The Rhythm of the Saints [Bonus Tracks] [Digipak] [Remaster]

Performer: Paul Simon
Artist: Milton Nascimento; J.J. Cale; Michael Brecker; Randy Brecker; Nana Vasconcelos; Hugh Masekela; Adrian Belew; Kim Wilson; Uakti
Engineer: Roy Halee
Producer: Paul Simon
Distributor: WEA (Distributor)

Notes: Personnel includes: Paul Simon (vocals, guitar); Vincent Nguini (guitar, bass, clave); Georges Seba, Martin Atangana (electric guitar); Ringo Star, Ray Phiri (guitar); C.J. Chenier (accordion); Charles Doherty (alto & tenor saxophones); Jude Bethel (tenor saxophone); Errol Ince (trumpet); Dave Bargeron (euphonium); Clifton Anderson (trombone); Greg Phillinganes (synthesizer); Bakithi Kumalo (bass); Grupo Cultural Olodum, Steve Gadd (drums); Mingo Araujo, Remy Kabocka, Ya Yo De La Nelson, Sidinho, Dom Chacal (percussion); Briz, Karen Bernod, Myrna Lynn Gomila, Kia Y. Jeffries, Florence Gnimagnon, Charlotte Mbango, Djana'd, Elolongue Mbango Catherine, Ladysmith Black Mambazo (background vocals). Principally recorded at The Hit Factory, New York; Transamerica Studios, Impressao Digital Studios and Multi Studios Rio De Janiero, Brazil; Studio Guillhaume Tell, Paris, France. Personnel: Paul Simon (vocals, guitar); Nan� Vasconcelos (vocals, percussion); Ladysmith Black Mambazo, Milton Nascimento (vocals); Adrian Belew (guitar, guitar synthesizer); J.J. Cale, Ray Phiri (guitar); Kim Wilson (harmonica); C.J. Chenier (accordion); Michael Brecker (saxophone, synthesizer); Randy Brecker (trumpet, piccolo trumpet); Hugh Masekela (flugelhorn); Grupo Cultural Olodum (drums, percussion); Steve Gadd (drums); Uakti. As singer/songwriter Frank Tedesso once put it, GRACELAND is the mountaintop and RHYTHM OF THE SAINTS is the mist around the peak. The latter certainly does seem to pick up where it's South African-flavored predecessor left off. Though RHYTHM OF THE SAINTS relies on the traditional musical forms of a different part of the world (Brazil), Simon uses a somewhat similar strategy. He wraps his very American voice and lyrics around the rhythms and harmonies of a culture much more dependent on polyrhythms. In the process, he creates a new paradigm that is simultaneously familiar and excitingly fresh. A new development is the undercurrent of social protest in the lyrics, something that GRACELAND only hinted at. A running lyrical theme is the intrusion of science and civilization upon nature, and the catastrophic results. When he finds no solutions in the world of men, Simon turns to the divine. On "The Cool, Cool River," he supplicates himself, with the understanding that "these prayers are the memory of God." However close he may get to heaven, RHYTHM OF THE SAINTS definitely finds Simon treading a step or two north of the earth.

Rolling Stone (11/15/90) - 4 Stars - Excellent "...extends his reach not only further into the riches of world-beat music but further into the realm of the spiritual...a song cycle that examines with visionary beauty and brooding intensity the viability of faith in a corrupt, heartless and sometimes merely predictable world..." Entertainment Weekly - "...This is gorgeous stuff, spiritually potent, with its utter integrity nowhere in doubt..." - Rating A+ Q (12/99, p.68) - Included in Q Magazine's "90 Best Albums Of The 1990s." Q - Included in Q's list of the Fifty Best Albums of 1990. Down Beat (2/91) - 3.5 Stars - Good plus - "...The second chapter in Simon's globetrotting phase is a production of epic proportions...with luscious, seductively rhythmic results. It's just that, somehow, the sensory pleasures of the album are more persuasive than the intellectual equation of the experiment..." Time Magazine (12/31/90) - Rated one of the ten best recordings of 1990. - "...Intricate Brazilian rhythms; complex, inward-looking lyrics. And something else too: good fun..." NME (Magazine) (10/90) - "...pleasant and surprisingly raw..."

Besides being one-half of pop's legendary duo Simon & Garfunkel would be enough for most people, but Paul Simon went on to reap just as much acclaim and success as a solo artist. In the 1970s, he was at the vanguard of the singer-songwriter movement, marrying brainy lyrics with sophisticated pop music. In the '80s, he was one of the first pop artists to successfully combine world music into his sound, resulting in the South African flavor of Simon's landmark GRACELAND album, and subsequent flirtations with Brazilian and Latin styles.

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