LP #1: Graceland by Paul Simon

Listening Party #1: Graceland by Paul Simon 

Tis' the season to be jolly, or at least it seemed that way since my visit to town today where there was a wide selection of crackers and the usual Christmas paraphernalia in our local Poundland equivalent. 

Upset as I was that this could happen in modern Britain (in September no less), I arrived home to be greeted by the welcome sight of a large cardboard mailer. It was Christmas indeed as the contents inside revealed that of a recent eBay pickup of the 12" vinyl of Graceland by Paul Simon. 

I have a little history with Graceland. This was not my first rodeo with the album as it reminded me of summers gone past when my sister and I were farmed out to whichever relative was free that day while my mother and father tried to get the day in (working of course). There never seemed to be a rota, as it could be a different house every day. So it happened during this period that we were due to spend 3 days in (what seemed like) my aunties 'big house in the country'. 

Day one was spent exploring the garden, day two was boredom and on day three, I found that my uncle had one of those new-fangled CD players. It was a behemoth of a thing and the CD collection was meagre. There was some obscure jazz (though it was all obscure to me back then) and this predated my appreciation of that medium. However, there was an album with a picture on the front that could have been drawn by my little sister. But, at least I'd heard of Paul Simon and to be honest. 'You Can Call me Al' was charting around the time. 

Off I snuck to find a pair of headphones, as I honestly wasn't sure I was allowed to use the player - it must have been the most expensive piece of equipment I'd ever laid fingers on at the time. 50 plays of You Can Call me Al later, it was time to explore some more of these songs. They all sounded crystal clear but the album was just a little erm.... 'weird'. I hadn't the vocabulary to properly describe what was weird about it at the time but it certainly wasn't like anything else I had heard.      

Even the first track Boy in the Bubble sounded like something was not quite right. The accordion sounded almost like it was recorded and played in reverse. I could tell I liked it but honestly I remember being blown away with the sound quality of CD to really be listening any deeper to how the music was put together. The lasting impression of the album was very much that it was an African album. A weird African album made by a non African guy. 

Modern Day (pre Christmas 2018)

Side A

Fast forward 30 years and here we were staring at the simplistic cover and a picture that had much more detail than I remembered. It was certainly reminiscent of the drawings and pictures of the Bayeux Tapestry as the horse-bound figure looked forlorn as he carried his spear to some battle. 

The album kicks off with the aforementioned 'Boy in the Bubble' and rather than hear anything in reverse, we are treated to a song that builds layers, calling on the African influences but still clearly based in folk roots. It's still a very Western track at this stage of the album. I've heard Boy in the Bubble many times over the years and I've found to be a song that has grown in stature in my memory, It is a complex song that (to my ears) tells the story of how he views South Africa when he visits there. It is a world caught between progress into the modern world and its trapping as a state and nation trapped in the past with Apartheid still a core part of South African society. 

This cross collaboration should have been the kickstart to explore the African theme but the album forestalls with the title track 'Graceland' which is a pop record which highlights a percussive bass track to tell the story of Graceland which he represents as a holy shrine that we should all dream of going. Graceland is often seen as a home of Rock and Roll given its affiliation to Elvis and Memphis, Tennessee. While it does not seem to fit the theme of being a stranger in another land and absorbing their culture, it is interesting that he talks of reminiscing of a place closer to home - a place it was revealed he had not visited at this stage of his life - a place that is synonymous with modern music. 

The album reboots around this track as it delves more and more into the African influences as 'I Know What I Know' is followed by 'Gumboots' and the beginning of 'Diamonds on the Soles of her Shoes'. The last of these songs is the most interesting as it seems to eschew the chanting at the start for a traditional pop song before return the chorus chanting to the song so that it is unmistakably drawing inspiration from the culture of the album. In fact, this marks the first time that English is not the only language used in the song. 

It is interesting to note that of the 6 songs on Side A, five of the six are written in collaboration with another. Whether this was through reverence for the material he was trying to incorporate is unclear, but it seems that he wanted to make the recording as authentic as possible 

Side B

The album reboots again at this point, as the most successful track from the album is presented in the form of 'You Can Call me Al'. The percussive bass and drumming patterns still echo the previous track's influences. This song became synonymous the MTV generation. The vision of the tall Chevy Chase and comparatively diminutive Paul Simon will always dominate my thoughts when listening to this song. It is nothing short of a great pop song that lives outside this album while unmistakably being a core part of it. Sitting listening to the album, I cannot help but wonder if the album Graceland would have achieved such widespread acclaim (both at the time and now) if it were not for the influence that MTV had on the popularity of the record. 

'Under African Skies' follows with its sunshine guitar, a jaunting slap bass and the echoing drums setting the scene for a beautiful duet with Linda Ronstadt. Ironically the song ends with  that reverse track I had mistakenly heard so many years earlier along with a clattering cowbell keeping the tempo of the record going. 

By the time we hit 'Homeless' the album is firmly entrenched in representing a place that is far away from the world I know. The beauty of the songs choral singing in native tongue (incredibly sung by Ladysmith Black Mambazo) is enhanced by the incredible production and mixing of the tracks. I implore anyone to listen to this track with a good pair of headphones or speakers with good separation. It may be my favourite track on the album in this context. It is truly beautiful.   

'Crazy Love Vol II' shows Simon displaying how you can incorporate the influences into modern pop folk songs. It even has a hint of reggae and ska, which to my novice ear, may be symptomatic and an accurate representation of how close reggae is to African music. It is probaby worth exploring in more detail should the opportunity arise. 

'That was your Mother' harkens back to Paul Simon's 70s output as it drops the tribal influenced beats with a snare heavy beat that tracks along in a ska style mixed with 50s swing. 

The album closes out with All Around the World. It is a collaboration with Los Lobos and is a happy go lucky traipse that celebrates the joyous nature of the majority of the album. 

Final Thoughts

While the content of the album as a whole can be quite serious in representing what South African life was like, it is obviously indicative of the spirit that Simon found there; that serious is presented as a joyous celebration; that you can sing of sadness with a smile on your face. That is the power of music and one of the things that makes Graceland an absolute classic to my ears. Returning to it after so many years, I find a celebration of cultures, married by an artist who wanted to capture his experiences all the while staying true to himself and what he had done before. 

The album is no longer weird, it is curious and one that is perfect for reminiscing about summer while staving off thoughts of Christmas and cold nights. There is time for that but not while the sun is shining.