Paul Simon's 1990 album, "The Rhythm of the Saints," represents a significant continuation and evolution of his engagement with global musical traditions, following the groundbreaking success of his 1986 album, "Graceland." While "Graceland" famously drew upon South African music, "The Rhythm of the Saints" turned its focus to Brazilian musical traditions. Both albums were commercially successful and garnered favorable critical reviews, but they each
offered a distinct exploration of rhythm, melody, and cultural influence, showcasing Simon's ongoing artistic journey into worldbeat music.
A Shared Approach, Different Continents
The fundamental approach Simon took for "The Rhythm of the Saints" mirrored that of "Graceland": immersing himself in a specific non-Western musical culture to inform his songwriting. For "Graceland," this meant collaborating with South African musicians and incorporating their unique sounds. For "The Rhythm of the Saints," Simon traveled to Brazil on five different occasions between 1988 and 1989, seeking out local street musicians and absorbing the country's rich percussive heritage. This dedication to on-location research and collaboration was a hallmark of both projects.
An anecdote from Eddie Palmieri, who told Simon that "the journey of the drum goes with the slave trade, from West Africa to Brazil, then up the Caribbean," highlights the deep historical and cultural connections Simon was exploring. This perspective underscores the shared African roots that influenced both South African and Brazilian music, providing a conceptual link between the two albums despite their geographical differences. The result was a sound that, while distinctly Brazilian, still resonated with the rhythm-focused aesthetic that fans had come to appreciate from "Graceland."
Rhythmic Complexity and Musical Innovation
While "Graceland" was celebrated for its vibrant rhythms, "The Rhythm of the Saints" delved even deeper into polyrhythmic percussion patterns. Simon intentionally built many of the album's tracks around these complex rhythmic structures, noting that the rhythms themselves influenced the melodies and lyrics he later composed. This approach led to what Simon described as "more adventurous" chord progressions on "The Rhythm of the Saints" compared to its predecessor. The album's sound was characterized as rhythm-driven yet delicate and atmospherically rich, creating a collection of musical moments that felt like prayers.
Despite the new musical landscape, Simon also sought to maintain a connection to his previous work. Some of the musicians who had contributed to "Graceland" were also involved in "The Rhythm of the Saints," as were certain New York studio musicians with whom he had worked in the 1970s. This blend of new and familiar collaborators helped to create a sound that, while fresh and innovative, still offered a sense of continuity for his audience. The album's success, including two Grammy nominations in 1992 for Album of the Year and Producer of the Year, further solidified Simon's reputation as a pioneering artist in the world music genre.
Commercial Success and Critical Acclaim
Both "Graceland" and "The Rhythm of the Saints" achieved significant commercial success and received largely favorable reviews from critics. "The Rhythm of the Saints" was released by Warner Bros. and quickly established itself as a worthy follow-up to its highly acclaimed predecessor. The album's ability to blend intricate global rhythms with Simon's distinctive songwriting resonated with audiences and critics alike. The nominations for two Grammy Awards, Album of the Year and Producer of the Year, underscored its artistic merit and impact within the music industry, cementing its place alongside "Graceland" as a landmark in Simon's career and in the broader landscape of world music.
