Tag Archives: bridge over troubled water

#990: Simon & Garfunkel – The Only Living Boy in New York

Upon going through Simon & Garfunkel’s Bridge over Troubled Water album in about 2012/13, there were two clear highlights, at least to me, that stuck out on that first listen. Those were ‘Keep the Customer Satisfied’ and today’s song ‘The Only Living Boy in New York’. Sure, the title track is right there. But it’s never been one that I’ve wilfully gone out of my way to listen to. Probably ever. The rest of the album tracks all have their moments. But it’s always been those two for me. And since I’ve written the post about ‘Customer’, well, I better start going on about this one.

‘…Living Boy…’ was written by Paul Simon during a time when singing partner Art Garfunkel took an acting role and had to travel to Mexico for a lengthy period in order to shoot his scenes. Simon, overcome with these feelings of loneliness, transferred all of this emotion the best way he could into song. He wishes his partner the best of luck and wishes him well; he addresses him as ‘Tom’, which is what Garfunkel would go under when the pair performed as ‘Tom and Jerry’ in their early years. He gets some delight from the mundane things like checking out the weather report for the latest news. Still, the separation doesn’t stop Simon from feeling like the only person existing in the big city of New York. There’s a subtle hint of conflict too, as it seems Simon knows that this acting bit is something that Art is really into. He pleas to him that if he wants to follow through with it, then he should just tell him instead of making excuses. It’s a bit of a turbulent affair, and it would all end when the act broke up and went their separate ways some time after the album’s release.

However the lyrics are interpreted, it doesn’t get in the way of how comforting a listen this track always is. Simon takes the lead vocal here, double-tracked and maybe singing really close to the microphone. I don’t know what it is, maybe he’s using a certain type of mic, maybe it’s an effect, but whatever is used gives his vocal a real close and intimate feel. Like he’s singing you to sleep or something. It’s a gentle delivery with a fine melody with a backdrop of acoustic guitars and a skipping bassline. The whole track delivers for the most part, but then comes that glorious moment when those glorious harmonies from the two singers enter the frame, brought in effect by performing those vocals in an echo chamber and multi-tracking it around eight times. They’re heavenly moments, like lights at the end of the tunnel. It’s at these parts where I guess Garfunkel appears in front of Simon after everything’s happened, telling him to not worry because “Here I am.” Maybe that’s looking too deep. All in all, like a few other songs on Trouble Water, ‘…Living Boy…’ is another personal look into what made those two guys tick.

#689: Simon & Garfunkel – Keep the Customer Satisfied

Heard Bridge over Troubled Water for the first time in 2013, I think. Not the song, but the full album. This was during a time when I was feeling down and should have been focusing on preparing for my A-Levels. But whilst studying for exams in subjects that I didn’t necessarily care for, I took the time to listen to a load of albums that are considered to be classics.

‘Keep the Customer Satisfied’ is the fourth track on Troubled Water, and is a sonically joyous song about being exhausted by the seemingly endless touring that Paul Simon experienced. The first verse is pretty self-explanatory. Simon feels good now that he’s home, and the chorus just explains that he’s just doing his job but still gets the occasional verbal abuse from people who don’t care for his music. He plays with the narrative in the second verse by singing about an altercation with a deputy sheriff who’s giving him hassle. This may or may not have happened to him in reality, though I think it’s just a scene that visualises some of the stress he felt at the time.

He and Art Garfunkel both sing the lead vocal in unison with their iconic harmonies included. The track is carried by a bass that flows all over the place, climbing and descending in scales and generally setting a driving tempo and rhythm. Things are taken to another level when that brass comes in. Initially arriving in a few short blasts, it’s in the little “whoa-oa-oa” section where those biting horns set up this astonishing wall of sound.

This has been a favourite of mine from the album for a long time now. Never hear people comment/discuss/talk about it that much. Though on an album that also has ‘The Boxer’, ‘The Only Living Boy in New York’ and its title track…. you can’t blame anyone.