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.

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.

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

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.

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.

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.

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.

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.

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 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.

“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.

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.

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.

You know what Paul, you can call me al

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

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

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

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.

Not my thing at all

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

liked it. good background music

This album is art. But not Art.

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.

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 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.

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

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!

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...

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.

go white boy go!

Can confirm— Graceland is (still) genius. Easy 5. The musicality and complexity within and across songs is extraordinary on Graceland. These tunes are mostly not confined to the standard song structure that is Simon’s bread and butter. These are musical narratives; the album is a travelogue of songs. It’s a stunning accomplishment. I cannot fathom that this album was written/performed by the same artist who wrote the self-titled “Paul Simon” (a 3 for me). Certainly this is not the same Paul Simon who released “Hearts and Bones” (a 1, in my book), although the characters and plots overlap a bunch. I’m guessing he did a lot of mind expanding drugs to get from Hearts and Bones’ “Allergies” & “Cars are Cars” to sublime creations like “I Know what I Know” and “Diamonds on the Soles of their Shoes”. Either that, or we have a “Paul MacCartney is dead”-level conspiracy on our hands! Or maybe, a washed up post-Garfunkel Paul Simon met a fiddling demon at the Crossroads, and made a deal?!? A note on violating the boycott of Apartheid South Africa to make this album (which others in this challenge are raging about): I think it’s well established that Paul Simon is not such a great person; that’s true of a lot of (most?) great musicians. If I rate music by how big a jerk the musician is, then (a) most music on this list is going to fair poorly AND (b) I’d have to know how big a jerk each musician is, otherwise I’m just downgrading the music of individuals I know, and not downgrading the musicians I don’t know. That’s not a very helpful rating system. So, I’m rating the music/album, not the musicians.

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.

Great record!

Classic!!

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.

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

I love every bit of this album - I find Paul Simon weird enough to be interesting without being pendantic and that is a very fine balance

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.

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.

An all time favorite.

My favourite album of all time. Absolute game changer.

Oh wow, I really needed this one today! This has solidified Paul Simon as my favourite musician and Graceland as my favourite album of all time. In my own crappy little way I’m having my own crappy little crisis - trouble with the wife, creative projects falling apart, low self worth etc. All standard middle age, white male bull shit. I’ve always loved the music on this album, but the story behind Paul Simon at this time of his life is the inspiration I need. To reinvent himself at 45 and produce this euphoric masterpiece is exactly what I need to hear right now. Fuck any talk of cultural appropriation, if you think the reason this album was made was anything other than the love of music and embracing of other cultures then I reckon that’s just your own cynical projection. I’m going to pick myself up and move on to my next challenge with this blasting in my ears. ❤️

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.

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 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.

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

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

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

One of his many solo albums that explored world music.

I like it, and I like it more than I ever have, but I still feel like I’m supposed to like it more than I should. Give me at least 3 S&G records before this one. 4/5

When our family got our first CD player for our stereo, this was one of the first CDs we had. So it's a walk down memory lane to listen to this again. I haven't heard it in a long time after it being a somewhat regular rotation record. I don't hate this album, but coming back to it once every decade or so is likely enough for me.

Really just o.k. all around. I actually much prefer his Hearts and Bones album to this. This album reads as derivative and soulless, like he was creatively bankrupt then decided to adapt the music of South African and African American artists to refresh his sound and capitalize on the apartheid press. I'm sure this wasn't intentional, however the result is an album that, while sounding good, doesn't represent Paul Simon. 2.7/5 -> 3/5

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

This generator isn't going to change my mind on Paul Simon or Billy Joel, sorry.

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.

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

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

bleck, not good.

Please stop.

This album sucks. Paul Simon sucks.

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.

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.

Hmmm not a fan..

I really, really didn't like this.

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

Absolutely terrible

I've already listened to this album thousands of times. It's five out of five.

First popular use of South African folk music. It was very brave and groundbreaking at the time. Amazing...

One of my favorite albums of all time. I wasn't aware of the controversy surround it...will need to read up on that.

African rhythms Diamonds on the soles of her shoes You can call me al

5/5

Beautiful stuff.

An album I am very familiar with this album, it's one of my favorites. The South African influence on this is so unique and I think revolutionary to the musical world. Favorite Song: Diamonds On the Soles of Her Shoes Other songs: The Boy in the Bubble, Graceland, You Can Call Me Al, Under African Skies, and Homeless.

Legitimately has a claim to be the greatest record of the 1980s. Incredible lyricism, production, and orgasmic African instrumentation and genre exploration (introduced me to mbaqanga, soukous, and township jive alike) plus to hear some of the greatest world musicians ever gathered here (Los Lobos, Bakithi Kumalo, West Nkosi, Ray Phiri, Boyoyo Boys, Ladysmith Black Mambazo, Youssou N'Dour)- it's like 45 minutes of heaven every time I listen to it. Some of my favorite moments are the sax breaks on "Diamonds on the Soles of Her Shoes," the beautiful accompanying vocal performance from Linda Ronstadt on "African Skies," or the iconic fretless bass run on "You Can Call Me Al." It's an album that has had a tremendous impact on my life and I will continue to love it throughout the rest of it.

I don't care what anyone says, this album is perfect beginning to end. Calling it cultural appropriation is extremely simplistic. Firstly, the African music on this album is performed by Ladysmith Black Mambazo. They are African. Is it cultural appropriation if it's being performed by the actual culture in question? Secondly, there's the cultural lens of the time in which it was made. Younger people are seeing this as a white guy stealing culture. When this was made it was seen as an artist sharing his love for another culture's art. I understand the impulse, but the intentionality deserves to be part of the conversation.

One of the best of all time (and my wife's favorite!)

Un clásico entre los clásicos. No es Ry Cooder, ni Auserón, tampoco Peter Gabriel. Es Paul Simon recuperando el pulso con música (sud)africana y una evidente inspiración. The boy in the buble o Graceland son clásicos instantáneos. Gumboots es sonido callejero junto con los Boyoyo Boys. Diamonds es mi canción favorita de Paul Simon, esa guitarra y bajos son simplemente espectaculares, como los vientos o la percusión. Una maravilla que soporta el paso del tiempo como si nada. La cara B, no tiene el imbatible nivel de la A, pero su apertura no es menos gloriosa: You can call me Al, con ese hilarante video con Chevy Chase. Homeless o Crazy love II no desmerecen del resto. That was your mother es un retorno al viejo rock con sonido zydeco. All around the world or the myth of fingerprints es una fiesta final con ilustres invitadoas como Los Lobos. Un disco que no estuvo exento de polémica, por el tema del apartheid y que fue todo un éxito de crítica y público, aademás de suponer la apertura hacia la música sudafricana: Johnny Clegg & Savuka (Asimbonanga) sin ir más lejos.

Nice

Excellent.

genuinely very fun to listen to, but less fun to think about the borderline cultural appropriation edited to 5☆ even though i feel sorta bad about that

I mean, again, no hot takes, this album is just fantastic.

Absolutely brilliant album, near the top of this list. Seemed ethically dodgy when he did it, but it proved itself in retrospect.

9/10 Paul Simon writes music that is deceptively deep and complex. There’s so much going on, but there are enough fantastic hooks and choruses that the nuance could easily get missed if you weren’t paying attention. His vocal delivery is, seemingly without exception, flawless. He has this laid back, conversational lilt to his voice that he can flip into a more driven, engaged pace at the drop of a hat and it’s so satisfying to listen to. The blend of his more folksy rock roots and the music of southern Africa is a stroke of genius and the production does a great job of blending those styles, even though it does lean a touch too far into the 80’s gated reverb sound to make it truly timeless. The southern African guitar style that uses really arpeggiated lines that dance around each other in a staccato, rhythmical way is something I’m fond of anyway with bands like Bhundu Boys and Four Brothers, but it brings so much rhythmical style to the more anchored drums that the whole album has this body moving groove to it that’s hard to resist. The fretless bass typically sits between the two worlds and there are echoes of Jaco Pastorius in the tone and delivery, which is always pleasing. This is an album that gets regular replay with me already, so it was never going to get a low score. There are a few lulls here and there that keep this from being a 10/10 album for me, but the strength of the songwriting, hooks and the demand for focused repeat listening, while also offering reward for casual ears too sits makes this a really solid record that I’ll no doubt be back to again soon enough. The Boy In The Bubble - A very good start to the album. The bass line is great. It’s got some great hooks and his vocal is just quality. The slow build of the backing vocals is nice too. It’s not stylistically or dynamically that varied, which is probably the only drawback, but it’s a lovely kick off. Graceland - And now we’re pumping. This just shifts along with a beautiful, bouncing rhythm. Some of the reverby guitar lines are just exceptional. They’re subtle, but add so much depth. I love the little blend of staccato bass and lead guitar lines that skip around together. It all just keeps you grooving and sticks in your head. I Know What I Know - The combination of the different guitar lines in this track are nice, as are the blends of backing vocals. Everything sort of dances around each other, but it’s all grounded by the kick drum. I would often find that a bit relentless, but the fact that it everything else is shifting so much gives it real purpose. It’s not vastly varied across its runtime, but its still really good. Gumboots - This charges along at a clip again. I really love the delivery of the lead vocal on this. He sings in a relaxed way, but leans into the frantic nature of the song at points too. It’s not necessarily the most interesting song on the record, but it’s a solid album track. Diamonds On The Soles Of Her Shoes - Fantastic song. The blend of different guitar lines and the dancing bass are just great. There are so many different sound textures to the different elements of the track and it just melds together into this smooth, danceable, understated production. The horn sections provide a dynamic change that keeps you on your toes and, again, the vocal delivery is just so, so fluid and effortless. You Can Call Me Al - Another banger. That synth chord line that opens the track is absolutely iconic, the bass line is immense, the ‘call me Al’ vocal when he goes high is just perfect. The rhythms are so solid and everything just compliments everything else so beautifully. It’s an absolute masterpiece. It’s got a palindromic solo too, so yeah… Under African Skies - A change of pace now. There are some beautiful harmonies in here. Again, the bass line is great and provides a lot of the rhythmical drive to the track. There’s a lovely flow in the dynamic of the track too as different parts ebb and flow. Homeless - So lush. Ladysmith Black Mambazo bring it here, it’s like a bed of voices, but there are loads of cool little vocal flourishes that pop up all over the place to add rhythmic range and interest. There’s a great groove to this too, which is achieved so well using only voices. Crazy Love, Vol. II - There’s such beautiful guitar work on this track, with the arpeggiated, intertwining lines of the verses and then the more legato, delay enriched lines in the chorus. There are so many parts that contribute subtly to the tone of this one that it really does reward close, repeated listening. I think this would be an easy one to overlook, but it really is lovely. That Was Your Mother - This a more swinging number with a folksy rock ’n roll base. It really moves and fells like it speeds up as it goes. It’s pretty impossible not to jiggle your way through this one. It’s not the most complex composition, but it’s another solid album track. All Around The World Or The Myth Of Fingerprints - The intro and chorus are so solid. Great rhythmic choices and drive. Lovely change of dynamic between the verse and chorus too. The lilt of his vocal in the verse is so good, and the chorus has some really engaging guitar lines. It’s another toe tapper and if anything, it ends too soon. Give us another chorus Paul!

What is there to say about this album that hasn't been said? What an absolute masterpiece. There's the melding of the South African musicians and rhythms with the very New York City artists perspective ...there's the superb use of Linda Ronstadt ("Under African Skies") and Los Lobos ("All Around the World/Myth of Fingerprints")...there are some of the best songs of his career (too many to list)...what an achievement. I actually like the album that followed "Graceland," "The Rhythm of the Saints," even more but this was one of the greatest examples of the melding of world music with pop, something that David Byrne, Peter Gabriel, and Sting were all doing at the same time. 1986 was a great year for me personally and it was made even better by this album coming out then

Many would view this as Paul Simon's magnum opus and I have to agree. I love a lot of Simon's work, from every part of his career, but on this one he's not just the folky artist of Simon and garfunkel or the "adult contemporary" artist. He is these things still, and more, layering on the African rhythms and vocals, the jazzy brass, the powerful lyrical imagery. I think the accusations of appropriation are unfair, its clearly a collaboration with black South African artists like Ladysmith Black Mambazo, who got royalties and wider recognition from audiences at a time when South Africa was under a fascist, racist regime. It says a lot when You Can Call Me Al, an absolute banger, is one of the weakest tracks. Title track is so emotionally resonant and beautiful, but I think my favorite is Diamonds on the Soles of her Shoes, never get tired of it.

I love this album. Part of that is nostalgia from my childhood and from various phases of life, returning new and different each time. Part of it is the imperfect connection it gives to South Africa through the amazing musicians he worked with to make it, a home in that for me due to my own complex relationship to that part of the world. A lot of it is their contributions and the wild expansiveness in much of the sound, the musical dances and interplays. Something too in that 'working together', the interweaving. It's also the mastery with which it's crafted as an album imo, the way the ordering of the songs adds and builds and takes you on a proper journey. I find a playful, emotional, expansive, every day human religious undercurrent in it that is right up my alley too. Some aspects of the context of this album and some of the lyrics on some tracks seem very of their time and a turn off, but in general it's just so damn beautiful imo.

Excellent! One of my all time favorites. May write a more detailed review later. Favorite Track: The Boy in the Bubble

This is an easy 5 for me. I’ve loved this album since it first came out and have listened to it countless times. It’s the rare album that I enjoy every single song on. It’s fun, it’s interesting, and was a unique departure from Simon and Garfunkel music, which I also love. I recently listened to Malcom Gladwell’s audio book, “Miracle and Wonder: Conversations with Paul Simon”, and they had a great segment where Paul talked about the inspiration and making of Graceland, the controversy at the time of him breaking the boycott of South Africa to make the album, and why he did it. Good listen.

Now this is something I can get behind! I’ve added The Boy In The Bubble and Graceland to my playlist! Paul Simon was my preferred artist in Simon & Garfunkel! This album was a delight!