‘Graceland’ is one of the defining musical achievements in 60+ year career. It blended African rhythms with his pop and folk roots seamlessly, showcasing a sound many had not had previous exposure to and influencing many musicians since. Controversial on release, given the ban on artists performing and recording in the apartheid era in South Africa, it continues to resonate widely, with a new book on the making of the record by Ashley Kahn and a star-studded BBC Prom featuring guest artists and several musicians who played on the original record.

Considering how iconic the album has become, arguably Paul Simon’s high point as a solo artist and selling close to 20 million records worldwide, it came out of a dark period and one of the songwriter’s lowest after leaving Simon & Garfunkel. His marriage to Carrie Fisher had collapsed, and his strained relationship with that had seemed on the mend was once again at a low point, coupled with 1983’s ‘Hearts & Bones’ being a critical and commercial disappointment. For many artists, it would be difficult to rebound, but Simon, after hearing a bootleg cassette of South African music and a visit to the titular Elvis residence, chased reinvention and introduced himself to a new audience. 

Simon was no stranger to world music, helping to popularise the traditional Peruvian song ‘El Cóndor Pasa’ on ‘Bridge Over Troubled Water’ and travelling to Jamaica to record his tribute to ska and reggae ‘Mother and Child Reunion’ in 1973 in collaboration with members of . Even so it was perhaps a surprise at the time for him to record a whole album in conjunction with African musicians, especially .

Even 40 years on, it still has a sense of urgency, from the opening distinct refrains of ‘The Boy and The Bubble’ with bleak lyrics but a sense of optimism; it is clear that it is a special work unlike anything Simon had put out before. It retains his pop sensibilities, especially on the title track and ‘You Can Call Me Al’ yet even these have the South African flavours found elsewhere. Tracks like ‘Diamonds on The Soles of Her Shoes’ and ‘Homeless’ are a perfect marriage of Simon’s vocals and lyrics with the harmonies of , Simon often sitting back to allow his collaborators a moment in the spotlight. The latter, sung acapella remains a haunting call to action.

Tracks like ‘I Know What I Know’ and ‘Gumboots’ are sorely overlooked, with a real energy to them and a sense of fun within the lyrics. The lyrics still often speak of American themes and locations – think getting a Fulbright or a cinematographer’s party- making this marriage even more of a remarkable achievement. 

‘Graceland’ didn’t just have a short-term impact on Simon’s career it set the template for the period that was to follow. 1990’s ‘Rhythm of the Saints’ was another ambitious, world music affair that was a significant success in its own right. That album drew more on South American, Caribbean and West African sounds and influences. Even if it never quite reached the heights of ‘Graceland’, it continued its trajectory with Indian and Peruvian influences found on his 2016 record ‘Stranger To Stranger’ and its predecessor ‘So Beautiful or So What’, also heavily influenced by non-American sounds. He’s an artist who has never stood still, influenced by music on a global scale, that coming to a head majestically on Graceland, capturing his lifelong love of all forms of music.

‘Graceland’ remains a rare musical achievement that turned Simon’s career around and continues to entertain generations of fans. Artists like , and , a contemporary of Simon’s, have acknowledged its influence on their own music. It’s a record that has transcended the timeframe and situation it was recorded in to become a timeless celebration of the music and grooves of South Africa, sounding as current as it did 40 years ago.