0:00:01 > 0:00:04One, three and five, but the last part of it...
0:00:04 > 0:00:07HE HUMS
0:00:07 > 0:00:09Oh. Just doesn't sound good.
0:00:11 > 0:00:14If you're in the harmony game, you learn to scorn harmonies like that.
0:00:17 > 0:00:19The harmony game.
0:00:20 > 0:00:23# Hello, darkness, my old friend
0:00:25 > 0:00:28# I've come to talk with you again... #
0:00:28 > 0:00:32Paul Simon and Art Garfunkel made their debut in the harmony game
0:00:32 > 0:00:34over 50 years ago.
0:00:34 > 0:00:37# Left its seeds while I was sleeping... #
0:00:37 > 0:00:41And it was this song, The Sound Of Silence,
0:00:41 > 0:00:45which catapulted them from obscurity to worldwide fame
0:00:45 > 0:00:47in the summer of 1965.
0:00:49 > 0:00:54# Within the sound of silence... #
0:00:54 > 0:01:00They grew up here, in Forest Hills, Queens, a suburb of New York City.
0:01:01 > 0:01:05They were neighbours and classmates at the local primary school.
0:01:05 > 0:01:08And they bonded here at Forest Hills high.
0:01:08 > 0:01:11Barely in their teens, they formed a band,
0:01:11 > 0:01:14and called themselves Tom and Jerry.
0:01:14 > 0:01:16Mindful, perhaps, that a pair of Jewish schlemiels
0:01:16 > 0:01:20called Simon and Garfunkel might not easily catch on.
0:01:20 > 0:01:24Their very first song was recorded in 1957.
0:01:24 > 0:01:29It was called Hey, Schoolgirl, and sold a modest 100,000 records.
0:01:29 > 0:01:33And you can hear echoes of their childhood heroes, The Everly Brothers.
0:01:33 > 0:01:37# Hey, schoolgirl in the second row
0:01:38 > 0:01:43# The teacher's looking over, so I gotta whisper way down low... #
0:01:43 > 0:01:46Their first album was released in October 1964.
0:01:46 > 0:01:51It was a synthesis of folk and rock, called Wednesday Morning, 3AM.
0:01:51 > 0:01:55And it disappeared without trace until one year later,
0:01:55 > 0:01:59one song, The Sound Of Silence, was resurrected and re-released
0:01:59 > 0:02:02with the inspired addition to the original recording
0:02:02 > 0:02:05of bass and drums and an electric guitar.
0:02:05 > 0:02:08# And the sign said the words of the prophets
0:02:08 > 0:02:11# Are written on the subway walls
0:02:11 > 0:02:15# And tenement halls... #
0:02:15 > 0:02:17And the rest, as they say, is history.
0:02:17 > 0:02:23# The sound of silence. #
0:02:25 > 0:02:28Tonight's film is an intimate, insider view
0:02:28 > 0:02:33of Simon and Garfunkel's final and most successful album.
0:02:33 > 0:02:36The miraculous Bridge Over Troubled Water.
0:02:36 > 0:02:39This is a portrait both professional and personal
0:02:39 > 0:02:42of two artists at the very peak of their powers,
0:02:42 > 0:02:44and at the moment of dissolution.
0:02:44 > 0:02:47The album, which was recorded in 1970,
0:02:47 > 0:02:52is a chronicle of the potency and fragility of their time together,
0:02:52 > 0:02:55and a response to a decade in American life
0:02:55 > 0:02:59of unprecedented turmoil and political unrest.
0:02:59 > 0:03:02The combination of the two is what makes Bridge Over Troubled Water
0:03:02 > 0:03:06so eerily powerful and effecting.
0:03:34 > 0:03:37- Did we go on stage before? - No, no, no.
0:03:37 > 0:03:41Why Don't You Write Me, Feelin' Groovy...
0:03:43 > 0:03:47'With The Graduate becoming a hit and Bookends coming out,'
0:03:47 > 0:03:50at that point, we had four out of the top five albums.
0:03:50 > 0:03:55Feelin' Groovy, Scarborough Fair, Only Living Boy, At The Zoo,
0:03:55 > 0:03:58Emily, Anji, Sound Of Silence.
0:04:00 > 0:04:04'Oh, we were on top of the world, we were lucky sons of guns.
0:04:04 > 0:04:06'Our toes were twinkling.
0:04:06 > 0:04:09'There's nothing that brings out your talent than hit records.
0:04:09 > 0:04:11'It puts you in such a good mood,
0:04:11 > 0:04:14'that you rise to the height of your stuff.
0:04:14 > 0:04:16'You know that girls are available,
0:04:16 > 0:04:18'you know that the world is waiting
0:04:18 > 0:04:21'for the next thing you're going to put out.'
0:04:21 > 0:04:24The kids are doing it again, one year later, how long can this go on?
0:04:24 > 0:04:26Lew Burdette!
0:04:26 > 0:04:28THEY BOTH LAUGH
0:04:28 > 0:04:33'It was a marvellous time for Paul and Artie, and for me,'
0:04:33 > 0:04:36because each day was better than the day before.
0:04:36 > 0:04:40'They kept getting bigger and bigger and bigger.'
0:04:40 > 0:04:42CHEERING AND APPLAUSE
0:04:42 > 0:04:44Approaching the mic was really fun.
0:04:44 > 0:04:47Here comes something I really feel confident with,
0:04:47 > 0:04:50because the world is relating to what we're doing.
0:04:57 > 0:05:00# And here's to you, Mrs Robinson
0:05:00 > 0:05:03# Jesus loves you more than you will know
0:05:05 > 0:05:07# Whoa, whoa, whoa
0:05:07 > 0:05:10# God bless you please, Mrs Robinson
0:05:10 > 0:05:13# Heaven holds a place for those who pray
0:05:14 > 0:05:16# Hey, hey, hey
0:05:16 > 0:05:18# Hey, hey, hey... #
0:05:18 > 0:05:24'After The Graduate, Mrs Robinson, our confidence level was...
0:05:24 > 0:05:26'you know, very high.
0:05:26 > 0:05:29'And we thought, "Hey, why don't we do that?"'
0:05:29 > 0:05:33If we think it's a good idea, probably it is a good idea.
0:05:33 > 0:05:35It's a certain freedom that you get
0:05:35 > 0:05:39when you're, kind of, sitting on top of the world.
0:05:39 > 0:05:42# Stroll around the grounds until you feel at home
0:05:42 > 0:05:46# And here's to you, Mrs Robinson
0:05:46 > 0:05:49# Jesus loves you more than you will know
0:05:49 > 0:05:51# Whoa, whoa, whoa
0:05:51 > 0:05:55# God bless you, please, Mrs Robinson
0:05:55 > 0:05:59# Heaven holds a place for those who pray
0:05:59 > 0:06:00# Hey, hey, hey
0:06:00 > 0:06:02# Hey, hey, hey... #
0:06:14 > 0:06:16'When Simon and Garfunkel,
0:06:16 > 0:06:19'who were not called Simon and Garfunkel at the time,
0:06:19 > 0:06:21'auditioned for Columbia Records,
0:06:21 > 0:06:27'the engineer who was...recorded the audition was Roy Halee.'
0:06:27 > 0:06:30And he said, "If you sign those guys I would love to be the engineer."
0:06:30 > 0:06:35I'd just broken into Columbia Records as a mixer,
0:06:35 > 0:06:38and I was assigned to do their audition.
0:06:38 > 0:06:42And that's how I met them, that's how we started.
0:06:42 > 0:06:46And that was the Wednesday Morning AM album
0:06:46 > 0:06:49which became their first release.
0:06:58 > 0:07:03I was doing practically everybody in Columbia Records in the pop vein.
0:07:03 > 0:07:08In walked these guys, from nowhere, and just knocked me out totally.
0:07:08 > 0:07:14# I can hear the soft breathing of the girl that I love... #
0:07:14 > 0:07:16'I just wanted to work with them.'
0:07:16 > 0:07:19Just, "Put me from now on with Paul and Artie."
0:07:19 > 0:07:22You know. "You can have everybody else."
0:07:22 > 0:07:26Roy Halee was one of the great engineers of his time,
0:07:26 > 0:07:29and, er...and a genius with the echo.
0:07:29 > 0:07:31And he would...
0:07:33 > 0:07:35..play around with echo, you know, all the time.
0:07:35 > 0:07:39You'd come into the studio, he'd say, "Listen to this."
0:07:39 > 0:07:42You know, it was great to work with him.
0:07:42 > 0:07:46He...he was just thinking, and he was involved,
0:07:46 > 0:07:48and he had a tremendous enthusiasm.
0:07:48 > 0:07:50He had great energy.
0:07:53 > 0:07:57'I could actually sense what Paul Simon was thinking.
0:07:57 > 0:08:00'I was always thinking, what would go nicely,
0:08:00 > 0:08:03'what colour would be really beautiful in this song,'
0:08:03 > 0:08:06or very commercial in this song.
0:08:06 > 0:08:08We were, in truth, a threesome,
0:08:08 > 0:08:11and Roy Halee was the driver in many of these things.
0:08:11 > 0:08:14Because at this point in our lives,
0:08:14 > 0:08:17we were moving from the song to the record,
0:08:17 > 0:08:19and the record is sound itself.
0:08:19 > 0:08:21So we were playing with sound.
0:08:24 > 0:08:26That was the age when technologically,
0:08:26 > 0:08:30you could give them an amazing treat in their earphones,
0:08:30 > 0:08:32cranked out loud.
0:08:32 > 0:08:33And so, let's serve them
0:08:33 > 0:08:36the greatest sonic experience we could do.
0:08:36 > 0:08:39There's more than just the song going on.
0:08:39 > 0:08:42There was a certain thing, a chemistry that happened,
0:08:42 > 0:08:45I think, between the three of us. It just clicked.
0:08:45 > 0:08:48They were very comfortable, and I loved the sound.
0:08:48 > 0:08:51I thought... I'm classically trained,
0:08:51 > 0:08:55and I thought the sound was extremely classical-sounding.
0:08:55 > 0:08:58And at the same time, being very pop.
0:08:58 > 0:09:01With Simon and Garfunkel, he really invented, well...
0:09:01 > 0:09:05or he got the sound. And this was the sound.
0:09:05 > 0:09:08We would sing, uh...
0:09:08 > 0:09:13um...a take together on mic, on one mic.
0:09:14 > 0:09:17And when we got the take that we wanted,
0:09:17 > 0:09:20then we would double it, individually.
0:09:20 > 0:09:23I would sing my part individually, on mic,
0:09:23 > 0:09:26and Artie would sing his individually on mic.
0:09:26 > 0:09:29And when you combine them together,
0:09:29 > 0:09:32and they would be, you know, perfectly in sync,
0:09:32 > 0:09:35that's what Simon and Garfunkel sounded like.
0:09:35 > 0:09:36That was what the sound was.
0:09:36 > 0:09:39Without a doubt, that was the sound.
0:09:39 > 0:09:44Many times, I was talked into, by someone, you know,
0:09:44 > 0:09:46"Let's put them on separate tracks
0:09:46 > 0:09:49"so we have control later," you know what I mean?
0:09:49 > 0:09:52And that sound was never the same.
0:09:52 > 0:09:55Once you separated those two voices.
0:09:55 > 0:09:58The way they blended together in one point...
0:09:58 > 0:10:04The harmonic structure or whatever it was was magical.
0:10:04 > 0:10:06THEY HARMONISE
0:10:06 > 0:10:08HE WHISTLES
0:10:12 > 0:10:14# Do-do-do-do-do... #
0:10:14 > 0:10:17I know.
0:10:19 > 0:10:21# Ain't you got no rhymes for me? #
0:10:21 > 0:10:25'We'd do a show, come back to the Holiday Inn, sit on end of the bed.
0:10:25 > 0:10:28'Paul would noodle along with something he's writing,
0:10:28 > 0:10:32'I'd be listening and thinking of the record we're going to make of this.
0:10:32 > 0:10:37'And when three or four of them were ready to be recorded, every few months,
0:10:37 > 0:10:40'we would go in the studio and put 'em down.'
0:10:40 > 0:10:43Basically, I'd come in with a song and a lick and the two of us
0:10:43 > 0:10:47who had already learned our harmony and knew how to do it
0:10:47 > 0:10:48and Roy knew how to do it.
0:10:48 > 0:10:51Nobody gets dragged to the top of the charts.
0:10:51 > 0:10:54We were playing that game in those days.
0:10:54 > 0:10:55Delightfully.
0:10:55 > 0:11:01It was tough for a single would be what I think, but having finished Bookends,
0:11:01 > 0:11:05it was in of itself the beginning of a new album.
0:11:05 > 0:11:08The Boxer was written
0:11:08 > 0:11:11perhaps a year before...
0:11:13 > 0:11:15that album.
0:11:15 > 0:11:19We would go to get certain musicians like Charlie McCoy,
0:11:19 > 0:11:23playing the bass harmonica on The Boxer.
0:11:23 > 0:11:25That was done in Nashville.
0:11:27 > 0:11:30That was before we were all over the place.
0:11:30 > 0:11:33I'd played guitar with Fred Carter Jr.
0:11:33 > 0:11:37He was a really good picker and he made up the lick,
0:11:37 > 0:11:39that starts the top of the thing.
0:11:44 > 0:11:48But we were so locked in together playing this acoustic thing,
0:11:48 > 0:11:51we probably did two or three takes,
0:11:51 > 0:11:54it must have been like 5-6 minutes of straight boom.
0:11:54 > 0:11:59Travis picking locked.
0:11:59 > 0:12:01The harmonics of those two guitars -
0:12:01 > 0:12:03the way they beat against each other - there is a tone,
0:12:03 > 0:12:07beautiful tone that runs through that whole verse.
0:12:09 > 0:12:11# I am just a poor boy
0:12:11 > 0:12:14# Though my story's seldom told
0:12:14 > 0:12:16# I have squandered my resistance
0:12:16 > 0:12:21# For a pocketful of mumbles such are promises
0:12:23 > 0:12:24# All lies and jest
0:12:24 > 0:12:30- # Still a man hears what he wants to hear and disregards the rest.- #
0:12:30 > 0:12:34We would pitch to Roy as if he was our big brother
0:12:34 > 0:12:39and we were playmates, Paul and I, in the notes, the chords, the changes.
0:12:39 > 0:12:42And we'd serve up ideas to Roy
0:12:42 > 0:12:47and that was one - we went to the church at Columbia.
0:12:47 > 0:12:51We liked the tiled dome. We did our la-la-lahs,
0:12:51 > 0:12:54stacked up in harmony.
0:12:55 > 0:13:00All the la-la-lahs were done in that chapel at Columbia University.
0:13:00 > 0:13:03So this meant the field crew had to go to the chapel,
0:13:03 > 0:13:08set up all the machines. Well, they thought I was totally insane,
0:13:08 > 0:13:10which I probably was.
0:13:10 > 0:13:12# Lie-la-lie
0:13:12 > 0:13:14# Lie-la-la-lie-la-lie
0:13:14 > 0:13:17# La-la-la-la-lie. #
0:13:17 > 0:13:25It has that wordless chorus and, I tried to make up a chorus.
0:13:25 > 0:13:28But I couldn't think of anything,
0:13:28 > 0:13:31so I just left it at the lie-la-lie which is really a...
0:13:31 > 0:13:36one of the best things about it because from country to country,
0:13:36 > 0:13:38people sing that.
0:13:38 > 0:13:43When we went into the studio Artie said he wrote this little instrumental section.
0:13:43 > 0:13:48He sang it and it was really lovely so we said just put it in,
0:13:48 > 0:13:50we'll take that verse out.
0:14:00 > 0:14:04My melody was like a lot of melodies I wrote in our records,
0:14:04 > 0:14:11if you're the harmonist, you're always playing the game of given these chords and that main line,
0:14:11 > 0:14:14what would harmonise with it and stay in the chords.
0:14:14 > 0:14:19And what kind of games can you play with larger and smaller intervals where the melody...
0:14:19 > 0:14:21Bach played the same game.
0:14:21 > 0:14:28And we did it with a... a Bach trumpet, a real high trumpet.
0:14:28 > 0:14:31And a pedal steel, where we would take the attack off
0:14:31 > 0:14:35and blend the sound so that you couldn't tell what the sound was...
0:14:35 > 0:14:38And the mixture of those two sounds,
0:14:38 > 0:14:44I've had people from all over the world, honestly, ask me, what is that sound?
0:14:44 > 0:14:47How did you guys get that sound?
0:14:47 > 0:14:52Roy Halee had a great habit of walking around the studio in LA
0:14:52 > 0:14:55or New York, and he would clap,
0:14:55 > 0:14:58he would walk all over the studio clapping,
0:14:58 > 0:15:00and when he heard a certain echo,
0:15:00 > 0:15:06he would say put the drums here or put the mic here, whatever it was.
0:15:06 > 0:15:10Columbia Records at that time had fabulous hallways.
0:15:10 > 0:15:13Their hallways were their echo chambers.
0:15:13 > 0:15:16They were really, really fine.
0:15:16 > 0:15:22I bet Barbra Streisand's voice is still floating around somewhere in one of those hallways.
0:15:22 > 0:15:24You could put anybody in a hallway,
0:15:24 > 0:15:29those hallways - it was like putting them in a cave, it was incredible.
0:15:29 > 0:15:33He found a place right in front of the elevator doors,
0:15:33 > 0:15:40he said we'd do the overdub right here. I had these massive drums.
0:15:40 > 0:15:46So I set up a chair, headsets,
0:15:46 > 0:15:50and I was listening to # la-di-dah #,
0:15:50 > 0:15:52Bang! And I was smashing these two drums.
0:15:52 > 0:15:56Humongous explosions.
0:15:56 > 0:16:03And all in perfect synchronisation as my hands were coming down,
0:16:03 > 0:16:06the elevator door opened and there was probably an 85-year-old
0:16:06 > 0:16:10security guard standing there who thought he was just killed.
0:16:10 > 0:16:15He said "Whoa! what's going on here? What are you guys doing?"
0:16:15 > 0:16:18It was really funny. The guy was shocked.
0:16:18 > 0:16:21Can you imagine how loud that was!
0:16:21 > 0:16:25The Boxer was more, complicated from a technical standpoint.
0:16:25 > 0:16:29I could literally write a book on how that was recorded and created.
0:16:29 > 0:16:32We ran out of tracks, we had to run machines,
0:16:32 > 0:16:34you know, wild track things in,
0:16:34 > 0:16:37but can you imagine taking all of this back?
0:16:37 > 0:16:39Now we've got to mix this together.
0:16:39 > 0:16:44I got Columbia, by the way, to get us a 16 track machine on the strength of -
0:16:44 > 0:16:46I swear this is a true story,
0:16:46 > 0:16:50bringing Clive Davis into the control room,
0:16:50 > 0:16:53played the record for him and showed him how we had to do it.
0:16:53 > 0:16:56We got our 16 track machine.
0:16:58 > 0:17:02I thought that a record had a capital R from the moment I started making them.
0:17:02 > 0:17:06When you go into the studio and you're a kid at first,
0:17:06 > 0:17:11if you're 14, these are big concepts, the studio and making records.
0:17:11 > 0:17:18If you can put it on record, it might last for a long time if it is very good.
0:17:18 > 0:17:26I was one of the members of a group of musicians in Los Angeles, California called the Wrecking Crew.
0:17:26 > 0:17:33They were Hollywood's go-to band that made hit records.
0:17:33 > 0:17:37They were just astute about what's danceable and fresh.
0:17:37 > 0:17:39Somebody must have said along the line,
0:17:39 > 0:17:43you've got to try these guys because they are really really good.
0:17:43 > 0:17:47Well, they are more than good, you know.
0:17:47 > 0:17:51Those musicians, in my experience, were the most creative
0:17:51 > 0:17:56and the best players that you could possibly have in a studio.
0:17:56 > 0:18:00Roy Halee, who was pretty much on top of his game,
0:18:00 > 0:18:03knew the musicians who were making the records and so forth.
0:18:03 > 0:18:06You know what was fabulous about Hal too?
0:18:06 > 0:18:09The most creative percussionist on the planet.
0:18:09 > 0:18:13He would be doing a Sinatra session in the day
0:18:13 > 0:18:16and then he would go do a movie score at night
0:18:16 > 0:18:20and he would do Phil Spector, then he would come and work with us.
0:18:20 > 0:18:22Somehow they got to me.
0:18:22 > 0:18:25They wanted me and Joe and Larry.
0:18:25 > 0:18:27Joe Osborn and Larry Knechtel.
0:18:27 > 0:18:32The three of them, Larry and Joe and Hal worked as a unit very well
0:18:32 > 0:18:35and very quickly and understood each other.
0:18:35 > 0:18:40Joe and Larry and I - they used to call us the Hollywood Golden Trio.
0:18:40 > 0:18:43Or the HGT.
0:18:43 > 0:18:49They came from different musical backgrounds.
0:18:49 > 0:18:52But they meshed and they played on a lot of records,
0:18:52 > 0:18:57all the Mamas and Papas records, the Beach Boys records.
0:18:57 > 0:18:59They were the big LA studio band.
0:18:59 > 0:19:01I got involved with Paul and Artie
0:19:01 > 0:19:05when they started the Bridge Over Troubled Water album.
0:19:05 > 0:19:0998% of the time it was the three of us
0:19:09 > 0:19:14along with Paul would play and Art would do a scratch vocal
0:19:14 > 0:19:18so we got something to play to.
0:19:18 > 0:19:22It was basically that rhythm section.
0:19:25 > 0:19:28We're rehearsing the band for the concerts next week.
0:19:28 > 0:19:31HE HUMS
0:19:31 > 0:19:35HE SCATS
0:19:43 > 0:19:46# Cathy, I'm lost I said,
0:19:46 > 0:19:50# Though I knew she was sleeping. #
0:19:50 > 0:19:54This is new for us to be working with a band.
0:19:54 > 0:19:58We decided to take along to our concerts, the fellows
0:19:58 > 0:20:02who we've been making our records with for the last two years.
0:20:02 > 0:20:05These Life Savers were sent up here - whoever sent them, thank you...
0:20:05 > 0:20:07LAUGHTER
0:20:07 > 0:20:12On that 1969 tape of us being on the road,
0:20:12 > 0:20:16bringing in our band on the road for the first time,
0:20:16 > 0:20:18there's me on the record saying,
0:20:18 > 0:20:22"Here's a song you haven't heard yet" and I'm just so earnest and straightforward.
0:20:22 > 0:20:24This is also one of our new songs,
0:20:24 > 0:20:27it's called Bridge Over Troubled Water...
0:20:30 > 0:20:34'That's the name, folks - you react however you want.'
0:20:34 > 0:20:36PIANO INTRO
0:20:41 > 0:20:46# When you're weary
0:20:47 > 0:20:52# Feelin' small
0:20:53 > 0:21:00# When tears are in your eyes
0:21:00 > 0:21:05# I will dry them all... #
0:21:05 > 0:21:07It was quite amazing,
0:21:07 > 0:21:10the first few times that Artie sang Bridge Over Troubled Water,
0:21:10 > 0:21:14because people hadn't heard it.
0:21:14 > 0:21:15And, you know,
0:21:15 > 0:21:18he would say, "Here's a new song that's coming out on our album,"
0:21:18 > 0:21:23and he'd sing this song and people would...you know, like, erupt.
0:21:23 > 0:21:27'It worked in just about every room I've ever sung it in.
0:21:27 > 0:21:30'Small and big. It's a killer song.'
0:21:30 > 0:21:39That 1969 live album is a really good album.
0:21:40 > 0:21:45Erm... We really were good.
0:21:48 > 0:21:53# Tom, get your plane right on time
0:21:55 > 0:21:59# I know your part'll go fine
0:22:01 > 0:22:07# Fly down to Mexico
0:22:07 > 0:22:12# Da-doodin'-da doo-din' da-doodin'-da, and here I am
0:22:12 > 0:22:17# The only living boy in New York... #
0:22:17 > 0:22:21Well, if there's a theme that goes through Bridge Over Troubled Water
0:22:21 > 0:22:24about people leaving, or something like that
0:22:24 > 0:22:27it was certainly unintentional.
0:22:27 > 0:22:30And the songs were written over...
0:22:30 > 0:22:35you know, rather a long period, because The Boxer's on that album
0:22:35 > 0:22:39but that was recorded maybe a year or so before
0:22:39 > 0:22:42the rest of the album, but
0:22:42 > 0:22:44The Only Living Boy In New York
0:22:45 > 0:22:53was written about Artie going to make Catch-22 in Mexico.
0:22:54 > 0:22:57And "Tom, get your plane right on time" was cos
0:22:57 > 0:22:59when we were kids we were Tom and Jerry.
0:22:59 > 0:23:04That was our first record. Hey, Schoolgirl - Tom and Jerry.
0:23:04 > 0:23:06You've taken me into cheap sentiment.
0:23:06 > 0:23:09I don't want to play my friendship with Paul on camera -
0:23:09 > 0:23:12it's very deep, very private, and it's full of love.
0:23:14 > 0:23:18But yeah, those songs are about a friendship...
0:23:18 > 0:23:21I don't know how to talk about it, it's essentially a private,
0:23:21 > 0:23:23cherished thing.
0:23:23 > 0:23:28# Aaaaah, ah-ah-aaah... #
0:23:29 > 0:23:33'The Only Living Boy In New York, where you have all those huge voices,
0:23:33 > 0:23:36'that's, I think we sang...
0:23:36 > 0:23:41'I think we put, like, 12 or 14 voices on there.'
0:23:41 > 0:23:47Singing together. But we literally were standing in the echo chamber,
0:23:47 > 0:23:48in LA.
0:23:48 > 0:23:53I heard those voices... Rather than in the studio editing echo,
0:23:53 > 0:23:56let's go into the echo chamber and try it.
0:23:56 > 0:23:59Go physically into this echo chamber, into this room.
0:23:59 > 0:24:04We really sang that whole thing right in the echo chamber, and it's...
0:24:06 > 0:24:10..it really has a sound, you know. I mean, it really sounds big.
0:24:10 > 0:24:15# I know that you've been eager to fly now
0:24:16 > 0:24:22# Hey, let your honesty shine, shine, shine now
0:24:22 > 0:24:28# Da-doodin'-da doo-din' da-doodin'-da, like it shines on me
0:24:29 > 0:24:32# The only living boy in New York
0:24:33 > 0:24:37# The only living boy in New York... #
0:24:38 > 0:24:41Joe Osborn is the feature on that...
0:24:41 > 0:24:44Beside the song itself, obviously.
0:24:44 > 0:24:48The featured musician on that song, to me, is Joe Osborn,
0:24:48 > 0:24:50with that eight-string bass.
0:24:50 > 0:24:55He played an eight-string bass like a...guitar, he played like...
0:24:55 > 0:24:57Joe played like a guitar player.
0:24:57 > 0:25:03The reason I remember this part so well is I had to re-learn that part
0:25:03 > 0:25:06for a show in New York, for Bass Player magazine.
0:25:06 > 0:25:11And there would be spots that were very awkward
0:25:11 > 0:25:14to play. Going from one chord change to another
0:25:14 > 0:25:17would be just...not playable.
0:25:17 > 0:25:21And that was because of the parts
0:25:21 > 0:25:24that Roy had spliced together from different takes.
0:25:24 > 0:25:27Like those slides, and that melody he plays
0:25:27 > 0:25:31on that eight-string bass - it's like this big gorgeous horn.
0:25:31 > 0:25:35And Larry, of course, with the sustained organ part.
0:25:36 > 0:25:38Beautiful.
0:25:38 > 0:25:42And Hal, you know, with those drum fills, he used all those
0:25:42 > 0:25:46tubular drums - which he had just gotten, by the way,
0:25:46 > 0:25:48was just experimenting with them...
0:25:48 > 0:25:51You know, those tuned... Big array of drums.
0:25:51 > 0:25:55He played that. And of course, the voices in the echo chamber...
0:25:55 > 0:25:58Everything just came together beautifully.
0:26:01 > 0:26:04El Condor Pasa was a song that I heard
0:26:04 > 0:26:08when I was booked to do a week at a theatre in Paris.
0:26:08 > 0:26:13And one of the other groups was called Los Incas.
0:26:14 > 0:26:15And they played El Condor Pasa,
0:26:15 > 0:26:20which I used to hang around every night to hear them play that.
0:26:20 > 0:26:24I loved it, and I would play it all the time, and then I thought,
0:26:24 > 0:26:27"Why don't I just put words to it?
0:26:27 > 0:26:30"The track exists, we don't have to cut it again.
0:26:30 > 0:26:33"Let's just see if we can buy the track.
0:26:33 > 0:26:35"And put words to it."
0:26:35 > 0:26:37Which is... And that's exactly what I did,
0:26:37 > 0:26:40because the song is hundreds of years old.
0:26:40 > 0:26:45It's a traditional Peruvian song,
0:26:45 > 0:26:49and almost like a national anthem of South America but certainly of Peru.
0:26:49 > 0:26:52I came back from Mexico in the middle of Catch-22
0:26:52 > 0:26:55and Paul said, "Listen to this track" -
0:26:55 > 0:27:00and played me Los Incas, playing this Peruvian melody.
0:27:00 > 0:27:03And I thought, "How magnificent."
0:27:03 > 0:27:09# I'd rather be a sparrow than a snail
0:27:09 > 0:27:12# Yes, I would
0:27:13 > 0:27:16# If I could
0:27:16 > 0:27:19# I surely would... #
0:27:21 > 0:27:23Jorge Milchberg is the leader of that group,
0:27:23 > 0:27:26and he played what they call "el charango", I believe,
0:27:26 > 0:27:28it's an armadillo.
0:27:28 > 0:27:32The outside of an armadillo, with strings. An unbelievable sound.
0:27:32 > 0:27:34And then they would play these flutes.
0:27:34 > 0:27:38We just had to take the track that existed.
0:27:38 > 0:27:41You couldn't remix it or bring anything up, you just...
0:27:41 > 0:27:44That was the track, and then you put the voices on top of it.
0:27:44 > 0:27:48And Paul had a lyric over the melody,
0:27:48 > 0:27:53and I thought, "Wow, what a beautiful, colourful piece."
0:27:53 > 0:27:57To place it right after Bridge, is deft, I think.
0:27:57 > 0:27:59I enjoy that a lot, that transition.
0:27:59 > 0:28:02GUITAR INTRO AND CHEERING
0:28:08 > 0:28:12# Bye-bye, love... #
0:28:12 > 0:28:15When we were kids, I remember hearing the Everly Brothers,
0:28:15 > 0:28:18and we went to buy their record, and in order to buy their record
0:28:18 > 0:28:22we had to go get on a bus, get a transfer, get on another bus...
0:28:22 > 0:28:27Go all the way into Jamaica, to this record store - buy the record...
0:28:28 > 0:28:30Take the two buses back, listen to it,
0:28:30 > 0:28:33flip it over and listen to the other side,
0:28:33 > 0:28:36try and learn the harmonies...
0:28:36 > 0:28:39There's not too many, you know,
0:28:39 > 0:28:43singers that I can say I was really a fan.
0:28:43 > 0:28:47Bye Bye Love, if I can read us right back in the old days,
0:28:47 > 0:28:51sounds exactly like what we felt wanted to be in the album,
0:28:51 > 0:28:57to keep this thing full of surprise and variety.
0:28:57 > 0:28:59There was nothing like Bye Bye Love -
0:28:59 > 0:29:03we knew we did it pretty well from our earliest years.
0:29:03 > 0:29:06We brought it into our concerts, we loved that the audience
0:29:06 > 0:29:11would do a backbeat to it, and if we got record-making serious,
0:29:11 > 0:29:16we could help the 10,000 audience give us a nice, tight backbeat.
0:29:16 > 0:29:21And Roy had his machines backstage with the big cables fed in,
0:29:21 > 0:29:25and we put down various audiences and picked the best.
0:29:27 > 0:29:29I went with them,
0:29:29 > 0:29:33we went around to practically every college in the country and recorded.
0:29:33 > 0:29:37And all we recorded were the audience clapping.
0:29:37 > 0:29:40It was Paul's idea, "Wouldn't it be great,
0:29:40 > 0:29:42"instead of just handclaps in the studio,
0:29:42 > 0:29:46"let's go out and record an audience clapping."
0:29:46 > 0:29:48And that's how it came about.
0:29:48 > 0:29:50It's pretty much the way we recorded it,
0:29:50 > 0:29:54I think we might have enhanced it with, er...
0:29:56 > 0:30:01..handclaps. I think we might have augmented the handclaps and...
0:30:03 > 0:30:05..fooled around with the echo kind of things.
0:30:05 > 0:30:12But essentially that was a live recording,
0:30:12 > 0:30:18and a tribute to Don and Phil, those guys were our heroes, you know.
0:30:18 > 0:30:21And eventually we got to perform with them
0:30:21 > 0:30:24when we did the reunion tour in 2003.
0:30:24 > 0:30:27That was great.
0:30:30 > 0:30:33We loved, you know, playing with them.
0:30:36 > 0:30:39CHEERING AND APPLAUSE
0:30:41 > 0:30:43- NEWSREADER:- In a scene described by one investigator
0:30:43 > 0:30:46as reminiscent of a weird religious rite,
0:30:46 > 0:30:48five persons, including actress Sharon Tate,
0:30:48 > 0:30:51were found dead at the home of Ms Tate and her husband,
0:30:51 > 0:30:52director Roman Polanski.
0:30:52 > 0:30:55We were living in this house on Blue Jay Way,
0:30:55 > 0:30:59that George wrote his song about, the summer of the Manson murders.
0:31:02 > 0:31:06And the town was really tense, especially up around there.
0:31:06 > 0:31:13And we were sitting around one night, my brother and Artie and me,
0:31:13 > 0:31:16and I think another friend, or two or three other friends,
0:31:16 > 0:31:18maybe six or seven people.
0:31:18 > 0:31:21Sort of just, you know, hanging out partying,
0:31:21 > 0:31:28and we started, like, pounding on things and making a rhythm.
0:31:28 > 0:31:30That is a vivid memory
0:31:30 > 0:31:36and it really comes through the cockles of the mind so easily.
0:31:36 > 0:31:38Why do I know that one so well?
0:31:38 > 0:31:41It was just so infectious from the start.
0:31:41 > 0:31:46We liked our Sony Sound On Sound tape recorder, big silver thing.
0:31:46 > 0:31:49Once we kicked on the reverb button,
0:31:49 > 0:31:52it gave you a kickback of every sound, quite loud and pronounced,
0:31:52 > 0:31:55and the kickback was a good quarter of a second.
0:31:55 > 0:31:59So you could play your Levi's on your thighs with your hands,
0:31:59 > 0:32:01as Paul and I did, into that rhythm,
0:32:01 > 0:32:05and work out a little pattern which has an accentuation to it.
0:32:05 > 0:32:10PERCUSSIVE INTRO TO CECILIA PLAYS
0:32:14 > 0:32:16When the thighs had a pattern,
0:32:16 > 0:32:19and Paul's brother Ed was just giving us a solid 4/4
0:32:19 > 0:32:22on the piano bench, cos it's just a little cushioned,
0:32:22 > 0:32:25"Doo, doo, doo, doo."
0:32:25 > 0:32:27We were starting to like it.
0:32:27 > 0:32:31Stuey Scharf, our friend from the east,
0:32:31 > 0:32:34played a junky guitar that was around the house,
0:32:34 > 0:32:37with its strings tuned out, and he gave you a,
0:32:37 > 0:32:39"chun, ba-ba dum, ba-ba dum,
0:32:39 > 0:32:42"Ah, chun, ba-ba dum, ba-ba dum, ah."
0:32:42 > 0:32:46That was a wonderful quirky spike in our pattern.
0:32:46 > 0:32:49So we did that all night long or for a couple hours.
0:32:49 > 0:32:52Perhaps we lost track of time.
0:32:55 > 0:32:57And listening back to it,
0:32:57 > 0:33:00there was a section of about a minute and 15 seconds
0:33:00 > 0:33:05that was such a good groove that I said to Roy,
0:33:05 > 0:33:08"This minute and 15 seconds is so great
0:33:08 > 0:33:12"we should make a loop out of it."
0:33:12 > 0:33:15So, I mean, this is the days of analogue,
0:33:15 > 0:33:17so to make a loop out of it,
0:33:17 > 0:33:20you literally had to have a loop of tape
0:33:20 > 0:33:27between tape machines, and this minute and 15 seconds got repeated
0:33:27 > 0:33:34and became the rhythmic basis of it.
0:33:34 > 0:33:37They brought it back down to the studio and I said, "Woo!
0:33:37 > 0:33:41"We can do all kinds of things with this with reverb,"
0:33:41 > 0:33:45I love to play around with different reverbs and delays, which we did.
0:33:45 > 0:33:47"Chuk-achucka, chuk-achucka,"
0:33:47 > 0:33:49you know. And then the creative process started.
0:33:49 > 0:33:53# Cecilia
0:33:53 > 0:33:55# You're breaking my heart
0:33:55 > 0:33:59# You're shaking my confidence daily
0:33:59 > 0:34:01# Oh, Cecilia
0:34:01 > 0:34:03# I'm down on my knees... #
0:34:03 > 0:34:07And then just play the simple guitar.
0:34:07 > 0:34:10I don't when I wrote the song or how I wrote the song.
0:34:12 > 0:34:20Cecilia is the goddess of music. Anyway, I had the song.
0:34:20 > 0:34:22We sang it and it sounded like that straight away.
0:34:22 > 0:34:25We said, "Wow, that's...that's, you know, that's...
0:34:27 > 0:34:30"That's pretty hooky with a really good rhythm."
0:34:30 > 0:34:34# Making love in the afternoon
0:34:34 > 0:34:36# With Cecilia
0:34:36 > 0:34:39# Up in my bedroom
0:34:39 > 0:34:40# Making love
0:34:40 > 0:34:43# I got up to wash my face
0:34:43 > 0:34:49# When I come back to bed someone's taken my place... #
0:34:49 > 0:34:54I ran into a soldier coming back from Vietnam.
0:34:54 > 0:34:56He said, "When we heard that record,
0:34:56 > 0:35:00"we knew things were really changed in the States."
0:35:00 > 0:35:04Just that line. He said, "Woah, man. You can say that in a song now?
0:35:04 > 0:35:08"It's like a different country." Which never occurred to me.
0:35:08 > 0:35:13To me it was like an old joke. It seemed like some old joke.
0:35:13 > 0:35:20We went to the parquet floor of Columbia's Gower Street.
0:35:20 > 0:35:27Big studio, in '69. This is where you would have gone in Hollywood.
0:35:27 > 0:35:33There were no strings. It was Paul and I with bunches of drumsticks.
0:35:33 > 0:35:35We dropped them on the parquet floor.
0:35:35 > 0:35:39That was wonderfully ticky-tacky. That went into the record.
0:35:39 > 0:35:41In the mid-range.
0:35:41 > 0:35:44Then we sent Paul out on the xylophone that was
0:35:44 > 0:35:46hanging around the studio.
0:35:46 > 0:35:48He doesn't play xylophone but we said,
0:35:48 > 0:35:53"If Roy compresses the sound so that tonality is bleached out,
0:35:53 > 0:35:55"it doesn't matter what notes you play."
0:35:55 > 0:35:58# Oh, oh-oh,oh,oh
0:35:58 > 0:36:02# Oh, oh-oh, oh, oh, oh, oh, oh
0:36:02 > 0:36:05# Oh, oh-oh, oh, oh, oh, oh, oh... #
0:36:05 > 0:36:07In that particular case, that was a fun thing. That was like, "Wheee!
0:36:07 > 0:36:09"Let's have fun."
0:36:09 > 0:36:14But I still think they worked on one mic
0:36:14 > 0:36:18because I was so...obsessed with that.
0:36:18 > 0:36:22I really was. It was like an obsession. "What do you mean? No.
0:36:22 > 0:36:23"We can't do that!"
0:36:25 > 0:36:28Fun.
0:36:28 > 0:36:32When they were out in California in '68, they met Chuck Grodin.
0:36:34 > 0:36:42They also met at that time two television producers who
0:36:42 > 0:36:49laid out to them a marvellous format for them to present their music
0:36:49 > 0:36:51and a television special.
0:36:51 > 0:36:54I had met Art Garfunkel when we did Catch 22,
0:36:54 > 0:37:00I guess somewhere in the year prior to Songs Of America.
0:37:00 > 0:37:05My previous experience writing and directing in television was
0:37:05 > 0:37:09that I had been fired three times over a six-week period
0:37:09 > 0:37:12from Candid Camera.
0:37:12 > 0:37:14That was my total background.
0:37:14 > 0:37:17Hardly somebody who would be chosen to write and direct
0:37:17 > 0:37:19the Simon and Garfunkel special, the only one.
0:37:19 > 0:37:23At the peak of their fame, when Bridge Over Troubled Water.
0:37:23 > 0:37:26I had this idea, which I presented to Paul and Art
0:37:26 > 0:37:30that this special should reflect how it influenced what
0:37:30 > 0:37:34Paul was writing about - the Vietnam War, the Poor People's March,
0:37:34 > 0:37:37equal rights for people and how this feeds in to his songs,
0:37:37 > 0:37:39one way or another.
0:37:41 > 0:37:44Chuck had a take on helping with our show and was the director
0:37:44 > 0:37:47and stamping its nature.
0:37:47 > 0:37:51It has a lot of heart, it has a lot of sociological awareness.
0:37:51 > 0:37:54# Cathy, I'm lost, I said
0:37:54 > 0:37:58# Though I knew she was sleeping
0:38:00 > 0:38:06# I'm empty and aching and I don't know why
0:38:06 > 0:38:10# Counting the cars on the New Jersey Turnpike
0:38:10 > 0:38:17# They've all come too far, America
0:38:17 > 0:38:24# All come too far, America... #
0:38:25 > 0:38:28AT&T was the sponsor. I'd laid out for them.
0:38:28 > 0:38:31Every single thing that you see in the final version of
0:38:31 > 0:38:33this Songs Of America.
0:38:33 > 0:38:35Poor People's March, Cesar Chavez.
0:38:35 > 0:38:40Paul and I visited with Cesar Chavez, it was all down on paper.
0:38:40 > 0:38:41When it was finished,
0:38:41 > 0:38:46they sent their representative from NW Ayer Advertising
0:38:46 > 0:38:47and he was furious.
0:38:47 > 0:38:48He was livid at me.
0:38:48 > 0:38:50I was alone in a room with him and he said,
0:38:50 > 0:38:55"You're using OUR money to sell YOUR ideology."
0:38:55 > 0:38:58I was 34 years old. I looked like I was 26.
0:38:59 > 0:39:04I really had no idea what he meant. I said, "What's my ideology?"
0:39:04 > 0:39:06He said, "Humanistic approach."
0:39:08 > 0:39:12I said, "You mean there are people against the humanistic approach?"
0:39:12 > 0:39:15He said, "You're goddamn right there are.
0:39:15 > 0:39:18"The southern affiliates of AT&T are not going to appreciate
0:39:18 > 0:39:20"seeing black and white kids going to school together.
0:39:20 > 0:39:22"They're not going to appreciate it.
0:39:22 > 0:39:26"This is going to offend a lot of AT&T southern affiliates."
0:39:26 > 0:39:28I thought I had just left the world.
0:39:28 > 0:39:32I think we were naive kids from the northeast who thought
0:39:32 > 0:39:36that's the way the world was and everybody thought that way.
0:39:36 > 0:39:37But they didn't.
0:39:38 > 0:39:42I must remind you that starving a child is violence.
0:39:44 > 0:39:46Suppressing a culture is violence.
0:39:48 > 0:39:52Neglecting school children is violence.
0:39:53 > 0:39:56Punishing a mother and her family is violence.
0:39:56 > 0:40:00This was a big awakening to me - the humanistic approach.
0:40:00 > 0:40:04Then they said, "We'd like you to make some changes."
0:40:04 > 0:40:05I said, "Like what?"
0:40:05 > 0:40:09"When Coretta King says poverty is a child without an education.
0:40:09 > 0:40:14"I'd like you to lower the volume on that." "I said, "To what level?"
0:40:14 > 0:40:16He said, "Inaudible."
0:40:16 > 0:40:22# I'd rather be a sparrow than a snail
0:40:22 > 0:40:25# Yes, I would
0:40:25 > 0:40:28# If I could
0:40:28 > 0:40:32# I surely would
0:40:32 > 0:40:34# Hmm-mm... #
0:40:34 > 0:40:38The sponsor, which was AT&T, really disliked it
0:40:38 > 0:40:44and withdrew their sponsorship, after having paid for the whole thing.
0:40:44 > 0:40:47The powers of centralised America had to find a mesh with
0:40:47 > 0:40:53how much Simon and Garfunkel want to talk about poverty in America.
0:40:53 > 0:40:59What our take is of the Vietnam War. That's essential to the show.
0:40:59 > 0:41:02We would hear a very interesting behind the scenes
0:41:02 > 0:41:07confrontation with Simon and Garfunkel and America as it was.
0:41:07 > 0:41:11Good evening. I'm Robert Ryan.
0:41:11 > 0:41:13Tonight, the Alberto-Culver company,
0:41:13 > 0:41:17makers of the famous Alberto VO5 products, bring you
0:41:17 > 0:41:22Simon and Garfunkel and their first TV special, Songs Of America.
0:41:22 > 0:41:24These two young men have attracted
0:41:24 > 0:41:27a tremendous following among the youth of America with
0:41:27 > 0:41:30their lyrical interpretation of the world we live in.
0:41:30 > 0:41:33Alberto-Culver just came up with 860,000
0:41:33 > 0:41:37and they had Robert Ryan, the late actor Robert Ryan,
0:41:37 > 0:41:42he came on before with a kind of apology, explaining, we feel that
0:41:42 > 0:41:47these two artists have earned the right to have their voices heard.
0:41:47 > 0:41:50It was like, "Don't look at me, boss.
0:41:50 > 0:41:52"We feel they've earned the right."
0:41:52 > 0:41:57By the end of the first commercial, the Robert Kennedy funeral train,
0:41:57 > 0:42:01one million people shut off the television set.
0:42:01 > 0:42:04One million people shut it off right there. They didn't want to see this.
0:42:04 > 0:42:07They thought they were getting a straight entertainment special
0:42:07 > 0:42:08and it was political.
0:42:08 > 0:42:15It was anti-war and it was. I guess it was liberal.
0:42:24 > 0:42:27# When you're weary
0:42:30 > 0:42:32# Feeling small
0:42:34 > 0:42:40# When tears are in your eyes
0:42:41 > 0:42:43# I will dry them all
0:42:46 > 0:42:48It was the first time that Bridge Over Troubled Water was played
0:42:48 > 0:42:54and was played over footage of the trains that carried Jack Kennedy
0:42:54 > 0:42:57and Bobby Kennedy and Martin Luther King funeral
0:42:57 > 0:43:01so it was played over those three people.
0:43:01 > 0:43:05The sponsor said, "It isn't balanced."
0:43:05 > 0:43:08We said, "What isn't balanced about it?"
0:43:08 > 0:43:10They said, "Well, they're all Democrats."
0:43:10 > 0:43:15We said, "We think of them all as assassinated people, you know."
0:43:15 > 0:43:18# I will lay me down
0:43:18 > 0:43:25# Like a bridge over troubled water
0:43:25 > 0:43:31# I will lay me down... #
0:43:35 > 0:43:39We got a telegram from Ethel Kennedy after that.
0:43:39 > 0:43:42This is after Robert Kennedy had been assassinated.
0:43:42 > 0:43:47She appreciated that there were people out there...who were
0:43:47 > 0:43:53interested in people who needed somebody to reach out to them.
0:43:53 > 0:43:59We got hate mail. That was like the time of America, love it or leave it.
0:43:59 > 0:44:04We got plenty of that. "You don't like it here, get out."
0:44:04 > 0:44:08As far as the show did that night, it got killed by a Peggy Fleming
0:44:08 > 0:44:12ice skating special, which will tell you where the country
0:44:12 > 0:44:18was at much more than anything else that I can say.
0:44:18 > 0:44:23I guess, in retrospect, that's something to be proud of
0:44:23 > 0:44:28because we spoke up for who we were in our generation.
0:44:30 > 0:44:31That's who we were.
0:44:31 > 0:44:35We're staying in the Beverly Wilshire Hotel.
0:44:35 > 0:44:37I'd get my guitar and I'd head downstairs.
0:44:37 > 0:44:40I'd get in the elevator to go to the studio.
0:44:40 > 0:44:43In the elevators, they have newspapers.
0:44:43 > 0:44:48I'd see the headlines on the newspapers and I'd think,
0:44:48 > 0:44:51"Why am I going to make this album?
0:44:51 > 0:44:54"What's the point in this album, the world is crumbling?"
0:44:55 > 0:44:58Beethoven's, uh...
0:44:58 > 0:45:01..200th birthday is coming up, did you know that?
0:45:01 > 0:45:05Beethoven was writing this part,
0:45:05 > 0:45:10and parallel fifths were scorned, ironically.
0:45:10 > 0:45:16Beethoven said, "Where is there a law that says you can't write in parallel fifths?
0:45:16 > 0:45:18"Where did that law come from?
0:45:18 > 0:45:21"I'm writing parallel fifths, I say you can."
0:45:25 > 0:45:26He was a fool, Beethoven.
0:45:29 > 0:45:32Somebody else's 200th birthday is coming up in not so long.
0:45:32 > 0:45:35- 200th birthday?- Yeah. - Who's that?
0:45:35 > 0:45:36Americas.
0:45:41 > 0:45:43Think it's going to make it?
0:45:43 > 0:45:47For me, most of all, it has the vibe between Simon and Garfunkel,
0:45:47 > 0:45:51and when I look at it nowadays I go, "Gee, we were so bonded.
0:45:51 > 0:45:56"Our sense of humour is inside, we knew each other, what we're talking about."
0:45:58 > 0:46:03It comes off nice on-screen, it's like a scrapbook photo for me,
0:46:03 > 0:46:06it warms my heart to see this early Paul and Artie.
0:46:06 > 0:46:08My favourite moment is I'm sitting off-camera,
0:46:08 > 0:46:11I asked Paul if he had any other aspiration, "Like what?"
0:46:11 > 0:46:14I said, "Well, would you ever think of running for office?
0:46:14 > 0:46:16"You know, be President?"
0:46:16 > 0:46:18Oh, I don't know.
0:46:18 > 0:46:20Some days.
0:46:25 > 0:46:27Why are you smiling?
0:46:27 > 0:46:31- Some days you'd like to be President?- Some days I wouldn't want to be President.
0:46:31 > 0:46:35What do you feel like the days you want to be President, why would you want to be?
0:46:35 > 0:46:37Straighten it all out.
0:46:37 > 0:46:40And get on back to my songwriting in peace!
0:46:43 > 0:46:47I would like to develop myself as an artist, as much as I could.
0:46:49 > 0:46:53And to be President, I just don't have time, really I don't.
0:46:53 > 0:46:56See, he wants to develop himself as an artist, Chuck.
0:46:56 > 0:46:58You have no time to be President?
0:46:58 > 0:47:00I feel I'd make the time.
0:47:00 > 0:47:02LAUGHTER
0:47:05 > 0:47:08You're singing against a B minor and B major on the track,
0:47:08 > 0:47:11- so I don't suggest you chord this... - OK, what do we have?
0:47:11 > 0:47:15..it's going to be very dissonant, so what I suggest is you hold the F sharp.
0:47:15 > 0:47:17SINGING WITH PIANO
0:47:25 > 0:47:28- Did you get that, Mac? - Yeah, that's around 23.- Right.
0:47:28 > 0:47:33'So Long, Frank Lloyd Wright' was kind of interesting,
0:47:33 > 0:47:37the changes, the chord changes, because it's a Brazilian influence,
0:47:37 > 0:47:41but I don't know, really, how I did it.
0:47:47 > 0:47:51When I got the call to work on 'Bridge Over Troubled Water'
0:47:51 > 0:47:54they called me to work on 'Keep The Customer Satisfied'
0:47:54 > 0:47:56and 'So Long, Frank Lloyd Wright'.
0:47:56 > 0:47:58MUSIC PLAYS
0:47:58 > 0:48:00Love it.
0:48:00 > 0:48:01Love it, love it love it.
0:48:05 > 0:48:09I think it's a string quartet, it's kind of buried, as I recall,
0:48:09 > 0:48:14but very tasty - Jimmy's a fine musician, you know, a fine musician.
0:48:19 > 0:48:20That's it, we got it.
0:48:20 > 0:48:23'Artie was an architecture major at Columbia.'
0:48:23 > 0:48:24Yes, Mort.
0:48:24 > 0:48:28All right, I've had an interesting afternoon.
0:48:28 > 0:48:32And he loved Frank Lloyd Wright, so it was 'So Long, Frank Lloyd Wright'.
0:48:32 > 0:48:34You hear me on the end of it?
0:48:34 > 0:48:36# So long already... #
0:48:36 > 0:48:40So long, already, Artie!
0:48:40 > 0:48:41It's in the fade.
0:48:41 > 0:48:47You listen to it and you'll hear Artie, riffing over and over again,
0:48:47 > 0:48:51and this voice way in the distance saying,
0:48:51 > 0:48:53"So long already, Artie!"
0:48:54 > 0:48:57I'm out in LA and Paul said,
0:48:57 > 0:49:02"I've written what I think is my greatest song,
0:49:02 > 0:49:05"and I want to play it for you."
0:49:05 > 0:49:06And I'm sitting in a chair,
0:49:06 > 0:49:10and he played 'Bridge Over Troubled Water'.
0:49:10 > 0:49:17And, you know, if your around the music business all your life,
0:49:17 > 0:49:20every now and then, maybe once a decade,
0:49:20 > 0:49:27you'll hear a song that's so striking, so powerful, so unusual,
0:49:27 > 0:49:30and 'Bridge Over Troubled Water' was that for me.
0:49:32 > 0:49:34I have no idea where it came from.
0:49:37 > 0:49:42It just came all of a sudden, you know.
0:49:42 > 0:49:47One minute it wasn't there, and the next minute the whole line was there.
0:49:47 > 0:49:49It was one of the shocking...
0:49:51 > 0:49:56..one of the shocking moments in my songwriting career, you know.
0:49:56 > 0:50:00And at the time I remember thinking, "This is really...
0:50:01 > 0:50:04"..considerably better than I usually write."
0:50:05 > 0:50:06But that is how fast it came.
0:50:06 > 0:50:10HUMMING NOTES TO 'Bridge Over Troubled Water'
0:50:18 > 0:50:23All of a sudden I sang that line and I sort of just stopped.
0:50:23 > 0:50:25And then I sang it twice.
0:50:25 > 0:50:27I said, "Oh, you can sing it twice in a row."
0:50:27 > 0:50:32But that's a pretty long melody, especially for a pop song.
0:50:33 > 0:50:37And then I wrote the lyrics, and then I showed the lyrics to...
0:50:37 > 0:50:41I said to Artie, "I wrote this song and I think you should sing it."
0:50:41 > 0:50:44The hold damn song is a gem.
0:50:44 > 0:50:48I love running through the line from top to bottom
0:50:48 > 0:50:51and delivering Paul's intentions.
0:50:51 > 0:50:58"If you're down and out, let my lucky gift of a voice be a friend."
0:50:58 > 0:50:59"Lucky gift."
0:50:59 > 0:51:04You shake out the human condition so you can be as honest as you can
0:51:04 > 0:51:06about these beautifully written words.
0:51:06 > 0:51:09The first thoughts were, those lyrics are too simple.
0:51:09 > 0:51:15They're very - "When you're weary, when you're feeling small,
0:51:15 > 0:51:22"when evening falls so hard, I'll comfort you, I'll take your part" -
0:51:22 > 0:51:23they're just too simple.
0:51:24 > 0:51:29And, of course, that's what really made it...
0:51:29 > 0:51:32..so universal.
0:51:35 > 0:51:38I remember distinctly, Paul coming in the control room and he said,
0:51:38 > 0:51:43"I think I've wrote something really over the top, this is really good."
0:51:43 > 0:51:47And he sat and he played it and sang.
0:51:47 > 0:51:49And that's how it started.
0:51:49 > 0:51:53# When you're weary
0:51:53 > 0:51:57# Feeling sad
0:51:57 > 0:52:04# When peace is all you seek
0:52:04 > 0:52:10# I will be there, whooo
0:52:10 > 0:52:16# To bring you sleep... #
0:52:18 > 0:52:22Artie and I, and Roy Halee, were working with Larry Knechtel.
0:52:22 > 0:52:25Larry Knechtel was the piano player.
0:52:25 > 0:52:29And we spent two or maybe three days...
0:52:31 > 0:52:35..just making up the piano parts - because I wrote it on guitar.
0:52:38 > 0:52:42I showed Larry the song and he -
0:52:42 > 0:52:47mostly Larry, but all of us - sort of combined
0:52:47 > 0:52:52to make up what it is that we heard in terms of gospel piano.
0:52:52 > 0:52:54I sat at the piano at the end of each verse
0:52:54 > 0:52:58of Bridge Over Troubled Water and said, "Let's work out how we turn around."
0:52:58 > 0:53:01After the Like A Bridge Over Troubled Water set twice,
0:53:01 > 0:53:07how are we going to come around chord-wise to the quiet set-up of the next verse?
0:53:07 > 0:53:11So here was this piano piece that he wrote
0:53:11 > 0:53:15and it was, you know, beautifully written.
0:53:15 > 0:53:22Fortunately for us, he had an extensive knowledge of gospel music
0:53:22 > 0:53:29because we hadn't used him in that capacity before.
0:53:29 > 0:53:32In fact, he plays bass on a bunch of our records.
0:53:32 > 0:53:35Larry Knechtel had already put his part on.
0:53:35 > 0:53:39He and Art went in and did the piano part.
0:53:40 > 0:53:45And then we went in with the bass and drums and did overdub to that.
0:53:45 > 0:53:52And then we overdubbed the strings in the big studio in Hollywood.
0:53:52 > 0:53:54Ernie Freeman did the arrangement.
0:53:54 > 0:53:56I sent a demo to the arranger
0:53:56 > 0:54:00and the arranger came back and handed it out to everybody
0:54:00 > 0:54:02and it said on it, "Like A Pitcher of Water."
0:54:02 > 0:54:06You know? We said, "What is this?"
0:54:06 > 0:54:09He said, "Well, that's the song."
0:54:09 > 0:54:13So I thought, "Well...
0:54:13 > 0:54:16"that's how much attention he's paid to this demo -
0:54:16 > 0:54:19"he didn't even hear the words right!"
0:54:19 > 0:54:21He just heard "Like A Pitcher of Water."
0:54:21 > 0:54:24So I still have that framed at home.
0:54:24 > 0:54:28Then we went back to New York and we worked on Artie's vocal.
0:54:28 > 0:54:32That was the last thing we did - we went and worked on Artie's vocal.
0:54:32 > 0:54:33And here it goes.
0:54:33 > 0:54:37'That was his time to really show his chops.'
0:54:37 > 0:54:41# When you're weary. #
0:54:41 > 0:54:45The fact is from the moment I locked on to that melody
0:54:45 > 0:54:46and the fun of singing,
0:54:46 > 0:54:49it was a thunderous reaction.
0:54:49 > 0:54:51It always has been.
0:54:51 > 0:54:56# When tears are in your eyes
0:54:56 > 0:54:58# I will dry them all. #
0:54:58 > 0:55:03Art sang the song very powerfully.
0:55:03 > 0:55:06I heard Art do the song at the vocal mic,
0:55:06 > 0:55:08getting the sound for the mic
0:55:08 > 0:55:13and sung Bridge Over Troubled Water...
0:55:13 > 0:55:16a cappella and it was chill bumps.
0:55:16 > 0:55:23# ..And friends just can't be found
0:55:23 > 0:55:31# Like a bridge over troubled water
0:55:31 > 0:55:36# I will lay me down
0:55:36 > 0:55:44# Like a bridge over troubled water
0:55:44 > 0:55:50# I will lay me down. #
0:55:51 > 0:55:53It was a great two-verse song
0:55:53 > 0:55:57with the most heartfelt of lyrics.
0:55:57 > 0:56:01It needed nothing. But the record-maker in me
0:56:01 > 0:56:05loved the notion that these two verses could be a set-up
0:56:05 > 0:56:09for an as yet unwritten third verse
0:56:09 > 0:56:12and we could be calling this all runway material
0:56:12 > 0:56:14for a take-off that's waiting.
0:56:14 > 0:56:19Roy Halee and Artie said, "You have to write a third verse.
0:56:19 > 0:56:23"The song wants to be bigger. It wants to be a really big song."
0:56:23 > 0:56:28And I said, "No, it doesn't. It's a little hymn. It's just a little hymn.
0:56:28 > 0:56:29"That's the way I hear it."
0:56:29 > 0:56:33And they said, "No, no, really, you have to write a third verse."
0:56:33 > 0:56:37So I wrote a third verse in the studio, which I never do,
0:56:37 > 0:56:41you know, I always take a long time to write.
0:56:41 > 0:56:44But I wrote this one in the studio.
0:56:44 > 0:56:49- # Sail on, silvergirl... # - Paul's mic?
0:56:49 > 0:56:53# Sail on by
0:56:53 > 0:56:57- # Your time has come... # - Where's my mic?
0:56:57 > 0:56:59Hold it.
0:57:01 > 0:57:08# ..All your dreams are on their way
0:57:08 > 0:57:12# See how they shine
0:57:12 > 0:57:15# Oh
0:57:15 > 0:57:19# If you need a friend
0:57:19 > 0:57:25# I'm sailing right behind
0:57:25 > 0:57:33# Like a bridge over troubled water
0:57:33 > 0:57:37# I will ease your mind
0:57:37 > 0:57:46# Like a bridge over troubled water
0:57:46 > 0:57:51- # I will ease your mind.- #
0:58:06 > 0:58:10Those wonderful words and that triumph
0:58:10 > 0:58:13of an airplane taking off...
0:58:13 > 0:58:15From the moment the song was written,
0:58:15 > 0:58:19and I had the great fun of execution, the two together worked.
0:58:19 > 0:58:22Well, I didn't think it was a smash,
0:58:22 > 0:58:26but I thought it was something really exceptional.
0:58:26 > 0:58:31I thought it was probably too long for a commercial record.
0:58:31 > 0:58:35It was all piano up until the last verse.
0:58:38 > 0:58:41It just...
0:58:41 > 0:58:45I didn't think that it was... I didn't think that it was a hit.
0:58:45 > 0:58:49I thought Cecelia was going to be a hit, which it was.
0:58:49 > 0:58:52So you always knew the animal called the single
0:58:52 > 0:58:56and knew what was an album piece that was really happening,
0:58:56 > 0:58:58this seemed the latter.
0:58:58 > 0:59:01As a single, too slow, too long.
0:59:01 > 0:59:05Clive Davis came in the studio, president of CBS, and said,
0:59:05 > 0:59:07"I want to get behind it all the way.
0:59:07 > 0:59:12"It's the title of your album. It is the first single.
0:59:12 > 0:59:15"Be unapologetic about such a slow song
0:59:15 > 0:59:18"because I'm going to get behind it with faith."
0:59:18 > 0:59:21I knew it was exceptional and...
0:59:24 > 0:59:27..the first time I heard it on the radio...
0:59:30 > 0:59:33..I knew that it was a hit because it sounded huge
0:59:33 > 0:59:36just with the voice and the piano.
0:59:36 > 0:59:40And if a song jumped out of the radio,
0:59:40 > 0:59:45that meant there was some kind of magic in the way you cut it.
0:59:45 > 0:59:47There was a moment in time
0:59:47 > 0:59:50when Bridge Over Troubled Water didn't exist at all,
0:59:50 > 0:59:53and then there was another moment when it did, or it started to.
0:59:53 > 0:59:56Where does it come from, what actually happens,
0:59:56 > 0:59:58were you in the shower one day?
0:59:58 > 1:00:01I was listening to some music by a gospel group
1:00:01 > 1:00:04called the Swan Silvertones.
1:00:04 > 1:00:08And I heard, uh...
1:00:11 > 1:00:14It was the music that was in my mind most of the time and every time
1:00:14 > 1:00:17I'd come home I'd put that music on and I'd listen to it
1:00:17 > 1:00:20and I think that must have subconsciously influenced me
1:00:20 > 1:00:23cos I started to go to gospel changes.
1:00:25 > 1:00:29HE PLAYS GOSPEL GUITAR
1:00:35 > 1:00:37And that's how that fell in.
1:00:39 > 1:00:41I write for various reasons.
1:00:42 > 1:00:47Some songs I write for the pleasure of writing a song.
1:00:47 > 1:00:51It doesn't have any great meaning, it's just a song.
1:00:51 > 1:00:53Songs are nice.
1:00:53 > 1:00:57Some songs you try and express yourself emotionally.
1:00:57 > 1:00:59Those are different songs for me,
1:00:59 > 1:01:01and they express what I feel
1:01:01 > 1:01:08and they relieve tensions that I feel when I express them.
1:01:11 > 1:01:15# Here is my song for the asking
1:01:17 > 1:01:20# Ask me and I'll play
1:01:20 > 1:01:27# So sweetly I'll make you smile
1:01:30 > 1:01:34# This is my tune... #
1:01:34 > 1:01:38I love that song, Song For the Asking is an under-appreciated gem.
1:01:38 > 1:01:41Of all of Paul's statements from the heart,
1:01:41 > 1:01:43this is one of the supreme songs
1:01:43 > 1:01:46I don't hear mentioned enough.
1:01:46 > 1:01:49I never hear it covered, why doesn't somebody do that,
1:01:49 > 1:01:51it's just a gem of a song.
1:01:51 > 1:01:55Song For the Asking which I think closes the record...
1:01:55 > 1:02:00Well that was my, one of my little solos, you know,
1:02:00 > 1:02:03I guess we were balancing out songs
1:02:03 > 1:02:08that were solos and songs that were sung together.
1:02:08 > 1:02:12And, er...
1:02:12 > 1:02:14it's a pretty sweet song,
1:02:14 > 1:02:18you know, straight ahead.
1:02:18 > 1:02:21Almost embarrassing.
1:02:21 > 1:02:24It's Paul's calling card, you know?
1:02:24 > 1:02:26When you think about what he's saying,
1:02:26 > 1:02:29here's my song for the asking, ask me and I will play.
1:02:29 > 1:02:31It's a great statement from a human being
1:02:31 > 1:02:33because thinking it over,
1:02:33 > 1:02:36I have been sad, I don't have to be this person.
1:02:36 > 1:02:41It's great stuff for a lover to say.
1:02:42 > 1:02:46Give me a chance and I'm dying to pour my heart out to you.
1:02:46 > 1:02:52Well, you know, I think in the notes of apology
1:02:52 > 1:02:59that show up in album after album, um, that's just to say
1:02:59 > 1:03:02I haven't forgotten what I did
1:03:02 > 1:03:05to various people.
1:03:08 > 1:03:13You know, I was not an angel, that's for sure.
1:03:13 > 1:03:19That is really the big break of Bridge Over Troubled Water.
1:03:19 > 1:03:23Up until then we sang all the songs together,
1:03:23 > 1:03:26but on Bridge Over Troubled Water there was like,
1:03:26 > 1:03:30well, Artie's singing almost all of Bridge Over Troubled Water himself
1:03:30 > 1:03:32and then I join in at the end,
1:03:32 > 1:03:36he's singing verses of So Long Frank Lloyd Wright,
1:03:36 > 1:03:38I'm singing the bridge,
1:03:38 > 1:03:42I'm singing Baby Driver sort of by myself,
1:03:42 > 1:03:48I'm singing most of Only Living Boy by myself then he joins in
1:03:48 > 1:03:52on the harmony, so we had begun to separate
1:03:52 > 1:03:55how we would have made albums.
1:03:55 > 1:03:58Separating the voices
1:03:58 > 1:04:04so it was more like a Beatles record than an Everly Brothers record.
1:04:04 > 1:04:09Where you knew the two voices
1:04:09 > 1:04:11and the two characters well enough
1:04:11 > 1:04:18that we could each have our own songs and, um,
1:04:18 > 1:04:24it would feel natural and that's the first time that we
1:04:24 > 1:04:31did that and probably would have been the pattern for the next album
1:04:31 > 1:04:33or two or however many albums
1:04:33 > 1:04:35we would have made had we stayed together.
1:04:35 > 1:04:38Um, it's just the way it worked out.
1:04:38 > 1:04:42Like Bridge, Artie was...that was his song.
1:04:42 > 1:04:49Paul said, that's your song, you can do that song, that's you.
1:04:49 > 1:04:53There were two things left off Bridge.
1:04:53 > 1:04:57One was a song called Cuba Si Nixon No...
1:05:01 > 1:05:05It was about a hijacking, about a guy hijacking a plane to Cuba
1:05:05 > 1:05:08and Artie really didn't like that song.
1:05:08 > 1:05:12- Standing up!- We stay on the four.
1:05:12 > 1:05:15I was voting against it in those days,
1:05:15 > 1:05:19thinking it doesn't represent our more thoughtful selves.
1:05:19 > 1:05:23It was the only one Paul ever wrote in this fountain of delight,
1:05:23 > 1:05:26it was the only time I put my finger on a spigot
1:05:26 > 1:05:30and said, I have a hard time getting behind that lyric.
1:05:30 > 1:05:33All right, then start on the lower note.
1:05:33 > 1:05:36Just let me get the chords before I get the note.
1:05:36 > 1:05:39You sing it and get the vocals in your head and then I'll learn it.
1:05:39 > 1:05:42And then there was a Bach piece that Artie really wanted
1:05:42 > 1:05:44to put on the album and I really didn't want
1:05:44 > 1:05:49to put a Bach piece on the album, and we argued about both of those songs and finally we said,
1:05:49 > 1:05:52look, forget it, that's it, it's done.
1:05:52 > 1:05:57Put it out the way it is and in a way, kind of interesting,
1:05:57 > 1:06:01they were both indications of where we each wanted to go.
1:06:01 > 1:06:05I wanted to go more towards something rough and political
1:06:05 > 1:06:08and he wanted to go towards something classical.
1:06:08 > 1:06:12I was hard-nosed about it in those days showing that we were
1:06:12 > 1:06:15working together too much, we needed a rest.
1:06:15 > 1:06:18Today I look at it and I go, it's a good rock 'n' roll song. It swings.
1:06:18 > 1:06:22What's the problem? You can say these things.
1:06:22 > 1:06:24In those days I thought Cuba, Si. Nixon, No -
1:06:24 > 1:06:29"It's to too easy to mistake for simplistic political talk."
1:06:29 > 1:06:31That's what I said in those days.
1:06:31 > 1:06:35Where I was heading...musically,
1:06:35 > 1:06:41or what I was interested in musically, was not a continuation of
1:06:41 > 1:06:46The Everly Brothers two-part harmony
1:06:46 > 1:06:51that we based our sound on in the beginning.
1:06:51 > 1:06:55It was evolving and separating anyway.
1:06:55 > 1:06:59And I think that would have been inevitable.
1:06:59 > 1:07:02'I can't see myself doing this five years from now'
1:07:02 > 1:07:07I speak of the whole spiritual sphere,
1:07:07 > 1:07:12that whole...aspect about my life.
1:07:14 > 1:07:16This entertaining....
1:07:18 > 1:07:19..it has nothing to do with that.
1:07:21 > 1:07:27To say that, yes, that's all I have to do is to be a professional songwriter...
1:07:28 > 1:07:31..or as entertainers is inaccurate.
1:07:31 > 1:07:33I'm doing a lot else, personally.
1:07:33 > 1:07:38When Bridge Over Troubled Water was over, I wanted a rest from Paul.
1:07:38 > 1:07:42The amount that we were in the studio and in each other
1:07:42 > 1:07:45and duelling for what makes the great record that knocks
1:07:45 > 1:07:48the kids out the most, that duel was tiring.
1:07:48 > 1:07:52So I would've loved a rest from what we were doing.
1:07:52 > 1:07:55No next project with Paul for a year, please.
1:07:55 > 1:07:57But then...
1:07:58 > 1:08:00..I loved where we were at.
1:08:01 > 1:08:06When you say when it was over, you couldn't ask for a luckier place to be.
1:08:06 > 1:08:09People really getting what you're doing
1:08:09 > 1:08:13and you're invited to stretch out creatively and take the top higher.
1:08:14 > 1:08:17This is what we're here for, no?
1:08:17 > 1:08:19I think that there would've been one more album.
1:08:19 > 1:08:22It would've been a very hard album to follow,
1:08:22 > 1:08:25because there wasn't any way to get bigger than
1:08:25 > 1:08:29Bridge Over Troubled Water, I mean that was grandiose...
1:08:30 > 1:08:32..in all kinds of ways.
1:08:32 > 1:08:35Gee, my memories of what you're talking about,
1:08:35 > 1:08:40our era and the fun of making records that chased after
1:08:40 > 1:08:43The Beatles, as creative and as wonderful sonically.
1:08:43 > 1:08:48We used to think there are about ten aspects of record-making.
1:08:48 > 1:08:51The grooves the musicians establish - very important.
1:08:51 > 1:08:55The songs, its lyric, its melody, the changes,
1:08:55 > 1:08:57the engineering.
1:08:57 > 1:09:01Well, if you can do 80/90% of those things first rate
1:09:01 > 1:09:04you can come out with a Good Vibrations.
1:09:04 > 1:09:09So we were chasing after those wonderful records cos
1:09:09 > 1:09:12the rock 'n' roll era of the '60s was open-ended at the top.
1:09:12 > 1:09:15It was a very, very long-lasting,
1:09:15 > 1:09:23rewarding experience dealing with two guys who...we all loved music.
1:09:23 > 1:09:27I grew up with them, we all grew up together
1:09:27 > 1:09:30so it makes it very special, they're like family.
1:09:32 > 1:09:36When you hear their song, and you do their record,
1:09:36 > 1:09:40it's almost a religious experience.
1:09:40 > 1:09:42It's a wonderful, wonderful thing.
1:09:42 > 1:09:45There's so many different things in this album.
1:09:45 > 1:09:51It's not all just big orchestra sound, it's the rhythm sounds.
1:09:51 > 1:09:55And the sounds in it are different.
1:09:57 > 1:10:01And things that people want to learn and play.
1:10:01 > 1:10:07Because I was focussing on record-making and writing songs
1:10:07 > 1:10:10and blending with Artie, I never really paid attention
1:10:10 > 1:10:16to like how unique the voice was.
1:10:16 > 1:10:19You couldn't miss Art Garfunkel's voice.
1:10:19 > 1:10:23It really was an extraordinary voice - and still is.
1:10:23 > 1:10:25He turns me on and I turn him on
1:10:25 > 1:10:30and when we met each other at 11, we'd give each other a charge.
1:10:30 > 1:10:35I recognised him as the cool kid in the neighbourhood, the live wire.
1:10:35 > 1:10:37And he recognised me as the same,
1:10:37 > 1:10:41and we were buds right from the beginning and we turned musical immediately.
1:10:41 > 1:10:48Our blend knocked us out as did our sense of humour
1:10:48 > 1:10:51and sense of being unbounded by the Queens neighbourhood
1:10:51 > 1:10:56but having a notion of taking it somewhere
1:11:01 > 1:11:06# And the years are rolling by me They are rockin' evenly
1:11:06 > 1:11:09# I am older than I once was
1:11:09 > 1:11:13# And younger than I'll be that's not unusual
1:11:15 > 1:11:19# It isn't strange after changes upon changes
1:11:19 > 1:11:22# We are more or less the same
1:11:22 > 1:11:26# After changes we are more or less the same
1:11:27 > 1:11:29# Li-la-li
1:11:29 > 1:11:32# Li-la-la-la-li-la-li
1:11:32 > 1:11:35# Li-la-li
1:11:35 > 1:11:41# Li-la-la-la-li-la-li La-la-la-li. #
1:11:57 > 1:11:59APPLAUSE AND CHEERING
1:12:32 > 1:12:35# When you're weary
1:12:39 > 1:12:43# Feeling small
1:12:43 > 1:12:51# When tears are in your eyes
1:12:51 > 1:12:59# I will dry them all
1:12:59 > 1:13:04# I'm on your side
1:13:07 > 1:13:12# When times get rough
1:13:12 > 1:13:19# And friends just can't be found
1:13:19 > 1:13:27# Like a bridge over troubled water
1:13:27 > 1:13:32# I will ease your mind
1:13:32 > 1:13:41# Like a bridge over troubled water
1:13:41 > 1:13:53# I will ease your mind. #
1:13:53 > 1:13:56Subtitles by Red Bee Media Ltd
1:13:56 > 1:13:59E-mail subtitling@bbc.co.uk