Bridge Over Troubled Water
by Simon & Garfunkel

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Bridge Over Troubled Water by Simon and GarfunkelSimon & Garfunkel saved their best for last with the early 1970 release of Bridge over Troubled Water, the fifth studio album by the New York based folk duo. The record shows the artists branching out to new musical avenues with smooth production featuring warm sonic elements to showcase the exquisite compositions of chief songwriter Paul Simon. Despite the breakup of Simon & Garfunkel later in 1970, the album’s success reverberated for several years as it received multiple Grammy awards and even briefly became the best selling record of all time as it topped album charts worldwide.

The duo’s highly successful third album, Parsley, Sage, Rosemary and Thyme was issued in October 1966 and followed by a series of non-album singles including “A Hazy Shade of Winter” and “At the Zoo”, both of which made the Top 20 on the pop charts. However, Simon developed a bout of writer’s block which delayed any follow-up album in 1967. Then Hollywood came knocking as director Mike Nichols, a big fan of Simon & Garfunkel’s previous records, sought the duo to record some songs for the soundtrack to his new film, The Graduate, in 1968 with the single “Mrs. Robinson” becoming the first rock n’ roll song to win the Record of the Year Grammy. Simon & Garfunkel’s fourth studio album, Bookends was also released in 1968 and reached the top of the album charts. Both Simon and Art Gurfunkel were invited to audition for acting roles in Nichols’ next film, Catch 22, but only Garfunkel got the role.
This caused a bit of a rift between the two musicians, especially as filming took up much of 1969 with much taking place in Mexico.

Production of Bridge Over Troubled Water took place in New York and Los Angeles studios with the help of producer Roy Halee, who Garfunkel once referred to as the third member of the group. This album also partly abandoned their traditional style by incorporating further elements of rock, R&B, gospel, and world music as well as using more singular lead voices by each singer, rather than the traditional blended harmonies.


Bridge Over Troubled Water by Simon & Garfunkel
Released: January 26, 1970 (Columbia)
Produced by: Paul Simon, Art Garfunkel & Roy Halee
Recorded: Columbia Studios, New York City & CBS Columbia Square, Los Angeles
Side One Side Two
Bridge over Troubled Water
El Cóndor Pasa (If I Could)
Cecilia
Keep the Customer Satisfied
So Long, Frank Lloyd Wright
The Boxer
Baby Driver
The Only Living Boy in New York
Why Don’t You Write Me
Bye Bye Love
Song for the Asking
Primary Musicians
Paul Simon – Vocals, Acoustic Guitar, Percussion
Art Garfunkel – Vocals, Percussion
Fred Carter Jr. – Guitars
Larry Knechtel – Piano, Keyboards
Joe Osborn – Bass
Hal Blaine – Drums, Percussion

Like most previous material by Simon & Garfunkel, the songs here were initiated by Simon and next he would work on the harmonies with Garfunkel. However, with the title track “Bridge Over Troubled Water”, Simon basically gave the song as his acoustic composition was transformed with Garfunkel on solo vocals and Larry Knechtelon piano dominating most of the recording. The payoff does come with the exquisitely harmonized third verse followed by the orchestra crescendo to close out this opening title track, which topped the Pop charts and won a Grammy for Song of the Year in 1971. “El Cóndor Pasa (If I Could)” follows as a traditional Peruvian instrumental, centuries old onto which Simon added lyrics on top< This interesting track starts with a distant flamenco guitar with the verse proper containing a European waltz beat and a flute mimicking the lead vocals throughout, an arrangement that carries an air of psychedelia.

The inventiveness continues with “Cecilia”, a low-fi dance song driven by the harmonized vocals over a totally unique percussion arrangement that was recorded at home and placed on a loop. “Keep the Customer Satisfied” is an upbeat, acoustic-driven pop song with rich harmonies and a later horn section to complete to fine effect. “So Long, Frank Lloyd Wright” hearkens back to their early sixties folk style, but with just a touch of mellotron to give it a “modern” edge along. “The Boxer” is another gem of production, from the perfectly Travis-style finger-picked acoustic guitars by Simon and Fred Carter Jr to the contra bass and tuba by Bob Moore to the wild percussion effects recorded on location at a cathedral at Columbia University by the legendary Hal Blaine.

Simon and Garfunkel

While not quite as interesting, the latter part of the album does include some unique moments. “Baby Driver” is a bluesy acoustic folk track in a style later mastered by Jim Croce, while “Why Don’t You Write Me” is upbeat acoustic folk with Joe Osborn laying down some excellent bass. Osborn also shines on “The Only Living Boy in New York”, a song written by Simon about Garfunkel flying off to Mexico to film Catch 22 and featuring a chorus of backing vocals recorded live in an echo chamber in Los Angeles. The Everly Brothers’ “Bye Bye Love” is an odd live inclusion here with some treated hand clapping by the audience, recorded at multiple gigs, before the closing “Song for the Asking”, a pure Paul Simon style folk with an edge to become a very short soliloquy to complete the duo’s final studio album.

Bridge Over Troubled Water topped the charts in ten countries around the world and was on the best-selling album list for the years 1970, 1971 and 1972. With this massive success, both musicians decided to pursue independent projects and ultimately solo careers as Simon & Garfunkel dissolved into musical history.

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Part of Classic Rock Review’s celebration of 1970 albums.

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Parsley Sage Rosemary Thyme
by Simon & Garfunkel

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Parsley Sage Rosemary Thyme by Simon & GarfunkelAlthough Parsley, Sage, Rosemary and Thyme is officially the third album by Simon & Garfunkel, they certainly did not take the traditional path to get to this point. Nevertheless, this album would be their commercial and artistic breakthrough which would launch them into international stardom through the rest of the 1960s (and far beyond that for Paul Simon). This album, like many albums from 1966, fused different styles and genres while it experimented with non-traditional instrumentation which helped push out the outer walls of the rock n roll universe.

Starting out a decade earlier as the teen duet Tom & Jerry, these natives from Queens in New York City struggled for years to find an audience and an identity. While attending college in 1963, Simon & Garfunkel began to catch on in the burgeoning folk scene in New York’s Greenwich Village and this ultimately led to a record deal with Columbia Records. Their debut album, Wednesday Morning, 3am, was recorded and released in 1964 and contained a few originals penned by Simon among mostly cover songs. However, it did not fare very well in popularity leading to a breakup of Simon & Garfunkel shortly afterward, with Paul Simon moving to England to pursue a solo career. There in 1965 Simon recorded his solo album, The Paul Simon Songbook and began his own rise through the English folk scene. But back in the states a song from the Simon & Garfunkel debut album called “The Sound of Silence” was slowly climbing the charts, due mainly to its vast popularity on college radio stations. Seeing an opportunity, the duo’s producer, Tom Wilson dubbed in some electric guitars, bass and drums onto the original, pure acoustic track of “The Sound of Silence” and released it as a single nationwide. The song climbed the charts an ultimately hit #1 on January 1, 1966. With this development, Simon & Garfunkel reunited and quickly recorded a bunch of songs, including five from Simon’s recent solo album, which were released on the duo’s second album, Sounds of Silence in early 1966. This album fared much better than their debut effort and gave them some creative freedom to work on a new, all-original album of independent songs.

Released in October 1966, Parsley, Sage, Rosemary, & Thyme got its name from a traditional English ballad that originated in the 16th century, which Simon learned while in the United Kingdom. The album would go an to receive popular as well as critical acclaim and serve as a lynchpin to Simon & Garfunkel’s career.
 


Parsley Sage Rosemary Thyme by Simon & Garfunkel
Released: October 10, 1966 (Decca, UK Version)
Produced by: Bob Johnston
Recorded: December 1965-August 1966
Side One Side Two
Scarborough Fair/Canticle
Patterns
Cloudy
Homeward Bound
The Big Bright Green Pleasure Machine
The 59th Street Bridge Song
The Dangling Conversation
Flowers Never Bend with the Rainfall
A Simple Desultory Philippic
For Emily, Whenever I May Find Her
A Poem on the Underground Wall
7 O’Clock News/Silent Night
Primary Musicians
Paul Simon – Lead Vocals, Guitars
Art Garfunkel – Lead Vocals, Piano
Joe South – Guitars
Carol Kaye – Bass

 
“Scarborough Fair / Canticle” is a song unique in the Simon & Garfunkel library, with an almost psychedelic, Pink Floyd-ish vibe (although that band did not appear on the scene until 1967). This song would also set a template for future bands drawing on traditional folk such as Traffic’s “John Barleycorn Must Die”. But beyond just recanting the traditional song, which contains lyrics where a young man asks his female lover to perform impossible tasks, the song fuses with a counterpoint, “Canticle”. Here, Art Garfunkel sings a reworked version of Simon’s 1963 “The Side of a Hill” with new, anti-war lyrics. In stark contrast, the next song “Patterns” bursts through with sparks of musical notes by acoustic guitar, organ, bass, and various percussion, combined with lyrics about how life is a labyrinthine maze, following patterns that are difficult to unravel. Here the listener is already made aware of the diversity of this album.

Although most of its songs were written during 1966, Parsley, Sage, Rosemary, & Thyme does include a few songs from the previous year, including a remake of “Cloudy” from Simon’s solo album and the single “Homeward Bound”, which Simon wrote while at a railway station near Liverpool during a long, overnight wait for the next train. The song itself is, perhaps mid-sixties folk at its best and became a huge, top-five hit for the duo.
 

 
Interspersed between a variety of simple folk songs are some radical departures, most of which work brilliantly. “The Big Bright Green Pleasure Machine” is an upbeat, almost rock song. As is “A Simple Desultory Phillippic (or How I Was Robert McNamara’d into Submission)”, with its heavy fuzz guitar and high organ chops along with a Dylan-esque accent on Simon’s vocals. The later of these two is one of the more entertaining on the album, almost comical. “The Dangling Conversation” doesn’t quite work as well in its experimentation with strings and orchestral arrangements.

59th Street Bridge Song SingleAnother catchy pop song which greatly improved Simon & Garfunkel’s radio appeal is The “59th Street Bridge Song (Feelin’ Groovy)”, although this ong was not officially released as a single until a few years later. Using the colloquial name of the Queensboro Bridge in New York City as a backdrop, the song’s message is immediate – in deep contrast to the rushed pace of city life, the protagonist is simply taking his time and enjoying the day, feelin’ groovy. It features Dave Brubeck Quartet members Joe Morello on drums and Eugene Wright on bass.

The album concludes with a couple of unique and interesting numbers. “A Poem On the Underground Wall” is almost psychedelic in its approach, containing an upbeat acoustic guitar up front and a contrasting deep, doomy organ in background. “7 O’clock News / Silent Night” is a haunting, artistic statement on the state of affairs in late 1966. On one side it contains a simulated news broadcast by Charlie O’Donnell, which amazingly forecasts subjects that will be front and center in years to come – Nixon, mass murderers, Martin Luther King, and war protests. On the other side is a simply arranged version of the Christmas carol “Silent Night”, backed by Garfunkel’s piano. The closing track with its dual themes and titles, mimics the opening tracks and bring the album full circle.

After Parsley, Sage, Rosemary, & Thyme, Simon & Garfunkel’s popularity continued to rise with the soundtrack to the film The Graduate and two more highly successful albums. They split up again for good in 1970, although they would reunite for several special shows and tours over the years.

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Part of Classic Rock Review’s celebration of the 45th anniversary of 1966 albums.