Art Garfunkel - Shine It On Me скачать видео бесплатно

In the April 3, 1978 issue of NEWSWEEK, Tony Schwartz reviewed Art Garfunkel's WATERMARK album. Excerpts follow:

Fortified with new material from his latest album, Watermark, he has embarked on a 40-city tour, his first since 1970. Even the cover of his current album bespeaks his new attitude. Garfunkel is pictured reclining in a lounge chair on a sun deck, just a few yards from the ocean (editor's note: this photograph was taken by Laurie Bird). There is a broad smile across his face. "I wanted to come out from the masks, to get away from the shadows, including my own," says Garfunkel.

Schwartz continued, "The sunny image is in stark contrast to his former partner's. While Paul Simon continues to write introspective, often despairing songs, Garfunkel has chosen simpler, softer-edged tunes set to luxuriant arrangements. The format highlights what has always been his best quality: an effortlessly lyrical voice that is as smooth and unfettered as any in pop music. For Watermark, his most graceful album yet, Garfunkel settled largely on tunes by Jimmy Webb, the prolific songwriter known for his lavishly romantic lyrics and lively melodies. It was to the latter that Garfunkel was especially attracted. 'I respond more to notes than to lyrics,' he (Garfunkel) explains. "I'm interested in their richness and power. What I get caught up in is texture and sonority - the sound per se."

"Garfunkel makes no apologies for his simple, sentimental style", writes Schwartz. Garfunkel added, 'When I got on my own, I became more selfish. I've been criticized for being too lush, but what that really means is that my leaning is more legato than percussive. I happen to like smooth, connected notes more than choppy, staccato ones. I find some songs too gritty, too sophisticated. My style is to sing bloody, from the heart - and, if I want to work in a palette of red, salmon, pink, orange, rose and bright crimson, then I will. I work a lot on the crafting. It's exhilarating at first and then very painful. I fuss with the dynamics - emptiness vs. busyness, peaks followed by valleys, tension and then resolve. I get caught up because I think it takes a special love for the music to make it work.'