Showcasing Paul Simon and Art Garfunkel at the peak of their early career this “from the vaults” style release contains 19 performances, 14 of which are heard here for the first time. Recorded at a magnificent concert by the duo at the Philharmonic Hall, New York on 22 January 1967, the album is a revelation not only about the artists themselves but also the mid-sixties music culture.

What makes this concert particularly interesting is that Simon and Garfunkel return to their traditional revivalist folk music roots by performing with only an acoustic guitar and their contrasting voices for support. This gives the listener the unique opportunity to hear many of their biggest hits and well-known songs in the form that Paul Simon originally conceived them.

The Tracks

The track selection is predominately ballad and folk music oriented. Notwithstanding, the material is surprisingly contrasting and captivating. This can in part be attributed to the quality of Paul Simon’s songwriting skills, including his unique ability to effectively integrate revivalist folk song structures with pop, Gospel, rock and blues influences. It also helps that these guys are masters of two-part harmony and have access to the powerful choirboy like vocals of Art Garfunkel whenever the mood requires.

Equally relevant, however, is the fact that Paul Simon is a most impressive guitar player. The variety and sophistication of sound that it he is able to generate out of a single guitar is frankly astonishing. With just six strings he is able to effectively replace percussion, bass and variety of other instruments.

My take on the individual tracks follows.

The Sound of Silence

An interesting aspect of Simon and Garfunkel’s post partnership careers is the very different treatment that they give to their well-known first major hit, “The Sound of Silence” (1966: US #1). Paul Simon always seems to sing this song about the isolation of the human spirit in contemporary society with an almost detached yet sad acceptance of the inevitability of the situation. By way of comparison, Art’s interpretation is filled with hope and in essence is a dramatic call to social arms.

To my surprise on the live version on this CD, the subject dichotomy in interpretation is still very much evident. For the majority of the performance the two rarely try to sing in unison of voice, both apparently lost in their individual feelings about the song. Finally, in the last line they snap out of their private isolation to come to together to sing in perfect harmony as if to recognize their common understanding of the issue, if not its resolution. In short – an intriguing performance.

Other hits

At the time of this concert, Simon and Garfunkel were not yet in the music icon category. In addition to the “Sound of Silence”, they had however scored in the US charts with “Homeward Bound” (1966 #5), “I am a Rock” (1966 #3) and the folk-rocker “A Hazy Shade of Winter” (1966 #13). All are included on this live set.

The acoustic versions of these hits about the loneliness inherent in contemporary society, strips them down to their very essence. Fortunately, the material easily copes with such treatment, and in fact is all the more powerful for it. This is not surprising as the strength of these introspective minor masterpieces was always in the potency of their lyrics, and the passion and inherent beauty of the Simon and Garfunkel vocal sound to deliver them.

The electrification and more elaborate orchestration on the hit records, particularly on the anger infused “I am a Rock” and the rollicking “A Hazy Shade of Winter”, were merely an embellishment to attract a wider non-folk audience. Listening to these unplugged versions emphasizes how much of the spirit of these magnificent compositions was lost by allowing such technical tampering.

The 59th Street Bridge Song (Feelin’ Groovy)

This happy go lucky account of how it feels to experience an LSD high is one of Simon and Garfunkel’s most loved tunes. I am not sure whether to view it as a rare exercise in social irresponsibility by the artists or merely a reflection of the naivety of the pre-psychedelic time in which it was created. Fortunately, the song was widely misinterpreted by the record buying public and thought to be a warm observation about a young child at play.

The version on this collection is without doubt the definite interpretation of the song. Characterized by magnificent harmonies, this upbeat fun-filled performance demonstrates why Simon and Garfunkel acquired legendary status in their field. The two vocal part “bud did di da da” ending though simple is nothing less than sublime.

Benedictus

The haunting traditional Gospel number “Benedictus” is a standout even amongst this most distinguished collection. Throughout this intricate and strangely chilling performance, Paul and Art continually sing separate lines simultaneously. Those familiar with their hit recording of “Scarborough Fair (Canticle)” (1968: US #11) will know the style that I am referring too.

“Benedictus” if anything is even more impressive than “Scarborough Fair”, and at times it is hard to believe that we are not listening to a church choir as opposed to only two voices. I would go as far as to say this performance, from a vocal perspective, is possibly the best of their respective careers both as single artists and as a duo.

The social commentaries

In early 1967, the term “protest” had yet to become tarnished with violence. The numerous social commentary tracks on this collection accordingly present the folk music genre in its most innocent and for many its most appealing form. The result is that the messages and observations, though uncompromising, focus very much on unified ideals and wider values. For example, in the mournful ballad “He was my Brother” and the defiant medium tempo “A Church is Burning”, the lyrics are powerful statements about racial equality, freedom from persecution, and the lengths that those who oppose such ideals will go to repress the human spirit.

Other compositions are merely fascinating, albeit at times morbid observations about the quirks of life. For instance in “Richard Cory”, the lyrics consider the perplexing situation of why a person with privileges such as wealth, power etc and envied by the impoverished majority, would ultimately commit suicide.

Typical of much of the early work of Simon and Garfunkel, the plight, feelings and viewpoints of those living on society’s margins are recurring themes on the album. In addition to the hit recordings, examples include “The Dangling Conversation”, “A Poem on the Underground Wall”, and lesser-known pensive pieces like the euphemistic “Sparrow” and the despairing folk blues “Blessed”. A personal favorite is the ballad “Wednesday Morning, 3 am” which explores the feelings of remorse, confusion and fear of a first-time offender shortly after he has committed an armed robbery.

Other notable tracks

Other tracks worthy of specific mention are the Paul Simon originals, “For Emily Whenever I May Find Her” and “You Don’t Know Where Your Interest Lies”. Art Garfunkel sings solo on the first of these. Outside of the classic “Bridge Over Troubled Water” (1970: US & UK #1), I can think of no other recording that showcases his breathtakingly ability to interpret a dramatic ballad so powerfully.

By way of contrast “You Don’t Know Where Your Interest Lies” is an in your face minor blues classic sung almost entirely by Paul Simon. When combined with Paul’s exciting guitar playing, the track sizzles with attitude. It’s a pity Paul has not explored more of this style in his work as he clearly has much to offer this genre.

Sound Quality and Stereo Mix

The sound quality is outstanding. There is no tape hiss or any trace that the recordings are nearly 40 years old. The audience is for the main silent during the performances and in no way spoil the listening experience. Generally speaking, the stereo mix has the acoustic guitar in the center with the individual vocals of Paul Simon and Art Garfunkel in the right and left speakers, respectively.

Liner Notes

The CD is complimented by a 10 page booklet that includes particularly intelligent commentary about Simon and Garfunkel at this interesting time in their career, and the mid sixties music scene generally. Various black and white photographs of the concert are also included. The overall impression is that a lot of time and effort has been given to the packaging to ensure that the right atmosphere is presented and the artists are given their due respect.

My Rating

This is an essential purchase for the Simon and Garfunkel enthusiast and many others will also enjoy it. Of the many albums that I have of these artists, none come close to this release in terms of capturing the essence and diversity of their unique vocal talents or Paul Simon’s musicianship and songwriting skills. My rating – 5 stars.

If you liked this CD what else would I recommend?

Live Rhymin’ – Paul Simon
Across America – Art Garfunkel



Recommended: Yes

Great Music to Play While: Reading or Studying