Bridge Over Troubled Water

The tracks on this album are as varied as they are original, probably the main reason for the album's hugely broad and enduring appeal. Garfunkel's musical contribution (by this stage) was largely as backing vocalist to Simon's all-encompassing talent, but ironically it is Garfunkel who stole the show with what must rank as his greatest achievement, being the tour-de-force vocal on the opening title track. Aside from that, and 'So Long, Frank Lloyd Wright', you don't hear much from him again. Even 'Why Don't You Write Me' has Simon doing his own backing vocals...

But Simon's contribution to this album is not just in the writing, but in the performance as well. The timeless classic 'The Boxer' (a song that has kept millions of buskers in business) ranks as one of his greatest tracks, and rivals (or surpasses in my opinion) anything that Bob Dylan ever penned. With a rivetting narrative and thrilling climax (akin to the likes of The Beatles 'Hey Jude'), this song more than any other stands out as the true lead track of the album. 'The Only Living Boy In New York' sees what Simon and Garfunkel (used to) do best... vocal harmonies. The sense of loneliness described in the lyric is emphasised brilliantly through the airy, choral sound of the harmonies in this song.

These songs represent the personal and emotional side of this album, but there is plenty to counter-balance. 'Cecilia', 'Keep The Customer Satisfied', 'Baby Driver' and a raucous live rendition of The Everly Brothers 'Bye Bye Love' all serve to lighten the load considerably. As with every classic album, there are one or two oddities as well. 'El Condor Pasa' sticks out like a sore thumb at first, but gradually becomes as much part of ones enjoyment of the album as the rest.

The album ends with the short and sweet track, 'Song For The Asking', which with the benefit of 20:20 hindsight, sounds like a goodbye, and certainly marked the end of an era, and for Paul Simon atleast, the start of a new one.

This album is such an out and out classic, it should be available in public libraries. That said, it is not altogether representative of the rest of S&G's work, as it is a much more polished, and somewhat less daring and innovative album than say 'Bookends' was, so I would recommend buying this album after some of their earlier stuff, or like I did, buy the whole lot at the same time and go through your 'Simon and Garfunkel' phase!

The album from 1970 is so choc-a-bloc full of classics that it is hard to know where to begin. Well, with the title track of course. A gorgeous piano-based ballad with a tune to match and a truly uplifting lyric. Paul Simon has said he was forced into writing a third verse but it doesn’t show, in fact the build up towards the end of the song with rousing harmonies and then Garfunkel’s passionate closing vocal is just sublime. How many singers can reach those notes? No wonder you can count the cover versions of this classic on one hand. El Condor Pasa again carries an infectious and beautiful tune and uses the South American pipes nicely, something Simon would expolore more on his first solo album two years later.

’Cecilia’ is a joyful romp with a levity which belies the sad lyric about infedility and loss. The next track ’Keep The Customer Satisfied’ is a minor masterpiece, with an amusing lyric and a fun tune. On any other album of theirs it would be a stand out. Here there so many classics (see how they shine!) that it’s a lot harder. The closing number on Side 1 (vinyl) is a remarkable tribute to Frank Lloyd Wright. It is beautiful. Garfunkel sings the lead perfectly and is perfectly complimented by Simon for the ’architects may come and architects may go’ section.

Then we come to The Boxer which is a bona fide classic in anyone’s book. OK so maybe the lai le lai section goes on a tad too long? Controversial I know. ’Baby Driver’ and the cover of the Everlys’ ’Bye Bye Love’ are the only tracks which seem somewhat out of place on this album. Mainly because they both appear a bit trivial, especially when surrounded by such heavyweights. ’The Only Living Boy In New York’ is however is a lost gem of an album track with a melody up there with Simon’s very best and the lyric which is the closest Simon ever got to commenting on the split with Garfunkel. I didn’t even relaise this until a couple of years ago, mainly because he refers to his partner as Tom. But of course Tom And Jerry was a previous incarnation of Simon And Garfunkel. Before they realised that their own names were better than some stupid cartoon.

And of course as with most great albums there is a great closing track. Here it is ’Song For The Asking’. Another top class ballad from Paul Simon. One might be tempted to think that he had put all his eggs in one basket and left his solo career lacking of a few more highlights, such is the majesty and incredible songwriting form displayed by Paul Simon on this wonderful album. Fortunately that was not the case and the first three solo albums were all five star classics. Exploring different moods, styles and more sparesely produced for the most part. But no less brilliant for that. But back to this album. Forget the compilations. This album practically reads like one and has the continuity of style and purpose that few Greatest Hits albums can ever hope to have. Just as The Beatles had done the year before with Abbey Road (1969) this partnership signed off whilst at the very top of their game. And if you want humour check out Garfunkels’s enormous moustache on the front cover.