{"id":13182,"date":"2023-01-12T09:10:13","date_gmt":"2023-01-12T09:10:13","guid":{"rendered":"https:\/\/aata.dev\/?p=13182"},"modified":"2023-01-12T09:10:13","modified_gmt":"2023-01-12T09:10:13","slug":"written-for-others-by-paul-simon","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2023\/01\/12\/written-for-others-by-paul-simon\/","title":{"rendered":"WRITTEN FOR OTHERS by Paul Simon"},"content":{"rendered":"\n

WRITTEN FOR OTHERS<\/strong> by Paul Simon<\/strong><\/p>\n\n\n\n

Norman Warwick studies and shares<\/strong><\/p>\n\n\n\n

All my favourite writers about the Americana music I love and those who write about the writers that created the genre hang out at places like American Songwriter magazine and Paste on-lin. They are so good, so objective, so thoughtful and so damned eloquent that, rather than paraphrase and thus diminish them, I can only name them and signpost the sidetracks and detours you take to reach them.<\/p>\n\n\n\n

One such writer is Tine Benitez Eves, who is a freelance and editor and serves as an excellent staff writer at American Songwriter, where she has recently written a piece that reminded me that even very early in his career Paul Simon was writing songs for others.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

By the mid-1950s, a teenage\u00a0Paul Simon<\/a>\u00a0(born Oct. 13, 1941) had already started performing with his childhood friend, Art Garfunkel. The duo would release their 1964 debut,\u00a0Wednesday Morning, 3 A.M.<\/em>, (right)<\/em><\/strong> before their back-to-back breakthrough albums,\u00a0Sounds of Silence<\/em>\u00a0and\u00a0Parsley, Sage, Rosemary and Thyme<\/em>\u00a0in 1966.<\/p>\n\n\n\n

Simon and Garfunkel<\/a> would record five albums together, and contribute several songs to the soundtrack of the 1968 film The Graduate<\/em>, before disbanding in 1970. Throughout their run together, Simon penned the duo\u2019s entire catalogue including classic hits like Bridge Over Troubled Water<\/a>, Mrs. Robinson, America, and The Boxer among many others.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

In 1972, Simon would release his self-titled solo album with hits \u201cMe and Julio Down by the Schoolyard,\u201d \u201cMother and Child Reunion\u201d and more than a dozen albums to follow, including\u00a0In the Blue Light<\/em>\u00a0(left)<\/strong> in 2018.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

A 12-time Grammy winner, including a Lifetime Achievement Award, Simon was recently honored on the televised\u00a0Homeward Bound: A Grammy Salute to the Songs of Paul Simon<\/em><\/a>\u00a0concert on Dec. 21, 2022, which included performances by\u00a0Stevie Wonder<\/a>,\u00a0Sting<\/a>, Brad Paisley,\u00a0Garth Brooks<\/a>\u00a0and\u00a0Trisha Yearwood<\/a>, Rhiannon Giddens (right)<\/em><\/strong>,\u00a0Eric Church<\/a>, The Bangles\u2019\u00a0Susanna Hoffs<\/a>, and the Jonas Brothers, among many others.<\/p>\n\n\n\n

\u201cI don\u2019t see large themes that span my songwriting career unless it\u2019s the story of my life,\u201d said Simon in a 2011 interview with American Songwriter<\/a>. \u201cThere are the usual song subjects: love songs, family, social commentary, etc. And, of course, the changing perspective of aging. I think you could look at my work as divided into three distinct periods: Simon and Garfunkel, pre-\u2018Graceland\u2019 solo albums, and \u2018Graceland\u2019 to the present.\u201d<\/p>\n\n\n\n

Of the song-writing process, Simon added \u201cI spend more time writing music than writing words. The music always precedes the words. The words often come from the sound of the music and eventually evolve into coherent thoughts\u2014or incoherent thoughts. Rhythm plays a crucial part in the lyric-making as well. It\u2019s like a puzzle to find the right words to express what the music is saying.\u201d<\/p>\n\n\n\n

Adding to the catalogue of songs he wrote with Simon and Garfunkel and his solo catalogue, from his 1965 debut, The Paul Simon Songbook<\/em>, post-Simon and Garfunkel to the present, there were a handful of songs that Simon wrote for other artists, some of which were also recorded later on by the folk duo.<\/p>\n\n\n\n

Here are five songs Simon wrote or co-wrote for other artists, including several that were recorded by outside acts first before being released by Simon and Garfunkel.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Originally written by Simon for his 1965 album,\u00a0The Paul Simon Songbook<\/em>, singer Dorris Henderson (left)<\/em><\/strong> recorded and released a stirring rendition of \u201cLeaves That Are Green\u201d several months earlier on her album,\u00a0There You Go<\/em>, with John Renbourn.<\/p>\n\n\n\n

\u201cLeaves That Are Green\u201d was also recorded with more instrumentation for Simon and Garfunkel\u2019s 1966 album, Sounds of Silence<\/em>, and was also the B-Side to their hit \u201cHomeward Bound,\u201d off their follow-up album, Parsley, Sage, Rosemary and Thyme<\/em>.<\/p>\n\n\n\n

I was twenty-one years when I wrote this song
I\u2019m twenty-two now, but I won\u2019t be for long
Time hurries on
And the leaves that are green turn to brown
And they wither with the wind
And they crumble in your hand<\/em><\/p>\n\n\n\n

Once my heart was filled with the love of a girl
I held her close, but she faded in the night
Like a poem I meant to write
And the leaves that are green turn to brown
And they wither with the wind
And they crumble in your hand<\/em><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Off Simon and Garfunkel\u2019s\u00a0Parsley, Sage, Rosemary and Thyme<\/em>, the second of two groundbreaking albums for the duo in 1966, \u201cHomeward Bound\u201d was first recorded by the British duo Chad & Jeremy, made up of the late Chad Stuart\u00a0and\u00a0Downton Abbey<\/em>\u00a0actor, Jeremy Clyde, in 1965. Simon wrote the lyric while waiting on the platform for a train at\u00a0Widnes station\u00a0near Liverpool, England to take him back to London to his girlfriend. Released by the duo in 1966, the song became a hit for Simon and Garfunkel, reaching No. 5 on the Billboard Hot 100.<\/p>\n\n\n\n

Over the decades, the classic track has been covered more than 130 times by everyone from Willie Nelson<\/a>, Glen Campbell, Cher<\/a>, Harry Belafonte, and even as a duet between Simon and George Harrison<\/a> in 1990. Art Garfunkel also released a live version of the song on his 1996 album Across America<\/em>.<\/p>\n\n\n\n

I\u2019m sittin\u2019 in the railway station
Got a ticket to my destination
On a tour of one-night stands
My suitcase and guitar in hand
And every stop is neatly planned
For a poet and a one-man band<\/em><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Off of Australian folk-rock group The Seekers\u2019 fifth album,\u00a0Come The Day<\/em> (left)<\/em><\/strong>, \u201cI Wish You Could Be Here\u201d was written by Simon and the band\u2019s guitarist Bruce Woodley. The album, which also features a cover of\u00a0The Beatles<\/a>\u2018 1965 hit \u201cYesterday,\u201d went to No. 2 on the Billboard 200 chart.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Woodley (right)<\/em><\/strong> would continue to collaborate with Simon and also co-wrote the track \u201cCloudy,\u201d off Simon and Garfunkel\u2019s\u00a0Parsley, Sage, Rosemary, and Thyme<\/em>. Coincidentally, The Cyrkle also released a cover of \u201cCloudy\u201d on their 1966 debut album,\u00a0Red Rubber Ball<\/em>\u2014the title track was also co-written by Simon and Woodley.<\/p>\n\n\n\n

Lookin\u2019 from my window on the freshly fallen snow
It sparkles as it tumbles upon the street below
The crackle of the fire is laughing in my ear
The room is warm and sleepy, and I wish you could be here
Some days in this town there\u2019s not a lot for me to do
I\u2019ve been listening to some records, and my thoughts return to you
I tried to read the paper, but the words aren\u2019t very clear
Oh, I know there\u2019s something missing, and I wish you could be here<\/em><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Paul Simon offered the song \u201cRed Rubber Ball\u201d to the \u201960s rock band The Cyrkle while they were on tour opening for Simon and Garfunkel. \u201cRed Rubber Ball\u201d went on to become the band\u2019s most well-known song. Written by Simon and the band\u2019s guitarist Bruce Woodley, the song hit No.\u00a02 on the\u00a0Billboard\u00a0Hot 100\u00a0chart and sold more than one million copies.<\/p>\n\n\n\n

\u201cRed Rubber Ball\u201d\u2014which has been covered by Neil Diamond<\/a>, Mel Torm\u00e9, Del Shannon, and even Simon and Garfunkel\u2014tells the story of a man who remains hopeful after a failed romance comes to an end.<\/p>\n\n\n\n

I should have known you\u2019d bid me farewell
There\u2019s a lesson to be learned from this and I learned it very well
Now I know you\u2019re not the only starfish in the sea
If I never hear your name again, it\u2019s all the same to me<\/em><\/p>\n\n\n\n

And I think it\u2019s gonna be all right
Yeah, the worst is over now
The mornin\u2019 sun is shinin\u2019 like a red rubber ball<\/em><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

During the sessions for their fourth album,\u00a0Bookends<\/em>, Simon and Garfunkel recorded \u201cYou Don\u2019t Know Where Your Interest Lies\u201d but it never made the album. Instead, Dana Lavery released the song as a single in 1967. Simon and Garfunkel only released the song as a B-side to the\u00a0Bookends<\/em>\u00a0track \u201cFakin\u2019 It.\u201d Their version of \u201cYou Don\u2019t Know Where Your Interest Lies\u201d was also released as a bonus track on the reissue of\u00a0Bookends<\/em>\u00a0in 2001.<\/p>\n\n\n\n

You don\u2019t know that you love me
You don\u2019t know but I know that you do
You may think you\u2019re above me, yeah
What you think isn\u2019t always true<\/em><\/p>\n\n\n\n

Don\u2019t try to debate me
You should know that I\u2019m womanly wise
Still you try to manipulate me
You don\u2019t know where your interest lies<\/em><\/p>\n\n\n\n

ACKNOWLEDGEMENTS<\/strong><\/p>\n\n\n\n

please note logo <\/strong>The primary sources for this article have been various on line sites including Nonesuch music and Paste on-line and the print publication Maverick.<\/strong><\/p>\n\n\n\n

In our occasional re-postings Sidetracks And Detours are confident that we are not only sharing with our readers excellent articles written by experts but are also pointing to informed and informative sites readers will re-visit time and again. Of course, we feel sure our readers will also return to our daily not-for-profit blog knowing that we seek to provide core original material whilst sometimes spotlighting the best pieces from elsewhere, as we engage with genres and practitioners along all the sidetracks & detours we take.<\/strong><\/p>\n\n\n\n

Recommended titles of books about Music and Musicians in our weekly feature, You\u00b4re Gonna Need A Bigger Bookshelf can be found on line at Powell\u00b4s City Of Books at<\/strong><\/p>\n\n\n\n

https:\/\/www.powells.com\/browse-book-genres\/music<\/a><\/p>\n\n\n\n

Today\u00b4s article was collated by Norman Warwick, a weekly columnist with Lanzarote Information and owner and editor of this daily blog at Sidetracks And Detours.<\/strong><\/p>\n\n\n\n

Norman has also been a long serving broadcaster, co-presenting the weekly all across the arts programme on Crescent Community Radio for many years with Steve, and his own show on Sherwood Community Radio. He has been a regular guest on BBC Radio Manchester, BBC Radio Lancashire, BBC Radio Merseyside and BBC Radio 4.<\/strong><\/p>\n\n\n\n

As a published author and poet he was a founder member of Lendanear Music, with Colin Lever and Just Poets with Pam McKee, Touchstones Creative Writing Group (where he was creative writing facilitator for a number of years) with Val Chadwick and all across the arts with Robin Parker.<\/strong><\/p>\n\n\n\n

From Monday to Friday,<\/strong> you will find a daily post here at Sidetracks And Detours and, should you be looking for good reading, over the weekend you can visit our massive but easy to navigate archives of over 500 articles.<\/strong><\/p>\n\n\n\n

e mail logo <\/strong>The purpose of this daily not-for-profit blog is to deliver news, previews, interviews and reviews from all across the arts to die-hard fans and non- traditional audiences around the world. We are therefore always delighted to receive your own articles here at Sidetracks And Detours. So if you have a favourite artist, event, or venue that you would like to tell us more about just drop a Word document attachment to me at <\/strong>normanwarwick55@gmail.com<\/strong><\/a> with a couple of appropriate photographs in a zip folder if you wish. Beiung a not-for-profit organisation we unfortunately cannot pay you but we will always fully attribute any pieces we publish. You therefore might also. like to include a brief autobiography and photograph of yourself<\/strong><\/p>\n\n\n\n

in your submission. We look forward to hearing from you.<\/strong><\/p>\n\n\n\n

Sidetracks And Detours is seeking to join the synergy of organisations that support the arts of whatever genre. We are therefore grateful to all those share information to reach as wide and diverse an audience as possible.<\/strong><\/p>\n\n\n\n

IN HOUSE<\/strong><\/p>\n\n\n\n

editor\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em><\/strong>Norman Warwick<\/p>\n\n\n\n

research       <\/em><\/strong>                                    DCI Coward<\/p>\n\n\n\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Superintent Shepherd<\/p>\n\n\n\n

photography                                   <\/em><\/strong>Dutton The Button<\/p>\n\n\n\n

CORRESONDENCE<\/strong><\/p>\n\n\n\n

art and culture<\/em><\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Michael Higgins<\/p>\n\n\n\n

jazz rand adio<\/em><\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Steve Bewick<\/p>\n\n\n\n

jazz<\/em><\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Gary Heywood Everett<\/p>\n\n\n\n

lawless jazz<\/em><\/strong>                                      Alan Lalwless<\/p>\n\n\n\n

literature<\/em><\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Tony Brady<\/p>\n\n\n\n

Americana<\/em><\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Peter Pearson<\/p>\n\n\n\n

Poetry<\/em><\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Seamus Kelly<\/p>\n\n\n\n

classical music<\/em><\/strong>                               Grahma Marshall<\/p>\n\n\n\n

MEDIA SOURCES <\/strong><\/p>\n\n\n\n

all across the arts                           <\/strong>Steve Cooke<\/p>\n\n\n\n

Hot Biscuits Jazz Radio<\/strong>                    mix-cloud<\/a><\/p>\n\n\n\n

The Adsubian Gallery                         newsletter<\/p>\n\n\n\n

The Lanzarote Art Gallery                  https:\/\/lanzaroteartgallery.com<\/p>\n\n\n\n

AllMusic  <\/strong><\/a>                                          <\/strong>https:\/\/www.allmusic.com<\/p>\n\n\n\n

feedspot                                              https:\/\/www.feedspot.com\/?_src=folder<\/a><\/p>\n\n\n\n

Fran At The Stoller                          The Stoller Hall<\/p>\n\n\n\n

Jazz In Reading                                  https:\/\/www.jazzinreading.com<\/a><\/p>\n\n\n\n

Jazziz                                                 https:\/\/www.jazziz.com
<\/a>Ribble Valley Jazz & Blues                https:\/\/rvjazzandblues.co.uk<\/a><\/p>\n\n\n\n

Rob Adams                                         Music That\u00b4s Going Places<\/p>\n\n\n\n

Lanzarote Information                        https:\/\/lanzaroteinformation.co.uk<\/p>\n\n\n\n

all across the arts                                 www.allacrossthearts.co.uk<\/p>\n\n\n\n

Rochdale Music Society                     rochdalemusicsociety.org<\/p>\n\n\n\n

Lendanear                                           www.lendanearmusic<\/a><\/p>\n\n\n\n

Agenda Cultura Lanzarote<\/p>\n\n\n\n

Larry Yaskiel \u2013 writer<\/p>\n\n\n\n

Goodreads                                        https:\/\/www.goodreads<\/a>.<\/p>\n\n\n\n

groundup music                                  HOME | GroundUP Music<\/a><\/p>\n\n\n\n

Maverick                                             https:\/\/maverick-country.com<\/a><\/p>\n\n\n\n

Joni Mitchell newsletter<\/p>\n\n\n\n

passenger newsletter<\/p>\n\n\n\n

paste mail ins<\/p>\n\n\n\n

sheku kanneh mason newsletter<\/p>\n\n\n\n

songfacts\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 en.wikipedia.org\/wiki\/SongFacts<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cI spend more time writing music than writing words. The music always precedes the words. The words often come from the sound of the music and eventually evolve into coherent thoughts\u2014or incoherent thoughts. Rhythm plays a crucial part in the lyric-making as well. It\u2019s like a puzzle to find the right words to express what the music is saying.\u201d<\/p>\n","protected":false},"author":2,"featured_media":13192,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[45],"tags":[],"class_list":["post-13182","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/13182","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=13182"}],"version-history":[{"count":1,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/13182\/revisions"}],"predecessor-version":[{"id":13193,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/13182\/revisions\/13193"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/13192"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=13182"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=13182"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=13182"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}