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.

My 1980's listening was somewhat limited at the time, so I gave this a little listening. The two expressions pictured above are relevant to this listener: emotionless and sleepy (from boredom). _Not much lyrically, the overall sound is very synthetic. Electronic drums? Dusty Springfield's performance on "What Have I Done to Deserve This?" is a highlight. (Now, take another look at "The Boys" above.)

An epic fuse of jazz and soul and funk. This is an outstanding example of the musical period that served my needs during the disco age - JAZZ FUSION. In addition, such a recording served as an impetus for "going back" in Hancock's catalogue to gain a much greater appreciation of straight-ahead jazz. "Chameleon" is the classic tune from this great period piece!

One word sums it up: EXQUISITE. This crossed over multiple hits lists, hitting so many categories.

First of all, I am a devotee of Buffalo Springfield and love what Neil Young had to offer CS&N. As a solo artist, however, I've always felt like I'm "supposed to love Young." I don't. His solo guitar work is sophomoric at best (distinctive, but not in a good way) and his vocal can become grating. HARVEST, however, is pretty classic, with well-written, memorable tunes.

If it was Jimmy Smith, it was GOLD. I had the extreme pleasure of seeing the jazz master at the Hammond Organ on two occasions in the late 1970's. This precious disc dates back to 1960 and features Kenny Burrell on guitar and a very young Stanley Turrentine on the tenor sax sharing the soloing. (And with Jimmy, no bass player was needed, of course.) This and Jimmy was funkifizing before we were talking FUNK.