Paul Simon - There Goes Rhymin' Simon (2LP, 45RPM, Box set, 1STEP, SuperVinyl)
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Paul Simon – vocals, acoustic guitar
Pete Carr – electric guitar (A3, B2, D1), acoustic guitar (A1)
Jimmy Johnson – electric guitar (A1, A3)
Cornell Dupree – electric guitar (A2)
Al Gafa, David Spinozza – guitar (B1)
Jerry Puckett – electric guitar (C3)
David Hood – bass guitar (A1, A3, B2, D1-2)
Gordon Edwards – bass guitar (A2)
Bob Cranshaw – bass guitar (B1, C1-2)
Vernie Robbins – bass guitar (C3)
Richard Davis – double bass (B1)
Barry Beckett – keyboards (A1, A3, D1), piano (B2), vibraphone (D1)
Paul Griffin – piano (A2)
Bob James – keyboards (B1, C1)
Bobby Scott – piano (B1)
Carson Whitsett – Hammond organ (C3)
Don Elliott – vibraphone (B1)
Roger Hawkins – drums (A1, A3, B2, D2), percussion (D1)
Rick Marotta – drums (A2)
Grady Tate – drums (B1, C1)
James Stroud – drums (C3)
Airto Moreira – percussion (C2)
The Onward Brass Band – horns (A3)
The Dixie Hummingbirds – group vocals (A2, D2)
Rev. Claude Jeter – falsetto vocals (A3)
Maggie and Terre Roche – backing vocals (C2)
Allen Toussaint – horn arrangements (A2)
Quincy Jones – string arrangements (B1)
Del Newman – string arrangements (C1)
2 LPs, box set
Limited to 10,000 numbered copies
Original analog Master tape : YES
UltraDisc One-Step (UDS1)
Heavy Press : 180g SuperVinyl
Record color : black
Speed : 45 RPM
Size : 12'’
Stereo
Studio
Record Press : RTI
Label : MOFI
Original Label : Columbia
Recorded September 1972 – January 1973 at Columbia Studios, New York City ; A&R Recording, New York City ; Malaco Recording Studios, Jackson, Mississippi ; Muscle Shoals Sound Studio, Sheffield, Alabama ; Morgan Studio, London
Engineered by Jerry Masters, Phil Ramone
Produced by Paul Simon, Phil Ramone, Muscle Shoals Rhythm Section, Paul Samwell-Smith, Roy Halee
Originally released in 1973
To be reissued in 2022
Tracks:
Side A :
- Kodachrome
- Tenderness
- Take Me to the Mardi Gras
Side B :
- Something So Right
- One Man's Ceiling Is Another Man's Floor
Side C :
- American Tune
- Was a Sunny Day
- Learn How to Fall
Side D :
- St. Judy's Comet
- Loves Me Like a Rock
Review :
“Retaining the buoyant musical feel of Paul Simon, but employing a more produced sound, There Goes Rhymin' Simon found Paul Simon writing and performing with assurance and venturing into soulful and R&B-oriented music. Simon returned to the kind of vocal pyrotechnics heard on the Simon & Garfunkel records by using gospel singers. On "Love Me Like a Rock" and "Tenderness" (which sounded as though it could have been written to Art Garfunkel), the Dixie Hummingbirds sang prominent backup vocals, and on "Take Me to the Mardi Gras," Reverend Claude Jeter contributed a falsetto part that Garfunkel could have handled, though not as warmly. For several tracks, Simon traveled to the Muscle Shoals Sound Studios to play with its house band, getting a variety of styles, from the gospel of "Love Me Like a Rock" to the Dixieland of "Mardi Gras." Simon was so confident that he even included a major ballad statement of the kind he used to give Garfunkel to sing: "American Tune" was his musical State of the Union, circa 1973, but this time Simon was up to making his big statements in his own voice. Though that song spoke of "the age's most uncertain hour," otherwise Rhymin' Simon was a collection of largely positive, optimistic songs of faith, romance, and commitment, concluding, appropriately, with a lullaby ("St. Judy's Comet") and a declaration of maternal love ("Loves Me Like a Rock") -- in other words, another mother-and-child reunion that made Paul Simon and There Goes Rhymin' Simon bookend masterpieces Simon would not improve upon (despite some valiant attempts) until Graceland in 1986.” AllMusic Review by William Ruhlmann
UltraDisc One-Step : Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.
MoFi SuperVinyl: The World's Quietest Surfaces and Cleanest Grooves: Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
Ratings :
AllMusic : 5 / 5 , Discogs : 4,11 / 5