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theripped
12-04-2010, 03:45 PM
He's got a new album coming out in the spring. I think he'd be a great late evening outdoor spot. Likely?

knytt
12-04-2010, 03:52 PM
Well, he was supposed to tour with Garfunkel back last April, but Art developed vocal paresis, and as of now the tour has been indefinitely delayed. I was hoping he'd come with Garfunkel, but that's almost entirely not going to happen from what I've heard about Garfunkel's recovery.

However, he may tour without Garfunkel in support of his new CD, and with that, Coachella is not entirely out of the picture. My fingers are still crossed.

Neighborhood Creep
12-04-2010, 06:25 PM
Seen him open up for Bob Dylan in Bob's hometown about 10 years ago. Most the crowd, and myself enjoyed Paul's set much more. Would enjoy to see him sub headline

theripped
12-04-2010, 06:30 PM
Well, he was supposed to tour with Garfunkel back last April, but Art developed vocal paresis, and as of now the tour has been indefinitely delayed. I was hoping he'd come with Garfunkel, but that's almost entirely not going to happen from what I've heard about Garfunkel's recovery.

However, he may tour without Garfunkel in support of his new CD, and with that, Coachella is not entirely out of the picture. My fingers are still crossed.

I was hoping for Garfunkel to show up too, who knows maybe he could come out for a few songs? Simon has enough great songs from his solo career that with or without Art he'd still be entertaining.

sacleonard
12-05-2010, 12:58 AM
With Art, or not at all.

knytt
12-05-2010, 11:05 AM
I'd personally take whatever I could get, but I think a half Paul Simon solo and half Simon and Garfunkel set would be damn near perfect.

jamesc2929
12-05-2010, 11:17 AM
Great!!!!!! Let's bleed Coachella dry a little bit more.... Are you fucking kidding me????? Paul Simon!!!!!!

grannock
12-05-2010, 12:32 PM
Some graceland would be sick. He should just do the show with Black Ladyfinger Mumbasa or whatever they are called.

knytt
12-05-2010, 12:43 PM
You must watch some disgusting porn to come up with that name.

Ladysmith Black Mambazo*

grannock
12-05-2010, 01:13 PM
You must watch some disgusting porn to come up with that name.

Ladysmith Black Mambazo*

Lol

frozen pilgrim
12-05-2010, 01:59 PM
"black ladyfinger mumbasa" is the first thing that's genuinely made me laugh all day.

and oh yeah. I totally support paul simon. leonard cohen slot, methinks?

TomAz
06-17-2013, 05:49 AM
http://www.jambase.com/Articles/9391/LONE-WOLF-HANGIN'-WITH-STEVE-BERLIN/0


Speaking of doing a lot of different records and working with a lot of amazing songwriters, I own a ton of the records that you've done over the years. One, in particular, I'd like to ask you about is Paul Simon's Graceland. I obsessed over that thing when I was young. Do you have any recollections of working on it?

Oh, I have plenty of recollections of working on that one. I don't know if you heard the stories, but it was not a pleasant deal for us. I mean he [Simon] quite literally and in no way do I exaggerate when I say he stole the songs from us.

Really...

Yeah. And you know, going into it, I had an enormous amount of respect for the guy. The early records were amazing, I loved his solo records, and I truly thought he was one of the greatest gifts to American music that there was.

At the time, we were high on the musical food chain. Paul had just come off One Trick Pony and was kind of floundering. People forget, before Graceland, he was viewed as a colossal failure. He was low. So when we were approached to do it, I was a way bigger fan than anybody else in the band. We got approached by Lenny Waronker and Mo Ostin who ran our record company [Warner Bros.], and this is the way these guys would talk "It would mean a lot to the family if you guys would do this for us." And we thought, "Ok well, it's for the family, so we'll do it." It sounds so unbelievably nave and ridiculous that that would be enough of a reason to go to the studio with him.

We go into the studio, and he had quite literally nothing. I mean, he had no ideas, no concepts, and said, "Well, let's just jam." We said, "We don't really do that." When we jam, we'll switch instruments. Dave will play drums, I'll play something. We don't really jam. Especially in that era. Louie will be the first to tell you this he was made to play drums. They forced him to play drums. He's not really a drummer by trade. He's never practiced a moment in his life. Not once in his life did he sit down at the drums because of his love for drumming. The other three guys made him play drums in the early days, so he sort of became drummer by default. He hates playing the instrument, I think. Again, you should ask him, but I don't ever ever, ever get the sense that he was one of those dyed-in-the-wool, John Bonham, let's-play-drums-for-three-days-straight kind of guys. So consequently, as the core band was comprised then, we never jammed - never ever. Not by accident, not even at soundcheck. We would always just play a song.

So Paul was like, "Let's just jam," and we're like, "Oh jeez. Well alright, let's see what we can do." And it was not good because Louie wasn't comfortable. None of us were comfortable, it wasn't just Louie. It was like this very alien environment to us. Paul was a very strange guy. Paul's engineer was even stranger than Paul, and he just seemed to have no clue - no focus, no design, no real nothing. He had just done a few of the African songs that hadn't become songs yet. Those were literally jams. Or what the world came to know and I don't think really got exposed enough, is that those are actually songs by a lot of those artists that he just approved of. So that's kind of what he was doing. It was very patrician, material sort of viewpoint. Like, because I'm gonna put my stamp on it, they're now my songs. But that's literally how he approached this stuff.

I remember he played me the one he did by John Hart, and I know John Hart, the last song on the record. He goes, "Yeah, I did this in Louisiana with this zy decko guy." And he kept saying it over and over. And I remember having to tell him, "Paul, it's pronounced zydeco. It's not zy decko, it's zydeco." I mean that's how incredibly dilettante he was about this stuff. The guy was clueless.

Wow. You're kidding me?

Clue... less about what he was doing. He knew what he wanted to do, but it was not in any way like, "Here's my idea. Here's this great vision I have for this record, come with me."


About two hours into it, the guys are like, "You gotta call Lenny right now. You gotta get us out of this. We can't do this. This is a joke. This is a waste of time." And this was like two hours into the session that they wanted me to call Lenny. What am I going to tell Lenny? It was a favor to him. What am I going to say, "Paul's a fucking idiot?"

Somehow or other, we got through the day with nothing. I mean, literally, nothing. We would do stuff like try an idea out and run it around for 45 minutes, and Paul would go "Eh... I don't like it. Let's do something else." And it was so frustrating. Even when we'd catch a glimpse of something that might turn into something, he would just lose interest. A kitten-and-the-string kinda thing.

So that's day one. We leave there and it's like, "Ok, we're done. We're never coming back." I called Lenny and said it really wasn't very good. We really didn't get anything you could call a song or even close to a song. I don't think Paul likes us very much. And frankly, I don't think we like him very much. Can we just say, 'Thanks for the memories' and split?" And he was like, "Man, you gotta hang in there. Paul really does respect you. It's just the way he is. I'll talk to him." And we were like, "Oh man, please Lenny. It's not working." Meanwhile, we're not getting paid for this. There was no discussion like we're gonna cash in or anything like that. It was very labor-of-love.

Really...?

Yeah. Don't ask me why. God knows it would have made it a lot easier to be there.

And Lenny put you guys together thinking it would be a good match?

Well, "It would be good for the family." That was it. So we go back in the second day wondering why we're there. It was ridiculous. I think David starts playing "The Myth of the Fingerprints," or whatever he ended up calling it. That was one of our songs. That year, that was a song we started working on By Light of the Moon. So that was like an existing Lobos sketch of an idea that we had already started doing. I don't think there were any recordings of it, but we had messed around with it. We knew we were gonna do it. It was gonna turn into a song. Paul goes, "Hey, what's that?" We start playing what we have of it, and it is exactly what you hear on the record. So we're like, "Oh, ok. We'll share this song."

Good way to get out of the studio, though...

Yeah. But it was very clear to us, at the moment, we're thinking he's doing one of our songs. It would be like if he did "Will the Wolf Survive?" Literally. A few months later, the record comes out and says "Words and Music by Paul Simon." We were like, "What the fuck is this?"

We tried calling him, and we can't find him. Weeks go by and our managers can't find him. We finally track him down and ask him about our song, and he goes, "Sue me. See what happens."

What?! Come on...

That's what he said. He said, "You don't like it? Sue me. You'll see what happens." We were floored. We had no idea. The record comes out, and he's a big hit. Retroactively, he had to give songwriting credit to all the African guys he stole from that were working on it and everyone seemed to forget. But that's the kind of person he is. He's the world's biggest prick, basically.

So we go back to Lenny and say, "Hey listen, you stuck us in the studio with this fucking idiot for two days. We tried to get out of it, you made us stay in there, and then he steals our song?! What the hell?!" And Lenny's always a politician. He made us forget about it long enough that it went away. But to this day, I do not believe we have gotten paid for it. We certainly didn't get songwriting credit for it. And it remains an enormous bone that sticks in our craw. Had he even given us a millionth of what the song and the record became, I think we would have been if nothing else - much richer, but much happier about the whole thing.

Have you guys seen him since then?

No. Never run into him. I'll tell you, if the guys ever did run into him, I wouldn't want to be him, that's for sure.

That's an amazing story. I can't believe I never heard it before.

We had every right and reason to sue him, and Lenny goes, "It's bad for the family." When we told the story in that era, when this was going down, we were doing interviews and telling the truth. And Lenny goes, "Hey guys, I really need you to stop talking about it. It's bad for the family."

Amazing. Talk about bad for the family.

I know. Again, it's just so incredible how nave we were back then. You can't even imagine that era of music when you'd actually listen to your record company president who told you to shut up because "it's bad for the family." Now, I'd tell him to go fuck himself.

That's our version of it. I'd love to hear Paul's version of it.

But he's much richer now and could probably give a fuck about it. It's still one of those things where I've not forgiven anyone involved in it. It still remains. I haven't let it go, as you can tell. It was just so wrong and so rude, and so unnecessary. It is an amazing moment in our history.

grannock
06-17-2013, 07:36 AM
Only if he brings black ladyfinger mumbasa

thelastgreatman
06-17-2013, 12:16 PM
http://www.jambase.com/Articles/9391/LONE-WOLF-HANGIN'-WITH-STEVE-BERLIN/0

... are you fucking kidding me?

ThatGirl
06-17-2013, 12:22 PM
That article made my stomach turn.

algunz
06-17-2013, 12:49 PM
Sounds to me like they did a whole lot of nothing with Simon.

thelastgreatman
06-17-2013, 12:59 PM
I'd like to know what song it is that Paul stole from them specifically. I have never heard a Los Lobos song that reminded me of anything off Graceland. The whole thing with him needing to pay the African musicians is an old subject, but what he did was more or less just sampling.

TomAz
06-18-2013, 04:45 AM
I'd like to know what song it is that Paul stole from them specifically. I have never heard a Los Lobos song that reminded me of anything off Graceland. The whole thing with him needing to pay the African musicians is an old subject, but what he did was more or less just sampling.

the last one "All Around the World or the Myth of Fingerprints"

santasutt
06-18-2013, 11:10 AM
the last one "All Around the World or the Myth of Fingerprints"

Just listened to this again. Screw the family.

Sure sounds like Los Lobos to me; they should have sued his ass.

insbordnat
06-18-2013, 12:19 PM
Paul Simon answered:
This Los Lobos thing has come up before, so I wanted to talk to you direct. They said all this stuff to Songtalk magazine in the States, and I've replied to it all in an interview that hasn't run yet, but its all there. There was a bad atmosphere at those sessions (with Los Lobos on Graceland) from the start; I don't know what it is with them. The whole deal for them working on Graceland was all worked out beforehand between Los Lobos and Lenny Warnoker (Managing Director at Warners USA) and there were no complaints at the time. It was made clear from the outset that we didn't have a song. There was no song. It was being written from scratch. I was - and still am - a fan of the band. What I really love is the accordion sound. So we started jamming in the rehearsal room and nothing was really coming together, and so I said do you have any ideas we can work on. What I wanted for the Graceland track was like a generic Los Lobos dikka-de-dikka guitar sound. And so we came up with something around a riff. They never once said that this guitar line is one of ours and we don't want you to have it. So we worked on recording this track for about three days, which is a long time to work on one track. I had to teach David Hildegger how to sing this song! And then David Hildegger came up to me and said "we're not happy with this track. We wanna do a ballard". But I couldn't have that. At that time it was the last track of the whole album - eventually we did one more - and I just said at this stage I don't care whether the album comes out without Los Lobos on it. I was getting really tired of it - I don't want to get into a public slanging match over this, but this thing keeps coming up.



So we finished the recordings. And three months passed, and there was no mention of "joint writing". The album came out and we heard nothing. Then six months passed and Graceland had become a hit and the first thing I heard about the problem was when my manager got a lawyer's letter. I was shocked. They sent this thing to my manager, not me. If there was a problem they could have contacted me direct, they've got my home number, we talked a lot. If you ask me it was a lawyer's idea. You know, "the records a hit, and there's $100,000 in it". They had nine months from the recordings to talk to me about all this, but I heard nothing. And its still not sorted out because they still keep bringing it up - I heard they'd done this interview for you. I don't want to get into a public slanging match with them, because I really like their music."

RotationSlimWang
06-18-2013, 12:21 PM
the last one "All Around the World or the Myth of Fingerprints"

Oh so the song no.one ever listens to? That makes sense

Peter_Tork
06-18-2013, 03:22 PM
Los Lobos can chupa mi ding dong.

http://sp6.fotolog.com.br/photo/54/7/65/gimnasia_racing/1272155379803_f.jpg

fatbastard
06-18-2013, 03:50 PM
Julio needs to help them work this out

algunz
06-18-2013, 04:26 PM
He's on the playground. Julio's got better wolves to chase.


Oooops. I meant schoolyard.