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Simon & Garfunkel - I Am A Rock

Simon & Garfunkel - I Am A Rock Lyrics and Youtube Music Videos

Album: Sounds Of Silence
Released: 1966

I Am A Rock Lyrics

A winter's day
In a deep and dark
December,
I am alone,
Gazing from my window to the streets below
On a freshly fallen silent shroud of snow.
I Am A Rock,
I am an island.

I've built walls,
A fortress deep and mighty,
That none may penetrate.
I have no need of friendship, friendship causes pain.
It's laughter and it's loving I disdain.
I am a rock,
I am an island.

Don't talk of love,
But I've heard the words before,
It's sleeping in my memory.
I won't disturb the slumber of feelings that have died.
If I never loved I never would have cried.
I am a rock,
I am an island.

I have my books
And my poetry to protect me,
I am shielded in my armor,
Hiding in my room, safe within my womb.
I touch no one and no one touches me.
I am a rock,
I am an island.

And a rock feels no pain,
And an island never cries.

Writer/s: SIMON, PAUL
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

I Am A Rock

This song is about a recluse locking himself away from the world. When he says, "I am a rock, I am an island," he means away from everything and everyone. It's far from autobiographical, as Paul Simon was doing his best to write a hit song with this effort, and didn't write it for himself. The use of the word "Rock" is interesting in that Simon considered himself a folk singer, and didn't associate himself with Rock music. In the vast majority of songs with the word "rock" in the lyrics, it is used to imply music or lifestyle, but for Simon, it was just a piece of stone. He did the same thing in 1973 for his song "Loves Me Like A Rock."

This song has one of more perplexing histories of recordings and releases. Written by Paul Simon before he hit it big as a musician, the song was offered to the duo Chad and Jeremy, who turned it down. Simon then recorded it himself for his UK solo album (released in America 1981) The Paul Simon Songbook, which was released in the UK in August, 1965. The single was issued in September but didn't chart despite a performance by Simon on the show Ready, Steady. Go!

Simon was going solo at this time because the Simon & Garfunkel 1964 debut album Wednesday Morning, 3 A.M. had stiffed, and the duo split up. Late in 1965, the producer Tom Wilson overdubbed and remixed a track from that album, "The Sound Of Silence," and it became a huge hit. Paul Simon and Art Garfunkel were summoned back to the studio, where they recorded the singles "I Am A Rock" and "Homeward Bound," which were included on their Sound of Silence album. These songs were recorded with producer Bob Johnston at one of the Columbia Records studios in New York City, and now released with a more contemporary sound, "I Am A Rock" became a hit for the duo.

In the UK, this was released three times in a one year span: first as the original Paul Simon single in 1965, then in the summer of 1966 it was released as an EP and again as a single. The song was very popular there in 1966, but the chart position suffered because the sales of the single were diluted by multiple releases.

The guitarist on the Simon & Garfunkel hit version of this song was Ralph Casale , who was a top session player in the '60s. He remembers organist Al Kooper and drummer Bobby Gregg - both associated with Bob Dylan - also performing on the song. Describing the sessions, Ralph told us: "The band was booked from 7:00 p.m. into the wee hours of the morning. I was given a lead sheet for 'I Am A Rock' with just chords and asked to play the electric twelve string guitar. The producer wanted a sound similar to the Byrds. It was important that session players became familiar with the current hits because many times producers describe the style they want by referring to well known groups. Paul Simon sang the figure he wanted me to play between verses and asked me to play it in thirds. The rest was left to me. 'Homeward Bound' was on that same date."

Simon & Garfunkel - Cecilia

Simon & Garfunkel - Cecilia Lyrics and Youtube Music Videos

Album: Bridge Over Troubled Water
Released: 1970

Cecilia Lyrics

Cecilia, you're breaking my heart
You're shaking my confidence daily
Oh, Cecilia, I'm down on my knees
I'm begging you please to come home

Cecilia, you're breaking my heart
You're shaking my confidence daily
Oh, Cecilia, I'm down on my knees
I'm begging you please to come home
Come on home

Making love in the afternoon with Cecilia
Up in my bedroom (making love)
I got up to wash my face
When I come back to bed someone's taken my place

Cecilia, you're breaking my heart
You're shaking my confidence daily
Oh, Cecilia, I'm down on my knees
I'm begging you please to come home
Come on home

Ba-ba-ba-ba-ba-ba-ba, ba-ba-ba-ba-ba-ba

Jubilation
She loves me again
I fall on the floor and I'm laughing

Jubilation
She loves me again
I fall on the floor and I'm laughing

Whoah-oh-oh, oh-oh-oh-oh-oh, oh-oh-oh-oh-oh-oh-oh
Whoah-oh-oh, oh-oh-oh-oh-oh, oh-oh-oh-oh-oh-oh-oh
Whoah-oh-oh, oh-oh-oh-oh-oh, oh-oh-oh-oh-oh-oh-oh
Whoah-oh-oh, oh-oh-oh-oh-oh, oh-oh-oh-oh-oh-oh-oh

Writer/s: SIMON, PAUL
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Cecilia

This song is about a guy who had a girlfriend, but then she broke up with him. Like it says in one of the verses, "I got up to wash my face, when I come back to bed someone's taken my place." But later on they get back together - "Jubilation, she loves me again." No too much should be read into the lyrics of this song. As Paul Simon explained in an interview with Rolling Stone: "Every day I'd come back from the studio, working on whatever we were working on, and I'd play this pounding thing. So then I said, 'Let's make a record out of that.' So we copied it over and extended it double the amount, so now we have three minutes of track, and the track is great. So now I pick up the guitar and I start to go, 'Well, this will be like the guitar part' - dung chicka dung chicka dung, and lyrics were virtually the first lines I said: 'You're breakin' my heart, I'm down on my knees.' They're not lines at all, but it was right for that song, and I like that. It was like a little piece of magical fluff, but it works." (thanks, Lisa - Palatine, IL)

In the Catholic church, Cecilia is the patron saint of musicians. In this context, the song can be interpreted as the singer asking for musical guidance, possibly to help writing a song. Paul Simon says he can't remember the specific inspiration when he was writing the song, but he knew Cecilia is the goddess of music. (thanks, Peter - L.A., CA)

According to the liner notes to Paul Simon's Anthology album, the strange sounding rhythm to this particular track was Paul and Art slapping their thighs, while Paul's brother Eddie thumped a piano bench and a friend named Stewie Scharff strummed a guitar with its strings slackened to the point of atonality. This all happened at a house Paul and Art were living in on Blue Jay Way in the summer of 1969, not long after the Charles Manson murders took place at the nearby home of the actress Sharon Tate. After they started the pounding and came up with the rhythm, they got out their Sony reel-to-reel tape recorder and made the recording. There was a 1:15 section that Simon thought was great, so they looped it in the studio, which wasn't easy in 1969 - you had to actually cut out the tape and put it on the recorder in a loop. Their producer Roy Halee added some reverb, and they had their basic backing track from this home recording. (thanks, Nick - Auckland, New Zealand)

Worked into the mix is the sound of drumsticks falling on the parquet floor of the Columbia Records studio in Los Angeles. Simon also played a bit of xylophone that was heavily processed and added to the track. They had a lot of fun recording it and were enjoying various experiments in sound.

In 1996 Suggs, the lead singer for Madness, teamed up with vocal duo Louchie Lou and Michie One to record a cover that peaked at #4 in the UK. This is the only time the song reached the Top 75 in Britain as surprisingly Simon & Garfunkel's original 1970 single failed to chart there.

The Swedish Pop group Ace Of Base recorded a song called "Cecilia" on their 1998 album Flowers that was based on the character in this song.

Simon & Garfunkel - The Only Living Boy In New York

Simon & Garfunkel - The Only Living Boy In New York Youtube Music Videos and Lyrics

Album: Bridge Over Troubled Water
Released: 1970

The Only Living Boy In New York Lyrics

Tom, get your plane right on time
I know your part'll go fine
Fly down to Mexico
Do-n-do-d-do-n-do and here I am,
The Only Living Boy In New York

I get the news I need on the weather report
I can gather all the news I need on the weather report
Hey, I've got nothing to do today but smile
Do-n-doh-d-doh-n-doh and here I am
The only living boy in New York

Half of the time we're gone
But we don't know where,
And we don't know where

Half of the time we're gone
But we don't know where,
And we don't know where

Tom, get your plane right on time
I know you've been eager to fly now
Hey let your honesty shine, shine, shine now
Do-n-do-d-do-n-do
Like it shines on me
The only living boy in New York,
The only living boy in New York

Writer/s: SIMON, PAUL
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

The Only Living Boy In New York

Paul Simon wrote this song about his partner Art Garfunkel going to Mexico to act in a movie called Catch-22. Art was missing a lot of recording dates while trying to kick off his acting career, and Paul was hinting at a breakup. The duo did indeed split up after the album was released.

Regarding the lyrics, "Tom get your plane right on time. I know that your eager to fly now," before the folk duo became famous, they were known as Tom and Jerry. Tom was Art's stage name, so this line symbolizes their increasing need for musical and personal freedom.

In a 1990 interview with SongTalk magazine, Simon said: "I liked the 'aaahhhs,' the voices singing 'aaah.' That was the best I think that we ever did it. It was quite a lot of voices we put on, maybe twelve or fifteen voices. We sang it in the echo-chamber."

Simon & Garfunkel split up after this album was released. Paul recorded as a solo artist, and Art pursued an acting career.

This was used in the 2004 movie Garden State. Zach Braff, who wrote and directed the movie, thought the song worked perfectly to convey the loneliness of a character. Simon & Garfunkel rarely license the song, but they let Braff use it for a greatly reduced fee after seeing the scene. (thanks, Denise - Santa Clarita, CA)

The session musician Joe Osborn played an 8-string bass on this track, which the album's producer Roy Halee said was the featured musical element of the song. Years later, when Osborn tried to relearn his part to demonstrate it, he realized it was very difficult to reproduce live, as Halee spliced together various takes for the recording.

Simon & Garfunkel - El Condor Pasa (If I Could)

Simon & Garfunkel - El Condor Pasa (If I Could) Youtube Music Videos and Lyrics

Album: Bridge Over Troubled Water
Released: 1970

El Condor Pasa (If I Could) Lyrics

I'd rather be a sparrow than a snail
Yes I would, if I could, I surely would
I'd rather be a hammer than a nail
Yes I would, if I only could, I surely would

Away, I'd rather sail away
Like a swan that's here and gone
A man gets tied up to the ground
He gives the world its saddest sound
Its saddest sound

I'd rather be a forest than a street
Yes I would, if I could, I surely would
I'd rather feel the earth beneath my feet
Yes I would, if I only could, I surely would

Writer/s: JORGE MILCHBERG, DANIEL ALOMIA ROBLES, PAUL SIMON, DANIEL ROBLES
Publisher: CARLIN AMERICA INC
Lyrics licensed and provided by LyricFind

El Condor Pasa (If I Could)

This song started out as an Andean folk melody that Paul Simon came across in 1969 when he played a week-long engagement at a theater in Paris along with the South American group Los Incas, who played an instrumental version of the song called "Paso Del Condor." Said Simon: "I used to hang around every night to hear them play that. I loved it and I would play it all the time, and then I thought, Let's put words to it."

The Peruvian songwriter Daniel Robles recorded this song in 1913, and copyrighted it in the United States in 1933 during his travels in America. When Simon recorded it with his added lyrics, he thought it was a traditional song, as that's what Los Incas told him. When Robles' son filed a lawsuit, Simon had to give Robles a composer credit on the song, with his estate getting those royalties.

In discussing the song, Simon always talks about it as being based on a traditional Peruvian song, and we've never heard him mention Robles. This wasn't the first time Simon got tangled over songwriting credits on traditional melodies: Simon & Garfunkel's Scarborough Fair / Canticle was based on a folk song, but his arrangement came from a singer named Martin Carthy. Simon was always clear on his influences, but legal misunderstandings were a problem in these cases.

Los Incas, who were the group that introduced Simon to the song, provided the instrumentation when they recorded it in Paris with Simon. Their leader, Jorge Milchberg, played a charango, which is an Andean string instrument made from the shell of an armadillo. Simon played acoustic guitar, and other members of Los Incas played flutes and percussion. When Simon brought the track to America, he added his lyrics. This was one of the easier songs to record for the Bridge Over Troubled Water album, since the backing track was already mixed together - it was just a matter of adding the vocals.

The title translates to English as "The Condor Passes." The lyrics Robles wrote to the song in 1913 are about returning home to his native Peru.

Los Incas leader Jorge Milchberg got a composer credit on this song along with Simon and Robles. Milchberg later became the head of the group Urubamba and remained friends with Simon, who toured with them and produced their first American album. (thanks, Kristy - La Porte City, IA)

The Wainwright Sisters covered this for their 2015 Songs in the Dark album. Lucy Wainwright Roche explained to The Sun: "I chose 'El Condor Pasa' because it was one of the first songs I ever learned to play on it guitar and it has a childlike quality to it, but it also has a darkness and sadness that fit in well with the album."

Simon & Garfunkel - The Sound of Silence

Simon & Garfunkel - The Sound of Silence Lyrics and Youtube Music Videos

Album: Wednesday Morning, 3 AM
Released: 1966

The Sound of Silence Lyrics

Hello darkness, my old friend
I've come to talk with you again
Because a vision softly creeping
Left its seeds while I was sleeping
And the vision that was planted in my brain
Still remains
Within The Sound of Silence

In restless dreams I walked alone
Narrow streets of cobblestone
'Neath the halo of a street lamp
I turned my collar to the cold and damp
When my eyes were stabbed by the flash of a neon light
That split the night
And touched the sound of silence

And in the naked light I saw
Ten thousand people, maybe more
People talking without speaking
People hearing without listening
People writing songs that voices never share
And no one dared
Disturb the sound of silence

"Fools" said I
"You do not know, silence like a cancer grows
Hear my words that I might teach you
Take my arms that I might reach you"
But my words like silent raindrops fell
And echoed
In the wells of silence

And the people bowed and prayed
To the neon god they made
And the sign flashed out its warning
In the words that it was forming
And the signs said
"The words of the prophets are written on the subway walls
And tenement halls
And whisper'd in the sounds of silence

Writer/s: SIMON, PAUL
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

The Sound of Silence Song Chart

The first recording was an acoustic version on Simon & Garfunkel's first album, Wednesday Morning, 3 AM, which was billed as "exciting new sounds in the folk tradition," and sold about 2000 copies. When the album tanked, Simon and Garfunkel split up. What they didn't know was that their record company had a plan. Trying to take advantage of the folk-rock movement, Columbia Records had producer Tom Wilson add electric instruments to the acoustic track. Simon and Garfunkel had no idea their acoustic song had been overdubbed with electric instruments, but it became a huge hit and got them back together. If Wilson had not reworked the song without their knowledge, Simon and Garfunkel probably would have gone their separate ways. When the song hit #1 in the States, Simon was in England and Garfunkel was at college.

Paul Simon was looking for a publishing deal when he presented this song to Tom Wilson at Columbia Records. Wilson thought it could work for a group called The Pilgrims, but Simon wanted to show him how it could work with two singers, so he and and Art Garfunkel sang it to the guys at Columbia Records, who were impressed with the duo and decided to sign them.

Paul Simon took six months to write the lyrics, which are about man's lack of communication with his fellow man. He averaged one line a day.

In an interview with Terry Gross of National Public Radio (NPR), Paul Simon explained how he wrote the song while working at his first job in music: "It was just when I was coming out of college. My job was to take the songs that this huge publishing company owned and go around to record companies and see if any of their artists wanted to record the songs. I worked for them for about six months and never got a song placed, but I did give them a couple of my songs because I felt so guilty about taking their money. Then I got into an argument with them and said, 'Look, I quit, and I'm not giving you my new song.' And the song that I had just written was 'The Sound of Silence.' I thought, 'I'll just publish it myself,' and from that point on I owned my own songs, so that was a lucky argument.

I think about songs that it's not just what the words say but what the melody says and what the sound says. My thinking is that if you don't have the right melody, it really doesn't matter what you have to say, people don't hear it. They only are available to hear when the sound entrances and makes people open to the thought. Really the key to 'The Sound of Silence' is the simplicity of the melody and the words, which are youthful alienation. It's a young lyric, but not bad for a 21-year-old. It's not a sophisticated thought, but a thought that I gathered from some college reading material or something. It wasn't something that I was experiencing at some deep, profound level - nobody's listening to me, nobody's listening to anyone - it was a post-adolescent angst, but it had some level of truth to it and it resonated with millions of people. Largely because it had a simple and singable melody."

This was one of the songs Simon & Garfunkel performed in 1964 when they were starting out and playing the folk clubs in Greenwich Village. It was their first hit.

Paul Simon was often compared to Bob Dylan, who was also signed to Columbia Records, and while Simon has acknowledged Dylan's influence on "The Sound Of Silence," he was never trying to measure up to Dylan. Simon told Mojo in 2000: "I tried very hard not to be influenced by him, and that was hard. 'The Sound Of Silence', which I wrote when I was 21, I never would have wrote it were it not for Bob Dylan. Never, he was the first guy to come along in a serious way that wasn't a teen language song. I saw him as a major guy whose work I didn't want to imitate in the least."

There is a Dylan connection on this song: The electric version was produced by Tom Wilson and finished by Bob Johnston, and both men had worked with Dylan. Wilson was Dylan's producer for about two years starting in 1963, and helped Dylan make the transition from acoustic folk to electric rock. Wilson went on to work with The Velvet Underground and later became a record company executive. Johnston was Dylan's producer until 1970.

This was used in the movie The Graduate. The film's director Mick Nichols put it on as a work track and was going to replace it, but as the film came together it became clear that the song was perfect for the film. Nichols didn't just use this song, but felt Simon & Garfunkel had a sound that fit the tone of the movie very well. They commissioned them to write "Mrs. Robinson" specifically for the movie, and also added "Scarborough Fair" and "April Come She Will" to the film.

This has a lot of meaning in the movie The Graduate. The lyrics refer to silence as a cancer, and if people in the movie had just been honest and not afraid to talk, all the messy things would not have happened. Problems can be solved only by honesty. (thanks, Stefan - Winona, MS)

Simon & Garfunkel did not write this about the Vietnam War, but by the time it became popular, the war was on and many people felt it made a powerful statement as an anti-war song.

In the US, this hit #1 on New Year's Day, 1966.

The opening line, "Hello darkness, my old friend," came from Simon's time as a boy when he would sing in the bathroom with the lights out, enjoying the acoustics from the tiles that provided a doo-wop reverb sound.

On February 23, 2003, Simon and Garfunkel reunited for the first time in 10 years to accept a lifetime achievement award and perform this at the opening of The Grammys. At the time, the US was preparing to invade Iraq, and while this could be heard as a political statement, Simon said it wasn't. He explained that they wanted to play this because it was their first hit.

At the Grammy Awards in 1967, Simon & Garfunkel were introduced by Dustin Hoffman, who made a name for himself when he starred in The Graduate. There was no host at The Grammys that year, so Hoffman was the first person seen when the show opened.

Despite its great popularity, Blender magazine voted this the 42nd worst song ever, remarking sardonically that "If Frasier Crane were a song, he would sound like this." The magazine's editor, Craig Marks, defended Blender's decision to include this much-loved song on their list, stating: "It's the freshman-poetry meaningfulness that got our goat, with self-important lyrics like 'hear my words that I might teach you', it's almost a parody of pretentious '60s folk-rock." The brief article on the song corresponding with this called the "hear my words" line "the most self-important... in rock history," and elaborated on Mark's remarks with: "Simon and Garfunkel thunder away in voices that suggest they're scowling and wagging their fingers as they sing. The overall experience is like being lectured on the meaning of life by a jumped-up freshman."

The band Gregorian covered this on their album Masters of Chant - as Gregorian chant. Nevermore also covered it on the album Dead Heart In A Dead World, and the German band Atrocity covered it on their 2000 album Gemini. As for their version's quality: Many people feel the band name was appropriate. (thanks, Brett - Edmonton, Canada, for above 2)

This was used in the movie Old School in a scene where Will Ferrell falls into a pool. (thanks, Joel Riley - Berkley, MI)

The Bachelors, a three-piece vocal group from Ireland, recorded this in 1966 and hit #3 in the UK with their version. Simon & Garfunkel's version was not released as a single in England. (thanks, Phil - Bolton, England)

This song was parodied on The Simpsons in the fifth season episode "Lady Bouvier's Lover." The whole episode is very similar to The Graduate, and The Simpsons version plays over the end credits, after Grandpa and Mrs. Bouvier have left the church much as Benjamin and Elaine do in the movie. (thanks, Judah - San Francisco, CA)

Paul Simon didn't always enjoy performing his older songs, as he had a hard time making connections to songs he had written decades earlier. This was a source of contention for the duo, since Art Garfunkel felt that many of their popular songs were still relevant, and their audience wanted to hear them. He explained in a 1993 interview with Paul Zollo: "I want 'The Sound Of Silence' to get angry at the end as if it's timeless. The impoverished are screaming, 'F--k this unfair system,' just like they've always screamed it. It's a timeless thing. It lives, if you can make it live, onstage tonight like it did when it was written in '64."

There has been only one cover version of this song to make the US Hot 100: a 1971 release by Peaches & Herb that made #100. Some other notable covers are an extended Metal version by Nevermore on their 2000 album Dead Heart in a Dead World, and a 1996 rendition by the Icelandic singer Emiliana Torrini.

Simon & Garfunkel performed this at Neil Young's Bridge School Benefit in 1993 with Eddie Van Halen backing them on guitar.

The heavy metal band Disturbed surprised their fans by covering this for their 2015 Immortalized album. Guitarist Dan Donegan said they didn't want to cover up singer David Draiman's vocal with "loud, aggressive, and distorted guitars" on their version. He added: "We wanted to showcase his vulnerability and take a leftfield approach. The strings and violins really deepen it. It's something that might shock people because we went down a new path altogether. We did what felt right and saw the vision through."

Simon & Garfunkel - Old Friends

Simon & Garfunkel - Old Friends Lyrics and Youtube Music Videos

Album: Bookends
Released: 1968

Old Friends Lyrics

Old Friends, old friends,
Sat on their parkbench like bookends
A newspaper blown through the grass
Falls on the round toes
of the high shoes of the old friends

Old friends, winter companions, the old men
Lost in their overcoats, waiting for the sun
The sounds of the city sifting through trees
Settles like dust on the shoulders of the old friends

Can you imagine us years from today,
Sharing a parkbench quietly
How terribly strange to be seventy

Old friends, memory brushes the same years,
Silently sharing the same fears

Writer/s: SIMON, PAUL
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Old Friends Song Chart

Art Garfunkel sings here of two elderly men "sat on their parkbench like bookends." The pair reminisce on the years of their youth and the changes as they got older. Reflecting on the track in 2014, Garfunkel told The Mail on Sunday's Event magazine: "It's amazing that a 24-year-old Paul Simon could write with such wisdom about an older person's perspective: 'Preserve your memories… how terribly strange to be 70.' Now that I'm 73, I just think life is strange, period! A fabulous mystery."