Simon & Garfunkel The Concert In Central Park RePoPo CUE FLAC

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Name:Simon & Garfunkel The Concert In Central Park RePoPo CUE FLAC

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Torrent description

The Concert in Central Park

Originally released February 16th, 1982. Recorded on September 19th, 1981

CD Tracklist:

01.- Mrs. Robinson [04:01]
02.- Homeward Bound [04:19]
03.- America [04:45]
04.- Me And Julio Down By The Schoolyard [03:40]
05.- Scarborough Fair [03:48]
06.- April Come She Will [02:22]
07.- Wake Up Little Susie [02:18]
08.- Still Crazy After All These Years [03:51]
09.- American Tune [04:33]
10.- Late In The Evening [04:07]
11.- Slip Slidin' Away [04:53]
12.- A Heart In New York [02:46]
13.- Kodachrome / Maybellene [05:46]
14.- Bridge Over Troubled Water [04:40]
15.- Fifty Ways To Leave Your Lover [04:38]
16.- The Boxer [05:18]
17.- Old Friends [02:56]
18.- The 59th Street Bridge Song (Feelin' Groovy) [02:36]
19.- The Sound Of Silence [03:57]

This is an EAC rip, converted to FLAC using dBPowerAmp.

Album Review (allmusic.com)

The Concert in Central Park is a live album by Simon and Garfunkel. On September 19, 1981 the folk-rock duo reunited for a free concert on the Great Lawn of New York's Central Park attended by more than 500,000 people. They released a live album from the concert the following March (Warner Brothers LP 2BSK 3654; CD 3654). It was arranged by Paul Simon and Dave Grusin, and produced by Paul Simon, Art Garfunkel, Phil Ramone and Roy Halee.

A video of the concert was also released. The video contains two songs that were omitted from the live album: "The Late Great Johnny Ace" and "Late in the Evening (Reprise)". The song about Johnny Ace had been disrupted by a fan rushing the stage. Both of these songs appear in the DVD release. The Late Great Johnny Ace is not listed in the track listing but appears between A Heart in New York and Kodachrome.


In the film The Graduate, listless recent college graduate Benjamin Braddock (Dustin Hoffman) has an affair with an older married woman, Mrs. Robinson (Anne Bancroft). The song was not completed for the film; only snippets are heard as incidental music. When the film and the music became popular, Paul Simon put the snippets together into a complete song.

According to a Variety article by Peter Bart in the May 15th, 2005 issue, director Mike Nichols had become obsessed with Simon & Garfunkel's music while shooting the film. Larry Turman, his producer, made a deal for Simon to write three new songs for the movie. By the time they were nearly finished editing the film, Simon had only written one new song. Nichols begged him for more but Simon, who was touring constantly, told him he didn't have the time. He did play him a few notes of a new song he had been working on; "It's not for the movie... it's a song about times past — about Mrs. Roosevelt and Joe DiMaggio and stuff." Nichols advised Simon, "It's now about Mrs. Robinson, not Mrs. Roosevelt."

"Where have you gone, Joe DiMaggio?
Our nation turns its lonely eyes to you.
What's that you say, Mrs. Robinson?
Joltin' Joe has left and gone away."

are perhaps the most memorable. Paul Simon, a fan of Mickey Mantle, was asked on The Dick Cavett Show by Mantle why Mantle wasn’t mentioned in the song instead of DiMaggio. Simon replied, "It's about syllables, Dick. It's about how many beats there are."

For himself, DiMaggio initially complained that he hadn't gone anywhere, but soon dropped his complaints when he realized that he gained new fame with baby boomers because of the song.

In a New York Times op-ed in March 1999, shortly after DiMaggio's death, Simon explained that the line was meant as a sincere tribute to DiMaggio's unpretentious heroic stature, in a time when popular culture magnifies and distorts how we perceive our heroes. He further reflected: "In these days of Presidential transgressions and apologies and prime-time interviews about private sexual matters, we grieve for Joe DiMaggio and mourn the loss of his grace and dignity, his fierce sense of privacy, his fidelity to the memory of his wife and the power of his silence." Simon subsequently performed Mrs. Robinson at Yankee Stadium in DiMaggio's honor in April of the same year.


"Homeward Bound" is a 1966 song by Simon and Garfunkel, produced by Bob Johnston and recorded on December 14, 1965. Paul Simon wrote the song at Widnes railway station while waiting for his train. The song describes his longing to return home, both to his then girlfriend, Kathy Chitty in Brentwood, Essex, England, and to return to the United States. The song debuted on Billboard Hot 100 Chart on February 12, 1966, peaking at #5. It remained on the charts for 12 weeks.

A live version of the song takes the place of the studio version on the compilation Simon and Garfunkel's Greatest Hits.

The song is one of Simon's signature tunes along with The Sound of Silence, Mrs. Robinson, and Bridge Over Troubled Water and is played frequently at his concerts.

In 1976, Simon and former Beatle George Harrison played this song and Harrison's "Here Comes the Sun" on an episode of Saturday Night Live that Simon hosted and on which Harrison was the musical guest.

Several artists have covered this song, including the Beau Brummels, Cher, Janie Fricke, Jack's Mannequin, William Joseph and Petula Clark.


"America", written by Paul Simon, was originally by 1960s folk-rock duo Simon and Garfunkel, of which he was a member. It was included in their album Bookends, released on 3 April 1968.

The song was released as a single in 1972, to coincide with the album Simon and Garfunkel's Greatest Hits, and eventually hit #97 on the Billboard Hot 100. The flip side of the single, "For Emily, Whenever I May Find Her," surprisingly did slightly better, reaching #53.

The song describes in first-hand terms with non-rhyming lyrics, the physical and metaphorical journey of two companions in search of the true meaning of America. Their initial hopefulness, indicated by such lyrics as "Let us be lovers," turns to a sense of frustration and sadness, accompanied by the breakdown of their relationship. "'Kathy, I'm lost,' I said, though I knew she was sleeping" is a reference to Kathy Chitty, with whom Simon had had a relationship while living in England in 1965.

The song mentions the cities of Saginaw, Michigan, and Pittsburgh, Pennsylvania; the New Jersey Turnpike; and Mrs. Wagner's Pies.

In 2000, "America" was featured in the soundtrack to the film Almost Famous. The main character's sister, Anita, uses this song to represent her reason for leaving home to become a stewardess.

Subsequent compilation CDs contain a clean intro to "America" as opposed to the segued version on "Bookends".


It is about a boy who has broken a law, although the exact law that has been broken is not stated in the song and has become a matter of some debate. When his mother finds out that he has broken the law, she goes to the police station to report the crime. He is later arrested, but released when a radical priest intervenes. The protagonist of the song had to say goodbye to "Rosie, the Queen of Corona", so the events of the song are most likely to have taken place in Corona, Queens. Julio is presumed to be the boy's partner in crime, yet others have suggested that he may also be the person that the singer may engage in a fight with. This is a common motif and setting: fights amongst adolescents.

Some believe the incident in the song refers to an arrest at an antiwar protest on a college campus (the "schoolyard"), with the "radical priest" (whom the singer claims will appear with him "on the cover of Newsweek") being either Philip or Daniel Berrigan, priests noteworthy for their antiwar activity during the Vietnam War. It has been said also that the "radical priest" could be the Rev. William Sloane Coffin, chaplain from Yale, upon whom the Scot Sloan character in Doonesbury was based.

In a July 20, 1972 interview for Rolling Stone, Jon Landau asked: "What is it that the mama saw? The whole world wants to know." Simon replied "I have no idea what it is... Something sexual is what I imagine, but when I say 'something', I never bothered to figure out what it was. Didn't make any difference to me." This has not stopped speculation: Truman Capote said that he believed the protagonist and Julio were involved in a homosexual relationship; other commentators have detected references to recreational drug use, and believe that the mother saw the boy buying drugs


The arrangement made famous by Simon & Garfunkel's "Scarborough Fair/Canticle" originated in the late 20th century. Paul Simon learned it in 1965 in London from Martin Carthy and Art Garfunkel set it in counterpoint with Canticle, a reworking of Simon's 1963 song "The Side of a Hill" with new, anti-war lyrics (this was how Garfunkel claimed any authorship). It was the lead track of the 1966 album Parsley, Sage, Rosemary and Thyme, and was released as a single after being featured on the soundtrack to The Graduate in 1968. The copyright credited only Simon and Garfunkel as the authors, causing ill-feeling on the part of Carthy, who felt the "traditional" source should have been credited. This rift remained until Simon invited Carthy to duet the song with him at a London concert in 2000.

Prior to Simon's learning the song, Bob Dylan had borrowed the melody and several lines from Carthy's arrangement in creating his song, "Girl from the North Country," which appeared on The Freewheelin' Bob Dylan (1963), Nashville Skyline (1969), Real Live (1984) and Bob Dylan: The 30th Anniversary Concert Celebration (1993).Meaning of the refrain

Much thought has gone into attempts to explain the refrain "parsley, sage, rosemary and thyme", although, as this is found only in relatively recent versions, there may not be much to explain. The oldest versions of "The Elfin Knight" (circa 1650) contain the refrain "my plaid away, my plaid away, the wind shall not blow my plaid away" (or variations thereof), which may reflect the original emphasis on the lady's chastity. Slightly younger versions often contain one of a group of related refrains:

* Sober and grave grows merry in time
* Every rose grows merry with time
* There's never a rose grows fairer with time

These are usually paired with "Once she was a true love of mine" or some variant. "Parsley, sage, rosemary and thyme" may simply be an alternate rhyming refrain to the original. Folksong scholar Märta Ramsten states that folksong refrains containing enumerations of herbs — spices and medical herbs — occur in many languages, including Swedish, Danish, German, and English.

Other proposed explanations

On the other hand, elaborate theories have been proposed concerning the possible symbolism of these herbs, some of which are outlined below. When evaluating these theories it should be borne in mind that the earliest extant versions of the original The Elfin Knight ballad date to some 100-150 years after the end of the Medieval period, and the earliest version known to bear the "parsley, sage, rosemary and thyme" refrain is from the very late 18th century; thus any "medieval" symbolism would most likely have to have been introduced by later singers rather than being preserved continuously since the Middle Ages.

In "Scarborough Fair" the herbs may be a veiled message for the girl where the man is explaining why she should come back to him (if she overcomes the five impossible tasks):

* Parsley:I want you to bear my children
* Sage:I'm dependable
* Rosemary:Remember me
* Thyme:I'm yours

Parsley, used to this day as a digestive aid, was said to take away the bitterness, and medieval doctors took this in a spiritual sense as well. Sage has been known to symbolize strength for thousands of years. Rosemary represents faithfulness, love and remembrance, and the custom of a bride wearing twigs of rosemary in her hair is still practiced in England and several other European countries today. Thyme symbolizes courage, and during the medieval era, knights would often wear images of thyme on their shields when they went to combat. The speaker in the song, by mentioning these four herbs, wishes his true love mildness to soothe the bitterness that is between them, strength to stand firm in the time of their being apart from each other, faithfulness to stay with him during this period of loneliness and, paradoxically, courage to fulfill her impossible tasks and to come back to him by the time she can.

Also, parsley, sage, rosemary and thyme are possibly the ingredients of a love spell from the Middle Ages, even though the refrain did not exist in the medieval version of the song.

Another theory considers the possible magical significance of the herbs. Parsley, sage, rosemary and thyme have allegedly all been closely associated with death and used as charms against the evil eye. In The Elfin Knight (of which Scarborough Fair is a version), an elf sets impossible tasks to a maid, and her replies determine whether she will fall into his clutches or not. Francis Child suggested that the elf was an interloper from another ballad, Lady Isabel and the Elf-Knight, and that he should rightly be a mortal man, but as Ann Gilchrist points out, "why the use of the herb refrain except as an indication of something more than mortal combat?". Sir Walter Scott in his notes on Minstrelsy of the Scottish Border recalled hearing a ballad of "a fiend ... paying his addresses to a maid but being disconcerted by the holy herbs she wore in her bosom", and Lucy Broadwood goes so far as to suggest that the refrain might be the survival of an incantation against such a suitor (which would fit well with the plot of "The Elfin Knight").

Contrary to current hearsay, none of the herbs listed in the song are contraceptive or abortifacient plants — they are simply very common culinary herbs.

The refrain and the whole ballad may be the common pick up line: "We're here for a good time not a long time". Medieval peoples were simple folk but literature of the time suggests they had great wit particularly in the pursuit of love. By cheekily suggesting to an attractive passer by that you had a true love and suggesting she had the Time to do all these impossible tasks, the singer is sending the impetuous message that love lies in wait and there is no time to waste. All versions of the refrain seem to emphasize things that last forever in contrast to the opportunity at hand. Modern exulted versions of the song emphasize an altruism that probably was out of place in rustic medieval times.

Once again, it must be noted that all of the possible alleged symbolism above is strictly conjecture, especially since the "parsley, sage, rosemary and thyme" refrain was not introduced until the late 18th century, many centuries after the Middle Ages were over.


"Wake Up Little Susie" is a popular song written by Felice and Boudleaux Bryant and published in 1957.

The song is best known in a recording by The Everly Brothers, issued by Cadence Records as catalog number 1337. The song reached #1 on the Billboard Pop and Country charts and the Cash Box Best Selling Record charts, despite having been banned from Boston radio stations for its supposedly suggestive lyrics. It got to #2 on the United Kingdom song charts.

Among notable musical groups performing covers of the song are Simon and Garfunkel and the Grateful Dead. During their "Old Friends" tour in 2003-2004, Simon and Garfunkel performed this song and others in a segment with the Everly Brothers, who toured in support. Simon and Garfunkel have cited the Everly Brothers as strong influences on their own music. The musical duo Evan and Jaron also recorded a version of the song on their album, "52 Sundays."

In an appearance on The Oprah Winfrey Show during the 2000 U.S. presidential election, Governor George W. Bush named "Wake Up Little Susie" as his favorite song, erroneously claiming it was by Buddy Holly. Holly never recorded the song.

The song is written from the point of view of a high school boy to his girlfriend, Susie. In the song, the two go out on a date to a drive-in movie theater, only to fall asleep during the movie. They do not wake up until 4 o'clock in the morning. They then contemplate the reactions of her parents and their friends.

Although banned in such places as Boston, the song does not state that Susie and her boyfriend had sexual relations. Indeed, it strongly implies that they did not: the couple simply fell asleep because they were bored by the film.


Utilizing the changing seasons as a metaphor for the capriciousness of a girl, "April Come She Will" was used very effectively in the film The Graduate and its soundtrack. Written in England in 1964 following a brief affair that Paul Simon had during his stay there, the lyrics were inspired by a nursery rhyme that the girl in question recited. The sense of yearning in this song would later be beautifully echoed in one of the Parsley, Sage, Rosemary & Thyme masterpieces, "For Emily, Wherever I May Find Her." Like that song, it is very brief, yet the shortness of the song adds to the effectiveness and economy of both the lyric and melody. (from allmusic.com)


American Tune" is a song written and first performed by Paul Simon. The song first appeared on There Goes Rhymin' Simon (1973), Simon's second solo album following the breakup of Simon and Garfunkel. It was also released as a single, Columbia 45900, backed with "One Man's Ceiling Is Another Man's Floor," which Simon released on the same album. The single eventually reached #35 on the Billboard charts in the United States.

Lyrically, the song is an evocation of weariness and confusion, as the narrator describes being far from home and "wonder[ing] what's gone wrong." The lyrics include a dream image of the Statue of Liberty "sailing away to sea" and rueful mentions of the Mayflower and the Apollo program, before concluding "it's all right/You can't be forever blessed/Still tomorrow's going to be another working day/And I'm trying to get some rest." Simon has stated in interviews that he wrote the song following Richard Nixon's re-election, and that it was meant to sum up his disappointment with the result

The tune is based on a melody line from Johann Sebastian Bach's chorale from "St. Matthew Passion," itself a reworking of an earlier secular song, "Mein Gmüth ist mir verwirret," composed by Hans Hassler.

The song was also featured on at least one episode of the NBC television series Providence. It is included in an episode of The Wonder Years. The song is also alluded to in the lyrics of "Independence Day" by Ferron on the Driver CD: "There's a Paul Simon song that just tears me apart...about the Statue of Liberty and hole in a heart."


"Kodachrome" is a song written and recorded by Paul Simon. It appeared on his 1973 album There Goes Rhymin' Simon.

The song is named after the Kodak 35mm Film Kodachrome. He also made a reference on the line "I got a Nikon Camera". The song became a major hit in the United States, peaking at #2 on the Billboard Hot 100 chart as well as the Billboard adult contemporary chart, but it was not released as a single in Britain because, according to American Top 40 host Casey Kasem, the British Broadcasting Corporation would not play the trademarked name.

Kodak required the album to note that Kodachrome is a trademark of Kodak. In the late 1990s, Kodak used the song in commercials to sell film.

The lyrics on There Goes Rhymin' Simon differed in wording from those on the The Concert in Central Park and Paul Simon's Concert in the Park, August 15, 1991 albums. The former said, "...everything looks worse in black and white," but the latter said, "...everything looks better in black and white."

This song is also featured in the 1993 film Coneheads. This song is played while they show home videos of Connie Conehead growing up in the 1970s.

Kodachrome is also featured as the music for a level on the Commercial Data Systems Commodore 64 game Frantic Freddie

"Maybellene" is a song by Chuck Berry that tells the story of a hot rod race and a broken romance. It was released in July 1955 as a single on Chess Records of Chicago, Illinois. It was Berry's first single release, and his first hit. "Maybellene" is considered one of the pioneering rock and roll singles: Rolling Stone magazine said, "Rock & roll guitar starts here." The record is an early instance of the complete rock and roll package: youthful subject matter, small guitar-driven combo, clear diction, and an atmosphere of unrelenting excitement.

In 1955, the song, a 12-bar blues, peaked at No. 5 on the Billboard rock charts, and was a #1 R&B hit. Chuck was the first African American to reach the top ten on the Billboard list with a rock and roll single. In 2004, "Maybellene" was ranked number 18 on Rolling Stone magazine's list of the 500 greatest songs of all time. In 1999, National Public Radio included it in the "NPR 100," the one hundred most important American musical works of the 20th century as chosen by NPR music editors.

The title is often misspelled as Maybelline, even on some of Berry's own compilation CDs. That spelling is used by a popular cosmetics line. Berry had worked as a hairdresser prior to beginning his musical career.


his song's recording process exposed many of the underlying tensions that eventually led to the breakup of the group after the album's completion. Most notably, Paul Simon has repeatedly expressed regret that he allowed Art Garfunkel to sing this song as a solo, as it focused attention on Garfunkel and relegated Simon to a backing position. Art Garfunkel initially did not want to sing lead vocal, feeling it was not right for him. "He felt I should have done it," Paul Simon revealed to Rolling Stone in 1972. Garfunkel said that the moment when he performed it in Madison Square Garden in 1972 was "almost biblical". In recent performances on the "Old Friends" tour, Simon and Garfunkel have taken turns singing alternate verses of the vocal.

As the song ends, drums and piano build in a crescendo to an extraordinary climax. The last note, on a violin, is a long, drawn out E-flat that lasts ten seconds.

Simon wrote the song in the summer of 1969 while Garfunkel was filming Catch-22 in Mexico. It was written on the guitar in the key of G although on an early demo version Paul Simon detuned the song on his guitar to an F.

The song originally had two verses and different lyrics. Simon specifically wrote it for Garfunkel and knew it would be a piano song. He based the lyrics on the line "I'll be your bridge over deep water if you trust in me" by Swan Silvertones in the song "Oh Mary Don't You Weep For Me".

Garfunkel reportedly liked Simon's falsetto on the demo and suggested Simon sing. He and producer Roy Halee also thought the song needed three verses and a 'bigger' sound. Simon agreed and wrote the final verse.

Garfunkel's first two attempts to record the vocal failed. The first two verses were finally recorded in New York with the final verse recorded in Los Angeles.

Larry Knechtel spent four days working on the piano arrangement. Art came up with the intermediate piano chords between the verses while working with Knechtel.

It won the Grammy Award for Record of the Year and Song of the Year in the Grammy Awards of 1971, with its album also winning several awards in the same year.

A gospel-inspired cover version by Aretha Franklin, taken from her album Aretha Live at Fillmore West, later won the Grammy Award for Best Female R&B Vocal Performance in the 1972 awards. In 1999, BMI named it as the 19th-most performed song of the 20th century. Rolling Stone named it number 47 on The 500 Greatest Songs of All Time. In 2006, it was awarded 4th place in Australian TV show 20 to 1's Greatest Songs of All Time episode, beaten by "(I Can't Get No) Satisfaction" by The Rolling Stones, "Stairway to Heaven" by Led Zeppelin and "Imagine" by John Lennon.


The original recording of the song is one of the duo's most highly produced, and took over 100 hours to record. The recording was performed at multiple locations, including Nashville, St. Paul's Church in New York city, and Columbia studios. Drummer Hal Blaine created the huge drum sound heard during the chorus by banging a heavy chain against the concrete floor of an empty storage closet.

The version originally released on single by the duo features an instrumental melody written by Art Garfunkel and played in unison on pedal steel guitar and piccolo trumpet. The song also features a bass harmonica heard during the second and final verses.

The song was originally written and performed in the key of B Major, but due to tape-speed variation, sounds about a quarter of a semitone closer to C Major.

The song's lyrics take the form of a first-person lament, as the singer describes his struggles to overcome loneliness and poverty in New York City. The final verse switches to a third-person sketch of a boxer, who, despite the effects of "every glove that laid him down or cut him 'til he cried out", perseveres.

It is sometimes suggested that the lyrics represent a "sustained attack on Bob Dylan". Bob Dylan thought the song was about him, in turn covering it on his Self Portrait album. Yet Paul Simon himself has suggested that the lyrics are largely autobiographical, written during a time when he felt he was being unfairly criticized:

"I think I was reading the Bible around that time. That's where I think phrases such as 'workman's wages' came from, and 'seeking out the poorer quarters'. That was biblical. I think the song was about me: everybody's beating me up, and I'm telling you now I'm going to go away if you don't stop."

The chorus of the song is wordless, consisting of a repeated chant of "lie-la-lie". Simon stated that this was due to a lapse on his part:

"I didn't have any words! Then people said it was 'lie' but I didn't really mean that. That it was a lie. But, it's not a failure of songwriting, because people like that and they put enough meaning into it, and the rest of the song has enough power and emotion, I guess, to make it go, so it's all right. But for me, every time I sing that part... [softly], I'm a little embarrassed."

"Missing" verse

"The Boxer" was originally written with a verse that is not present in the Bridge Over Troubled Water version:

Now the years are rolling by me
They are rocking evenly
And I am older than I once was
And younger than I'll be, but that's not unusual.
No, it isn't strange
After changes upon changes
We are more or less the same
After changes we are more or less the same

This "missing verse" was performed by Simon and Garfunkel when they went on tour in November 1969, and Paul Simon when he performed it solo after the group's breakup. Simon and Garfunkel also performed the "missing verse" on Saturday Night Live in 1975 and when they reunited for The Concert in Central Park in 1981, and on Late Show with David Letterman.


Is a short and whimsical song by folk music duo Simon and Garfunkel, appearing on their 1966 album Parsley, Sage, Rosemary and Thyme. "59th Street Bridge" is the colloquial name of the Queensboro Bridge in New York City. The song's message is immediately delivered in its opening verse: "Slow down, you move too fast". The song is soft, melodic, and relaxing, yet uplifting.


"The Sounds of Silence" is the song that propelled the 1960s folk music duo Simon and Garfunkel to popularity. It was written on February 19, 1964 by Paul Simon in the aftermath of the assassination of President John F. Kennedy on November 22, 1963. Simon conceived of the song as a way of capturing the emotional trauma felt by many Americans.

The song features Simon on acoustic guitar and both Simon and Garfunkel singing. It was originally recorded as an acoustic piece for their first album Wednesday Morning, 3 A.M., but was later overdubbed with electric instruments and re-released as a single in September 1965. The single slowly climbed the charts until it reached number one on New Year's Day 1966. The song was included in the 1966 album Sounds of Silence.

The song was originally called "The Sounds of Silence," and is titled that way on the early albums in which it appeared and on the single. In later compilations, it was retitled "The Sound of Silence." Both the singular and the plural form of the word appear in the lyrics.

The song was used three times in the film The Graduate, played during the opening credits and the closing footage, and in the film Bobby, where it is played during Robert Kennedy's victory speech at the Ambassador Hotel, just before his assassination.

Simon began working on the song sometime after the Kennedy assassination. He had made progress on the music, but had yet to get down the lyrics. On 19 February 1964, the lyrics apparently coalesced, and Simon showed the new composition to Garfunkel the same day. Shortly afterwards, the duo began to perform it at folk clubs in New York, and included it on their debut album, Wednesday Morning, 3 A.M., released that October. The album flopped upon its release, and the duo split up, with Simon going to England for much of 1965. There he often performed the song solo in folk clubs, and recorded it for a second time on his solo LP in May 1965, The Paul Simon Songbook.

In the meantime, Simon and Garfunkel's producer at Columbia Records in New York, Tom Wilson, had learned that the song had begun to receive airplay on radio stations in Boston, Massachusetts and around Gainesville and Cocoa Beach, Florida.

On 15 June 1965, immediately after the recording session of Bob Dylan's "Like a Rolling Stone," Wilson took the original track of Simon & Garfunkel, and overdubbed the recording with electric guitar (played by Al Gorgoni), electric bass (Bob Bushnell), and drums (Bobby Gregg), and released it as a single without even consulting Simon or Garfunkel. The song entered the U.S. pop charts in September 1965 and slowly began its ascent.

Simon learned that it had entered the charts minutes before he went on stage to perform at a club in Copenhagen, Denmark, and in the later fall of 1965 he returned to the United States. By the end of 1965 and the first few weeks of 1966, the song reached number one on the U.S. charts. Simon and Garfunkel then reunited as a musical group, and included the song as the title track of their next album, Sounds of Silence, hastily recorded in December 1965 and released in January 1966 to capitalize on their success. The song propelled them to stardom and, together with two other top-five (in the U.S.) hits in the summer of 1966, "I Am a Rock" and "Homeward Bound," ensured the duo's fame. In 1999, BMI named "The Sounds of Silence" as the 18th-most performed song of the 20th century. In 2004 it was ranked #156 on Rolling Stone's list of the 500 Greatest Songs of All Time, one of the duo's three songs on the list.

One variation was a promotional release on red vinyl. This copy was unique in that it featured the original acoustic version found on Wednesday Morning, 3 A.M. on one side and the electric overdubbed version later featured on Sounds of Silence on the other. This release was mainly distributed to radio stations and carries a white label. This version is rare to find today, and quite valuable to collectors.

The standard version of the single was released on black vinyl, with a red label the same Columbia catalog number, and backed with "We've Got a Groovey Thing Goin'." The now-passé adjective is normally spelled "Groovy," as it would be on their later issue, "The 59th Street Bridge Song (Feelin' Groovy)."

"The Sounds of Silence" was later released in the 1970s on the Columbia "Hall of Fame" series, catalog number 13-3396, which featured back-to-back hits of a group on 45. This time the song was backed by "Homeward Bound."


All info taken from wikipedia, except where other source is stated.


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