Graceland

Artist: Paul Simon

Released: August 1986

Length: 43m 12s

My review:

Simon's seventh solo studio album is the product of collaborations with South African musicians in Johannesburg and then further recordings made with predominantly American musicians back in the States. It brought African music into the Western spotlight with its release and subsequent tour, effortlessly blending genres from Folk Rock to Afrobeat, Funk to Rhythm & Blues and Country to Zydeco. For me it is World Music at it's best, taking inspiration and insight from multiple cultures and bringing them together to create something unique.

The recording and release of Graceland was swamped in controversy, as back then South Africa was still a white-run apartheid state, and there was a UN- backed cultural boycott requesting "all states to prevent all cultural, academic, sporting and other exchanges with South Africa", which was endorsed by many Western musicians at the time. Paul has argued that he was always on the side of the artists and was there to celebrate the black musicians, however a few of the songs were recorded in South Africa and even Paul's presence there was viewed as breaking the boycott, even if done so for very different reasons. As with almost everything there are at least two sides to a story, I don't want to focus too much on the political side of things as the music is my main concern, but I do feel it is important to highlight the emotions and feelings of the time, as these had instrumental impacts, both in the making of the album, but also how it was received.

All the tracks have a fantastic rhythm and beat to them and a particular attention and focus on the instruments, one that I would argue is more suited to, and prevalent in, the styles heard in traditional African music. I think Simon's catchy lyrics help to bridge the gap between the two different approaches and techniques that define the way music is informed and played in both the East and West. I believe they provide an extra accessibility for Western audiences along with the obvious platform and previous following that Paul already had over on this side of the globe.

I do feel that this was an exchange rather than an exploitation, and that Paul adapted and changed his style too. When he talks about writing the lyrics for the songs, he had to listen more intently to the different instruments and chose to follow the bass rather than the lead guitar, as you would usually expect from Western music. The emphasis had shifted, applying more attention to the syllable count and intonation than the actual words. The lyrics are abstract, borderline absurd in parts, and find their place within the songs more akin to an instrument than an accompanying dialogue, very similar to the way voices have been used in traditional African music.

The album had much commercial success, both in South Africa but also all over the Western World. At the time of its release it was capturing the very essence and style of the sound that was South Africa in the 80's and placing it centre stage for the rest of the world to listen. By working with the musicians directly there was an exchange of knowledge, a true collaboration, that in my opinion, is what made Graceland so special. The title track is actually a great example of this, the drums are played in a Country music style, while Ray Phiri (guitar) plays a minor chord, something rarely heard in South African music, all because he was imitating the the way Paul writes. The list of featured artists is extensive, by jamming, listening and learning from one another a whole new possibility of sounds was imagined, one that would go on to inspire the next generation of musicians.

For me there are almost too many highlights to mention them all individually, I feel it is better to comment on the album as a single complete piece. On the whole it is an immensely enjoyable record that for me is as much a celebration of collaboration, as it is of Paul reigniting his love for music again. I believe this came after being allowed some breathing space from the record label following Hearts and Bones poor reception, the album was considered a commercial flop. The flexibility to try new things and explore more openly meant the pressure had been lifted, they were instead making music for its simple pleasure rather than for an end goal! That, for me, is why it is so accomplished, you can feel that energy from all the artists involved. For me this album evokes happiness, it is eternally uplifting and you can just tell that everyone involved in its making was proud of what they had achieved, working together as a single solitary unit.

There is a really interesting comment made by Paul at the end of the documentary - Under African Skies "the power of art, it lasts, because the political dispute that we had is really gone, but the music still brings people together". That idea that the music will transcend and outlive the policies that sought to control them is a powerful one, as someone who was born in the 90's, years after Mandela was eventually freed and with no real prior knowledge and definitely no first hand experience of apartheid, it is only the collaboration and joy of the music that I experience through Graceland. That is to take nothing away from the atrocities and suffering that impacted so many people in South Africa and in-fact the world, but it does provide me with a little hope and optimism that music can and will prevail.

In the same vein as Paul I have opted to choose three of the South African musicians that appear on this album for my 'if you like this try these' section at the bottom of this post. Barney Rachabane is the incredible saxophonist that features on Gumboots and plays alto sax throughout The Roots - Roots, not to be confused with the American Hip Hop group of the same name. Bakithi Khumalo is an extremely talented bassist that has worked on countless Paul Simon records, as well as with artists such as Letta Mbulu, Miriam Makebe and Hugh Masekela. Ladysmith Black Mambazo are a South African male choral group who among appearing on 3 massive songs on this album, have had hugely successful careers, spanning decades, winning multiple awards and amassing a vast back catalogue of their own releases.

Stand out song: Diamonds on the Souls of Her Shoes 

The song starts with the soft vocals of Ladysmith Black Mambazo singing in Zulu (the official language of South Africa), before Paul comes in later over the top. African music has always used a variety of vocal techniques and it is refreshing to hear that in a popular Western track. It is almost a full minute before you hear the plucked strings of the guitar and the drums that help the song to evolve and develop. My favourite element of this track is the percussion, it drives the song forward with such a warm, full bodied sound, and its no surprise with 4 percussionists credited (not including the drummer). Then you have the beautiful brass section break down that is infectious, the whole track is uplifting and makes you want to move. It comes full circle for the outro, stripping away the instruments with the exception of the percussive drums and the Zulu vocals for a smooth fade out. It may be an obvious choice as it was one of the bigger hits that was released as a single, but for me there was good reason for its widespread affection and acclaim.

I hadn't previously realised that this song only made the album after the set back of the album launch date meant there was scope to write another track with all parties over in New York booked to play Saturday Night Live. After being so well received when initially performed there was no way it wasn't making the cut, it does now make sense to me as I feel this is the song that manages to interweave the two musical cultures the best. That of-course came after spending so much time together, learning from one another, sharing ideas and ultimately thriving so all parties feel more enriched by the whole experience.

When to listen: 

For me this album is engrossed in the concept of travelling, exploring new places and the general sense of adventure, so I love to listen to this album while starting out on a road trip or accompanying me on my journeys across the globe. It is fitting for me to choose this album this week as I am returning to Mexico with the excitement and anticipation traveling through central America and discovering cultures, places and people ever new!

Spotify: Listen here

Vinyl:

I bought this album second hand just over 9 years ago, it has had a long life with a lot of action since then and I'm sure it will see a lot more. It has been well looked after, there are a few pops and crackles here and there, to be expected from a record that is close to turning 40, but it plays through fine and I quite like the authenticity and story these imperfections tell. I love the subtlety of the embossed image on the front cover and the inclusion of the lyrics, printed on the inner sleeve, is a nice touch and something I feel is lacking with most new records, you can find the copy I own here - Discogs link

Other useful links:

If you want to hear more about the title track from the man himself, there is a 10 minute excerpt included in the 25th Anniversary Deluxe Edition of Graceland along with some early versions and demos on Spotify - Here

Also If you want to explore the political side further and gain a better understanding of the effects that the album had, there is an honest and objective documentary made 25 years later as Paul Simon revisits South Africa and many of the musicians that made the album, it is called Under African Skies and is well worth the watch.

If you like this try these:

The Roots - Roots

Bakithi Khumalo - On Friendly Basses

Ladysmith Black Mambazo - Ushaka