Review: Paul Simon - Stranger to Stranger

Famed singer-songwriter and former one half of Simon and Garfunkel, Paul Simon delivers his thirteen studio album 'Stranger to Stranger', but those expecting the pop and radio-friendly stylings of songs like 'Call Me Al' or '50 Ways to Leave Your Lover' will find this 11-track album a rather eccentric and unusual listen packed with random sound effects, lyrics that feel a little improvised and music that's incredibly experimental. All these elements are in force on opener 'The Werewolf' which sounds like someone has bought Paul Simon a new synthesizer for Christmas and he's trying out all the different buttons and effects. It's actually a surprisingly fun opener even if devoid of any sort of pattern or hook.

Lead single 'Wristband' begins with chatter and moulds into a song about Simon's experience with security at a venue. It certainly has taken quite a few listens to this song for it to become something I've enjoyed, and that's mostly down to the quirky and multi-layered instrumentation and the presence of a fun little catchy chorus, though the freer verses are not quite my sort of thing, and the song fades away with little care.

The minute long 'The Clock' consists of nothing but a ticking clock over a very light piano riff (I kid you not) whilst 'Street Angels' is more spoken than sung and doesn't seem to do much with its two minutes. The title track comes in at number five and is a slower number, again with Paul Simon on more chatting form than necessarily delivering a song, with a bit of a Sting-vibe to proceedings. It struggles at the start to find its focus but as the saxophone riff takes over the enigmatic feeling of the piece proves to be a winner to become an atmospheric and experimental piece.

'In A Parade' switches back to the eccentricity with shades of 'Wristband' in its repetitive chorus, with a samba-backing of drums and whistles that fits the title, but again it fades away after two minutes with little impact other than the dedication to the layering of instruments. 'Proof of Love', the longest track on the album, is a nice and gentle more traditional song that showcases Simon's loveable voice, whilst whilst 'In The Garden of Edie' is a short and gentle instrumental that bridges thing nicely.

'The Riverbank' is a neat little song, as gentle and weaving as a river, with Simon's vocals and the layered music working well together. 'Cool Papa Bell' injects a bit of attitude with Simon's thoughts on a certain swear word on a more free-form REM-style lyric set sounding much more like his classic sound. 

The final track - 'Insomniac's Lullaby' - is a smooth, gentle conclusion to the record as the title would suggest.

'Stranger to Stranger' is an unusual beast. It's certainly an interesting record, rather experimental and well produced. It's perhaps a little too free for its own good and a little bit pretentious in parts such as on tracks like 'The Clock', and feels more like spoken word at times than songs, but you can't accuse Paul Simon on sitting on his laurels and making an easy album. Check out tracks like 'Wristband', 'Proof of Love' and 'The Riverbank', and if you enjoy those give the album a shot. (6.5/10)