Anyone familiar with Golf in the Wild will know the book frequently leaves golf behind and explores a range of diverse subjects which include local history, the tyrant known as ‘my Mother’ (stolen from Jeanette Winterson’s Oranges Are Not The Only Fruit) and motor racing of the 1960s and 1970s. It is a journey into my past played out across golf courses in wild places to the distant sound of racing engines.
The sequel, Golf in the Wild – Going Home, will be no different although racing engines have been largely replaced by the sound of mono speakers and Dansette record players. This is an extract from Chapter 10 of the new book – I am driving south on the A9, approaching the Forth bridges:
I bought Bridge over Troubled Water on the day it was released – 26th January 1970. I must have ducked out of college, caught the train to Oxford Road, Manchester and walked down to Rare Records, 26 John Dalton Street, the shop where Ian Curtis was employed in the early seventies – the first step in his musical career.
Bridge over Troubled Water is a fine album but not the defining work of art that is Bookends. Significantly, I had reservations about the title track. The first two verses work beautifully but the third is over-produced, too dramatic and the voice of the narrator changes from gentle reassurance to brash optimism. It is not the same person. There is a reason – it is not the song Paul Simon intended. It was Roy Halee, the record producer, and Art Garfunkel who insisted on a third verse – “the first two verses could be runway material for a take-off that is waiting” – Art Garfunkel. Reluctantly, Simon wrote the additional material, too quickly and in the studio, something he never usually did.
So, here’s the thing – from the northern side, drive over the Queensferry Crossing when there is a high wind. Keep to the 40 mph speed restriction and turn on Bridge over Troubled Water at the first exit to the old Bridge. Turn up the volume and listen intently as you cross the troubled waters. When you reach the first gantry sign on the South Queensferry side at 3 minutes 4 seconds, start fading the track out and you will hear the song as Paul Simon originally intended – a small hymn, a small masterpiece.
And the title of the post? When the orchestral string section came back from the arranger, Ernie Freeman, for over-dubbing in the studio, this was the title assigned to the arrangement – well, that’s how much attention he was paying to the demo! – Paul Simon.