![]() still, it's telling that Paul introduces it on the Lincoln Centre recording as "a song I almost finished" (and surely he was being self deprecating for a laugh, rather than referring specifically to the leftfield bridge section they hadn't included). I do like how Art's harmonies lend a bit of a sting in the tail to the S&G version even on the acoustic '67 live take. Then when Paul comes in sotto voce with "you don't begin to comprehend" - yeeesh, we are truly back in Jerry Landis territory. Interesting that the gender of the singer in Dana Valery's original recording is flipped, lending the "womanly wise" phrase is a different meaning. So - despite some lyrical misgivings, I paid for it a second time! and yes, my Canadian pressing has the infamous 2:74 time on its label). I did already have this on Old Friends, but then after hearing about the 45 mono mix of "Fakin' It", I kept my eyes open for the single and eventually found a clean copy in the used bins (from a store on Ossington Avenue that's not there any more. Many times when I am watering them or using them I sing the song in my head. The album title is brilliant.Īs far as the herbs, they all grow in my garden and I bring some in to grow on my windowsill except parsley. It would have been cooler if he made a better wardrobe choice. I like the cover but always wondered what is that shirt Paul is wearing. It would be many years until I would have heard about the Songbook album any many more before I would hear it. Otherwise I feel the album would not have felt as cohesive. I am glad that I didn't know the Paul Simon Songbook album and this was my introduction to the songs. It is well recorded and vocals are presented very well. Many songs are of the time, yet the album is timeless for me. I bought this album in the early eighties and played it a lot. Not suggesting it was a concept record, but it feels like there is a flow and sequence mattered. Although I am not a huge fan of Silent Night for repeated listening it adds well to the album conceptually. It seemed like Simon and Garfunkel despite pulling songs from the past were looking at the album as an art form and not just a collection of songs. Looking up albums of the time there are only 5 that I listen to regularly and this is one. Parsley, Sage, Rosemary & Thyme is a great record. Very similar! I always expect Paul to get to “ all the leaves are brown” just after that… And then I remember he has his own leaves turning to brown in his repertoire… Note how the descending melody motif on the title phrase "No you don't know where your interest lies", before the little pause is taken from the intro to California Dreamin’. I too see it as a blueprint for Hazy Shade of Winter (similar riff, probably the same band) and (to a lesser extent) Save the Life of My Child and (to an even lesser extent) its A-side Faking It (the best of the four, by far). I agree with ed that it’s supposed to mock the misogynistic character, that’s how I interpret the lyrics and the way they’re delivered. But if I stay on the studio take, the 12 strings riff is stingy, well recorded (“well recorded” is really a redundant compliment when it comes to depicting anything Simon & Garfunkel did) but the drums are all over the place (in a bad way) and the singing’s not too great in my opinion (by their standards), too affected, not spontaneous enough as was often the case with the more rocking tracks. I prefer the Live 67 take, by far, and I think this song benefits from not being too Art-heavy (and not too art-heavy). Wow, wow, hold your horses now, Paul! Two experimental tracks in a row? Various studio trickery, overdubs, fades in and fades out, weird jazzy interlude spliced in and more. I had forgotten about the interlude and listening today I actually thought my music player had skipped to another obscure S & G song. It sounds like a good starting point for a wholly different song. The added interlude is interesting (was "Good Vibrations" out yet?) but it doesn't really jell. ![]() To me, the worst released S & G song since "Somewhere They Can't Find Me" and "Groovey". Close enough that you wouldn't want ot put both songs on the same album. Musically, it is quite close to "Hazy Shade of Winter" but not half as good. Listening to the studio version, it just sounds like an experiment that doesn't come off. I always assumed it was in character, but I didn't see any humour.) Maybe in a live setting the playfulness comes across more. Reading about the audience laughter makes me wonder if I totally missed the humour in this song (I never thought it was autobiographical by the way. I was going to simply pan this song as "We've Got a Groovey Thing Goin'" part two but even nastier. Click to expand.This reminiscence from bumbletort gives me pause.
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