophobic panic. As always, there are several elegant, harmonic
EXTD=ally brilliant ballads, such as the evocative "Rene & Georgette M
EXTD=agritte With Their Dog After The War." Only Simon could attach su
EXTD=ch a beautiful tune to such a pretentious title. HEARTS AND BONES
EXTD= is a vital, criminally underlooked part of the Paul Simon catalo
EXTD=g.\n\nROLLING STONE REVIEW\nPaul Simon's new album is all about h
EXTD=eart versus mind, thinking versus feeling, and how these dichotom
EXTD=ies get in the way of making music or love. He addresses the issu
EXTD=e directly in "Think Too Much" (which was once to have been the t
EXTD=itle of this album), goes at it metaphorically in "Train in the D
EXTD=istance," resolves it temporarily in "Hearts and Bones" and fashi
EXTD=ons a sort of fable about it in "Rene and Georgette Magritte with
EXTD= Their Dog after the War." The latter song ranks among the best S
EXTD=imon has written. There they are, a Belgian surrealist painter, h
EXTD=is old lady and their pooch, dancing naked in a hotel room, windo
EXTD=w-shopping on Christopher Street and getting dolled up to dine wi
EXTD=th "the power elite." Wherever they go, though, they are haunted 
EXTD=by the likes of the Penguins, the Moonglows, the Orioles and the 
EXTD=Five Satins.\n\nIt's a hilarious and magical juxtaposition of ima
EXTD=ges that's also touching, because Paul Simon obviously identifies
EXTD= with the figure of the grown-up, respectable artist irrevocably 
EXTD=smitten with those doo-wop groups, "the deep forbidden music" tha
EXTD=t originally made him fall in love with rock & roll.\n\nIn an ear
EXTD=lier era, Paul Simon would have written for Broadway, a craft tha
EXTD=t demands that a song tell a story or define a character. But lik
EXTD=e any youngster in the Fifties, he got hooked on the sheer sexual
EXTD= energy of rock & roll -- not so much the guitar-based electricit
EXTD=y of Chuck Berry, Elvis and the Beatles, but the dreamy soulfulne
EXTD=ss of groups that euphemized their teenage romantic longings in n
EXTD=onsense lyrics. The trouble was that Simon was too clever for eit
EXTD=her kind of rock & roll. The words always came first for him, the
EXTD= music was secondary, and the rock & roll he loved--the delicate 
EXTD=Spanish guitar, the hushed doo-wop harmonies -- lingered faintly 
EXTD=in the distance like a disembodied ideal.\n\nThe same conflict be
EXTD=tween the ideal and the actual threads through his songs about re
EXTD=lationships. "Train in the Distance" and "Think Too Much" recall 
EXTD=such classic postmortems as "Overs" and "50 Ways to Leave Your Lo
EXTD=ver." Simon's always been good at writing about ending love affai
EXTD=rs, perhaps because he thinks too much about his mate's faults an
EXTD=d how perfect she should be. But the song that really goes the di
EXTD=stance is "Hearts and Bones," which Simon gave Carrie Fisher as a
EXTD= present. "One and one-half wandering Jews" go mountain climbing 
EXTD=in New Mexico, witness some exotic marriage ritual, discuss "the 
EXTD=arc of a love affair" (as if it were a mathematical problem!) and
EXTD= toy with the idea of a quickie wedding south of the border. But 
EXTD=as usual, they think too much about it, retire to separate coasts
EXTD=, do that mature but stupid thing of seeing other people to test 
EXTD=the strength of their bond and nearly throw away the entire relat
EXTD=ionship before coming to their senses in a triumphant epiphany: "
EXTD=You take two bodies and you twirl them into one/Their hearts and 
EXTD=their bones/And they won't come undone."\n\nThe tunes on Hearts a
EXTD=nd Bones are subtle, not immediately singable and certainly less 
EXTD=startling than the lyrics, but the music has a certain playfulnes
EXTD=s that matches the album's cerebral self-consciousness. "Cars Are
EXTD= Cars" stops and starts like a traffic jam; "Think Too Much" appe
EXTD=ars in two very different versions, a folk-jazzy rendition and a 
EXTD=snappy rock version featuring Nile Rodgers and Bernard Edwards of
EXTD= Chic. And Simon's superb eulogy for John Lennon, "The Late Great
EXTD= Johnny Ace," manages to place four decades of rock & roll histor
EXTD=y on a continuum from Fifties R&B balladeer Johnny Ace to new-mus
EXTD=ic maestro Philip Glass, whose poignant coda to the song ends wit
EXTD=h terrifying abruptness. The only real dud is "Allergies," which,
EXTD= unfortunately, opens the album--it's sort of like "Kodachrome" w
EXTD=ith Vocoder, and it could have stayed in the drawer.\n\nHearts an
EXTD=d Bones was meant, for a while, to be a Simon and Garfunkel album
EXTD=. It's just as well that it isn't. A reunion package would have m
EXTD=ade the album a different event than what it really is: a thinkin
EXTD=g man's homage to the Penguins, the Moonglows, the Orioles and th
EXTD=e Five Satins. Not so crazy after all these years, the artist get
EXTD=s to be alone with his earth angel, sincerely, in the still of th
EXTD=e night. (RS 409 - Nov 24, 1983) -- DON SHEWEY
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