The album opens with one of the last vestiges of Paul Simon's stay in England, "Scarborough Fair/Canticle" -- the latter was the duo's adaptation of a centuries-old English folk song in an arrangement that Simon had learned from Martin Carthy. The sonic results were startling on their face, a record that was every bit as challenging in its way as "Good Vibrations," but the subliminal effect was even more profound, mixing a hauntingly beautiful antique melody, and a song about love in a peaceful, domestic setting, with a message about war and death; Simon & Garfunkel were never as political as, say, Peter, Paul & Mary or Joan Baez, but on this record they did bring the Vietnam war home. All are good, pribably rate the Sundazed 3rd best. Two of the most beautiful songs ever written about the simple joys of living, the languid "Cloudy" and bouncy "The 59th Street Bridge Song (Feelin' Groovy)," were no less seductive, and the album also included "Homeward Bound," their Top Five hit follow-up to "The Sound of Silence," which had actually been recorded at the sessions for that LP. Sundazed must have done a remaster. The stereo separation is WAAAY better than it is on any other cd. Following the success of their debut single "The Sound of Silence", Simon & Garfunkel regrouped after a time apart while Columbia issued their second album, a rushed collection titled Sounds of Silence. Overall, Parsley, Sage, Rosemary and Thyme was the duo's album about youthful exuberance and alienation, and it proved perennially popular among older, more thoughtful high-school students and legions of college audiences across generations. Raw and personal, they're startling in their intimacy and their directness, and offer a more intimate view of Paul Simon, the artist, than ever seen.] After the frantic rush to put together an LP in just three weeks that characterized the Sounds of Silence album early in 1966, Parsley, Sage, Rosemary and Thyme came together over a longer gestation period of about three months, an uncommonly extended period of recording in those days, but it gave the duo a chance to develop and shape the songs the way they wanted them. Art payed piano on the last track Simon & Garfunkel's first masterpiece, Parsley, Sage, Rosemary and Thyme was also the first album on which the duo, in tandem with engineer Roy Halee, exerted total control from beginning to end, right down to the mixing, and it is an achievement akin to the Beatles' Revolver or the Beach Boys' Pet Sounds album, and just as personal and pointed as either of those records at their respective bests. Has anyone noticed slight sibilance in some of the vocals on this record, or is it just my setup? Parsley, Sage, Rosemary and Thyme (Full album) Laura Imla; 12 videos; 82,241 views; Last updated on Feb 20, 2019 Data Correct 'Parsley, Sage, Rosemery and Thyme' is the third studio album of Paul Simon and Art Garfunkel. Released on October 10, 1966, this album not only surpasses the duo's first two albums; but according to me, is even better than their fifth & final album 'Bridge Over Troubled Water'. ), and understandably only made the Top 30 on AM radio. Instead, the duo offered "7 O'Clock News/Silent Night," a conceptual work that was a grim and ironic (and prophetic) comment on the state of the United States in 1966. A Simple Desultory Philippic (Or How I Was Robert McNamera'd Into Submission) 9 "For Emily, Whenever I May Find Her" was a romantic idyll that presented Art Garfunkel at his most vulnerable sounding, anticipating such solo releases of his as "All I Know," while "Flowers Never Bend With the Rainfall" was Simon at his most reflectively philosophical, dealing with age and its changes much as "Patterns" dealt with the struggle to change, with a dissonant note (literally) at the end that anticipated the style of the duo's next album.