I include Simon as one of my three favourite lyricists. I like dozens of his songs, both solo and performed with Garfunkel. But it is foolish to pretend singing is not important to a song, which Garfunkel sometimes does incredibly well, or that Garfunkel’s actual contributions were not much bigger than Simon gave him credit for. Egotism is a thing, success is hardest to garner at the beginning of the journey, and band alchemy and creative differences can be odd birds indeed.
Except “Gumboots”.
Wow, three multi-song encores. I’d only be slightly disappointed he didn’t do “Duncan,” probably my favorite solo song of Paul’s (from his first album).
(From his much later catalogue, one I like is “Look at That,” from the 1999 album “You’re the One”).
Over close to twice the number of years.
Three multi-week #1s within 5 years, vs 1 #1 in about two decades. It does seem he was probably more successful (and most likely less happy) with Garfunkel.
Ah, yes. A similar error is why I call the Fleetwood Mac song “Dreams” “The WaSHEZZ Song.”
Paul Simon might have been been an egomaniac regarding Art Garfunkel, but he was also capable of unselfish generosity. I saw the Graceland tour, to this day the best concert I’ve ever seen, at the old Omni in Atlanta. Simon had three opening acts, trumpeter Hugh Masekela, singer Miriam Makeba, and the sublime Ladysmith Black Mambazo. Simon was on stage for each of their performances, unobtrusively playing guitar and singing background vocals.
Paul Simon is a musical genius. I have no doubt about that. Art Garfunkel clearly has a great voice. Simon’s voice, to my ear, is eh, just okay. Decent. I’m nota big fan of his voice, and I’m not a big fan of his solo works. I like the S&G songs much, much better than I like any of Paul Simon’s songs. I guess it’s simply my personal preference.
Anyway, apparently Paul Simon didn’t care for 59th Street Bridge, although this article doesn’t seem to explain why:
Simon was recently on Colbert and said that he can’t stand singing the line “life I love you, all is groovy!!”
Here you can hear them both talk about it. He mentions not thinking it needed a third verse but seemed happy with the results.
The rock version of “The Sound of Silence” (sometimes released as “The Sounds of Silence”) was released in late 1965 and hit number one in January 1966.
The 1960s are smooshed together these days into a timeless haze, but for those listening to the radio day by day through the decade 1965 was very early. The Beatles had five number one singles, The Rolling Stones had two. So did The Byrds. The Beach Boys had one. Dylan was lurking in the top ten.
In that crowd SofS made S&G suddenly their equal. In my memory - take it for what it’s worth - they were royalty. Having their songs used as the soundtrack for The Graduate in 1967 crowned them with the Beatles as the definition of modern music. (Dylan conveniently disappeared at the time; he had to be rediscovered later.)
Simon, I think, fought to regain that status for the rest of his career. Sure, he had three hits albums from 1972 to 1975 but does anyone think of Paul Simon as representative of the decade? Graceland was epic, one of the best albums of all time, better as a whole than any of the S&G albums, the work of a mature artist finding the popular groove that *Hearts and Bones" lacked. How many others from the fabled 60s put out one of the greatest albums of all time in the MTV world of the 1980s? Few, if any. But does anyone put his name in the top five of the decade, even of the year?
Maybe my memory is glitching again, maybe I’m an old man saying you hadda be there. I was there and I say that S&G were unbelievably huge and good while Paul Simon was merely big and good. And it’s been eating at him for 55 years.
Ah, well, then perhaps we have our answer.
I was there too, saw Simon & Garfunkel perform in June 1967 and February 1968 (both times in San Diego), and I agree with you.
One stool, two microphones, two singers. Period. They were wonderful.
Thanks. That might be what I was thinking of in the OP.
ETA — I just saw that interview snippet, and that’s definitely it. I thought it was the 59th Bridge Song, but my wife remembered me saying that it was the Sound of Silence, and that threw me off.
Simon saying that he loathed that song, and if he made a mistake in a concert he would force himself to sing it as punishment, that’s exactly it.
Thank you! Yes, we have our answer.
And the discussion of the rift between Simon and, well, Garfunkel, has been enlightening.
Huh. I always heard that line as “always groovy”.
Ehh, even on Graceland, Paul was kind of a piece of work.
I was lucky enough to see them together. After their Central Park concert, they did a tour; I saw them at B.C. Place stadium in Vancouver. Not the best accoustics, not a great view, but I saw Simon and Garfunkel.
From what I remember, the set list and musicians were pretty much the same as the Central Park gig. For a bit of extra trivia, one of the drummers was Grady Tate, who also sang two of the original Multiplication Rock songs.
I had a similar opinion (Art being just the “nice voice” of S&G) … but wiki set me right:
While Garfunkel was not a songwriter, he … worked as the vocal arranger for the duo, working out by whom the songs would be sung and how each song was produced. He is also credited as having written the arrangement on “The Boxer”
(bolding mine)
… that’s not a small feat …
I don’t know all the legalities of getting song writing credit but it’s clear that Simon wasn’t good enough at musical theory and composition to write every note. He was a genius at melody and lyrics. If you look at the Bridge Over Troubled Water documentary I posted above it’s pretty clear that the finished product was built on to a simple melody that Simon wrote. He wrote the basic vocal melody and the chords. The piano player Larry Knechtel wrote the entire piano part. The arrangement was done with Garfunkel. The string parts were written by someone else. Some song writers can write every note for every instrument on the song. Simon can not do that. That doesn’t take away from the genius of Paul Simon. None of the songs would exist without him. None of the songs would sound like they do without other people writing or arranging other parts.