Graceland

“Graceland” by Paul Simon (1986) Please listen. I became very familiar with this fine album when it first came out in 1986, and it has been a favorite of mine ever since. Very well recorded and produced, with sublime if quirky lyrics and ear-opening instrumentation, “Graceland” pioneered a refreshing development in popular folk/rock. The most striking aspect of the work as a whole is its ready deployment of African musicians, such as the vocal group Ladysmith Black Mombazo (led by Simon Shabalala), guitarist Ray Phiri, and superb fretless bass player Bakithi Kumalo. Listen to Kumalo’s run at 3:43 on “You Can Call Me Al”. Tell me if it’s like anything you’ve heard before. Indeed, listen to this entire song for the inimitable bass playing. Also, listen to the first 27 seconds of this album (Forere Motlohelo on accordion [!!], Vusi Kumahlo on drums, Bakithi Kumalo on bass). Loud. You’ll know you’re in for a treat. Highly referential lyrics—South Africa, 1970s & 80s, Apartheid—perfectly bound to the melodies and phrasing. As subtle as it needed to be. God, this good music. And screw the accusations of cultural appropriation. Those accusations are just another glaring instance of liberals unnecessarily and inconsequentially eating their own. The African National Congress can sit on it. (The only ‘appropriation’ I objected to was when the 2000 Al Gore for President campaign used “You Can Call Me Al” as a theme song. Simon no doubt approved, but hey . . . Spoiled the song for me.) Overall, great album. Wanna decrease racial tensions? Get together across the racial divides. Produce music together. Solve problems together. Make babies instead of killing them. Peace, dude. 5/5

I’m not saying this record is a toothless snoozefest flirting with cultural appropriation…but I’m also not not saying that.

Ugh. Sanitised world music for middle class drones with no imagination and less soul. Horrible

This is almost aggressively bad. I can't stand either Simon's twee songwriting nor his powder-puff non-event of a voice. But the biggest crime is just how absolutely terrible this sounds, production wise. Crappy synth sounds clash with noise-gated drums and that weird farty bass sound that plagued the era. I can't believe this plastic, milquetoast grab bag of cheap pop and world music borrowings is considered a classic. Dogshit.

One of my all time favourite albums and I’m struggling to pick any faults with it. There’s something about the African Choral sound that instantly gives me those euphoric goosebumps. This is also my mum’s favourite album of all time so I spent most of my childhood bopping along to the Graceland cassette tape. You Can Call Me Al has a big claim to be high on the list of greatest songs of all time but there’s some hidden gems in here too such as Under African Skies, Crazy Love II & Homeless (with Ladysmith Black Mambazo who are also absolute legends). The naughty little saxophone hook in Gumboots is absolutely stonkin’. Had the biggest grin on my face all day listening to this back.

I don't have to listen to this masterpiece to know its a 5 out of 5 for me, but I will! The 25th anniversary edition as well, what a treat! It is a glorious example of two different genres coming together and creating something even better. Paul Simon's lyrics and soothing melodies are gorgeously complimented by the Soweto choir. African and western instruments combine wonderfully. Every contribution is perfect. I love the bass lines. Every track is different and danceable, singable and just fantastic. Every time I listen, I hear even more wonderful musicianship. I can't see how anyone could listen to this and not feel elevated. Anyway, I would happily play just this album for the rest of time.

This was a favorite when I was growing up and is a family favorite now. It's great on road trips, especially with children. Has a positively enchanting atmosphere that is so beautifully pristine and rich. Love everything about this album. From the wonderful guitar, bass, percussion, and vocal work, to the superb production with just the right mix of reverb and delay in all the right places. But what I think is the album's most outstanding feature is probably the lyrics. Absolute poetry with just the right amount of idiosyncratic conversational flashes to keep it down to earth. Not to mention perhaps the most culturally significant aspect of the album in the incorporation of the African musicians and blending of styles that was absolutely revolutionary at the time. Only David Byrne/Talking Heads and maybe Peter Gabriel had really ventured into that type of fusion on the US pop charts at that point.

My dad was big Simon and Garfunkel fan but somehow Graceland never came on his radar. I always wondered what my life would have been like if the sounds of this album had been played around the house in the mid 80s. (I probably would have hated it.) This album absolutely feels like the creative work of a middle-aged man who has hit a creative rut and has taken inspiration from other cultures in other to get his groove back. There are some good tunes but ultimately it feels a little overwrought.

for all the things from the 80s that people make fun of, it's wild to me that "aging rock/folk dudes find relevance by appropriating African music" isn't higher on the list. and people STILL hold this trend in high regard. Simon's voice, not really evolving past his folk days, sounds confused, sing-speaking over a semi-eclectic group of songs, ensuring he can ruin as many genres as efficiently as possible. were people clamoring for white guy beat poetry over zydeco music in the 80s? also holy shit the tone on that fretless bass is the absolute worst, it's almost impressive how they zeroed in on the single most nasal, farty midrange frequency and pushed that ALL the way up. I hate almost everything about this and that's not even including the nagging gross feelings about Simon heading to apartheid-era South Africa to plunder black music. Even with You Can Call Me Al being catchy, this album's lucky that I can't rate lower than 1 star.

Great album, I loved that they used Ladysmith Black Mambazo in a lot of the songs. Had some very powerful subjects like moving forward after divorce, and the pain of losing everything in "Homeless". Also, cant ignore "You Can Call Me Al", great album, 8/10.

One of my favourite albums of all time. Of course, it is impossible to extricate Graceland from the political environment from which it was born, and the folks who would tell you otherwise are ignoring a significant and real part of its history. The album is a beautiful mixture of American pop, rock and jazz, and traditional black South African music. However, it would be remiss of me to not draw a connection through Graceland to Elvis Presley, a white man who popularized black music among white audiences. I don't believe his intention was ever to take credit wholesale for the sounds of Graceland, but it's not an unfair comparison, and one worth considering as you listen. Still, Simon's goal was to create new musical expression free of political boundaries (such as the ongoing Apartheid) and at this, I think he succeeds, creating one of the most vibrant and diverse feeling albums I've ever heard. Exceptional.

Clearly the more talented of the duo, Paul Simon’s “Graceland”, is an album where I can understand why his solo career was so successful. Albeit, this album isn’t my favorite musically, it’s evident that Paul Simon’s talent was on full display here. Bands like Vampire Weekend clearly draw influence from this album, however stylistically just not my thing. Drawing influence from an African style, Louisiana jazz and all the accordion you can handle, this album makes its mark as one of Simon’s better solo offerings.

My favorite album when I was 12, even got to see the tour at the Royal Albert Hall, anti-apartheid protesters and all! Still love it to death

You know what Paul, you can call me al

liked it. good background music

ah, when cultural appropriation was seen as cool and helpful. never liked it

My opinion of this album MAY have been swayed by the fact that my subway was delayed for 25 minutes while I listened to it, but I found it to be incredibly grating. The production and sounded dated, the African-inspired instrumentation was cheesy at best and culturally appropriative at worst, and I found myself just generally annoyed while listening to this album.

Oh JEEZ, this is…a lot. So first off, is this appropriation? On one hand he’s collaborating with a lot of African artists…but on the other…he’s Paul Simon. Plus the allegations he stole ideas from people…what else did he steal in his “I’m violating a boycott of apartheid but I promise it’s fine because look black and white artists are working together!” Well how many of those African artists benefited, and who won the Grammy and critical acclaim and a classic album. I dunno this really feels like Paul jumping on a trend that sold like hotcakes to a new liberal class too scared to take real action to stop apartheid but boy howdy we do love this African sound. Yuck. Theres this genre today in South Africa called Shangaan electro, it’s great, and if Noah Kahan made an album inspired by it everyone would rightfully PLASTER him. What the fuck is Under African Skies. First, weird writing in general, stars in the southern hemisphere is clunky and like, yeah it’s Africa I know it’s in the southern hemisphere. But also like…Paul people in Africa aren’t all these tribal people guided by stars, people work office jobs and have cars, it’s the same “noble savage” shit that was going on with native cultures at the time. It’s insulting and infantile. God damn it Paul. I liked the Ladysmith Black Mambazo song until Paul showed up. Also the album sounds like ass. Except the bassist, the bass rules. I dunno if it’s my place to condemn this album, but I know how it made me feel, and it made me feel kinda gross. Which is worse than most albums I’ve disliked on this list. Ugh.

Probably my favorite album of all time. When I first heard it in 2012, this record changed how i listened to and thought about music. There are so many songwriting and production decisions here that just totally floored me, from the combination of the upbeat accordian grooves with totally programmed drums to the super melodic bass lines. What really made me become obssessed with this album, though, is how conversational and impromptu his vocal delivery is. There are sooo many lyrics on this album, and his phrasing throughout is very cluttered and erratic. It risks sounding clunky and awkward, but instead it makes this whole record feel unpredictable and lively. One of the few albums i wish i could hear again for the first time

I bought this album several years ago, when I first heard about the 1001 albums list. I'd heard "You Can Call Me Al" quite a bit when I was a kid, but I'd had no idea how great Graceland was supposed to be. I remember immediately falling in love with this album from the first moment that I listened to it. I've loved eighties pop music for all of my life, but Graceland is an incredibly unique addition to eighties pop, but still manages to contain the types of sounds that I love. Graceland is one of those rare albums that I can listen to without wanting to skip a single song. Even though I love the whole album, my favorite tracks are the ones that have more of a zydeco influence, with "The Boy In the Bubble" and "All Around the World" being my favorite tracks aside from "You Can Call Me Al." Overall, this is an outstanding album, and one of my favorites of all time. Personally, I think a lot of the scrutiny surrounding this album is unwarranted. While the criticisms of violating the apartheid boycott seem to have faded somewhat, the accusations of cultural appropriation seem to have grown over the years. Personally, I think that Paul Simon had the best intentions when he recorded this album. Yes, the road to hell is paved with good intentions, but this isn't Ryan Adams or Phil Spector that we're talking about here. It's impossible to say whether this album was a net negative or positive for apartheid, but it is possible to appreciate this album for being an incredibly beautiful piece of music that gave a lot of people the opportunity to be exposed to African-influenced music and African musicians, and I think that's a universal net positive.

Clearly a great musician and an interesting pop sound. Really catchy songs. Not all of it is my vibe, but I can respect it. On one hand I think it's rad how Simon brought sounds of African musicians into his music and featured them in front of a wider audience, but at the same time, seeing him use their sound while recording in South Africa during aparthied and just throw his hands up and say effectively 'uhhh i don't know how to write protest songs' and making note of how black musicians would get anxious in late night recording sessions, and not doing much is dissappointing, especially given that he knew enough to try to hide his recording in south africa due to other cultural boycotts...

Along with Brothers In Arms, Roger The Engineer, and some unknown 10cc compilation, Graceland was stamped deep through my ears into my young brain, likely mostly on the roads between Carshalton and Great Baddow on visits to my dad's parents, and I return to this with a mix of nostalgia and suspicion. I remember the video with Paul Simon and Chevy Chase in white yuppy suits. I've noted before that Paul Simon is a prat, and I wish I had a picture of Steven Van Zandt's face when Simon asked him, hey, isn't Nelson Mandela a communist, that's what Kissinger told me, but this record is so special that no amount of apartheid-swerving or shady plagiarism muttering can spoil it, or prevent a grudging acknowledgment that Simon has an incredible ear, and was able to make a strong suite of pop songs from elements that hadn't been combined before. Post-Carshalton, there was one other time this album played a part in my life: leaving Memphis on a road trip, looking forward to joining my partner on this odyssey a couple of days later, my friend Howard asked me to confirm we were on Elvis Presley Boulevard, which I did, and he told me to put on his mix CD, "Track 3, now!" and Graceland came on, which was where we were going next: a euphoric moment. Good going, plonkerman! Can you try to do this with Japanese noise rock next? Thx!

I would listen to this while driving through rolling mountainous rural areas or while baking banana bread in a sunny kitchen with my grandma. Might also be good for dancing to in a low lit living room after drinking white wine. Overall, fosters a happy ambiance with memorable melodies and an artisan-craftsman-house vibe.

paul got that jungle fever before it was cool. this album gave me an overwhelming desire to purchase some Heinz baked beans.

i am rather conflicted on how to approach my rating and review. i read deeply into the polarizing controversy with this album; it’s fascinating that this album is so deeply beloved when so much contention surrounds it. while the african music is gorgeous, it is not the place of a white westerner to steal and profit from it, let alone during apartheid. that being said, i cannot deny how amazing some tracks are—diamonds, al, graceland. those songs alone can explain why this album is so memorable, more than 35 years later.

I’m starting to think I’m not a Paul Simon fan…It just felt dated and a little forced. I see the idea and the intention behind the album’s sound, but I think I’d just rather hear a South African band?? Favorite song: You Can Call Me Al (solely for the familiarity) Least favorite song: everything else? Knew before? No

go white boy go!

Not my thing at all

“The United Nations General Assembly request all states to prevent all cultural, academic, sporting and other exchanges with South Africa. Appeals to writers, artists, musicians and other personalities to boycott South Africa. Urges all academic and cultural institutions to terminate all links with South Africa.” Simon can justify it in his mind but breaking the cultural boycott of apartheid South Africa was absolutely shameless on his part and renders this album unlistenable. His good intentions were self-serving, and this album belongs in the dustbin of history. The royalties should go to those he ripped off making it.

An all time favorite.

9/10! This album was incredible. I’m already a huge Simon & Garfunkel fan, so hearing Paul Simon’s solo work was really interesting. The African theme of this album is super beautiful and I loved every minute of it.

Graceland Hardly a spoiler but this is a 5. The classic 80s parents album, and I remember really liking it when they played it on car journeys, bouncing bass and synths and echoey drums I guess are particularly attractive to a child's ears. I also remember loving the video and the ubiquity of Call Me Al, and that song is still such a pure nostalgic hit of childhood. I then remember buying this on CD, I think at Uni, and realising what a great album it is, and it’s only got better over the subsequent years. As has my appreciation for Paul Simon. I absolutely love his songwriting, up there with Macca for melody of course, but he’s such a good lyricist and I love how he lets phrases run across different lines giving a slightly offbeat feel. I also don’t think he’s done a truly bad solo album, even something weakly regarded like Hearts and Bones, which is clearly not as strong as others, has at least one or two great songs and loads of interesting stuff. His initial run of Paul Simon, There Goes Rhymin’ Simon and Still Crazy is superb and his last 2 or 3 albums are well worth investigating, I listened to Stranger to Stranger a lot when that came out. ‘These are the days of miracle and wonder’, I’ve always loved that line. Graceland is one of my favourite songs of all time, the non secular spiritualism and sense of pilgrimage is beautifully conveyed lyrically and musically, a sense of optimism and a sense of ageing and time passing at the same time. Love I Know What I Know, great opening line and chorus. Gumboots, great, love the accordion and drums. Diamonds on the Sole of Her Shoes, what a song, tender and sad, brilliant. You Can Call Me Al - ‘far away my willy blew up’, what a mondegreen. Can’t help but do air slap bass at the second breakdown. Under African Skies, superb and lovely, a great melody, excellent harmony vocals and brilliant lyrical imagery. Homeless, just great. Crazy Love, again excellent, great melody, less African influenced but fits the whole theme. The accordion returns on That Was Your Mother, and while it’s cajun rather than African it fits brilliantly on the album. All Around the World is a corker, a great uptempo rocker. Who is the former talk show host? It’s really interesting understanding more about the genesis, recording and production. Obviously there was understandably a lot of controversy and accusations of cultural appropriation, and I can see why people would feel strongly negative about the whole thing, but it seems to me about him finding inspiration and making his own songs out of it, which is how music has evolved, and ultimately I’d think it’s better to get together and make music across cultural and racial divides. Anyway, I love this album, and every song on it. I can’t quite express how it makes me feel, musically and emotionally, I just love it. It’s quite disparate, but also thematically linked it seems, by a sense of loss and rediscovery, of getting older but also finding joy and happiness and sadness. 🌍🌍🌍🌍🌍 Playlist submission: Graceland

I can’t not give this album a 5. I may be clouded by nostalgia, but it makes me so happy. In fact, I was listening to it, and I was like “how can anyone hate this?” Then I read the other reviews lmaooo.

Great record!

Graceland is likely to be considered Paul Simon's most impactful album. Domniating charts and radio in the late 1980s, it brought world music, especially Afro-Pop, to the masses of the U.S. The guest list alone such as Ladysmith Black Mombazo and Los Lobos, makes this an incredible collaborative effort in welding together musical styles into somethign both new and familar. The song list is packed with chart toppers as well, especially the title track, You Can Call Me Al, The Boy in the Bubble, and Diamonds on the Soles of their Boots. This is Simon's Magnus Opus, his masterpiece. Its fine craftmanship makes it one of the greatest albums of all time.

This is one of the greatest albums ever produced. For an explanation just * listen *

Classic!!

Cultural appropriation aside, this album is a tremendous feat in bringing together different influences - notably, African - to create a completely singular sound. Consummate production, especially in the bass and rhythm tracks.

Amazing album. One of my favourites.

This is 5+ territory. The core of the core of the collection. Maybe The Grail album. Such completely new sounds to our ears and so very alive playful - the refresh and wake up we needed. Joyous, expansive. He brought new syncopations and celebrated African instruments and forms and a whole new feeling with this album. I leap at any opportunity to hear this again - my whole brain lights up, my body still smiles at the lyrics and musical glints and picks, and how does a voice do that beautiful happy sad whimsy? How to feel so poor yet so wealthy? I am going to Graceland, I am that ordinary boy, and meantime You Can Call Me Al.

I suppose to be fair in a just world this would be an album that was well regarded in a post Peter Gabriel world. In an even more just world the magnificent band and Ladysmith black mambazo would have been world famous anyway. But we live in this world. And Paul Simon, a first rank songwriter, produces this after critically acclaimed but commercially subdued albums. And this is superb. IIt changes the world. I know Paul Simon may be a problematic figure. But the music here. And the lyrics. What is not generally noticed is that Simon doesn’t move far away from his usual lyrical themes - Manhattan life, relationship breakdowns. So diamonds on the soles of her shoes - possibly the standout track - is not about Soweto. They fall asleep among the bodegas of Broadway. The title Track may be Simon’s best lyrics. I know what I know is another standout. There’s no filler on this. I’m aware of all the criticisms. Is it exploitation? Did Paul Simon ripoff his musicians? Maybe, maybe not. I don’t know. If true they are valid. But this is a joyful, joyous and wondrous album. If you haven’t heard it, listen closely. Let it seep in. It is musical dna for me. 88 stars.

It’s definitely got a place here. Not my favorite stylistically but well structured and good songs.

I listened to this album at 1am while reading a gory monster romance novel and it absolutely did not fit the vibes. This needs to be listened to on a summertime solo road trip with the windows down and smelling of sunscreen.

A remarkable album full of a lot of great tracks. I can see myself coming back to this album again. Interesting to hear the African influence on the tracks. Glad I took the time to listen.

I like the African influences on songs like Homeless. The accordian is oddly pleasant. Overall, I did really like this album.

Nr. 170/1001 The Boy In The Bubble 4/5 Graceland 4/5 I Know What I Know 5/5 Gumboots 4/5 Diamonds on the Soles Of Her Feet 5/5 You Can Call Me Al 5/5 Under African Skies 4/5 Homeless 4/5 Crazy Love, Part II 4/5 That Was Your Mother 4/5 All Around The World 4/5 Average: 4,27 Really fun listen. Incredible songwriting with the African elements.

I like this album, the bass and rhythm is fantastic. Some classic songs

One of his many solo albums that explored world music.

I like it, but I feel like I’m supposed to like it more than I should. I’ll give it the extra half star bump here because there are multiple songs I really dig, though. 3.5/5

The trombones on this album sound a lot like the ridiculous trombone-based rhythm game Trombone Champ to me, especially on the first tracks, which kind of changed the tone of this for me. Couldn't stop picturing the Trombone Champ avatars tooting along. That aside, just a very strange album stylistically and I had a hard time deciding on a rating.

It's certainly music

I mean this just illustrates the bullshit music industry for what it is. Oh let me go to Africa for two weeks so the corporate record label can have an orgasm. This is crap, and it really put me into a shit mood.

If you want to hear mbaqanga, just listen to the real stuff. Miriam Makeba is even on this list.

this is an album i have never been able to really get into. i don't think it's awful but for some reason it has never clicked for me. i am a pretty big simon and garfunkel enjoyer and i really like paul simon's early solo output but i have never really gotten this one. the songs, to me, are not as good as on some of his other records and i really cannot get past the production and the, quite frankly, really corny world music schtick he employs on this one. i don't know who is going to paul simon as a source of world music. maybe it's peoples' gateway to it but to me it just comes off as pompous.

A blend of dated 80s sounds and casual cultural appropriation. Sounds like a Sting record.

I really, really didn't like this.

Hmmm not a fan..

Ugh, more overrated music by a guy who appropriates African music to benefit himself. The music sucked, too

Please stop.

Absolutely nothing stuck with me. It was like I forgot I listened to it right after I listened to it. But remembered enough to know I didn’t want to hear it again.

Weirdly country-ish and totally rubbish. Don't like his voice, the music is both nuts and terrible. No idea what's going on.

bleck, not good.

This album sucks. Paul Simon sucks.

Ok, I tried listening to this album twice honestly. Maybe it's because I never gave Paul Simon or Simon and Garfunkel a fair chance, or maybe because I hate myself, who knows. Have you ever seen "Get Him to the Greek" where Russell Brand's band releases the album "African Child"? This is like the album that movie is trying to satirize. What a bunch of self-congratulating drivel this album was.

Really don’t like this guy

Hi, I’m Paul Simon. Two of the artists featured on this record have accused me of “plagiarizing” their work. One of them, Los Lobos, also claims they were “not credited” and “never paid” for their session work by myself or my label. They say that when they confronted me, I told them “sue me, see what happens”. I mean, it’s not like those allegations could possibly throw the veracity of the other work on this album into question, now would it? It’s not like I would ever take credit for a song I didn’t write, would I? What do you mean “what about Silent Night from Parsley, Sage, Rosemary and Thyme?” What, I can’t give myself a writing credit for a public domain song? I’m sorry, I thought this was America. Love and hugs, Paul

Absolutely not. Paul Simon has nothing to say for an hour. There is absolutely nothing interesting or noteworthy about this album. Skip it. Listening to the rest of the album has ruined "You Can Call Me Al." Absolute garbage.

Not my cup of tea, didn't finish it.

Absolutely terrible

Reading about the album, apparently he heard a bootleg cassette of South African street music and got on a flight out there to record new sounds. What a extraordinary final product

My favorite of his, so far

Excellent release that has been the reference point for several acts to come afterwards, such as Vampire Weekend. As we've moved further from the original release, some more unsavory aspects of the album have come to light, but overall has a very important place in widening the general populaces musical knowledge. Plus, You Can Call Me Al is a bop.

An outstanding album by Paul Simon, arguably his best. The songs are perfectly crafted, with a rich, eclectic sound. It’s a clear labor of love for Simon, who worked with an extremely talented roster of musicians in South Africa and in the US. But it feels like a real collaboration between artists, not just Simon playing musical tourist. Simon’s exceptional songwriting is the icing on the cake, some of the best of his career. Musically, the songs are joyful, warm and engaging, with gorgeous arrangements. Hard to single out any one performance because it's all amazing. I can’t imagine many artists being able to pull off such an ambitious effort, but Simon delivers an album for the ages. Fave Songs: You Can Call Me All, Gumboots, Graceland, The Boy in the Bubble, Diamonds on the Soles of Her Shoes, That Was Your Mother

Brilliant.

Marvellously intelligent.

A wonderful album. This is such a sound.

Mikil nostalgía, skemmtilegar sögur og frábær hljóðfæraleikur.

hard to be objective about this one, since i've always loved it. i loved his up-yours by working with a black group from south africa during apartheit; i loved the music in general, and i honestly loved the swahili in particular. i spent the better part of a week reading along with the lyrics until i knew the intro Diamonds by heart.

Love this album!

Impressive. An amazing mix of african rhythms into folk-pop music with creativity and energy. Very cool how someone can start with a blank page and end up with music like this. Very enjoyable.

Controversial for valid reasons, yes. But this album is solid and remains uniquely wonderful.

Groovy, eclectic, and rich. Not much else I could wish for here.

jag tyckte detta var klockrent. kulturell appropriering eller ej.

Bops on bops

A classic album, with truly memorable melodies and lyrics.

Grácil, exuberante y positivo. Creo que es de esos discos (y artista) que en nuestro círculo jamás se menciona y es una obra maestra que todos deberían conocer. Con 30 años de carrera se da el lujo de sacar su mejor disco. Lleno de mezclas inesperadas y sonidos que en su momento eran tan nuevos que crearon toda una sección en la tienda de discos con la cantidad de imitación que inspiró. Ritmos africanos, latinos, callejeros mezclados a la perfección con pop que no se siente vacío y, lo que a mí me impresiona más, echando la guitarra al fondo y dejando TODO el disco para que sea el bajo el líder musical. Una maravilla de los 80s.

I love Simon & Garfunkel, and I love Simon. Funky, fun, and interesting sound.

A classic, even if Steve Berlin's story gives me pause...

Great album.

One of the best albums ever. Every song is a jam. Already listened to this album 100 times, but it’s still so good.

Might have to be a full marker for this one! Absolutely brilliant and rightly universally considered one of the best albums of all time. Bravo. So joyful - great for the beginning of the working week

Mon préféré de Paul Simon. Tellement bon 5/5

Wonderful

One of the greatest albums of all time.

5/5 Well produced and nice sounds

Call Me Al has been one of my favorite jams and most favorite music videos for years now. This album would get 4 stars just for that. The other songs are new to me, but are all infectiously good. Glad Paul went to Africa.

What a journey ! A nailed on 5*.

10/10

I like it very much!!

Great. Duh