Paul Simon: The Rhythm Of The Saints - 1990
Often overshadowed by 1986's top seller, Graceland, this one did not get the credit it deserved.
Having explored the ethnic music of South Africa to great effect on Graceland, Paul Simon took himself off to South America to delve into the rhythms of Brazil and the Amazon Basin, while also including major influences from the culturally and ethnically linked music of West Africa, Cameroon in particular. Beguiling lyrics proliferate about Bougainvillea, families of travelling musicians, injured coasts, cool rivers, and Babalu-Aye backed by the lilting, gentle sounds of Brazilian percussion and guitars, congas, bongos and berimbaus.
The musicians are predominantly Brazilian, but there are also several notable US musicians on the album too - blues-roots guitarist JJ Cale, saxophonist Michael Brecker and art rock guitarist Adrian Belew (of Talking Heads and David Bowie fame). This is simply a beautiful, atmospheric album. I never tire of listening to it, even now, twenty-eight years later.
There are, as I said earlier, multiple Brazilian musicians and backing vocals all over the album. A whole troop of drummers from the BahÃa region of Brazil feature on the upbeat opener, The Obvious Child. Thereafter, though, it relaxes into a warm groove, perfect for a hot summer’s evening as dusk descends and you imagine yourself under your mosquito net somewhere deep in the Amazon basin.
The Coast, Further To Fly and Spirit Voices with its delightful Portuguese vocal part are particular personal favourites. Just check out the melodies and intoxicating percussion on The Coast and that rumbling bass too. Just perfection.
Or how about that lovely, lilting guitar intro to Spirit Voices? Musically, the album is just so infectious, drawing you in to its life-affirming vibrancy with every tiny note. Simon's gently reassuring voice only enhances it even more. The rhythms and the voice are made for each other, even more than the South African music was.
The shuffling, rhythmic Can't Run But is incredibly catchy in a laid-back way, as is the gently intoxicating Born At The Right Time and the horn blasts on Proof are powerful and dramatic. It is all good, however. Just check out the back cover for a feel of the album's atmosphere.
She Moves On is also deliciously laid-back, and The Cool, Cool River is just so marvellously evocative, particularly when those Heaven-bound horns kick in again - "send their battered dreams to Heaven...". The gentle, mellifluous Rhythm Of The Saints sees the album to its quiet, reflective close as if another long sultry day ends on the bank of the Amazon.
I came across Simon speaking of his favourite track on the album, which is interesting -
"....My favourite track in the "Rhythm Of The Saints" is one that nobody ever plays - they never play it and it's so good - "Can't Run But." It has such fabulous percussion, the Uakti. And all these classically trained guys who invented their own instruments. I really love that track. Nobody ever plays that! That album was also the first time I've worked with Vincent Nguini who turned out to be a perfect guitarist for me. I love Vincent Nguini's playing...."
After that comment I feel inspired to play Can't Run But. Let it wash over you like the cool, cool river. Beautiful.
The bonus track, Thelma, although it is a typical Simon love song, is given a shuffling, Brazilian backing that completely fits in with the rest of the album, musically, featuring a lovely deep percussion vibe and sumptuous bass line. The remastering is excellent, too, as you would expect. The whole album has a wonderful sound quality.
