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Review of Paul Simon's 'Graceland'

© Nick Bendel

Graceland (1986) by Paul Simon (one half of renowned group Simon and Garfunkel), was one of the legendary albums of the 1980s. Blending American pop with African (specifically South African) music, this unique and diverse record became an instant classic.

To appreciate how unique and diverse Graceland really is, one only needs to look at how its sound was produced. The instruments used are: acoustic, electric, bass, six-string electric bass and synthesiser guitar; guitar synthesiser; synthesiser; tenor, alto, bass, soprano and baritone sax; trumpet; trombone; accordion; drums; pedal steel; synclavier; pennywhistle; washboard and various percussion.

Added to that a large number of well known and talented musicians helped out including The Everly Brothers, Los Lobos, Youssou N'Dour and Linda Ronstadt, not to mention many others.

Finally the liner notes for each song are very informative. "The Boy in the Bubble" is based on "a very powerful medium-paced rhythmic groove." "Graceland," "which almost has the feel of American country music" "is less typical of South African music than most of the other tracks," while "I Know What I Know" borrows music from a black group with "an unusual style of guitar playing and the distinctive sound of the women's voices."

"Gumboots" tries to capture the feel of "bands playing 'township jive' music", a sound which creeps into the next song "Diamonds on the Soles of her Shoes." "You Can Call me Al" is "a kind of South African funk/dance groove," "Under African Skies" is described "as a Zulu walking rhythm" and "Homeless" has a very African feel thanks to Simon's collaboration on this song with Ladysmith Black Mambazo. Then comes "Crazy Love" which is more like the music of Malawi and Zimbabwe than South Africa - "it is more gentle and syncopated than the hard 4/4 rhythms of Soweto."

So the sense of variety and innovation present on Graceland can be readily seen, something for which Paul Simon deserves a lot of credit. Taking risks in such a fickle business as music can never be easy.

Unfortunately, though, the songwriting ultimately does not match his sense of adventure. Only "I Know What I Know," "You Can Call me Al" and "Under African Skies" are very good songs. The other numbers, while not at all unbearable, seem to rely more on their novelty value for effect, rather than the skilful songwriting which the previous three songs demonstrate. There lies the weakness of this album.

Graceland was loudly (and deservedly) acclaimed for the new direction in which Paul Simon headed. But if the real test of a good record is how appealing its songs are then this work is only average at best. Sorry Paul.

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