Customer Reviews

Graceland (Mlps)

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This seamless blend of African pop and American folk styles is one of the most exquisite musical achievements of the 20th century. The melodies are beautiful, the voices divine, and each and every one of the tracks is a classic. This extended version contains alternate takes of three songs.

The best loved songs include The Boy In The Bubble, Graceland, Diamonds On The Soles Of Her Shoes and Under African Skies, but the rest hold great charm too. The most rootsy African sounds surface on I Know What I Know with the soulful vocal infusions of The Gaza Sisters.

Paul Simon has always successfully integrated exotic sounds in his music to create great beauty: Andean flutes in El Condor Pasa, reggae in Me And Julio Down By The School Yard and in Mother & Child Reunion, and Latin/South American sounds in Rhythm Of The Saints, but Graceland is his towering achievement as a solo artist, a truly exceptional album with a power and beauty that transcends all musical boundaries.

Prior to the release of Graceland in 1986, Paul Simon was already a musical superstar. From his 60's days as one half of Simon & Garfunkel to his solo work the 70's, he created some of the most memorable songs in music. Through it all, the basis of his music was an acoustic guitar and deeply rooted in American sounds like doo wop, folk or jazz. When one heard the South African rhythms that came from Graceland, the last person you'd expect them to come from would be Mr. Simon. The lyrical content of the album is no surprise as Mr. Simon is one of the best in the business, but the musical backing is fresh, new and vibrant. "The Boy In The Plastic Bubble" just explodes out of your speakers and for some reason the song reminds me of a carnival. Ladysmith Black Mambazo adds stirring vocals to the sublime "Diamonds On The Soles Of Her Shoes" while adding a plaintive almost mournful sound to "Homeless". Linda Ronstadt supplies a fine harmony vocal on "Under African Skies" while Los Lobos assists on the albums closer "All Around The World". "You Can Call Me Al" had a hilarious video with Chevy Chase but beside having a good video, the song is as bouncy and catchy as anything he's ever recorded. He not only uses South African beats, but he explores zydeco music on "That Was Your Mother" and stays at home on the title track. Graceland is the peak of Paul Simon's long and illustrious career. The reissue, like all the others in the Paul Simon collection, is first rate. The sound is greatly imporved and the packaging replicates the original album nicely. Also like the other reissues, the three bonus tracks of demos are okay, but not revealing or required listening.

I have a hard time deciding if Graceland isn't Paul Simon's best work. Take his first album (simply titled Paul Simon.) That was a breakthrough song fest when it came out in 1972. We were all sorry to see Simon and Garfunkel break up --would we ever see the likes of "Bridge over Troubled Water" again? While Paul's solo work was different than the duo, who could resist those catchy and quirky songs? This was one of the great albums that debuted during pop and rock music's finest years (in my opinion) --the early 70's.

When "Graceland" came out after the music's death by disco in the 80's, I was thrilled. At last, something great to listen to. What a sound! The mix of South African music with Simon's style of songwriting was unique and appealing. The deep, swooping tones of Ladysmith Black Mambazo make a wonderful contrast to Simon's light tones in the title cut. The typical Simon bouncing rhythm is vastly improved by the African mix. And Simon does the favor of introducing the great South African band, who went on to enjoy their own, richly deserved fame.

All in all, a great album that never fails to cheer me up.

Prior to the release of Graceland in 1986, Paul Simon was already a musical superstar. From his 60's days as one half of Simon & Garfunkel to his solo work the 70's, he created some of the most memorable songs in music. Through it all, the basis of his music was an acoustic guitar and deeply rooted in American sounds like doo wop, folk or jazz. When one heard the South African rhythms that came from Graceland, the last person you'd expect them to come from would be Mr. Simon. The lyrical content of the album is no surprise as Mr. Simon is one of the best in the business, but the musical backing is fresh, new and vibrant. "The Boy In The Plastic Bubble" just explodes out of your speakers and for some reason the song reminds me of a carnival. Ladysmith Black Mambazo adds stirring vocals to the sublime "Diamonds On The Soles Of Her Shoes" while adding a plaintive almost mournful sound to "Homeless". Linda Ronstadt supplies a fine harmony vocal on "Under African Skies" while Los Lobos assists on the albums closer "All Around The World". "You Can Call Me Al" had a hilarious video with Chevy Chase but beside having a good video, the song is as bouncy and catchy as anything he's ever recorded. He not only uses South African beats, but he explores zydeco music on "That Was Your Mother" and stays at home on the title track. Graceland is the peak of Paul Simon's long and illustrious career.

Paul Simon has been at the forefront of music, for as long as most of us can remember. with a career dating back as far as the 1950's, and having already established himself with the seminal work, as the 'Simon & Garfunkel' duo. It wouldn't have been unreasonable to think that his solo work, would have paled in comparsion. Yet after a steady stream of steadily more accomplished solo albums, it wasn't until this his 9th studio album (Released in 1986), that he hit his creative peak, with his "Graceland" album. An album that so beautifully (and some would argue 'Seamless'), fuses: Singer/Songwriter, Worldbeat, Contemporary Pop/Rock, African hymnal songs, and presented in such a largely accessible way, that it became one of the first 'World' music (or certainly 'World influenced albums), that was a huge hit in the west.

It's not hard to see why this album was so easily accepted by the western music buying public. With an elite cast of musicians that would eclipse most festivals, these were either musicians that were already huge on the musical circuit, or due to become big after having a hand in this recording...so people such as: Linda Ronstadt (Vocals), Ladysmith Black Mambazo (Vocals), Youssou N'Dour (Percussion), Los Lobos' - Cesar Rosas (Vocals, Guitar), all contributed to the construction of this album, and their performances are beautifully captured (especially Ladysmith Black Mambazo, backing vocals, on some tracks) and remains a remarkably powerful album. Possibly because the album covers so many bases. (Possibly in an effort to appeal to as wide an audience as possible). And so it proved to be as eclectic a record as Paul Simon ever recorded. So you have the sublime Adult-orientated rock ("The Boy in the Bubble"), Poetic, articulate singer/songwriter tracks, for those seeking something a little more substantial ("Diamonds on the Soles of Her Shoes"). The glorious and irresistible catchy pop, of the hit single ("You Can Call Me Al"), torch-bearing hymnal African harmonies, ushering in broadly accessible world music ("Homeless").

What is hugely impressive here, is the fact that each track is truly deserving of inclusion on this marvellous release, nothing on this album feels like it was included to fill out the album, and it's shift through various moods of being Exuberant, Poignant, Reflective, organic, and spiritual & Consistent remain unquestionably impressive. In fact it was such a perfectly realised album, that when taken as an album whole, it all comes together to combine into making this one of the greatest albums released in the 80's. For those that aren't huge fans of Paul Simon, but do appreciate his work, I (very) strongly urge you to pick this album up even if you only have a passing interest in his music. This album not only helped open up the floodgates to Western ears appreciating (accepting??) World Music, but also remains his creative high point (both musically & Artistically)....you'll be surprised at just how well this album, has stood the test of time, with it still sounding as vital as it did back then (obviously, not as political important, as this was released around the Apartheid days), but few could argue it's cross cultural musical experiments, and become the album for which other culturally fused music was judged against.

The poet, singer, musician and visionary Paul Simon scores a huge triumph with "Graceland," his foray into South African, Zydeco, and pure funk rhythms and sounds. He starts out strong with "The Boy In The Bubble," an almost profound musing on our contemporary world: "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," then takes you right into the title cut, "Graceland," on which he is joined by the Everly Brothers, a song filled with poignant metaphor and memorable images: "The Mississippi Delta / Was shining like a National guitar / I am following the river / Down the highway / Through the cradle of the Civil War." "I Know What I Know," is a catchy, fun song followed by the upbeat, rhythmic "Gumboots," on which he is joined by The Boyoyo Boys. A hook of South African rhythms launches the hypnotic "Diamonds On The Souls Of Her Shoes," which features an a capella intro that sets the mood for a wonderfully transporting piece of music. Then it's fun again with the funky "You Can Call Me Al," filled with subtle humor that's like an invitation to sing along. Linda Ronstadt joins Simon on the melodic "Under African Skies," a lilting tune with the pensive refrain: "This is the story of how we begin to remember / This is the powerful pulsing of love in the vein / These are the roots of rhythm / And the roots of rhythm remain." The South African sound predominates the driving "Homeless," on which Ladysmith Black Mambazo joins in; this song, which incorporates Zulu is not only uplifting, but mesmerizing. The South African band Stimela backs up Simon on the syncopated "Crazy Love, Vol. II," another song laced with subtle humor: "Fat Charlie the Archangel / Sloped into the room / He said I have no opinion about this / And I have no opinion about that." The Zydeco influence takes over on the rousing "That Was Your Mother," which rings with accordion, drums, washboard and sax that evokes the spirit of Clifton Chenier, the "King of the Bayou." And for the grand finale, it's one that will really grab you, "All Around The World Or The Myth Of Fingerprints," on which he is joined by the East L.A. band, Los Lobos; it's a song that will take you along with it, and have you singing all the way. It's a terrific finish to a terrific album. This is one of Simon's best; it'll grab you by the soul, and once it has you it isn't going to let you go. For anyone who hasn't heard this album, it's a great experience just waiting to happen.

This CD was made in the mid- to late 1980's and features collaborations with many different performers and many different styles. Here, you will hear various South African artists, like Ladysmith Black Mambazo, the Boyoyo Boys, and Baghiti Khumalo; the Everly Brothers; the east L.A. band Los Lobos, the cajun band Good Rockin' Dopsie and the Twisters; and Linda Ronstadt. Listening to this music will take you from the bayou of Louisiana to the heart of Africa.

The first thing that struck my attention is the use of percussion and accordion. This is the emphasis for the songs rather than the guitar work. The second thing is the blending of Zulu and English lyrics like in the songs "I Know What I Know" and "Homeless." Both things are a breath of fresh air into Simon's work.

The two stand-out songs on this album, for me, were "You Can Call Me Al" and "Under African Skies." The former was very popular on MTV at the time, and in concert, Paul Simon usually played this song twice through the early 1990's. That is just how energetic it is. The latter has Linda Ronstadt who has such a great voice.

I would highly recommend this album. The rhythm is catchy and will get your toe tapping.

Good music doesn't get older. This is the point this album keeps on making. What it means is the following;

I am now 16 years old. While most of my generation is listening to the newest rising stars, who will be forgotten in the time it takes to blink, I am absolutely loving (!) the good music from yesterday. Everybody I tell of my taste in music looks at me as if I'm crazy, but the minute I let them hear Paul Simon, they have to agree with me; this is the best of the best.

My point is the following; today's music isn't any good. If it was, trends wouldn't change so much. If you only look at this one album. People of this generation still absolutely love it, while today's music is forgotten tomorrow...

This is music you will remember when you've forgotten everything else. My parents did, and let me hear the great rythms and beats combined with the absolutely great lyrics of Paul Simon's Graceland, and thus got me hooked to one of the greatest artists of the 1980's.

A lot of people have expressed surprise at this great Paul Simon album but I'm not sure why. One of the reasons given by Paul as to why he broke up one of the more successful vocal duos ever was his intention to pursue a different musical direction, one that involved his great love for rhythm, and we get large doses of that on this album which incorporates not only African rhythmic styles but also Cajun folk rhythms.

We get complex time signatures and constantly changing rhythms not only in the music but also in the acapella vocal stylings of "Diamonds On the Soles of Her Shoes" which is full of syncopated rhythms. Fans of Paul are very familiar with his love for rhythm from earlier great tracks like the Grammy winning "Late in the Evening" which would have fit in well in this album as well.

This version is also special as it comes in a digipak packaging and the sound quality has been remastered very, very well for a great sound. The bonus tracks are an excellent plus as well, the demo version of "Homeless" the standout of the 3. This is probably the best version of this album that is currently out there and is a must for all fans of great rhythmic music.

Very highly recommended.

I've always found that to be the album's most telling line. Whether people realize it or not, all the music we know can be traced back to the roots of simple chants and rhythms. The true soul of music the way it was meant to be comes through on Graceland: a joyous sharing of talent and experience. World-class musicians and first-rate songwriting make it one of the most enduring and enjoyable albums I've heard. Paul Simon has helped bring the beauty and wonder of African music to an American public that largely didn't know any better due to being inundated by all the Matchbox 20s and Ricky Martins of the mainstream. It's an album not to be missed. (If you want to go a little further, pick up Passion or Security by Peter Gabriel.)