It was picked up the next day along the East Coast of the United States, down to Cocoa Beach, Florida. When Wilson heard about this new wave of interest, he took inspiration from the success of the folk-rock hybrid that he and Dylan had created with "Like a Rolling Stone", and crafted a rock remix of the song using studio musicians. The remix was issued in September 1965, where it reached the "Billboard" Hot 100. Wilson did not inform the duo of his plan, and Simon was "horrified" when he first heard it. By January 1966, "The Sound of Silence" had topped the Hot 100, selling over one million copies. Simon reunited with Garfunkel in New York, leaving Chitty and his friends in England behind. CBS demanded a new album, to be called "Sounds of Silence", to ride the wave of the hit. Recorded in three weeks, and consisting of rerecorded songs from "The Paul Simon Songbook" plus four new tracks, "Sounds of Silence" was rush-released in mid-January 1966, peaking at number 21 "Billboard" Top LPs chart. A week later, "Homeward Bound" was released as a single, entering the USA top ten, followed by "I Am a Rock" peaking at number three. The duo supported the recordings with a nationwide tour of America, while CBS continued their promotion by re-releasing "Wednesday Morning, 3 A.M.", which charted at number 30. Despite the success, the duo received critical derision, as many considered them a manufactured imitation of folk music. As they considered "The Sounds of Silence" a "rush job" to capitalize on their sudden success, Simon & Garfunkel spent more time crafting the follow-up. It was the first time Simon insisted on total control in aspects of recording. Work began in 1966 and took nine months. Garfunkel considered the recording of "Scarborough Fair" to be the point at which they stepped into the role of producer, as they were constantly beside engineer Roy Halee mixing. "Parsley, Sage, Rosemary and Thyme" was issued in October 1966, following the release of several singles and sold-out college campus shows. The duo resumed their college circuit tour eleven days later, crafting an image that was described as "alienated", "weird", and "poetic". Manager Mort Lewis also was responsible for this public perception, as he withheld them from television appearances unless they were allowed to play an uninterrupted set or choose the setlist.