Graceland

Some really unique instrumentals and vocals that work quite well here! Likes: Graceland; I Know What I Know; Diamonds on the Soles of her Shoes; You can call me Al;

40 years on, this is still a good listen. There was some huge hits on here, and everyone my age remembers the film clip for ‘You Can Call Me Al’ with Chevy Chase. Whilst I’m not sure about the politics of going to South Africa during the Apartheid era, it did give a platform to Ladysmith Black Mombazo who parlayed that into some international success. The other guest stars do make the latter part of the album seem like a bit of a patchwork where Paul Simon just threw a bunch of stuff at the wall to see what stuck. Still, at its best, it’s a very effective mix

Genres of music have no boundaries or borders, and whilst one should definitely dive deeper into African music if you enjoyed what was on this album, there's nothing wrong with this being the entry point. This is great album, showcasing both the talents of Paul Simon and those he worked with on this.

Hey there Mr. Jambo! Out there in the African sun! Do you ever get tired? I can definitely see the accusations of cultural appropriation in here, but I'll file this down to "ignorant" rather than "meant to be racist as shit." Purely on a musical basis, it's quite decent. Simon has a nice voice to listen to, and I have to admit that the record does its damnest to make the Zulu singing and three-chord structure sync well.

A timeless record that borrows from south african styles and gave them a western stage. As an example of appropriation it is quite weak. Simon credits everone he works with and performed with these people on live versions. Diamonds on the soles of her shoes should get more radio play.

So here the question: if this album was put out today would it considered “cultural appropriation” and cancelled, or revered for multiculturalism? Hmmmm…. I remember when this album came out. It was the album of the decade basically. So many of the songs from here were on constant radio play such as Graceland, You Can Call Me Al, and Diamonds on the Soles of her Shoes. I think in many ways this was the re-introduction of post-Imperial African culture for many Americans (Namibia didn’t decolonize until 1990). I didn’t realize that there were so many collaborations on here such as Gun Boots, and All Around the World with Los Lobos. Overall, I actually did enjoy this album quite a bit. I liked the change between the African styles and the Americana, such as Crazy Love Vol. 2, which showed that Louisiana flare. I have to give a shout out to both Paul Simon and Bakhithi Kumalo for their exceptional bass work, even if the most famous riff was redubbed backwards on the track. In truth, it is a really good album.

Random thoughts: * I'm going to Graceland, Memphis, Tennessee. * I thought I owned this album but I couldn't find it. And upon listening I'm not sure I've heard any songs except for: Graceland, Diamonds.., and You can Call Me Al. * Obviously those are the hits and ones almost everyone knows. I was expecting more African influenced music and that was definitely delivered, especially Homeless which I really enjoyed. * But I wasn't expecting so many other influences like cajun/zydeco. But boy was that fun too. * This is definitely a cultural treasure but I'm not sure this quite makes it to classic album status. It is a great listen, no doubt but no one has ever pulled me aside and pleaded or insisted that I listen to Graceland in its entirety. I know, I'm a difficult critic.

Folk Rock, 1986 -> 4

if whimsy was an album it would be this one. about the instrumental, it kind of reminds me of new wave, the smiths specifically. kind of love it?

Great album

An excellent album from a master songwriter. A diverse cultural adventure with a tongue in cheek sense of humor. Beautiful singing and excellent musicianship.

Fine

From what I’ve heard of Paul Simon, which is with Art Garfunkel. This album is packed full of ideas and most of them work for me. There’s African and Indian influences crammed all over this album and Paul really makes them work. Some really catchy songs here. Graceland, All Around the World and You Can Call Me Al are most memorable. I can can see where Vampire Weekend who are one of my favourite bands got inspired by too. Great album. I will be back

paul simon voice so soothing.... the guy knows how to freakign CROON

What an enjoyable listen. You Can Call Me Al is a great fucking song. 4.5⭐️

Approachable world music or cultural appropriation? Who's to say? I don't know, but it's still pretty groovy.

I think I've conflated this with Rhythm of the Saints, and that's my bad. This is great. That South African flavor spices it up nicely without being precious. Lyrically interesting, fun in many places. Why not a 5? Not sure, I have a hard time verbalizing it, but there's a tether holding it at a damned good 4.

A really interesting listen. I like Paul Simon's songwriting voice, I could listen to it in a lot of contexts. I like the south African music placed right in here too. I wish the combination was just a little bit more seemless and felt a little bit less like appropriation. A really cool listen through and I guess with a few more listens I'll find it less confused.

Pleasant. I Enjoyed the production - it's a bit slick, reverb drenched, and cheesy but nothing is muddy and there are a lot of good performances which cut through. The bass playing is perhaps the most standout thing on the album - I really loved listening to that. Obviously heavy African influence too. The vocal stuff is a bit on the nose, but the guitar playing made me smile. I'm not sure it's my favourite thing, but it's well produced and an enjoyable listen. It's from a time where "World Music" inspired albums must have seemed deep and sophisticated. But modern access to more authentic music, both pop and traditional, from anywhere in the world, makes it seem a bit tacky and false, and I can't help but think of a "Paul Simon's agent meets with an orange band" comedy skit. Forgiving its cheesiness - 4/5

Already knew this album but it had been awhile. I know there are some controversies about how Simon came across South African music, but I do think it pays homage and is a generally lovely listen

All of the songs on this sound beautiful, in no small part due to the amazing South African musicians that Simon collaborated with. Homeless' a capella singing is enchanting and the bass throughout this album is as well, especially with that solo near the end of You Can Call Me Al. From a political angle I think this album was overall a positive thing, at least from my white American perspective. Also, listen to Mr. Jambo by Kyle Gordon. It's a perfect and equally catchy parody of this album and the niche genre of "white guy goes to Africa." Favorite Track: Homeless

It was very emotional, turn on play and travel to another world

a worldly pop album and the sixth album released by paul simon. poor guy fell into a bit of a depression after a few close relationships of his started to break around this time, but after listening to a bootleg cassette tape containing south african music, he got inspired, traveled to the country and recorded some fresh material, blending american pop with traditional african folk music. the album proved to be very successful, despite country and cultural appropriation controversies. he may be a white guy but it's clear he took the time to study and understand african musical conventions; he got the likes of ladysmith black mambazo to accompany him, which kinda made my jaw drop. like his other half garfunkel, simon tends to make a lot of pop music that's really easy to listen to. soft pop music, like the kind of stuff that would easily fit in with a phil collins playlist. it's not a perfect five for me, but i can admire how fun the sound is. it's just very "of its time", the record essentially being 45 minutes of some guy dressed up like a full house character going on a safari in a 4WD. hey there mr. jambo! out there in the african sun... do you ever get tired?

There are a lot songs that I love on this album. I also love the different genres it explores throughout. Hearing zydeco on one track, and the sounds of African artists on others, equals a nice blend of songs to keep you interested. They all have this underlying rhythm to them, and it makes you feel good (or at least me). It's one I went back and listened again once I finished the first time. Biggest Hit - You Can Call Me Al Biggest Miss (if I had to choose) - That Was Your Mother Not So Hidden Gem - The Boy In The Bubble

Fun, summery record. You Can Call Me Al is massively overplayed though.

My third Paul Simon album! Really enjoyed this one- it has a lot of songs that make you want to sing and move. I enjoyed the use of African beats and mixing of styles. Plus "You Can Call Me Al" is a jam for sure. Overall- great album. Probably in the 4 to 4.5 range

I enjoyed this. Didn’t know Paul Simon did you can call me al

Honestly could be super close to a 5. I love this album and the history of it and all of the songs have a great sound. It just gets a little bit repetitive and all the songs sound kinda similar. I could see this being a 5 eventually though

Great album, vibrant and alive

Not a huge fan of Paul Simon, but. I rate this album.

A really joyful album The band he plays with is incredible

I enjoy Paul Simon. He does some different things with his music which I like.

Famous album Done with South African musicians. Neat concept Lots of good songs: You can call me Al, Homeless, Diamonds on the Soles of her Shoes. Great songwriting. Some weak songs on the album. A good album. Four stars.

This is not an album I would necessarily listen to again but it is surprisingly consistent throughout. The music draws from a global repertoire that makes the songs sound richer than most of the albums on this rich. There is a certain warmth to the singer's delivery and his accompanying musicians that make the album sound cozy. I couldn't really tell you what each song was about but I listened to the entirety of this album while at work and it made my tasks feel seamless.

good

Good vibes

Excellent, fun vibes.

There’s some magic in this.

I'm more of an S&G guy but this tried something new and pulled it off pretty well, not really my thing exactly but it is good music I will admit.

I was not very familiar with this album, but it was everything I thought it would be. In a good way.

Again genre and groundbreaking. At the time of release it opened our ears and eyes to this music from Africa. Paul Simon has since been cast as the villain accused of stealing the music and musicians. I’m not sure on that subject, but it did make us appreciate the music and African musicians who made it and what followed.

Favorite songs: The Boy in the Bubble, Graceland, Diamonds on the Soles of Her Shoes, You Can Call Me Al, Under African Skies, Homeless

4/5 - Great songs, great sequencing, really just love the vibe of the album.

Very good album this one, I remember it coming out, so cool

This is a really solid album, I enjoyed the variety it brings by featuring a couple of different artists, a lot of the songs feel unique, it misses out on 5 stars because I’ve heard You Can Call Me Al so many times I find it quite an annoying track now

This album is a slow burn. At first I didn't understand what all the acclaim is about, but it grew on me over time. Is it an all time great? Not for me at least, but I'd consider this a strong album. 4/5

A lovely album that's engaging and accomplished throughout. Great bass, great guests. No dud tracks, just not the highest rate of notable faves for me personally, though I had a smile on my face from the first weird accordion honk of The Boy in the Bubble.

All the hits :-D...

Очень зажигательная музыка хаха! Слушая её не могла перестать двигаться то туда, то сюда. В общем хорошоо

Decent album. Features one of Paul Simon’s most famous solo songs “You Can Call Me Al” along with a fair amount of inspiration and direct involvement from Ladysmith Black Mombazo. There are plenty of techniques that became standard in a lot of different music and heavily influenced bands like Vampire Weekend. Though, there are some mixing options that became obsolete later on.

7/10

4.1/5

Love this album - pinnacle middle aged divorced Dad album

It was good, I liked his music. The different ideas of songs made it interesting to listen to

Good

It's an interesting piece! I appreciate it, but I don't know if I'll seek it out again.

Paul Simon already knew how to craft a song before he got turbocharged by African music. The result is delightful, even if it sometimes over-reaches it's genre borrowing and leaves the seams showing, an amalgam of funky, folksy tunes with emotive, analytical lyrics. I get that this album would be labelled as cultural appropriation nowadays. But I was a teenager in the 80s when this came out, and the routes to promote international artists simply didn't exist. Simon collaborating with them on a major album release from a western publisher was probably the best thing he could do to bring them to wider attention.

Really chill old school vibe with some funny lyrics.

de cover lijkt op king of england muziek het is wel vibey! diamonds on the soles of her shoes owa owa! ik dacht dat een titel you can call me AI is maar t is AL HIJ HOORT BIJ SIMON EN GARFUNKEL no wonder het is good

der simon von garfunkel, ganz nice

Pleasently surprised by the African Choral sound, which is definitely THE highlight of the album. I'm in no position to comment on the political discourse and controversy surrounding the album, but I can at least tell that it's a nice blend of multiple genres such as folk, pop, afrobeat and r&b. Favorites: The Boy In the Bubble, Graceland, You Can Call Me Al, I Know What I Know (with General M.D. Shirinda & the Gaza Sisters), Homeless (with Ladysmith Black Mambazo), All Around the World or the Myth of Fingerprints (with Los Lobos)

Absolutely lovely album, loved the African influence! My favorites were "I Know What I Know", "Diamonds On The Soles Of Her Shoes" and "Homeless"

Det er virkelig fint, og fedt med den her sammensmeltning af stilarter. Og så er der jo bare den mest catchy sang i verden, med Call me Al, som jeg bare virkelig elsker meget!!

Whompy af 80s bass, synths, Soukous guitars and rhythms, Southern African gospel harmonies, Cajun accordions, a touch of country twang, jazzy sax, and a gentle mellow conversational vocal tying it all together - a wild mix that all comes together perfectly for an easy listening masterpiece. Turns out it's the logic of assembly rather than the nature of the elements that makes something coherent.

I'm not a massive Paul Simon fan, but I do appreciate some of his music, most of which appears on this album! This album projected me down the rabbit hole of Ladysmith Black Mambazo (incidentally, one of the first LPs I bought myself (thats pretty woke for a 15-year-old!)). Almost a 5. Some timeless bangers on this one.

Excellent Will wrote proper review later but love it Favourite track: the boy in the bubble

I don't generally rate Paul Simon's solo efforts too highly, but I appreciate the artistry behind this one. Some of it hasn't aged all that well (like a lot of the 80s albums on this list) but I'll give props for the few songs that have stood the test of time.

This is how "world music" influence is done right! Much as I still hate that term, and wish that musicians from non-Western regions were still appreciated on their own merits and not commodified as such. However, if it's gonna be done, then Paul Simon does it right. Unlike Malcolm McLaren's album Duck Rock, which we got a few weeks ago in this challenge, it credits its musicians! Moreover, it isn't stealing credit while purporting to respect the music it's stealing - it's just a solid 80s pop rock album with prominent influence from zydeco, mbaqanga, and other regional styles of music, mostly African. And in that capacity, it does wonders - solid 9/10! With his musicians credited, it also gives me a starting point to explore those genres properly. The Boyoyo Boys and Ladysmith Black Mambazo seem particularly intriguing...

Enjoyed a majority of it nearly against my will. Man could write a hook.

Listened to before? No Context? Paul Simon’s comeback album after losing cultural and monetary relevance; helped introduce South African music to mainstream Western audiences, though it drew some criticism in the process. Before I tear into this album, I want to be clear: I do not think it was cultural appropriation. Cultural appropriation is copying part of a culture in an offensive, unappreciative, or ignorant manner. I don’t think that Simon hearing a cassette of a South African band, loving their music, and going to collaborate with them in their hometown is doing that—especially because songwriting credits and acknowledgements were given. While there is something to be said about Simon being the one who brings it to the mainstream, and how that does reflect prejudice on the consumer’s part to only appreciate it when done by a white person, it would be insane to say that Simon shouldn’t have pursued an artistic collaboration solely because of a systematic issue outside of his control that doesn’t even make the collaboration itself inherently problematic. I’m not saying that he handled the situation perfectly (for example, he oscillates between describing the collaboration as a political statement, and saying he doesn’t think it’s political), but the collaboration and release of the album was not appropriation. There’s also the issue of breaking the embargo on South Africa, but honestly that’s an issue I don’t think I have the knowledge or information to speak on properly. I say all that because I do have grievances with this album, and people who don’t enjoy this album tend to dislike it because they believe it’s cultural appropriation. I just want to make it clear that I am not one of those people. Graceland is sickeningly happy. Despite having its serious moments, the tunes remain relentlessly upbeat. As Paul Simon described it, “Harmonically, African music consists of three major chords—that’s why it sounds so happy—so I could write any melody I wanted in a major scale.” I don’t dislike happy songs, but there’s something about these that are bothersome. Simon’s vocals weigh the songs down in a way that makes them feel oddly exhausted. I’m sure the intent was to feel calm and homely, and that effect comes across well in songs such as “Graceland”, but for a vast majority of the songs it makes the otherwise-exciting tunes clash. This is best exemplified in “I Know What I Know,” where Simon sings “I know what I know/I’ll sing what I’ve said/We come and we go/That’s a thing that I keep in the back of my head,” while the South African group General M.D. Shirinda & the Gaza Sisters sing in Shangaan in the background. Simon arranged their vocals to be purposefully higher-pitched and slightly out of tune to contrast with his rhythmic lines. This works for the first chorus, and arguably even for the second, but by the ending it’s quite grating. The contrast in energy between the two vocal parts becomes unintentionally discordant. Even if it was meant to be juxtaposed, the execution just wasn’t the best. It’s like a Bob Dylan harmonica solo in that way (sorry, Bob.) The way he sings the melody on the verse also makes it sound incredibly forced, with the part that goes “paaarTY,” “fuuuNNY,” et cetera. It doesn’t help that he keeps repeating the phrase “I/she said” beforehand. I want to like this song, because it has some interesting moments in the guitar and lyricism, but it’s just…irritating. There’s also some vocal issues on “You Can Call Me Al,” which is the big hit from Graceland. And it’s an amazing song, between the synths, lyrics, melody, background humming, and percussion. BUT. His voice sounds horribly thin when he reaches for the high notes on the “call me Al” segment. It almost ruins the entire song for me. Simon’s voice is good for folk music. Singing with a folk music vocal style over the South African musical styles he employed just doesn’t work very well. As for the positives, Paul Simon is known for making sophisticated music. He can write a damn good song, with some clean chords, a bait-and-hook melody, and tasteful arrangements. And that is still true here, despite my grievances. I actually went back and re-listened to “Bridge Over Troubled Water” (which I gave a 5 on here!) to see what similarities I could find between it and Graceland. And there are many. On top of that, Graceland isn’t just repeating what Paul Simon had done in the past—whether it be solo or with Art Garfunkle—as it adds in a very new sonic palette through using South African musical styles such as isicathamiya and mbaqanga, as well as African-American music styles such as zydeco. The album’s opening track, “Boy In the Bubble”, is excellent in the way it combines images of war with that of opulence. It also uses some great rhyming and alliteration, such as in the line “There was a bright light, a shattering of shop windows/The bomb in the baby carriage was wired to the radio.” It’s probably the best song on the album. Sonically, it features Bakithi Kumalo’s iconic fretless bass playing, which plays an ornamental, octave-hopping bassline during the verse, and a more tasteful, functional bassline during the chorus. It’s impeccably written. My favorite bass parts occur a few seconds before each chorus, and I’d tab it out here except the formatting would get messed up. It also has accordion played by Forere Motloheloa, which is used to create the foreboding intro that’s cut with booming drum beats to kick off the album. As the song continues, the accordion is used to craft the sense of unease that reflects the themes of the song. Simon’s folk voice fits well into the song. He even noted that the song sounded like American folk music, to which guitarist Ray Phiri told him that he’d used a relative minor chord to make the song sound more like American music. The second song and titular track digs even deeper into the album’s messages of optimism and solace through painful things. It describes a man traveling alongside companions who he describes as “ghosts and empty sockets,” yet he still believes they’ll be "received in Graceland.” Due to the bittersweet tone, Simon’s voice fits better here than it does on any other song on the album. He has a voice very well suited for bittersweet music. After the previously-discussed “I Know What I Know,” there’s “Gumboots,” which is performed with the Boyoyo Boys. It uses a narrative lyrical style to describe the narrator running into various characters, and features some amazing accordion bits. It’s a good song, but the lazy and sudden fade out mars it. “Diamonds On the Soles of Her Shoes” begins with an excellent intro, with Simon singing about a rich girl who, well, wears diamonds on the soles of her shoes. Unlike on “I Know What I Know,” it has pleasant backing vocals. The pleasantness continues throughout the song, with a calming jangly guitar riff and a syncopated, shuffling beat that feels like ocean waves. Then, of course, there’s “You Can Call Me Al.” This is the most pop song on the album, with the bright, celebratory synths and relentlessly catchy melody. Despite my grievances with the vocal performance, and the fact that Simon’s almost drowned out by the synths during the chorus, I do like this song. It has some extremely clever lyrics, and it’s just plain fun. “Under African Skies” is…fine. It’s a little too white boy. Toto-esque, if you will. Simon’s vocals also sound thin. That said, it’s catchy, and the guitar is excellent. The eighth track, “Homeless,” notably lacks Simon for about two-thirds of the song, as it features the group Ladysmith Black Mambazo singing for the first 2 and a half minutes. It’s a haunting, beautiful moment of quiet. When Simon does join, he manages to meld with them quite well, turning the song into call-and-response. It’s almost more of an interlude than a song. “Crazy Love, Vol II” is fantastic. The lyrics are absolutely incredible, with the story of Fat Charlie the Archangel and his nihilism. It’s one of my favorites on the whole album—though it does have some issues with that vocal thinness towards the end. “That Was Your Mother” is a fun song in a lot of ways, though it has some…questionable lyrics. It’s a real dance number, with an energetic pulse and melody. It uses some great accordion and washboard as well. In terms of the album sequence, it’s a great final moment of fun before the album launches itself into its finale. “All Around the World or The Myth of Fingerprints” has a blistering, stadium rock intro that’s like ice cold water after the folkiness of the rest of the album. The opening drums inexplicably remind me of the song “Vampire Money” by My Chemical Romance. If Paul Simon wrote a song like “Vampire Money,” the world would literally explode. The rest of the song, however, doesn’t sound much like the intro. The instrumentals quiet down when Simon starts to sing the verse. That’s sort of a pet peeve of mine in a lot of songs: making this big intro to hook the listener, and then immediately dialing back on the noise and energy. I also really don’t like how the song fades out. Fade outs aren’t inherently bad if done right, but ending a whole album on one feels lazy. I realize it was probably intentional to leave an open-ended, looping feel given the themes of the song, but it just isn’t executed well. It does have some great lyrics, however—even if they are nonsensical and cryptic at times. Simon uses imagery really well. The melodies are also infectious. It’s the perfect happy note to end the album on. Whatever you or I think of this album, it can’t be denied that it’s an important, influential work. It may be a pop record, but it experimented and pushed Simon out of his comfort zone. While it has quite a few flaws, ultimately, the skill of the instrumentalists (particularly in bass and accordion), Simon’s lyricisms, the compelling grooves, and the relentlessly catchy melodies make it hard to hate.

weird

Libs try not to victimize black people who willingly collaborate with white people: impossible

I don’t want to listen to it on the regular but I enjoy it when I happen to listen to it.

A very enjoyable album, blending South African sounds with pop rock. It’s no surprise that this was so appreciated at the time of release as a very listenable and innovative sound quite different to the fake electronic sounds of much ‘80s music. As a Vampire Weekend fan, the resemblance is remarkably clear! However, I don’t think I quite enjoyed it enough for 5, and the circumstances of its creation did sully it somewhat. For one, Simon broke the global boycott of apartheid South Africa to record there. I get that most black South African musicians of the time welcomed him, but he didn’t really need to undermine global solidarity (given that most came to New York anyway). Simon defends it by saying that he showed the power of interracial cooperation and brought African music to the world, but those things don’t mean that it made any positive contribution to the end of apartheid. He also basically stole the idea from Heidi Berg, apparently. Anyway, nice album overall.

This album has some brilliant songs on it, namely ‘You Can Call Me Al’ which always gets stuck in my head whenever I listen to it, ‘Graceland’ and ‘Crazy Love, Vol. II’. The instrumentation is great, and the blend of pop and South African musical styles is tastefully done. Overall I didn’t enjoy it quite enough for a 5, but still a strong 4.

This is an excellent album, but I don’t think it quite reaches the 5-star level. Side one probably does, though: ‘Graceland’ and ‘Diamonds on the Soles of Her Shoes’ are my two favourite tracks from the whole album, and the rest of the side is really strong as well. On side two, ‘You Can Call Me Al’ is of course an all-time classic pop song, and ‘Crazy Love, Vol. II’ is great too, but then the rest of them I really like rather than love. But the performances are fantastic throughout, especially the vocalists and the incredible fretless bass playing!

Definitely the best thing I've heard from Paul Simon, some real cool African rhythms on here and the first couple of songs are quite great

Loved how different this album was. So many varied tracks but the different styles just blended well together. Diamond in Her Shoes and You Can Call Me Al are definitely the standouts.

💎👟

Controversial one. I think the cultural appropriation arguments are stupid. Breaching the boycott is a different story. Rating this album solely on what I heard and there's some great stuff here. That bass is special. You can call me Al is iconic. Under African Skies was a bit cringey though. 4/5.

I own this album on vinyl and had probably heard it about 3 times before today. I remember liking it, and that it was recorded mainly in South Africa, that there was a lot of controversy about whether its recording supported apartheid, and that it had Call Me Al and Under African Skies (two tracks I love). I listened to it twice today and really enjoyed it, but I don't know... there's just something that's somehow unrecognizable about it to where I didn't get a whole lot of familiar moments on the second listen. I do still like it (and I really want to like it), but it's just not as good as some others on this site. Four stars.

6/10, not really my style, had some groovy tracks though

Just a solid, expansive album with solid creativity all over it. Going from the muddy production of The Psychedelic Sounds of the 13th Floor Elevators to the crystal clear production of this album was such a whiplash.

7.5/10

Liked it but did not love it. Enjoyable but not quite great.

i’ve been excited for this. one of my friend’s favorite album. i liked it enough.

Fantastic album. Such an easy listen while having bangers on it. Was worried he might go too heavy into the African influence in a weird way but it was very tasteful. Less bangers towards the end, gets a bit polka. Specific rating - 4.4 Fav song - you can call me al Least fav - Gumboots

Graceland is a great album, but there are some hitches that weaken it marginally.

This is good! 4

always pretty

This album feels of it’s time now. I imagine it was cutting edge in terms of musical style at the time, certainly in terms of the mainstream. I like the lyrics and blend of African music

Sometimes I feel bad for rating some of these 90’s rock bands poorly, and then I hear something like this and think, "Oh, right, this is what good music sounds like.”

cool music al

Why is there so much Paul Simon, I get that he is a talented musician but holy shit i have gotten him like 4 times and I'm doing this for about two months. Although it was a decent album, o expected worse from his 80s stuff

Day 266 Lovely album to float away to. Highlights You can call me Al Crazy love That was your mother ii

it's good. obviously i've heard a lot of these songs a million times but hearing them in the context and sequence of the album makes me appreciate how vast the african styles are that he explored on this album. listening to Koffi Olomide the day after this album really contextualized a lot of the musical choices here too and made me appreciate how unique these songs are when held against both african and american music. there's a lightness or bounciness to a lot of african music, but the themes of this record are not light and his vocals sort of inherently contain a seriousness regardless of the style he's singing. That in addition to some unmistakably american 80s flourishes ("Crazy Love, Vol. II" and "All Around the World or the Myth of Fingerprints for example") make for an interesting combination. i think some of the songs later in the album are less interesting so the momentum fades for me by the end but overall i think this is still a pretty solid album. i appreciate this for how different it is from any of his other work and still stands out as a pretty innovative record in that sense. without getting into the extremely expansive lore or politics of this album and its surrounding controversies (including but not limited to steve van zandt thrwarting guerrilla anti-apartheid activist plans to assassinate paul), i am deigning to say based on my arsenal of paul simon knowledge that i think his appreciation of the african influences and contributors here is genuine and long lasting. i can see the validity of the more pessimistic view of this album as a representation of his career-long reliance on other cultures to spice up his work, but i prefer to think of this as indicative of his global curiosity. there's a quote where he explains that throughout his career he has always dabbled in whatever music interested him at a given moment, and sometimes that has lined up with public interests and sometimes it hasn't, but that will always be the primary driver of his musical choices. if you believe in viewing his work through that lens, which i do, then i think he provides a successful model for appreciating and collaborating with other cultures in a way that honors and uplifts their roots, making this album an indelible part of music history. Fav tracks: Graceland; I Know What I Know; You Can Call Me Al; Under African Skies

I really enjoyed the instrumentation on this album. However, while I think Paul Simon's voice is great, and it's not exactly like I expect a lot of bombast there, it feels like the voice and the instrumentation are disconnected from each other. Still, a decent enough listen.

Graceland (song) is one of my all time favorites. I love this album, and definitely a seminal work by one of the best songwriters ever. So poignant, introspective, and an amazing listen. Some songs that I haven't latched on to quite as much though.

Almost great.

Knew some of the songs but never listened to the full album. Really enjoyed it front to back. You Can Call Me Al is the obvious standout, but I also really enjoyed Under a African Skies.

good mood, on se croit dans un film mdrrr

Fire. Feel like I need to listen to it again already!

I thought this album was really chill, like something for a beach day. Also supernatural and a great start to this list.

Great album I love the first half

Love it

Look, Paul managed to lock into a pure vibe state with a panoply of zydeco, African choral music, desert blues, and incredible synth work for a classic album that only suffers toward the end. It's almost all bangers and it's almost perfect, so no surprise it gets a 4.

GIGA-POSITIVE start of my saturday morning!

This was an unexpected but interesting vibe, I did enjoy it but I don’t know if I’ll put it on again. 3.5/5

Liked the first half of the album more than the second.

Love so many songs on this album, a classic for me

I like the choice of instruments

Number: 108 Date: 04/20/2026 Artist: Paul Simon Album: Graceland Year: 1986 Genre: Soft World Pop Rock Familiarity: Moderate (3) Rating: 4 Before: ======= Paul Simon is way down on my list of favorite artists. Probably would be somewhere between top 150 - 200. During: ======= 4 The Boy In The Bubble 4 Graceland 4 I Know What I Know 4 Gumboots 4 Diamonds On The Soles Of Her Shoes 4 You Can Call Me Al 4 Under African Skies 4 Homeless 3 Crazy Love, Vol. II 4 That Was Your Mother 4 All Around The World Or The Myth Of Fingerprints ----------------------------------------------------- 3.90 WEIGHTED AVERAGE (accounts for song lengths) After : ======= Overall, I think the album is really good. I could not care less if it's "cultural appropriation". All music and all culture is appropriation of some sort. 4 my personal rating 5 suitability for this list 3 impact ----------------------------------------------- 4 composite rating

Graceland would be such a good soundtrack title for Project Hail Mary. The boy in the bubble vs the girl in the bubble. 4/5. Favourite song: Graceland

Was ait

Dette sammensuriumet burde ikke funke, men gjør det uproblematisk. Energisk og inspirert. Trekker for en litt glætt 80-tallsproduksjon til tider.

👌 Dritbra

Går tom for ideer på tampen, men såpass mye bra her at fireren er sikret.

Emily Jumpscare again I like this I like hearing some pop rock from the 80s Paul Simon has such a jumpy and happy rhythm to him I have such a hard time listening to the lyrics cause I’m so excited and his voice is like another instrument another layer in these layered tracks! It’s too good man. His singing voice is actually good I find a lot of artsy vocalist of this era can’t sing that well but this album has Africa written all over it wearing the influence on all sides. I also like the multi instrumentals you never get bored cause it gets so unique gumboots is unlike anything I’ve heard. Paul Simon knows how to make a good tune so when I heard that was your mother I wasn’t too upset I think it’s minimal to the highs of the rest of the album.

'You Can Call Me Al' is objectively the greatest song of all time

One of the first CDs I purchased in 1986. Great album full of interesting rhythms.

Idem que l'autre album qu'on avait écouté avant, grave bonne ambiance j'ai kiffé

4 It's like a cowboy toured Africa and decide I'm gonna combine 2 of these world

pretty good. i liked the mixture of folk, pop, and African rhythms.

Very good alblum not one of the best of all time.

crazy mix between rock, african groove, and rock music. i did not expect that. homeless is a crazy song

Skippy fun sad lyrical adventure princess starry night sky 4/5

beautiful. I think it’s about people coming to terms with being a cosmopolitan and becoming free from nationalism. I was a little wary that this was some form of orientalism but it seems pretty respectful. Very compelling narrative and I feel like I’m a better global citizen for it!

Pretty solid album

7.5

Hvor er den der Homeless underlig at lytte til med al den stønnen. KÆMPE album, 4.0 ligeud du

4.5

Enjoyed it

Very good album, no weak spots

Great melodies but it is a bit cheesy in a way I'm struggling to overcome (edit - I overcame it)

Once again the white man makes a ton of money off of indigenous black music. But I can’t deny that the music is enjoyable to listen to. This is a “hate to like” album. I’m going to rate it on the music, in the spirit of this project, but I sorta wish that this album was never made.

Abumbalagaga güzeldi ya eski model mercedesimle amarika yollarında gidiyomuş gibi

Weird, off-beat at times, but just plain fun and that's all that really matters for the generator sometimes

An album that’s influenced by an African culture, I think a majority of this album was well written. Best song is of course Call Me Al

something about this album feels powerful i cant quite figure out what that is their voice feels very warm and sweet fav song: under the african skies, crazy love vol II, and diamonds on the soles of her shoes

Me re gustó súper instrumental y tranqui. Las líneas de bajo me re gustaron

Graceland. Amazing record - I'd say in my top 20 of all time. As long as you can get past the 80's audio aesthetics.

This is one of the best folk albums ever. It has its low points but the opening run of songs is mystical.

Still a solid listen. I haven’t heard it all the way through since it was released. Several 5s and 4s, only a couple of less interesting songs, but nothing that brings the album down or slows the momentum. I’m still not a big fan of zydeco. 4.5

Some real classics and overall like how this album switched up the sound quite a bit but kept the vibes high - big fan

The big album by Mr Paul Simon! The world music wasn't something I enjoyed so much on my first listens, but it grew on me after a while. I still think he did better albums, but its good enough.

Graceland and I have a tricky relationship. I LOVE Paul Simon's work. I think he's probably one of the best songwriters of his generation and I'd probably rank what I've heard above or around the work of other legendary songwriters (Dylan, Mitchell, King, Young to name contemporaries). That being said, I continue to struggle with the idea that this is where his output peaked for many people, at least in the post-Garfunkel years. I find his blend of world influences, his employment of African session musicians to truly nail what he was going for stylistically and stucturally, and the general passion and love he poured into this record as a statement to be highly respectable, but outside of the title track and "You Can Call Me Al", a lot of this doesn't resonate with me the way I think it should. I still think it's pretty good music, but when this is a songwriter who I've spent the past 12 months cozying up to (after years of being familiar with him) I expect a higher sense of resonance. Maybe time is all I need with this record. I suppose we'll see.

Variety: 4 Adequacy: 5 Listenability: 5 Uniqueness: 4 Emotionality: 4 = 4.4 rounded down to a 4 "This is the story of how we begin to remember/ This is the powerful pulsing of love in the vein" "You Can Call Me Al" is one of the earliest music videos I remember seeing, and the song has been a favorite since. Heard of couple of others growing up, likely never tying them together other than they were Paul Simon songs. Wasn't until early college era that I gave this a complete listen, and have to say it quickly became a staple, and one of the few albums I would play the whole way through. I think it's only gotten better over the years, and it's crazy how forward looking it remains, despite being 100% identifiable as a mid-80s artifact. THE TRACKS Side One "The Boy in the Bubble" - Solid opener. Catchy and a great little preview of a lot of what we're going to hear. "Graceland" - One of the other hits off this that I would have heard, though not as often as the one with the Chevy Chase video. You know the one. This is one of those few songs that is able to get a bit of an emotional reaction from me. It hits very hard in that lovely bittersweet spot where the bouncy bits contrast so well with the sad, wistful parts. This one's a rollercoaster of unsureness, hope, and resignation, and I'm always down for the ride. "I Know What I Know" (with General MD Shirinda and the Gaza Sisters) - This one I think has grown to be a favorite despite never hearing it in that period as a child when stuff would just burn into your brain and never leave. The lightness, the meandering playful guitar, and my favorite lyrics on the album. Simon is one of those guys that can be funny in his material and never seem to be slumming it. A delightful short story, and man what a vocal accompaniment. "Gumboots" (with the Boyoyo Boys) - The Brightest spot on this album I think. Little up tempo number with another funny/ sad story. Amazed at how he can make such a breezy, catchy song sound like it was just a throwaway ditty. Something he has in common with McCartney and few others. "Diamonds on the Soles of Her Shoes" (with Ladysmith Black Mambazo) - Ladysmith Black Mambazo steal the opening, and the ending of this one and Simon pays it low and subdued to take advantage of this. The song itself feels a little low energy, but it works as feels like a winddown for the first side. Side two "You Can Call Me Al" - God tier hit for me that has permanently claimed real estate in my mind. Candidate for best B-side opener of all time imo. Up there with "Back in Black", "Money", and "Here Comes the Sun" in that respect. We get a hard energy reset here. There are plenty of songs out there that better represent the decade, but this is the sound of MY 80s. Going to be hard to not play this one on repeat a few times. This one's on the funnier side, and the bass line on this is the musical highlight for me here despite the fierce competition from the horns and the flute. If you can't find a spot for this song in your heart, I pity you. "Under African Skies" - Simon brings it way back down again and goes into a more contemplative mode. Beautiful stuff. Seems like this is Simon's most focused attempt at examining the HEAVY African influence on every bit of this album. "Homeless" (with Ladysmith Black Mambazo) - Another great showcase for LBM. The impressive range and pretty harmonies on display here make this one feel the most spiritual on the album, both in the unadorned presentation giving some church choir vibes, and in the content of the lyrics, of which there is a translation available online. "Crazy Love, Vol. II" (with Stimela) - Steering us away just ever so slightly into more lighthearted territory with what sees like the slightest song on the album so far. The chorus on this, by no means terrible, is the one part of the album that completely fails to work for me. Just tonally seems imported in from another song, from a far less polished, and more traditional album. "That Was Your Mother" (with Good Rockin' Dopsie and the Twisters) - More zydeco! Fine as this one is, I think it feels way more like Simon slipping into a bit of stereotypical cultural appropriation than most anything else on here. This one's almost like an assignment where he has to check off anything that screams "New Orleans!". I still like it enough though. "All Around the World or the Myth of Fingerprints" (with Los Lobos) - "People are all the same" seems like one of those sayings that can swing hard into either cynicism or optimism. I think this is supposed to be the latter, but it still comes across a bit sad to me. Wish this one was lacking that electronic drum beat though. Not the best ender. HIGHLIGHTS - "The Boy in the Bubble" - "Graceland" - "I Know What I Know" - "Gumboots" - "Diamonds on the Soles of Her Shoes" - "You Can Call Me Al" - "Under African Skies" - "Homeless" MIDLIGHTS - "Crazy Love, Vol. II" - "That Was Your Mother" - "All Around the World or the Myth of Fingerprints" LOWLIGHTS - Huh? FINAL THOUGHTS On a re-listen - it has been somewhile - I was disappointed to find more on here to criticize than I thought. That said, they are pretty nit-picky and don't really effect my opinion enough to rate it much lower than I already would have. While I certainly don't mind those three middling tracks, they do feel more out of place with the rest than I remember. But they are perfectly placed at the end so it doesn't feel like TOO much of a loss if you want to pretend the album is over after "Homeless". I can totally see how this could be a very divisive album. Where I might hear the delightful melodies, superb backing vocals, and inventive instrumentation, someone could easily dismiss this as a bunch of lightweight, unoriginal material buoyed by a couple of very catchy, but dated hit singles. And I can't argue with that pov. All I can say is that it works for me. This was a refreshing splash of green on the dull gray wall that was my workday. PLAYLIST ALTERATIONS - Repacking this for someone else I would have no issue dropping those last three, but they can stick around otherwise. FURTHER LISTENING - Shaka Zulu by Ladysmith Black Mambazo - Vampire Weekend by Vampire Weekend - Remain in Light by Talking Heads - Zombie by Fela Kuti / The Africa '70 - Let's Have A Party by Geraldo Pino And The Heart Beats

Very different sound but great music

Cool album

Had been a while since I’d listened to this but I really like this album, it just has great vibes running through it. Still can’t decide if the backwards bass solo in You Can Call Me Al is good or not. On this listen I realised that Vampire Weekend just straight up lifted this sound and ran with it.

Paul Simon can do no wrong in my eyes and ears.

This is a rare example of the back half of a record being superior - Side B this record really hits its stride. Not that the beginning is poor. There's a few tracks I don't adore which means it ends up 4, but You Can Call Me Al is one of those songs that no matter how often you hear it, it still hits so hard.

Gas

Yeah this was good. May have to dig further into Paul Simon as my exposure to him is pretty limited.

Warm and cohesive. A great album. ⭐️⭐️⭐️⭐️

This was an album I struggled with when It came out in the mid-80s. I was a big fan of Simon and Garfunkel, but I didn't love many of these songs. And there was so much buzz around this album. A lot of people thought it was brilliant and loved it, to the extend that there was pressure to like it (annoying). People also criticized Paul Simon for working with South African musicians despite the boycott on the racist Apartheid government-- even though Simon was working almost (completely?) exclusively with Black musicians. So it's easier to appreciate this record in retrospect, seeing where it fits into the long arc of Paul Simon's career. In that view, it's a big and risky creative leap for a peerless songwriter who'd had 20 years of acclaim and success. He tossed his comfortable soft-rock sound for South African sounds that few Western audiences were familiar with, and built songs out of jam sessions with musicians he traveled to South Africa to meet. I think this impacted his lyrics too -- they were always flowing and laden with imagery, but on Graceland they're even more free-form, like improvisations. So does this all add up to good music? Mostly! There's a ton of creative energy here that carries things along, which I enjoyed even if I didn't love a particular song. Some of the lyrics just plain don't make sense. But Diamonds on the Soles of Her Shoes is a great song.

Really good isn’t it? Beautiful songs that make you wish you were on holiday. Fretless bass grooves that feel slick and cool, and extremely 80s, underpinning Paul Simon’s lighter than air voice. 4.5/5.0 Best Somg: You Can Call Me Al obviously

I think it's a very good album, I think You Can Call Me Al is maybe the greatest song of the 80s and that is the reason for the 4 star review. Special mention for Diamonds On the Soles of her Shoes which is on any other album easily the best track. The rest of the album is a bit much at times, fretless bass heaven

Sounds like my grandfather working on the family computer on a fine Saturday morning in Maracaibo, grandma's burnt coffee on a Moka pot, and a history essay due Monday. 3.5/5

Previously rated: #685 - Hearts And Bones (3/5) #885 - Paul Simon (4/5) *********************************** Album #1,080 Paul Simon plus African accordion music makes for a very unique sounding album. What else sounds like that? It also has some dated 80s sounds like the gated drums and the horn sounds. I still like You Can Call Me Al. I didn't care for the backup singers in I Know What I Know. They were shrill and annoying. When I'm (soon) finished with this list, I may explore a little more of his catalogue.

I love this album. Songs like Graceland and You Can Call Me Al are in my everyday playlist. I love that Paul Simon used instruments that are often looked over such as the accordion. And I love the African artist cameos in this album. Some of the songs in my opinion drag on a little bit which I think is one of its very subtle downsides. But nonetheless, this is an absolute all-timer and I will happily listen to this over and over again. Favourite songs: The Boy In the Bubble Graceland Diamonds On the Soles of Her Shoes You Can Call Me Al All Around the World Or the Myth of Fingerprints (with Los Lobos)

A good album, I enjoyed it. It might be some of my new go-to music when I want something to listen to while I'm cooking. I Know What I Know The Boy In the Bubble Gumboots Graceland You Can Call Me Al (sounds like another one of the songs) Diamonds on the Soles of Her Shoes

Good Coffee morning slow day album - weak 4 but enjoyable.Diamonds on the sole of her shoes best track.

Evocative on an era when I was small. I don’t love it but it seems like great music.

This is great stuff all round, was familiar with Simon and Garfunkel and the big singles from this album but this is a great versatile blend of sounds of styles.

Paul Simon is great and this might slightly edge the self titled album which was his first work I listened to but both are really very enjoyable

I’m surprised I’ve never listened to this before, but I’ve always known it as Simon’s best solo work. Found myself disappointed that it had ended, which is pretty high praise

Loved this album for a Friday night and overall a fun listen. I remember watching Rage somewhere in the early 2010s and Noel Fielding chose You Can Call Me Al (my first time watching it) and that video has forever stuck with me for its silliness but also as just such a good party song. Nothing else on the album came close to that for me but a pretty solid collection of songs

This was actually quite a lively album. "You can call me Al" and Gumbook are the standout tracks.

i really enjoyed this album. to put it frankly, it’s just a lot of fun. reminds me a lot of david wax museum and the way they integrate latin american influences into their tracks. it feels really inspired and new

It was okay. Some of my friends love this but I was not as into it.

Not typically my style of album, but it’s a masterpiece nonetheless

Ah - so good.

yes, fuck paul simon for performing in apartheid south africa, and for being a bit of a culture vulture. however...this album is full of bangers

Highly enjoyable, totally obsessed with the bass tone on this album

Paul Simon is obviously a phenomenal musician and songwriter, and this album is a tour de force. However, it lands short for me due to personal taste mismatch. First, the style is a bit dated. I wouldn't put this album on vinyl like I'd put a Pink Floyd. It's good music but it's not timeless. Second, I personally am not a big fan of the South African influences, not for any political reasons, I just feel they are heavy handed and not well integrated, "You Can Call me Al" being an exception. I feel like I have to excuse why I'm not giving a 5 to an album that by rights of talent and effort should be a 5, but a bit of an anachronistic style and sound, combined with an overly enthusiastic South African influence that's not sitting with me, makes this album a one or two-off listen, rather than an essential.

Awesome, great songs. Solid entry

While Franz Ferdinand reminded us that guitars can dance, Graceland reminds us of something deeper: “rhythm is humanity’s oldest language.” And on this record, the conversation becomes universal. Beneath the warmth lies a quiet melancholy — a middle-aged songwriter confronting displacement, memory, and renewal. The album’s deeper magic is this: it sounds global without sounding calculated. Where many “world music” experiments feel curated, Graceland feels lived in. Songwriting: ★★★★★ Rhythmic Innovation: ★★★★★ Production: ★★★★☆ Cultural Impact: ★★★★★ Timelessness: ★★★★★ Overall: ⭐ 9.5 / 10

Points for rhyming "sunlight" and "Fullbright" and Ladysmith Black Mambazo is 🔥. The first half of this album I wasn't totally convinced by, but once it hits its stride, it's really quite good.

Have always casually enjoyed Paul Simon songs without completely diving in. I find something about the specific style and sound of this album pretty moving and strangely, almost confronting nostalgic. I do understand the corny accusations and it does trail off a little towards the end for me. Fav tracks: The Boy in the Bubble, Graceland, I Know What I Know, Diamonds. RYM: Saved a song: N

Well, where to start? On one hand I feel slightly wary of the dynamic of a rich, miserable, white guy finding salvation (+ more hits, extra money) on the shoulders of talented artists from the Souths, both global and national. But, it's still a gem of a record, a hell of an achievement, an amazing production. Pretty much all killer until the last couple of tracks. And at least it wears its influences and collaborations very openly. Maybe the title is even a reference to preempt that possible accusation of cultural appropriation? A scrapbook of ideas and styles that hang together to create something new and wholesome. It mostly sounds like a good time, to be honest. Probably churlish not to give it five stars but that's me.

An unexpected delight. I thought I got Paul Simon, but it turns out I had only hit one layer of the onion and his album was worth the full listen.

chill-maxing with african-like music

Strong 4

3.75/5 Top Songs: You Can Call Me Al, Diamonds on the Soles of Her Shoes, The Boy In The Bubble

Yesss ate

Very good

fun and funky!! I like the variety of tone and tempo! it really does feel like a fully self contained xperience. But I found myself wanting to like it more than I actually did, the slower parts of the album didn't really do it for me.

Great album. Don't know what to say else, except that I had a nice time listening to it. It felt light, easy to listen.

Crazy love Al

Appropriated af, but a great album nevertheless

bro got rich and went on a bunch of safaris. this guy loves africa rare album for me that is commercially popular, has singles that I like....but the singles aren't my favorite tracks. 4

This is one of my mother's favourite albums so listening again after many years evokes warm memories, as indeed does the music itself; wholesome and humanist as it is. This has a quality I appreciate in an album wherein all the songs kind of sound just a little similar. It makes for a cohesive feel and gives the impression of an artist working in a rich creative vein. All up it's a little twee but puts a smile on my face. p.s This is where Vampire Weekend were born.

Love to see the feature band live!

Spectacular sounding. I love Linda Rondstadt’s vocals

Pleasant. I love You Can Call Me Al.

Better together

I love this album and the South African music in it. All the artists featured fit in perfectly. 9/10

Would never be made now but can’t lie I enjoyed in the sun

This is an old classic that I've listened to so many times, I've lost count. not as relevant to me over the last 25 years but still hard to say no to this.

A very interesting and multifaceted album with hints of African folk music

The South African musicians on this record add a depth of character and flavour I have not heard in a lot of modern music. The effortless mix of folk, singer/song writer and South African percussion (as well as back in vocals) create a sonic experience unlike any other. Automatically one of my favourite albums I have listened to. Of course I recognise a lot of the music, but just like putting a name to a face, I feel that I have a much better understanding of the music now. A brilliant listen throughout.

My rating is 4.3. I have always loved this album despite the many controversies surrounding appropriation.

It's obvious that this album is quite special. The blend of western styles with African influence is a unique listen, and there are the clear standout tracks. I'm aware there's some controversy surrounding it, and I'm not attuned to all the facts - but I really liked this. Favourites: Graceland Diamonds on the Soles of Her Shoes You Can Call Me Al

wenoski

I didn't know who this artist was, but I had a song of theirs already in my liked songs, which is interesting. I have no idea when I liked that song, but I liked this album a lot so I've added a few more the list.

Not my cup of tea, but i think it was a pretty good album. Nice to listen while doing something.

Incredible album, highlight is you can call me al

I wasn't sure about this album hearing the first song, it seemed a little unfocused and the vocals were talk-y and loose rhythmically, but by the second track I got hints that it was inspired by African music, and by the next couple tracks it was undeniably an album of African music, which I love. I especially love multicultural music.i don't know much about the background but the album tells a story of a city boy from America traveling to Africa and discovering a new world. 8/10

I love the Ladysmith Black Mambazo contributions. All of the African bits are great throughout. "Diamonds on the Soles of Her Shoes" and "Homeless" were already beloved songs for me for that reason, but I was happy to discover more. It's interesting to have zydeco in there too. I'm not sure about the right word for it, but a few tracks (notably "You Can Call Me Al") rub me the wrong way. Maybe its corny? Anyway I really enjoyed these tunes on a beautiful bike ride yesterday. I imagine they're even better in the summer. I might give it 4.5 if I could

Really good album

Well done Paul

I understand that this is an important album but I never got into it….

4,5 is top

Enjoyed this. Groovy and enjoyable throughout. Expertly played. Constantly interesting, and I’m surprised I’d never listened to it all the way through before.

I love a lot of the songs on this album, mostly due to the amazing, rubbery, bouncy bass of the incomparable Bakithi Kumalo. It was also my first introduction to the incredible singing of Ladysmith Black Mambazo, and to African rhythms in general. And the performances and production throughout are stellar, with a wide array of guest stars from all around the world. But the more I learn about it, the more I learn that Paul Simon is, by all accounts, kind of a dick. I appreciate his songwriting and his ability to introduce world music to the larger U.S. audience, but I can't give it a full five stars.

Cultural appropriation, schmultural appropriation. Simon collaborated with some of the greatest South African musicians of the day. Their efforts complement each other beautifully. Simon’s storytelling is warm-hearted and universal, and the African vocalists put the songs in a new context. Simon’s lyrics express loneliness with wry humor and deadpan wit. It doesn’t all work, and it gets a little twee, for sure, but… A good album makes you want to listen for days and weeks . A great album makes you want to listen forever. This is a great album.

I don't know where I go with this one exactly because I think time has probably not done it favors. Also at the time it did support Black artists but also didn't focus any thoughts or lyrics on the apartheid laws of South Africa I love the mixture of different cultures and beats and it makes some really beautiful musical sounds. However, it is a little appropriation and sad (as always) that it takes a white man to make these beautiful traditional sounds popular. But also at the time that was somewhat needed to bring these sounds and musicians to a global stage. So I don't know, I liked it and honestly found the African musical influences the best parts. Paul's voice just didn't hold up to the beautiful chanting, drums and zydeco sounds.

I dig the South African vibe of this album. Kinda chill, and lively in sync.

Good music, but the album didn't feel cohesive.

Lovely effort with all the awkward growing pains of cross-cultural collaborations.

To me this is weirdly a kind of anti-album. I know all the songs, love many of them, and appreciate the sound when it wanders into my life. But I almost never play the album, nor do I see it as one I’ll share with my kids one day (whereas I’ve already found moments where I’ve decided it’s time for them to bear Help! or Yoshimi Battles the Pink Robots). It’s not just that I like other Paul Simon records more… it’s something about how when you put the 80s pop Africana sound at album scale, it becomes more grating. The accusations of appropriation become more salient, even though I’ve never known what to think about all that. So it’s a 4 for Paul and Ladysmith Black Mambazo and a loose affiliation of millionaires and billionaires, but not so much for Graceland.

Can’t fault this album really, well put together and with Paul’s fantastic bass work. A joy from start to finish

Wow I think this confirms I shouldn't read reviews on here, what a bunch of friggin idiots. What a classic and nothing Simon did here is wrong. He is a music lover. He loved their music. So he went to see them. They loved him. They made music together in collaboration that a majority of the whole world loved. He gave exposure of their music to the whole world, as well as their domestic plight which doubtless made a positive contribution to the end of apartheid. Beyond that it's a great mix of songs joyous and thoughtful. Groovy and heartwarming. A classic and probably his best.

4/5. Great all the way through. Loved the experimentation with different artists and styles.

Didn't think this was gonna be my vibe, but it was very much my vibe. I really liked it. And there is sooooo much lore behind it - the South African apartheid, the breakup of Simon & Garfunkel, his divorce from Carrie Fisher. Excited to dig into the history of the songs!

It was a good funky album!

Gosto muito do Paul Simon, fez altas músicas que tocam no meu coração, mas esse álbum foi muito animadinho, não me tocou tanto. As mais filosóficas dele, que tu sente vontade de pegar uma berga, são as melhorinhas. Tava louco pra dar 5, mas vou com 4 por que o cara é bom mesmo.

Que álbum lokaço mano. Bem diferenciado, fora do padrão. Achei bacana, várias músicas com baixo bem gostosinho, sempre me chama a atenção. Músicas animadas, deve ser bom pra ouvir viajando. A "You Can Call Me Al" toca direto aqui nas festas e eu não sabia o nome. Quando começou a tocar já rolou um PTSD, mas é bem daóra a música. Várias músicas com feature indígena ou algo do tipo também, algumas esquisitas, outras daóra. Eu ia dar 3* mas acabei adicionando váárias músicas, achei o álbum muito daórinha, eu acho que merece 4*, me surpreendeu positivamente.

I remember as a kid, this album was everywhere. Funny reading about how he stole the idea for the album, and fucked over some of the musicians, the cultural colonialism. Interesting stuff, and well the thing is the album is great! 4 Heard before? Some Owned: No 47/192 (24%) Will I get: I think so

It sounds so festive and feels like with a sense of community. Inspirational!

2/1/26. Didn't have much time or energy to listen fully but everyone knows Call Me Al and I think the style is unique. Took a few songs to acclimate but I enjoyed it. 7/10

I like Paul Simon's solo album. It's got songs on it that are African in nature and it's a great listen if you want that kind of music. His back up band are really tight but it's sort of light and airy; nothing wrong with that, sometimes I like listening to that kind of music. It is quite uplifting.

Really like this album - if I tried to describe it the description would not be something I would expect to enjoy, but it just works

Paul Simon is an artist I really ought to listen to more often; his work often has to fight for my attention against the louder rock and blues that dominates my collection. His music is intricate, precise, and occasionally delicate - always deeply considered. However, having been born in the 1960s, I’ve found his music has been a constant presence throughout my life. It may not always have been at the forefront, but it was always there on the radio and TV, quietly influencing me while competing with the louder trends of the 70s and 80s. Similarly, "Graceland" is an album that I find myself thoroughly enjoying every time I put it on. Simon’s wonderful voice is paired here with some slightly "odd" vocal melodies that offer a refreshing departure from his earlier solo work. The accompanying harmonies, of course, bring a completely different texture, with African influences shining through most brilliantly on the introductions to "Diamonds on the Soles of Her Shoes" and "Homeless". Underpinning it all are those infectious rhythms; the percussion and bass work, in particular, are standout elements that really make the record shine. The album wasn't without controversy upon its release, and as evidenced by some of the more recent commentary in the reviews on this site, that debate clearly persists. Personally, I’ve never agreed with the critics. At best, the "cultural appropriation" critiques are well-meant but misplaced; at worst, as seen in some vitriolic reviews, they are little more than nonsense. "Graceland" is an excellent album. While I’ve never quite subscribed to the "masterpiece" label, a term I tend to avoid in any case, it is a high-calibre piece of work. For me, "Crazy Love, Vol. II" is the weakest link; it’s a good song, but it feels slightly out of step with the rest. Similarly, while the final two tracks are very strong, they don't quite possess the same cohesion as the opening eight. Four stars. Side one 1 "The Boy in the Bubble" (5/5) 2 "Graceland" (5/5) 3 "I Know What I Know" (with General MD Shirinda and the Gaza Sisters) (4/5) 4 "Gumboots" (with the Boyoyo Boys) (4/5) 5 "Diamonds on the Soles of Her Shoes" (with Ladysmith Black Mambazo) (5/5) Side two 6 "You Can Call Me Al" (5/5) 7 "Under African Skies" (5/5) 8 "Homeless" (with Ladysmith Black Mambazo) (5/5) 9 "Crazy Love, Vol. II" (with Stimela) (3/5) 10 "That Was Your Mother" (with Good Rockin' Dopsie and the Twisters) (4/5) 11 "All Around the World or the Myth of Fingerprints" (with Los Lobos) (4/5) Sum 49 Average 4.45 229/1001 127/229 albums reviewed were new to me

So close to perfect congruency with Paul Simon on this list. We had a Paul Simon album as our 26th album and after this album we only have 27 albums remaining. Another great entry by Paul Simon. Very interesting to see how much he is influenced by African music being a white American.

I could call him Al, but I'll call this album pretty darn great.

Some really fun, catchy songs

This feels like a good baseline album and rating to start off this project with. Had never actually really listened to this outside of "You Can Call Me Al" and the title track. Paul Simon's songwriting strengths meld really well with the South African instrumentalists that he brought into the room, although I imagine his songwriting strengths meld really well with most musicianship out there, the instincts are just so incredible. Outside of the aforementioned great songs that still hold up, the two highlights (which will make pleasant new additions to my rotation) were "The Boy in the Bubble" and especially "Under African Skies". Wow Linda Ronstadt's voice huh. Very funny to love that song and then read about how that one was especially critiqued in the scope of the anti-apartheid boycotts. Beautiful song though.

The last minute of Diamonds on the Soles of Her Shoes is some of the most beautiful pop music you'll ever hear. The whole album is also some of the most beautiful pop music you'll ever hear. I've been trying to figure out what a "roly poly little bat faced girl" is since I was like 6 years old.

A legendary album that's genuinely hard not to like. Instant mood improver.

Paul wants to be in an African tribe so bad but he just cant shake off the 80’s

Not my kind of music but a pretty awesome record.

4.5/5. Easily the best post Simon and Garfunkel Paul Simon album. Lyrically he’s at the top of his game here and his collaborations with south-African musicians give the instrumentation a great sense of personality.

Great album! Paul simon is such a gift and he has a way of just writing great songs

Great album. Probably Paul Simon's best solo album (my favorite) Highlights: "Diamonds on the Soles of Her Shoes" and "You Can Call Me Al"

Very fun album. I didn't know that You Can Call Me Al was from this record. Some tracks ran on too long. I love the clear inspiration from various cultures.

I've really taken a liking to Simon & Garfunkel since I got Parsley, Sage, Rosemary and Thyme in this generator, so I'm looking forward to listening to one of Paul Simon's most critically acclaimed solo albums. Having only heard Simon & Garfunkel before, and not having noticed that Graceland came out in 1986, I was dumbfounded when I started and heard all the 80's music elements in this. But there's an elegance to the mix of Paul Simon's impeccable songwriting, African music and 80's music elements.

Didn't know what to think when the intro of track 1 started but quickly started really enjoying this album!

A great album to have in the background of a chill house party. Favourite would have to be "Diamonds On The Soles Of Her Shoes". "I Know What I Know" doesn't do a lot for me, so I would go with that for least favourite right now.

Love the African-inspired vibes!

Really enjoyed his curiosity of other styles of music!

The Boy In The Bubble - like the drums in the opening, good grooves. i like it quite a bit so far. "these are the days of miracle and wonder, this is a long distance call. the way we look at a distant constellation that's dying in a corner of the sky." like that alot. Graceland - like it in the beginning, pretty interesting. i can't figure out what the fuck Graceland is, he just keeps talking about going there? I Know What I Know - idk who these folks drummer is but by god that person is good at drumming. it's just him picking up a girl, it's got vibes Gumboots - "and you don't feel you could love me, but I feel you could." love the saxophone in the back and the intricate keyboard(?) in the back with the jumpy beat. it's nice. this is a bop i might revisit. Diamonds on the Soles of Her Shoes - rich girl and poor boy song. talking alot about the diamonds on the soles of her shoes, she knows it. You Can Call Me Al - "if you'll be my bodyguard, you can call me Al". really liked this one. African Skies - talks about an african man walking under the african skies Homeless - being homeless under the african skies, did not expect the sudden african twist. like the chanting in the back. Crazy Love, Vol. II - "I don't want no part of this crazy love, I don't want no part." That Was Your Mother - sounded fun All Around The World or The Myth Of Fingerprints - GIVE THIS DRUMMER A FUCKING OVATION GDAMN.

pretty good!

I do appreciate the ambition and originality in this album. And the bangers really are top drawer. Don't love all the tracks when they go a bit too far into African music territory for my taste. But it's a great journey of a record. I really need to listen to more of Paul Simons work beyond this.

Obviously this album being on the generator allows me to recount the story of how I used to think Chevy Chase was Paul Simon when I was a child. Anyway, this is a weird album for me to try to review. I genuinely enjoyed having it on while I was pottering in the kitchen. Bringing in the musicians from South Africa to play on it has created such a unique sound that there is no doubt you’re listening to “Graceland”. It’s full of interesting guitar lines and rhythms, and I will never not enjoy the opportunity to listen to Ladysmith Black Mambazo. All of that said, the only tracks that made me stop to pay attention were the title track and “You Can Call Me Al”. But they sit in a mix of songs that otherwise were enjoyable. If I could give this 3.5* I would, because I’ve faltered between giving it a 3* or 4* marking for what feels like hours. But I don’t think it’s a 3* album compared to others.

It's another album my parents played to death during my youth and which I probably haven't listened to once as an adult. Paul Simon has such a soft, lovely voice and he writes great lyrics - it's a killer combination. Especially on this album which, depending on your viewpoint, is infused with the sounds of South Africa / stolen from apartheid Africans. I haf no idea that Simon was a bit of an arse who stole the whole idea for this album from someone else (Heidi Berg) who he was supposed to be producing an album for. Major tut. I listened to this while reading a message board post from 2011 where Paul Simon stans argued with each other about how much of this album can be credited to him and it was genuinely fascinating. Parasocial relationships with artists are nothing new. Back to the music... Ladysmith Black Mambazo have just the most beautiful voices - there are some great songs on this album that are so well known, but Homeless just is so lovely and tragic and gorgeous. I really enjoyed revisiting this album, and regardless of it's complicated back story, it's so understandable how this became the huge hit it was. 4/5

great album. "pretentiousness" always has been more of a value judgment than an actual technical flaw with an album. not cultural appropriation by the way, no idea where that came from.

Hmm

he really loves african guitar man.

Love the varied instrumentation, world music, and of course Simon is a gifted lyricist. I was vaguely familiar with this album but first time listening in its entirety. It's quite enjoyable.

很轻盈很有生命力的好听，但还是觉得没有主唱人声就好了，欣赏不了沙哑男声

Some fantastic tracks

Tento album mi je celkom sympatický.

Heard before. Only wanted to skip 2 songs!

The introduction to African music that the world needed in the 80s. Still being massively influential 20+ years after his first album just shows how much of a genius Paul Simon is.

i really liked this album

VERY different, really enjoyed it

This feels like a traveling album. Like something that'd be in the secret life of Walter mitty in his Montague. This was a bubbly happy go lucky listen. The background vocals add to the feeling

Cultural appropriation or groundbreaking collaboration? This record certainly brought a lot of controversy at a time when apartheid was in the world's lens, mostly thanks to the efforts of artists to use their influence to draw attention to South Africa and refusing to play there. At the time the album was released, I sided with the views of Billy Bragg and Paul Weller; I was outraged. Over time, this album grew on me, and I think I understand what Simon was trying to do. I'm less outraged and more grateful that he helped artists like Ladysmith Black Mambazo, Ray Phiri, and Bakithi Kumalo touch the world with their music. 40 years later, a similar controversy is in the spotlight. This time, the focus is on comedians playing comedy festivals in Saudi Arabia. Art is vital for human development, communicating complex ideas, and making sense of life's experiences. It can express emotions, challenge perceptions, provide pleasure, promote social connection, teach values, and help us understand ourselves and the world. It's easier to hate than to empathize. This album definitely belongs on this list.

Wasn't expecting to like this, but I liked the cohesiveness and some classics- good listen

A very soothing listen.

So mucho peace, so mucho calm. A music from another era. Beutiful

I never thought i will like an album from the 80s , unique shi

7.5/10

Great diversity across entire runtime, loved the different styles shown through the features, incredible lyricism from an incredible songwriter

This is very grandpa music to be honest. I like it but it's the type of thing I would imagine an irishman skipping down a cobblestone road to. Even that's not the right vibe but it's just not really my cup of tea. I like it but I'm probably not going to add many songs to my playlist. I am still enjoying it though. There's honestly not much music that I won't enjoy when I'm in the mood for it and open to listening to anything. Wait what?? Diamonds on the Soles of Her Shoes hello?? I'm really rocking with this! Paul Simon I was unfamiliar with your game!! This is Simon from Simon & Garfunkel?? What?? Okay never mind maybe I will really like this. Wait I know You Can Call Me Al it was a TikTok song this is cute. Simon I will never speak ill of your name again. This is so good. Homeless?? This is sooo good. Actually I'm a big fan of whatever this guys got going on. I actually really enjoyed that. Favourite: Diamonds on the Soles of Her Shoes Least favourite: That Was Your Mother

Several really good songs with a few lesser ones. 4 stars or B+.

Really enjoyed this album. There are some excellent songs on here. Graceland being my particular favourite. Paul Simon certainly has some ability as a songwriter. Interesting history to the album as well.

4.5/5 https://rateyourmusic.com/release/album/paul-simon/graceland/

Great album.

i rly liked the african instruments used, i loved this album and it was great

Seems fitting to go from Elvis to Graceland! As I’ve said before, my dad was a big Paul Simon fan and so I grew up listening to this and the nostalgia for it is still strong. Musically it’s still really strong too, packed with hits and hooks, it’s easy to hear why this became as popular as it did, even if there were some question marks about it politically.

It's Graceland isn't it?

I'm on day 3 of this project, and I'm having to change my expectations. So far I'm listening to nearly ubiquitous music -- Bobs Marley & Dylan, now Paul Simon. Music I've heard nearly my entire life without ever needing to seek it out. Taking the time now to purposely listen to full albums by these artists who've always existed in the atmosphere, is this a useful experiment? I don't know, probably. Is it worth whatever this is going to do to my Spotify algorithm? I'm not sure. I see the genius in Graceland. There's good music here, but I have to shake off a lot of context to get to that point, and I think I have to work too hard at that to really enjoy it. I realize I have given this record a chance before. I'm not sure I have any desire to listen to it again. It feels like 1986, and surely so perfectly capturing an era is meritorious (honestly, you can learn everything you need to know about the mid-80s by starting at the Graceland Wikipedia page and reading all the linked articles), but it's capturing a particularly slick essence of the time to which I have a bit of an aversion. There are some songs I might revisit, but, if I'm looking for African vibes, I'll probably listen to some African music. I guess if I'm ever in the mood for mid-80s cocaine vibes, I might reach for this, but I'd rather listen to Talking Heads.

Cinematic experience!!

Love Paul boy

A pretty funky vibe I wasn’t expecting it but I like it

Yep

Lovely sound, actually knew one of the songs!

All good fun. Tbh, I didn't get much time to listen properly, but it's obviously very good.

Fantastic.

Like proto-Vampire Weekend with a Chevy Chase jump scare.

First half is a certified banger but the back half keeps this from a 5 star rating.

I enjoyed, but would I listen again idk

Upbeat fun

Great album.

So unique, so singular. There’s a lot of themes of travelling distances in search of something, particularly the ‘going to graceland’, which I interpret to mean he’s trying to connect with the American country, the Earth, Africa, our selves we have lost to the dull complexity of civilization. It’s memorable but I think not quite powerful enough to really hit me like Bridge Over Troubled Water did. Really commendable for its vast, worldly influences. I think they are good, I don’t think it’s wrong to pull from different cultures, and I think more people should

Hard not to love this album!

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