Most Helpful Customer Reviews
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29 of 31 people found the following review helpful:
5.0 out of 5 stars
Simon's World Beat, December 6, 2000
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.
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22 of 24 people found the following review helpful:
5.0 out of 5 stars
Graceland--is it Paul Simon's best album?, January 8, 2002
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.
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9 of 9 people found the following review helpful:
5.0 out of 5 stars
Simon Scores With Pure Heart And Soul, September 12, 2000
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.
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Most Recent Customer Reviews
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5.0 out of 5 stars
A masterpiece
So much has been put into this album -- so much thought, melodies, harmonies and rhythms, instrumentation, fusion of different cultures, creativity, lyrics, ideas, atmosphere,...
Read more
Published on April 27, 2007 by Peter Novick
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by Paul Simon 
