Graceland

I use some of these songs on yoga Playlist. I liked listening to the album all the way through. Mellow easy listening

Eh, it was fine but honestly I think it's kind of overrated.

The whole album felt like each track was leading up to You Can Call Me Al, then just wound down.

With how classic "You Can Call Me Al" is, I was figuring to find a lot more to sink my teeth into on this album. There was a cohesive strand running through, and I found the experimentation to be quite intriguing, but ultimately I was left disappointed more than anything. On a scale of 1-5, with the mid-point being absolute balanced neither exceptional nor useless, I found it to be a safe 2.5/5.

A good album that didn’t particularly resonate with me

Good album. Probably couldn’t be made today.

Cool African-inspired rhythms; interesting lyrics; it's one of those background, easy-listening albums; could be a bit boring at times

I feel like it wasn’t Paul Simon’s best. A lot of the songs were nice, but never hit that head-bobbing hook that his other tracks will. I mean, I’m inflating the score because “You Can Call Me Al” is one of the greatest songs of all time and I feel comfortable with that, but I think this will be my lowest Paul Simon rating.

Dzisiaj oficjalnie zakonczylam staz, zaczyna sie weekend, jest piatek godzina 13 i jest finito, gumboots calkowicie pasuje do takiego moodu az chce sie usmiechac, i know what i know daje ten sam klimacik i w sumie jak tak slucham to wszytkie daja bardzo pozytywny 80’s vibe takiej imprezy collage girls, ogolnie nie jest zly ale mnie nudzi, kazda piosenka brzmi bardzo podbnie ma podobny vibe i po prostu czuje ze zadna do mnie nie przemawia na tyle zeby dodac ja do polubionych utworow

Vissa mer catchy låtar som ”The boy in the bubble” och ”You can call me al”. Snygga features på resterande låtar och fångar upp en stor del av kulturen från tredje världen. Dock inte riktigt min smak, men uppskattar innovationen

stick to folk bro please. i don't even think this is cultural appropriation, its just fucking boring.

good album just not my taste

It’s very catchy, some songs more than others but, that guitar makes me want to drive for a very long time in the daytime when the weather is just right and the sun feels good in the breeze.

So far, I've liked the song "I know what I know" the most. But I also really enjoyed the musicals and I think the drums(?) in the song "... diamonds on the sole of her shoes." Also really liked "Under African Skies." that definitely has to be my favourite from this album. It's beautiful. Currently listening to homeless. The vocals are ethereal and angelic. This one is good too.

An album that got better as it went along. The synth bass tones in the beginning really didn’t work for me, but the rhythms in the second half of the album redeemed it.

S'ok. Not my thing, but tunes from when I was a teen so some recollections there

the boy in the bubble- 5 graceland- 5 i know what i know- 5 gumboots- 6 or 7 diamonds on the soles of her shoes- 5 you can call me al- never knew the name of this song. 5 or 6 under african skies- 5 homeless- 5 crazy love vol ii- 5 that was your mother- 5 all around the world or the myth of fingerprints- 5

Not as good as Still Crazy After All These Years.

Dodododo

It was fun music, but it's just not my jam.

i'm so sorry, but the story behind this album and the musicianship involved is much more interesting to me than the album itself. this feels kind of bizarre to say-- and i didn't think i'd find myself saying it for our first paul simon record-- i think he really did need art garfunkel. i know he's an asshole, but those two together wrote music that so much better (to me; i am but one person) than paul simon's original stuff. this album got soooo much recognition, but minus a couple of songs, i just don't see the staying power in my own personal library. i like paul simon as a moody, mystical songwriter with an occasional upbeat track, but this whole album sounds like it could be played at the beginning of a late 80s romcom where the quirky girl and the stuffy guy haven't found each other yet but it's obvious that their lives are less fulfilling than they will be when they connect. it just isn't for me, cool history besides.

His only solo effort I liked, Greta album of the time, but hasn’t aged well

Second Paul Simon album and the last in his included discography. It's been a while since the last Paul Simon - 130 albums, to be precise. I've been busy since then, however, as I've rolled two Simon & Garfunkel albums in the wait for his return. Can't say I'm sold on Simon's band or his solo career, to be honest. Bridge Over Troubled Water and Bookends had some decent moments, though I can't say the same for his self-titled debut album - I remember nothing of it. Maybe. Maybemaybemaybemaybe this album will be the one to win me over, though I must admit that the odds aren't in his favour. That being said, I am favourable to these late-career albums because of their relative scarcity on the list, so there's that going for it. Uh oh, this was pretty alright. I'm having a faith crisis right now. I couldn't have been wrong about the previous albums, could I? The African sound was a big surprise. It wasn't immediately evident to me while I was listening to the first two tracks, though it really smacks you over the head with the third track and onwards. I never thought I'd care for African music, but it works pretty alright here. Simon's sensitive vocals are paired nicely with the laid-back sound, making for a soothing listen. There wasn't anything in here which really hooked me and I thought the gimmick lost it's luster as it went on, though to be generally alright is a huge compliment in my book. "The Boy in the Bubble" is decent. I like the bassy sound, and Paul Simon's vocals are well-matched with the flow of the song. That music video sure is something else, however. The title track is decent, too. It's impressive how laid-back the song is while also having a frenetic energy coming from the bass guitar. "Diamonds on the Soles of Her Shoes" has a good bassline, and I especially like the flittering guitars that appear intermittently. Book time. Created during the apartheid controversy. Blends African music with Simon's own sensibilities. Nothing else in there besides that. Wikipedia says that this album is Simon's most successful release, won a Grammy, was a critical slam dunk and helped to popularise African music in the West. Yeah, this is a strong pick if I've ever seen one. I cosign this inclusion.

This is a very Paul Simon album. Like all his solo work sounds similar to me so this is just like, yeah it's a Paul Simon album. I prefer him with Garfunkel personally.

I'm going to ignore the political, racist and cultural appropriating hullabaloo surrounding this album. Tricky, I agree. That leaves the question of whether I am enjoying what I hear. I don't think I do, particularly. I don't hate it much either. A middling 3/5 then.

I like it more every time I listen to it.

Yllättävänkin mukavan kuuloinen levy tämä Simonin soololevy. Ei oo tullu sen duohommien ulkopuolelle hirveesti vilkuiltua, mutta kelpo platta. Mielenkiintoisia soitin viritelmiä ja jopa etnisiä fiboja. Ei kuitenkaan ihan neloseen nosteta

Ihan letkeää meininkiä ja poljentaa.

Joo ihan letkeetä ja hyvää saundia. Parit tutut hitit jotka tietty saattaa tulla vähän korvista ulos. Pauli Simo on hakenut innoissaan maailmanmusiikin kaikuja mukaan ja matkaan. Ei tätä kyl montaa kertaa jaksa, mut on hetkensä. Kepu.

As a listening experience it veers from very listenable to a feeling of having your head patted. Paul simon knows more than you and lyrically is never shy of showing it. 2 thirds of a good album but the last third is as dull as ditchwater.

Bit all over the place, few out there tracks but overall a good listen Fave track: You can call me Al, a given. Just get Chevy Chase tf outta the music video

A pleasant listening experience, certainly. I had no idea of the controversy surrounding this albums creation until now. Has ‘You Can Call Me Al” on it too. Much to consider. 3/5

This was less my style than other Paul Simon albums, but still very well written pop

A couple of really strong singles, but just average overall IMO

What truly makes this album special and interesting is the blend of the singer-songwriter style and the various styles coming from the south african music. The rhythms, the voices and the melodies taken from these genres add a lot of personality, charm and energy to the overall sound. However, after multiple listens, I'm not that interested anymore. I think Paul Simon takes a lot of energy brought by the abroad sounds, with his calm voice. And his lyrics also didn't do anything for me. Either way, still a good album and I wasn't really bored at any moment.

Nice and calm album, Me and Julio is definetly the best song, no other standout songs.

Sorry, I don’t get it. Take a guy who’s at least a decade past his prime, and mix in tribal rhythms, and we’re all supposed to oh and ah over an album that produced exactly 1 top 5 single? And that only did as well as it did because of the MTV video and Simon having the smart idea to laugh at himself. He may have been a legend but we’re it not for the political BS this album doesn’t get (or deserve) all the accolades.

good album

This album is primarily an 80s pop album with some African music elements. It is somewhat inconsistent; while some songs are excellent, others are mediocre or terrible. Lyrics are often trite and lack the poetic nature of Simon's older work. Plagiarism controversies only serve to worsen the album's contents, but it's not bad in its entirety. In the end, I don't think it was anything life changing, but it certainly wasn't a bad album.

he does a great job taking "world music" and making it feel-good dad rock, but why do i always see allegations of plagiarism when i read about an album he was part of? hmmm. it's clear that if he didn't have the spice of his collaborators, he would be left with something bland.

I wish this album was more exciting - in one direction or another. But I listened to it, and then immediately forgot nearly everything about it. My three star rating isn't an endorsement of this album, it's an acknowledgement that I am neutral on it.

Every opportunity to hear fretless bass is a gift, so for that reason I legally can’t rate this any lower

not my cup of tea

Fine

Cool album that I can definitely see inspired vampires weekend! Good album all together but no crazy standout tracks for me!

#123 - This is very funny because it's very of it's time. Good, easy listening. Not a lot of substance to it I feel.

I remember when this one came out and was such a huge hit, no one saw that coming, he was on MTV with Bon Jovi, Madonna, Ratt, etc - it didn't make sense because he was from the previous generation and someone our parents listened too. "You Can Call Me Al", was everywhere, you couldn't avoid it in 1986. It's super catchy, stands up well today and is an 80's classic. "Graceland" was a sizeable hit too. "Diamonds On The Soles Of Her Shoes" was a midsized hit and still gets a bunch of airplay today. The final single, "The Boy In The Bubble" got some air and video play. No song on the album has fewer than 11M listens and "Al" tops out at over 750M listens. His use of African singers to enhance his sound helped highlight the careers of a few notable bands from the continent. Their presence really changes and enhances songs like "Diamonds...", "Gumboots", "Under African Skies", "Homeless" & "That Was Your Mother". It's a well crafted album with a few large hits and a ton of radio play. It stands up well today, it has influence and notoriety, it's an amazing blend of American pop and African influences and it deserves a spot in the Top 1001.

Standouts Diamonds on the Soles of her Shoes You Can Call Me Al That Was Your Mother

I enjoyed listening (especially the zydeco vibes), but is it exploitation/appropriation? Probably... Listened before? N Saved to library? N Favorite track(s): Diamonds on the Soles of Her Shoes, You Can Call Me Al, That Was Your Mother ⭐⭐⭐: Liked it. Saved some tracks.

I already liked 'You can call me Al', and noted an upwards trend in my enjoyment of this album heading towards that song, and a rapid decline afterwards. So that was odd. Fun album overall though.

this did not age well

I really enjoy the variety and creativity on this project, especially the inclusion of the African artists. Honestly I wish I liked it more, for whatever reason the overall sound just does not click for me. It's almost as though it's a touch too.. whimsical? Like something I'd expect to hear in a movie soundtrack (I also recognize that this bias could stem from how many Paul Simon songs ARE in movies..). Either way, genuine "I liked it".

This album is in my collection, though I think only because I got it from one of those record clubs prevalent in the 80s and 90s where you get multiple albums for free and then get lumbered with ‘album of the month’ for the next 12 months unless you actively cancel it. At the time I probably thought it was ok - I certainly remember all the tracks when listening to it today - but I got tired of it pretty quickly (as I also did today) and it then most likely rattled, boxless, around my car for years being ignored and discounted as ‘boring’. 
 It’s all just a bit too ethnic and samey. 

 35 years later… it was pleasant to reacquaint myself with it, but I think if it was to be another 35 years before I hear it again I’d be comfortable with that. 2½

1. Didn’t realize the Simon from Simon & Garfunkel made his own music 2. Didn’t realize Call Me Al was from this album 3. Interesting how “pop” back in the 80s had way more folk vibes 4. Surprisingly short album, feels like it was barely getting started and suddenly it ended 5. Gumboots had most similar vibes to Call Me Al, 2nd fav song in the album

Felt apropos of my recent trip to New Orleans. A few songs I enjoyed but I felt like I wasn't really connecting with the lyrics. At an album a day I may not be sufficiently digesting this. Might revisit once I get in the swing of it.

Clearly has 80s influence. I like the way the lyrics are kind of like a casual conversation. The singer seems to be living a mildly meloncholy life like me.

Nonplussed. Some cool sounds. Not my style.

This was a jolly old album. I admire that it somehow knits Paul Simon’s vocals with so many other artists from other cultures but didn’t (to me anyway) seem to appropriate or patronise. It’s maybe not to my normal taste but enjoyed it.

Really nice feel good vibes in a great sounding album. The album really stands out as a well crafted piece of art. It's really well recorded and produced, it's all easy to listen to and is infused with African sounds without ever sounding contrived or exploitative. A respectful cultural fusion. I have listened to the album multiple times in an effort to form my opinion. I can hear greatness in the album but the question I have been wrestling with is: would I include this in my own personal collection? I think, maybe controversially, the answer is no. If I did, I would be including it pretentiously because its well known as a "great" album, rather than that it means anything to me personally. I have no interest in curating classics for the sake of it so, as much as I can appreciate it's influence, it doesn't quite make the bar for me personally.

This album was everywhere when I was a kid. Despite that I’d never listened to it until now. Don’t feel like I’ve missed out. Meh.

Boppy and surprisingly fun, expected much squarer.

I didn't expect so many African influences. Pretty fun, boppy album for being experimental. I feel neutral towards it. I won't listen again, but I wouldn't be upset if someone else put it on.

Meh... I'll be honest. I didn't give it a good listen. It was on in the background while cleaning house today. It just didn't strike me. I might have to go back to it. I know the musicianship is top notch. But as it played, it didn't grab me at any point other than Al because it's so memorable and that baddass baseline

Its definitely a niche, but i like it. I must have been mood music as I smoked like half a pack of cigarettes through this album. Gross, but it feels it matched the decade.

It was good i enjoyed it

Didn't grab me the first time and it doesn't now either.

Ehhh... I know "everybody" loves this album, but it feels like safe music for Boomers that were finding out that being a rich 30 or 40 something was way cooler than being a poor artist in a shitty apartment, but they didn't want to admit it so they got a cool artist from their youth to record something new with the trendy international '80's sounds.

Maybe if I had heard this when it came out and it was my first interaction with 'world' music, I would have been very excited. I like the fusion of African styles and rhythms with pop and folk, but today it just feels dated. All controversies aside, it still has great lyrical and production quality. Favorite tracks: Graceland You can call me Al Homeless

At first, I thought I like this a lot. As it progressed and started to lean more heavily into the African choral arrangements, it really lost it's way. The album sounds a little too "white man discovers another culture" instead of properly celebrating and exploring this style. Favorite Song: Graceland, You Can Call Me Al

When this album came out, it was playing a lot on the music video channels of the 80's, mainly Sky Trax and later MusicTV. Lot's of weird instruments and unusual rhythms from around the world. Never made much of an impact on me, except for the humour in some of them.

Ah, solo album van DE Simon van dat bekende duo. En wat horen we dan in ene als 2e nummer op dit album? Graceland! No clue dat ie van hem was. Lekker nummer. Tsja, ik moet zeggen dat het verder gewoon een typisch simon and garfunkel album is. Lekker om naar te luisteren maar niet echt bijzonder. Op de afrikaanse rythms na, die aan het eind in eens naar voren komen. 3reten

Not a huge Paul Simon fan but liked a couple of his songs on this album

I am glad that the bumpy bass tone that features in the opening tracks is not a constant throughout the album. I could hear the South African influence in the instrumentation before realising/looking up what it was. I see a lot of the reviews mentioning cultural appropriation but I'm not sure it's anything other than a musician taking interest in other corners of the musical world. Regardless of intentions, I'm not keen on the lack of variety or expression in Simon's voice which is a shame because some of the tunes are okay. But just okay.

You Can Call Me Al is a real classic and a yacht-rock staple, but this album just doesn't do it for me. I appreciate the experimentation and I can see how this was probably pretty groundbreaking for the time, but it just doesn't resonate with me. Most of the songs just kind of sound like less catchy versions of You Can Call Me Al. There is fantastic fretless bass all over the place and I enjoy the horns and African rhythms, it just doesn't combine into something that really grabs my ear or my attention. I don't see myself playing this album in full again, but I really can't give it a 2 ("did not enjoy" in my rating system). A mostly-neutral 3 it is.

Paul Simon is one of those artists, like Phil Collins, that I have a knee jerk dislike of. I am not sure why I find him so palatable when you mix him with Garfunkel, but as his own separate human entity not so much, I strongly feel You can call me Al and that stupid video has a lot to do with it. I was given his first solo album by the generator a while ago, but even that You can Call Me Al lacking album left me cold. Ultimately this was okay but faintly irritating.

Decent overall. You Can Call Me Al is a banger, but a few songs I could take or leave. Interesting vibe, not sure I'd listen to the whole album again.

Solid solo effort Paul. Not quite rhythm of the saints but some crackers

this has some bangers but wouldn’t really listen to the songs i don’t like

good, liked it but nothing too special to me

Like his last album, this is neither particularly painful nor provocative. A safe 3. P.S. Holy shit, are there some overly sensitive reviewers on here. Cringe.

Sadly no surprises, good coherent album 3/5

OneWorld Simon without Garfunkel.

A handful of these songs sound like “You Can Call Me Al”. I guess when you have a successful formula you stick with it as much as possible. Though, he would have had no idea “Al” was going to be his biggest song off of this album. Paul’s delivery on this album makes him come off as a family friendly Bob Dylan. Less poetic of course. I will hand it to him, this album does not sound like an 80’s album. He could have released this now and no one would know the difference. On that note though, there isn’t anything all that good about said album. It’s soft rock. Bordering on yacht rock. Bordering on elevator music. It’s produced well. The songs flow together. There are no chances taken with this one. Choice cut. You Can Call Me Al

Vrolijke zomerse deuntjes en ik vind Paul een erg fijne stem hebben. Toen ik bij you can call me Al kwam begreep ik pas waar het me aan deed denken. Solide 3 sterren.

1. Graceland 2. Diamonds on the sole of her shoes 3. I know what I know

cute cover. cute tunes. couldn’t be forced to care about more than 45 seconds of each song but very nice and sort of similar to joni mitchell!

don’t hate it, don’t love it. “call me al” is iconic.

Ok. Nice to hear some old songs again. ★★★

Middling Paul Simon album with some mildly interesting songs *but* with the added novelty value that he was backed up by someone other that the usual crew of jaded LA/NY studio hotshots. Most of Simon's vocal melodies on the record are fairly loose and lack the punch of his best work.

Fun

You Can Call Me Al is still a great song. The rest of it was okay, just didn’t resonate with me.

6/10 - a nice change of pace, pop/folky, would never had thought that it's the Simon in Simon & Garfunkel, but the recording is poor and cheap unfortunately

Não é o tipo de música que costumo ouvir ou que goste. No entanto, tem músicas que gostei muito mas outras que nem por isso. Dou um 3 porque senti altos e baixos naquilo que gostei e não gostei. Adorei “Graceland”, “Homeless” e o clássico ”You can call me AI”

Eclectic mix of styles. Middle third of the album is a highlight. Top track: Diamonds On The Soles Of Her Shoes

I had never listened to this album before, though I was very aware of it in the mid-80s when it was popular. Controversy aside, I enjoyed listening to it today, even if I doubt I'll ever return to it. Standout track: You Can Call Me Al (by far the catchiest and most memorable tune on the album, but also beloved for its classic video with Chevy Chase)

I have some memories of this record being played in the car, on our way to holidays destinations. That said, most of the tracks ring no bells whatsoever. It's interesting, and the songs go all over the place, but they maintain a sense of unity. I like it, overall.

not bad

nisam očekivao da će mi se ovo toliko dopasti :) baš je fora

It was alright from what I heard.

Good record, seems very dated by today's standards. Typical electronic sounds from the 80s. Overall I enjoy it.

I remember this record being huge among adults. I don’t know much about Paul Simon’s discography but insuspect this record was an evolution for him at a time when infusing world music into American pop was all the rage. Between this, Bobby Mcferrin and even Peter Gabriel it was everywhere in the mid 80’s. Quirky is the best word to describe this record.

This is an interesting album. The production is definitely unique, the songs kind of feel like a mix of folk, rock and funk. The guitar tone is very jangly and funky, the bass tone is super cool, but I don't like the drums because they sound very electronic and I feel like it doesn't match the vibe. I enjoy his vocal approach as it's very relaxed and the lyrics are interesting. Overall only a few songs really stick out to me and the rest is quite forgettable.

Album has a global vibe. Couple of big hits.

Mind numbingly happy but undeniably good. Fave song: Graceland

Solid pop and world.

Debo admitir que en un comienzo el álbum no me despertó demasiado interés. Pero a medida que iba avanzando se empezó a hacer más presente la presencia de elementos de música africana, que se combina con el estilo folk pop de Paul Simon, y la verdad es que me resultó mucho más llamativo e interesante. Tal vez no sea un disco que me guste mucho, pero al menos intentó hacer algo diferente y más original.

Without doubt, this is one of those "game-changing" albums, not only to revive the career of Paul Simon, but also the collaboration of African and American musicians with the introduction of Ladysmith Black Mambazo to mainstream American audiences. This album was huge and songs from the album flooded radio-waves back in the day. Simon's tour for the album attracted people of all ages (etc.), including my parents who actually ventured out to a crowded hockey arena to see a concert. I can't say I was a fan of the record (too commercial, was listening to a lot of punk at the time) and I have tried to avoid exposure of the music since the 80's. Hearing it again now was enjoyable enough, though I still prefer his early solo albums, but when you realize Graceland was released almost 40 years ago, it makes me question everything he's released since then. I suggest, next year playing a 40th anniversary Graceland show, then gracefully retire. Please.

😁

Haven't listened to this album much since '86 but it was fun dusting it off. Still remember the Chevy Chase video for Al. Nice mix of rhythms and sounds with so great bass and even a touch of zydeco. Brave experimental album with some nice tracks.

Graceland, You can call me Al, Weltmusik & gute Laune. Idealerweise zur Strandparty.

There's a whole rang of music from this time period that I just kind of roll my eyes at and can't really meet on its own merits -- this, Bobby McFerrin, "Kokomo." The whole thing feels inseparable from Chevy Chase mugging for the camera in the 'Al' video. That said, it's hard to hate on this album. Everything is fun and poppy, and there's clever Simon-y wordplay on most songs. Mbaqanga music is fun. But Graceland is so old fashioned, and the lyrics so rarely fit the music in any meaningful way, that it feels like Paul Simon wrote some catchy pop melodies and pasted a layer of mbaqanga music on top of it. I think I can understand why this all felt dynamic and new in 1986, and I guess pop artists get to be inspired by stuff (it seems like he at least tried to create some level of equity for the musicians he brought in to help him create this) so I shouldn't just cynically yell 'Appropriation!' like someone yelling 'Bomb!' on an airplane, but also it doesn't really inspire me to go any deeper into its influences, which … ideally it would? Also, why is this called Graceland?

1. The Boy In The Bubble - 9 Wasn't sold on the intro but the song builds so well. Simon's vocals sound incredible and the instruments, while odd, work so well in harmony together. Absolutely fantastic beat on it as well. Solid track. 2. Graceland - 8 Solid song. Really great beat and tempo that will have you tapping your feet without knowing it. Simon's vocals again deliver a wondrous performance here. Bass sounds really great on this track as well. 3. I Know What I Know - 6 Not a bad song but lyrically it falls in and out of tempo and they are not as strong as the opening two track. 4. Gumboots - 3 Not a great opening and not great overall. Instruments are okay but the loud and leading instruments don't really do anything great for the track. Choruses aren't particularly too good either. 5. Diamonds On The Soles Of Her Shoes - 5 Could do without the barbershop quartet on this track and quite frankly without the entire opening minute of the track before this random tempo and pace change into the actual part of the song. "Diamonds on the soles of her shoes" is repeated way too much in the song. "As if everyone here knew what I was talking about" belts out Simon. I don't. I think that's the problem here. 6. You Can Call Me Al - 6 Sounds brilliant outside of the lyrics. Verses are again in and out of tempo and tone. Choruses are solid but the absolutely woeful verses ruin the experience for me. 7. Under African Skies - 8 Much better track. Really wonderful sounding vocals with a wonderful assortment of guitars and strings. Very very enjoyable. 8. Homeless - 2 It's not the nature of the chanting I find an issue with because the chanting sounds very nice; it's just that I don't see a need on the album. It's such a gear change from the rest of the album that the track feels out of place. That's not to say songs need to be the same on an album either but it's just a random chanting track on what's been a folk/tropical/acoustic sounding album. 9. Crazy Love, Vol II - 6 Sound is excellent but the choruses are completely uninspired with how insanely repetitive. Verses are good but as is much the theme with the album some lines have too many words and it makes them feel like they're rushing to catch the end of the instruments playing before moving into the next line. Becomes hard to really follow along when that happens. 10. That Was Your Mother - 9 BRILLIANT sax on this track. Verses again feel rushed but what an amazing sound between the drums and the sax which masterfully falls into a background octave after it's awesome solo. 11. All Around The World or the Myth Of Fingerprints - 5 Lyrics make absolutely no sense for half the track but the signing is lovely and the instruments give this almost a Caribbean vibe. Overall, not a bad track to end with. Average Rating: 6.09 Adjusted To A 5-Point Scale: 3.05 Rounded Down: 3 Stars

Better than expected

Good ol folk rock

Hot take, but I think this album is overrated.

I remember owning and enjoying this album back when it was released. It was something different and interesting from a well known artist. I haven't listened to this in decades and with this listening, it ran a bit hot and cold. Still, a pretty solid 3/5.

a-weema-weh, a-weema-weh, a-weema-weh, a-weema-weh

Strangely, according to my Last FM stats, I've never spun this album in full before. I thought I would have. Considering it's one of the all-time greats, I was a tad underwhelmed. Its hit singles are fantastic but I couldn't help but think "filler?" on Gumboots and Crazy Love Vol II. Was this due to lack of exposure in the past? Maybe. On first listen it's only deserving of a 3; perhaps subsequent listens with more familiarity will raise it to a 4.

Very unique, fun sound for Paul Simon. One of the songs has very screamy background vocals, but the rest are very enjoyable.

Lion king ahh album. Always thought its been kinda overrated and this relisten confirmed for me

Good album. Not really my speed but enjoyable

Some fun stuff Would not listen again

Not my favourite. Listened many times and know the singles from classic rock radio . I can respect that it is ground breaking but sonically just doesn’t do it for me.

Every song sounds like every other Paul Simon song I’ve heard… so not bad? Up to par.

Of it's time. Boy In The Bubble a good single. Over slick production. 3 stars.

A white guy singing about black people struggle? This couldn't be done today.

Feels sanitized and packaged, even for pop. That said, I didn't dislike it. It was catchy enough, just pretty thin, thematically and lyrically.

Probably a good record to contemplate what we think of when we think about solo musicians and authorship. I’m guessing most people hear Paul Simon doing his folky thing with non-Western musicians and just...that’s as far as the thought process goes. Maybe it evokes some sense of wonder or mystery, what’s this maybe the most white guy ever doing here? Or a fish out of water relatability? I’d say, like other singer-songwriter types, Simon has an incredibly approachable, personable voice. There’s nothing virtuosic when you hear him sing. Do we care about the other musicians present beyond their ability to perform? “Oh man did you hear that the Beatles got Billy Preston or Eric Clapton? Those guys can play!” My parents, my mom, weirdly, is a huge fan of James Taylor to the extent she knows the names of his touring band and really celebrates what they do when they play, whereas I’m like “cool, steady gig” for several pro musicians; they are sidemen. I’ve spent the past day instead thinking about authorship. Simon probably wrote the genesis of a few songs here, but he’s squirrelly about it all, no one can say for sure (except for the few folks who could afford to say). He (and Roy Halee) definitely took them to finish, which is no small thing, but who came up with the basics for Call Me Al? Doesn’t seem like it was Paul Simon, guitarist. Graceland’s various riffs and bass runs? Probably not Paul Simon. At least 3 of the songs are definitely works other groups brought up during “jamming with Paul” sessions, be that in South Africa or the States. Entire. Songs. My initial crack at writing about this was to compare it to the loose licence-ship hip hop had/has with samples. Take a song an audience will know well enough to recognize on some level, but not so much that all they can think about is the original work. Rhyme over it well enough and no one cares about the source. Is that what Simon did when he went to Africa and later, to Brazil? Or is this more like what Aretha Franklin (and countless others) did in the 60s, rewriting others’ material (usually by changing the words, maybe a slight emphasis or deemphasis of elements in the music) to fit their own thing? There’s a song she did called Save Me, which was a rewrite of a song her session sax player did a year earlier, which was *itself* a wholesale rewrite of a Them song. Led Zep and the Stones maybe aren’t household names without doing the same over and over. I can’t decide if any of that is wrong per se. I love listening to the song Graceland. It’s deeply moving. Diamonds on the Soles of Her Shoes - the change to the horn section? It just doesn’t feel right. And much like with Vampire Weekend, at the centre of it we have a white guy, wealthy, privileged beyond comprehension. Maybe at best just a tourist. At worst, something else. But maybe this is how someone discovers this music and nearly 40 years later with music itself cheaper than since recorded or sheet music copyright became a thing, you can spend years only enjoying music by artists from countries you’ll never chance to visit. I want to say it's a sublime miracle of a record. Could be 5 stars. Or 1.

Is this near Greenland?

Generally not as upbeat or in your face as I prefer, but I enjoyed it very much for what it is. I'm not sure where I fall on the appreciation vs. appropriation debate (and whether/how intent plays into it), but generally speaking I think I'll read the Wiki on more albums going forward. Having defined the contexts of an album definitely makes for a more interesting listening experience. I usually prefer musical complexity somewhere between folk and jazz. Given that, Paul Simon does a great job telling a story musically and I liked how several songs used rhythmically interesting sections to mix things up. A couple times I got genuinely surprised by guitar riffs that I would expect 1:1 in a lot of 2010s indie rock (Gumboots intro, Crazy Love, Vol. II). Favorite track: You Can Call Me Al

This is really cute. Inoffensive and sounds good. It didn’t do much for me and I felt pretty neutral about it but I wouldn’t mind hearing it again

Very nice.

“You Can Call Me Al” is a banger, but on the whole this world music exploration by Paul Simon feels like the work of an artist who is running short on original ideas. Whether it amounts to “cultural appropriation” or homage, getting Simon’s watered down interpretation is a pretty safe and suburban way in which to scratch the world music itch. Simon is a tier one songwriter and that shines through on more than one occasion, but in the end the gimmick wears a bit thin.

Good I just expected more

Ahh - one of the pillars of a CD collection in the 80s! I’ve never been the biggest fan as I’ve always found Paul’s voice sounds whinier than usual on top of the amazing lush backdrops created by the supporting musicians. I get the cultural appropriation problem (and it’s a big problem), but the irony is that I’d probably have never heard these musicians without Paul Simon fronting it. It’s still well worth a listen and it’s also an exceptional recording. Solid 3. Was never more than that and I’ve not changed my mind over the years.

Good, but not my thing though.

It’s fine

First big world music thing. I don't like world music, not anybody's fault

It was fine.

"Graceland" é um dos discos mais famosos da world music. Pelo menos de artistas já consagrados. A mistura é interessante, mas falta coesão pro álbum, que atira pra tudo que é lado. A inclusão de ritmos e músicos africanos enriquece a experiência, mas a estética oitentista prejudica um pouco a apreciação. É legal se for considerado o que o Paul Simon fazia antes e pela experimentação contida aqui.

Not my style of music, definitely a toe-tapper though, some familiar sound, easy to listen to, didn’t grab my attention enough to recall much content of the songs however.

I wanted to dislike this album at first but then I realized it's just an 80s vampire weekend album.

I liked the uniqueness of the songs and the overall vibe of the album.

I couldn’t get into it. Much like the last Paul Simon album, he’s best with Garfunkel. 3 stars for the quality of the songs but losing stars for the lack of someone in the room saying “hmmm maybe not”

Not a Paul Simon fan. Hate S & G stuff. This is an interesting album that dominated a period of my youth. I applaud the crossing streams with the African music. But it’s still Paul Simon. I’ll be super generous with a 3. But don’t care if I don’t hear again.

Not my fav Paul Simon but entertaining

I enjoy listening to this album when I do, but it's usually one I seek out intentionally. Can't deny Paul Simon's songwriting abilities!

Pretty solid all around.

Not sure why, but I have never really been a Paul Simon fan.

I can appreciate why this is on the list, but it's not for me

Nice and I remember it being exciting to see and hear global musicians and sounds when it was released. All these years later, it’s just nice nothing remarkable.

Good, had not heard artist bwfore

I had to double check to see if this Simon was the same as Simon & Garfunkel, the atmosphere of this and their collaborative work being so different. Things in this album are nice (collaboration with South African black artists and so on), it was overall pleasant but I don't think I'll come back to it; moreover, some production choices (as the drums) didn't age well and once again, you don't have to check the release date to know when this was out.

Meeste nummers leken een beetje op elkaar

sounds like the intro to arthur

3.5/4 Interesting and fun

high 3.

I had a friend who played this album every single time you were with her, as fun as it is, it’s just overplayed for me and ruined a bit. Listened to this on the way to the beach with my girlfriend and we sang along

Good, but not fully my jam

Listened late at night yesterday. Was okay. Can't think of anything interesting to say. Maybe I think it sounded a little too 80's for me.

Not bad, but not the best.

this list needs more african music but this ain't the way to do it

[[1001 - 2 Paul Simon - Graceland]] Is todays album, released a year before I was born, not quite to my style but definitely reminds me of sitting in a bar that plays all the classic rock/Americana sorta stuff which definitely isn't a bad thing now! Graceland is instantly recognisable, wonder if there will be any other tracks that ill recognise. Diamonds on the soles of her shoes is a bop but it wont be getting added to the big playlist. AHAHA And there it is I never knew what this track was called, I always thought of it as bodyguard, turns out You Can Call Me Al, it is getting added to the big playlist.

Probably better at the time. You Can Call Me Al might be one of my least favorite retail songs ever created, not helping my enjoyment of this one.

Some catchy songs. Light listening

Mediocre, but pleasant enough. Unfortunately has a cheesy 80's vibe to the instruments/quality.

pretty unique considering the african influence, falls kinda flat in the second half 7.2/10

Not a huge fan of this specific body of work, but Paul Simon is a legend. Dare I say this bordered on yacht rock at times....

Lk

5/10

Disclaimer, I barely listened to Paul Simon before this but I can understand why this particular album is worth listening to. It's South African and American fusion paired with Simons particularly fantastic story telling creates something completely unique (at the time) that needs to be listened to from beginning to end. "You Can Call Me Al" is by far the best track but the self titled track "Graceland" and "Diamonds on the Soles of Her Shoes" are not far behind. This is one of those albums where I can see bands like Vampire Weekend were influenced by and while I did just praise this album, I don't see myself coming back to it all that often. However, I have found a new appreciation for Paul Simons and will look into his other work. 7/10 (I don't know. I'll figure out a rating system at some point.)

Solid story telling, fun melodies. Sounds I’m not familiar with, but can groove to. Finally know who made that one hit I hear on the radio all these years. (You can call me Al)

Paul Simon’s comeback album features multiple genres and quirky lyrics that we all know and love him for since his days with Simon & Garfunkel. There are a few tracks that I’ll always love (You Can Call Me Al) but this album never really drew me in as much as the critics praise it. An enjoyable listen. 3/5

Not a big,big Paul Simon fan but he sounded very good in this album

Some tracks leaning towards singer songwriter pop and som more towards folk rock. I found the first group more enjoyable than the last, but none of them was particularly interesting to me.

Remember when in the music course back in school, all the talented kids got to play the few actual instruments and the rest of us musically challenged kids with basic motor function got handed the claves, knowing that this isn't an instrument anyone actually uses, but a low-cost inclusion measure? Well, Paul Simon is one of those talented kids who actually uses claves in his music, and it doesn't sound half bad. 3.5/5

Big fan of Simon and Garfunkel but haven't really checked out Paul solo. It's pretty good. Easy to listen to and he stuck to the theme very well. The African sounds are what make it interesting and Paul's vocals are soft on the ears. It does start to blend together in my opinion. Nothing groundbreaking, he was just using another culture for inspiration after all. I could be wrong but it was also a little funny to hear the tinge of bitterness from a divorced man come through. RIP Carrie you're a queen

I haven't listened to this album all the way through in a long time and it doesn't feel like it has aged very well. I like "Diamonds on the Soles of Her Shoes" a lot still but overall I didn't seem to enjoy this as much as I used to. It's not a terrible album but it isn't something I am likely to put on again any time soon.

A bit unusual to put my feelings into words here. In general I definitely found this album to be enjoyable for me, the instrumentation to be intriguing and Paul Simon’s partial singing/talking to fit perfectly in many cases. Although I can’t say that it resonated with me completely, I still felt compelled to come back to this album right after listening to it and relistening some of the songs. Only after listening to the album (and I really liked the influence of South African music) I found out about its controversy. Although it definitely is part of this albums history, I won’t let it influence my opinion too much here. I definitely think that I will be coming back to this and do feel that I want to listen to more of his music as this album definitely felt artistic in the best way possible. But I can’t quite give it 4 stars as I want to reserve that rating for albums that I definitely love. So it’s about a 3,7 for me.

to this day i’m still not sure what you can call me al is about

some rly good songs

This is a very har rating. I like the collaboration and merging of genres, and Mr. Simon makes exellent music.

Paul Simon really explores the limits of his own creativity. This doesn't sound overly original, but it's not bad. 3/5.

Interesting thought I wouldn't like it at first but it's quite alright to be fair

There were some really lovely songs on this album but also some really annoying ones

cool n all

2.5

This was very different from his other albums, and has clear African influences. I liked the guitar+bass riff in Graceland but Diamonds on the Soles of Her Shoes was the standout to me. It was an interesting listen but not something that's going to be on regular rotation.

Paul Simon's Graceland is light-hearted and breezy, thanks to Simon's folk background with South African mbaqanga influence. The rambling vocal style combined with lively mbaqanga instrumentation, along with flamboyant 80's production, give the album motion and makes it feel like a great road-trip record. Despite the wealth of musical styles and instrumentation at play here, there is so little variety from Simon's vocal performances that "You Can Call Me Al" stand head and shoulders above the other songs on the record.

A little too folksy/twee for me, but I must acknowledge the beautifully crafted melodies.

Enjoyable and easy listen but didn't really do a whole lot for me. Favorite song off the album was Gumboots.

Musica tribaleggiante e folk. Non un brutto album, anzi ha molti punti un sacco interessanti ma non top.

Good

This album is awesome musically. The music is very interesting, but I found myself wishing for a different singer. 1001 album worthy: yes - 66/123

Meh

2nd Paul Simon album. It has his hit in it, cool. I just think it’s just so so so stock standard 😭😭😭😭 Nothing bad but nothing good either

a pleasant twist of afrobeat world music and the soft singing and lyricism of half of Simon & Garfunkel. though it all has this kind of beige vibe like I'm listening to 80s mall montage though... 3.5/5

Okie dokie. 3/4

the singles are catchy! very.... of the time

I'd heard so many great things about this album so went in expecting to be blown away. It was just fine. You Can Call Me Al is such a bop and is definitely my favourite from the album. Overall, it just didn't really do much for me.

Decent enough album, probably won't rush to listen to it again

Weird how the algorithm decides to recommend this: a) Just a few days after Shaka Zulu, the music that inspired Graceland, and b) Just days after I left for college, and by extension, my record collection at home, which had this LP Anywho, this album was my father's childhood, and he often told me the story of how he worked on local fields (omladinske radne akcije, za moje balkance) whilst listening to this cassette on the deck, so I always felt obliged to write at least SOMETHING about this one, yet it never materialized until now, partly because it came and went so many times and I just had to sit down and write something. Obvious historical snippets aside, this is a nice pop album that's very easy on the ears. Combining something that's relatively boring like indigenous South African folk with Paul's ability to create some worthwhile and timeless melodies is a recipe for success. Probably a weird analogy, but this one feels like the process of urbanization of a once rural outback area, where the body of modernization is rampant, but the rural spirit is still among the brick and the mortar. ⭐⭐⭐

I don't know, man. I enjoy listening to this record a lot. But there are things about it that worry me. I've always wondered how the African musicians felt.

några fina poplåtar, ah typ det

3/5 Muito agradável. Tenho ele em LP e é a versao que recomendo, facinho de achar e sempre bem baratinho. A pegada sul-africana tem seus momentos que fica um pouco cartunesca, mas as faixas mais tradicionais são maravilhosas. Também preciso dar créditos a história fascinante por trás da produção do disco, história essa que é inclusa na contracapa da edição de vinil. Toda a controversia por trás definitamente adiciona muita coisa a experiencia do album. Minhas favoritas: You Can Call Me Al, Diamonds On The Sole of Her Shoes e Graceland.

321/1001 🌕🌕🌕🌗🌑

Nice songs and a super fun fat bass sound.

fun sounds, but cant rate it as one of the goats

The album that saved Paul Simon.

Tuney

good overall but is he a bit soulless or what for what hes working with…

Would make the perfect soundtrack to an early 2000s movie that would make you cry (if it isnt already). Vaguely like if Bob Dylan was given country fairground backing tracks. Missing a little garfunkel in the mix. You Can Call Me Al is an all-time for good reason. Honestly some godly mixing done on this one too wow. Overall not for me musically but the peaks peak.

favorite track: you can call me al. Overall score: 6.5/10

Pretty good.

Very nice but where’s the Garfunkel!

What was it about the 80s and white people trying to do 'Africa' things.. the style of it just feels dated and a bit wrong at times. When it doesn't nick from other cultures it is far more tolerable.

honestamente, fue una nueva experiencia para mi. no suelo escuchar este tipo de música, tampoco siento que sea para mí en particular, pero reconozco la carrera de Paul Simon y admito que algunas canciones como You Can Call Me Al o Diamonds on the Soles of Her Shoes fueron una grata sorpresa. estoy seguro que alguien que sigue más de cerca este género le daría un puntaje mucho más alto, pero para mí es un álbum normal al cual quizás solo vuelva para escuchar algún que otro tema de vuelta.

This is a weird one. There are undoubtedly some great vocals on this album, but they’re not Paul’s. Great instrument playing, not Paul’s. Great songwriting, some of which is allegedly not Paul’s. The lyrics are definitely Paul’s, but they’re completely separate from the influences apparent in the music. In short this sounds like a normal Paul Simon album with a lot of heavy lifting from a lot of other people.

Great horn section and that goofy whistle thing is cool

This one didn’t blow me away, but there’s a good amount of fun tunes on this record. “You Can Call Me Al” is the strongest standout and I love hearing it over and over.

kinda enjoyed some bangers

Enjoyed it

Good album. There are quite a few musical influences on here and it comes across well. Simon's voice is pleasant but thin. He is a good song writer. I know that this is supposed to be his masterpiece and the album generated a few singles but I feel like there is quite a bit of hype over the album because he had South African artists on the album. That's all well and good but I am betting outside of a few critics and Simon super fans that there weren't many consumers that said "boy, I have to get this album because there are musicians from different countries on here."

You can call me Al unlocked a core memory

Interesting but no saves. Didn't feel it in my balls or my heart

6/10

soooo liberal white guy and not as good as remember but still has high highs

Mostly calm, some nice bits to it but nothing really hooking me

I am not sure this album holds up over the years, but it is great to hear Paul Simon when he is creatively flourishing. The tracks are strong, if a little dated, and I found myself smiling a little more than I thought as I revisited them.

I own this album and like it. However, it's very hard to ignore that Paul Simon "played Sun City" making this album. I like to think that he helped some artists, South African and otherwise, get some exposure they wouldn't have gotten otherwise, but stories of improper attribution of credit and/or payment for work on the album are troubling. The more I read the more troubling it gets. Based solely on the music, this is at least a 4, but I have to take 1 off. Regardless, You Can Call Me Al is a great song.

Singles are still great especially title song, but others are a bit dated now.

There is a lot of talent on this album, but I'm not sure that the content has aged well.

Expected to enjoy it more. Not bad and some tracks that stood out. Probably preferred his debut solo album if I had to choose.

Some fun songs on the album. Great instrumentals, but his voice isn't my favorite. Overall a pretty good album. Favorite Songs: Gumboots, Graceland, You Can Call Me Al, That Was Your Mother Least Favorite: I Know What I Know

Fun sound, nice classic feel. Some songs are familiar. :)

Three really great songs and a bunch of meh.

I like Paul Simon. This record has some great kinda African inspiration and it’s whimsical. Still wish people didn’t use the harsh static/explosion percussion sound rampant in Michael Jackson’s Bad. But this album is a lot of meh but happy. Lost track of my ratings so we’re gonna go with 3.4? I dunno. It’s funny.

was pretty good, didn’t enjoy the end as much as the beginning. appreciate the african influence and the wide variation of instrumentation but i can’t see myself returning to the album as a whole — or really any individual tracks — very much. i like it a lot more in theory than i do in practice, that said it’s overall a good project, maybe just not my cup of tea

Pauls Simon is to me the Spielberg of singer-songwriters, if that makes any sense. I mean that a little bit derisively. Nonetheless, this album is pleasant and well put together. I don't have too strong opinions on it either way, honestly.

Just not a big Paul Simon guy. I saw him live at Outsidelands and he was awesome, just........ boring. I find everything about him and his music and this album just to be boring Best Song: You Can Call Me Al Rating: 5.0/10 3 Stars

This album has a very interesting combination of influences and styles, such as african music and features (for this context) unusual sounds like the accordion. However the overall sounds is very reminiscent of the 80s, therefore not timeless like other works where Paul Simon was involved.

Graceland is an album I'm pretty mixed as it has some things that i like about it but has others that i think could have been handled better. This album used quite a lot of elements of South African Street music which i find interesting and it is handled alright but not all too greatly which is a big reason as to why i prefer both Simon's self titled album and Hearts and Bones over this one. Some of the singles which did not use world elements were pretty good though with songs like You Can Call Me Al being pretty fun tracks. This isn't a bad album but in my opinion, it is a lot more rough than the other two Paul Simon albums i have listened to. Best Song: You Can Call Me Al Worst Song: Homeless Side note: Since i have done all of Paul Simon's solo albums, i might as well put my ranking of them here: 1. Hearts And Bones 2. Paul Simon 3. Graceland

did not like too much

Zaskakująco przyjemny album. Wciągający, chwytliwy, z kilkoma naprawdę sympatycznymi utworami (tytułowe "Graceland", "I Know What I Know", "You Can Call Me Al" i chyba zwłaszcza "That Was Your Mother". Zaskoczyło mnie tak bogate czerpanie z kultury afrykańskiej na albumie nowojorskiego białego piosenkarza żydowskiego pochodzenia, w ogóle nie spodziewałem się takich aranżacji i wokali. Choć szczerze mówiąc akurat te utwory, które najmocniej czerpały z tego instrumentarium i wokali najmniej przypadły mi do gustu. To wciąż były w porządku utwory, ale mniej mnie interesowały. Skoro o tym mowa, album był dla mnie dosyć nierówny w kwestiach stylu i tempa utworów. Jeden kawałek mnie porywał, a następny dosyć nudził. Myślę, że gdyby wszystkie utwory były w stylu tych wymienionych przeze mnie powyżej, to mógłbym dać wyższą ocenę (zresztą wczoraj o tym myślałem, ale dałem sobie czas, żeby posłuchać tego dzisiaj po raz drugi i trzeci). Podobają mi się momenty, kiedy poszczególne piosenki wpadają w silny vibe lat 80-tych, z mocną perkusją i brzmieniem, który jakoś jednoznacznie kojarzy mi się z tym, co najfajniejsze w tym okresie. Nie przytoczę teraz z głowy konkretnych utworów tho. All in all całkiem spoko album, ale trochę zbyt nierówny stylistycznie i "fajnościowo", żebym do niego wrócił. 3,5/5

Two Graces in the row? What is it? A penance after Confession? Did I steal this joke? Yes. Did I write it in a Mr Peanutbutter voice? Also yes. But nobody can stop me. Also nobody can stop me from giving this album its' deserved 3. The story behind recording is far more intresting than what you can hear in music. Wide variety of artist Mr Graceland cooperated with resulted in very mixed final product or maybe he is the weakest link in all of that.

Can't say I gave this one a fair listen. It was more background music. But I enjoyed the overall vibes and the songs I recognized.

I get it, we can call him Al.

Not that bad

Пол Саймон — ½ того самого дуэта, где второй парень вечно напоминал грустного спаниеля — в какой-то момент решил стать Индианой Джонсом от музыки и отправился в Африку за сокровищами. Нашёл. Привёз. Только не золото и бриллианты, а целый чемодан… этнических мотивов. Саймон в своё время был очень большим популяризатором того, что сегодня принято называть World Music. Во многом именно благодаря ему мир узнал, что Африка — это не только слоны и носороги, но очень самобытные ритмы. Вот только сам альбом получился… как пресное блюдо в дорогом ресторане: вроде бы вкусно и ругать не за что, но и восторгаться тоже нечем. «Graceland» очень ровненький, гладенький, без всплесков и падений. Как кардиограмма покойника. Ни одной запоминающейся мелодии. Хотя этническую музыку можно записывать и продюсировать очень круто, послушать хотя бы тот же «Big Blue Ball» Питера Гэбриэла — там разве что черти в ступе не летают. А у Саймона как-то скучновато это всё получилось.

Feels like its missing so many of the elements which made Simon and Garfunkel great, I like the influences from around the world, but overall I'm not too keen on this upbeat pop style. Favourite songs: Diamonds on the soles of her shoes, under African skies. Overall around 5/10

Soothing record, killer mixing & mastering The vocals becomes a bit monotone after a while

Never really got this album. A Few decent tracks.

I thought it was a good album for listening on a roadtrip. "You can call me Al" is a classic of my childhood family roadtrips. It's upbeat, but a bit too folksy for me. Also the African influences felt a bit questionable at times

Understandably controversial and unfortunately really nostalgic for me (summer 05 baby!). Musically, I find it pleasing, but not overly so. Favorite songs: Boy in the Bubble, Diamonds on the Soles of her Shoes; you can call me Al.

I was kind of expecting this to be some revelation despite knowing who Paul Simon is. I know what his music sounds like, yet somehow I expected an album this highly regarded to be some sort of departure. Regardless, the sound is good and the African influences are nice to see.

Litt folk, litt Afrika, litt Tavern, litt cunt

Torn between 3 and 4 for this. an immediate pleasure on the first few listens, but eventually all but the strongest 4 or 5 songs lose their luster. Still a lot to like here though

weird!

There are nice elements in this album(specially the backing vocals) , but the reverb at some points is too much for my liking. Maybe it would've been revelating to listen when it was released, but as it is right now it's just a palate cleanser

the album blends Simon’s introspective songwriting with South African musical influences, resulting in a hybrid of styles that was as controversial as it was lauded. As someone who isn’t a devoted fan of the album but appreciates its significance, I have mixed feelings about it. While it’s undeniable that Graceland showcases incredible artistry and cultural exchange, there are aspects of the record that leave me less than enamoured One of the most remarkable aspects of Graceland is its innovative blending of musical styles. Simon worked with South African musicians. Tracks like “Diamonds on the Soles of Her Shoes” and “Homeless” showcase this collaboration beautifully, with rich harmonies and intricate rhythms that feel vibrant and alive. For someone like me, who enjoys punk rock and rawer musical forms, the polished and layered production here was intriguing, if not immediately gripping. Paul Simon has always been a master lyricist, and Graceland is no exception. The title track, for instance, weaves a personal narrative of loss and redemption while also evoking a sense of travel and discovery. The imagery in songs like “The Boy in the Bubble” is vivid and thought-provoking, touching on themes of technological advancement and global interconnectedness. Even if the music didn’t always connect with me on a visceral level, I found myself drawn to the storytelling and wordplay. For all its high points, Graceland isn’t a consistently engaging listen for me. Some tracks, like “All Around the World or the Myth of Fingerprints,” feel like filler compared to the album’s stronger moments. The pacing of the album also felt uneven; the energetic tracks and slower, introspective pieces didn’t always flow seamlessly. This inconsistency made it hard for me to fully immerse myself in the album as a whole While the polished production is part of what makes Graceland stand out, it also detracts from the raw emotionality that I personally connect with in music. The intricate layers and studio sheen can feel overwhelming at times, making the album feel more like a technical showcase than an emotional journey While the album's blending of South African rhythms with Western pop is musically innovative, and Simon’s lyrical craftsmanship shines. Some tracks don’t hold my attention, and the overproduction feels too polished for my taste, lacking the rawness I prefer in music. Though important, it’s not an album I’ll revisit often.

I did not realize how many songs exactly on here were 'classics', incredibly experimental at times, enjoyed but want to sit with longer.

Paul Simon has always intrigued me as a songwriter and singer. Simon and Garfunkel have become one of my go-to listens over the past year or so. Interested to dive into the solo career of a guy who my mostly lasting memory of is a clip of him in a turkey outfit on SNL. What the sweet Jesus is this. Holy hell this RULES. A beautiful Paul Simon song accompanied by an uhh accordion and driving bass is a weird experience. It’s such an odd juxtaposition. It’s pretty fun though. P Simon talking turnaround jumpshots as well. It was a warm summers evening ON A TRAIN BOUND FOR NOWHERE. Man. Makes me want to listen to the gambler. Or make a gambler remix with my immense ability to jockey a disc. I think Living Colour covered it interpolated this. That’s cool. Seriously though, the lyrics are fantastic, and the song shows amazing restraint. The quietude in the face of what could break into an embarrassing impression of a spiritual revival is heartwarming. The features are coming on strong now. The Gaza Sisters and of course the good doctor, General MD Shiranda. Decent song. More fantastic lyrics and delivery. Absolutely loving the vocal performances here. There’s a slight reggae vibe here and the accordion is not my favourite at this juncture but I have to say the song is pretty good. Oh whoa. Sweet background vocals. Or Vo-Kills as I’ve seen on the back of the most cringeworthy of metal records. Uh this song fades for me. Gets a little cringeworthy itself. Cool bass tone, but way too beach-y. Oh this is the hit. What move is this in? All of them? I hate the instruments here. The horns are so lame but god damn I love Paul Simon’s lyrics/vocals. But yeah, other than that and the bass solo, this one sucks. Hmm. No. Not as good either. Come on Paul we were on an early 5 star watch alert. Ladysmith Black Mombazo feature. Big news for Mombazo heads. This is fine. Interesting departure. Fat Charlie the Archangel is up there for lyric of the week. Fun song. Great lyrics. Ugh. This one is cringe. Marci Gras music. Nooo Paul. This is death. Why has he abandoned the quiet and beautiful tones? It’s like some dumbass pop producer was coaching him to act like Huey Lewis and the News. He sounds so uncomfortable. New York White guy gets gifted Daishiki by black friend and makes an album about Africa. Sounds about right. Listen, I love this guy. He’s great. The lyrics are fun and thought provoking and the delivery is typically so gentle and interesting. A true bastion of folk adjacent rock for the mainstream pleb like myself who uses the phrase “bastion of folk adjacent rock.” Maybe I coined that phrase. Read it and weep music reviewers. Anyway, an album that was completely exhilarating to start became a little trite and poppy leaving me somewhere in the middle. Keep the Paul Simon coming but let’s keep it closer to the Sound of Silence and further away from the soundtrack for Jerry Maguire or whatever. 3-3.5 HIGHLIGHTS: The Boy in the Bubble, Graceland, Crazy Love Vol. II

I think everyone knows Paul Simon, but I wasn’t extremely familiar with this album. This turned out to be another album I liked more than I expected. It made for good background music, lots of poppy toe tapping moments.

I know I'll probably be out of step on this one, but I find Mr. Simon to be a bit pretentious. Also, the production on this album is so mid 80s that I was cringing the entire time I was listening to it. Boy in the Bubble is a good song, that's probably my favorite on the album. Random thoughts - the zydeco song was good, I did enjoy that too. Why hasn't any DJ taken the "I'm going to Graceland" sample and spliced in "bass-land" instead? Seriously Z-Trip get on that now. And while you're at it, take the accordion/bass from Boy In the Bubble and do something with that.

I loathe Simon and Garfunkel. I don’t mind Paul Simon and I liked this album well enough.

First in my 1001 journey. Didn’t expect to enjoy a mainstream 80’s album made by a legacy folk artist going solo… boy was a wrong. Some of the tracks don’t quite hit, but Paul seemed to have a lot of fun making this album. Highlights are definitely his lyricism and the African music elements. 3.5/5

Decent

Good, but not someone I would listen to outside of his bigger hits.

Interesting

A respectful nod or cultural appropriation?

1001: I had taken a several month break from the journey before this album, so my context and comparisons have been reset a bit. I'm not sure if it was just that I wasn't fully awake, or what but I was struggling to follow the stories of these songs. They sound nice enough, but following the lyrics is a bit tough today. I swear in "I know what I know" they are honking along to geese. I'm glad "you can call me Al" is on here because that is the song I kept hearing in the tracks before and couldn't put a name to it. I kept thinking it was some animated movie soundtrack song. Overall this was a nice album even if it is a bit of a chaotic mess of culture and nonsense. Not sure if ever pick it up and say I want to hear this today, but it isn't objectionable. 3/5

Interesting - was on the verge of really enjoying this one the whole way through, but never quite got there.

This album was everywhere and caused a stir back in the day so I see why it’s on the list. But apart from 2 or 3 tracks, it doesn’t move me the way I had expected.

It was kinda nice Will I listen to again: 1%

I've heard of this album, at least, but I've never listened to it. Paul Simon is a likeable guy. I like his voice and the general vibe of these songs. Highlight: Oh, this has 'You Can Call Me Al'! That's one of the first songs I downloaded when I first got my own computer some 20 years ago :D 'Homeless' has Zulu in it, which is cool. There are clicks!

You're not African m8. Some belters on here though.

Qquiet

Absolutely an album you need to hear before you die, but you don't have to like it. Which I don't. I don't quite hate it the way some people do, and Paul Simon is obviously talented, but this shit is so fucking twee coming from a 45 year old man. A something of a developmentally-arrested manchild myself, I can relate to Not Growing Up, but something here leaves a bad taste in my mouth in much the same way K records albums do. I liked the self-titled album, so why not this? I mean, it contextualizes You Can Call Me Al in a way that I hadn't heard before that somehow makes me respect it less? Maybe it's how much it informed Vampire Weekend, a band I also think is talented but annoying. Also, the intro to Northern Exposure. It's hooky and catchy and I bet it would've found purchase in my brain if it had been associated with some Proustian element that makes me look back on it with fondness. Contextuality, the theme of this album. Anyway, this is the first time I've listened all the way through and probably the last.

You Can Call Me Al is a banger (great video too) but the rest of the record is just odd, not digging the Afrobeat crossover

I feel like you can call me Al will haunt me for the rest of my days

If you'll be my bodyguard...

A true classic! With African flavor. I've loved this album for years and it's a delightful surprise to have it pop on my listening queue today.

80-tal

Pretty decent. I would want to be on a beach somewhere to listen to this again. Chill and warming

If nothing else, this album is versatile. Every song sounds as if it's performed by a different artist. Nothing blew me away, but there wasn't much that was unbearable noise either. Favorite Song: "You Can Call Me Al"

I know Paul Simon, only song I know is Call me Al. But other than that not much else. Interested to see what this sounds like. 2 Tracks through and it's pretty interesting. Very funky.

Pros Nice use of medieval sounding instruments African influences are cool "The boy in the Bubble" is probably my favorite song "You can call me Al" is also very good Cons Rest of the album is decent, but not great Slower songs are a bit boring Not as good as I expected it to be

Couple good songs. mostly comes across as white guy trying to make world music

pretty good. self titled track is near perfect. "that was your mother" was a bit dookie.

Not for me but cool production

Pretty unique album that blends a lot of different international sounds into one stage, but doesn’t have the punch that some of the upper echilon bums have. 7/10

Okay so not much to say on this one. Do I like it? Are the criticisms labelled at Paul Simon now and at the time important in ranking this album? I like some of the songs a lot ('You Can Call Me Al', 'Diamonds On The Soles Of Her Shoes'), and I think that if you were given this on cassette for Christmas when you were 8 years old on the year it came out, you would treasure it forever and it'd be one of your favourite albums. Seems absurd to come back to this and give it the same mark as Pantera, but it's not really for me. A subjective 3 (an objective 4, and a music critic's 5)

Kinda boring, sorry Paul

Idk I liked the vision of some of the songs, but others I thought were kind of weird. When he wasn't being experimental for no reason it was super nice Fav Songs: You Can Call Me Al, Graceland, Diamonds on the Soles of Her Shoes

Paul is in a career rut. He comes out of left field with a collaboration with African artists. Two singles that move the charts. But his voice. His lyrics. Sing-talking babble gets into my bones and makes me squirm. It's no wonder I saw him and Dylan on a tour together. This album introduced me to Ladysmith Black Mombazo as a kid, so I'm grateful for that. And an ex of mine was obsessed with "Graceland" so I drove her to Tennessee to see the cultural phenomenon that is Elvis' home. That was also a thing that happened. I bet it was a dream come true for Los Lobos to have the chance to work with the legend, Paul Simon. But Los Lobos is better without Paul Simon. This whole album repeats that formula. Take talented artists in their own right and have them alternately make space for and have to get out of the way of a mumble-talk-singing Simon slinging his obtuse lyrics around the recording studio so the Americans buying the CDs can call it art.

I'm relatively familiar with this album, the songwriting is so good, something about the production of it sounds so "80s" to me. I'm not quite sure what it is, because it's pretty eclectic, and I guess the 80s-ness of it isn't necessarily a bad thing. Diamonds on the Soles of Her Shoes is so damn good, such a cool combination of genres. I think overall my biggest problem with this album is that everything sounds really major, it all is almost too happy sounding in my opinion, I think that's what contributes to it sounding really 80s to me.

My mum would like this album.

Interesting stories behind this album. PS had had a couple of bad albums before it, and was supposed to produce an album for a singer songwriter called Heidi Berg. She gave him a tape of South African music that she wanted her album to sound a bit like. PS then took the tape and made an album based on it himself with SA musicians, breaking the cultural boycott against apartheid in the process. Obviously a hugely significant album and there are some really nice tracks on it, but it ends up sounding a little middle of the road to me and also has this vibe of something fairly insipid and white leaning heavily on the contribution coming from another culture for all the innovation. Net positive tho, it's a good album.

Well ... I wasn't excited about listening to this, but it was a good listen, better than I thought it would be. And I love reading the reviews. Everything from 5 star, best album ever, to If I could give it a minus, I would - hated it. And appropriation is mentioned often. People, if we don't share ideas and learn things from each other ... how we gonna grow? Sit back and listen to it, geez!

Diamonds on the Souls of Her Shoes is really good. The album seems to have been influenced strongly by African artists (obviously such as Under African Skies, but in other songs like Homeless too). Overall, it kind of reminds me a bit of Johnny Clegg at times. Overall, I like it. Not sure I'd listen again. Clegg does it better.