POP MUSIC REVIEW : Building a Bridge Over 1990s’ Troubled Waters : Simon & Garfunkel Concert Benefits Homeless Children

S till Captivating After All These Years.

It has been almost three decades since Simon & Garfunkel--thanks to such songs as “The Sound of Silence” and “Mrs. Robinson”--helped define the restless idealism of a generation.

While the magic in the melding of their voices is rivaled in the modern pop era perhaps only by the Everly Brothers, the duo’s main strength has always been the warm insight and superb craft of Paul Simon’s songs. Like the best of Bob Dylan, Simon’s early tunes resonate with the sound of commentary and conscience.

Back together on Monday for the first time in a decade to headline a gala benefit with Neil Young and Steve Martin at the Dorothy Chandler Pavilion, Simon and Art Garfunkel performed songs that address the American character of the ‘90s as surely as they once spoke to the problems and challenges of the ‘60s and ‘70s.

The acoustic concert, with a top ticket of $1,000, was designed to raise $1 million for health-care services for homeless children in Los Angeles--an extension of a program organized by Simon and already in operation in New York and five other states.

And the tuxedo-clad pair--who have done occasional reunion shows since their formal break in 1971--wasted no time in setting the agenda. Early in the show, they turned to the poignant “American Tune,” the only post-Simon & Garfunkel number in their hourlong set.

Though the song was written by Simon in the aftermath of Watergate disillusionment, its relevance today is in its questioning of the values of a society that has failed to come to grips with the victims of poverty, including the children addressed by Simon’s own fund-raising efforts.

Sample lines:

And I don’t know a soul who’s not been battered. I don’t have a friend who feels at ease I don’t know a dream that’s not been shattered Or driven to its knees.

Mostly, however, Simon’s music comforts--and it was “Bridge Over Troubled Water,” his most famous composition, that summarized the sense of community responsibility behind the evening’s goals:

When you’re down and out When you’re on the street, When evening falls so hard I will comfort you. I’ll take your part.

It was an especially emotional moment when Garfunkel sang the 1970 hit because “Bridge,” with its sweeping range, is challenging for any vocalist, let alone someone who hasn’t performed regularly in years.

And sure enough, there was some hesitancy in his voice as he reached for the higher notes--so much at times that you could feel a tension in the hall. But he moved ahead valiantly and was rewarded with a boisterous standing ovation.

Things weren’t all serious Monday, however.

During “The 59th Street Bridge Song (Feelin’ Groovy),” Steve Martin--who had earlier delighted the audience by reprising his celebrated Great Flyzini zipper skit--halted the proceedings by walking on stage as part of a surprise routine.

This master of comedic timing said he just wanted to tell the pair how much the ‘60s hit meant to him back in his pot-smoking days and wanted to know if he could roll a joint while listening to it.

As Simon & Garfunkel resumed the song, Martin--pretending to be under the influence--became so euphoric that he couldn’t resist edging alongside them and joining in on the irresistible chorus: Doot-in’ doo-doo/Feelin’ groovy.

But Neil Young was the evening’s real co-star, opening the concert with his own hourlong set--one that also touched on matters of social optimism and resolve.

Wearing a black leather jacket over his customary Harley-Davidson T-shirt, the bearded singer-songwriter set his own agenda by starting with “From Hank to Hendrix,” a tune from his recent “Harvest Moon” album that speaks about ‘60s ideals and the healing power of music.

Though Simon & Garfunkel joined Young on backing vocals on two numbers, the highlight of their joint efforts came during their set when he played searing electric guitar on “The Sound of Silence.”

The moment was all the more endearing because it represented the breaking down of some old, artificial musical barriers. In the ‘60s, Simon & Garfunkel were viewed as too smooth and polished by hard-rockers who applauded Young’s rawer efforts.

At the same time, the pop Establishment that adored Simon & Garfunkel viewed renegades like Young as too primitive. Joining together effortlessly Monday, the musicians illustrated the common excellence in their music--music that is all the more powerful and engaging when it is performed to help others.

Yes, still captivating after all these years--and still classy, too.