Simon And Garfunkel Sounds Of Silence Album Cover

[Edilma Howard]

The Sound of Silence" (originally "The Sounds of Silence") is a song by the American folk rock duo Simon & Garfunkel, written by Paul Simon. The duo's studio audition of the song led to a record deal with Columbia Records, and the original acoustic version was recorded in March 1964 at Columbia's 7th Avenue Recording Studios in New York City for their debut album, Wednesday Morning, 3 A.M., released that October to disappointing sales. An overdubbed electric remix was released the following year and went to number one on the Billboard singles chart.

In 1965, the song began to attract airplay at radio stations in Boston and throughout Florida. The growing airplay led Tom Wilson, the song's producer, to remix the track, overdubbing electric instruments and drums. This remixed version was released as a single in September 1965. Simon & Garfunkel were not informed of the song's remix until after its release. The remix hit No. 1 on the Billboard Hot 100 for the week ending January 1, 1966, leading the duo to reunite and hastily record their second album, which Columbia titled Sounds of Silence in an attempt to capitalize on the song's success. The remixed single version of the song was included on this follow-up album. Later, it was featured in the 1967 film The Graduate and was included on the film's soundtrack album. It was additionally released on the Mrs. Robinson EP in 1968, along with three other songs from the film: "Mrs. Robinson", "April Come She Will", and "Scarborough Fair/Canticle".

"The Sound of Silence" was a top-ten hit in multiple countries worldwide, among them Australia, Austria, West Germany, Japan and the Netherlands. Generally considered a classic folk rock song, the song was added to the National Recording Registry in the Library of Congress for being "culturally, historically, or aesthetically important" in 2012, along with the rest of the Sounds of Silence album. Since its release, the song was included in later compilations, beginning with the 1972 compilation album Simon and Garfunkel's Greatest Hits.[2]

Simon and Garfunkel had become interested in folk music and the growing counterculture movement separately in the early 1960s. Having performed together previously under the name Tom and Jerry in the late 1950s, their partnership had dissolved by the time they began attending college. In 1963, they regrouped and began performing Simon's original compositions locally in Queens. They billed themselves "Kane & Garr", after old recording pseudonyms, and signed up for Gerde's Folk City, a Greenwich Village club that hosted Monday night performances.[3] In September 1963, the duo's performances caught the attention of Columbia Records producer Tom Wilson, a young African-American jazz musician who was also helping to guide Bob Dylan's transition from folk to rock.[4][3][5] Simon convinced Wilson to let him and his partner have a studio audition; their performance of "The Sound of Silence" got the duo signed to Columbia.[6]

The song's origin and basis are unclear, with some thinking that the song commented on the assassination of John F. Kennedy, as the song was recorded three months after the assassination, although Simon & Garfunkel had performed the song live as Kane & Garr two months before the assassination.[7] Simon wrote "The Sound of Silence" when he was 21 years old,[8][9] later explaining that the song was written in his bathroom, where he turned off the lights to better concentrate.[5] "The main thing about playing the guitar, though, was that I was able to sit by myself and play and dream. And I was always happy doing that. I used to go off in the bathroom, because the bathroom had tiles, so it was a slight echo chamber. I'd turn on the faucet so that water would run (I like that sound, it's very soothing to me) and I'd play. In the dark. 'Hello darkness, my old friend / I've come to talk with you again.'"[10] According to Garfunkel, the song was first developed in November 1963, but Simon took three months to perfect the lyrics, which were entirely written on February 19, 1964.[11] Garfunkel, introducing the song at a live performance (with Simon) in Haarlem (Netherlands), in June 1966, summed up the song's meaning as "the inability of people to communicate with each other, and not particularly internationally but especially emotionally, so that what you see around you is people who are unable to love each other."[5]

Garfunkel's college roommate, Sandy Greenberg, wrote in his memoir that the song reflected the strong bond of friendship between Simon and Garfunkel, who had adopted the epithet "Darkness" to empathise with Greenberg's sudden-onset blindness.[12]

To promote the release of their debut album, Wednesday Morning, 3 A.M., released on October 19, 1964,[13] the duo performed again at Folk City, as well as two shows at the Gaslight Caf, which went over poorly. Dave Van Ronk, a folk singer, was at the performances, and noted that several in the audience regarded their music as a joke.[14] "'Sounds of Silence' actually became a running joke: for a while there, it was only necessary to start singing 'Hello darkness, my old friend ... ' and everybody would crack up."[15] Wednesday Morning, 3 AM sold only 3,000 copies upon its October release, and its dismal sales led Simon to move to London.[16] While there, he recorded a solo album, The Paul Simon Songbook (1965), which features a rendition of the song, titled "The Sound of Silence" (instead of "The Sounds of Silence", as on Wednesday Morning, 3 A.M.).[17]

Wednesday Morning, 3 A.M. had been a commercial failure before producer Tom Wilson was alerted that radio stations had begun to play "The Sound of Silence" in spring 1965. A late-night disc jockey at WBZ in Boston began to spin "The Sound of Silence", where it found a college student audience.[20] Those at Harvard and Tufts University responded well, and the song made its way down the east coast pretty much "overnight", "all the way to Cocoa Beach, Florida, where it caught the students coming down for spring break."[20] A promotional executive for Columbia went to give away free albums of new artists, and beach-goers were interested only in the artists behind "The Sound of Silence". He phoned the home office in New York, alerting them of its appeal.[21] An alternate version of the story states that Wilson attended Columbia's July 1965 convention in Miami, where the head of the local sales branch raved about the song's airplay.[22]

On June 15, 1965, following sessions for Dylan's "Like a Rolling Stone", Wilson retained guitarist Al Gorgoni and drummer Bobby Gregg from the Dylan sessions, adding guitarist Vinnie Bell and bassist Bob Bushnell.[26] The tempo on the original recording was uneven, making it difficult for the musicians to keep the song in time.[23] Engineer Roy Halee employed a heavy echo on the remix, which was a common trait of the Byrds' hits.[23] The single was first provided to college FM rock stations, and a commercial single release followed on September 13, 1965.[22] The lack of consultation with Simon and Garfunkel on the remix was because, although the duo was still contracted to Columbia Records, the duo was no longer a "working entity".[23][27] It was not unusual for producers to add instruments or vocals to previous releases and re-release them as new products.[citation needed]

In the fall of 1965, Simon was in Denmark, performing at small clubs, and picked up a copy of Billboard, as he had routinely done for several years.[22] Upon seeing "The Sound of Silence" in the Billboard Hot 100, he bought a copy of Cashbox and saw the same thing. Several days later, Garfunkel excitedly called Simon to inform him of the single's growing success.[22] A copy of the 7-inch single arrived in the mail the next day, and according to friend Al Stewart, "Paul was horrified when he first heard it ... [when the] rhythm section slowed down at one point so that Paul and Artie's voices could catch up."[24] Garfunkel was far less concerned about the remix, feeling conditioned to the process of trying to create a hit single: "It's interesting, I suppose it might do something, It might sell," he told Wilson.[28]

The lyrics of the song are written in five stanzas of seven lines each. Each stanza begins with a couplet describing the setting of the scene, followed by a couplet driving the action forward and another couplet expressing the climactic thought of the verse, and closes with a one-line refrain referring to "the sound of silence". This structure is supported by a melodic contour, where the first and second lines are paired with the arpeggio A-C-E-D and a repeat a step lower, respectively. The arpeggio is then stretched to become C-E-G-A-G and repeated twice in the second couplet. For the last three lines, the contour then leaps from C to the higher A, rises to the higher C, and then falls back to the A before singing the stretched arpeggio in reverse and finally retreating to the lower A.[18] The progress of the lyrics through its five stanzas places the singer into an incrementally increasing tension with an increasingly ambiguous "sound of silence". The irony of using the word "sound" to describe silence in the title lyrics suggests a paradoxical symbolism being used by the singer, which the lyrics of the fourth stanza eventually identifies as "silence like a cancer grows". The "sound of silence" is symbolically taken also to denote the cultural alienation associated with much of the 1960s.[25] In the counterculture movements of the 1960s, the phrase "sound of silence" can be compared to other more commonly used turns of phrase such as "turning a deaf ear" often associated with the detachment experienced with impersonal large governments.[by whom?]

The first stanza presents the singer as taking some relative solace in the peacefulness he associates with "darkness" which is submerged "within" the ambiguous sound of silence.[29] The second stanza has the effect of breaking into the silence with "the flash of a neon light" which leaves the singer "touched" by the enduring ambiguity of the sound of silence. In the third stanza, a "naked light" emerges as a vision of 10,000 people all caught within their own solitude and alienation without any one of them daring to "disturb" the recurring sound of silence.

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