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Sunday, November 15, 2009


320 KBPS

The most successful folk-rock duo of the 1960s, Paul Simon and Art Garfunkel crafted a series of memorable hit albums and singles featuring their choirboy harmonies, ringing acoustic and electric guitars, and Simon's acute, finely wrought songwriting. The pair always inhabited the more polished end of the folk-rock spectrum and was sometimes criticized for a certain collegiate sterility. Many also feel that Simon, as both a singer and songwriter, didn't truly blossom until he began his own hugely successful solo career in the 1970s. But the best of S&G's work can stand among Simon's best material, and the duo did progress musically over the course of their five albums, moving from basic folk-rock productions into Latin rhythms and gospel-influenced arrangements that foreshadowed Simon's eclecticism on his solo albums.

Simon & Garfunkel's recording history actually predated their first mid-'60s hit by almost a decade. Childhood friends while growing up together in Forest Hills, NY, they began making records in 1957, performing (and often writing their own material) in something of a juvenile Everly Brothers style. Calling themselves Tom & Jerry, their first single, "Hey Schoolgirl," actually made the Top 50, but a series of follow-ups went nowhere. The duo split up, and Simon continued to struggle to make it in the music business as a songwriter and occasional performer, sometimes using the names of Jerry Landis or Tico & the Triumphs.

By the early '60s, both Simon and Garfunkel were coming under the influence of folk music. When they reteamed, it was as a folk duo, though Simon's pop roots would serve the act well in their material's synthesis of folk and pop influences. Signing to Columbia, they recorded an initially unsuccessful acoustic debut (as Simon & Garfunkel, not Tom & Jerry) in 1964, Wednesday Morning, 3 A.M. They again went their separate ways, Simon moving to England, where he played the folk circuit and recorded an obscure solo album.

The Simon & Garfunkel story might have ended there, except for a brainstorm of their producer, Tom Wilson (who also produced several of Bob Dylan's early albums). Folk-rock was taking off in 1965, and Wilson, who had helped Dylan electrify his sound, took the strongest track from S&G's debut, "The Sound of Silence," and embellished it with electric guitars, bass, and drums. It got to number one in early 1966, giving the duo the impetus to reunite and make a serious go at a recording career, Simon returning from the U.K. to the U.S. In 1966 and 1967, they were regular visitors to the pop charts with some of the best folk-rock of the era, including "Homeward Bound," "I Am a Rock," and "A Hazy Shade of Winter."

Simon & Garfunkel's early albums were erratic, but they steadily improved as Simon sharpened his songwriting, and as the duo became more comfortable and adventurous in the studio. Their execution was so clean and tasteful that it cost them some hipness points during the psychedelic era, which was a bit silly. They were far from the raunchiest thing going, but managed to pull off the nifty feat of appealing to varying segments of the pop and rock audience -- and various age groups, not just limited to adolescents -- without compromising their music. Parsley, Sage, Rosemary and Thyme (late 1966) was their first really consistent album; Bookends (1968), which actually blended previously released singles with some new material, reflected their growing maturity. One of its songs, "Mrs. Robinson," became one of the biggest singles of the late '60s after it was prominently featured in one of the best films of the period, The Graduate (which also had other Simon & Garfunkel songs on the soundtrack).

It was unsurprising, in retrospect, that the duo's partnership began to weaken in the late '60s. They had known each other most of their lives, and been performing together for over a decade. Simon began to feel constrained by the limits of working with the same collaborator; Garfunkel, who wrote virtually none of the material, felt overshadowed by the songwriting talents of Simon, though Garfunkel's high tenor was crucial to their appeal. They started to record some of their contributions separately in the studio, and barely played live at all in 1969, as Garfunkel began to pursue an acting career.

Their final studio album, Bridge Over Troubled Waters, was an enormous hit, topping the charts for ten weeks, and containing four hit singles (the title track, "The Boxer," "Cecilia," and "El Condor Pasa"). It was certainly their most musically ambitious, with "Bridge Over Troubled Waters" and "The Boxer" employing thundering drums and tasteful orchestration, and "Cecilia" marking one of Simon's first forays into South American rhythms. It also caught the confused, reflective tenor of the times better than almost any other popular release of 1970.

That would be their last album of new material. Although they didn't necessarily intend to break up at the time, the break from recording eventually became permanent; as Simon began a solo career that brought him as much success as the S&G outings, and Garfunkel pursued simultaneous acting and recording careers. They did reunite in 1975 for a Top Ten single, "My Little Town," and periodically performed together since without ever coming close to generating albums of new material. A 1981 concert in New York's Central Park attracted half a million fans, and was commemorated with a live album; they also toured in the early '80s, but a planned studio album was canceled due to artistic differences.

1. You Can Tell the World
2. Last Night I Had the Strangest Dream
3. Bleecker Street
4. Sparrow
5. Benedictus
6. Sound of Silence
7. He Was My Brother
8. Peggy-O
9. Go Tell It on the Mountain
10. Sun Is Burning
11. Times They Are A-Changin'
12. Wednesday Morning, 3 A.M.
Bonus Tracks
13. Bleecker Street (Demo)
14. He Was My Brother (Alternate Take 1)
15. Sun Is Burning (Alt. Take 12)


1. The Sound Of Silence
2. Leaves That Are Green
3. Blessed
4. Kathy's Song
5. Somewhere They Can't Find Me
6. Anji
7. Richard Cory
8. A Most Peculiar Man
9. April Come She Will
10. We've Got A Groovy Thing Goin'
11. I Am A Rock
Bonus Tracks
12. Blues Run The Game
13. Barbriallen (Demo)
14. Rose Of Aberdeen (Demo)
15. Roving Gambler (Demo)


1. Scarborough Fair/Canticle
2. Patterns
3. Cloudy
4. Homeward Bound
5. The Big Bright Green Pleasure Machine
6. The 59th Street Bridge Song (Feelin' Groovy)
7. The Dangling Conversation
8. Flowers Never Bend With The Rainfall
9. A Simple Desultory Philippic (Or How I Was Robert McNamara'd Into Submission)
10. For Emily, Whenever I May Find Her
11. A Poem On The Underground Wall
12. 7 O'Clock News/Silent Night
Bonus Tracks
13. Patterns (Demo)
14. A Poem On The Underground Wall (Demo)

1. Bookends Theme
2. Save The Life Of My Child
3. America
4. Overs
5. Voices Of Old People
6. Old Friends
7. Bookends Theme
8. Fakin' It
9. Punky's Dilemma
10. Mrs. Robinson
11. A Hazy Shade Of Winter
12. At The Zoo
Bonus Tracks
13. You Don't Know Where Your Interest Lies
14. Old Friends (Demo)

1. Bridge Over Troubled Water
2. El Condor Pasa (If I Could)
3. Cecilia
4. Keep The Customer Satisfied
5. So Long, Frank Lloyd Wright
6. The Boxer
7. Baby Driver
8. The Only Living Boy In New York
9. Why Don'T You Write Me
10. Bye Bye Love
11. Song For The Asking
Bonus Tracks
12. Feuilles-O (Demo)
13. Bridge Over Troubled Water (Demo Take 6)


LIVE FROM NEW YORK, 1967 (2002)
320 KBPS

Recorded on January 22, 1967, at Lincoln Center in New York, four of these 19 songs were on the 1997 Old Friends box set, but the rest were unissued until the 2002 appearance of this release. The duo performs acoustically, without accompanists (as was usually the case in their concerts), on a fine-sounding and well-delivered set that doesn't contain any revelations, but is nonetheless an excellent document of their live work as they reached their prime. Certainly a Simon & Garfunkel fan could have hardly wished for a better song selection, as it features all the major hits and most of the best album tracks that the pair had recorded prior to 1967: "The Sound of Silence," "I Am a Rock," "Homeward Bound," "The 59th Street Bridge Song (Feelin' Groovy)," "Richard Cory," "A Hazy Shade of Winter," "The Dangling Conversation," "Anji," and "For Emily, Whenever I May Find Her." Some of the more offbeat moments, however, lie in less-celebrated songs like "Leaves That Are Green," "Benedictus," and "He Was My Brother." Only two of the cuts, though, would qualify as relatively seldom-heard tunes: "A Church Is Burning," which Paul Simon put on his 1965 U.K.-only solo album but was not recorded for release by Simon & Garfunkel, and the uncommonly tough-minded "You Don't Know Where Your Interest Lies," which would be a 1967 non-LP B-side (of "Fakin' It"). Numerous live Simon & Garfunkel bootlegs had circulated before this release, so the pair's concert sound will not come as a shock to hardcore fans, but it's great to have a classy, above-board document of their live presence.

1. He Was My Brother
2. Leaves That Are Green
3. Sparrow
4. Homeward Bound
5. You Don't Know Where Your Interest Lies
6. A Most Peculiar Man
7. The 59th Street Bridge Song (Feelin' Groovy)
8. The Dangling Conversation
9. Richard Cory
10. A Hazy Shade Of Winter
11. Benedictus
12. Blessed
13. A Poem On The Underground Wall
14. Anji
15. I Am A Rock
16. The Sound Of Silence
17. For Emily, Whenever I May Find Her
18. A Church Is Burning
19. Wednesday Morning, 3 A.M.


Anonymous said...

Thanks a lot. What a marvelous "madeleine de Proust"

Anonymous said...

Is there a mistake? Each Simon and Garfunkel album link seems to be the Live Concert '67, no?

Mr Moodswings said...

ThCoLiFroNY67 means:
The Collection + Live From New York 1967.