20 classic

Exploitation in good old Kolonialistenart threw some envious Paul Simon ago when he published these rehearsed with South African musicians and with their folkloric sound milestone of pop and world music in 1986 ... while a record hourly wage for musicians has been paid so ... much to:
Musically, "Graceland" incredibly well done. I am surprised that the same people who had six years earlier still "one trick pony" (my favorite Simon album) and 3 years later, "Hearts and Bones" yet ignores criminally, this unusual because incredibly creative album a commercial success helped, who was Paul Simon long no longer granted. Various aspects help "Graceland" to an incredible effect: As example would be repeatedly flashes of accordion, a cleaner, clearer E-guitar sound or various African choirs. The songs themselves are conspicuous by simply beautiful melodies and extremely lively, yet never banal sound. "The boy in the bubble" and "Graceland" are thoughtful epics (and long since become classics), "I Know What I Know", "Gumboots" and "Diamonds on the Soles of Her Shoes" sound exactly druchgeknallt and ingenious, and the musicians can hardly contain their joy, as in "You can call me Al" (world hit); Here shine above all the players with a catchy motif that has probably heard every person or even humming to himself, and the virtuoso, very present bass.
". Crazy Love Vol II" but my favorite on "Graceland" is a song of how the written by Simon himself, detailed, yet very concise booklet should be read, "less to South Africa as Malawi and Zimbabwe sounds"; and it really stands out from the others because it is more harmonious, therefore, but also thrives on rhythm, as the entire work. Very interesting here is that this album may like me find favor both parties as well as musically highly sensitive, melancholy Simon worshipers circle.
Rhythmic and melodic, exotic and occidental and joyful and melancholic elements are excellently linked to one another, just about everyone is "Graceland" love thus!