Bootleg Country: Paul Simon - 02/14/87
Published September 13, 2006
When I was an early teen, say 14, I got a little compact stereo for Christmas. It has a radio, tape deck, and a record player. I was very interested in this little device as my parents' record player had died many years before.
My mother, ever the child of the sixties, had an astounding record collection of great early rock and roll (I am sad to say it has since been lost in a flood). The Beatles, Dylan, the Rolling Stones, Sonny and Cher, the Rascals, Beach Boys, Loving’ Spoonful, you name it — if it was a hit in the 1960s, she probably had it on vinyl.
This was also the point in my life when I began to take music seriously. Certainly I had enjoyed music prior to this. I used to tape Casey Casem’s Weekly Top 40 show as well as the local stations' nightly top 10 requests. But I would often record over those tapes with whatever songs were new and popular. Music was something fluffy and fun, like candy that was to be enjoyed and discarded afterwards.
Now with all of this great music at my fingertips, I began to really understand the depth and reach of what music could be. For the first time, I began to really digest the poetry of Dylan, the guttural sex of the Stones, and the sheer brilliance of The Beatles. This was more than just throw away pop music, it was important.
I spent many hours sitting inside my room, lying flat on my back in my bed, devouring this new music. Most of these songs I had heard previously. Mother listened to Oldies radio and so much of what I was now listening to wasn’t new at all. I had heard all of Bob Dylan’s greatest hits separately many times over the years. Yet, as odd as it may sound, I had never put together that they were all his.
As much as I might now scoff at Greatest Hits albums, the 10 songs put together on Dylan’s version was life changing to this little boy. I couldn’t believe one person had sung so much greatness.
It was Dylan and Simon & Garfunkel who made the biggest impression on me. Something about the sheer force of their songwriting knocked the breath out of me.
To this day, I can remember listening to "The Boxer" late one night. As I had done many times before, I turned off the lights and set the volume down low as to allow the music to lull me asleep — except I couldn’t sleep because my mind kept listening. I couldn’t stop, the song was too forceful to allow such a thing as sleep. The music, as it has done many a time since, kept me awake and begging for more.
02/14/87
Rutfaro Stadium
Harare, Zimbabwe
Etree Link for Setlist
- Bootleg Country: Paul Simon - 02/14/87
- Published: September 13, 2006
- Type: Review
- Section: Music
- Filed Under: Music: Adult Alternative, Music: Classic Rock and Oldies, Music: Live Concerts
- Part of a feature: Bootleg Country
- Writer: Mat Brewster
- Mat Brewster's BC Writer page
- Mat Brewster's personal site
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Mat Brewster is an American stumbling as an ex-pat through the streets of Shanghai. He is helped by his lovely wife and an enormous piles of bootleg DVDs. He is chronicling his adventures in the 



I've always had problems with Graceland - is this an example of artistic development or clutching at straws because you've run out of your own ideas? Yes it's done well, but so are the Ladysmith Black Mambazo albums of the same era. Who was riding whom's coattails here, or is it a true collaboration of artists from different cultures?