Graceland

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

One of the best albums ever

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

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

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

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

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

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

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

Love it

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

Shortarsed song thieving genius.

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

Great

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

Amazing album, very engaging and fun, excellent bass

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

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

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

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

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

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

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

bizarre but it was class

Fajne

Liked it.

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

Fantastic album!

Classic album. Marrying the cajun south and African sounds without losing the distinctly Paul Simon songwriting, all without feeling derivative or contrived. As with many great albums, it's the singles that seem to lose their lustre the most, personally, over time. I still enjoy You Can Call Me Al, but the other tracks really shine.

Yea. Best album

I already know. It’s a goat.

Fantastic.

I love this album, Graceland in particular. He has a real knack of couching deeply moving/upsetting/profound ideas in beautifully melodic songs.

Controversy aside, musically this is a culmination of Paul Simon’s musical meanderings during his solo career. He had flirted with exploring non western music throughout his career and he achieved that vision most fully in this album. The instrumentation is superb and the use of South African musicians and singers lends this album a bit of legitimacy in the face of the controversy of its creation during the cultural embargo. The lyrics (aside from ‘Under African Skies’) are contemplative and explore themes of self and finding one’s place in a larger world. This is truly one of the greatest albums of all time.

So much nostalgia for this. On my first listen it felt like hit after hit after hit. On my second listen I tried to figure out which ones are my faves for the purpose of this exercise and while the first 5 tracks are great You Can Call Me Al is incredible and Homeless was also a highlight.

Is it problematic? Yeah, probably. Is it a five star album? Absolutely! I have a lot of nostalgia for this - more so for the singles that would have been playing during my formative years than the album itself. I have to imagine they primed me to be more receptive to world music as I got older, so hats off for that reason if for no other! Fave track - "You Can Call Me Al" for the childhood nostalgia factor, but as an adult "I Know What I Know" is the stand out track...

Already listen the shit out of this

Great album. Simon be good.

I hadn’t heard this album in ages. Great album. I’ll make sure to listen again soon.

Great album, excellent songwriting, nice mix of serious lyrics with a light tone.

Leuke mix van pop en Afrikaanse muziek. Een album om heel vrolijk van te worden

Amazing

So I'm from South Africa and of age when this was formative for me but not old enough to be socially conscious of the frankly strange political set up (80's) What is great that this album now makes me contemplate these things. Great album

What’s not to love?

All-time classic.

Solid album.

Love Graceland, beautiful album from Mr Simon

Enjoyed it. Little bit of unfortunate 80s production (that vocal reverb!) but that fades quickly and the songs stand out. Is it cultural appropriation for a white guy to make South African-style music?

A favorite

Opinion 80s album and the album that brought the music of Soweto to the masses. A cynical attempt to cash in on South African political unrest or an earnest attempt to help these great musicians to North American ears. Whatever the motivation Simon absolutely hit his stride on this masterpiece. His best most consistent album. Every song is a success, whether straight ahead pop; You can call me Al. Or beautifully South African harmonies; Homeless and Diamonds on the Soles of Her Shoes, or even a credible stab at zydeco; Crazy Love. There's just not a note put wrong or a rhythm not perfectly timed. 5 🌟

The variety of sounds on this album kept the listen engaging all the way through, and the music was really well put together.

Wonderful album. Fully delivers on the world infused feel good tunes.

Loved it then, love it now 😁

Paul Simon was naive, stupid, and arrogant to visit South Africa during apartheid to make this album. However, I don't believe it was done with ill intent, and the musicians he collaborated with clearly love him. Kendrick Lamar said on Sunday night that “imperfection is beautiful”. The result of this imperfect collaboration is a real pleasure to listen to. Every song on this album is full of joy, happiness, and hope. It makes for a superb start to the day! (or end). (or middle).

5/5. Damn good from the first song to the last.

Sure, people think that Pauls voice could benefit from being less douchie, but I think it works. Though there's a dip in the tenor that carries through the album, it's mostly fun, carefree and mellow. The Zydeco and international flavors keep this lively. Overall, this is a very different album than I've heard on 1001. The Graceland track plays almost as if he's exposing a darker past and a brighter future. I love it, and Graceland is a clear winner, but truth be told, all of the tracks here are inspired and worthy. Great listen.

A meticulously crafted, deeply felt masterwork.

My first boyfriend was convinced that Paul Simon sold his soul to the devil after his failed relationships (with both writing partner Art Garfunkel and wife Carrie Fisher) to come away from those failures with Graceland. The album is a blend of such unique styles and sounds and it is amazing to me how joyous the album sounds despite the preceding failures of Simon's personal and professional life. My first boyfriend was not the brightest but he may have been correct in this case.

Peak comfy

I could listen to this album everyday. Absolutely love the sound mixed with so many cultural musical expressions being celebrated.

Brilliant album showcasing rhythms and styles from Africa.

My first cassette. Who knew I would select such a timeless opus magnum? 1000 stars.

9.5/10

Kiinnostavia elementtejä tuotettuna maksimaalisen hiotuksi kokonaisuudeksi. Tätä paremmin tehtyjä poppislevyjä en oo montaa kuullut. Tykkään myös tekstien vaatimattoman optimistisesta tyylistä -- tuntuu, että tässä on mies, joka elämän vaikeuksien jälkeen suunnistaa kohti valoa. 5/5

Rare poetry

This has been my favourite album for a very long time. Paul’s words and his elegant voice mixed with the fun, joy, beauty and celebration of South African music, mixed with American roots of blues and country, made for a historical album and a cultural moment in the history of popular music. It will always be an important album and meets every definition of “must hear”.

Great Album, can't help but to feel happy and in an elevated spirit when listening to those upbeat African rythms. Paul's great voice and folk style singing is the perfect bridge to make this combo easy listening

So so great!!

This album is mostly just great but there's a couple of real clunkers. The bad songs pull this down from a 5 but just a little. 4.5 stars.

All-time classic. Still sounds great even after all these years. 5 stars.

Rating: A- or 91% A gem of an album. So difficult to choose a single track, seamless in its world beat / afro beat soundscapes and fun filled escapades. Paul Simon's best solo work hands down. Picks: The Boy in the Bubble, Graceland, Gumboots, Diamonds on the Soles of Her Shoes, Crazy. Well almost the whole darn album.

Really great album. Love how visionary it was for the time...really nothing like it. 4.5/5

masterpiece. just amazing the blending of paul simon's folk and black ladysmith mambazo. feels like it could have been made yesterday.

Banger

Love this one

Een van mijn favoriete albums! Vroeger als kind ooit gehoord bij de ouders van een goede vriend. Nu nog steeds kan ik elk nummer waarderen. Misschien voor mij wel het beste album dat ik ken. *****

Immaculate. One of the most beautiful albums ever. 10/10 1. Diamonds on the Souls of Her Shoes 2. Graceland 3. The Boy in the Bubble

Overall I really liked this album. I think it has some good folk vibes, and I was reading about it so I learned a bit about South African township music, which the album was heavily inspired from. I appreciate that Paul Simon used prominent artists that were a part of South African township music as features in his album. My favorite track on the album as a whole is probably Graceland, the title track. Overall, very strong, nice to listen to, but not life-changing. This one got the big like.

great songs on this album. so many good things have been said about this album. song "Homeless' is great, with a great lyrics. remember when this premiered, Paul said "this is my best album" and everyone was wishing for more music from him and Garfunkal. when it came out, everyone was amazed with it. different types of music and instruments. maybe this started more globalization of music, seemingly it was ahead of its time.

Game over. Best Paul Simon Album ever IMO. I love the African influence and recognition given to those contributors. Is and will always be one of my favorite albums, period.

Another album I’ve not actively listened to in ages. Dug out the vinyl. Drums, bass and accordion really drives the rhythms. Loved it. But it’s his vocals and the production that adds some grace, depth and lightness of touch when it’s needed. Really need to listen to this more. Staying on the turntable for tomorrow.

When this arrived as my album of the day today I was thrilled. It’s been a long while since I’ve listened to this album and my love for it hasn’t changed. Now added to my favourites and will be listened to again and again

5 stars for the bass player alone

Brilliant 👏

Listened Before? N This turned out to be an amazing album. It feels like the 80s, but it's timeless in its musical composition and eclectic sound. Everyone is familiar with You can Call Me Al, but the rest of the record is just more of the same! I never knew. This is why I am doing this project. Added to Library? Y Songs added to playlist: You Can Call Me Al, Graceland

classic.

omg so wonderful

A fantastic album that has been on my playlist since it was released.

9/10. Spectacular album. Graceland and You Can Call Me Al are the obvious stand-outs, and everything else seemed solid as well. Could easily go up to a 10 on a relisten, only reason I am holding off is because nothing really blew me away on the more filler-y songs, but I think that might have just been me multitasking homework and forgetting about it.

One of my favorites. I hadn't listened to it in a while, so it was good to get back into it.

Ok so it might be a bit problematic but still great

Classic

This album is fantastic. Except for "You can call me Al" that single song kept me from listening to this masterpiece for decades. Not that it is a bad song. It is an example of record companies back in the day pushing singles that did not match the rest of an albums's aesthetics.

Great album by an amazing singer/songwriter. Great experimentation with the blending of different styles from South Africa.

The best.

Paul Simon was in the doghouse when he decided to record this album in South Africa during the international boycott. Also people accused him of stealing ideas from (African) musicians as he had none. In the end it was a great musical and commercial success and it helped a lot of African music to get in the picture again. It songs are fabulous. "You can call me Al" is maybe one of the weaker ones, but the thought of the accompanying video always makes me very happy.

Such a great album. Interesting, cohesive, original. It can draw you in or just kinda be there, comfortably, like your favorite blanket warming you up on a cold winter's night.

A classic album full of love, life and passion, has any album so popular been so controversial? Critics argue Simon broke the South Africa boycott to make this album and took a musical genre he had no right to play; his supporters argue he crossed the colour line and collaborated with African artists, helping to hasten the end of apartheid. It is for each listener to determine for themselves how they feel about this album. Judged on the product alone, however, this is an exquisitely crafted collection of songs with Simon at the height of his lyrical powers and an assembly of musicians playing beautiful melodies and memorable polyrhythms. A great singalong album, a road trip album, a unique album in its blend of Western song writing and African music (is Simon flying too close to the sun, evoking Elvis, a white artist accused of stealing black music?) with so many highlights- Boy in the Bubble, Diamonds in the Soles of her Shoes, You Can Call Me Al, Graceland -what a quartet of singles! - Whatever else, Simon took a massive risk with this album and what could have been a colossal, laughable failure turned out to be one of the greatest albums of all time.

Paul Simon is the real deal and always was.

Superb. All the elements are finally balanced between commercial and experimental. This is an album that rewards you from the first listen. An absolute timeless classic that still sounds fresh 35 years later.

Whenever the topic of cultural appropriation comes up, this album gets a mention. Maybe I'm naive, or probably just nostalgic, I saw this in a positive way - would I ever have been exposed to South African music styles? I still enjoy this album, upbeat, bass, love it! (again, nostalgia!)

Amazing album. 5/5. I just had Ladysmith Black Mambazo come up in my list a couple of days ago and immediately thought, I wanted to hear this album - and here it is.

I heard about this album on reddit. People rated this album as a 5 stars album, saying it was a "family trip" favorite. I listened to it from there and found it magical. Now I listened to it when I travel and I really love it :)

This album is amazing

Любимейший альбом

I've got some catching up to do so I'm glad to get another album that I know very well. There's so much to love about this album I don't know where to begin, just fills me with so much joy and excitement every time I hear it

I was introduced to this as a child and still listen to it regularly, especially on hot summer days. The lyrics are great and the music is joyous, and it still sounds fresh after all these years. The blend of African and American music was clearly very influential on future artists.

I prefer my Simon with a Garfunkel but this album is pretty close to faultless. Easy 5/5.

A classic, even if Steve Berlin's story gives me pause...

Love this album!

Brilliant.

My favorite of his, so far

Marvellously intelligent.

An outstanding album by Paul Simon, arguably his best. The songs are perfectly crafted, with a rich, eclectic sound. It’s a clear labor of love for Simon, who worked with an extremely talented roster of musicians in South Africa and in the US. But it feels like a real collaboration between artists, not just Simon playing musical tourist. Simon’s exceptional songwriting is the icing on the cake, some of the best of his career. Musically, the songs are joyful, warm and engaging, with gorgeous arrangements. Hard to single out any one performance because it's all amazing. I can’t imagine many artists being able to pull off such an ambitious effort, but Simon delivers an album for the ages. Fave Songs: You Can Call Me All, Gumboots, Graceland, The Boy in the Bubble, Diamonds on the Soles of Her Shoes, That Was Your Mother

Impressive. An amazing mix of african rhythms into folk-pop music with creativity and energy. Very cool how someone can start with a blank page and end up with music like this. Very enjoyable.

Mikil nostalgía, skemmtilegar sögur og frábær hljóðfæraleikur.

A classic album, with truly memorable melodies and lyrics.

Great album.

I like it very much!!

5/5 Well produced and nice sounds

Mon préféré de Paul Simon. Tellement bon 5/5

Call Me Al has been one of my favorite jams and most favorite music videos for years now. This album would get 4 stars just for that. The other songs are new to me, but are all infectiously good. Glad Paul went to Africa.

allround great album with a unique sounds and well written songs not much else to say here

A five star classic album

Great album. Nice chill, feel-good 80s pop that is genuinely interesting to listen to with Paul Simon's unique style with some popular bangers in the mix. You Can Call Me Al is, of course, a great track. Got it on vinyl - wouldn't have it if it wasn't very decent. 4.5 from me

Nice

Done.

One of my all time favourites.

Absolute classic

So good

There are a few albums that you can play and listen all the way through, without feeling like skipping any tracks. This is one of those albums. I love this album. The music is great, and the lyrics are clever and often playful. I love the contributions from Ladysmith Black Mambazo, who help create some of my favorite tracks on this album ("Homeless", "Diamonds on the Soles of Her Shoes"). I also love the great hamonies from Linda Ronstadt on "Under African Skies". I've heard "You Can Call Me Al" so many times, and I'm not tired of it yet. This is an album that I recommend and share.

A masterpiece from a proper musical genius.

Controversial for valid reasons, yes. But this album is solid and remains uniquely wonderful.

What a journey ! A nailed on 5*.

One of the greatest albums of all time.

OH MY! 😍🥰😍

Great album, already knew it

Classic

Beautifully diverse

Song tracks on this album reminds me of west African music like what was playing when I was in Burkina Faso. I had a nice walk around sunny kenilworth listening to P.Simon

Great songwriting.

Classic.

Bomb. Duh

Discasooooo

Albüm başlangıcından sonuna kadar çok iyiydi amk. Özellikle giriş şarkısında good vibes vermeye başladı. Diamonds on the soles of her shoes deki bassline iç kıpratıyor. You can call me al daki synth hemen adamı zıplatıyor

Fighting it out for my personal top 10. We listened to this on family trips in the car. Still puts me in a great mood.

Wow, where has this album been my whole life? Very fun and engaging with top tier musicianship. I think it has the potential to be in my top 10 albums, but I'll have to give it a few more listens. Definitely a major influence for Vampire Weekend.

Might have to be a full marker for this one! Absolutely brilliant and rightly universally considered one of the best albums of all time. Bravo. So joyful - great for the beginning of the working week

Grácil, exuberante y positivo. Creo que es de esos discos (y artista) que en nuestro círculo jamás se menciona y es una obra maestra que todos deberían conocer. Con 30 años de carrera se da el lujo de sacar su mejor disco. Lleno de mezclas inesperadas y sonidos que en su momento eran tan nuevos que crearon toda una sección en la tienda de discos con la cantidad de imitación que inspiró. Ritmos africanos, latinos, callejeros mezclados a la perfección con pop que no se siente vacío y, lo que a mí me impresiona más, echando la guitarra al fondo y dejando TODO el disco para que sea el bajo el líder musical. Una maravilla de los 80s.

Bops on bops

hard to be objective about this one, since i've always loved it. i loved his up-yours by working with a black group from south africa during apartheit; i loved the music in general, and i honestly loved the swahili in particular. i spent the better part of a week reading along with the lyrics until i knew the intro Diamonds by heart.

Excellent release that has been the reference point for several acts to come afterwards, such as Vampire Weekend. As we've moved further from the original release, some more unsavory aspects of the album have come to light, but overall has a very important place in widening the general populaces musical knowledge. Plus, You Can Call Me Al is a bop.

I will always enjoy listening to this record.

Yeah, really f-ing good.

My favorite Paul Simon album ever

With the exception of "crazy love", this is a pretty perfect, timeless album to me. It's the kind of album that you can put on when you're on a long road trip.

Just a fantastic album

Great. Duh

10/10

Wonderful

I love Simon & Garfunkel, and I love Simon. Funky, fun, and interesting sound.

A wonderful album. This is such a sound.

Reading about the album, apparently he heard a bootleg cassette of South African street music and got on a flight out there to record new sounds. What a extraordinary final product

Likely one of the best albums of all-time. Such a showcase of talent.

Fantastic message. great vibes. some tribal energy here. Loved it

loooove

One of the best

One of my all time favourite albums, every song is really good at a minimum and some are amazing!!

9

jag tyckte detta var klockrent. kulturell appropriering eller ej.

Great album, holds up so well.

Paul motherfucking Simon

Paul Simon literally one of the GOATs

Groovy, eclectic, and rich. Not much else I could wish for here.

9/10

One of the best albums ever. Every song is a jam. Already listened to this album 100 times, but it’s still so good.

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

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

Pop Rock/Worldbeat Favorite Songs: The Boy in the Bubble, Graceland, Diamonds on the Soles of Her Shoes, You Can Call Me Al, Crazy Love, Vol. II Least Favorite Song: I Know What I Know Another pleasant surprise from this website. I was going in without really any expectations, and here I am blown away from this album. The inclusion of using African Music in this album works for the most part as it’s used as a celebration of African Music. Even with some of the Pop Rock stuff like ‘You Can Call Me Al’ is a really nice touch that doesn’t break any of the flow at all. Overall, I like this album to where I would recommend it to other people. 8/10

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

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.