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Paul Simon - Nobody, taken from the 1980 movie One-Trick Pony.

Paul Simon's One-Trick Pony is a morose little art film about a minor Sixties pop star, Jonah Levin, who blows his only chance for a comeback by refusing to let a hack producer (played knowingly by Lou Reed) "commercialize" him. This moody, downbeat film is part road movie and part tribute to the Woody Allen school of Manhattan angst. Yet at its center is a question that Allen wouldn't dream of asking: Is the pop life just for kids? After Jonah's estranged wife contemptuously suggests that he's too old at thirty-four to want to be Elvis Presley, the singer meekly defends his commitment to music by retorting, "It's what I do."

One-Trick Pony's soundtrack album explains exactly what Jonah Levin-Paul Simon does, and its ten songs carefully weigh the pros and cons of taking rock & roll seriously when one's well on the way to middle age. But Simon offers no definite conclusions. At the end of the film, Jonah gives up music to become a full-time provider for his family, and we sense he's giving up the only work that will ever mean anything to him. Simon accepts his disappointment with sorrow and resignation.

The soundtrack's two major songs, "Ace in the Hole" and "Late in the Evening,". "Ace in the Hole" is a sly rock-gospel composition that combines the martial drumming of "50 Ways to Leave Your Lover" with the gospel exuberance of "Gone at Last." In "Late in the Evening," Simon compiles flashbacks of the moments that made him fall in love with pop music: remembering his mother listening to the radio, his harmonizing on a street corner, and getting high in a club and blowing away the audience. One-Trick Pony's title track, a live folk-funk production like "Ace in the Hole," is almost as powerful. Here, Simon works the "one-trick pony" metaphor into a double image: the hapless performer toiling on tour and the spirit of rock & roll incarnate.

If the aforementioned compositions evoke Simon's spiritual commitment to rock, the LP's seven pop-slanted songs display a more mundane viewpoint. "Jonah," "How the Heart Approaches What It Yearns" and "Long, Long Day" are bittersweet "adult" numbers that flirt with a Middle European modality as they further refine the shimmering, angst-under-glass folk-pop of Still Crazy after All These Years. Such tunes wistfully describe the rigors of a musician's life on the road--the loneliness, the physical exhaustion, the sense of futility and fear of obsolescence -- all the reasons, in other words, for hanging up one's guitar and getting a "real" job. Simon sings these ballads, which are weary to the point of effeteness, in a soft, whimpering croon.

"That's Why God Made the Movies" and "Oh, Marion" are lighter exercises in the hip-jive style of Michael Franks. A traditional spiritual, "Nobody," and the bluesy "God Bless the Absentee" boast spare folk-pop arrangements and sophisticated wordplay. Except for the bad grammar of "How the Heart Approaches What It Yearns" (an otherwise exquisite mood piece), these seven compositions are models of contemporary songwriting craft: the pop-tune equivalents of New Yorker vignettes.

(Stephen Holden -- Rolling Stone 16 october 1980)

Band;

Paul Simon: Vocals & Guitar

Tony Levin: Bass & Vocals (Background)

Richard Tee: Piano, Keyboards, Vocals, Vocals (Background)

Eric Gale: Guitar

Lyrics:

Who knows my secret broken bone

Who feels my flesh when I am gone

Who was a witness to the dream

Who kissed my eyes and saw the scream

Lying there

Nobody

Who is my reason to begin

Who plows the earth, who breaks the skin

Who took my two hands and made them four

Who is my heart, who is my door

Nobody

Nobody but you, girl

Nobody but you

Nobody in this whole wide world

Nobody

Who makes the bed that can't be made

Who is my mirror, who's my blade

When I am rising like a flood

Who feels the pounding in my blood

Nobody

Nobody but you

Nobody but you

Nobody in this whole wide world

Nobody, girl

Nobody