These are the days of miracle and wonder

I went to a good friend’s party recently, and was spinning some tunes in the time-honoured tradition. As the party wore on and the messiness increased, inevitably more and more people came with requests, and offers to spin some disks themselves. T’was ever thus, the heady mix of alcohol, ego, and heaven knows what else, turning seemingly 50% of the room into vocal critics, and proficient DJs to boot. However, someone that you never turn down a request from is my man “Al Fingers”, the man with the golden touch at the end of a night, when the party clamours for the nostalgic, the sometimes cheesy, the often-rooted-in-the-80s, the straight-up banger. You can picture the scene for yourself. And so in this maelstrom of sweat and musical desires, nay demands, Mr. Fingers keeps his cool and simply kills the crowd with his selection.

Many familiar, dropped at just the right time, many expected even (All Night Long is always a huge finisher, Cheryl Lyn’s Encore, huge!). But there was one inspired selection, one curve ball that comes from a record I absolutely love, but I would never have thought to drop at such a time. And of course, being Al Fingers, it worked beautifully. The track in questions is “The Boy In The Bubble” from Paul Simon’s awesome 1986 album “Graceland”. Now there is no doubt that this is a massive album, and is rightly regarded as a classic, far and wide. You can scoff at Simon’s appropriation of different cultures’ musical traditions throughout his solo career, his filtering of these influences and dilution into mainstream western acceptability. But I think that this would be unfair as there is little doubt for me that Simon’s absorption of these influences has always been whole-hearted and committed, and his use of them musically often inspired and actually far from a westernised hybrid and tokenistic approach that some less-committed may have taken. And this is true whether South African mbaqanga pop music as on this record, or reggae, doo-wop, Blues, Gospel and numerous other traditions on other of his recordings.

There is controversy also around Simon’s work with South African musicians during a time when the Apartheid regime was correctly politically and economically boycotted by the UN, but arguably his championing of South African musical traditions and use of local musicians, particularly the harmony group Ladysmith Black Mambazo, were important in raising awareness of political issues in South Africa, and the vibrancy and relevance of black culture, thriving despite the restrictions of the regime. Political and moral issues aside, however, the album is a stone cold brilliant piece of work, from the afore-mentioned funk of “The Boy In the Bubble” to the sublime title track, and beautiful harmonies of cuts such as “Diamonds on the Soles of her Shoes”, “Gumboots” and “Under African Skies”.

It is truly difficult to pick fault with the record, and it never tires no matter how often I listen to it, and for me is the peak of Simon’s career, period, which is no mean feat given the successes he has achieved commercially and critically. Quite rightly he is a legendary figure, whether or not you are a fan of his music. There is time at a future date to talk about another amazing moment in Simon’s career, the brilliant “Fifty Ways To Leave Your Lover” and particularly Steve Gadd’s ridiculous drum line, but for now if you want to warm your spirit a trip to Graceland is always worthwhile. I just never thought I’d hear a song from it at a party. Massive. Call it uncool if you like, or more on point, call it inspired. And as for Mr Fingers, well, you can call him Al.