Graceland

Phenomenal.

This is a brilliant album.

This was one of my very favorite albums when it came out and I had it on cassette. I have missed listening to it, so it was a happy reunion today. There's not a song here that I don't love.

I did not jump on the fanwagon for this album when it came out, just not ready to make the investment back then. I was happy to give it a listen today. I really enjoyed it.

I didn't pay much attention to this album when it came out but I picked it up a few years ago. That was the right time for me to find it. It's brilliant. And Boy in the Bubble seems especially relevant these days. Love it.

I bought this album not long after it came out after falling in love with You Can Call Me Al. The mixing of pop with South African street music is still pretty unique sounding. A classic from Paul Simon that sounds just as great today.

Surprisingly good! The Simon & Garfunkel, together or solo, albums I've had on here have bored me too death so far. Not my usual type of music but I could still really enjoy this. Great African infusion, some tracks didn't do much for me but didn't really grate. Some others though we're thoroughly enjoyable. One to listen to again for sure.

Good

4 ETOILES

The music video for You can call me Al is so great.

:)

Love

I guess it’s trying to be worldly, but it just sounds 80s blah.

The website fucked up and repeated my review of TPAB for Under Construction so instead of writing out my original review again here's a shorter version: It's very much of its time but holds up surprisingly well (aside from the usual cringe lyrics on tracks like work it). I especially liked the first half of the album up to the Jay-Z feature (minus the long skits). Now onto Graceland, an album with an even shorter review. It was another 45 minutes of fun Paul Simon music that was very similar to the Juilo down by the schoolyard album.

Catchy up beat fun beat much to say tbh!

Okay this slapped way harder than I expected. Go off Paul

With this endlessly engaging and pivotal album, Paul Simon once again became the darling of the music press and reestablished his status as one of music's more reliable storytellers and forward-thinkers. While One Trick Pony was a nadar and Heart and Bones an underrated gem that put Paul back on track, Graceland was the tale that made him the comeback kid, weaving simple, everyday tales into a palette that encompassed Apartheid era South Africa rhythms, zydeco and highlife; thus, Graceland became not only a hotbed of controversy and intrigue but perhaps the most important album in Paul Simon's discography. While the uproar remains justified, the fact remains that Paul Simon pulled off a hat-trick that was inconceivable a few years before; a middle-aged musician gathering up not only increased goodwill but interest from a younger generation who saw him as a standard bearer for this intoxicating blend of music. Poor boys and pilgrims with families, we're going to Graceland!

sorta appreciate the guitars but i don't really like the songs. kind of interesting lyrics!

Soso. One really excellent single amongst other musically accomplished however dull and outdated songs

An easy FIVE. the album is great, particularly the front half. I will likely revisit this album constantly, love the African influence, love it all

Easy 5 stars; grew up with and love this album. Just incredibly good. Will say that I think it tapers off a bit (I think that the first half is stronger than the second half) but it is all really special.

Das man die gehört haben sollte, da gehe ich mit. Hab sie lange nicht mehr gehört, You Can Call Me All fand ich immer großartig. Gute-Laune-Nummer.

Absolute banger and one of the finest pop albums ever made.

I should like this but find it grates a bit, always has. Love African music but this is too diluted / polluted. Sounds dated now, I won’t listen again

Didn’t need to listen because I’ve heard it 100X

Enjoyed the Paul Simon style but only his hits rang out

Nah, for political and musical reasons. There was a cultural boycott of SA at the time.

4/5 Fun music

Love the cover art. I knew one song from before - “You Can Call Me Al”. Style of music makes me wish I was at a beach sipping on a frozen pina colada. Very upbeat tropical vibes.

Funky kind of island beats with accordions, trumpets, and flutes. Paul sings some poetic storytelling lyrics. Enjoy his calm voice. Really interesting folk-y island-y mix. It hit different when he said “roly-poly bat faced girl”.

Proto-Vampire Weekend

some good songs, not all great, a good 4

It's good, just not my jam so much. I don't think I needed Paul Simon to have the whole solo career he's had, but I can't stop him.

This is honestly the Paul Simon album to beat for me. The production is killer, the songs are varied and great, and I have a lot of nostalgia for it because my dad had it on repeat quite a lot when I was a kid. Waffling between 4 and 5 a bit here because on one hand I really really like it, and on the other hand I kinda need to be in the mood for it? But I also need to be in the mood for some of all time favorites, so... We'll give it the ol' 4.5 rounded up because nostalgia lol.

Eh. Whatever.

This just doesn't move the needle for me. I know it's considered one the greatest albums of all time, but it feels very empty to me. I did find myself bobbing my head to "That Was Your Mother" Zydeco is a cheat code for my heart. Overall I didn't hate it, but if I never heard it again I wouldn't miss it.

This album was good. Can't say I'll ever revisit on purpose, but it was fine and went well as background for working. I liked the more African flavored songs quite a bit.

Good album, really soft and smooth. I liked the intertwining of the African music. I didn’t get it when it came out with him or Peter Gabriel. But I get it now.

Legend

Reminds me of Simon Garfunkel

Out of the norm for pop music with the clear African influence. Lyrically creative and thought provoking, but I'm not likely to return. Highlight is obviously You Can Call Me Al - great track.

Beautiful album, loved it

day 36. I got behind on my album listening because of this one - thrown off by all the negative reviews and wanting to listen to this multiple times to try to understand. But screw it, I’m going with my instincts and basing this off the music here. I love this album, it’s funky, it’s fun, it’s eclectic and it has heart. I can’t pick out a skip on the album because they’re all really solid. There are so many layers here between the horns, accordion, groovy bass, background vocals, and yet it never feels like too much, they all have their place and get to shine perfectly. This album puts me in a good mood, is unique and I could listen to it many times over, and for me that’s worthy of 5 stars. 5/5 Faves (besides Al) - Graceland, Gumboots, I Know What I Know, The Boy in the Bubble also I thought the “bodyguard” in Al was named Eddy, oops … I think I like Eddy more than Betty :)

Okay to have on in the background. You Can Call Me Al is a good song but not too fussed on the others

Puur genieten

Okay. A little too slow for me

2.5/5

Very good

3.5 stars

One of his best albums

Whimsical, witty, vivid and heartfelt vignettes about the idiosyncrasies of life. Set to a compelling blend of 80s pop and (a small slice of) African music. I wouldn’t want to live in a world where this album was never made. Indie music of today would be a lot less interesting and a lot more Western.

a strange album — paul seems to be hovering around a political point (and truly the whole album is political) but he can’t write it genuinely so he uses layers and layers of metaphors, which leaves the lyrics a bit tortured (eg graceland is odd any way you slice it). the instrumentation is where it shines though — the mix of african and western music is fabulous (those horns!!), and there wasn’t a moment i was bored. if he had dylan write the lyrics, this would be nearly perfect. instead i have to give it a 4, but a very strong 4. i’m going to absolutely revisit it.

Миленько, приятно. Интересные аранжировки местами Алкоальбом: выпиваешь с батей водочку

Блин, ну да, я начинаю понимать Тёму... конечно же, это тот же самый Пол Саймон, что и на нескольких предыдущих альбомах. Да, он записал альбом в ЮАР, да, он записал его с локальными музыкантами и ушёл немного в другую музыкальную стилистику. Но... не знаю, структурно песни-то всё равно те же. Условно, Under African Skies - ну прям начало звучит, как классическая песня Саймона и Гарфанкеля! Но только начало... Конечно, вот эти африканские вайбы добавляют эффекта при прослушивании, добавляют интереса. Но это пока не мурашки. Но точно лучше, чем его прошлый альбом, а там я влепил 4... дурачок))

Fantastic album with a theme/style throughout connecting the songs. Rating: 4.5

This is a really unique album. The question I was asking myself throughout was: has it aged well? I’m mixed on the answer. On the one hand, I really appreciate the African sounds. But on the other, if I wanted to listen to that, why not listen to an album by those artists?

An undeniable classic record by Paul Simon. Innovative and clever pop music.

Cracking album, already loved it!

👍🏻 6.5/10

Nah

Highlights: You Can Call Me Al, I Know What I Know, The Boy In the Bubble, Graceland Leave Em's: Under African Skies, That Was Your Mother Overall Thoughts: This is my second time around reviewing this album and it did not disappoint. I love the fusion of sounds that Paul, as a singer songwriter pulls together. There are some clear African influences throughout the album, but he manages to blend them with an infectious and memorable pop sound on several songs. I would maintain the claim that this is one of the best complete albums that I have heard so far in this project. Score Breakdown: 3.82 & 4 -> 3.910

Two Paul Simon albums in a row. This one was better. Still not my thing. Great production here. Worldly instruments, musicians and styles. No skip album for sure.

An instant classic and masterpiece. Great song writing and rich and enchanting arrangements. Rating: 5/5 Playlist track: You Can Call Me Al Date listened: 08/06/23

Graceland by Paul Simon is a masterpiece that seamlessly blends world music influences with Simon's impeccable songwriting. Released in 1986, it introduced the world to a vibrant fusion of African rhythms, infectious melodies, and heartfelt lyrics. Tracks like "You Can Call Me Al" and "Diamonds on the Soles of Her Shoes" are timeless classics, showcasing the album's infectious energy and Simon's distinctive storytelling. Graceland's production is polished and rich, allowing each instrument to shine. The album remains a testament to Simon's musical exploration and ability to create an album that transcends borders and genres, making it a true gem in his illustrious career.

It's been a while since I've listened to this album all the way through and I realised this time around I only enjoy a couple of songs. I get what Paul Simon was trying to do, but it does not like the lame white version of some of the music. 3.5/5

I like Paul Simon just fine, and I love West African music more than I like him. I know this album is classic, but I think some songs are better than others in a massive way. The production is lovely — the music is incredible, the lyrics are often interesting, though the collaborations aren’t as synergistic as I’d like. I think that more than anything, I feel kind of eh about this album! Would probably be fun to see live, though. Anyways, a solid 3 because I need to listen again, but I mostly feel flat about it.

Good and Great: The Boy in the Bubble, Diamonds on the Soles of Her Shoes, Homeless, Graceland, and You Can Call Me Al. Bad: That Was Your Mother. The Rest is typical middling Paul Simon despite slightly more adventurous instrumentation.

Some good tunes, need to Listen more

I pressed play without any expectations and, as songs passed, could understand the fame of this album. The vibe and harmonies present in this work are unique. Even though world music was nothing new by then, the angle Simon uses here is different. I am positively surprised!

Saying that there are 1001 albums that are better than all others is arbitrary and suggests there is one album is better than all others which is frankly ridiculous until you hear this album and realise that there is a best album of all time and it is Graceland.

5 stars from start to finish. A damn near perfect album.

To be honest, I heard this album decades ago when it came out. Although it is well-regarded by many, I see it as derivative and almost a plagiarized sound that is more a copy than an original work. I won't bother to listen again. Two stars for the historic value, but that's it.

à chier

Some wonderful tracks, mixed with some that were OK. But a 4* overall.

Fantastic!

Nice

It was good

An album of deep beauty and respect for the collaborative process. Wildly important given its anti-apartheid roots. A genuinely deserved AOTY winner.

Absolutely Simon's best solo project: very nice and interesting.

One of my favorite albums, grew up listening to it

Highlights: You Can Call Me Al, The Boy in the Bubble, I Know What I Know Leave Em's: That Was Your Mother Overall Thoughts: First time listening to Paul Simon and I thought this project was masterful. His blend of singer/songwriter with clear African influence is done in good taste. Several songs make me want to dance and move along. Pleasantly surprised in the first album I received.

не самый большой фанат Саймона и Гарфанкеля, но это ещё меньше заинтересовало

Really enjoyed this album and will always love, You can Call me Al. 4/5

Close to a perfect album. Standouts: Diamonds on the Soles of Her Shoes, All Around the World - who am I kidding, all the songs are standouts. One of the first ultra-popular albums to merge non-American influences (South Africa) with American pop. Cannot believe Paul got crap for violating the boycott of So. Africa and working with these musicians. This definitely accelerated the end of apartheid. One of my favorite albums.

One of the most famous left-turns in pop history. He’d been making music for 23 by this point? It takes a lot to make world music this accessible, this succeeds. I don’t always feel like listening to the whole thing, but it objectively earns the 5th star. The a capella opening to Diamonds on the Soles of Her Shoes is the standout moment

Favorites: Diamonds on the soles of her shoes You can call me Al Crazy love, vol. ll

Great album to take you back to a simpler 1980s world, with the warm and soothing rhythms of a groovy Paul Simon. Good for a listen start to finish on good HiFi. 4.3/5

Damn dit laat me koud… leuk om te weten dat You can call me Al hiervan is, maar de rest van zijn nummers zijn gewoon niet zo heel erg spannend. Ben dan ook blij dat het album over is…

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

I enjoyed this album.

I've heard this album so much throughout growing up, it's just one of those albums that everyone seems to like a lot and is always on. I had a coworker that used to come into our restaurant for his midday shift and switch this album on every day for like a year. That kind of wore me out on it but it's a pretty undeniably catchy record. Very upbeat vibes, with great instrumentation and songwriting. Even though I've been down on this album at times, it's difficult to knock it. Standout Tracks: Graceland, I Know What I Know, Diamonds on the Soles of Her Shoes, You Can Call Me Al, Under African Skies

Music pleasant to listen to, easily blends into the background. The biggest flaw - as soon as I finish I forget the content. 3.5/5

It's so much more interesting than Simon and Garfunkel, I did not expect that

Again this is one of my faves. There's a lot of haters though I guess. I think they're forgetting this is the height of the 80's here. It's 80's sensibilities. Let them hate. The rhythms, melodies are hypnotic and the lyrics cutting. One of the best.

Great voice great listen. Got some different vibes throughout the album but it really sucked me the whole time

Paul Simon writes poetry and then contorts it in such a way to fit the tune. Quite a talent. You can call me Al. Such a highlight of my childhood.

From start to finish, I love this album. It's euphoric, melancholy, funky, folky, melodic, harmonic... just about one of the most effective blending of different musical styles, and all of the emotions seem real. Well done Mr Simon.

Good album!

One of the all time best.

decent.

PREFS : TOUT MOINS PREF : RIEN

I always thought Paul Simon was pretty cool. This record was obviously inspired by afrobeat and other genres of African music. I think Simon is able to blend those genres with pop quite well on here. Enjoyable listen.

A perfect fusion of 80s pop and African styles. Peter Gabriel and David Byrne had been experimenting with some combinations before, but Paul Simon really went ham with incorporating so many different styles that each song stands out for some unique instrumentation or playing technique that you will will never hear anything like it. It's groovy and optimistic; you could almost dance to it. Yet it knows to only take the background, with Paul Simon's vocals and excellent songwriting taking the forefront at all times. My first time listening to this was actually on my drive to Graceland when I visited Memphis, and I truly was not prepared for every song to stand out. But he really put thought into each and every one. My only complaint is that I wasn't too crazy about some of the last few tracks, but they were still interesting ideas.

This is a low 5 for me but kinda just barely. Lots of 'experimentation' and blending of South African stuff right into his more 'traditional' American style. I have a lot of nostalgia associated with this one that helped bump it up a notch for me. A pleasure to listen to even though the shine of surprise/newness have worn off.

growing up, i distinctly remember gimmicky songs from the era: “got my mind set on you” by george harrison; “don’t worry, be happy” by bobby mcferrin; and “you can call me al” by paul simon… and i thought they all sucked. having said that, in my opinion the album graceland exemplifies much of that same hokey essence. tis odd and quirky and annoyingly so. it contains four(!) songs that inexplicably have an accordion? and i realize that mr. simon has a huge fan base as he has been in the music business for decades, but i just don’t get this album. there is something about his voice that i can’t stand.

Bryant: Paul Simon is one of those guys who I don't like most of his stuff but occasionally he hits a really great song. You Can Call me Al is one of those. I'd never heard Under African Skies but it was pretty good too. Erica: I like 'em all. Bryant: Now I wanna meet Fat Charlie the Archangel. Crazy love is pretty good. All around the world was also pretty good. Erica: I like Paul Simon, he does a fair bit of talking through his songs but it sounds like he's feeling it and he's melodic. I like how he really champions African music with references and inclusion on this album. I like the layers of the instruments and how each song has a positive momentum. Bryant: I liked this more than I thought I would. I'd give this a 3.5 if I could.

Familiar with this album because of the video for You Can Call Me Al and tgd wife grew up on this album. I’ve heard it a few times and I really like it. Just a solid record. He tried something a bit different by making a record in Africa and it totally works. Great album.

I have a weird relationship with this album. Simon w/ & w/o Garfunkel were in heavy rotation in my mom’s record collection. And There are plenty of good things about this record, but many that have also bugged me, both at the time, & now even more so. The melodies & harmonies are good, but the production is weird and sounds very dated even when compared to other albums from the same year or the 1980s in general. Simon has always been a good songwriter, and he enlists other musicians who one wouldn’t think he’d use, like the Apartheid embargoed South African musicians, or Los Lobos. And the production & arrangements are filled with weird choices. On “Diamonds…” Simon sings a weird call-and-response w/ the SA singers, but he sings BOTH parts & his voice is louder than the responders, stepping on their harmonies. Theres obviously tons of compression on everything. Then there’s the soooo 80s gated drum production that was already going passé by 1986, especially the once ever present gated reverb. The 80s gated reverb was accidentally discovered by Peter Gabriel, Phil Collins, & Gabriel’s production team while recording PG’s 3rd album. And while the Gabriel tracks that have these techniques, use of South Africans, or other arrangement decisions on tracks like “Intruder” (where gated reverb began), “Games Without Frontiers”, “Shock The Monkey” (THAT’S HOW YOU USE GR!), or “Biko” still sound innovative, Simon’s album just often sounds dated & unintentionally disjointed. And the latter PG track was actually banned in SA for taking on Apartheid by letting us in the global North & West about Steve Biko’s murder, whereas the wealthy Simon just broke the international sanctions meant to stop Apartheid because… I just feel like it? “Graceland” didn’t speed up its fall. And Gabriel & Talking Heads were using more traditional African musicians & influences w/o running the embargo. And they were six years ahead of Simon. You know who else went contrary to the embargo? Ronald Reagan. Not good company for a 60s counterculture guy like Simon. And Simon was later accused credibly by musicians of plagiarism, ie Los Lobos. But notice, Simon didn’t sue for defamation, and LL’s Steve Berlin said Simon gave him a rich guy’s fuck you à la Donald Trump “So sue me.” And though I think Chevy Chase, (who is in the “You Can Call Me Al” video) is funny he’s well known to be a prick and Bill Murray’s insult to Chase in a fist fight “Medium Talent!” Seems to fit Simon at this point in his career. So the good parts get this to a ⭐️⭐️⭐️ but the downsides make me not want to give it anything more. I don’t listen to this and I’d go back further in Simon’s catalogue to listen to him. In the end this is an talented aging boomer hippy sellout’s protest album attempting to remain relevant by screwing over some musicians while pretending to care about social issues while actively resisting measures to fix those said issues. And this was a very popular album. But in the mid-80s popularity was a sure sign you’re probably sucking the corporate cock — see Kurt Cobain’s response to popularity five years later. And did Simon actually do anything memorable after this? No.

I was well aware of most of the controversies when this album was released (and I did not buy it at the time), but not aware that Paul Simon stiffed both Heidi Berg (who introduced him to South African music) and Los Lobos (who co-wrote the final track and were uncredited). But I'm trying to judge these albums on their musical (& lyrical) content, not on the performers. The 1980s drum sound dates it, but this is a 5⭐ album.

Still great

I love a lot of what Paul Simon has done, but not this. The best parts of the album were the South African performers. And they were great! But overall…mid-1980s Paul Simon is just not for me.

Yeah that was pretty good!

Wow, wow, wow. You can just feel the importance of this album as you listen to it--just fantastic. To cover this many genres in a cohesive way is something only very few artists could have pulled off. Granted, not all of the artistic decisions made here landed for me, but the overall project is so interesting that I have to give it 5 stars without a shadow of a doubt. Favorite track is obviously You Can Call Me Al, but Diamonds on the Soles of Her Shoes and Homeless are right there as well.

You Can Call Me Al is a goddamn masterpiece, and the rest of this album slaps just as hard. 80s Paul Simon has so much BDE that you can’t help but get swept up in his strange little pop rock fantasy party.

According to other reviews, the South African influence is transformative in this album. I’d argue that, if present, the South African influence had been mainstreamed into classic folk rock shortly before or not long after, and I couldn’t separate it from the stories being told.

Singles are the highlights, album tracks are just okay, but the album as a whole does have a very distinct, cool sound. Cool bass tone throughout

I was surprised by this one. Probably the best Paul Simon record I've ever heard. Though Simon's songwriting formula of "I was doing this, she said something, I said something back, then we did this and it made me feel a certain way" gets pretty old after a whole album. "You Can Call Me Al" is a jam though. In fact, most of the tracks were pretty groovy and fun. Overall, despite the formulaic songwriting, it was a pretty good album.

You’re a chode Paul!

I love Diamond on the souls of her shoes and you can call me Al. Everything else is just meh.

Nah. No. I don’t think this needs to be heard by anyone. The word that comes to mind is Fartknocker. It’s fartknocker music. Sorry Paul Simon.

Should I mark this as “did not listen”? I made it through the first 10-15 seconds of each song. Not for me.

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.

I've heard this before and thought it was alright but for some reason on this listen it just clicked - absolutely joyful from start to finish. These are going to be in my head for a long time, and I'm definitely going to listen to it again soon.

Still sounds exactly like what it is: a Lizzy Mercier des loud rip-off

It's a pretty solid album until the zydeco tracks. And there's not all that much zydeco... but that's still too damn much zydeco.

Not much left to say about this one. Take your 5 stars and get out of here Paul.

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

The Xitsonga on 'I Know What I Know' was really interesting. It led me to do some reading about how Simon became interested in mbaqanga, South African street music. That the album is a protest piece against Apartheid makes me like it one star more.

I have two copies of this on vinyl. Not sure how that happened. Of course the amazing songwriting abilities of Paul Simon would not be dragged down by the plastic production of the 80's. In fact, it is his warm and grounded in the various traditional folk music stylings from around the world (particularly South Africa). There is a lot of discussion surrounding Simon's use of this style of music and if it's appropriate or not but I'm simply not interested in going over that here. Of course it's exceptionally good. Simon clearly had an ear for the kind of songwriting that would gel with the cultural influences he was pulling from. While I don't love the album, it's still excellent.

Classic, original compositions, great band!

Reassuring, just fun to listen to

One of my favorite albums of all time.

I have and still do love this album

Somewhere someone is saying that Paul Simon is a great lyricist but it seems like incoherent ramblings to me. Also dude would get slammed for some heavy cultural appropriation nowadays. Too much accordion but Call Me Al is a banger.

was fine

I’m already very familiar with this album. I love it!

It was a slow day And the sun was beating On the soldiers by the side of the road There was a bright light A shattering of shop windows The bomb in the baby carriage Was wired to the radio These are the days of miracle and wonder This is the long distance call The way the camera follows us in slo-mo The way we look to us all The way we look to a distant constellation That's dying in a corner of the sky These are the days of miracle and wonder And don't cry, baby, don't cry Don't cry Thats how this incredible album starts - which maps the global music of the mid-80s, a time when technology had become the new favorite deity and drugs were cheap and plentiful. Did he appropriate music and culture from Africa and the Caribbean? You bet your fucking ass he did. It doesnt detract from the album, which is outstanding. Paul Simon, who couldnt write a bad song if he tried, stealing from global music and writing a masterpiece. 5/5

LP

I was 14 when this came out and listen to mostly metal at the time, so obviously didn't like it then. Over the years I would put this on numerous times and honestly I still don't like it much even though I like Paul Simon's 60/70s work. Normally when I don't like an album I disagree that it should not be on the list but in this case I do agree it should be on.

I’m not a fan of all the African chorus and backup, but I do love the guitar and rhythms. Simon has such a relaxed voice and strong songwriting and the recording is impeccable. I don’t, however, need to hear You Can Call Me Al ever again.

I listened to this on so many family road trips that it's basically a time machine to my childhood. Good songs and good memories here.

Another really good album from Paul Simon. Different than other's hes'd done, the South African vibe is something a little off the wall. But it works, really well.

This is my favorite Vampire Weekend album! I enjoy this album more now than I did when I first heard it. Feels like a very adult album with adult themes and banging ass African music!

Poppy, catchy, lyrically lovely. Something where my chief criticism is that You Can Cal Me Al lives rent-free in my head.

It has that song, and it's mindless. But I just really don't like Paul Simon.

A fantastic album. Between the Cajun/Creole/zydeco vibe on songs like "Gumboots" and "That Was Your Mother," and the contributions from African artists like Ladysmith Black Mambazo and the Gaza Sisters on "Diamonds on the Soles of Her Shoes," "Homeless," and "I Know What I Know," it's a true multicultural treat.

You Can Call Me Al brings back vivid memories of the video with Chevy Chase. That song was a mega hit at the time, and little kid me loved every bit of it. 80s Paul Simon was pretty fantastic...great song writer & composer, but I've always felt a little uncomfortable with a wealthy white dude making Afro-Carribbean music. Is it homage or is it appropriation? Especially since some of the singers & musicians were from apartheid South Africa. Definitely something to think about. Musically, I thoroughly enjoyed this & will absolutely listen again. Paul Simon is just that good.

Given my usual taste in music, people are often surprised that I count this as one of my all time favourite albums. I listened to it a ton when I was a kid and with the tracks involving African artists like Ladysmith Black Mambazo it was an ear opening experience to "World Music" Super fun to go back and revisit this classic.

Annoying. Every song feels forced and each sound is disjointed and random. Concept "world" album with no thought to song writing. Just a bunch of world "musicians" jamming in a studio. Can't finish this.

Excellent.

One of my favorites.

I honestly don't know what this is, or what it's trying to be... The only song I know/liked really was 'You Can Call Me Al'. Beside this it's just not my type of music at all.

I remember my parents had this album, but I haven't really listened to it before. The way the western sensibilities merged with the African stylings really worked. I really like some of the guitar work - it was quite unique, or at least as far as I've heard. Paul Simon is really quite a gifted lyricist - there were some quite nice lines in there. The title track was my favourite. I've heard "you can call me al" to many times to enjoy that one.

Wish there was a 6th star for this favorite

Trippy sound. Highly inspire by african beats

I guess it's the most careless and life-affirming album in my dark playlist. These vibes of "Lion sleeps tonight" and african folklore, my inner child loves it so much!!!

He's got such a soothing voice, but really nothing about this spoke to me outside of Call Me Al.

This definitely deserves its place on the list, as it hit the world like a bombshell, putting South African (and African American) musicians at the center of a musical sound during Apartheid. In fact, the politics of this album are controversial - many criticized Paul Simon for violating the embargo against South Africa, while others congratulated him for bringing attention to Apartheid. (I was only 10 years old at the time, so I didn't have deep opinions about that issue back then.) There is also the title and the explicit connection that Paul Simon makes to Graceland and Elvis, which I now find a bit creepy (Elvis profited on bringing African American music to white audiences). Paul Simon "helped" black musicians with this album, but also made a nice pile of change. There is complexity here. That said, Paul Simon's songwriting really takes center stage in this album, with the sounds of South Africa and the Southern United States included for texture, but never totally appropriated. I think it was that skillful meshing that saved this album from being more problematic than it was. Paul Simon's songwriting could never be confused with anyone else's - it is so distinctive and unique. Furthermore, I think Simon did a good job of letting his guest artists express their own creative powers, without forcing them into his mold too much. I think this is why the album has aged so well. It's so unique. There's nothing that sounds like it. An important and unique album, and distinctively of its time. 5/5

A bit of a favourite. Wonderful collection of great and interesting songs. High 4.

i love vampire weekend

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 liked how it segued in and out the South African music at the start of the end.

Pretty relaxed, I guess I'd call it folk rock or folk pop. Good variety of instruments

Like kje You Can Call Me Al

Jumping the shark without Garfunkel. A few fun songs here, but has the 80's garbage sound.

A soft 2 from me. Didn't enjoy the overall themes of this album as a whole. Just not my thing I think. The first half was a lot better than the second for me. Won't be listening to again

Decent album. You can see what he was trying to do and his influences for the album

sadly not my favorite. just so not my style.

Interesting that five songs are co-credited on the streaming version I listened to. Can't remember if I ever did read the sleeve notes on my CD version (I usually do) but pretty certain I'd never heard of the Gaza Sisters before now. More certain that they aren't mentioned in "Under African Skies", the documentary about the making of this album. Might be a factor in the occasional claim of self-centred cultural appropriation pushed in Mr Simon's direction every now and again. Anyway. Sound album, one for the ages.

Good memories

It forms the bridge between Dylan and the acoustic singer songwriter. Its nice but not really my bag

Hele fijne muziek, vier sterren lijkt me. Vooral een blij album, met ook lekker wat verschillende invloeden (o.a. Afrikaans) erop. Nee, toch gewoon vijf sterren, ik heb eigenlijk van het hele ding genoten.

classic

Loved it

The Boy in the Bubble seems weirdly prophetic. I could never hear Call Me Al again and be okay with it. A lot of gems on this album, though.

Boss album this I think. The classics are in there - great the way he nailed the African influences throughout the album. You Can Call Me Al warms my red bastard heart whenever I hear it. So there

Always liked this album. Proper strong start. I know what i know is so catchy.

I Know What I Know is a tune. All great songs to throw on at a Christening do, a wake, a birthday, after a great sporting event, at a disco and in youtube animal compilations. Great album

This album was my first exposure to African music and was a touchstone to a life long love of international music.

Honestly, pretty nice vibes. I especially liked 'You can call me Al'

Do you enjoy 80s pop and New Wave? Ever find yourself thinking "Gee, I wonder what it would sound like if the intricate polyrhythms and harmonic structures from traditional African music joined with pristine engineered, 80s pop in some kind of fusion. Is there anything like that that even exists?" Well guess what: Yes. Graceland fills that niche perfectly. In the hands of a lesser musician and a lesser producer, this album would sound over-produced and kitchy. But with the melodic hooks devised by Paul Simon and his collaborations with various South African musicians, the atmosphere of the record is one that provides a rare feeling nowadays: Joy. No songs wailing about how the government is failing its citizens or how you'd rather be dead than caught by police, and even the song "Homeless" has an optimistic twang to it, only heightened by the smooth interweaving of the acapella arrangements. The eclectic choice of instruments and arrangements provide a unique experience that few albums could boast about. Standout Songs: "Boy in the Bubble" "Graceland" "Diamonds on the Soles of Her Shoes" "You Can Call Me Al" "Homeless"

Was looking forward to listening to this album again, although there's only 4 tracks I ever really liked on it. There was a lot of experimenting with sounds on this album, which you can pick up on throughout the album.

"You Can Call Me Al" is a nice earworm, but I've always thought this album is a bit overrated. I can understand the intent which made Paul Simon try to infuse "global' sounds into his songs. The problem for me is just that the end result is plagued by usual 80s mainstream production shenanigans. The latter don't even have some sort of "retro" charm today. It's just a cheesefest hiding whatever merits some of the tunes may have. When you compare *Graceland* to the sixties output of Simon with Garfunkel, the difference is telling. Simon and Garfunkel were style AND substance. To me, *Graceland* is all about style mostly (at least production-wise). I'll give it a 3/5 grade, though. Once a year or so, I try to listen to so-called "important" albums I didn't really like at first to see if my taste has evolved. *Graceland* is one of them. Peter Gabriel's *So* is another. Very rarely, I can change my mind, and honestly, I hope I can do the same for those records one day (hence my middling grade, giving them the benefit of the doubt). Interestingly, both Simon and Gabriels have used so-called "world" music to try to renew their sound. The thing is, I can't help feeling they mostly use those influences as a gimmick to cover for their meandering songwriting. There was a very opportunistic mindset in mainstream music during the eighties. To me, here's another example of it... Number of albums left to review or just listen to: less than 700, I've temporarily lost count here Number of albums from the list I find relevant enough to be mandatory listens:  approximately a half so far  Albums from the list I *might* include in mine later on: a quarter (including this one) Albums from the list I will certainly *not* include in mine (many others are more important): the last quarter

Love this!

Paul Simon est de passage en terre africaine pour notre plus grand plaisir. On aurait toutefois aimé qu'il s'exprime en langue locale ou même en français, mais notre ami n'en a pas eu les couilles.

Paul Simon nous propose un nouvel album chiant à mourir. Ce mec est capable de ruiner l'ambiance dans une soirée en une fraction de seconde, grâce à l'ennui profond qu'il apporte dès qu'il ouvre la bouche. Sa dernière apparition télé a d'ailleurs représenté une véritable catastrophe industrielle pour la chaîne lui en apporté sa confiance, puisque dès que le visage de Paul Simon est apparu sur les écrans, plus de 4M de téléspectateurs ont immédiatement coupé leur téléviseur. Un artiste à fuir.

I bought the cassette from Columbia House Records and Tapes back when this album came out. Nearly wore it out. African sounds have always been at the core of American made music - jazz, blues, rock, bluegrass (that banjo), hip-hop, rap. Sounds and rhythms brought here through the instruments and voices of enslaved humans. Whites condemned it and took credit for it when they figured out how to appropriate and profit from those who were responsible for it's roots and development. I understand how Simon also did this. I also see that he went to the source and brought forward the music and voices of those oppressed by colonization and apartheid. Would I have had the same opportunity to attend concerts and support the music of Ladysmith Black Mambazo were it not for this album? Perhaps breaking that cultural boycott opened a door that helped wake up white people and did some service toward ending apartheid. This album helped this white girl understand better the African roots of all the music that I loved. After this album I ate up roots music, I started listening to Zydeco. Simon doesn't deserve all the credit for broadening my listening landscape. It was the African voices that this album incorporated celebrated who made me keep listening. African voices and rhythms were the best thing that happened to the over synthesized music of the mid-80s. I still love this album

Not bad. A decent melding of folk, the '80s, and International influences.

5*

I love the Zulu-style tracks. Since these songs are written or co-written by Paul Simon, they are as perfect as a pop song can get.

One only understands so much about cultural appropriation but one knows this is a great record – and knew it from the first time one ever heard it. One's a bit of a Simon skeptic (if not quite a hater), but there is such enthusiasm and appreciation for the music he’s sharing and co-creating that it’s hard not to like. In a more just world, the South African artists would’ve had top billing and enjoyed more of the benefits, but there was at least some upside for them. “Diamonds on the Soles of Her Shoes” is an all-time pop song, easily one of the best of the ‘80s. Too good to be just a 4 though maybe not the highest 5.

It's like they know I hate Paul Simon and did this on purpose. What a trite lil load of shit. Recognised one song. 2/5.

It must be seen as a "classic" but I didn't feel that vibe.

Highlights: "Diamonds...," "Homeless," "Myth of Fingerprints" Definitely see this as a culmination of a lot of big influences more than groundbreaking, but you can hear it bridging Mitchell and '80s New Age into alternative like Bela Fleck and Dave Matthews. Also wasn't expecting to feel this correspondence from this "world music" touchstone to the Pan-American phantasmagoria of Van Dyke Parks, but it makes sense! Just well-made and an exciting transformation for a big artist, and more people should use their clout to give exposure to amazing acts outside the industry. LBM rules; the real star of this album.

Less african-sounding than was led to believe based on reading the wiki. Has a classic 80s cheese present throughout. * Homeless

mid

I don't think this aged GRACEfully. It sounds like a commercial for an organic breakfast cereal targeted at kids.

Graceland the single fucking kills it. Gumboots is killer. Under African Skies slays. This album is so full of rich texture.

Great 80s vibe

Cultural tourism that made a million.

Very Very Good!

Some of it reminded me of the Talking Heads. It's a bit overrated as far as Paul Simon is concerned. Don't get me wrong, it's a great album, some would even say it's a landmark. But I'm guessing none of the songs Paul Simon will ultimately be remembered for will come from Graceland. It lives in that 4 to 4.5 zone, not quite flirting with a 5. In the interest of full disclosure, I have a blind spot when it comes to Paul Simon without Art Garfunkel. I famously gave all three Simon and Garfunkel albums on here a 5. Hell, The Graduate is my favorite movie. So I always think Simon's songs miss whatever magic Artie was able to bring.

Pretty pretty pretty good 5

I went in figuring I would like this album, and I did. I'm realising that I like Paul Simon's voice. I enjoyed myself throughout the album. It wasn't amazing or anything, but it had an energy that I liked. Still very solid. There was also a few interesting themes throughout the album. I wonder If I'll like other albums of his. My favourite songs were You Can Call Me Al and Gumboots.

Сначала очень понравился, необычный для сонграйтера альбом, довольно разнообразный и всякие фишки я слышу задействованными и по сей день, я сонграйтеров слушал чуть-чуть, мне очень нравятся пару альбомов Боб Дилана, так вот, этот альбом отличается, своей какой-то более поп-развлекательной составляющей в плане музыки, при довольно стереотипных сонграйтерских лириксах. к последним двум трекам мне альбом уже чуть поднадоел, однако я ставлю ему 4. единственно о чем я жалею из всех своих оценок, что Sigur Ros я поставил 3, у меня в голове это уже крепкая 4. Лучшие треки: Graceland, I Know What I Know, Diamonds On The Soles Of Her Shoes, You Can Call Me AI

General jolly Known song enjoyment

It's fine. Don't really get the hype. But you can caaaall meeee Hel!

Een van de eerste albums ooit die ik luisterde en Paul Simon was de eerste die ik tijdens een concert zag ❤️ ly4ever Paul

The soundtrack of my teen years. Not a bad song on this album. From the cheeky You can call me Al to the harmonies of Under African skies - such deep and rich music. Although, I never understood why an album with such African music influence was named after, and a song about, Elvis’ home.

T3B 1. You Can Call Me Al 2. Diamonds on the Soles of Her Shoes 3. Graceland A weird one for me, I was back and forth, but settling on a 3.

I actually really liked what I heard, such a soothing sound

Strane influenze africane, mix interessante

Not my vibe

10/5 one my all time favorites..fantastic music…whole new insight into international music

Three songs in and this is an incredibly irritating sounding album. Oh God please end. Like fingernails down a blackboard. Yawn. Thank God its finished. I hated it and will never listen to it again.

I mean it’s fine, I own it. Pretty easy listening tho.

One of the best albums ever

Mish mosh

Some songs were great, others were just okay.

Pretty standard for Simon in my mind. Some real gems, others are just ok. I was driving when I listened so it was hard to take good notes.

Interesting sounds

Cool to try and incorporate a lot of different sounds/instruments, but Paul sounds so bored the whole time I just start to tune out. Every song goes on a bit longer than I'd want it to, so even the fun ones ("Call Me Al") outstay their welcome. Truly an achievement to make me dislike a random accordion backup.

Folk, pop. Interesante.

Wasn’t a fan of the old time jazzy rock sound

Probably one of my wife's favorite albums. Most people think of the one song "You Can Call Me Al," but there are so many great songs here. Paul Simon was firing on all cylinders on this. Probably one of my favorites is "Under African Skies", very underrated song. I'm sure that people would say this is the album that pretty much represents Paul Simon's work, and I would have to agree (although The Rhythm of the Saints is a great work of his, too.). Highly recommended.

As I said when his debut album made the list, Paul Simon has many other better albums. This may be his best. A masterpiece. The composition and musical arrangements are incredible (and his lyrics are some of his most clever/witty). So much sound right from the get go in Boy in the Bubble. And a lot of the album's sound is unusual for the typical listener (native African instruments & vocals, other worldly sounds, accordion, woodwind and brass for days) and yet he makes it all sound so familiar or normal. Graceland, Diamonds on the Soles of her Shoes, and You Can Call me Al are all stone cold classics; the last one perhaps the most typical pop rock on this album but the other two more of the worldly sound he sought on this album. His many collaborators deserve a lot of the credit too for making the songs so magical. Don't know what I mean? Listen to Homeless - beautiful. Or I Know What I Know - super fun. I could listen to this album on loop over and over and over.

Cultural appropriation or beautiful mix of cultures? Far be it from me to decide. I know what I know, as the song goes, and I know this is an absolutely perfect album. We had Ladysmith Black Mambazo as a pick in the 1001 albums and I rated it pretty low because an album of just their singing was kind of meh. Combine them with Paul Simon's voice and writing as well as a wealth of other styles, and suddenly you have a classic. It's all about the synergy of styles that makes it wonderful. It's good to see Paul Simon treated the artists very well - he paid his band far above scale and made sure all the South African acts received writing credits. He received a ton of criticism for violating a cultural boycott of South Africa over apartheid, but it's questionable how it was a good thing to have a cultural boycott of the very people oppressed by apartheid. Regardless, I've loved the album since it came out and never get tired of it. Easy 5. Favorite tracks: The Boy in the Bubble, Graceland, Diamonds on the Soles of Her Shoes, You Can Call Me Al (even if the video was all kinds of overplayed), Under African Skies (I had no idea that was Linda Rondstadt or that it was so controversial), Homeless.

Zadziwiająco spoko

fasza dél-afrikai influence/inclusion érdekes time-piece az akkori helyzetet nézve gitár, szaxofon és amblok hangszerelés pretty good as well, van ahol low-key country hatása van lmao szövegek/overall üzenet felemelőek feel good music You Can Call Me Al

Graceland is the seventh album by American singer-songwriter Paul Simon. There is a mix of genres on this album, including pop, rock, folk, a cappella, and traditional music from South Africa, that creates an unique sound throughout every track. This critically acclaimed album is Simon's most successful, won the 1987 Album of the Year Grammy, and was added to the National Recording Registry in 2006. Paul Simon faced controversy for recording this album in South Africa during its period of apartheid, when people were supposed to be boycotting South Africa as a result. Some people supported him, and in the end he created a great album. Graceland can be considered the soundtrack of the world, because it combines so many genres, instruments, and cultural points together. The tracks almost tell a story while they flow into each other and above all - it was beautiful. I enjoyed this album and believe everyone should give it a chance if they haven't listened to it before.

You Can Call Me Al is killer. I'm not super into this record but I can see why others might be.

This might have been one of the only good albums I had as a kid.

I was bored af, maybe i will try it again but when im older. Some songs seemed enjoyable

A flawless album if there ever was one. Everything is so goddamn smooth! From Paul Simon's melodies to the fretless bass (well done Bakithi Kumalo) everything seems to melt together in a perfect blend. Graceland is a true rebellion against division and the road to harmony.

The full force of Paul Simon’s creativity and ingenuity is on full display on Graceland. The controversies regarding his trip and work in South Africa taken aside, the mbaqanga influence is what makes this album - and there’s no way that could’ve been this successfully recreated in a US studio. For such a rather complex album it’s impressive that it managed to create singles in the scale that it did - everything just works here. Looking forward to re-listen to some more Paul Simon later on this list.

Be sure to watch the 2012 documentary Under African Skies for a look at the making of and the controversy surrounding the album.

Definitely wouldn't listen to this on my own but it is good background music while working. I do appreciate the basslines, though. Overall alright but I wouldn't go back. Really nice album cover. Fave track: Crazy Love, Vol. II

All of side 1 and side 2 opener "You can call me Al" are superb. Bubbling along at a good tempo, catchy and fun. After "Al" things slow down and it's good, but not as immediate. Overall a very good listen and worthy of the critical standing. Breaking the cultural boycott of apartheid South Africa now seems unimportant and distant, but I remember in the 1980s it really was massively controversial - even whilst working with non-white musicians. I have no belief that Gracelands or the gigs/tours made the slightest political difference, but it would have been annoying to set up a boycott only for a superstar of Paul Simon's stature to largely ignore it, even having consulted various worthy people.

Love it

Bakithi Kumalo's agile fretless playing is an easy highlight of the album (Graceland, Diamonds). In my opinion, this addition is so important that the tracks that don't feature Kumalo seem to be lacking something both sonically and in terms of groove; something on which this album relies heavily. Simon's lyrics are natural and casual, though the laid back delivery through much of the album can, at rare times, obscure a clearer melodic statement (Gumboots) which to me is a vital part of Simon's songwriting (Call Me Al). Overall, Simon is satisfyingly exploratory in his arrangements throughout the album, smoothly incorporating a wide variety of instruments and sounds throughout though without any particularly clear statement. I quite like the incorporation of Ladysmith Black Mambazo as well; they make a strong impression on the tracks on which they appear. To me however, the cleanliness and slickness of the albums production can at times make the music feel slightly impersonal and a touch dated, something that sits at odds with the universality and human focus of Simon's lyrics. Favorite Tracks: Graceland Diamonds on the Soles of Her Shoes* Homeless

Classic. Even if he did rip off Los Lobos. Prick.

Shortarsed song thieving genius.

world up

This is a perfect album in my opinion. I listen to it fairly often but I may as well listen again! Unfortunately, you do have to take into account the allegations of cultural appropriation and the (far more serious issue) of breaking the cultural boycott of Apartheid. I'm glad to see now that the other artists are credited on each song on Spotify, because this was much more collaborative effort than the original album credits show. However, if you take the music on its own, this is nothing less than a 5 star album, and it did also bring a new style of music to western audiences.

Well, I quickly discovered that there is a limit to how much of Paul Simon I can bear, solo or with Garfunkel, no difference. This is now third album with him on this list, after his self-titled debut and "The Spices" album with Art. And I know this is entirely unfair, but I feel like every song is exactly the same - quirky melody, interesting and evocative lyrics, and soft voice by Simon, with his talking/singing style, very similar on each track on this album. Even his greatest hit, "You Can Call Me Al" seems like came out of the same mould, just coincidentally they added here a very catchy melody and chorus, which made the song stand out. This is sixth album in Paul Simon's career, but I don't really see too much progress between this and his debut, which in turn makes me very hesitant to listen to the four records in-between. To sum it up, in vacuum this album is pretty good, entertaining and thoughtful. But looking at it from my perspective, with what I've heard so far, it is just another identical piece of puzzle in collection.

I'm a bit torn over this one. The involvement /appropriation of S. African \"world\" music was really different at the time. Some of the tunes are really good and I like PS. I find some of it a bit twee and some of the clunky 80s production affects some tracks. Its a 3.5.

Pop com referências ampliadas. Reconheci uma música.

Great

Dit was een van de eerste cassettebandjes die mijn moeder had. Hij lag meestal in de auto, maar ik haalde 'm eruit om 'm binnen te draaien op mijn rode cassette deck met losse speakers aan draadjes. Niet helemaal mijn muziek meer, maar eigenlijk toch ook niet slecht en wegens jeugdsentiment toch een hoge waardering.

Ik weet en hoor dat dit een geweldig album is, maar ik krijg het altijd maar met moeite uitgezeten. Blijf moeite houden met die Afrikaanse ritmes en die lijzige stem van Simon.

Schitterend album. Het heeft bijna iets magisch zo open en mooi als dit geproduceerd is. Muziekaal een enorm hoog niveau en zit zo goed in elkaar. Ik geniet hier bij elke draaibeurt weer opnieuw van.

Heerlijk album. Gaat richting vijf sterren!

Love this record. The production is all super polished and Paul Simon's voice, as well as the other backup vocalists and Ladysmith Black Mambazo, just shine through the whole album.

This album owns. I didn't know it, but yeah, I really dig it. Now I know where Vampire Weekend got a lot of their sound. 4.5/5

I can’t imagine that anyone who would consider Paul Simon boring have actually listened to this or his work with Art. Or maybe I can, some of the tracks here do work better than others. The African-inspired tracks are mostly the highlight vs the safer Simon tracks, but I still think it’s a hit. B+

I listened to it yesterday day and today I can’t recall any of it. Must be not very interesting to me.

Well if you ignore the accusations of picket line against Apartheid or cultural appropriation the album is quite solid and fun even if it sounds dated.

Good

Good album, better then was expecting

love dad music

I know this is a well regarded album but for me it just feels so ordinary

https://open.spotify.com/album/1DIr8JMRBnm1cZMYIGKb8t This is the link to the compilation album that inspired Paul Simon to make Graceland. Give it a listen, it's quite good. As for Graceland, there are some very strong arrangements, but Simon's wishy-washy vocals and 'poetry' don't add much, and in most cases detract from the music. 2 metaphorical blood diamonds plucked from the shoes of a South African musician. 💎💎

63/100

Allt ska vara så jäkla präktigt. Albumet har dock en del sköna låtar och flera stora hits.

I mean - a classic. What more can be said?

Amazing album, very engaging and fun, excellent bass

This album was phenomenally good, I was blown away by the composition and depth present in each song. I will definitely be listening to this again!

Perfect album for introducing a mass audience to a "new sound," South African music. Graceland is a "Put it on and let's dance" record with lively melodies and fun lyrics, though probably the least meaningful written by Paul Simon. Though I still give it a 5 Star and will always regard "Graceland" as a timeless classic, this listener would recommend to others looking around - maybe the Putamayo label or a collection of Hugh Masekela-produced music, which I got an a pretty inexpensive price on Itunes - to get a "real intro" to African pop music.

Had no idea "You can call me Al" was a Paul Simon song. I also didn't know that Paul Simon was half of Simon and Garfunkel. Very afro-beat inspired album and was pretty enjoyable to listen to

A smattering a excellent songs amid an album of decent, world music inspired tracks that I can appreciate if not love.

Liked most of the songs but some of them were kinda weird. Enjoyed the music.

This is what you get when world music meets with slick 80s production values. Recorded in South Africa with local musicians at the height of Apartheid (and breaking a cultural boycott), this album mixes African music with Paul Simon's songwrighting abilities. The result is a mix of different styles, but all influenced by the music of the continent it was recorded on. The greatest tracks are The Boy in the Bubble, Graceland and the severely overplayed You Can Call Me Al. The other tracks can't always reach the level of these songs, but the album is very worth a listen nonetheless. 3.5/5

Country. Folk gringo. La 2da mitad >>>>> la primera mitad.

This album makes it clear that Paul Simon was still able to create original and interesting music that was also enjoyable to listen to. 4/5

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. ❤️

Notes - This album has a special place for me, something about it makes me happy every time even though the lyrical content is so sad - Came after a period of personal and professional failures for Paul simon - He travelled with a producer to South Africa and learned about music from that area - This happened during the peak of apartheid - was playing at the grocery store when i went lol Fav - Diamonds on the soles of her shoes - Love the acapella opening - The drums and bass are so bouncy its impossible not to move to the beat Least fav - That was your mother - Song is fun, Zydeco style, but the song gets a bit annoying 4.5/5

One of my absolute favorite albums. It might be the album Dree and I have listened to together more than any other. Hard to imagine a road trip or a long car ride for vacation without us putting this on in the car. The music bursts at the seams with joy. Paul Simon writes some of the best pop songs of his career, blending his style perfectly with African melodies and rhythms. His lyrics are also sharp, funny and endlessly quotable. Always a pleasure to revisit this one.

Really incredible album that I have not listened to enough. This comes up on "top albums of all time" lists very often, but more when it's like "top 10" or "top 100". The songwriting is so spectacularly great and is my favorite facet of the impressive album. The songs are fun, timeless, and thoroughly enjoyable to hear in any situation in life. Easy 5/5!

This is an old favorite. Such a fun, bright album. Mbaqanga, Mbube, Zydeco, and Soukous are the four African-based musical traditions featured here, two of them finding their origins in South Africa, whereas the other two developed more in the Americas as African immigrants and slaves brought their music with them. I’m not going to get political here, but I can’t help but wonder how much this album helped Western (white) ears tune into sounds beyond their borders. Clearly music aficionados are always listening outside their cultural experience, but this album seemed to bring African music to the forefront in the popular American consciousness. It was a big thing to do in the 80s.

As a big fan of Simon & Garfunkel, and of the song “You Can Call Me Al,” it’s a shame I had never listened to this album before.

Un grand classique. Une musique qui allie traditions africaines et cajuns, avec des textes intelligents et une instrumentation toujours originale.

Rock mezclado con músicas del mundo. Está bien. Un 4.

You Can Call Me Al

"Graceland" is the seventh solo album from Paul Simon. In 1984, Paul was in a period of depression with a deteriorating relationship with Art Garfunkel, a collapsing marriage with Carrie Fisher and the commercial failure of his previous album "Heart and Bones." He became fascinated by South African music from a bootleg cassette and visited South Africa for two weeks recording with South African musicians. This and the whole album were quite the controversy as he was breaking the United Nations' cultural boycott of South Africa due to apartheid. He also received a lot of criticism for using Linda Ronstadt as a backing vocalist due to her playing a few years back in Sun City. Additional recording was also done in New York City. Well, musically this is a mixture of pop, rock, a capella, zydeco and South African isicathimiya and mbaqanga. Caribbean too. It is bass-driven with the outstanding playing of Bakithi Kumalo. Outstanding backing vocals too. Quite an album. It was Paul's most successful album, won the 1987 Grammy for best album and was added to the US National Recording Registry as "culturally, historically or aesthetically important." "The Boy in the Bubble" gets things going with an accordion and that bass. Elements of both South African and zydeco music. It's about starvation and terrorism but there's optimism to lighten it up a bit. The bass continues to star on "Graceland" along with some unique guitar and steel pedal. The Everly Brothers on backing vocals. The song is about his break-up with Carrie Fisher. I did not know that. "I Know What I Know" is my favorite song on the album. That funky bass, rhythm and guitar. And the backing vocals by General M.D. Shirinda and the Gaza Sisters totally steal this song. Almost an instrument unto themselves. Playful Paul. Tremendous. The fourth single "Diamonds on the Soles of Her Shoes" ends the first side with great South African starting vocals and then contrasting and combining with Simon's. This song is also kind of fusion of South African and Caribbean with the horns. And speaking of horns, side two begins with the first single "You Can Call Me Al." Again, a South African and Caribbean music vibe. And, yes, immediately I think of Chevy Chase. About a mid-life crisis. "Under African Skies" is a very happy-sounding sound with Adrian Belew on guitar. Continued great bass playing. Linds Ronstadt on backing vocals good. "Homeless" is sung a cappella by Lady Mambazo and Simon introducing us to Zulu isicathimiya music. The global music journey continues to the end on "That was Your Mother" with backing zydeco band Good Rockin' Dopsie and the Twisters and "All Around the World or the Myth of Fingerprints" with Los Lobos. Each song bringing the backing bands' style of music. I think one of the great things about this album is that it sounds fresh and great today as it did back then. When it came out, I really didn't get into the politics and stayed away today commenting just focusing on the music which is great.

bizarre but it was class

Fajne

Liked it.

Very different styles: country, african, pop, salsa … but Marco did some funny dances

Rating: 4.8 Best Track: You Can Call Me Al

Like this more than I recalled, but still not as much as most like it. When I saw him perform Diamonds on the Souls of Their Shoes as a young teenager on SNL(?) it felt icky for some reason that I couldn’t put my finger on. It just felt like he was using these other performers who were likely not paid that well to help resuscitate his career. May not have been the case but that experience has always clouded my ability to rank this album as highly as I probably should.

I appreciate what he is trying to do here but it is just not for me

Every song on this album is amazing. So well written, great lyrics. An all-time classic album.

Graceland is the last place I think this album should be compared to. It felt medieval at times and also tribal at others. I'm not sure what Paul was trying to go for but if I was his agent, I would have told him to retire. Though, the opening drums of the first song were really cool. I also wonder if this was one of those instances where the industry should have been elevating other cultures voices instead of letting this white guy just attempt to do African music.

Damn, Paul Simon was on one with this album! I'm almost certain I knew "You Can Call Me Al" already, but the rest of this was new to me and often quite unexpected. So many unique instrumentals, pulling sounds from all over the world. I don't know enough about his catalog, if this is considered one of his best or not, but it's a wild ride. I really dug a lot of it, great work Paul. Even in this departure from the typical singer-songwriter style, his songwriting manages to shine through. And huge shoutout to Ladysmith Black Mambazo! Favorite tracks: Graceland, I Know What I Know, You Can Call Me Al, Homeless. Album art: Very unassuming, though a decent lil painting I guess. Maybe a tad too crusade-y for an album featuring world music sounds and artists, but hey, what do I know? 4/5

The boy in the bubble Graceland Diamonds on the soles of her shoes

Leuk, Graceland. Kenden we al natuurlijk

This is a pretty nice album. Very "quiet" and enjoyable, with a nice mix of genres and African styles. It has some great songs and it's definitely worth the listen at least once.

The same thing over and over and over. Got boring real fast. 2/10 1/5

Maaaamaaaaaa what a groovy groove, I love the african music sonorities, really chill and packed with good vibez. 3.5 / 5

Great listen, I don't know if I would rember it and go back to listen to it but it was definitely good, nothing on the incredible side to me however 3/5