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The Rhythm Of The Saints
Reis Rmst ed.
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The Rhythm Of The Saints
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MP3 Music, October 16, 1990
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Vinyl, Import
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Audio, Cassette, October 16, 1990
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From the brand
Track Listings
1 | The Obvious Child |
2 | Can't Run But |
3 | The Coast |
4 | Proof |
5 | Further to Fly |
6 | She Moves On |
7 | Born at the Right Time |
8 | The Cool, Cool River |
9 | Spirit Voices |
10 | The Rhythm of the Saints |
11 | Born at the Right Time (Original Acoustic Demo) |
12 | Thelma |
13 | The Coast (Work-In-Progress) |
14 | Spirit Voices (Work-In-Progress) |
Editorial Reviews
Originally released in 1990, this is a reissue of Paul Simons 2x Platinum album, THE RHYTHM OF THE SAINTS, which now includes bonus tracks not available on the original release.
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 5.6 x 4.9 x 0.4 inches; 3.68 ounces
- Manufacturer : Legacy Recordings
- Item model number : 22835369
- Original Release Date : 2011
- Run time : 1 hour and 2 minutes
- Date First Available : March 25, 2011
- Label : Legacy Recordings
- ASIN : B004TPJMLA
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #5,512 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #2,729 in Rock (CDs & Vinyl)
- Customer Reviews:
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During the 1980s and 1990s, as "Graceland" sold in the millions, a strange term circulated both as a marketing catchphrase and as an attempt at a serious musical category: "World Music." This concept had existed since the 1960s, but in the 1980s it took on a new form as it gradually reached a wider market. The paradox of this term also revealed its inevitably limited outlook within a commercial context. As "World Music" albums piled up in American music stores of the time, they sat juxtaposed with "Pop/Rock," "Jazz," "Classical" and other familiar categories. This both obscured and insinuated a rather bizarre situation. After all, didn't all of these more familiar categories also qualify as "World Music?" What music produced on this planet doesn't qualify as "World Music?" Not to mention that Rock itself originated from an amalgam of Rhythm and Blues, Country and Folk, most of which arguably trace back to African-American and European-American music forms and ultimately to African and European music itself. So even Rock has global roots. As such, "World Music" never really made any sense as a truly feasible rubric. Nonetheless, the strange phrase introduced the rather myopic American music industry to some real global musical treasures. Labels from this time period, such as Peter Gabriel's "Real World" and David Byrne's "Luaka Bop," featured the incredible music of Africa, South America, Asia, Europe and even some parts of the world that many Americans may not have know existed. Despite the quirky moniker, it was a very healthy musical exercise. Simon's "Graceland," given its soaring popularity combined with its truly South African music and musicians, inevitably became associated with "World Music" and also likely energized it, or it at least gave marketers some fresh ideas. After "Graceland" the "World Music" market appeared to explode. Earlier experiments that combined Rock with African music, such as Peter Gabriel's "Security" or Talking Heads' "Remain in Light," either remained on the fringe or didn't garner enough commercial interest to spark an industry movement. "Graceland" may have helped change that. Soon one saw Ladysmith Black Mambazo on "The Tonight Show" and "Saturday Night Live." Other acclaimed South African musicians, such as Hugh Masekela and Miriam Makeba, also toured the United States during this time. Not long after, previously unknown groups, song styles and instruments from around the globe permeated American television and concert halls. "World Music" seemed to have entered the American mainstream. "Graceland" didn't bring this about all by itself, of course, but it may have bolstered confidence in the commercial viability of this new, but also simultaneously not new, genre.
"Graceland" continued its unparalleled ubiquity over the next four years. Simon didn't really have to release anything new because the album still felt fresh and continued to sell. No one could accuse him of silent withdrawal. "World Music" also gained further traction, even if some of it started to sound a little too deliberate by this time. Then, in late 1990, almost in response to growing accusations of "World Music" as the latest cliché, fascinating drums began clacking over radio stations. Suddenly, Paul Simon's voice floated over this rhythm track and yet another unforgettable merging occurred. "The Obvious Child" sounded as fresh and dynamic as anything on "Graceland." The song rotated on radio for some time before the new album appeared, creating volcanic anticipation. When "The Rhythm of the Saints" finally appeared, listeners found a much more subdued and subtle album than "Graceland" full of African and South American rhythms and styles. The thundering opening track which deals with the life process and youth that begets youth that eventually begets doubt, featured the African-Brazilian drum group Olodum recorded live. "Can't Run But" evokes Chernobyl and the helplessness it likely inspired through a driving yet mellow marimba-esque rhythm. It features another curious line: "The music suffers, the music business thrives." The guitar-driven "The Coast" juxtaposes lands of plenty and lands of want with spiritually-laden imagery of stars, injured coasts and money. "Proof" features an explosive horn chorus and explores the perennial tension between proof and faith. Simon's second wife, the late Carrie Fisher, claimed that "She Moves On" is about her. "Born at the Right Time," probably the album's catchiest number after "The Obvious Child," uses fate as a dominant determinant of well-being. It may also serve as an exhortation to the privileged of the world to appreciate what they have, as pure luck may have played a large part in their circumstances. "The Cool, Cool River" contains one of the album's most beautiful moments in its longing refrain. It ends with the poignant lines: "My life's so common it disappears, and sometimes even music cannot substitute for tears." The title track, which also closes the album, deals with life's continual overcoming of itself and appeals for strength.
Despite strong sales, "The Rhythm of the Saints" didn't have the impact or longevity of its predecessor. Its songs didn't linger on the airwaves interminably and the album seemed to quietly vanish only months after its release. The album strives for a more ambient, meditative and evocative mood rather than a sing-song melodically dominant feel. As such, the vocal melodies often melt into the mix and the album contains far fewer melodic vocal hooks than the considerably more radio-friendly "Graceland." In essence, it's a very different album with a very different approach to its material. It will likely always live somewhat in the shadow of the album that preceded it. Following its release and subsequent tour, Simon nearly vanished for some seven years. When he finally resurfaced, it was for one of his rare flops, "Songs From The Capeman." The new millenium saw him recover yet again and, four albums later, a now mid-late 70s Simon seems as strong and as acclaimed as ever. And his albums still sell respectably. It all feels somewhat miraculous, especially in a post-album, streaming, give-it-all-away music age. He has left the question of retirement wisely up in the air. But even if he retires tomorrow, who could claim that it wasn't well-deserved? Few other musicians or songwriters have had such an enduring and impactful presence in American, and even global, popular music.
The big song on "The Rhythm of the Saints" is "The Obvious Child" and, to a lesser degree, "Spirit Voices." Yet, despite the dearth of "hits," this album seems more mature and complex in its execution. Just take a look at the star-studded list of musicians who contribute to these tracks: C.J. Chenier, J.J. Cale, Adrian Belew, Jerry Douglas, Naná Vasconcelos, Michael and Randy Brecker, and Milton Nascimento, to name a few.
Although I've been listening to this 33-year-old album for only a few weeks, the songs already sound to me like familiar Paul Simon classics. The lyrics are sophisticated and cool and meaningful poems set to interesting and original melodies and global polyrhythms. The more I listen to "Rhythm of the Saints" the more I think this is the best album Paul Simon had ever released until "So Beautiful or So What" came out in 2011, though that would be a matter of apples and oranges. "The Rhythm of the Saints" was largely underappreciated in the wake of "Graceland," but deserves a much closer listen.
"The Rhythm of the Saints" is a CD full of wonder and delight - it is an arrangement of music that is certain to leave a smile on a person's face. And yet, my purchase of this CD - at a price much higher than I'd usually pay for a CD by other artists - leaves me feeling cheated. Read on for the full story.
I would caution buyers to a fact that I did not have access to when purchasing this album - buying music CDs has changed even from the late 1990s. Gone are the days of jewel cases and fold-out lyric sheets with artist bios and such; "The Rhythm of the Saints" as well as "Graceland" comes in a cardboard sleeve. While honestly being unable to say if there exists a fold-out lyric sheet *inside* the cardboard (as I've not yet worked up the nerve to open the fragile-looking case), there really seems to be a definitive trend towards this kind of packaging in recent years.
The 4-star review has NOTHING to do with either Amazon or Paul Simon, but rather (likely) the record label distributing the media. As mentioned above, the trend here seems clear and this trend serves to stymie new music purchases - just as my parents have Lps from the 60s, I too would like to keep my purchased music CDs indefinitely. I view the packaging transition and global reduction in "add-ons" within the retail package as running contrary to this end. The one way to assure the inclusion of the material seems to be through buying well-looked-after used CDs, and there has been a rather aggressive movement in the United States to halt the sale of used audio and video media.
In summary - "caveat emptor"... because buying a compact disc these days for $12 doesn't get you nearly as far as buying a $10 CD did in the late 1990s.
Top reviews from other countries
Esta reedición con sonido remasterizado, agrega cuatro demos al tracklist original.
Interesante buscar el orden alterno que Simon quería para el disco, pero que no respetó su disquera, y con el que el disco se disfruta más.