SIMON+GARFUNKEL SOUNDS OF SILENCE INSANELY RARE ORIG 7"RED WAX WHITE LABEL PROMO

$

153

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·       SIMON & GARFUNKEL – SOUNDS OF SILENCE (THE 1964 ACOUSTIC VERSION, NOT THE TOM WILSON'S "ELECTRIFIED" 1966 VERSION, ALTHOUGH BOTH VERSIONS WERE PRODUCED BY TOM WILSON)  – ULTRA-RARE ORIGINAL 1964 PROMOTIONAL-ONLY SAME-SIDED (SAME TRACK ON BOTH SIDES) WHITE LABEL PROMO 45rpm SINGLE 4-43396 PRESSED ON RED VINYL ;  WITH COLUMBIA STOCK 7" SLEEVE

·       ORIGINAL U.S. PRESSING

***PROMO-ONLY RED VINYL PRESSING ***

·       ORIGINAL COLUMBIA SINGLES LABEL, MID-'60s STYLE, WHITE PROMOTIONAL VERSION

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       CLEAN, WEAR-FREE LABELS (BUT WITH FILING CODE "6" WRITTEN IN THIN RED MARKER ON BOTH LABELS)

·       MACHINE-STAMPED MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD

·       MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-1C/-1D'.  ON SOME LABELS,  SUFFIX '–1' DENOTES THE VERY FIRST, ORIGINAL PRESSING)

(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get.  GUARANTEED!)

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Paul Simon was a Brill Building demo singer as a teenager and, like the Beatles, was heavily under the spell of the famous harmonies of the Everly Brothers. Simon and his high school buddy, the classically trained musician Art Garfunkel, even formed a teenage duo, Tom and Jerry, that was modeled after the Everlys. But like a lot of other ambitious songwriters in the '60s, Simon soon fell sway to the remarkable abilities of Bob Dylan. And again, like the Beatles, Simon sought to merge his Brill-trained classic rock & roll and pop tendencies to the newly wide-open lyrical scope of Dylan. And Dylan himself met the popsters halfway, famously going electric soon after seeing the Fab Four and watching the Byrds score even bigger hits than he did with electrified versions of his songs. It was a heady era for pop music; soon anything and everything was fair game for subject matter and rock & roll songwriters were starting to be taken seriously as artists.

While we all would agree that this was mostly a good thing, the charts soon became littered with overly ambitious and ill-informed protest songs and self-consciously "literate" clunkers that fell short of the mark. While "Sound of Silence" is ultimately saved from being among the latter, Simon does seem to be reaching like a college freshman English major with "hey, look at me!" lines like, "the words of the prophets were written on the subway walls," and "but my words, like silent raindrops fell." Simon seems to desire the same prophetic voice of authority that Dylan confidently exhibited in songs like "A Hard Rain's A-Gonna Fall." But as a great song should, "Sound of Silence" starts with the microcosmic world of a relationship and the inability for two to communicate, and in the larger context of the tumultuous '60s takes on a greater significance. The lyric, while a bit sophomoric at times, showed the promise of a writer with talent that would develop over time. And certainly the narrator as the lone voice of reason and understanding and the alienated cry in the urban wilderness are themes that Simon would later refine with more subtlety and greater depth on songs like "The Boxer."

The original recording was from the pair's debut, Wednesday, 3 AM (1964), [EDIT: this is the acoustic version we have here] an album they recorded for Columbia after they first felt the influence of the burgeoning folk revival movement. The two were aware of what they had, Garfunkel noting in the album's liner notes that the song "...is a major work. We were looking for a song on a larger scale, but this was more than either of us expected." They recorded it with just the voices and a lone acoustic guitar, and, after little interest was shown in the record, disbanded while Garfunkel attended Columbia University and Simon went off to live in London, where he recorded and released a solo record and toured European coffeehouses and pubs. Meanwhile, the song started to find a modest amount of radio play. Columbia Records, experiencing success with Dylan's electric-acoustic forays, employed Dylan's producer, Tom Wilson, to give "Sound of Silence" a similarly electrified treatment -- employing the same band from the Dylan sessions -- never bothering to consult Simon and/or Garfunkel. According to Patrick Humphries' biography of Simon, The Boy in the Bubble (1988), the singer/songwriter was on tour in Denmark when he happened upon a copy of Billboard and saw that the song was charting. Humphries notes that Columbia mailed Simon a copy of the electrified version and that Simon was "horrified when he first heard it. In fact, if you listen to that original version, you can hear the rhythm section slows down at one point so that Paul and Artie's voices can catch up." But it went to number one in 1966. The duo agreed that it was time to regroup. They quickly went into the studio with a few more songs, some from Simon's solo record, to record a full album (Sounds of Silence, 1966) to capitalize. As Simon recounted -- quoted on the Simon & Garfunkel website): "I had just come back from England, and Art was still living at home, he was still at college and we were sitting in my car...smoking, and "Sound of Silence" came on and they said: 'Number one record, "Sound of Silence" by Simon & Garfunkel,' we were just sitting there at night, we hadn't anything to do, and Artie turned to me and he said: 'those guys must be having so much fun!'."

The duo harmonizes sweetly on the incredibly haunting melody, over a driving, minor-key acoustic guitar rhythm, also indebted to the Everly Brothers, singing images of urban apathy and desensitization. Even the acoustic original starts with the soft, dark introduction and grows more intense and harder, with the wispy voices gaining an edge and wavering with emotion while Simon abandons the fingerpicking style and goes for the Everlys' strum. In an interview in Playboy, Simon recounted the germination of the song: "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'. I've always believed that you need a truthful first line to kick you off into a song. You have to say something emotionally true before you can let your imagination wander."

The electrified version [EDIT: we do NOT have the electrified version here] is the one most are familiar with, from the hit single and its crucial and influential role on the soundtrack to the 1967 film The Graduate. The added musicians don't pound as hard as they often do on those Dylan records, instead opting for a more jangling West Coast folk-rock treatment. The soundtrack makes great use of the song's plaintive opening arpeggios and first line. The song gives voice to the film's frustrated, Holden Caulfield-esque hero, Benjamin Braddock.

 (EXCERPT FROM AN ONLINE REVIEW BY BILL JANOVITZ, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

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·       CONDITION:

·       45-RPM SINGLE RECORD:

(IMPORTANT NOTE: unless otherwise noted below, ALL records are graded visually, NOT play-graded!)

(a)          WE GRADE THE VINYL AS EXCELLENT. This is one of those albums that are somewhat difficult to grade. It is somewhere between VG++ and NEAR MINT, just a notch below NEAR MINT. A few light abrasions ARE visible, but they are extremely shallow, superficial  and only moderately visually distracting (nothing significant).For the most part, the vinyl looks impeccable without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)          PLEASE NOTE:  This - of course - is an ANALOG recording, and not an inferior, digital, newly mastered recording!!!

·       SLEEVE

THE RECORD COMES IN ITS ORIGINAL COLUMBIA GREY  AND WHITE STOCK INNER SLEEVE (NOT SEPARATELY GRATED, BUT IN A VERY NICE CONDITION, OVERALL - ABOUT 8 ON A 10-POINT SCALE)

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POSTAGE & SHIPPING:

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 (1) The year indicated in the title bar is the year of the original release,  NOT necessarily the year of the actual pressing; for the actual generation of the pressing, please see our item description (top section, text in red letters). (2) Please do NOT bid based on the title bar, subtitle bar or item specifics box alone; instead, please read the entire description and grading before bidding; (3) Absolutely NO order cancellations after the auction closes. ever, under any circumstances. We can ONLY cancel bids before the item closes. (4) We are unable to cancel bids in the final 12 hours of the auction; if you need to do so, please contact eBay for help (5) We are unable to provide matrix-, stamper- or other pressing  information in the final 24 hours of the auction. If you require this information, please contact us well before the final day of the auction. (6) Yes, we DO combine shipments. Please click on "Shipping and Payment" tab on top of the auction page for additional details. (7)  All Paypal payments must be made from confirmed Paypal shipping addresses. NO third party shipping addresses will be honored  (8) Absolutely NO partial refunds: if you are unhappy with the merchandise you received, please return it for a full refund, postage included (9). Civilized people can disagree without accusing each other of being indecent or dishonest; if you need proof of this seller's personal integrity, please check our eBay feedback, which speaks for itself  (10) All disagreements and miscommunications can be - and will only be - solved in a civil and mutually respectful manner;  please avoid puerile, offensive, abrasive or menacing language (attempted humor is fine and usually appreciated, although overused-to-death sarcasms can be really, really tedious. (11) This seller will accommodate all reasonable requests and is generally a flexible and agreeable person (12) Our love & appreciation for your trust, loyalty and business, always and forever;  Thank You & Good Night!

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