The Rhythm of the Saints by Paul Simon Prices

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, background vocals); Naná Vasconcelos (vocals, berimbau, congas, triangle, percussion); Milton Nascimento

When she joined the Jefferson Airplane in 1966 as replacement for original vocalist Signe Anderson, Grace Slick brought with her two songs she'd performed in her previous band, the Great Society: "Somebody to Love" and "White Rabbit." Featured on this classic 1967 album, they became Top 10 hits, and helped establish both the San Francisco and the emerging counterculture they celebrated. With Jorma Kaukonen's sinewy guitar, Jack Casady's probing bass, and Spencer Dryden's inventive drumming swirling around Slick and co-vocalists Marty Balin and Paul Kantner on songs like "She Has Funny Cars" and "3/5 of a Mile in 10 Seconds, " Surrealistic Pillow virtually defined the communal spirit of Summer of Love hippiedom. --Billy Altman

After the success of Graceland, Simon's meshing of South African rhythms with his own overtly self-conscious singer-songwriter pop, Simon figured he'd best keep traveling. This album follows him to South America, where he indulges in Brazilian music and still manages to make it sound like Paul Simon. His quirky, introspective lyrics are front and center; set to the beat of multiple drummers, the effect is soothing and unexpectedly rich. "The Coast" is a brilliant narrative about traveling musicians and "The Obvious Child" handles Simon's neurotic obsession with middle age with a lightheartedness unheard in his '70s solo work. --Rob O'Connor

After the success of Graceland, Simon's meshing of South African rhythms with his own overtly self-conscious singer-songwriter pop, Simon figured he'd best keep traveling. This album follows him to South America, where he indulges in Brazilian music and still manages to make it sound like Paul Simon. His quirky, introspective lyrics are front and center; set to the beat of multiple drummers, the effect is soothing and unexpectedly rich. "The Coast" is a brilliant narrative about traveling musicians and "The Obvious Child" handles Simon's neurotic obsession with middle age with a lightheartedness unheard in his '70s solo work. --Rob O'Connor