This was a really well-researched piece — I loved the detail about Simon building the songs rhythm-first, before he even knew what they were about. It explains why “The Boy in the Bubble” hits so differently than his earlier work; the arrangement carries the emotional weight instead of just backing up the words. And the breakdown of “Diamonds on the Soles of Her Shoes” was great — Ladysmith Black Mambazo opening a full minute in Zulu before Simon even comes in is such a bold choice, and somehow it blends doo-wop, gospel, and mbube without sounding forced.
I also liked that you didn’t shy away from the apartheid boycott controversy. Laying out both his justification and the real criticism, without telling the reader what to think, is rare in album retrospectives.
My favorite Paul Simon song is “Still Crazy After All These Years” — something so jazzy and self-aware about it, and his voice sounds so weary and honest on that one.
I just picked up a really nice copy of this on vinyl yesterday at a thrift store in Niagara Falls, not really thinking about any of this. Thanks for digging into the incredible history behind it. My dad had it on cassette when it first came out and it was constantly on in the car for quite a while. I would have been about 7 or 8 at the time and it brings me back to those moments with my dad. He died from Alzheimer’s almost 10 years ago, so I look back on times like that and realize how important they were. He was by no means a music aficionado. He picked things because he loved the way they sounded. So, I discovered many gems like this through his tastes. I can’t wait to get home, crank it up and let it take me back to that place.
Thanks so much for sharing such a touching memory. Sending a h/t out to your dad for his good taste in records. Hope the top-of-the-volume dial play did its job. <3
He has always been an experimenter with new styles and genres to communicate his vision. In the context of his career, "Graceland" is a logical step forward from his flirtations with American Black gospel music on "Loves Me Like A Rock" and "Gone At Last" from the mid-1970s.
Most of the Simon & Garfunkel stuff is great but my favourite solo album is Rhythm of the Saints and Obvious Child my favourite on there. I do have a fondness for the recent Wristband though.
I’d always liked Paul Simon but only kind of vaguely (some of the material was too saccharine for me) but hearing Boy in the Bubble one morning on the radio, I was immediately captivated and so very impressed that the Paul Simon I liked kind of vaguely had managed to create such a beautiful song.
It's a great album; which deserved its success and has some absolutely top-tier songs (I appreciate you reminding me of "Homeless" which I hadn't thought about in a while). I've also mostly stopped listening to it; it feels like it has too much baggage. Not just the debate about the apartheid boycott, although that's part of it, but the entire relationship with non-American music which was so exciting at the time feels dated.
That isn't to diminish it; just that listening to it makes me conscious the complicated dynamics behind the music.
On that note, I would add two things. First, I don't have a strong opinion about Simon's decision to break the cultural boycott but the fact that he paid the musicians fairly well is both to his credit and doesn't directly respond to the concerns. It is always the nature of a boycott that, for some people, breaking the boycott will be to their personal advantage, and the goal is to sacrifice some immediate opportunities in the name of a larger goal.
Berg is a Norwegian musician who’d played in the house band for Saturday Night Live and then served as the bandleader for the short-lived The New Show. SNL creator Lorne Michaels put Berg in touch with Simon, thinking he might be a good mentor for her.
Simon liked what he heard of Berg’s material and requested some recordings that reflected the sound she was going for. She lent him something called Gumboots: Accordion Jive Hits, Volume II. The album was by the Boyoyo Boys, of Soweto, South Africa. Her big idea was to fuse Western and African music.
He loved it, kept the tape, and started envisioning his own songs over the sounds on the tape.
And he went to South Africa, found those musicians, and made his own album. Unlike Berg, he had the resources to do so.
According to this excellent piece by music journalist Tony Scherman, Berg was “anything but pleased.” He quotes her as saying: “I loaned him the tape because I wanted to make a record. I didn’t loan him the tape so he would make a record.”
While I never really paid much attention to "Graceland" when it was released, I was a big fan of "You Can Call Me Al" and put it in my Top Ten that year. I remember when the album won the Grammy I was surprised since the others by Janet Jackson, Steve Winwood, Barbra Streisand, and Peter Gabriel were much more popular. I still consider each of them classics. So, it may be time for me to dive into "Graceland" and try to understand it's allure more than I did before! Thanks for your review!
This was a really well-researched piece — I loved the detail about Simon building the songs rhythm-first, before he even knew what they were about. It explains why “The Boy in the Bubble” hits so differently than his earlier work; the arrangement carries the emotional weight instead of just backing up the words. And the breakdown of “Diamonds on the Soles of Her Shoes” was great — Ladysmith Black Mambazo opening a full minute in Zulu before Simon even comes in is such a bold choice, and somehow it blends doo-wop, gospel, and mbube without sounding forced.
I also liked that you didn’t shy away from the apartheid boycott controversy. Laying out both his justification and the real criticism, without telling the reader what to think, is rare in album retrospectives.
My favorite Paul Simon song is “Still Crazy After All These Years” — something so jazzy and self-aware about it, and his voice sounds so weary and honest on that one.
Really enjoyed this one.
Thanks so much for the comment! Love that Paul Simon song too.
I just picked up a really nice copy of this on vinyl yesterday at a thrift store in Niagara Falls, not really thinking about any of this. Thanks for digging into the incredible history behind it. My dad had it on cassette when it first came out and it was constantly on in the car for quite a while. I would have been about 7 or 8 at the time and it brings me back to those moments with my dad. He died from Alzheimer’s almost 10 years ago, so I look back on times like that and realize how important they were. He was by no means a music aficionado. He picked things because he loved the way they sounded. So, I discovered many gems like this through his tastes. I can’t wait to get home, crank it up and let it take me back to that place.
Thanks so much for sharing such a touching memory. Sending a h/t out to your dad for his good taste in records. Hope the top-of-the-volume dial play did its job. <3
Every generation throws a hero up the pop charts. Brilliant songwriting from a man who lived the experience.
Excellent review of an exceptional album. Simon's best work.
The title track is my favorite Paul Simon song. Magnificent opening lyric:
The Mississippi Delta was shining like a National Guitar
I am following the river down the highway through the cradle of the Civil War
A fabulous song and lyric, thanks for reading Sean!
He has always been an experimenter with new styles and genres to communicate his vision. In the context of his career, "Graceland" is a logical step forward from his flirtations with American Black gospel music on "Loves Me Like A Rock" and "Gone At Last" from the mid-1970s.
I would argue the next several steps, but yes,ce there was a precedent of sorts. Cheers!
Most of the Simon & Garfunkel stuff is great but my favourite solo album is Rhythm of the Saints and Obvious Child my favourite on there. I do have a fondness for the recent Wristband though.
“Rhythm” is another record that I have a lot of affection for. Thanks for sharing Paul!
I’d always liked Paul Simon but only kind of vaguely (some of the material was too saccharine for me) but hearing Boy in the Bubble one morning on the radio, I was immediately captivated and so very impressed that the Paul Simon I liked kind of vaguely had managed to create such a beautiful song.
It gets better and better with age, IMO. Thanks Anton!
It's a great album; which deserved its success and has some absolutely top-tier songs (I appreciate you reminding me of "Homeless" which I hadn't thought about in a while). I've also mostly stopped listening to it; it feels like it has too much baggage. Not just the debate about the apartheid boycott, although that's part of it, but the entire relationship with non-American music which was so exciting at the time feels dated.
That isn't to diminish it; just that listening to it makes me conscious the complicated dynamics behind the music.
On that note, I would add two things. First, I don't have a strong opinion about Simon's decision to break the cultural boycott but the fact that he paid the musicians fairly well is both to his credit and doesn't directly respond to the concerns. It is always the nature of a boycott that, for some people, breaking the boycott will be to their personal advantage, and the goal is to sacrifice some immediate opportunities in the name of a larger goal.
It's also worth mentioning that the experience of working on the album deeply angered Los Lobos: https://stereogum.com/9106/david_byrne_does_paul_simon_the_worlds_biggest_pri/video
And (I discovered, looking up the los lobos story) Heidi Berg: https://medium.com/the-riff/paul-simons-graceland-turns-40-i-wish-i-hadn-t-researched-it-40ee0556e0a9
-------------------------------------------------------------
Berg is a Norwegian musician who’d played in the house band for Saturday Night Live and then served as the bandleader for the short-lived The New Show. SNL creator Lorne Michaels put Berg in touch with Simon, thinking he might be a good mentor for her.
Simon liked what he heard of Berg’s material and requested some recordings that reflected the sound she was going for. She lent him something called Gumboots: Accordion Jive Hits, Volume II. The album was by the Boyoyo Boys, of Soweto, South Africa. Her big idea was to fuse Western and African music.
He loved it, kept the tape, and started envisioning his own songs over the sounds on the tape.
And he went to South Africa, found those musicians, and made his own album. Unlike Berg, he had the resources to do so.
According to this excellent piece by music journalist Tony Scherman, Berg was “anything but pleased.” He quotes her as saying: “I loaned him the tape because I wanted to make a record. I didn’t loan him the tape so he would make a record.”
Thanks for the added context Nick! Will make for some good bonus material for those interested. Appreciate it, as always.
While I never really paid much attention to "Graceland" when it was released, I was a big fan of "You Can Call Me Al" and put it in my Top Ten that year. I remember when the album won the Grammy I was surprised since the others by Janet Jackson, Steve Winwood, Barbra Streisand, and Peter Gabriel were much more popular. I still consider each of them classics. So, it may be time for me to dive into "Graceland" and try to understand it's allure more than I did before! Thanks for your review!
Excited to hear your thoughts if you end up doing the full dive into it Dan. :)
One of the best.