On its anniversary, the author of a new book about the album explains the complex legacy and masterful musicianship of the 1986 classic
It was the summer of 1984 and things weren’t going well for Paul Simon. The year prior, a blockbuster Simon and Garfunkel tour ended in bickering. Meanwhile, even though the 1980 single Late in the Evening reached the US Top 10, Simon’s last two albums had not sold very well, and his marriage to Carrie Fisher was starting to unravel. In the midst of all that the 43-year-old folk icon was steadily working on building a beach home out on the far end of Long Island.
Many of Simon’s pilgrimages from Manhattan out to Montauk were soundtracked by a bootleg tape of accordion-heavy mbaqanga, a South African music style with jazz rhythms and bright guitar chords, he had received from a friend. It was on those drives that the seeds of Graceland, the crown jewel of Simon’s discography, were planted. “Many of us, in that day and age, found a moment of self-reflection – of being able to go deep inside ourselves – when we were in the car on these road trips,” said Ashley Kahn, whose new book, Days of Miracle and Wonder, follows the gestation process of Graceland. “If it wasn’t the radio, it was cassettes.”
