![]() Anyway, that's how we began, with my sense of ambivalence about the project and his frustration at the rules of the game being stated. SIMON: No, that wouldn't be a Paul Simon song. PLAYBOY: Sounds like a Paul Simon song: "You're dampening my enthusiasm because of your ambivalence." So if that's all right with you, and I can have the decision on how to produce the tracks, then we can try." He said, "Well, you're dampening my enthusiasm because of your ambivalence." However, I have to produce this, because it's not like it was in the Sixties. I understand what it is to be in love, to be in pain, to feel joy. He said, "Look, these aren't the events of my life, but I understand the emotions you're dealing with. At first I thought, I really can't do it: These new songs are too much about my life-about Carrie-to have anybody else sing them. PLAYBOY: At what point in doing the new album together did problems develop? In his albums, the proportion of stylization to conversational singing, which is my favorite, wasn't to my taste. I liked the way he sang for Simon and Garfunkel better. PLAYBOY: What did you think of the quality of his voice? ![]() He's a singer, and he went for the sound in his voice. He didn't concern himself with the words too much, because he felt there wasn't that much of a choice of great words around. He was more interested in making a sound with his voice that was pleasing. He was singing songs that just didn't reflect that. ![]() I thought they weren't really as bright as he was. Here's an excerpt from a 1984 Playboy interview with Paul Simon that touches on the subject: PLAYBOY: But what did you think of his records? ![]()
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