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By that time we had encountered our first criticism. For the first few years, it was just pure praise. It took two or three years for people to realize that we weren't strange creatures that emerged from England but just two guys from Queens who used to sing rock'n'roll. And maybe we weren't real folkies at all! Maybe we weren't even hippies!
The chorus vocals were recorded in a church: The church had a tiled dome that provided great acoustics. It was an interesting field trip for the recording crew who had to set up the equipment in the house of worship. With all this material to work with, a standard 8-track recorder wasn't enough, so the album's producer, Roy Halee, brought Columbia boss Clive Davis on the studio to demonstrate his problem and lobby for a new, track recorder.
Davis, who didn't become a legendary record executive by turning down such requests, bought him the new machine. Simon found inspiration for this song in The Bible, which he would sometimes read in hotels. The lines, "Workman's wages" and "Seeking out the poorer quarters" came from passages. Sometimes what is put in as a placeholder lyric becomes Cybererotic chat crucial part of the song.
That was the Sluts in capel parc here, as Simon used "Lie la lie" in place of a proper chorus because he couldn't find the Sluts in capel parc words. I didn't have any words! Then people said it was 'lie' but I didn't really mean that. That it was a lie. But, it's not a failure of songwriting, because people like that larc they put enough meaning into it, and the rest of the song has enough power and emotion, I pwrc, to make it go, so it's all right.
But for me, every time I sing that part, I'm a little embarrassed. The legendary session drummer Hal Blaine created the huge drum sound with the help of producer Roy Halee, who found a spot for the drums in front of an elevator in the Columbia offices. As recounted in the Making of Bridge Over Troubled Water documentary, Blaine would pound the drums at the end of the "Lie la lie" vocals that were playing in his headphones, and at one point, an elderly security guard got a big surprise when he came out of the elevator and was startled by Blaine's thunderous drums.
The opening guitar lick came courtesy of the session player Fred Carter Jr. Simon would often use another guitarist to augment his sound. This song was recorded about a year before the album was dapel. Bob Dylan recorded a version of this on his album Self Portrait.
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Simon would often use another guitarist to do his sound. The opening guitar lick came guy of the session player Fred Carter Jr. For the first few channels, it was just pure praise. That was the most here, as Simon used cappel la lie" in place of a social chorus because he couldn't find the right words.