SIMON & GARFUNKEL - THE 59th STREET BRIDGE SONG (FEELIN’ GROOVY)

Released: October 24, 1966

"The 59th Street Bridge Song (Feelin' Groovy)" is a song by the folk rock duo Simon & Garfunkel, penned by Paul Simon and initially featured on their 1966 album "Parsley, Sage, Rosemary and Thyme." The song references the 59th Street Bridge, officially known as the Queensboro Bridge, which spans the East River in New York City, connecting Queens to Manhattan. Simon & Garfunkel, being natives of New York, capture the essence of the bustling city and its fast-paced lifestyle. In this song, they advocate for slowing down and appreciating life's simple pleasures, such as cobblestones and flowers. 

During a performance at Tufts University in 1966, Paul Simon shared insights into the inspiration behind "The 59th Street Bridge Song (Feelin' Groovy)." He recounted his experiences from the previous year, highlighting his return from England to the United States in December 1965. At that time, "The Sound of Silence" had soared in popularity, thrusting him into a newfound level of fame and recognition. Simon admitted to struggling with this transition, feeling overwhelmed by his sudden semi-famous status. Initially, he found himself writing melancholic and introspective songs, reflecting his state of mind.

By June of the following year, Simon began to emerge from this gloomy phase and found himself in better spirits. One memorable morning, as he crossed the 59th Street Bridge in New York City around 6 o'clock, he was struck by the beauty of the day and the sense of optimism it evoked. In that moment of clarity and contentment, he felt inspired to capture the essence of the uplifting experience in a song. Thus, "The 59th Street Bridge Song (Feelin' Groovy)" was born, thanks to the joy and serenity of that particular morning stroll.

"The 59th Street Bridge Song (Feelin' Groovy)" is notable for being one of the first instances of the word "groovy" appearing in a popular song. This usage of the term inspired songwriters Carole Bayer Sager and Toni Wine, who later penned the hit song "A Groovy Kind of Love”. 

Despite its enduring popularity and status as one of Simon & Garfunkel's most recognizable songs, "The 59th Street Bridge Song (Feelin' Groovy)" never achieved significant chart success for the duo. In 1967, Harpers Bizarre released a more pop-oriented version of the song with higher vocals. This rendition managed to chart, reaching #13 in the US and #34 in the UK.

 

SIMON & GARFUNKEL - A HAZY SHADE OF WINTER / FOR EMILY, WHENEVER I MAY FIND HER

A HAZY SHADE OF WINTER

Released: October 22, 1966

Charted:  US: #13   UK: #30 

"A Hazy Shade of Winter" is a song originally released as a stand-alone single by Simon & Garfunkel on October 1966, before being included on their album Bookends (1968). In 1987, The Bangles recorded a cover version for the soundtrack of the film Less Than Zero, which reached number 2 on the Billboard Hot 100.

In "A Hazy Shade of Winter," the singer reflects on the elusive pursuit of perfection and the passage of time. Paul Simon, the songwriter, employs seasons as a metaphor for the cycle of life, conveying a sense of urgency and nostalgia as the protagonist grapples with unfulfilled dreams and the fleeting nature of time.

Billboard, Cash Box, and Record World all praised "A Hazy Shade of Winter," with Billboard describing it as a "winning number" and Cash Box predicting it to be a "strong session bound for biggiesburg." Record World noted that the song "puts poetry in rock motion." Decades later, Allmusic critic Richie Unterberger hailed it as "one of Simon and Garfunkel's best songs, and certainly one of the toughest and more rock-oriented."

Susanna Hoffs shared her experience of meeting Paul Simon after a concert, recalling how they went backstage for a meet-and-greet. Despite their love for Simon & Garfunkel's music, she admitted feeling a bit uncomfortable discussing their cover of "Hazy Shade of Winter" with him. While she sensed he was pleased with their version's success, she didn't want to appear arrogant, especially since their rendition had outperformed the original on the charts.

FOR EMILY, WHENEVER I MAY FIND HER

Released: October 22, 1966. Reissued: August 10, 1972

Charted:  US: #53 

"For Emily, Whenever I May Find Her" is a song written by Paul Simon and featured on Simon & Garfunkel's album "Parsley, Sage, Rosemary and Thyme" (1966). This tender ballad, performed solely by Art Garfunkel, showcases his emotive vocals accompanied by a resonant 12-string acoustic guitar, enveloped in heavy reverb. The lyrics explore the theme of seeking a lover, although Simon has suggested that the song's essence revolves more around a "belief" rather than a specific person. That song was written in a single night, unlike some of his other compositions that took months to complete.

"First issued as a single as the B-side of "A Hazy Shade of Winter" (1966), "For Emily, Whenever I May Find Her" gained further attention when it was reissued in live form in 1972 to promote the compilation album Simon and Garfunkel's Greatest Hits. This reissue reached number 53 on the Billboard Hot 100 in July 1972. Subsequently, the song was paired with "America" as the A-side and re-entered the charts in November 1972."

"For Emily, Whenever I May Find Her" It's a heartfelt and romantic ballad where the narrator reflects on the idea of meeting his love, Emily, someday. Despite its simplicity, the song carries a profound sentiment. Art Garfunkel introduced it at the Simon & Garfunkel Live At Granada special, mentioning Emily as a fictitious character. However, Paul Simon expressed his reservations about the song's romantic nature in a 1990 interview with SongTalk magazine.

 

SIMON & GARFUNKEL - SO LONG, FRANK LLOYD WRIGHT

Released: January 26, 1970

"So Long, Frank Lloyd Wright" is a track written by Paul Simon, featured on Simon & Garfunkel's 1970 album "Bridge over Troubled Water." Despite its title, the song isn't about the architect Frank Lloyd Wright, but rather serves as a nostalgic ode to Art Garfunkel, who had a passion for architecture and requested Simon to write a song about Wright. Simon, knowing little about the architect, used his name as a placeholder and instead crafted a reflective piece about his musical partner.

"So Long, Frank Lloyd Wright" can be interpreted as a farewell from Paul Simon to Art Garfunkel, especially considering that “Bridge Over Troubled Water” marked the end of their collaboration as a duo. The repetition of "so long" throughout the song can be seen as a symbolic goodbye. In an interview with Mojo magazine in July 2011, Paul Simon revealed that the song's lyrics resonated with Artie's background in architecture, but it also reflected his personal disappointment when Art Garfunkel had to leave to film Catch 22 in Mexico. This separation was a significant factor in the breakup of Simon & Garfunkel, although Simon suggests that the duo may have parted ways eventually due to the inherent challenges of maintaining such a partnership, particularly when one person is responsible for most of the songwriting.

Despite not initially realizing that the song was intended to refer to their partnership, Art Garfunkel eventually came to terms with the track's subtext. In an interview, he expressed surprise that Paul Simon never shared this secret with him, finding it secretive and unpleasant. However, Garfunkel has since embraced the song, acknowledging its underlying meaning while appreciating its enjoyable qualities. In the liner notes of his 2012 compilation album, The Singer, where "So Long, Frank Lloyd Wright" was included, Garfunkel reflected on his relationship with Simon, expressing gratitude for the beautiful gift of music that Simon had given him.

The lyrics allude to the architect Frank Lloyd Wright, who passed away in 1959. Art Garfunkel's architectural studies likely inspired the reference. While Garfunkel leads the song's fadeout with the words "so long," producer Roy Halee is heard interjecting with "So long already Artie!" Adding to the nostalgic tone, the lyrics mention the author's ongoing learning process and reminisce about harmonizing until dawn with an unspecified "we." The song concludes with the sentiment that when the author runs dry, they'll pause to reflect on the memories.

"So Long, Frank Lloyd Wright" features a Brazilian influence in its chord changes, although Paul Simon is uncertain about their origin. The strings in the song were arranged by Jimme Haskell, who also worked on "Keep the Customer Satisfied”. The instrumentation includes congas, strings, an uncredited flute, bass, and a classical guitar played in a bossa nova style with seventh chords.

Unlike many of their previous songs, "So Long, Frank Lloyd Wright" is sung solo by Art Garfunkel, with Paul Simon joining in briefly during the bridge section. This departure from their usual harmonizing style is characteristic of their “Bridge Over Troubled Water” album.

 

SIMON & GARFUNKEL - CECILIA / THE ONLY LIVING BOY IN NEW YORK

Released: April 20, 1970

Charted:  US: #4 

"Cecilia" released in April 1970, emerged as the third single from the duo’s acclaimed album "Bridge over Troubled Water." Paul Simon crafted the song after a late-night gathering where the duo and friends improvised percussion by banging on a piano bench. Capturing the spontaneous rhythm with a tape recorder, they enhanced the sound with reverb. Simon then composed the guitar line and penned lyrics reflecting on the theme of an unreliable lover.

"Cecilia" portrays the story of a man whose girlfriend leaves him, as depicted in the lyrics "I got up to wash my face, when I come back to bed someone's taken my place." The song later suggests a reconciliation with lines like "Jubilation, she loves me again." Paul Simon clarified that the lyrics should not be overanalyzed, emphasizing the spontaneous nature of the song's creation. He explained that the song stemmed from a rhythmic recording session and the lyrics were improvised to fit the mood, describing it as a "little piece of magical fluff" that just worked.

The reference to Cecilia as the patron saint of musicians adds an interpretation to the song. It can be seen as the singer seeking musical inspiration and guidance, possibly in the context of songwriting. While Paul Simon couldn't recall the exact inspiration behind the song, he acknowledged Cecilia's association with music, suggesting a subconscious influence in the song's creation.

The creation of the rhythm for this track, as described in the liner notes of Paul Simon's Anthology album, is quite unconventional. Paul and Art used a combination of slapping their thighs, Eddie Simon thumping a piano bench, and a friend named Stewie Scharff strumming a guitar with slackened strings. This impromptu session took place at a house on Blue Jay Way during the summer of 1969, not long after the tragic Charles Manson murders nearby. They captured the rhythm using a Sony reel-to-reel tape recorder, with a particularly impressive 1:15 section that they later looped in the studio, a challenging task in 1969 requiring manual tape cutting and looping. With added reverb from producer Roy Halee, this home recording provided the basic backing track for the song.

Clive Davis, the president of Columbia Records, made the strategic decision to release "Bridge Over Troubled Water" as the first single from the album, despite the expectation for catchy, upbeat songs to typically lead albums. This unconventional move proved to be a stroke of genius, as "Bridge Over Troubled Water" soared to the top of the charts, spending six weeks at #1 and propelling the album to similar success. Consequently, "Cecilia" was subsequently issued as the second single from the album.

Simon & Garfunkel's original 1970 single of "Cecilia" failed to chart in Britain. In 1996, Madness lead singer Suggs collaborated with vocal duo Louchie Lou and Michie One on a cover of the song, which managed to reach #4 on the UK charts, marking the only time "Cecilia" made it into the Top 75 in Britain.

"The Only Living Boy in New York" is the eighth track from their iconic album "Bridge over Troubled Water." Initially released as the B-side to the single "Cecilia," the song stands out for its heartfelt lyrics and evocative melody.

This track serves as a poignant reflection of Paul Simon's feelings of loneliness and separation from his partner, Art Garfunkel, during the latter's time in Mexico filming "Catch-22." Simon wrote the song while Garfunkel was away, expressing his frustration and sense of isolation as he worked on the “Bridge Over Troubled Water” album in New York. 

The interpretation of "Tom" representing Art Garfunkel in the lyrics adds depth to the song's meaning, symbolizing their journey from their early days as the duo Tom and Jerry to their present state of seeking personal and artistic freedom. Simon's encouragement for "Tom" to let his honesty shine reflects their close bond and shared musical journey. The use of background vocals, with Garfunkel and Simon recorded together in an echo chamber, further enhances the emotional resonance of the song.

The period leading up to and following the release of "Bridge over Troubled Water" marked a significant transition for Simon & Garfunkel. As their partnership faced strains and ultimately dissolved, Paul Simon ventured into his solo career while Art Garfunkel pursued acting opportunities.