MUSIC BOOKS.
Hi, Enclosed are a collection of books that i have read and just a brief overview of what i thought of each of them. Hope it helps if you were thinking of reading the book. Some are old releases others are new. They are all related to music. Hopefulyl in a few weeks/months/years i will be able to set up a site dedicated to other book reivews and football related items. However 'watch this space', so until then i hope they are helpful and any feedback greatly appreciated.
cheers
James ([email protected])
cheers
James ([email protected])
Nina Simones Gum. Warren Ellis
Many will already know the background to this. In July 1999 as Nina Simone took the stage at the Royal Festival Hall in London. She placed her used lump of chewing gum on the piano before performing a formidable set. Warren Ellis, most famously of the Bad Seeds, clocked this action and post-gig jumped onstage taking a souvenir of gum. He then wrapped it in her stage towel nearby: a momento within a keepsake perhaps.
Twenty years later this event came up on film during the making of the Nick Cave film 20000 days on Earth. Some five years later, and spurred on in part by lockdowns, a book was broached and commissioned. This book offers a broad comment on this event and its significance as the chewing gum itself left his possession and passed into the hands of The Royal Danish library for their exhibition “Stranger Than Kindness: The Nick Cave Exhibition” in Copenhagen.
ARTEFACT
First and foremost this book is about the power of an artefact. Its history and its symbolism whilst also offering an, albeit fleeting, memoir of Warren Ellis and his life and other musical projects. At the same time as purporting to celebrate the people of different walks of life who came together to help with the relatively banal and abundant piece of synthetic resin and plasticizing materials. But in writing this book Ellis explores both perception and knowledge, as well as investment (time and emotional investment), in things we believe in which others may have no attachments to or relevance there in (many who feature later in the book have never even heard of Nina Simone!!). The piece of gum is at once worthless and because of its history, priceless. As well as being an homage to a great artist and a great gig this comes to represent for Ellis a reminder of a specific time cemented by an artifact from it with personal significance and cultural relevance.
At the same time though this book is a love letter to music more broadly and the power of it has from Beethoven to Nick Cave artists inspire devotion and cult like followings. At the same time it captures in simple language a story about the power and integrity of uniqueness, as well as duplication and replication.
BOOK
In order to invest in the book one, I think, has to believe in the sincerity of the main characters. Made possible for me having watched Nick Caves recent exploratory documentaries (20000 Days on Earth and One more time with feeling). Like those films this book is not a fiction but nor is it reportage, it is certainly a romance. Despite its many qualities though it is certainly not a great work of art but a very rewarding philosophy book – with more questions than answers!
TOWEL
But one oversight does leave one too many unanswered questions. Yes the gum now has its place in material history but in removing it from her towel he has in many ways removed the context and another piece of the material. He also fails to answer what happened to the towel, or for that matter the long service tower records plastic bag they were both placed in after the gig. Rolling it in the towel and presenting it thus gave me at least the image of Cleopatra being rolled from rug when smuggled in to Julius Caesar (though a modern creation!). The items for me though became, in my reading, a trilogy of items. In Nina Simone’s towel the gum had context and an extra layer (of authenticity). Tearing it from the towel violently as Ellis allows, removes that and in so doing a connection to Nina stage performance. But by the time the gum (only) makes it to the exhibition it is exhibited alongside a glass container (jam jar) rather than on its towel. Perhaps that is being too pernickety but this is also a book about value or perceived value of material items within consumer society as well as a book about collecting and to a degree destruction. Or perhaps this is more of a comment on museums or exhibibions in general than on Warren Ellis’s treatment of the artefact – ripping items from their context and displaying them alongside other items that have an oblique connection – perhaps through narrative and not through history.
Either way this is a book about devotion to a cause, admirable or mad or both.
Many will already know the background to this. In July 1999 as Nina Simone took the stage at the Royal Festival Hall in London. She placed her used lump of chewing gum on the piano before performing a formidable set. Warren Ellis, most famously of the Bad Seeds, clocked this action and post-gig jumped onstage taking a souvenir of gum. He then wrapped it in her stage towel nearby: a momento within a keepsake perhaps.
Twenty years later this event came up on film during the making of the Nick Cave film 20000 days on Earth. Some five years later, and spurred on in part by lockdowns, a book was broached and commissioned. This book offers a broad comment on this event and its significance as the chewing gum itself left his possession and passed into the hands of The Royal Danish library for their exhibition “Stranger Than Kindness: The Nick Cave Exhibition” in Copenhagen.
ARTEFACT
First and foremost this book is about the power of an artefact. Its history and its symbolism whilst also offering an, albeit fleeting, memoir of Warren Ellis and his life and other musical projects. At the same time as purporting to celebrate the people of different walks of life who came together to help with the relatively banal and abundant piece of synthetic resin and plasticizing materials. But in writing this book Ellis explores both perception and knowledge, as well as investment (time and emotional investment), in things we believe in which others may have no attachments to or relevance there in (many who feature later in the book have never even heard of Nina Simone!!). The piece of gum is at once worthless and because of its history, priceless. As well as being an homage to a great artist and a great gig this comes to represent for Ellis a reminder of a specific time cemented by an artifact from it with personal significance and cultural relevance.
At the same time though this book is a love letter to music more broadly and the power of it has from Beethoven to Nick Cave artists inspire devotion and cult like followings. At the same time it captures in simple language a story about the power and integrity of uniqueness, as well as duplication and replication.
BOOK
In order to invest in the book one, I think, has to believe in the sincerity of the main characters. Made possible for me having watched Nick Caves recent exploratory documentaries (20000 Days on Earth and One more time with feeling). Like those films this book is not a fiction but nor is it reportage, it is certainly a romance. Despite its many qualities though it is certainly not a great work of art but a very rewarding philosophy book – with more questions than answers!
TOWEL
But one oversight does leave one too many unanswered questions. Yes the gum now has its place in material history but in removing it from her towel he has in many ways removed the context and another piece of the material. He also fails to answer what happened to the towel, or for that matter the long service tower records plastic bag they were both placed in after the gig. Rolling it in the towel and presenting it thus gave me at least the image of Cleopatra being rolled from rug when smuggled in to Julius Caesar (though a modern creation!). The items for me though became, in my reading, a trilogy of items. In Nina Simone’s towel the gum had context and an extra layer (of authenticity). Tearing it from the towel violently as Ellis allows, removes that and in so doing a connection to Nina stage performance. But by the time the gum (only) makes it to the exhibition it is exhibited alongside a glass container (jam jar) rather than on its towel. Perhaps that is being too pernickety but this is also a book about value or perceived value of material items within consumer society as well as a book about collecting and to a degree destruction. Or perhaps this is more of a comment on museums or exhibibions in general than on Warren Ellis’s treatment of the artefact – ripping items from their context and displaying them alongside other items that have an oblique connection – perhaps through narrative and not through history.
Either way this is a book about devotion to a cause, admirable or mad or both.
Slash – The Guitar Collection Book
Slash – The Guitar Collection Book
There is a possibly apocryphal US car sticker adage that goes “He who dies with the most toys wins”. It captures in a phrase the sickening consumption that has dominated the 20th and 21st century. It may always have existed but now it is facilitated by technology and the ability to produce and distribute things on a scale unimaginable until relatively recently. As of 2018 Slash owned some 221 guitars. Granted, he no doubt uses them all when he finds time. But now you two can act as a welcome voyeur into his world of much loves instruments.
This book is an attempt to take you into that world and look at one mans collecting habit. Granted, not just any old man (although he does look old now) – but a man who made a living from playing his collection and now has the economic freedom to indulge his passion. You can glimpse at that through glossy photos of many of those collectable apparatus.
This is definitely a premium coffee table book with hi resolution high quality photos. You can see in the images all of the cigarette burns and knock damage on many of the guitars Slash owns. Like Gibson guitar itself this book is heavy. Within its pages it tries to explore in detail the instruments but the limited text is mainly aphorism and pithy anecdotes that Slash offers about each instrument. He is no doubt sincere – and his love of the guitar well publicised – but this book is all about gloss and image. He is though also a Gibson Global Brand Ambassador so has a reason to find something to say about each one – Gibson or otherwise. The book itself might prove to be too much directed at a niche market – whilst it is glossy and high quality it may fall between 2 stools – will Guns ‘n’ Roses completists want it for the images of the Amber Appetite guitars, or will guitar obsessives want to own this about a fringe hero?
Whoever decides to buy this for their coffee table, it is priced with the collector in mind. The standard edition (which I think is now sold out) commended a whopping £100 - £200 and the collectors edition with extra contents was £1,000 – this is like the Super Deluxe edition version of Appetite – a simple way to part obsessives with their cash! For my own h’appeny I would say keep your powder dry – but perhaps I am just a curmudgeonly old man who now sees luxury as a vice and coffee table books as an over indulgent waste, which up in covered in coffee and in the tip after the gluttony has worn off.
I fell in love with Appetite for Destruction in the early 1990s. It was a breath of fresh air from a band who exploded onto the scene and were the most exciting young band of an era and a genre. Now however an overweight, double chinned Slash bides his time performing at the Oscars alsongside Barbie’s platonic partner Ken - plastic Pop perfection as it was perceived by some. But for me this epitomised how the spineless Slash was back in the limelight only to promote the billion-dollar touring band formerly known as Guns ‘n’ Roses on their ‘top up out pensions’ tour. This glossy book is just as underwhelming as all Guns and Roses recent output. Clinical, fawning and largely a vanity in the form a parade of guitars – but if it is a success no doubt soon you will be able to buy replicas of all.
There is a possibly apocryphal US car sticker adage that goes “He who dies with the most toys wins”. It captures in a phrase the sickening consumption that has dominated the 20th and 21st century. It may always have existed but now it is facilitated by technology and the ability to produce and distribute things on a scale unimaginable until relatively recently. As of 2018 Slash owned some 221 guitars. Granted, he no doubt uses them all when he finds time. But now you two can act as a welcome voyeur into his world of much loves instruments.
This book is an attempt to take you into that world and look at one mans collecting habit. Granted, not just any old man (although he does look old now) – but a man who made a living from playing his collection and now has the economic freedom to indulge his passion. You can glimpse at that through glossy photos of many of those collectable apparatus.
This is definitely a premium coffee table book with hi resolution high quality photos. You can see in the images all of the cigarette burns and knock damage on many of the guitars Slash owns. Like Gibson guitar itself this book is heavy. Within its pages it tries to explore in detail the instruments but the limited text is mainly aphorism and pithy anecdotes that Slash offers about each instrument. He is no doubt sincere – and his love of the guitar well publicised – but this book is all about gloss and image. He is though also a Gibson Global Brand Ambassador so has a reason to find something to say about each one – Gibson or otherwise. The book itself might prove to be too much directed at a niche market – whilst it is glossy and high quality it may fall between 2 stools – will Guns ‘n’ Roses completists want it for the images of the Amber Appetite guitars, or will guitar obsessives want to own this about a fringe hero?
Whoever decides to buy this for their coffee table, it is priced with the collector in mind. The standard edition (which I think is now sold out) commended a whopping £100 - £200 and the collectors edition with extra contents was £1,000 – this is like the Super Deluxe edition version of Appetite – a simple way to part obsessives with their cash! For my own h’appeny I would say keep your powder dry – but perhaps I am just a curmudgeonly old man who now sees luxury as a vice and coffee table books as an over indulgent waste, which up in covered in coffee and in the tip after the gluttony has worn off.
I fell in love with Appetite for Destruction in the early 1990s. It was a breath of fresh air from a band who exploded onto the scene and were the most exciting young band of an era and a genre. Now however an overweight, double chinned Slash bides his time performing at the Oscars alsongside Barbie’s platonic partner Ken - plastic Pop perfection as it was perceived by some. But for me this epitomised how the spineless Slash was back in the limelight only to promote the billion-dollar touring band formerly known as Guns ‘n’ Roses on their ‘top up out pensions’ tour. This glossy book is just as underwhelming as all Guns and Roses recent output. Clinical, fawning and largely a vanity in the form a parade of guitars – but if it is a success no doubt soon you will be able to buy replicas of all.
Rock Gets Religion Mark Joseph
Overall unfortunately this is a poor book, or at least it is unappealing to me and definitely not what I was expecting. This text conflates religion in popular Western music with Christianity only. Perhaps no major issue there – it is a cultural reality – but it shows the books unstated desire to celebrate artists who are Christian. It also conflates and confuses ‘Rock’ for ‘Pop’ – Miley Cyrus and Katie Perry feature more heavily than more traditional ‘Rock’ artists. The conflating of these 2 styles is frustrating – but not strictly accurate but would have been interesting to separate Dave Mustaine who is celebrated in passing, with Taylor Swift who is lauded as a near saint!
There is also a constant desire within the text to equate religion directly with no swearing and no sex outside wedlock rather than direct expressions of religious devotion by artists. The desperate desire to mix music and faith seems to demand that Christian artists are either myopic and focused on their religion or that they are exclusively sinners – possibly the implication being that become sinners in the devils music. As if to reiterate this the book even calls on your to recognise God’s hand in certain successes in the pop charts.
On an editorial note the quotations are overly verbose and repetitive – they would have benefited from a sharp editorial eye – but in fattening out the book it highlights how little quality contents there is - with no detailed analysis.
Overall the book was not of academic calibre and read more like it came straight from a Fire and Brimstone pulpit. This text may appeal to Christian readers who are looking to reaffirm their assumptions about the evils of how popular culture has become and many will find this text reaffirming and reiterate their conservative narratives.
Overall unfortunately this is a poor book, or at least it is unappealing to me and definitely not what I was expecting. This text conflates religion in popular Western music with Christianity only. Perhaps no major issue there – it is a cultural reality – but it shows the books unstated desire to celebrate artists who are Christian. It also conflates and confuses ‘Rock’ for ‘Pop’ – Miley Cyrus and Katie Perry feature more heavily than more traditional ‘Rock’ artists. The conflating of these 2 styles is frustrating – but not strictly accurate but would have been interesting to separate Dave Mustaine who is celebrated in passing, with Taylor Swift who is lauded as a near saint!
There is also a constant desire within the text to equate religion directly with no swearing and no sex outside wedlock rather than direct expressions of religious devotion by artists. The desperate desire to mix music and faith seems to demand that Christian artists are either myopic and focused on their religion or that they are exclusively sinners – possibly the implication being that become sinners in the devils music. As if to reiterate this the book even calls on your to recognise God’s hand in certain successes in the pop charts.
On an editorial note the quotations are overly verbose and repetitive – they would have benefited from a sharp editorial eye – but in fattening out the book it highlights how little quality contents there is - with no detailed analysis.
Overall the book was not of academic calibre and read more like it came straight from a Fire and Brimstone pulpit. This text may appeal to Christian readers who are looking to reaffirm their assumptions about the evils of how popular culture has become and many will find this text reaffirming and reiterate their conservative narratives.
The Rolling Stones: Beggars Banquet Alan Clayson
In the past I have found Alan Clayson’s writing style a bit patronising. So when I started to read this book I was a bit anxious – but being a Stones fanatic and knowing that very little specific to the Rolling Stones 1968 classic existed I decided to bite the bullet. Already a huge band Beggars Banquet began for many the Rolling Stones greatest era – a decade of albums that would cement them as the greatest rock n roll band in the world. The opening of this book – indeed the first third – is given over to ‘influence’ and a snap-shot of the era. At first this introduction and context seem an unnecessary overkill when the reader wants to be informed about ‘the legendary sessions’ as the tag line or extended title makes clear. However the detailed and thorough exploration of the roots of the Beggars Banquet era is not merely a dull recycling of ‘the history of the rolling stones’ or the era – as Clayson’s Brian Jones book was throughout. Instead this opening section adds a lot more and a broader background to and on the turning points of this band and their truly amazing career. An important exploration given they are now on top of their game for 7 decades.
For such a promising start though the book disappointingly tapers out. The text doesn’t carry on in a vibrant manner and doesn’t really end up getting to the core of the all important Beggars Banquet. Ther is some great surrounding context but no glimpses into the studio. The crucial sessions aren’t covered in sufficient detail for this book to add anything important to the huge canon of works on the Rolling Stones. Even the songs aren’t given detail – either how they evolve in the studio or what tracks came fully formed.
The place of Beggars Banquet in the Rolling Stones discography is a crucial juncture. As Keith Richards himself stated, that album “helped take the Stones to a different level”. It also captured the pitiful demise of Brian Jones. This album opened an interrupted series of classic albums that climaxed in Exile on Main Street – but it seems Alan Clayson has nothing new to add to help us understand what helped act as the catalyst in this album to open the gateway to the breathtaking (and overall more consistent) Let It Bleed and Sticky Fingers. It was the first album by the band produced by Jimmy Miller (although he had already helped cement their legendary status with the classic single “Jumpin’ Jack Flash”). Clayton acknowledges this but doesn’t give his full influence proper investigation. Overall a promising start but a disappointing execution.
In the past I have found Alan Clayson’s writing style a bit patronising. So when I started to read this book I was a bit anxious – but being a Stones fanatic and knowing that very little specific to the Rolling Stones 1968 classic existed I decided to bite the bullet. Already a huge band Beggars Banquet began for many the Rolling Stones greatest era – a decade of albums that would cement them as the greatest rock n roll band in the world. The opening of this book – indeed the first third – is given over to ‘influence’ and a snap-shot of the era. At first this introduction and context seem an unnecessary overkill when the reader wants to be informed about ‘the legendary sessions’ as the tag line or extended title makes clear. However the detailed and thorough exploration of the roots of the Beggars Banquet era is not merely a dull recycling of ‘the history of the rolling stones’ or the era – as Clayson’s Brian Jones book was throughout. Instead this opening section adds a lot more and a broader background to and on the turning points of this band and their truly amazing career. An important exploration given they are now on top of their game for 7 decades.
For such a promising start though the book disappointingly tapers out. The text doesn’t carry on in a vibrant manner and doesn’t really end up getting to the core of the all important Beggars Banquet. Ther is some great surrounding context but no glimpses into the studio. The crucial sessions aren’t covered in sufficient detail for this book to add anything important to the huge canon of works on the Rolling Stones. Even the songs aren’t given detail – either how they evolve in the studio or what tracks came fully formed.
The place of Beggars Banquet in the Rolling Stones discography is a crucial juncture. As Keith Richards himself stated, that album “helped take the Stones to a different level”. It also captured the pitiful demise of Brian Jones. This album opened an interrupted series of classic albums that climaxed in Exile on Main Street – but it seems Alan Clayson has nothing new to add to help us understand what helped act as the catalyst in this album to open the gateway to the breathtaking (and overall more consistent) Let It Bleed and Sticky Fingers. It was the first album by the band produced by Jimmy Miller (although he had already helped cement their legendary status with the classic single “Jumpin’ Jack Flash”). Clayton acknowledges this but doesn’t give his full influence proper investigation. Overall a promising start but a disappointing execution.
One Two Three Four: The Beatles in Time
Craig Brown
Another book ‘about’ the Beatles? Is there much left to be said about the most influential band of all time ? (I hesitate to say greatest as that is opinion but they are definitely pioneers and one of the most important of any era). This book is very much fact based rather than offering any psychological assessment or new perspectives, and perhaps better for it. The text is refreshingly fast paced, not overly analytical but manages to add new angles on a myriad of events, which is what makes it such an interesting read. The “In time” in the title is a play on dates and rhythm, following a loose chronology charting from the late 1950s and the Quarrymen to a few of the important post break up moments . The text is well written short soundbite not deep by pithy and witty.
It is so well constructed. I loved nearly every one of the short chapters for what it offered and how it acted also as a history lesson of an era – much of which is not captured in purist more dry and myopic biographies of the band. Craig Browns book is heavy on anecdotes, lists, fan letters, snatches of dialogue, contemporary reports and interviews (like his other book .. on Princess Margaret!!). The thoroughness of research is unquestionable – as is the breadth of reading around the band and the era.
Where it succeeds the most, though, is when it comes to the holistic approach - placing the Beatles within the era of 1963 - 1970. At points we are given multiple conflicting accounts of a single incident. There are a few indulgences like the alternative reality aspect of 'what if' a couple of chance meetings hadn’t happened, which are alternative history imaginings and ultimately add nothing, but when it sticks to facts – it does well. The coverage of replacement drummer Jimmie Nicol (when Ringo was unwell) for an Australian tour is refreshing but made depressing when Brown highlights how Nicol's life never recovered from that eventful month. Other examples abound ensuring that most of the short chapters have something to offer and leave you excited by the next.
A thrilling read and snapshot of the anglophone world during the most pivotal decade of living memory.
It is so well constructed. I loved nearly every one of the short chapters for what it offered and how it acted also as a history lesson of an era – much of which is not captured in purist more dry and myopic biographies of the band. Craig Browns book is heavy on anecdotes, lists, fan letters, snatches of dialogue, contemporary reports and interviews (like his other book .. on Princess Margaret!!). The thoroughness of research is unquestionable – as is the breadth of reading around the band and the era.
Where it succeeds the most, though, is when it comes to the holistic approach - placing the Beatles within the era of 1963 - 1970. At points we are given multiple conflicting accounts of a single incident. There are a few indulgences like the alternative reality aspect of 'what if' a couple of chance meetings hadn’t happened, which are alternative history imaginings and ultimately add nothing, but when it sticks to facts – it does well. The coverage of replacement drummer Jimmie Nicol (when Ringo was unwell) for an Australian tour is refreshing but made depressing when Brown highlights how Nicol's life never recovered from that eventful month. Other examples abound ensuring that most of the short chapters have something to offer and leave you excited by the next.
A thrilling read and snapshot of the anglophone world during the most pivotal decade of living memory.
Clinton Heylin -
E Street Shuffle: The Glory Days of Bruce Springsteen and the E Street Band …
When it comes to Clinton Heylin's writing you can expect a few things: It will be well written, detailed and well researched. This publication is no different. Truly perceptive analysis from Heylin – as you would expect from a man used to focusing on the artistry of Bob Dylan. This is a portrayal of Bruce Springsteen and the early days of the E Street band from their beginnings through to the moment Springsteen moved from rock and roll star to explode beyond his genre's confines into a colossus. There is a great, detailed appendix of the songs Springsteen recorded between 1972 and 1984 – just before the release of his international multi-million selling opus Born in the USA.
The text includes many fascinating and articulate glimpses of Clinton Heylin’s take on Bruce Springsteen during his and the E streets 1970s artistic peak (commercial peak came in the following decade). The E Street band in its heyday as he calls it. Although when it comes to the writing of the songs (which he focuses on a lot) the band are often merely a vehicle for Springsteen’s aims.
Heylin is harsh at points – for example when he condemns Springsteen’s loss “of the invaluable gift of knowing when to leave something well alone and when to preserve” – especially when dissecting the behemoth of a double album The River. The author adds, as he does with his work on Dylan, a solid commentary and a bounty of information on the many song introductions between song on tour when Springsteen performs them live. This involves a lot of touring with him or a lot of bootleg research. The preambles that in the case of Growin’ Up have shaped and mutated from his opening set for Dave Van Ronk in 1972 to the impassioned version of Springsteen on Broadway. One of the few songs that has changed very little over the years. The American short story author Flannery O’Connor features heavily throughout – referenced by Heylin as an obvious large debt owed by Springsteen.
In many ways Heylin encapsulates well the frustrating contradictions in Springsteen. Wanting to love his work, seeing the nucleus of genius, but also glimpses of genius in his studio albums, removed of much of the brilliances he had in the beginning being over worked in the studio (but sometimes recaptured in the live set). He also dispels the myth of the Springsteen 4 hour gig ! 3 1/2 hour shows did happen – but he is quick to point out that Springsteen at point made the shows about “stamina first, superlatives second” (p279). A well edited and executed short set can be more powerful than an overblown 3 hours. The old adage of quality not quantity – sometimes Springsteen’s ability to self-edit is missing both on stage and in the studio. Heylin does well to highlight and support this and the book overall makes for a detailed informed read about one of the most successful artists of his generation.
When it comes to Clinton Heylin's writing you can expect a few things: It will be well written, detailed and well researched. This publication is no different. Truly perceptive analysis from Heylin – as you would expect from a man used to focusing on the artistry of Bob Dylan. This is a portrayal of Bruce Springsteen and the early days of the E Street band from their beginnings through to the moment Springsteen moved from rock and roll star to explode beyond his genre's confines into a colossus. There is a great, detailed appendix of the songs Springsteen recorded between 1972 and 1984 – just before the release of his international multi-million selling opus Born in the USA.
The text includes many fascinating and articulate glimpses of Clinton Heylin’s take on Bruce Springsteen during his and the E streets 1970s artistic peak (commercial peak came in the following decade). The E Street band in its heyday as he calls it. Although when it comes to the writing of the songs (which he focuses on a lot) the band are often merely a vehicle for Springsteen’s aims.
Heylin is harsh at points – for example when he condemns Springsteen’s loss “of the invaluable gift of knowing when to leave something well alone and when to preserve” – especially when dissecting the behemoth of a double album The River. The author adds, as he does with his work on Dylan, a solid commentary and a bounty of information on the many song introductions between song on tour when Springsteen performs them live. This involves a lot of touring with him or a lot of bootleg research. The preambles that in the case of Growin’ Up have shaped and mutated from his opening set for Dave Van Ronk in 1972 to the impassioned version of Springsteen on Broadway. One of the few songs that has changed very little over the years. The American short story author Flannery O’Connor features heavily throughout – referenced by Heylin as an obvious large debt owed by Springsteen.
In many ways Heylin encapsulates well the frustrating contradictions in Springsteen. Wanting to love his work, seeing the nucleus of genius, but also glimpses of genius in his studio albums, removed of much of the brilliances he had in the beginning being over worked in the studio (but sometimes recaptured in the live set). He also dispels the myth of the Springsteen 4 hour gig ! 3 1/2 hour shows did happen – but he is quick to point out that Springsteen at point made the shows about “stamina first, superlatives second” (p279). A well edited and executed short set can be more powerful than an overblown 3 hours. The old adage of quality not quantity – sometimes Springsteen’s ability to self-edit is missing both on stage and in the studio. Heylin does well to highlight and support this and the book overall makes for a detailed informed read about one of the most successful artists of his generation.
Brian Jones the drive and desire and the doom and gloom.
Brian Jones By Alan Clayson
As part of a series of books about each of the members of Rolling Stones this is perhaps the trickiest. At the time of writing Jones was the only one not alive, having passed away at the tender age of 27 - one of the earliest pop music figures to fall into that cultural phenomenon. The book itself is a bit weak but a very easy, flowing read. Unfortunately the style does not make up for the partial and superficial coverage and analysis. The narrative partly engages with a lot of artists of the South-West region of England and fringes of West country around Cheltenham - but contains little analysis of Brian Jones or the music he created. There is detail on the merchant navy's oft cited role in bringing new music to England, however, this is not the best book on the era. Clayson supplies ample context in the form of Jones' musical peers at expense of supplying enough details on Jones' life. Clayson's style and the text are often overly floral and prosaic he prefers a lot of opinions when facts would be preferred, but he is unable to back up with facts specific to Jones it is instead steeped in speculation esp. when Clayson feels at liberty to comment on the wider Jones family. On top of that Clayson is a little too self assured in presentation style of this book. He tries too much speculation with limited information or access to the Jones' friends and relatives.
In a curious fashion as well, he leaves the final appendix and last words to a Brian Jones fan club member to rehash the Jones pool death theory. A nice touch but emphasises how little of a critical eye Clayson uses.
These observations aside the book is a fun and entertaining read, but in no way a groundbreaking text.
Bruce Springsteen: Born To Run. The Autobiography
Bruce Springsteen’s public persona is one of band leader and politically liberal rock star. A post-Dylan voice of a generation of Americans coming to terms with a post-industrial society. He epitomises the art of performance, integrated with the apparently sincere but faux authenticity of his art. A man of the people who by his own admission has never set foot on the metaphorical ‘factory floor’, but has got very rich singing about it. A mile a minute, his frenetic writing style is powerful, bouncing you along. His energy is palpable. Indeed his spoken style is reminiscent of his song with the use of repetition of determiners ("that girl, that night, that moment") alongside other striking mannerisms. In the book he makes nods to his religious upbringing so perhaps it is not surprising that the text foregrounds the theatre of a church service. The text itself enthrals like a sermon and he weaves words like the wordsmith he is. But he also offers a healthy injection of humour. There is an Irish prevalence, Italian preference but a Dutch name. Despite claims of aspirations to the contrary, religion floods through the book. But then strangely so does the pre-Christian classical world. From the Italian Irish gladiator crusades to being fed to the lions (339). Ultimately, he also seems fair very balanced and inclusive even where he has subsequently and publicly fallen out with former partners. He appears to offer a candid but complimentary portrait of all members of the e Street band plus his manager Mike Appel And Jon Landau.
For Springsteen in many ways Pop music is the ultimate success of individualism, but he doesn’t forget his social debt or his debt to Elvis his performance in the backyard. Amongst other things this book charts the evolution of his political awareness.. some with Vietnam but taking shape in stages. He narrates being kicked out of Disneyland as a political event. But Vietnam does cast a long shadow in Springsteen's remembrances, from the death of friends, to the conscientious decision of avoiding call up. Drugs broke up the first band ..not in the expected rock 'n' roll excess way, but a town wide raid including on one of their sponsors (94-5). As the storyline progresses though it becomes a story about old age, losing loved ones, band mates, and the niggles that plague decline of an old man almost dead.
This book supports the premise that it is all a construct – a construct with both true and mythological roots. Even just the prologue reads like an edited scene from his brilliant show 'Springsteen on Broadway'. Springsteen addresses his childhood as a spoilt kid with regal delusions (lost boy king P14). It's shaping of his life and his songs are easy to find. There are the usual tropes – Cars (And motorbikes) loom large from the opening pages and throughout (p26 p263 p266), which is not surprising given that he is to write about cars for rest of his life. But as well as being glamourous modes of transport cars also literally offer protection from the storm (p25-6). The family were – we are told ‘poor’, but in 50s America even the Poor had a car p45-6 had a sedan. As the text progresses it gets darker more suffocating, despite often returning to the same themes. A compliment to his writing style more generally is that you are carried along, like the stories in his songs. In Chapter 44 with the trope of the defining road trip the text is cleverly suffocating but seem genuinely to give you a picture of the man rather than a construct to sell an image which the text elsewhere reinforces. The frenetic [frantic], palpable but also eloquent excitement he conveys in many of his songs is down on paper as well This is also a relatively simple narrative chronologically from album to album. You can glean some information on the background to Springsteen’s obviously liberal political (for America) – see p 264-265.
A well-constructed, well executed journey through the mind and times of a great American icon.
Bruce Springsteen’s public persona is one of band leader and politically liberal rock star. A post-Dylan voice of a generation of Americans coming to terms with a post-industrial society. He epitomises the art of performance, integrated with the apparently sincere but faux authenticity of his art. A man of the people who by his own admission has never set foot on the metaphorical ‘factory floor’, but has got very rich singing about it. A mile a minute, his frenetic writing style is powerful, bouncing you along. His energy is palpable. Indeed his spoken style is reminiscent of his song with the use of repetition of determiners ("that girl, that night, that moment") alongside other striking mannerisms. In the book he makes nods to his religious upbringing so perhaps it is not surprising that the text foregrounds the theatre of a church service. The text itself enthrals like a sermon and he weaves words like the wordsmith he is. But he also offers a healthy injection of humour. There is an Irish prevalence, Italian preference but a Dutch name. Despite claims of aspirations to the contrary, religion floods through the book. But then strangely so does the pre-Christian classical world. From the Italian Irish gladiator crusades to being fed to the lions (339). Ultimately, he also seems fair very balanced and inclusive even where he has subsequently and publicly fallen out with former partners. He appears to offer a candid but complimentary portrait of all members of the e Street band plus his manager Mike Appel And Jon Landau.
For Springsteen in many ways Pop music is the ultimate success of individualism, but he doesn’t forget his social debt or his debt to Elvis his performance in the backyard. Amongst other things this book charts the evolution of his political awareness.. some with Vietnam but taking shape in stages. He narrates being kicked out of Disneyland as a political event. But Vietnam does cast a long shadow in Springsteen's remembrances, from the death of friends, to the conscientious decision of avoiding call up. Drugs broke up the first band ..not in the expected rock 'n' roll excess way, but a town wide raid including on one of their sponsors (94-5). As the storyline progresses though it becomes a story about old age, losing loved ones, band mates, and the niggles that plague decline of an old man almost dead.
This book supports the premise that it is all a construct – a construct with both true and mythological roots. Even just the prologue reads like an edited scene from his brilliant show 'Springsteen on Broadway'. Springsteen addresses his childhood as a spoilt kid with regal delusions (lost boy king P14). It's shaping of his life and his songs are easy to find. There are the usual tropes – Cars (And motorbikes) loom large from the opening pages and throughout (p26 p263 p266), which is not surprising given that he is to write about cars for rest of his life. But as well as being glamourous modes of transport cars also literally offer protection from the storm (p25-6). The family were – we are told ‘poor’, but in 50s America even the Poor had a car p45-6 had a sedan. As the text progresses it gets darker more suffocating, despite often returning to the same themes. A compliment to his writing style more generally is that you are carried along, like the stories in his songs. In Chapter 44 with the trope of the defining road trip the text is cleverly suffocating but seem genuinely to give you a picture of the man rather than a construct to sell an image which the text elsewhere reinforces. The frenetic [frantic], palpable but also eloquent excitement he conveys in many of his songs is down on paper as well This is also a relatively simple narrative chronologically from album to album. You can glean some information on the background to Springsteen’s obviously liberal political (for America) – see p 264-265.
A well-constructed, well executed journey through the mind and times of a great American icon.
Duff McKagan Its so easy (And other lies) 2015 Orion publishing
Any books by members of Guns 'n' Roses are of interest to me and bound to be relatively informative, even if only from one perspective. The band shaped my youth and shaped my opinion of modern music. I realize now, with hindsight, how derivative much of what they did was but also how novel, inventive, and ultimately how exciting. In the case of Duff McKagan I had always wondered how this unashamed punk had moulded with a largely Heavy Metal crew to create one of the most exciting pieces of art of the late twentieth century (Appetite for Destruction). He is also famous for inspiring the 'Duff King of Beers' moniker of Simpsons fame. A label he doesn’t shy away from – but wouldn’t live up to now. An albeit trivial second strand of celebrity status.
From an autobiographical perspective the title is fascinating, focused as it is around the reality of lies in any retelling of a life. Indeed the title points to the writerly grasping at the impossibility of truth in recounting anything - words can never fully recreate experience. Duff offers the comment that this is merely his perspective ‘This is my truth’ as he says. He addresses head on his nihilistic self-destructive nature but also, in retrospect, toys with the relevance of specific symbols – in this case the Number 13. In essence we have 2 prologues (a 13th birthday party of his first daughter and the, ‘post Use Your Illusion’, burst pancreas).
McKagan narrates a lively story of excess: initially in the form of drugs, but latterly through sport and meditation. He has an addictive personality and that is not going to change, but the emphasis nowadays is more constructive than destructive! The change of heart hinged on and around the hospitalization for acute pancreatitis in 1994 and the rather unpleasant image of an exploding pancreas. The text at points is flighty and flits around a lot especially early on as he tries to give context to events and offer perspective on later happenings. It is made up of short punchy chapters – jumping often with context not always chronology. The text is light but well explained and constructed. The chapters skirt each other in a well-constructed dance – as it perhaps consciously explores life’s circular narrative. This book is repetitive at points, and a little too redemptive. McKagan at points lectures and bandstands about the road to Damascus moment of becoming a parent – but it must be acknowledged that he does so form a position of knowledge and sincere devotion both to his family and the all-American picket fence aspiration. The text climaxes in fitting full circle with a 13 year reunion with Axl. But this reunion is presented as not being contrived, indeed more broadly the books full circle doesn’t seem too constructed. It is merely the end of a journey – where McKagan at least is comfortable in and of himself both to put differences aside with old band members and to perform old numbers without animosity. Given his immersing into martial arts I wonder if McKagan is deliberately stressing the relevance of 13 years (unlike the Guns and Roses song 14 years) “the test, the suffering and the death. It symbolizes the death to the matter or to oneself and the birth to the spirit” Don't really know what this bit is about with a 13-year tenure on bass in what was at the time the biggest band on earth 13 year birthday of his daughter and 13 years since he had spoken to Axl when the reconvene in London – coincidentally before a ‘new look’ Guns 'n' Roses. Duff points out, dwelling only slightly on the manner in which Axl persuaded Slash and Duff to sign away the rights to the name of the band. A truly million-dollar manipulation.
The growing maturity as opposed to teenage nihilism is nice to see, but also touching how he takes more immediate pride in his more recent academic A grades than in many of Guns 'n' Roses' achievements. The benefits of education is a personal achievement, in which he rightly takes great pride, but his artistic success and the financial rewards that came with that enable him to pass on far more than a good education to his children and possibly impressionable readers of this light, breezy but entertaining text. Perhaps though the early persona or situation and circumstance were needed to create such an explosive art form – the best selling debut LP of all time (31 million plus at time of writing) and a timeless piece of art.
Any books by members of Guns 'n' Roses are of interest to me and bound to be relatively informative, even if only from one perspective. The band shaped my youth and shaped my opinion of modern music. I realize now, with hindsight, how derivative much of what they did was but also how novel, inventive, and ultimately how exciting. In the case of Duff McKagan I had always wondered how this unashamed punk had moulded with a largely Heavy Metal crew to create one of the most exciting pieces of art of the late twentieth century (Appetite for Destruction). He is also famous for inspiring the 'Duff King of Beers' moniker of Simpsons fame. A label he doesn’t shy away from – but wouldn’t live up to now. An albeit trivial second strand of celebrity status.
From an autobiographical perspective the title is fascinating, focused as it is around the reality of lies in any retelling of a life. Indeed the title points to the writerly grasping at the impossibility of truth in recounting anything - words can never fully recreate experience. Duff offers the comment that this is merely his perspective ‘This is my truth’ as he says. He addresses head on his nihilistic self-destructive nature but also, in retrospect, toys with the relevance of specific symbols – in this case the Number 13. In essence we have 2 prologues (a 13th birthday party of his first daughter and the, ‘post Use Your Illusion’, burst pancreas).
McKagan narrates a lively story of excess: initially in the form of drugs, but latterly through sport and meditation. He has an addictive personality and that is not going to change, but the emphasis nowadays is more constructive than destructive! The change of heart hinged on and around the hospitalization for acute pancreatitis in 1994 and the rather unpleasant image of an exploding pancreas. The text at points is flighty and flits around a lot especially early on as he tries to give context to events and offer perspective on later happenings. It is made up of short punchy chapters – jumping often with context not always chronology. The text is light but well explained and constructed. The chapters skirt each other in a well-constructed dance – as it perhaps consciously explores life’s circular narrative. This book is repetitive at points, and a little too redemptive. McKagan at points lectures and bandstands about the road to Damascus moment of becoming a parent – but it must be acknowledged that he does so form a position of knowledge and sincere devotion both to his family and the all-American picket fence aspiration. The text climaxes in fitting full circle with a 13 year reunion with Axl. But this reunion is presented as not being contrived, indeed more broadly the books full circle doesn’t seem too constructed. It is merely the end of a journey – where McKagan at least is comfortable in and of himself both to put differences aside with old band members and to perform old numbers without animosity. Given his immersing into martial arts I wonder if McKagan is deliberately stressing the relevance of 13 years (unlike the Guns and Roses song 14 years) “the test, the suffering and the death. It symbolizes the death to the matter or to oneself and the birth to the spirit” Don't really know what this bit is about with a 13-year tenure on bass in what was at the time the biggest band on earth 13 year birthday of his daughter and 13 years since he had spoken to Axl when the reconvene in London – coincidentally before a ‘new look’ Guns 'n' Roses. Duff points out, dwelling only slightly on the manner in which Axl persuaded Slash and Duff to sign away the rights to the name of the band. A truly million-dollar manipulation.
The growing maturity as opposed to teenage nihilism is nice to see, but also touching how he takes more immediate pride in his more recent academic A grades than in many of Guns 'n' Roses' achievements. The benefits of education is a personal achievement, in which he rightly takes great pride, but his artistic success and the financial rewards that came with that enable him to pass on far more than a good education to his children and possibly impressionable readers of this light, breezy but entertaining text. Perhaps though the early persona or situation and circumstance were needed to create such an explosive art form – the best selling debut LP of all time (31 million plus at time of writing) and a timeless piece of art.
I probably shouldn't write, or publish this review. I was underwhelmed by the book - despite writing and presenting a lot myself in this field I found very little of merit. If anyone has a passing interest i would urge them to read it - or at least the essays that may interest them, but I found much of it laborious and unrewarding.
Classical Antiquity in Heavy Metal Music
Fletcher & Umurhan
Bloomsbury 2020
This collection brings together many of the growing authorities on heavy metal music and it's varied and assorted debts to the western European classical heritage. That means the focus is generally on the mainstream Greek and Roman Ancient history of the ‘Classical’ era. There are some well-respected scholars whose names are increasingly recognised in the burgeoning academic Heavy Metal scene, but they also have good classical pedigrees. Though the writes do acknowledge early on (p3) they are choosing the popular classics as the key area. However, this potentially white Anglo Saxon lineage (alongside the equally problematic Classics) is largely unexplored. These professors, specialists in their field, offer interrogation of what is sometimes simplistic analysis or presentation by the musical artists themselves. It is also near exclusively the lyrics which the academics interrogate. There is little mention of the music and by implication tacit acknowledgement it is really only lyrics that we are talking about when we interrogate Heavy Metal's use of the ancient era in the contents of its songs. But that is perhaps an unfair observation as we don't know for certain the sounds of ancient cultures. We can guess and estimate, but to cite any band's using modal ancient sound however faux or speculative would have been interesting and thought provoking.
A defining characteristic of Heavy Metal is its fascination with history and myth (p10) often at expense of an interest in contemporary politics or injustices. Heavy Metal seldom adds any obvious metaphor or analogies leading to the easy accusation that it simply revels in the past rather than drawing parallels to learn from the future. Given valid voice to the genre's apparent conservatism. It never seeks to challenge or interrogate, instead often pointedly living for the moment.
The book addresses as well, albeit not 100% convincingly. the age old high and low art arguments. I am not convinced but is Heavy Metal or guitar rock still relevant since its late 80s heyday? I suspect not and suspect that it will not return to its former glories in coming decades or centuries but that said it is established as a recognised cultural occurrence with an albeit marginal place in society now and going forward. The majority of artists under discussion here are 21st century artists and relatively obscure ones at that. It is a shame that whilst multi-million selling Iron Maiden loom large in the background, they do not merit their own analysis.
The book has a lot to say but ends suddenly, with no real conclusion beyond that homogeneous Christianity in the West subsumed the option of atheism but obviously not doubt or questioning. It is, though, hard not to agree key concept that "Heavy metal music serves as a microcosm for examining the modern reception of the Classical world," If that is the case, we do not really interrogate the past we merely regurgitate unimaginatively. The notion that bands are performing national identity through their music is of interest but why and for what ends might be more interesting an exploration. The rise in nationalism and increased borders is a regressive step and Heavy Metal in a lot of cases merely perpetuates this. Which is why Iron Maiden's slightly more nuanced presentation of the past may have been a healthy addition. Overall interesting and flowing read for those with passing interest in Greece and Rome as well as classics specialists but will also serve as a more informative book for the Metal nerd who wants an academic book on their shelf.
Classical Antiquity in Heavy Metal Music
Fletcher & Umurhan
Bloomsbury 2020
This collection brings together many of the growing authorities on heavy metal music and it's varied and assorted debts to the western European classical heritage. That means the focus is generally on the mainstream Greek and Roman Ancient history of the ‘Classical’ era. There are some well-respected scholars whose names are increasingly recognised in the burgeoning academic Heavy Metal scene, but they also have good classical pedigrees. Though the writes do acknowledge early on (p3) they are choosing the popular classics as the key area. However, this potentially white Anglo Saxon lineage (alongside the equally problematic Classics) is largely unexplored. These professors, specialists in their field, offer interrogation of what is sometimes simplistic analysis or presentation by the musical artists themselves. It is also near exclusively the lyrics which the academics interrogate. There is little mention of the music and by implication tacit acknowledgement it is really only lyrics that we are talking about when we interrogate Heavy Metal's use of the ancient era in the contents of its songs. But that is perhaps an unfair observation as we don't know for certain the sounds of ancient cultures. We can guess and estimate, but to cite any band's using modal ancient sound however faux or speculative would have been interesting and thought provoking.
A defining characteristic of Heavy Metal is its fascination with history and myth (p10) often at expense of an interest in contemporary politics or injustices. Heavy Metal seldom adds any obvious metaphor or analogies leading to the easy accusation that it simply revels in the past rather than drawing parallels to learn from the future. Given valid voice to the genre's apparent conservatism. It never seeks to challenge or interrogate, instead often pointedly living for the moment.
The book addresses as well, albeit not 100% convincingly. the age old high and low art arguments. I am not convinced but is Heavy Metal or guitar rock still relevant since its late 80s heyday? I suspect not and suspect that it will not return to its former glories in coming decades or centuries but that said it is established as a recognised cultural occurrence with an albeit marginal place in society now and going forward. The majority of artists under discussion here are 21st century artists and relatively obscure ones at that. It is a shame that whilst multi-million selling Iron Maiden loom large in the background, they do not merit their own analysis.
The book has a lot to say but ends suddenly, with no real conclusion beyond that homogeneous Christianity in the West subsumed the option of atheism but obviously not doubt or questioning. It is, though, hard not to agree key concept that "Heavy metal music serves as a microcosm for examining the modern reception of the Classical world," If that is the case, we do not really interrogate the past we merely regurgitate unimaginatively. The notion that bands are performing national identity through their music is of interest but why and for what ends might be more interesting an exploration. The rise in nationalism and increased borders is a regressive step and Heavy Metal in a lot of cases merely perpetuates this. Which is why Iron Maiden's slightly more nuanced presentation of the past may have been a healthy addition. Overall interesting and flowing read for those with passing interest in Greece and Rome as well as classics specialists but will also serve as a more informative book for the Metal nerd who wants an academic book on their shelf.
Tangled Up in the Bible: Bob Dylan and Scripture Michael Gilmour (2004)
Continuum International Publishing
Dylan and the Bible. Not a new concept, but there is so much data and speculation to till through, Gilmour certainly Keeps his hand on the Plough.
This book sits alongside many other attempts - positive and prejudiced - to align Dylan’s religious convictions with both surviving translation and his lyric. The Bible In The Lyrics Of Bob Dylan Bert Cartwright (1985) was one of the earliest. Stephen H. Webb Dylan Redeemed: From Highway 61 to Saved (2006) and more recently (2018) the much revered Clinton Heylin (Trouble In Mind: Bob Dylan's Gospel Years - What Really Happened) have all dealt with the same issue from different perspectives and also different time periods. It is certainly true that having been the poster boy of counterculture in the 1960s his apparent emergence as altar boy of religious conformity from 1978 sat uneasily with many. But he was also a Restless Pilgrim as Scott M. Marshall and Marcia Ford clumsily pointed out in 2002. His loyalty was to his God not specific church orthodoxies be it either Vineyard Christian Fellowship or any other Protestant sect. As time would prove he also retained conviction for much of his Jewish heritage as well as Catholic reading. Though it is true to say (as Gilmour does) that Christ commands a huge importance in imagery for Dylan “as a model for understanding his role as an artist and public figure”.
This publication is specifically a study of Dylan's reading of scriptures. There is a lot to compliment this pamphlet or short book in placing much of Dylan’s work within a Biblical context. Not dwelling on or preoccupying with the conversion era (1978-81) it focuses more on the 1960s and the contemporary album “Love and Theft” (2001). Dylan’s writing always features Biblical imagery, but Christian Era 78-81 he seemed less to be interrogating a belief’s system but presenting a pre-packaged doctrine as a formality. Although it has to be acknowledged, despite its faults, Dylan’s Slow Train Coming is in the upper echelons of Christian Rock Albums. Logically and clearly laid out despite its slim edition this offers detailed analysis if a little disappointing in its synchronical approach and as a collection of 6 short essays. It also has a huge (and undenied) debt to Cartwright’s 1980s book – but that only goes up to 1990s Under The Blood Red Sky in its most recent edition. In his songs Dylan regularly tells stories of Dylan and justice denied (Hattie Carroll), or tragic stories awaiting resolution (Hurricane) or hopes society may improve itself (Emmett Till) – like the scriptures.
There is much to praise this book for its readings including Infidels (1983) and specifically the track ‘Jokerman’ which maintained Dylan’s interest in biblical themes (as per 78-81) but the form of presentation had changed. ‘Jokerman’ is a multiplicite character: Ambiguity is the point. This book benefits from including an amazing appendix of songs and religious references, some obvious, others less so, but all together in one place. There are also some correct, albeit some banal, observations like Dylan’s fascination with those who died young - including James Dean, Hank Williams and i would add Buddy Holly. Empire Burlesque (1985) drew more heavily and at least more blatantly on film and Bogart. However Gilmour asserts Empire Burlesque includes biblical references – but Empire Burlesque “involves the careful integration of sources” albeit possibly too oblique or too subtle to be picked up on. Though p60 examples – some compelling, others often weaker, tenuous, dark eyes and love are tropes – that are not biblical monopolies! A book of this size is bound to leave out more than it can include – but as a start it is a good reference point.
Continuum International Publishing
Dylan and the Bible. Not a new concept, but there is so much data and speculation to till through, Gilmour certainly Keeps his hand on the Plough.
This book sits alongside many other attempts - positive and prejudiced - to align Dylan’s religious convictions with both surviving translation and his lyric. The Bible In The Lyrics Of Bob Dylan Bert Cartwright (1985) was one of the earliest. Stephen H. Webb Dylan Redeemed: From Highway 61 to Saved (2006) and more recently (2018) the much revered Clinton Heylin (Trouble In Mind: Bob Dylan's Gospel Years - What Really Happened) have all dealt with the same issue from different perspectives and also different time periods. It is certainly true that having been the poster boy of counterculture in the 1960s his apparent emergence as altar boy of religious conformity from 1978 sat uneasily with many. But he was also a Restless Pilgrim as Scott M. Marshall and Marcia Ford clumsily pointed out in 2002. His loyalty was to his God not specific church orthodoxies be it either Vineyard Christian Fellowship or any other Protestant sect. As time would prove he also retained conviction for much of his Jewish heritage as well as Catholic reading. Though it is true to say (as Gilmour does) that Christ commands a huge importance in imagery for Dylan “as a model for understanding his role as an artist and public figure”.
This publication is specifically a study of Dylan's reading of scriptures. There is a lot to compliment this pamphlet or short book in placing much of Dylan’s work within a Biblical context. Not dwelling on or preoccupying with the conversion era (1978-81) it focuses more on the 1960s and the contemporary album “Love and Theft” (2001). Dylan’s writing always features Biblical imagery, but Christian Era 78-81 he seemed less to be interrogating a belief’s system but presenting a pre-packaged doctrine as a formality. Although it has to be acknowledged, despite its faults, Dylan’s Slow Train Coming is in the upper echelons of Christian Rock Albums. Logically and clearly laid out despite its slim edition this offers detailed analysis if a little disappointing in its synchronical approach and as a collection of 6 short essays. It also has a huge (and undenied) debt to Cartwright’s 1980s book – but that only goes up to 1990s Under The Blood Red Sky in its most recent edition. In his songs Dylan regularly tells stories of Dylan and justice denied (Hattie Carroll), or tragic stories awaiting resolution (Hurricane) or hopes society may improve itself (Emmett Till) – like the scriptures.
There is much to praise this book for its readings including Infidels (1983) and specifically the track ‘Jokerman’ which maintained Dylan’s interest in biblical themes (as per 78-81) but the form of presentation had changed. ‘Jokerman’ is a multiplicite character: Ambiguity is the point. This book benefits from including an amazing appendix of songs and religious references, some obvious, others less so, but all together in one place. There are also some correct, albeit some banal, observations like Dylan’s fascination with those who died young - including James Dean, Hank Williams and i would add Buddy Holly. Empire Burlesque (1985) drew more heavily and at least more blatantly on film and Bogart. However Gilmour asserts Empire Burlesque includes biblical references – but Empire Burlesque “involves the careful integration of sources” albeit possibly too oblique or too subtle to be picked up on. Though p60 examples – some compelling, others often weaker, tenuous, dark eyes and love are tropes – that are not biblical monopolies! A book of this size is bound to leave out more than it can include – but as a start it is a good reference point.
The Hard Stuff: Dope, Crime, the MC5 and my Life of Impossibilities by Wayne Kramer
If you are not angry, you are not paying attention.
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Growing up I heard mythical stories of the expletive ridden ‘Kick Out The Jams’ – but was largely unimpressed with the anarchic sound of MG5, one of Detroit’s most famous musical exports. I was more in awe of Wayne Kramer's collection of albums under the moniker Gang War with the former New York Doll Johnny Thunders. The live albums I had made the tours they did together sound like the epitome of rock and roll on a knife edge (I have seen it described elsewhere as ‘a time capsule and a car crash’). At the turn of the century, I was also blown away by the hugely charismatic guitarist in the supergroup Mad For The Racket and their album The Racketeers (2000). I knew that since his original band's demise in 1972 Kramer has fallen foul of the law, not just for his anarchic politics, but also his drug dealing. I was therefore excited to read the autobiography of this politically engaged performer as I saw him. The title pretty much acts as a fitting synopsis for this life story. Beyond a few opening salvos his challenging politics in late 20th century America barely features. His life was instead simply a struggle to get by. Changing the world slipped off that agenda as the battle for survival became his saviour, at least as he presents it. And this is a pretty stayed, ironically (given his own leanings), a very conservative autobiography from ‘born and raised in Detroit', moved around caused in part by an alcoholic father (who left a void when he left), and a hard-working aspirational mother.
Kramer’s life, according to his autobiography was powered in part by anger at perceived injustice and an anarchic and Marxist drive for revolution. It is a well-founded and well-informed narrative, but also early on filled with youthful anger and exuberance with subversive politics and naivete alongside cross generational conflict. Even through his egalitarian outlook early in life Kramer is a complex, and angry personality – however his anger is largely justified, albeit his actions are sometimes misguided. But then again if you are not angry you are not paying attention. His early interest was communal and this is manifested in the political anger of his early youth but this anger dwindles or mellows as the story progresses. Drugs and general tardiness play their part early on, but for Kramer, the drugs continued beyond being fun anymore. There are obvious references in the Thunders era [Gang War] which was only a collection of gigs and demos before heroin destroyed it, but this is only covered in passing over 2 pages, and unfortunately my beloved Mad For The Racket album didn’t even merit a passing mention in the book! The book feels like Kramer concluding he had a life lived – and in the end had achieved his white picket fence - underwhelming but pragmatic perhaps. By page 196, when the drugs landed him in prison, he is slowly won over by the American Dream. Furthered in no small part by a hard work ethic instilled early on by his studious mother. Or perhaps just the fight is knocked out of him. This is a shame but by the end you are keen to wish him well and he seems to want the best for human race still and his own future generations. He is a survivor and the story in an all-American manner is redemptive, reflective and leaves him at a comfortable place in his life. As a related aside the storyline is VERY similar to Duff McKagan’s 2011 autobiography. Perhaps this is more than a coincidence given that the Mad For The Racket band involved both these characters. ‘Grew up stealing cars, loved music and had a crisis’ – McKagan an exploded spleen, Kramer incarcerated - they both read subsequently which leads directly or indirectly to salvation. As so often happens (Bob Dylan does this in song) both salvations also come in the form of a loving devoted woman. Characters with two interesting stories – but no broader interest or wider appeal. |
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Queen Unseen: My life with the greatest rock band of the 20th century. Peter Hince |
This was a fun read that i had been looking forward to for months. It was never going to be taxing nor was it a ‘warts and all’ or ‘kiss and tell’ about the band members - or more specifically Freddie Mercury. It is reverent and respectful - which is refreshing. Throughout Hince is witty, considered and writes in a flowing style. This helps make him amiable and funny. He divides the book into geographical chapters from America to Japan for touring and Montreux and Munich for studios…. And of course London. Although he spans a number of albums including the classic The Game and some of the best songs the band wrote, there are very few songs explored - except the fleeting but fascinating bathroom scene for Freddies composition ‘Crazy Little Thing called Love’. He adds very little details about drugs and dames, merely passing reference. Hince is pleasant, largely impartial and seemingly level headed - adores his former bosses but also appears to have the measure of them - a celebration in a particularly understated English way!!
What this book is is a loosely written collection of anecdotes mainly about and focused around Freddie Mercury - that is to be expected seeing as although he was head of road crew towards the end of their career he was mainly Mercury’s technical assistant (as well as John Deacon, though he is less explored in the book because overall his requirements were less demanding). That Hince knew Freddie Mercury far better than most is without a doubt - given 10 years on the road and in the studio. Nicknamed Ratty early on in his time with the band the nickname doesn't seem 100% derogatory! Some curious but perhaps irrelevant ‘facts’ I didnt know like Freddie loved scrabble or was very good at table tennis! These facts don’t add much to the talent of Mr Mercury but they do reiterate his precocious but prickly talent. Not surprisingly Hince adores Mercury “Somebody Unique. Magical.” He certainly was a rare talent.
Packed full of stream of yarns and stories this book does contribute to gaining an idea of the character of Freddie Mercury within Queen, but nothing that will shatter the idea of the great man and his mercurial talent. Hince became famous in his own right as a photographer and the foundations of this career are clearly laid in the book. A catalogue of snapshots. Sometimes disjointed reminiscences and conquests enjoyably and albeit slightly quip based executed alongside sometimes banal observations. (The layout of his new house "looked like a cluedo board” or “you always got a good cup of tea at John's ".) A fun read and, although this is damning praise, it is largely forgettable.
This was a fun read that i had been looking forward to for months. It was never going to be taxing nor was it a ‘warts and all’ or ‘kiss and tell’ about the band members - or more specifically Freddie Mercury. It is reverent and respectful - which is refreshing. Throughout Hince is witty, considered and writes in a flowing style. This helps make him amiable and funny. He divides the book into geographical chapters from America to Japan for touring and Montreux and Munich for studios…. And of course London. Although he spans a number of albums including the classic The Game and some of the best songs the band wrote, there are very few songs explored - except the fleeting but fascinating bathroom scene for Freddies composition ‘Crazy Little Thing called Love’. He adds very little details about drugs and dames, merely passing reference. Hince is pleasant, largely impartial and seemingly level headed - adores his former bosses but also appears to have the measure of them - a celebration in a particularly understated English way!!
What this book is is a loosely written collection of anecdotes mainly about and focused around Freddie Mercury - that is to be expected seeing as although he was head of road crew towards the end of their career he was mainly Mercury’s technical assistant (as well as John Deacon, though he is less explored in the book because overall his requirements were less demanding). That Hince knew Freddie Mercury far better than most is without a doubt - given 10 years on the road and in the studio. Nicknamed Ratty early on in his time with the band the nickname doesn't seem 100% derogatory! Some curious but perhaps irrelevant ‘facts’ I didnt know like Freddie loved scrabble or was very good at table tennis! These facts don’t add much to the talent of Mr Mercury but they do reiterate his precocious but prickly talent. Not surprisingly Hince adores Mercury “Somebody Unique. Magical.” He certainly was a rare talent.
Packed full of stream of yarns and stories this book does contribute to gaining an idea of the character of Freddie Mercury within Queen, but nothing that will shatter the idea of the great man and his mercurial talent. Hince became famous in his own right as a photographer and the foundations of this career are clearly laid in the book. A catalogue of snapshots. Sometimes disjointed reminiscences and conquests enjoyably and albeit slightly quip based executed alongside sometimes banal observations. (The layout of his new house "looked like a cluedo board” or “you always got a good cup of tea at John's ".) A fun read and, although this is damning praise, it is largely forgettable.
Bob Dylan and Philosophy:It's alright mama (I'm only thinking) Ed Vernezze and Porter
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It is not outlandish to point out from the outset that Philosophy typically strives for the clarity of definition and proposition. Poetry (if we acknowledge that Bob Dylan’s writings are poetry), or the arts, often revel in ambiguity and mystery. These two fields seem hard to reconcile. In this book series the artist often simply acts as a jumping off point for discussion of philosophical issues, a kind of philosophy 101 aimed at beginners who are fans of the genre or artist under discussion. This book itself though speculates that perhaps the pathway between them may be mysterious and difficult but that there is nonetheless an area where poetry and philosophy meet. Given its more philosophical subject than many other popular culture icons, it is definitely a closer match than other subjects in the 'Philosophy and ...' series. This book states that "One enlightenment dogma is that human reason will lead to progress and the gradual improvement of mankind"(p72). Dylan in my opinion brilliantly inverts this in many of his lyrics so seems to fit this philosophical dogma, whilst at the same time being quite dogmatic. It is important to note in conjunction we as humans enjoy listening to other people’s perspectives through song - not because we enjoy pain, or even others pain, but we value empathy through art to help us find common ground and overlap with our peers. And Dylan is one of the best purveyors of this - at least in his word selection if not always in his own execution! The subtitle switch of the lyric "I'm only bleeding" to 'thinking' is a simple and humourous change, but captures the blood, sweat and tears that can go into thinking sometimes! The authors say there is a "re-emergence of an interest in the life of the mind" (p.x) I am not sure i agree (If it is true, did it ever go away?) but an interesting observation that as a straw man allows them to interrogate the lyrics of Dylans songs for philosophical meaning.
There are a lot of excellent chapters in this book. The first is one of them: Pairing Plato's Symposium with Bob Dylan's 1974 Planet Waves - offers a great analysis of both, which do complement each other and add value to Dylan’s work. Chapter 2 analyses Dylan's 'Later Work' without being too taxing, although to the 2020 reader this looks increasingly like his mid period! - Brownsville Girl, Time out of Mind and "Love and Theft" (ed - with Dylans own quotations on final title). Kolers 'Who Killed Medgar Evers?' (chapter 3) is an excellent moral philosophy 101 meets the Dylan listener and even the Dylanologist, whilst in the following chapter Klagge effectively addresses the obvious target of the morality of bootlegging. A bit like elsewhere in the book though this chapter sets up a few straw men which are easy to knock down, and muddies the water with counterfeits which are a different beast. This chapter - despite being good on a simple level - also has the writer seeming to conclude that Bootlegging comes down to finances not the art, a disappointing conclusion dictated by being a product of capitalist culture, and just plain wrong or out of touch in the internet age. He also wrongly claims fans have rights - which is dangerously close to endorsing the celebrity stalkers right to an autograph. Beckwith’s analysis of Dylan's Christian philosophy could have been interesting - but should have been sharper - the quotes are just over long and include superfluous text - with good quotes the essay would have been punchier and better for it. There is also a valid attempt to interrogate Dylan's much dismissed book Tarantula alongside Nietzsche’s Zarathustra (p157). Whilst not completely convincing it is certainly interesting. Chapter 15 Gracyk - Dylan as an 'artist' - an excellent essay - one of the best, possibly the best. He discusses the Theory of art, highlighting how artistry is an imaginative activity that makes us conscious of our emotions and that Dylan expresses emotions when composing - but is expressive of emotion when performing. A stand out essay worth the cover price alone. I may be misreading or misunderstanding but the editor Vernezze’s essay seems a bit sloppy? Was Dylan born 1941 or 1946? (I know the answer but it is unclear if Vernezze does). Overall though there are some great concepts for any Dylan fan - such as Stoehl’s accurate observation - "Dylan is not so much a prophet, then, gazing forward into the future, as he is a smirking antiquary" (p190).
This collection though certainly benefits from seeming to have an easier correlation between thought and words. The majority of the 16 essays in this collection come together well, certainly far superior to the later Stones equivalent (reviewed elsewhere on this site). I don’t know if this is because of the quality of the writers or the quality of the subject - Dylan being a more complete poet and artist than the song-and-dance entertainers the Rolling Stones. This book is aided by its removed nature - it is unlike the Stones book as it is not overly sycophantic. It is simple, but I like that this book is laid out with liner notes and sides 1 and 2 in the style of an LP, but that belies perhaps an album concept. Surely Dylan is equally famous for his live set (N.E.T.?). This text it is not overly taxing or beyond the lay reader. Worth picking up for early career philosophers or Dylan fans who want a perspective on the man's writing. Dylan songs make many people think deeply - they are conducive to philosophy. If Dylan makes you think he has succeeded in his aim, if these philosophers can make you think about Dylan and life they have succeeded in theirs. Dylan songs are chilling, vicious, fearful of death, dislocated, detailed, oblique, apocalyptic, sarcastic, fatalistic and so much more.......If they can make you think they are philosophy …. both philosophy and successful musicians both explore our desire to understand - and critically the effect it has on the listener and receiver. Both can be intricate... but crucially philosophy and successful musicians both explore our desire to understand our situation. Of course, Dylan songs make many people think deeply - they are conducive to philosophy. Certainly not earth shattering, nor is it contentious or pioneering, but it is a fun interrogation of Bob Dylan mainly through his lyrics from a Philosophical perspective.
There are a lot of excellent chapters in this book. The first is one of them: Pairing Plato's Symposium with Bob Dylan's 1974 Planet Waves - offers a great analysis of both, which do complement each other and add value to Dylan’s work. Chapter 2 analyses Dylan's 'Later Work' without being too taxing, although to the 2020 reader this looks increasingly like his mid period! - Brownsville Girl, Time out of Mind and "Love and Theft" (ed - with Dylans own quotations on final title). Kolers 'Who Killed Medgar Evers?' (chapter 3) is an excellent moral philosophy 101 meets the Dylan listener and even the Dylanologist, whilst in the following chapter Klagge effectively addresses the obvious target of the morality of bootlegging. A bit like elsewhere in the book though this chapter sets up a few straw men which are easy to knock down, and muddies the water with counterfeits which are a different beast. This chapter - despite being good on a simple level - also has the writer seeming to conclude that Bootlegging comes down to finances not the art, a disappointing conclusion dictated by being a product of capitalist culture, and just plain wrong or out of touch in the internet age. He also wrongly claims fans have rights - which is dangerously close to endorsing the celebrity stalkers right to an autograph. Beckwith’s analysis of Dylan's Christian philosophy could have been interesting - but should have been sharper - the quotes are just over long and include superfluous text - with good quotes the essay would have been punchier and better for it. There is also a valid attempt to interrogate Dylan's much dismissed book Tarantula alongside Nietzsche’s Zarathustra (p157). Whilst not completely convincing it is certainly interesting. Chapter 15 Gracyk - Dylan as an 'artist' - an excellent essay - one of the best, possibly the best. He discusses the Theory of art, highlighting how artistry is an imaginative activity that makes us conscious of our emotions and that Dylan expresses emotions when composing - but is expressive of emotion when performing. A stand out essay worth the cover price alone. I may be misreading or misunderstanding but the editor Vernezze’s essay seems a bit sloppy? Was Dylan born 1941 or 1946? (I know the answer but it is unclear if Vernezze does). Overall though there are some great concepts for any Dylan fan - such as Stoehl’s accurate observation - "Dylan is not so much a prophet, then, gazing forward into the future, as he is a smirking antiquary" (p190).
This collection though certainly benefits from seeming to have an easier correlation between thought and words. The majority of the 16 essays in this collection come together well, certainly far superior to the later Stones equivalent (reviewed elsewhere on this site). I don’t know if this is because of the quality of the writers or the quality of the subject - Dylan being a more complete poet and artist than the song-and-dance entertainers the Rolling Stones. This book is aided by its removed nature - it is unlike the Stones book as it is not overly sycophantic. It is simple, but I like that this book is laid out with liner notes and sides 1 and 2 in the style of an LP, but that belies perhaps an album concept. Surely Dylan is equally famous for his live set (N.E.T.?). This text it is not overly taxing or beyond the lay reader. Worth picking up for early career philosophers or Dylan fans who want a perspective on the man's writing. Dylan songs make many people think deeply - they are conducive to philosophy. If Dylan makes you think he has succeeded in his aim, if these philosophers can make you think about Dylan and life they have succeeded in theirs. Dylan songs are chilling, vicious, fearful of death, dislocated, detailed, oblique, apocalyptic, sarcastic, fatalistic and so much more.......If they can make you think they are philosophy …. both philosophy and successful musicians both explore our desire to understand - and critically the effect it has on the listener and receiver. Both can be intricate... but crucially philosophy and successful musicians both explore our desire to understand our situation. Of course, Dylan songs make many people think deeply - they are conducive to philosophy. Certainly not earth shattering, nor is it contentious or pioneering, but it is a fun interrogation of Bob Dylan mainly through his lyrics from a Philosophical perspective.
Dayglo! The Poly Styrene Story Book by Celeste Bell and Zoe Howe
Here at last is a full and detailed book dedicated to the icon that was Marianne Joan Elliott-Said, better known as Poly Styrene, pioneering lead singer of X Ray Spex and great solo artist who’s songs were intelligent, erudite but entertaining with a novel but contemporary sound. She wrote and performed songs that revelled in sending up consumerism and the vacuous world we have only embraced with more fervour since her death. I am a huge fan of the Spex and although they were the sum of many parts I was also intensely interested in Marianne’s solo work- therefore I was hugely excited about the release of this book. As a glossy coffee table extravaganza interviewing and offering soundbites from many people associated with and inspired by her, it is certainly not a conventional narrative or traditional biography. Instead it is a "conversational" style in layout and presentation with some really beautiful pictures, all high quality images and production. This book is packed full of well-meaning interesting and considered snippets - but some of the presentation of this contents is relatively flimsy. It even includes, by way of example, a Double page spread of Poly's favourite recipes. I fail to understand what, if anything, this adds to the individual beyond her merits in some Bake Off or Come Dine with Me experience. Similarly, the two authors introductory notes read more like the aim of this is a self-help manual for future feminists not a celebration of the life of an inspired artist. Unfortunately, if she was the woman I think she was, I don't think Poly herself would like the book. It does not do her memory justice. It does install her in the pantheon of great Punks but firmly within the framework of the late capitalist consumer void and malaise we find ourselves stuck in since the 1950s. Punk tried and failed to challenge it and instead ended up selling butter. It is though well written and undoubtedly sincere. However, it is symptomatic of all that is wrong with today and all I feel Marian, the band and much of punk ethos fought against.
The Arena documentary (1979’s Who Is Poly Styrene?), which most fans will have seen either at the time or more recently on Youtube is referenced several times. This clearly shows Poly was a troubled person. Similarly, the book doesn’t shy away from her vulnerability or perhaps more importantly her often abusive relationships. This book certainly offers glimpses as well as an impression of genuine frankness from the main people in her life. There are some truly fascinating glimpses of both Poly (from her own Diary) and other more general but equally important feminist observations from Kathleen Hanna (Bikini Kill) and Pauline Black (The Selecter) amongst many others. In lieu of a gritty warts and all analysis of the woman herself – this will have to do. Personally I am still super excited about the continuously postponed feature-length documentary called Poly Styrene: I Am A Cliché, now scheduled for 2020. This book was a spin-off of that and it feels at points like a script for that documentary more than a book analysing her and her role. More of a part of a ‘franchise’, but then perhaps that is the point and I am out of touch with what the younger public may want. A table top book to dip in and out of and impress their friends has more validity than a genius performer who challenged societal norms but also paid a high price for non-conformity.
Here at last is a full and detailed book dedicated to the icon that was Marianne Joan Elliott-Said, better known as Poly Styrene, pioneering lead singer of X Ray Spex and great solo artist who’s songs were intelligent, erudite but entertaining with a novel but contemporary sound. She wrote and performed songs that revelled in sending up consumerism and the vacuous world we have only embraced with more fervour since her death. I am a huge fan of the Spex and although they were the sum of many parts I was also intensely interested in Marianne’s solo work- therefore I was hugely excited about the release of this book. As a glossy coffee table extravaganza interviewing and offering soundbites from many people associated with and inspired by her, it is certainly not a conventional narrative or traditional biography. Instead it is a "conversational" style in layout and presentation with some really beautiful pictures, all high quality images and production. This book is packed full of well-meaning interesting and considered snippets - but some of the presentation of this contents is relatively flimsy. It even includes, by way of example, a Double page spread of Poly's favourite recipes. I fail to understand what, if anything, this adds to the individual beyond her merits in some Bake Off or Come Dine with Me experience. Similarly, the two authors introductory notes read more like the aim of this is a self-help manual for future feminists not a celebration of the life of an inspired artist. Unfortunately, if she was the woman I think she was, I don't think Poly herself would like the book. It does not do her memory justice. It does install her in the pantheon of great Punks but firmly within the framework of the late capitalist consumer void and malaise we find ourselves stuck in since the 1950s. Punk tried and failed to challenge it and instead ended up selling butter. It is though well written and undoubtedly sincere. However, it is symptomatic of all that is wrong with today and all I feel Marian, the band and much of punk ethos fought against.
The Arena documentary (1979’s Who Is Poly Styrene?), which most fans will have seen either at the time or more recently on Youtube is referenced several times. This clearly shows Poly was a troubled person. Similarly, the book doesn’t shy away from her vulnerability or perhaps more importantly her often abusive relationships. This book certainly offers glimpses as well as an impression of genuine frankness from the main people in her life. There are some truly fascinating glimpses of both Poly (from her own Diary) and other more general but equally important feminist observations from Kathleen Hanna (Bikini Kill) and Pauline Black (The Selecter) amongst many others. In lieu of a gritty warts and all analysis of the woman herself – this will have to do. Personally I am still super excited about the continuously postponed feature-length documentary called Poly Styrene: I Am A Cliché, now scheduled for 2020. This book was a spin-off of that and it feels at points like a script for that documentary more than a book analysing her and her role. More of a part of a ‘franchise’, but then perhaps that is the point and I am out of touch with what the younger public may want. A table top book to dip in and out of and impress their friends has more validity than a genius performer who challenged societal norms but also paid a high price for non-conformity.
Chrissie Hynde: Reckless: My life as a Pretender.
Chrissie Hynde is an interesting figure. Her finally telling her story should be an interesting event. But from the very outset this book is little more than a construct. Of course all autobiographies are - but some manage to entertain more than others. Even the title this book is a little bit disingenuous. It is Chrissie Hynde’s autobiography, but it covers from Chrissie’s birth in Akron, Ohio (1951) to the demise of the original and main Pretenders line up (1982). Yet the life of ‘The Pretenders’ is arguably 1978 to the present day (as of 2019 they are still touring). The implication is clear: Up until 1982 Hynde was nothing more than a pretender, a not very subtle reference to her faux confidence or bluff that she makes regular reference to in the pages of this book.
Charismatic, spunky and notoriously prickly about her private life Hynde has given us a collection of pithy anecdotes largely about the perils of drugs and her unashamed love of rock music, it is just a shame that most of these were already in the public domain from interviews she gave in the early 80s. A little bit of digging, or even a couple of detailed features in Rolling Stone and NME during the 1980s, would have revealed most the stories Hynde chose to disclose in this relatively light but also quite complex and subtle autobiography. Very little of what she writes is revelation (beyond details of the now famous ‘rape/sexual assault’ story) but what does come across is her excitement at the music she grew up with. That sincere love of music (and drugs) comes across in swathes. Rock music has been her life since first seeing back to back fairground performances by Mitch Ryder in about 1965. It was, though, the staged, theatrical and contrived nature of the performance she most fell in love with, and it is this contrivance which, on one level, she regurgitates here. The book’s deeper message though may be a bit more poignant.
The book is strewn with humorous and ironic references to the manufactured nature of and false construction of rock and roll, and this is her deeper resonance. That does not (nor need it) detract from Hynde’s or my love of it. Its a fake - It really is only Rock and Roll - but we like it! That said I never tired of reading it. The current trend from aging punk performers is to write in pithy, succinct and punchy sentences and chapters meaning it is difficult to tire of any one event - but it does leave you wanting more on specific events and more in depth comment from the narrator. She likes to claim she rolled with the punches - but more forthright opinions would add more to the story! Opinions are like assholes - everyone has one - but some are more reticent than others to reveal them publicly. The stand out chapter for example is about the US states culpability in the murder of 4 students in Ohio. The Kent State shootings, at which she was present, are almost the only items given precise dates and times, the rest are pointedly vague. One could as why? She may reply that beyond death Time is fleeting, or, that the exact nature of other events don’t really matter. Or she could just be being as loosely non-committal as Dylan. But perhaps her message is more committed than that, despite renouncing autobiography through her devotion to Krishna, she may see her pedestal as an opportunity to broach change in the Western self-destructing need for economic expansion. If that is the case the book is unfortunately too fragmented to succeed.
This may be a love letter to Rock Music, as it has been called elsewhere, but Hynde was fortunate enough to have been around and seen, then surfed the crest of this wave: She believes this was the greatest time to be alive and see Iggy, Bowie and many more. Roger Daltrey, for example, would disagree with her and thinks Rock died about the same time she felt it arrived (1971). Too many things are more frustratingly left in limbo, like the issue of a UK Visa or lack thereof which is only referenced after the urban myth about the Sid Vicious marriage and her change of name for writings for NME, but after that it is not addressed again, but left unresolved. Did she simply bury her head in sand ? I would assume she is not still! Overall this adds nothing to the canon of Pretenders history - but entertainingly presented and coming from the mouth of the Rock Queen it is worth the read, but I was left wanting more insight and less rehash.
Chrissie Hynde is an interesting figure. Her finally telling her story should be an interesting event. But from the very outset this book is little more than a construct. Of course all autobiographies are - but some manage to entertain more than others. Even the title this book is a little bit disingenuous. It is Chrissie Hynde’s autobiography, but it covers from Chrissie’s birth in Akron, Ohio (1951) to the demise of the original and main Pretenders line up (1982). Yet the life of ‘The Pretenders’ is arguably 1978 to the present day (as of 2019 they are still touring). The implication is clear: Up until 1982 Hynde was nothing more than a pretender, a not very subtle reference to her faux confidence or bluff that she makes regular reference to in the pages of this book.
Charismatic, spunky and notoriously prickly about her private life Hynde has given us a collection of pithy anecdotes largely about the perils of drugs and her unashamed love of rock music, it is just a shame that most of these were already in the public domain from interviews she gave in the early 80s. A little bit of digging, or even a couple of detailed features in Rolling Stone and NME during the 1980s, would have revealed most the stories Hynde chose to disclose in this relatively light but also quite complex and subtle autobiography. Very little of what she writes is revelation (beyond details of the now famous ‘rape/sexual assault’ story) but what does come across is her excitement at the music she grew up with. That sincere love of music (and drugs) comes across in swathes. Rock music has been her life since first seeing back to back fairground performances by Mitch Ryder in about 1965. It was, though, the staged, theatrical and contrived nature of the performance she most fell in love with, and it is this contrivance which, on one level, she regurgitates here. The book’s deeper message though may be a bit more poignant.
The book is strewn with humorous and ironic references to the manufactured nature of and false construction of rock and roll, and this is her deeper resonance. That does not (nor need it) detract from Hynde’s or my love of it. Its a fake - It really is only Rock and Roll - but we like it! That said I never tired of reading it. The current trend from aging punk performers is to write in pithy, succinct and punchy sentences and chapters meaning it is difficult to tire of any one event - but it does leave you wanting more on specific events and more in depth comment from the narrator. She likes to claim she rolled with the punches - but more forthright opinions would add more to the story! Opinions are like assholes - everyone has one - but some are more reticent than others to reveal them publicly. The stand out chapter for example is about the US states culpability in the murder of 4 students in Ohio. The Kent State shootings, at which she was present, are almost the only items given precise dates and times, the rest are pointedly vague. One could as why? She may reply that beyond death Time is fleeting, or, that the exact nature of other events don’t really matter. Or she could just be being as loosely non-committal as Dylan. But perhaps her message is more committed than that, despite renouncing autobiography through her devotion to Krishna, she may see her pedestal as an opportunity to broach change in the Western self-destructing need for economic expansion. If that is the case the book is unfortunately too fragmented to succeed.
This may be a love letter to Rock Music, as it has been called elsewhere, but Hynde was fortunate enough to have been around and seen, then surfed the crest of this wave: She believes this was the greatest time to be alive and see Iggy, Bowie and many more. Roger Daltrey, for example, would disagree with her and thinks Rock died about the same time she felt it arrived (1971). Too many things are more frustratingly left in limbo, like the issue of a UK Visa or lack thereof which is only referenced after the urban myth about the Sid Vicious marriage and her change of name for writings for NME, but after that it is not addressed again, but left unresolved. Did she simply bury her head in sand ? I would assume she is not still! Overall this adds nothing to the canon of Pretenders history - but entertainingly presented and coming from the mouth of the Rock Queen it is worth the read, but I was left wanting more insight and less rehash.
Adam Sobsey: Chrissie Hynde. A Musical Biography (2017) University of Texas Press
This book is striking in its simple presentation style: not basic, but simply and understandably delivered, telling the story of Chrissie Hynde and her music. Following only 2 years after Chrissie Hynde’s own autobiography (Reckless) it could beg the question ‘why bother’? (Beyond the years of research put in to that date!). However, despite its claims to the contrary Reckless: (My Life as a Pretender) does not deal with Hynde’s time as a Pretender or their music, but instead the build up to and initial success of the band. Sobsey steps in to give more commentary on Hynde’s own music, which despite her professed love of music, Hynde’s book was glaringly missing. In part because of Hynde’s book the entire opening chapter here largely regurgitates a synopsis of the autobiography. Indeed, in one damning indictment of her own retelling of her story (up to 1983 at least) Sobsey observes “One thing is sure: dont take her at her word, not even her last word, because she has seldom thought her words through”. The failures of the main protagonist aside this book is also at some points nothing more than a hagiography. But when a book starts “In a world full of pretenders, Chrissie Hynde is unassailably authentic…and this authenticity gathers and unifies the details of her life” perhaps he is simply wearing his own heart unashamedly on his sleeve. Conversely he is not afraid to question the veracity of her book at points, or go out on a limb - but he never strays too far.
Sobsey’s main focus in fact is not the person but the music she has released. The chapters and their analysis of the songs are roughly laid out in album track order. Here though we have partisan presentation and selection. The first three albums, which are popularly perceived as the better albums, merit their own chapters, then half way through the book albums are combined as two per chapter. Personally I fail to see why Chapter 5: ‘Dont Get Me Wrong:Get Close and Packed!’ didnt merit chapters in their own right and whilst living abroad in both Brazil and Sweden surely these albums would be better treated as standing alone? A more detailed study of the bootleg sessions for each album, where they exist, would add to the depth of analysis, although in most cases Hynde is not one to mould her songs in the studio, instead bringing well developed ideas in already.
The biggest and most glaring weakness of this book though is the amount of major factual failings and errors - which undermine its reliability. This is especially true with simple things like references to Julie Barnhill - not Burchill (p17) or that the store where the NME Hynde purchased as a teenager in Akron was actually a pharmacy or drugstore - not a record shop (p15). Whilst these errors detract, they need not completely eradicate the value of the text. The analysis on Hyndes music - within and without the Pretenders - is interesting and compelling. Also there is something of merit on every page - which for a book of this detail is a rare occurrence (And a far better strike rate than Hynde’s own autobiography). For example he makes a great point about the early Jackie Wilson gig and her first kiss: “The kiss was real, but the situation was pretend - and she put herself right in the front row for it, her star near the light”. And yet at other points Sobsey also lacks nuance. When discussing and analysing her solo album Stockholm he sees “No double entendre title this time: no politics to peddle, no point to make” - but surely Stockholm syndrome is at least one obvious one - especially on your first ‘release’ from 20 year confined by a band (P160). Similarly he claims that she suffers certain criticism levelled at her which is not hurled at her male equivalents. Whilst this is often the case I do not agree in every instance and also the examples he uses (p152) could, and have, been used against male performers as well. Overall though a well written and executed study of the musical works of one of the great women in rock and roll.
This book is striking in its simple presentation style: not basic, but simply and understandably delivered, telling the story of Chrissie Hynde and her music. Following only 2 years after Chrissie Hynde’s own autobiography (Reckless) it could beg the question ‘why bother’? (Beyond the years of research put in to that date!). However, despite its claims to the contrary Reckless: (My Life as a Pretender) does not deal with Hynde’s time as a Pretender or their music, but instead the build up to and initial success of the band. Sobsey steps in to give more commentary on Hynde’s own music, which despite her professed love of music, Hynde’s book was glaringly missing. In part because of Hynde’s book the entire opening chapter here largely regurgitates a synopsis of the autobiography. Indeed, in one damning indictment of her own retelling of her story (up to 1983 at least) Sobsey observes “One thing is sure: dont take her at her word, not even her last word, because she has seldom thought her words through”. The failures of the main protagonist aside this book is also at some points nothing more than a hagiography. But when a book starts “In a world full of pretenders, Chrissie Hynde is unassailably authentic…and this authenticity gathers and unifies the details of her life” perhaps he is simply wearing his own heart unashamedly on his sleeve. Conversely he is not afraid to question the veracity of her book at points, or go out on a limb - but he never strays too far.
Sobsey’s main focus in fact is not the person but the music she has released. The chapters and their analysis of the songs are roughly laid out in album track order. Here though we have partisan presentation and selection. The first three albums, which are popularly perceived as the better albums, merit their own chapters, then half way through the book albums are combined as two per chapter. Personally I fail to see why Chapter 5: ‘Dont Get Me Wrong:Get Close and Packed!’ didnt merit chapters in their own right and whilst living abroad in both Brazil and Sweden surely these albums would be better treated as standing alone? A more detailed study of the bootleg sessions for each album, where they exist, would add to the depth of analysis, although in most cases Hynde is not one to mould her songs in the studio, instead bringing well developed ideas in already.
The biggest and most glaring weakness of this book though is the amount of major factual failings and errors - which undermine its reliability. This is especially true with simple things like references to Julie Barnhill - not Burchill (p17) or that the store where the NME Hynde purchased as a teenager in Akron was actually a pharmacy or drugstore - not a record shop (p15). Whilst these errors detract, they need not completely eradicate the value of the text. The analysis on Hyndes music - within and without the Pretenders - is interesting and compelling. Also there is something of merit on every page - which for a book of this detail is a rare occurrence (And a far better strike rate than Hynde’s own autobiography). For example he makes a great point about the early Jackie Wilson gig and her first kiss: “The kiss was real, but the situation was pretend - and she put herself right in the front row for it, her star near the light”. And yet at other points Sobsey also lacks nuance. When discussing and analysing her solo album Stockholm he sees “No double entendre title this time: no politics to peddle, no point to make” - but surely Stockholm syndrome is at least one obvious one - especially on your first ‘release’ from 20 year confined by a band (P160). Similarly he claims that she suffers certain criticism levelled at her which is not hurled at her male equivalents. Whilst this is often the case I do not agree in every instance and also the examples he uses (p152) could, and have, been used against male performers as well. Overall though a well written and executed study of the musical works of one of the great women in rock and roll.
The Nightingale’s Code: A poetic study of Bob Dylan.
John Gibbens
Whilst this book takes a long while to get going I thoroughly enjoyed Gibbens poetic study of the structures and artistic narratives that make up much of Bob Dylan’s song writing. Despite its broad title and the fact that it briefly addresses all the albums up to and including 2001's Love and Theft, Gibbens deliberately concentrates in detail on the albums from the 1960s. Perhaps most strikingly, he has uncovered the way in which Dylan may have structurally planned his early albums, making deliberate correspondences and contrasts between tracks. He also has a theory about the way the albums seem to fall into a creative cycle, which he compares to the four seasons. Looking in depth at individual songs, and the albums themselves he has compelling points. There is clearly a narrative arc to all Dylan’s early albums whereby ‘opposite’ tracks complement each other first last, either side of the flip 1 and 2 etc. This evidence is certainly convincing. What is not so convincing is the follow up argument about a creative cycle (structured or presented around seasons) where Dylan passes from spring, summer, autumn and winter then back again from each of his albums. This is less persuasive, not least because it has too many exceptions to be completely convincing.
Bringing in the more obvious TS Elliot and William Blake alongside less obvious influences (The White Cocade), he reaffirms Dylan’s importance in the cannon of 20th century arts and literature. It is a flowing read after the initial 50 pages, offering a critical eye for the budding literary scholar or music historian.
There are in addition to the brilliant albeit sometimes dense text – 27 previously unpublished black-and-white performance photographs, taken by Keith Baugh at Dylan’s UK appearances between 1978 and 2000.
John Gibbens
Whilst this book takes a long while to get going I thoroughly enjoyed Gibbens poetic study of the structures and artistic narratives that make up much of Bob Dylan’s song writing. Despite its broad title and the fact that it briefly addresses all the albums up to and including 2001's Love and Theft, Gibbens deliberately concentrates in detail on the albums from the 1960s. Perhaps most strikingly, he has uncovered the way in which Dylan may have structurally planned his early albums, making deliberate correspondences and contrasts between tracks. He also has a theory about the way the albums seem to fall into a creative cycle, which he compares to the four seasons. Looking in depth at individual songs, and the albums themselves he has compelling points. There is clearly a narrative arc to all Dylan’s early albums whereby ‘opposite’ tracks complement each other first last, either side of the flip 1 and 2 etc. This evidence is certainly convincing. What is not so convincing is the follow up argument about a creative cycle (structured or presented around seasons) where Dylan passes from spring, summer, autumn and winter then back again from each of his albums. This is less persuasive, not least because it has too many exceptions to be completely convincing.
Bringing in the more obvious TS Elliot and William Blake alongside less obvious influences (The White Cocade), he reaffirms Dylan’s importance in the cannon of 20th century arts and literature. It is a flowing read after the initial 50 pages, offering a critical eye for the budding literary scholar or music historian.
There are in addition to the brilliant albeit sometimes dense text – 27 previously unpublished black-and-white performance photographs, taken by Keith Baugh at Dylan’s UK appearances between 1978 and 2000.
Je ne sais quoi, je chercher
The Rolling Stones and Philosophy: It's Just a Thought Away Luke Dick, George A. Reisch
Open Court Publishing, 2011
The Greatest rock and roll band in the world meet Plato, Socrates and Augustine.
In many ways the Rolling Stones have fought hard to achieve the unofficial accolade of ‘Greatest Rock and Roll Band in the World’. To be fodder for a light-hearted philosophy book is yet another achievement of grand proportions. They are 64th in a series of books called Popular Culture and Philosophy (a registered trade mark no less). This one is a collection of 22 essays linked thematically by the band and there are some real gems of essays to consolidate the band’s place in the late 20th century context. They have played a key role in human understanding in the past 50 years, challenging what now appear antiquated norms that were previously taken for granted, acting as figureheads for changes for the better for the individual. It is also true to say they have taken "the white mythology and paint[ed] it black" (p68), a great, though not novel, observation. Their importance socially, politically and possibly even economically is well established. Philosophically their role has not been greatly explored. This book makes reference to some of those factors when addressing their role from a philosophical perspective. Unfortunately, overall though, this book is an over long failure.
The text is largely sycophantic fan indulgence and adulation rather than a guide to how philosophy complements the story of the Rolling Stones and what role philosophy could play. It reads like a hobby indulgence of those who are passionate and well informed, established philosophy students and teachers indulging in writing about their favourite band. Overall this makes for a poor combination. It is assumed most readers are first and foremost Rolling Stones fans who want to dabble in philosophy (not an unreasonable assumption). We have puerile jokes playing on philosopher Immanuel Kant's name, alongside a catalogue of sloppy errors like wrong dates (Mick Jagger's 'philosophically trying' interview was 1969 not 65), plus silly typos like the Eric Clapton song being called Lala (its Layla)- either a snide joke or a lazy bit of proofing. All of these and many more point to the need for an efficient, knowledgeable and ruthless editor. Some errors are even offensive - to claim many black artists got sufficient royalties from Stones' covers is to pointedly miss the injustices that occurred (p157). Then to lump Dylan's motorcycle accident (1966) with Altamont or the Beatles splitting (p263) is simply a sloppy catch all that is epitomised by claims that the authors are "no too concerned with historical accuracy"(p83) or that speculation is fair game "I would guess" (p269). I appreciate this is a philosophy book not a history text - but more investigation would confirm or disprove the loose theories they are aiming to apply to the band. Epicurus for example comes up but there is no distinction between basic pleasures sought by the band and the allowance for Epicurus' more nuanced katastematic pleasures ... or even the band members apparent inability to achieve ataraxia (serenity), beyond perhaps Charlie.
Despite a career spanning over 50 years (45+ years at time of publishing 2011) this book is also guilty of disproportionately focusing on one song and a handful of events. From this book you would be forgiven for thinking ‘Sympathy for the Devil’ was the band’s most popular song and from a philosophical point of view it is of course their most important, taking indirect inspiration from the early Christian philosopher Saint Augustine. But to focus 5 rambling, overlapping chapters (18-22) on it is disproportionate, whilst other essays also dwell on that song more than others. Combining these essays under one or 2 themes would have been more succinct and less superfluous.
Likewise Altamont is portrayed (perhaps correctly) as the dark end of the flamboyant 1960s - but seems to set the tone for many of the essays. The analogy of Sir Mick and Saint Augustine is also manna from heaven for many of the writers. In focusing on these they are wilfully overlooking the contents of some classic albums and even the philosophy behind other songs written by the band and perhaps more tellingly the covers they chose to perform both in 1962 and in the 21st century. The band's own choice of material, if well analysed, would give a good insight into the minds of the Glimmer Twins and their underlings.
And the Glimmer Twins (as Mick Jagger and Keith Richards are sometimes known) are of course the disproportionate focus of this collection of essays. But the near myopic fawning over Jagger’s media savvy ‘Performance’ and Keith Richards recent publication ‘Life’ take centre stage here. There is contempt for some and bile for other members past and present including Jones, who’s contribution to even just the philosophy of the Stones is woefully overlooked! He may have been unpleasant but without him they may have lacked some of the early focus or even skilled musicianship. Whilst the contribution of Watts or Wyman is equally ridiculed or given lip service in haste to get to the wonders of Jagger/Richards. The other members were occasionally allowed to contribute to the bands catalogue - philosophy could be explored there! Whilst other essays profess that ‘Keith is Prometheus just with a five stringed lightning rod’ (p126). In this atmosphere and collection Bill Martin’s essay is refreshing in that it is not just a fawning over the band in question - but offers perspective and context on the Beatles greatness alongside the Stones mastery.
The book is too colloquial, too familiar, too pally, and doesn't question the myths that have built up around the band or its two main creative pillars. It just reinforces myths - perhaps myths we want to believe? But I don’t want to be too negative - there really are some gems in between the covers of this book. (Read the introduction on Google books). There are though some great points and some cogent observations that are helpful for both the Rolling Stones and how philosophy can play a role in their existence and within popular culture. Especially the introduction - which I read online and prompted me to buy this book so unreservedly - despite my overall disappointment. But also one salient and critical, albeit depressing point, is how Auxier (again!) highlights that despite declining mainstream Protestant congregations in the United States, preachers who are succeeding in the current growing churches of that country have all taken consciously or unconsciously, aspects of Mick Jagger's performance into their rhetoric and flamboyance onto the pulpit. We really are watching life imitate art whilst politics descends into something out of Aristophanes (Trump being the Sausage Seller in Aristophanes The Knights - as we descend into demagogues and dictatorships). For a Stones fan this adds nothing for anyone with more than a passing interest in philosophy the basic concepts are poorly presented and poorly explored. There is so much more to the Rolling Stones and their philosophy than is covered here. Their Rock 'n' Roll Circus, the '80s disco and their protest songs of the 1990s are all potential subjects for philosophical study that may have offered more ammunition for this disappointing book.
Open Court Publishing, 2011
The Greatest rock and roll band in the world meet Plato, Socrates and Augustine.
In many ways the Rolling Stones have fought hard to achieve the unofficial accolade of ‘Greatest Rock and Roll Band in the World’. To be fodder for a light-hearted philosophy book is yet another achievement of grand proportions. They are 64th in a series of books called Popular Culture and Philosophy (a registered trade mark no less). This one is a collection of 22 essays linked thematically by the band and there are some real gems of essays to consolidate the band’s place in the late 20th century context. They have played a key role in human understanding in the past 50 years, challenging what now appear antiquated norms that were previously taken for granted, acting as figureheads for changes for the better for the individual. It is also true to say they have taken "the white mythology and paint[ed] it black" (p68), a great, though not novel, observation. Their importance socially, politically and possibly even economically is well established. Philosophically their role has not been greatly explored. This book makes reference to some of those factors when addressing their role from a philosophical perspective. Unfortunately, overall though, this book is an over long failure.
The text is largely sycophantic fan indulgence and adulation rather than a guide to how philosophy complements the story of the Rolling Stones and what role philosophy could play. It reads like a hobby indulgence of those who are passionate and well informed, established philosophy students and teachers indulging in writing about their favourite band. Overall this makes for a poor combination. It is assumed most readers are first and foremost Rolling Stones fans who want to dabble in philosophy (not an unreasonable assumption). We have puerile jokes playing on philosopher Immanuel Kant's name, alongside a catalogue of sloppy errors like wrong dates (Mick Jagger's 'philosophically trying' interview was 1969 not 65), plus silly typos like the Eric Clapton song being called Lala (its Layla)- either a snide joke or a lazy bit of proofing. All of these and many more point to the need for an efficient, knowledgeable and ruthless editor. Some errors are even offensive - to claim many black artists got sufficient royalties from Stones' covers is to pointedly miss the injustices that occurred (p157). Then to lump Dylan's motorcycle accident (1966) with Altamont or the Beatles splitting (p263) is simply a sloppy catch all that is epitomised by claims that the authors are "no too concerned with historical accuracy"(p83) or that speculation is fair game "I would guess" (p269). I appreciate this is a philosophy book not a history text - but more investigation would confirm or disprove the loose theories they are aiming to apply to the band. Epicurus for example comes up but there is no distinction between basic pleasures sought by the band and the allowance for Epicurus' more nuanced katastematic pleasures ... or even the band members apparent inability to achieve ataraxia (serenity), beyond perhaps Charlie.
Despite a career spanning over 50 years (45+ years at time of publishing 2011) this book is also guilty of disproportionately focusing on one song and a handful of events. From this book you would be forgiven for thinking ‘Sympathy for the Devil’ was the band’s most popular song and from a philosophical point of view it is of course their most important, taking indirect inspiration from the early Christian philosopher Saint Augustine. But to focus 5 rambling, overlapping chapters (18-22) on it is disproportionate, whilst other essays also dwell on that song more than others. Combining these essays under one or 2 themes would have been more succinct and less superfluous.
Likewise Altamont is portrayed (perhaps correctly) as the dark end of the flamboyant 1960s - but seems to set the tone for many of the essays. The analogy of Sir Mick and Saint Augustine is also manna from heaven for many of the writers. In focusing on these they are wilfully overlooking the contents of some classic albums and even the philosophy behind other songs written by the band and perhaps more tellingly the covers they chose to perform both in 1962 and in the 21st century. The band's own choice of material, if well analysed, would give a good insight into the minds of the Glimmer Twins and their underlings.
And the Glimmer Twins (as Mick Jagger and Keith Richards are sometimes known) are of course the disproportionate focus of this collection of essays. But the near myopic fawning over Jagger’s media savvy ‘Performance’ and Keith Richards recent publication ‘Life’ take centre stage here. There is contempt for some and bile for other members past and present including Jones, who’s contribution to even just the philosophy of the Stones is woefully overlooked! He may have been unpleasant but without him they may have lacked some of the early focus or even skilled musicianship. Whilst the contribution of Watts or Wyman is equally ridiculed or given lip service in haste to get to the wonders of Jagger/Richards. The other members were occasionally allowed to contribute to the bands catalogue - philosophy could be explored there! Whilst other essays profess that ‘Keith is Prometheus just with a five stringed lightning rod’ (p126). In this atmosphere and collection Bill Martin’s essay is refreshing in that it is not just a fawning over the band in question - but offers perspective and context on the Beatles greatness alongside the Stones mastery.
The book is too colloquial, too familiar, too pally, and doesn't question the myths that have built up around the band or its two main creative pillars. It just reinforces myths - perhaps myths we want to believe? But I don’t want to be too negative - there really are some gems in between the covers of this book. (Read the introduction on Google books). There are though some great points and some cogent observations that are helpful for both the Rolling Stones and how philosophy can play a role in their existence and within popular culture. Especially the introduction - which I read online and prompted me to buy this book so unreservedly - despite my overall disappointment. But also one salient and critical, albeit depressing point, is how Auxier (again!) highlights that despite declining mainstream Protestant congregations in the United States, preachers who are succeeding in the current growing churches of that country have all taken consciously or unconsciously, aspects of Mick Jagger's performance into their rhetoric and flamboyance onto the pulpit. We really are watching life imitate art whilst politics descends into something out of Aristophanes (Trump being the Sausage Seller in Aristophanes The Knights - as we descend into demagogues and dictatorships). For a Stones fan this adds nothing for anyone with more than a passing interest in philosophy the basic concepts are poorly presented and poorly explored. There is so much more to the Rolling Stones and their philosophy than is covered here. Their Rock 'n' Roll Circus, the '80s disco and their protest songs of the 1990s are all potential subjects for philosophical study that may have offered more ammunition for this disappointing book.
Bob Dylan's 'Christian Era' Re-examined: Through the live sets and not just the albums.
Trouble In Mind: Bob Dylan’s Gospel Years - What Really Happened. Clinton Heylin. 2017
Clinton Heylin tries to set the record straight on the era often erroneously called Bob Dylan’s ‘Troubled Period’.
In 1978 Bob Dylan began a world tour which was prompted largely by financial necessity rather than musical passion. By the end of the year it had grossed a massive $20 million. Perhaps more importantly though, after an exhausting Rolling Thunder tour (1975-76), the pressures of two decades of super stardom and compounded by a painful divorce, Bob Dylan found God. For the best part of two years this was pivotal to his identity and consequently the music he produced and performed, at the expense of his earlier music which fans had increasingly grown to love. As Dylan himself observed with bitter irony “I remember I was singing ‘Desolation Row’. That’s right [reply from crowd]. You’re clapping now, you weren’t clapping then!” [Bushnell Memorial Hall, Hartford May 7th, 1980]. I have no reason to doubt that the conversion was genuine and complete at the time, but his commitment waned as the years progressed: by 1981 his live set was a healthy balance of both his new religious themed songs and older tracks from his lengthy canon. As so often with Dylan though the three studio albums during this era were less well executed despite a wealth of talent and well-honed skills at his disposal. This included luminaries like Tim Drummond, Mark Knopfler and Jim Keltner amongst many others. However, the music from the live sets from Dylan’s tours of the era, as well as being religious in theme and devotional in context and content, were also as electrifying as any of his previous tours. The music was uncompromisingly Christian – but within that theme there was sincerity and absolute devotion to his art and his muse as well as his Lord. As Heylin observes “Even at Newport and Forest Hills, he had met his fans half-way. Not now”. To this day Dylan remains rightly unapologetic. More importantly from a historical point of view this single mindedness produced some of the most exciting performances of any artist in the 20th Century, even if the majority of his audiences found their own ’rock n roll’ devotion hard to reconcile with Dylan’s new found beliefs. Many felt they had fought against Church and State and that Dylan’s conversion was something of a betrayal. Not a little ironic given the infamous Judas heckle of the previous decade.
This is the period of Dylan’s life Clinton Heylin tries to unpick and celebrate through the magnificent live music produced. Heylin, a true aficionado on all things Bob Dylan, tries to dissect this periods music and events in Bob Dylan’s life. Dividing it into four Sections he has an Intro and Outro but also ‘Belligerent conversion era’ titled ‘Aint Gonna Go To Hell For Anybody’ and the slightly less myopic religious diatribe phase by Dylan: ‘Watered-Down Love’. In this text Heylin is thorough and well researched. The Bob Dylan monologues or song introductions from the stage before each song - or raps as Heylin prefers - are a key aspect to the book and its trajectory. However, the authors often smarmy sarcastic manner and distain for other artists, who in his opinion cannot hold a flame to Dylan, often grates and wears thin. His ‘ironic’ humour is also a bit obscure and oblique on the written page (having seen a couple of presentations I know his style works well as a lecture). But what you do get is well connected, well researched background to the events that happened over a 2-year period in Bob Dylan’s colourful and much studied life. An era that has sometimes been dismissed out of hand and very often misunderstood. Heylin doesn’t mock or belittle his subject’s religious conviction, even if he himself doesn’t invest in it. But the book also includes some compelling speculation: Heylin says the title track of ‘Shot Of Love’ album for example stands as an unrepresentative sampler of a ‘lost’ album: a conceptualised album built around ‘Caribbean Wind’, ‘The Grooms Still Waiting at the Altar’ and ‘Angelina’. Perhaps in an alternative universe and interesting but that is not what happened! Such tangents add to the book which remains an entertaining analysis of someone’s life over 2 years of sincere conversion and a good read.
Clinton Heylin tries to set the record straight on the era often erroneously called Bob Dylan’s ‘Troubled Period’.
In 1978 Bob Dylan began a world tour which was prompted largely by financial necessity rather than musical passion. By the end of the year it had grossed a massive $20 million. Perhaps more importantly though, after an exhausting Rolling Thunder tour (1975-76), the pressures of two decades of super stardom and compounded by a painful divorce, Bob Dylan found God. For the best part of two years this was pivotal to his identity and consequently the music he produced and performed, at the expense of his earlier music which fans had increasingly grown to love. As Dylan himself observed with bitter irony “I remember I was singing ‘Desolation Row’. That’s right [reply from crowd]. You’re clapping now, you weren’t clapping then!” [Bushnell Memorial Hall, Hartford May 7th, 1980]. I have no reason to doubt that the conversion was genuine and complete at the time, but his commitment waned as the years progressed: by 1981 his live set was a healthy balance of both his new religious themed songs and older tracks from his lengthy canon. As so often with Dylan though the three studio albums during this era were less well executed despite a wealth of talent and well-honed skills at his disposal. This included luminaries like Tim Drummond, Mark Knopfler and Jim Keltner amongst many others. However, the music from the live sets from Dylan’s tours of the era, as well as being religious in theme and devotional in context and content, were also as electrifying as any of his previous tours. The music was uncompromisingly Christian – but within that theme there was sincerity and absolute devotion to his art and his muse as well as his Lord. As Heylin observes “Even at Newport and Forest Hills, he had met his fans half-way. Not now”. To this day Dylan remains rightly unapologetic. More importantly from a historical point of view this single mindedness produced some of the most exciting performances of any artist in the 20th Century, even if the majority of his audiences found their own ’rock n roll’ devotion hard to reconcile with Dylan’s new found beliefs. Many felt they had fought against Church and State and that Dylan’s conversion was something of a betrayal. Not a little ironic given the infamous Judas heckle of the previous decade.
This is the period of Dylan’s life Clinton Heylin tries to unpick and celebrate through the magnificent live music produced. Heylin, a true aficionado on all things Bob Dylan, tries to dissect this periods music and events in Bob Dylan’s life. Dividing it into four Sections he has an Intro and Outro but also ‘Belligerent conversion era’ titled ‘Aint Gonna Go To Hell For Anybody’ and the slightly less myopic religious diatribe phase by Dylan: ‘Watered-Down Love’. In this text Heylin is thorough and well researched. The Bob Dylan monologues or song introductions from the stage before each song - or raps as Heylin prefers - are a key aspect to the book and its trajectory. However, the authors often smarmy sarcastic manner and distain for other artists, who in his opinion cannot hold a flame to Dylan, often grates and wears thin. His ‘ironic’ humour is also a bit obscure and oblique on the written page (having seen a couple of presentations I know his style works well as a lecture). But what you do get is well connected, well researched background to the events that happened over a 2-year period in Bob Dylan’s colourful and much studied life. An era that has sometimes been dismissed out of hand and very often misunderstood. Heylin doesn’t mock or belittle his subject’s religious conviction, even if he himself doesn’t invest in it. But the book also includes some compelling speculation: Heylin says the title track of ‘Shot Of Love’ album for example stands as an unrepresentative sampler of a ‘lost’ album: a conceptualised album built around ‘Caribbean Wind’, ‘The Grooms Still Waiting at the Altar’ and ‘Angelina’. Perhaps in an alternative universe and interesting but that is not what happened! Such tangents add to the book which remains an entertaining analysis of someone’s life over 2 years of sincere conversion and a good read.
Dylan. Behind Closed Doors: The Recording Sessions [1960-1994]
Clinton Heylin 1996
For anyone who wants or needs the details behind each of Bob Dylan’s recording sessions this is a brilliant reference guide. Documenting Dylan’s often very economical but efficacious recording sessions (compared to other artists he is mr efficient in the studio), there is also added commentary from Heylin on both the process and the results.
The songs and the details about them are informative and accurate. However, the introduction is largely superfluous and there is a bitterness in his writing about other artists. Heylin is constantly trying to detract from them rather than praise his main subject. Indeed, his aim in the intro seems to put down as many people, including other high profile artists, as possible! This author nauseates me with his often bitter attacks on others! Largely pointless and certainly not constructive. Although this relatively minor gripe aside, the main body of the text cannot be faulted for completeness or thoroughness. Almost the worst criticism is that the author himself is not reticent in making his own opinions known and of course that is his prerogative but at points it gets a bit stale. The exhaustive detail which he has included, but also analysed from presumably bootlegs and master tapes, is impressive. Based upon the slew of successful and well received albums Dylan has released of late (1994 - 2017) this book is crying out for another edition. Bootlegs and retrospectives aside there are at least 8 studio albums his insight would be a welcome addition to. But the Dylan franchise may not be keen on letting him have the access he might desire to do it justice and given the detail I would assume the monumental task may not merit Heylin going back and researching these as well.
Heylin is astute though not to put too much emphasis in this detail as well - “He [Dylan] has only imperfectly realised some of his finest works in the studio” - arguably it is on the stage over the never ending tour that some of these songs come into their own. Heylin at points deflects from Dylan and tries to make it a criticism of other artists none of whom could “come close to to Dylan’s studio output” not in time but quality. He states for example that the Golden period of the mid 60s for Dylan was all recorded in the studio in under 60 days, whilst others like the Beatles took 126 days for just one album. A phenomenal record for such an amazing collection of timeless tracks.
Clinton Heylin 1996
For anyone who wants or needs the details behind each of Bob Dylan’s recording sessions this is a brilliant reference guide. Documenting Dylan’s often very economical but efficacious recording sessions (compared to other artists he is mr efficient in the studio), there is also added commentary from Heylin on both the process and the results.
The songs and the details about them are informative and accurate. However, the introduction is largely superfluous and there is a bitterness in his writing about other artists. Heylin is constantly trying to detract from them rather than praise his main subject. Indeed, his aim in the intro seems to put down as many people, including other high profile artists, as possible! This author nauseates me with his often bitter attacks on others! Largely pointless and certainly not constructive. Although this relatively minor gripe aside, the main body of the text cannot be faulted for completeness or thoroughness. Almost the worst criticism is that the author himself is not reticent in making his own opinions known and of course that is his prerogative but at points it gets a bit stale. The exhaustive detail which he has included, but also analysed from presumably bootlegs and master tapes, is impressive. Based upon the slew of successful and well received albums Dylan has released of late (1994 - 2017) this book is crying out for another edition. Bootlegs and retrospectives aside there are at least 8 studio albums his insight would be a welcome addition to. But the Dylan franchise may not be keen on letting him have the access he might desire to do it justice and given the detail I would assume the monumental task may not merit Heylin going back and researching these as well.
Heylin is astute though not to put too much emphasis in this detail as well - “He [Dylan] has only imperfectly realised some of his finest works in the studio” - arguably it is on the stage over the never ending tour that some of these songs come into their own. Heylin at points deflects from Dylan and tries to make it a criticism of other artists none of whom could “come close to to Dylan’s studio output” not in time but quality. He states for example that the Golden period of the mid 60s for Dylan was all recorded in the studio in under 60 days, whilst others like the Beatles took 126 days for just one album. A phenomenal record for such an amazing collection of timeless tracks.
Too Much Too Soon: The New York Dolls. Nina Antonia 1998
This is Nina Antonia’s first and to date still the best full length telling of the Dolls story, even factoring in those who were at the cliff face; ‘I Doll’ by Arthur Kane is rambling and too paranoid as well as embittered to be taken seriously, whilst Weiss’s recent book on Nolan is from a far more limited perspective. (Sylvain’s book is still forthcoming, although I have received a review copy this week). Antonia tells the exciting story of one of the first punk bands in a gripping fashion, though her similes and over indulgent affected prose plus some rhetoric can detract from the narrative. At points it is reminiscent of Jillie Goldblum talking about wine - a personal point of view and valid but verbose and not always relevant. That aside she gives an informative and detailed history of 3 short years of the next big thing in rock and roll. The story spans 1950s through to 2005 (second edition) but the core of the book of course focuses on 1971 - 1974. With the benefit of hindsight it is clear that after the second albums release it is a slow decline or train wreck in slow motion - climaxing in a trailer park in Florida. (Sorry - should probably have given a plot spoiler alert there!)
I have read this book 2-3 times now. It remains a very quick, easy to read biopic on what for me are one of the most exciting bands in the world. In the past I read the original (1998) release and simply read the last 2 chapters of this copy for the updated chapters after the 2004 reunion. Having read this newer copy in full now I can comment that I would have expected some of the typos from the original edition to have been corrected, but curiously they were not! Anyway - that is a minor gripe that doesn't undermine the accuracy or detail of this style of biography. And despite her having written a Johnny Thunders biography in the 1980s (In Cold Blood) it is clear that Sylvain and Arthur have Antonia’s ear more than others. Lead singer David Johansen comes across as aloof and a careerist, whilst the bit players barely mention any in depth analysis - which is a shame. More on Peter Jordan and even Blackie Lawless (later of WASP) would added more of a rounded picture, but that is not the aim of this book and is just being picky. This book ultimately achieves what it sets out to do - tell as detailed as possible the story of the New York Dolls. As said I have read this a few times now and always enjoy it - it is not taxing but a good overview of a great band.
This is Nina Antonia’s first and to date still the best full length telling of the Dolls story, even factoring in those who were at the cliff face; ‘I Doll’ by Arthur Kane is rambling and too paranoid as well as embittered to be taken seriously, whilst Weiss’s recent book on Nolan is from a far more limited perspective. (Sylvain’s book is still forthcoming, although I have received a review copy this week). Antonia tells the exciting story of one of the first punk bands in a gripping fashion, though her similes and over indulgent affected prose plus some rhetoric can detract from the narrative. At points it is reminiscent of Jillie Goldblum talking about wine - a personal point of view and valid but verbose and not always relevant. That aside she gives an informative and detailed history of 3 short years of the next big thing in rock and roll. The story spans 1950s through to 2005 (second edition) but the core of the book of course focuses on 1971 - 1974. With the benefit of hindsight it is clear that after the second albums release it is a slow decline or train wreck in slow motion - climaxing in a trailer park in Florida. (Sorry - should probably have given a plot spoiler alert there!)
I have read this book 2-3 times now. It remains a very quick, easy to read biopic on what for me are one of the most exciting bands in the world. In the past I read the original (1998) release and simply read the last 2 chapters of this copy for the updated chapters after the 2004 reunion. Having read this newer copy in full now I can comment that I would have expected some of the typos from the original edition to have been corrected, but curiously they were not! Anyway - that is a minor gripe that doesn't undermine the accuracy or detail of this style of biography. And despite her having written a Johnny Thunders biography in the 1980s (In Cold Blood) it is clear that Sylvain and Arthur have Antonia’s ear more than others. Lead singer David Johansen comes across as aloof and a careerist, whilst the bit players barely mention any in depth analysis - which is a shame. More on Peter Jordan and even Blackie Lawless (later of WASP) would added more of a rounded picture, but that is not the aim of this book and is just being picky. This book ultimately achieves what it sets out to do - tell as detailed as possible the story of the New York Dolls. As said I have read this a few times now and always enjoy it - it is not taxing but a good overview of a great band.
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Sylvain Sylvain: There's No Bones in Ice Cream
Omnibus Press
This is an interesting perspective on the rise of the New York Dolls and a good read: Well written and flowing in its style it is also slightly old school compared to many recent aging musicians who have published autobiographies. Whilst the style of short punk chapters is present, they are not the two pages of Albertine or Hynde. Sylvain’s chapters, whilst no means Dylan’s Chronicles in length, are nonetheless longer and more robust. Throughout Sylvain is affable, and easy in his style of writing, as well as witty and eloquent. Aided in no small part by co-author Dave Thompson he tells an entertaining story. As he says, the story (of the Dolls) has been told 100 times, in fact it appears all the Dolls except David have either told, or had their story told in book format. And all are great publications. Nina Antonia in In Cold Blood (1987) was the first on Thunders, and she followed that up with the definitive story of the band (1998) before Curt Weiss wrote on Jerry Nolan (2017). Whilst Arthur Kane gave his own bitter tirade shortly before his own death (published 2009) and now Sylvain is putting his story on the record. David Johansen, like Mick Jagger, may be a broader performer - as Buster Poindexter and with the Harry Smiths as well as acting - but he has always remained noticeably muted if not silent on a detailed retrospective. But members aside, as Sylvain acknowledges in the book, much of this story has been written about to death by those who in a lot of cases weren’t there. This is his perspective. And the world, or least the extended Dolls family, is all the better for it. He did add a few new ‘facts’ into the mix that I was unaware of - for example the nepotism involved in getting the Pox their first recording session (p76), or the already physically fragile state of Billy Murcia before his death in 1972 (p151). But also at points he makes assumptions beyond perhaps the knowledge of Non-New Yorkers like when it was ‘obvious’ he was going to settle in Manhattan.(p71)
The first half of the book focuses on Sylvain’s interesting background and the build up to the Dolls' formation. For Sylvain this included 2 very successful (and lucrative) forays into the fashion business in Woodstock and New York. The second half deals with the rollercoaster of the band, the journey of the Dolls from original incarnation to final demise on tour in Florida (21st century reunion withstanding - though Sylvain does well not to confuse the two. Although the reunion has clearly made writing of this book more viable, and has influenced its presentation.) This is though, not a full autobiography but merely a write up of his place in the original incarnation of the New York Dolls. This is Sylvain’s story, recording for posterity Neil Young’s famous mantra how ‘its better to burn out than fade away’. Not a little ironic given that, as recorded here, the Dolls stole Young’s equipment and also given Young’s own comments on his obsolescence at the emergence of punk; A punk which the Dolls enabled. Sylvain is right at the beginning of this, when he states early on (p2), “we may not have sold many records nor racked up any hits, in terms of the stain that we left on the sheets, the New York Dolls were bigger than a lot of the people who did”.
From learning and remembering the puerile schoolboy humour of rude words in his native Arabic (p14) to the incessant demand that the Dolls ‘T Rex the shit out of any songs’. Sylvain is touching, witty, and still presents it all in a fast, readable pace. He comes across as warm, honest (up to a point) and as if he is now able to look back on a gifted life and a snapshot from his life experiences with balanced mature retrospect rather than resentment at what might have been. With such perspective he also seems to offer a fair review of the characters who shaped the Dolls, including Johnny Thunders where he is critical, but praiseworthy of everything including guitar solos, abilities, vanities and insecurities. Unlike many of the books of the era he also has a clear, poignant as well as relevant contemporary message. As a Jew chased out of Egypt and his own neighbourhoods in America, there is a permanent outsider aspect to the text. This outsider was responsible for some of the most exciting music of the 20th century. Despite this “[the] Dolls [were] never going to make it. Because a lot more people have closed minds than open minds, especially in America” (p136). This is a timely comment presented in the current tense which, given the United States’ current political situation, has to be read a clear political message. The book though could also be read as a very subtle, even subversive, celebration of all things American - starting with Bugs Bunny, and Sylvain's own life to date climaxing with the material success of the ‘reunion’ tour. However, this immigrant story hardly counts as the success story by the all American dream constricting standards. As I understand it that dream is all about getting rich or as a 1980s American number plate put it “He who dies leaving the most toys wins”. Sylvain may have got a good pay cheque from the reunion tours, he is unlikely to die rich.
As for the strange title of the book - you will have to read it to find out why, or indeed if, this is referenced. Although I will say that it could have been inspired by any number of things including the title of a 1997 album by American comedian Chris Rush or the 1936 song by George Elrich ‘I like Banana's because they have no bones’ but if it was inspired by the culturally significant US TV programme I Love Lucy this is brilliant and particularly intelligent. In an episode, called Pregnancy Cravings, which at the same time dealt with white male insecurities and immigrants in the early 50s whilst Lucy eats ice cream with sardines. Very prescient and apt in today’s age (the male insecurities and immigration – the jury’s out on sardines and ice cream!). I will also add from Sylvain’s narrative there are generally only sweet memories and no bitterness to get stuck in his throat, but clearly the length of time and the more lucrative 21st century reunion may have gone some way to smoothing the sense of nostalgia. Sylvain’s enthusiasm and energy are almost infectious, seeping out of the page, he has had decades to adjust but managed to avoid the bitterness that Kane succumbed to when he wrote his own story (I Doll). Unlike most music autobiographies though this is worth reading not just for both its retelling of oft trod ground, but the more subtle damnation of all that the New York Dolls and their peers suffered.
Footnote – Sylvain has recently been diagnosed with Cancer – I for one wish him a hasty recovery and all the best. And that the books earnings go some way to funding his healthcare – which in America is of course private.
Omnibus Press
This is an interesting perspective on the rise of the New York Dolls and a good read: Well written and flowing in its style it is also slightly old school compared to many recent aging musicians who have published autobiographies. Whilst the style of short punk chapters is present, they are not the two pages of Albertine or Hynde. Sylvain’s chapters, whilst no means Dylan’s Chronicles in length, are nonetheless longer and more robust. Throughout Sylvain is affable, and easy in his style of writing, as well as witty and eloquent. Aided in no small part by co-author Dave Thompson he tells an entertaining story. As he says, the story (of the Dolls) has been told 100 times, in fact it appears all the Dolls except David have either told, or had their story told in book format. And all are great publications. Nina Antonia in In Cold Blood (1987) was the first on Thunders, and she followed that up with the definitive story of the band (1998) before Curt Weiss wrote on Jerry Nolan (2017). Whilst Arthur Kane gave his own bitter tirade shortly before his own death (published 2009) and now Sylvain is putting his story on the record. David Johansen, like Mick Jagger, may be a broader performer - as Buster Poindexter and with the Harry Smiths as well as acting - but he has always remained noticeably muted if not silent on a detailed retrospective. But members aside, as Sylvain acknowledges in the book, much of this story has been written about to death by those who in a lot of cases weren’t there. This is his perspective. And the world, or least the extended Dolls family, is all the better for it. He did add a few new ‘facts’ into the mix that I was unaware of - for example the nepotism involved in getting the Pox their first recording session (p76), or the already physically fragile state of Billy Murcia before his death in 1972 (p151). But also at points he makes assumptions beyond perhaps the knowledge of Non-New Yorkers like when it was ‘obvious’ he was going to settle in Manhattan.(p71)
The first half of the book focuses on Sylvain’s interesting background and the build up to the Dolls' formation. For Sylvain this included 2 very successful (and lucrative) forays into the fashion business in Woodstock and New York. The second half deals with the rollercoaster of the band, the journey of the Dolls from original incarnation to final demise on tour in Florida (21st century reunion withstanding - though Sylvain does well not to confuse the two. Although the reunion has clearly made writing of this book more viable, and has influenced its presentation.) This is though, not a full autobiography but merely a write up of his place in the original incarnation of the New York Dolls. This is Sylvain’s story, recording for posterity Neil Young’s famous mantra how ‘its better to burn out than fade away’. Not a little ironic given that, as recorded here, the Dolls stole Young’s equipment and also given Young’s own comments on his obsolescence at the emergence of punk; A punk which the Dolls enabled. Sylvain is right at the beginning of this, when he states early on (p2), “we may not have sold many records nor racked up any hits, in terms of the stain that we left on the sheets, the New York Dolls were bigger than a lot of the people who did”.
From learning and remembering the puerile schoolboy humour of rude words in his native Arabic (p14) to the incessant demand that the Dolls ‘T Rex the shit out of any songs’. Sylvain is touching, witty, and still presents it all in a fast, readable pace. He comes across as warm, honest (up to a point) and as if he is now able to look back on a gifted life and a snapshot from his life experiences with balanced mature retrospect rather than resentment at what might have been. With such perspective he also seems to offer a fair review of the characters who shaped the Dolls, including Johnny Thunders where he is critical, but praiseworthy of everything including guitar solos, abilities, vanities and insecurities. Unlike many of the books of the era he also has a clear, poignant as well as relevant contemporary message. As a Jew chased out of Egypt and his own neighbourhoods in America, there is a permanent outsider aspect to the text. This outsider was responsible for some of the most exciting music of the 20th century. Despite this “[the] Dolls [were] never going to make it. Because a lot more people have closed minds than open minds, especially in America” (p136). This is a timely comment presented in the current tense which, given the United States’ current political situation, has to be read a clear political message. The book though could also be read as a very subtle, even subversive, celebration of all things American - starting with Bugs Bunny, and Sylvain's own life to date climaxing with the material success of the ‘reunion’ tour. However, this immigrant story hardly counts as the success story by the all American dream constricting standards. As I understand it that dream is all about getting rich or as a 1980s American number plate put it “He who dies leaving the most toys wins”. Sylvain may have got a good pay cheque from the reunion tours, he is unlikely to die rich.
As for the strange title of the book - you will have to read it to find out why, or indeed if, this is referenced. Although I will say that it could have been inspired by any number of things including the title of a 1997 album by American comedian Chris Rush or the 1936 song by George Elrich ‘I like Banana's because they have no bones’ but if it was inspired by the culturally significant US TV programme I Love Lucy this is brilliant and particularly intelligent. In an episode, called Pregnancy Cravings, which at the same time dealt with white male insecurities and immigrants in the early 50s whilst Lucy eats ice cream with sardines. Very prescient and apt in today’s age (the male insecurities and immigration – the jury’s out on sardines and ice cream!). I will also add from Sylvain’s narrative there are generally only sweet memories and no bitterness to get stuck in his throat, but clearly the length of time and the more lucrative 21st century reunion may have gone some way to smoothing the sense of nostalgia. Sylvain’s enthusiasm and energy are almost infectious, seeping out of the page, he has had decades to adjust but managed to avoid the bitterness that Kane succumbed to when he wrote his own story (I Doll). Unlike most music autobiographies though this is worth reading not just for both its retelling of oft trod ground, but the more subtle damnation of all that the New York Dolls and their peers suffered.
Footnote – Sylvain has recently been diagnosed with Cancer – I for one wish him a hasty recovery and all the best. And that the books earnings go some way to funding his healthcare – which in America is of course private.
Goths, Gamers and Grrrls:Deviance and youth Subcultures. Haenfler, Ross. OUP 2010
This is a collection of 10 chapters of and about Subcultures, with an obvious debt to the great and definitive, though perhaps dated, book about subcultures by Dick Hebdige (See review elsewhere). Although its aim is slightly different this is a poor book compared to Hebdige. In fact - this is less an analysis and in some ways just a collection of observations about Skinheads, Gamers, Goths, Heavy Metal fans and virginity pledgers. It is well written, concise and to the point. It therefore acts as a good entry level for those interested in such groups from a sociological, anthropological and historical point of view. But it also uses loaded words at points where they are not needed, whilst it presents choices as simplistic, for example is it really a simple case of one postponing having children or career? Such sweeping generalisations need to be explored. Likewise when he cites Heavy Metal as “can sometimes seem little more than a very loud, nihilistic way of venting anger without any real notion to challenge anything” Haenfler fails to recognise that in many ways this echoes James Dean’s rebellion when seeking ‘something’ to rebel against he replied “what have you got”.
He also concludes girl power became “yet another marketing device”, which it did, but in so doing overlooks the swathes of women who have been more at ease with so many aspects of life because of the influence of girl power. Also another unfortunate reality that runs through this book is that mainstream and alternative subcultures Haenfler focuses on now exist almost exclusively within the capitalist framework of the consumer world - therefore are no longer the threat they may once have been perceived as (Straightedge Subcultures Williams 2003). It is true that people will always have to ‘invent’ new ways to differentiate from the mainstream (Club Cultures Thornton 1995) but increasingly within this constraining environment. A damning indictment but a new reality.
Overall is it good for what it claims to offer in such a short publication. A well-presented and broad analysis of an array of subcultures, and from that it is able to show patterns, but ultimately nothing revelatory. I personally read it and found nothing new conceptually or fact based, but for those looking for a starting point before taking a more nuanced step with Hebdige, this is a good place to start.
This is a collection of 10 chapters of and about Subcultures, with an obvious debt to the great and definitive, though perhaps dated, book about subcultures by Dick Hebdige (See review elsewhere). Although its aim is slightly different this is a poor book compared to Hebdige. In fact - this is less an analysis and in some ways just a collection of observations about Skinheads, Gamers, Goths, Heavy Metal fans and virginity pledgers. It is well written, concise and to the point. It therefore acts as a good entry level for those interested in such groups from a sociological, anthropological and historical point of view. But it also uses loaded words at points where they are not needed, whilst it presents choices as simplistic, for example is it really a simple case of one postponing having children or career? Such sweeping generalisations need to be explored. Likewise when he cites Heavy Metal as “can sometimes seem little more than a very loud, nihilistic way of venting anger without any real notion to challenge anything” Haenfler fails to recognise that in many ways this echoes James Dean’s rebellion when seeking ‘something’ to rebel against he replied “what have you got”.
He also concludes girl power became “yet another marketing device”, which it did, but in so doing overlooks the swathes of women who have been more at ease with so many aspects of life because of the influence of girl power. Also another unfortunate reality that runs through this book is that mainstream and alternative subcultures Haenfler focuses on now exist almost exclusively within the capitalist framework of the consumer world - therefore are no longer the threat they may once have been perceived as (Straightedge Subcultures Williams 2003). It is true that people will always have to ‘invent’ new ways to differentiate from the mainstream (Club Cultures Thornton 1995) but increasingly within this constraining environment. A damning indictment but a new reality.
Overall is it good for what it claims to offer in such a short publication. A well-presented and broad analysis of an array of subcultures, and from that it is able to show patterns, but ultimately nothing revelatory. I personally read it and found nothing new conceptually or fact based, but for those looking for a starting point before taking a more nuanced step with Hebdige, this is a good place to start.
Christianity and Heavy Metal as the impure Sacred within the Secular West: Transgressing the Sacred. Leif, Jason, 2017. Lexington Books
The aim of this book is succinctly captured in the title - to explore the impure sacred within the context of the dominant religious and cultural ideologies in the Secular West. For this Leif uses Emile Durkheim, Heavy Metal and the function of the sacred in the context of increased secularisation. The problem is that over five chapters this is not either broadened or nuanced, from the outset he has instead isolated it within the focus of “the Christ Event”. Whilst acknowledging that much of the imagery and language of the Heavy Metal stands in opposition to cultural and religious norms and Christianity in particular he does not inject anything new into the debate. Leif makes veiled reference to the modern all pervasive consumer capitalism when acknowledging ‘Post War religion was increasingly competing with new forces’ (Economic = capitalism) But this prime opportunity to broaden the analysis is missed.
Elsewhere he states at one point that “Heavy Metal challenges cultural and religious norms” and so it does - but does not acknowledge that so does most rebellious popular music; it is what norms it challenges and how that might make it different that are the crux of the matter. By consequence it seemed to me that Leif was simply cleverly repackaging or reselling the Rock 'n' Roll rebellion myth and applying it to Heavy Metal in isolation. That is surely not needed - for me there is no added nuance that is not reproduced in other genres of music as well that is present within Heavy Metal exclusively. Heavy Metal uses symbols and images from Christianity - yes …. but Leif never seems to directly offer reasons as to why. I do however agree that Heavy Metal is a powerful counter narrative to the status quo but again so are many other genres of music - how is Heavy Metal different in this extent? In a new consumer society all items are commodified and absorbed - we are increasingly trapped in a consumerist cycle of desire - in consumption with built in obsolescence, Heavy Metal challenges this obliquely but how and why? Neither question is satisfactorily answered.
The only real nuance acknowledged is the fundamental shift of Protestant Reformation and role of “scientific revolution”. As Lief states elsewhere - “The iconoclastic impulses of Protestantism contribute to a process of disenchantment that gives rise to secularism and a new form of alienation grounded in capitalist ideology”. For Heavy Metal, Leif claims religious attacks extend to symbolic power of modern western culture - Really? I am not convinced. It, like punk, has increasingly sought and found respectability and main stream acceptance previously excluded it.
There are some important statements here - things like “Historically Christianity has played a significant role in creating and establishing our current cultural and institutional norms”. That in and of itself may seems obvious but is often hugely overlooked. The West’s particular form of substantive rationality has culminated in a disenchanted social world governed predominantly by modern capitalism, scientific thinking, and the increasingly bureaucratic organization of social institutions. no doubting there is a complex, intertwined often ambiguous, and at points contradictory relationship between heavy metal and Christianity assuming we accept that heavy metal represents more than just music, but a set of social and cultural practices. This book really has a lot to offer, but also a lot of potential merit is lost due to weakened analysis.
The aim of this book is succinctly captured in the title - to explore the impure sacred within the context of the dominant religious and cultural ideologies in the Secular West. For this Leif uses Emile Durkheim, Heavy Metal and the function of the sacred in the context of increased secularisation. The problem is that over five chapters this is not either broadened or nuanced, from the outset he has instead isolated it within the focus of “the Christ Event”. Whilst acknowledging that much of the imagery and language of the Heavy Metal stands in opposition to cultural and religious norms and Christianity in particular he does not inject anything new into the debate. Leif makes veiled reference to the modern all pervasive consumer capitalism when acknowledging ‘Post War religion was increasingly competing with new forces’ (Economic = capitalism) But this prime opportunity to broaden the analysis is missed.
Elsewhere he states at one point that “Heavy Metal challenges cultural and religious norms” and so it does - but does not acknowledge that so does most rebellious popular music; it is what norms it challenges and how that might make it different that are the crux of the matter. By consequence it seemed to me that Leif was simply cleverly repackaging or reselling the Rock 'n' Roll rebellion myth and applying it to Heavy Metal in isolation. That is surely not needed - for me there is no added nuance that is not reproduced in other genres of music as well that is present within Heavy Metal exclusively. Heavy Metal uses symbols and images from Christianity - yes …. but Leif never seems to directly offer reasons as to why. I do however agree that Heavy Metal is a powerful counter narrative to the status quo but again so are many other genres of music - how is Heavy Metal different in this extent? In a new consumer society all items are commodified and absorbed - we are increasingly trapped in a consumerist cycle of desire - in consumption with built in obsolescence, Heavy Metal challenges this obliquely but how and why? Neither question is satisfactorily answered.
The only real nuance acknowledged is the fundamental shift of Protestant Reformation and role of “scientific revolution”. As Lief states elsewhere - “The iconoclastic impulses of Protestantism contribute to a process of disenchantment that gives rise to secularism and a new form of alienation grounded in capitalist ideology”. For Heavy Metal, Leif claims religious attacks extend to symbolic power of modern western culture - Really? I am not convinced. It, like punk, has increasingly sought and found respectability and main stream acceptance previously excluded it.
There are some important statements here - things like “Historically Christianity has played a significant role in creating and establishing our current cultural and institutional norms”. That in and of itself may seems obvious but is often hugely overlooked. The West’s particular form of substantive rationality has culminated in a disenchanted social world governed predominantly by modern capitalism, scientific thinking, and the increasingly bureaucratic organization of social institutions. no doubting there is a complex, intertwined often ambiguous, and at points contradictory relationship between heavy metal and Christianity assuming we accept that heavy metal represents more than just music, but a set of social and cultural practices. This book really has a lot to offer, but also a lot of potential merit is lost due to weakened analysis.
Greil Marcus: Invisible Republic: Bob Dylan’s Basement Tapes.
Every day all over America 100s of garage bands record thousands of tracks. That was as much the case in 1967 as it is now (possibly even more so). The Hawks did the same just outside Woodstock (New York) during the first half of 1967, purportedly with the specific intention of never releasing any of the results on the public. Some of the tracks under discussion here though have been released officially and many others unofficially; Much though has been written about that few weeks in a basement. This band, made up largely of Canadians, was different. IT had in its midsts the Poet Laureate of Rock (Hirshey 1997). This recording, during Dylan’s convalescence from a bike crash, was following on from his supposed betrayal of folk and the outrage that caused - but also this book serves as a nice history narrative that the US so badly feels it needs. Perhaps because of this reason Invisible Republic tries to place the recordings of the basement tapes in the narrative history of America - still a very young republic. This is highlighted from the very first chapter. Called ‘Another Country’ it is actually about the tour of England, but this is the cry for validation s a or the greatest country that America desires. Whilst acknowledging the basement tapes as a cultural event Marcus is perhaps taking this too far in trying to instill this subsequently as a momentous institution and collection of occasions. But unfortunately a lot of what we read seems linked together only in Greil Marcus’ head and needs supporting with less prosaic language and more factual assertions.
Marcus’ writing can be very cryptic, indeed overly so, but there is a lot in this book nonetheless. I tried to read this book some 20 years ago when it first came out and gave up as too difficult. I am now more focused on the anthropological side of music therefore this was at least closer to my area of interest (rather than a dry narrative of this event - for that try Million Dollar Bash: Bob Dylan, the Band and the Basement Tapes by Sid Griffin). This time therefore I persevered. It was still an arduous read - unless you click with the aloof and abstract world Marcus tries to create, and some do, though judging from the reviews on amazon.com, only a few. Marcus uses tiresome hyperbole and apparently arbitrary selections at points. This collection of songs was from the outset mythical. Never officially released and possibly never intended for release, then the first mythical bootleg of the era - the Great White Wonder - when bootlegs were novel and illusive. Fitting for the most bootlegged artist in history. Marcus tries to capture the background that inspired Dylan and definitely succeeds with Harry Smith and particularly Dock Boggs. Why (p202) did Greil Marcus choose Geechie Wiley’s ‘Last Kind Word Blues?’ A critical song in Marcus’ narrative, but unlike Dock Boggs Geechie wasnt even on the Harry Smith Anthology, an exhaustive collection of tracks from the same era. Was it arbitrary or personal preference or a Dylan favourite? Whatever the reason it is not stated. Nor is it apparent why Kill Devil Hill is particularly poignant as the town relevant from this books subject. Consequently in some ways this is only a personal journey. Of course so is any piece of original writing -but this is more colourful or focused on the supposed subject matter perhaps! And there is some validity in this as Marcus was present for much of period and at many key events. Although a nice if not necessarily conscious irony - like the basement tapes this is “haphazardly constructed” (p196) so to is this book perhaps as Greil Marcus seeks to emulate this historical context and obscure but sometimes well founded narrative researched. This apparently arbitrary theme appears again in the detail of descriptions of each song in the discography - some tracks merit up to 500 words whilst for example “Odds and Ends” 1 V2 is simply “Rockabilly” and 2 V2 is simply “Better Rockabilly”.
Marcus also doesnt address or even discuss the music itself - although it could be argued that was made by the Band not Dylan. Again there may be good reason, but the important omission is that Marcus does not expressly state why.
An interesting if difficult read - but from the very sub-title this is a misnomer loaded with prejudice and apparent arbitrary selection criteria. As they were never Bob Dylans basement tapes alone. Dylan may have the lions share of contributions to the lyrics, but the Hawks (later the band) deserve credit for much of the input. And so Greil Marcus’s attempts to link to an earlier era of the US is through Canadian musician! Attempts to create an American narrative again compromised by other nations.
Every day all over America 100s of garage bands record thousands of tracks. That was as much the case in 1967 as it is now (possibly even more so). The Hawks did the same just outside Woodstock (New York) during the first half of 1967, purportedly with the specific intention of never releasing any of the results on the public. Some of the tracks under discussion here though have been released officially and many others unofficially; Much though has been written about that few weeks in a basement. This band, made up largely of Canadians, was different. IT had in its midsts the Poet Laureate of Rock (Hirshey 1997). This recording, during Dylan’s convalescence from a bike crash, was following on from his supposed betrayal of folk and the outrage that caused - but also this book serves as a nice history narrative that the US so badly feels it needs. Perhaps because of this reason Invisible Republic tries to place the recordings of the basement tapes in the narrative history of America - still a very young republic. This is highlighted from the very first chapter. Called ‘Another Country’ it is actually about the tour of England, but this is the cry for validation s a or the greatest country that America desires. Whilst acknowledging the basement tapes as a cultural event Marcus is perhaps taking this too far in trying to instill this subsequently as a momentous institution and collection of occasions. But unfortunately a lot of what we read seems linked together only in Greil Marcus’ head and needs supporting with less prosaic language and more factual assertions.
Marcus’ writing can be very cryptic, indeed overly so, but there is a lot in this book nonetheless. I tried to read this book some 20 years ago when it first came out and gave up as too difficult. I am now more focused on the anthropological side of music therefore this was at least closer to my area of interest (rather than a dry narrative of this event - for that try Million Dollar Bash: Bob Dylan, the Band and the Basement Tapes by Sid Griffin). This time therefore I persevered. It was still an arduous read - unless you click with the aloof and abstract world Marcus tries to create, and some do, though judging from the reviews on amazon.com, only a few. Marcus uses tiresome hyperbole and apparently arbitrary selections at points. This collection of songs was from the outset mythical. Never officially released and possibly never intended for release, then the first mythical bootleg of the era - the Great White Wonder - when bootlegs were novel and illusive. Fitting for the most bootlegged artist in history. Marcus tries to capture the background that inspired Dylan and definitely succeeds with Harry Smith and particularly Dock Boggs. Why (p202) did Greil Marcus choose Geechie Wiley’s ‘Last Kind Word Blues?’ A critical song in Marcus’ narrative, but unlike Dock Boggs Geechie wasnt even on the Harry Smith Anthology, an exhaustive collection of tracks from the same era. Was it arbitrary or personal preference or a Dylan favourite? Whatever the reason it is not stated. Nor is it apparent why Kill Devil Hill is particularly poignant as the town relevant from this books subject. Consequently in some ways this is only a personal journey. Of course so is any piece of original writing -but this is more colourful or focused on the supposed subject matter perhaps! And there is some validity in this as Marcus was present for much of period and at many key events. Although a nice if not necessarily conscious irony - like the basement tapes this is “haphazardly constructed” (p196) so to is this book perhaps as Greil Marcus seeks to emulate this historical context and obscure but sometimes well founded narrative researched. This apparently arbitrary theme appears again in the detail of descriptions of each song in the discography - some tracks merit up to 500 words whilst for example “Odds and Ends” 1 V2 is simply “Rockabilly” and 2 V2 is simply “Better Rockabilly”.
Marcus also doesnt address or even discuss the music itself - although it could be argued that was made by the Band not Dylan. Again there may be good reason, but the important omission is that Marcus does not expressly state why.
An interesting if difficult read - but from the very sub-title this is a misnomer loaded with prejudice and apparent arbitrary selection criteria. As they were never Bob Dylans basement tapes alone. Dylan may have the lions share of contributions to the lyrics, but the Hawks (later the band) deserve credit for much of the input. And so Greil Marcus’s attempts to link to an earlier era of the US is through Canadian musician! Attempts to create an American narrative again compromised by other nations.
From Anger to Apathy: The Story of Politics, Society and Popular Culture in Britain since 1975 Garnett, Mark. (2008, Vintage)
It is a common comment that growing up in the 70s felt like being in a town after the circus had left (Greil Marcus, Richard Thomas, Christopher Booker). However, in this heavy and dense social commentary, Garnett compellingly argues that it also saw the beginnings of massive, tragic change and ‘great transformation’. Indeed, we are still living through the repercussions of that change. The only conclusion that can be drawn is that a complete take-over of consumer culture took hold. Everything changed, changed utterly, and a latent avarice took over. A terrible beauty perhaps. Generally social critics and historians are quick to highlight how Thatcherism and “The Conservative dominated 1980s …. seriously damaged the nation’s social and cultural fabric”. Whilst in no way dismissing this, Garnett argues the key foundation stones were firmly put in place in the 1970s. The direct consequence, tracked by Garnett, is that by the turn of this millennium “whether or not they cast votes, the British are now passive consumers; rather than active citizens”.
Overall this book is a convincing presentation but a damning indictment. Be under no illusion, as well as very dense this is a depressing read. We have been culturally trained to think that our era is built on natural progress towards a better existence - but Garnett puts one of many nails in that coffin with evidence of our increasingly isolationist attitude as individuals. The communal is a distant memory. This book is brilliantly prescient - written as it was nearly a decade before Brexit, even now [2018] it gives direct pointers to the future. Using the 1975 Europe Referendum under Wilson’s Labour as a ploy to keep factions within his party together - like Tories in 2016 - is a great example. The allegiances and outcome of that vote was not a little ironic given the swings. As Garnett notes “After the result the Daily Mail, late the house journal of Europhobia, proclaimed that “the effect of this thunderous yes will echo down the years”. Even more interesting is how some cultural celebrities like Paul McCartney supported withdrawal (but didn’t vote in 2016 vote), whilst Mick Jagger was at least less emphatic than in 1975. It is not a little ironic that Jagger’s Brexit interview in 2015 was in the Daily Mail again.
By the 1975 UK Budget the Chancellor, Denis Healey, observed “I recognise that very few classes of goods are now generally accepted to be luxuries”. Change now meant repacking items to sell the general public less of what they needed and more of what they wanted: Commodities merely needed to be relabelled and could be sold for inflated prices. Up to and including the 1970s “popular culture [had] acted as a social glue at the time, rather than driving people apart” but in order to market to specific sections the one homogeneous culture began to decay - possibly for the better in some ways, but definitely not in others. This is supported by other comments more generally. As John Moffat points out in I Sank the Bismarck historically forms of socialising were all communal - but a change was in the air. Garnett takes this further citing “ The Punk movement …[which] played a significant part in driving a wedge between generations after 1975” as had post war Rock of the 60s. Perhaps Punk merely extended this?
But this book is not perfect. Garnett is either a bit naive or disingenuous in his claim that it was only in the media age when Prince Charles could no longer be master of his own feeling (Really?). In his analysis of the modern day phenomena of wearing wristbands Garnett completely overlooks the two fold benefits, along with his correct negatives, for a visible show of unity and the fact that they are often sold to raise much needed funds to action change rather than being simply “excuses for total inactivity” (Which of course they are as well!). A stylistic comment as well - there are lots of italics and added emphasis which detract from the message. One weakness not directly addressed in this book though is the role of technology in all of this. It could be convincingly argued that technology is more to blame for the decline of the Left than the growth of capitalism directly. Garnett uses a good example of the accessibility of pornography (which has only got worse since book published). The rapid and even rabid growth of capitalism coincided with (and possibly facilitated) an explosion of technology but a consequence is that “The multiplication of media outlets has made it more difficult to impose uniform views or tastes on the British Public”. So much to choose from it is easier for many people to choose not to choose. He observes how in the 1980s a Nottingham miner observed how we have “washing machine,fitted carpets and TV in the house” people had goods and increasingly their comforts and were becoming less willing to give these up in the interests of others as they became increasingly preoccupied with personal gratification.
Whilst this book is packed full of data from and about the era is it also true that using some facts and figures are often not just ambiguous but unhelpful (see for example the National Lottery p175). Whilst what relevance does the location of US Killing (in San Diego) for the Boomtown Rats song have on British apathy? Whilst at another point when discussing the 1987 Hungerford killings perhaps an extra sentence on Rambo would have added more relevance. Similarly difficult, ambiguous assertions are made based upon 2001 data he has at his disposal. When thinking about the 2001 election data he observes “Previous generations would not have been deterred from participating by nameless inconveniences”. This is true, possibly. But how do we know? Based upon the way it is presented the evidence is certainly not compelling.
Although this is brilliantly researched and contains so much information at other points there is the feeling that a few salacious and juicy examples (of suicides) are not really evidence of the time or era. Similarly, I do not agree that the TV Series The Office, an exercise in the comedy of embarrassment, “said nothing positive about the British Work experience” and somehow proves these changes over 30 years. To employ the same rationale Fawlty Towers was not very complimentary to British Hoteliers or Are You Being Served? hardly said anything positive about the service industry during the 1970s. But the overarching thesis of progress towards a quandary is compelling. “The apathy of 2001[election turnout], then, can be directly traced to developments in the years before 1979” Some (most?) of the ‘apathetic’ were not even born yet? And besides Tony Blair’s Conservatives in disguise were going to walk that election however many did not bother turning up and voting! I do agree that there may well have been a demise in the inclination towards civic engagement which cast doubt on British credentials as a liberal democracy, but to what extent?
Also Garnett’s use of music as an example to the general decline of Britain is unfortunately not convincing. It is even guilty of clichés and tropes (yawn) - “it is indisputable that the best selling records [of 1975] were a marked improvement on the chart offerings of today”P63 Abba, Queen, 10cc etc: Abba didnt even reach top 5 “showed how stiff competition was” overlooking same era included Bazuka and Captain & Tennille - neither of whom had either great talent or staying power and it’s too early to say about current songs… ! Similarly, a decade later - Specials Ghost Town - was it really about violence at their own gigs which prompted that song? (p96). I thought it was specifically about city centre Coventry. Whilst focusing on 1983 he is also grandiose in his perception of the debt to the Clash who were in process of splitting up “silencing the potent political legacy of punk rock” (p104). That had already been emasculated by its absorption into postcards and consumables. Though i do agree that the Singles charts were dominated by consumption conscious bands like Duran Duran and Spandau Ballet.(p105)
I have selected a lot of criticism here - but this is a brilliant book and the faults are all minor. What Garnett does is bring together aspects of the era under discussion to give a realistic and compelling picture of what led to the current juncture we are at now.
To Throw Away Unopened. Albertine, Viv. Faber and Faber 2018
The self-styled angry young woman of punk is back. This time however, in part facilitated by the success of her first autobiography, she is back with a more detailed, more analytical and more nuanced telling of her story. For readers of the first autobiography there is some repetition of facts we know already, covering as it does much of the same era as the original book, from a different, perhaps more balanced, perspective. This tells the story of the Albertine family and the anger it bequeathed her. This is basically a book about loss - the loss of Albertine’s parents. In telling the story of their deaths her own self-identity comes under threat as does her desire to question her own assumptions and the flawed assumptions of society. A dangerous combination that Viv executes well in her affable flowing style. Viv though, is a far more manipulative and clever author than to just blurt out a story and this, like her first book ‘Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys’, is a well-constructed narrative offering two perspectives which reaffirm Larkins famous and oft quoted vitriol: “They fuck you up your mum and dad. They may not mean to but they do.” Whilst Albertine is forgiving, up to a point, she is always quick to offer an opinion which is sometimes jaundice of any impartiality. But then is impartiality from such a close point of reference even possible?
Her anger and frustration are completely justified - but what this narrative lacks is perspective at all. Having read her first autobiography i had a nagging sensation that that narrator was not 100% trustworthy. I could not put my finger on what - but reading this I now know that some things presented as ‘facts’ are interpretations and possible misremembering’s, but then in part that is also life. The domestic violence implied as blanket and constant in the first book for example takes a very different slant when presented from another angle in this one. Whilst at the same time she cleverly packages nostalgia and sells it to a new generation - from Craven A to 1970s sweets.
This is also a book about books, many of which feature heavily as titles and within chapters. There is a barrage of texts she uses quotes from or mentions - clearly Albertine herself is an avid reader. It may have been more interesting and subtle in some instances though, to have left them unacknowledged, in a very Bob Dylan fashion. I think one of her hopes though is that others will be inspired to go away and read many of the books she references. There are of course a disproportionate number of women writers quoted - trying in some small way to redress the balance of centuries of being overlooked, oppressed and exploited - much of which is clear from the quotes and text itself. There is at points a visceral dislike of individuals and most are men - especially when the discussion is about power dynamics and status inequality. Though her sister also comes in for some emotional and even physical abuse in the book. She is quite reasonably damning of male company - but “Every woman, good or bad, who’s gone from my life has left a hole”. Possibly this is the hole left by her father as well, sometimes by addressing head on her fear of maleness, although she concludes she isnt missing out on much (rightly!!). She seems to portray the music industry and exploiting only teenage girls for being naive or romantic enough to believe the lyrics of the love songs in the charts - rather than realising the “potent mixture of theatre and commerce” which it was.
She also benefits from a brilliant turn of phrase along with the literary references and similes - when for example she describes things “like the Yorkshire puddings out of the oven early”. Although she would not acknowledge it herself, at points, the book also reads like a feminist self-help mantra. She includes a collection of life tips: Some work, some dont, but the self-diagnosis on autism spectrum appears patronising and arrogant - but that is also a lot of what Viv Albertine is about. An arrogance or assured knowledge, which whilst it may be correct, and indeed justified in the male-centric world we live in, at points seems just a step too far. Nervousness about going to school is not the preserve of 17-year-old girls from self-diagnosed autistic families. That is a global problem across both genders. She makes dental visits, or lack thereof, about her not about her mother’s or her daughter’s health (her daughter would presumably have been a free dental check-up?), boasting that it’s 2 years since she went seemed small minded and dangerous if not selfish, turning the visits into a subject about her, not the wellbeing of her child. Whilst her poverty is relative - having 2 working radios and a television in the kitchen alone is beyond my resources! Despite these, it is a fascinating and enthralling read and I found it compelling and hard to put down. She writes well with an easy flowing prose which makes you want to continue, helped in no small part by knowing the next chapter is never more than 5 pages long! Albertine is a justifiably angry person. Anger, as she references, is about Status injury, though punk readers will be reminded of her old ‘friend’ john Lydon's phrase that Anger is also an Energy. And although she seems to believe she is getting tired (into her 60s) her anger is still valid and often well focused and the confessional tone and contents towards the end do neatly tie up some of the strands.
The self-styled angry young woman of punk is back. This time however, in part facilitated by the success of her first autobiography, she is back with a more detailed, more analytical and more nuanced telling of her story. For readers of the first autobiography there is some repetition of facts we know already, covering as it does much of the same era as the original book, from a different, perhaps more balanced, perspective. This tells the story of the Albertine family and the anger it bequeathed her. This is basically a book about loss - the loss of Albertine’s parents. In telling the story of their deaths her own self-identity comes under threat as does her desire to question her own assumptions and the flawed assumptions of society. A dangerous combination that Viv executes well in her affable flowing style. Viv though, is a far more manipulative and clever author than to just blurt out a story and this, like her first book ‘Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys’, is a well-constructed narrative offering two perspectives which reaffirm Larkins famous and oft quoted vitriol: “They fuck you up your mum and dad. They may not mean to but they do.” Whilst Albertine is forgiving, up to a point, she is always quick to offer an opinion which is sometimes jaundice of any impartiality. But then is impartiality from such a close point of reference even possible?
Her anger and frustration are completely justified - but what this narrative lacks is perspective at all. Having read her first autobiography i had a nagging sensation that that narrator was not 100% trustworthy. I could not put my finger on what - but reading this I now know that some things presented as ‘facts’ are interpretations and possible misremembering’s, but then in part that is also life. The domestic violence implied as blanket and constant in the first book for example takes a very different slant when presented from another angle in this one. Whilst at the same time she cleverly packages nostalgia and sells it to a new generation - from Craven A to 1970s sweets.
This is also a book about books, many of which feature heavily as titles and within chapters. There is a barrage of texts she uses quotes from or mentions - clearly Albertine herself is an avid reader. It may have been more interesting and subtle in some instances though, to have left them unacknowledged, in a very Bob Dylan fashion. I think one of her hopes though is that others will be inspired to go away and read many of the books she references. There are of course a disproportionate number of women writers quoted - trying in some small way to redress the balance of centuries of being overlooked, oppressed and exploited - much of which is clear from the quotes and text itself. There is at points a visceral dislike of individuals and most are men - especially when the discussion is about power dynamics and status inequality. Though her sister also comes in for some emotional and even physical abuse in the book. She is quite reasonably damning of male company - but “Every woman, good or bad, who’s gone from my life has left a hole”. Possibly this is the hole left by her father as well, sometimes by addressing head on her fear of maleness, although she concludes she isnt missing out on much (rightly!!). She seems to portray the music industry and exploiting only teenage girls for being naive or romantic enough to believe the lyrics of the love songs in the charts - rather than realising the “potent mixture of theatre and commerce” which it was.
She also benefits from a brilliant turn of phrase along with the literary references and similes - when for example she describes things “like the Yorkshire puddings out of the oven early”. Although she would not acknowledge it herself, at points, the book also reads like a feminist self-help mantra. She includes a collection of life tips: Some work, some dont, but the self-diagnosis on autism spectrum appears patronising and arrogant - but that is also a lot of what Viv Albertine is about. An arrogance or assured knowledge, which whilst it may be correct, and indeed justified in the male-centric world we live in, at points seems just a step too far. Nervousness about going to school is not the preserve of 17-year-old girls from self-diagnosed autistic families. That is a global problem across both genders. She makes dental visits, or lack thereof, about her not about her mother’s or her daughter’s health (her daughter would presumably have been a free dental check-up?), boasting that it’s 2 years since she went seemed small minded and dangerous if not selfish, turning the visits into a subject about her, not the wellbeing of her child. Whilst her poverty is relative - having 2 working radios and a television in the kitchen alone is beyond my resources! Despite these, it is a fascinating and enthralling read and I found it compelling and hard to put down. She writes well with an easy flowing prose which makes you want to continue, helped in no small part by knowing the next chapter is never more than 5 pages long! Albertine is a justifiably angry person. Anger, as she references, is about Status injury, though punk readers will be reminded of her old ‘friend’ john Lydon's phrase that Anger is also an Energy. And although she seems to believe she is getting tired (into her 60s) her anger is still valid and often well focused and the confessional tone and contents towards the end do neatly tie up some of the strands.
Second Viv Albertine: Clothes, Clothes, Clothes, Music, Music, Music, Boys, Boys, Boys. Faber and Faber, 2014 Pb 2016
This is a breezy and fun read, with some serious issues and intent thrown in, such as the bleak socio-economic landscape of 60s London, the violence and inequalities of family life, the impact of infertility on the female psyche, and a feminist striving for true individuality and independence. Not a simple warts and all story of my five minutes of fame on the punk train as a key member of The Slits! The subject matter, contents and even the title all chimes with the Slits' anarcho-feminist ethos.
Since 2009 Viv Albertine has been a successful solo artist and now author, but between 1976 and 1982 she was a key member of the pioneering feminist punk band The Slits. However she decided to reject the reformed band in the 1990s. In 2015 she published ‘Clothes Clothes Clothes, Music Music Music, Boys Boys Boys’. the title of which is a not very succinct but accurate comment on her autobiography! Consciously presented like a collection of punk chapters - short, punchy she laid it out as 2 sides of an LP. Very retro to today's readers. Side 1 is chapters 1 - 59 (250 pages) the far shorter Side 2 is Chapters 1 - 36 (150 pages). Her musical influences are covered and of interest, but despite the title I would have liked more on the music she made. I would have liked more detail on the Slits music and time in the studio as a solo artist, but these are not dwelt on. Boys, perhaps to be expected, come across in many different lights. some good, some very bad (in a sexy and decidedly unsexy) way, some exploitative some considerate... (but again these are not mutually exclusive) and others just dull. The Clothes of the title though serve to highlight how well Albertine claims to remember some things. I for one struggle to remember what I wore yesterday - she seems to know what she wore for nearly every outing, although in many cases she does have the documented assistance of a lot of photographs of the era. The fact that she so vividly remembers what clothes she wore is perhaps indicative of the punk movement's emphasis and obsession with visual style and image. There are frustrations with this though. The photographs in the paperback at least, are not in clear chronological or even in some ways fully logical order. There is for example a photograph of her in Yugoslavia, before she ‘left England’, on the same page as she claims not to have travelled! There is, similarly, a photo showing her with a Les Paul in 1978 which she bought it in 1976.
Minor gripes aside the narrative arch is pleasing. You warm towards, and increasingly sympathise with, the protagonist even then she does not initially come across as a trustworthy narrator. The main recurring theme again, and rightly so, is gender. But as a book about gender, or at least about a woman, this is timely and relevant. But her musical muse Patti Smith acts as a vehicle for liberation. Prior to that she had assumed you had to “have a willy to play guitar”
With the end of the Slits we move to her later life. The second 'half' (aka side 2) reads like a frantic manic rush. Here, I at least, wish it would slow down and add a bit more context and background, perhaps even a few nice asides of coffess with Poly Styrene in Hastings!! Throughout part 2 when the media spotlight was no longer on her and she no longer lived cheek by jowl with her punk partners in crime she really let's fly with palpable honesty and amiable frankness. Ari Up (Slit’s lead singer) and Poly (X-Ray Spexs lead singer) crop up but in no way regularly enough from the amount they clearly featured in vivs life.she is very fair and considered in discussing her marriage breakdown and the temporary nature of love. She offers no context to meeting Roald Dahl, Spike Milligan or even her continuous contact with other well know people. Though she does dwell a lot on and is admirably frank about her desperate desire for children. Interestingly a number of women readers condemned the husband both sides of the narrative may have given a more balanced perspective on how she may have alienated him, which she conceded. At points she is self-absorb and myopic which she makes no attempt to deny (but not as much as the follow up). At others she is honest and matures with an ability to step outside her own self to gain perspective or perhaps simply distance herself from trauma. Trauma of this kind resonates deeply throughout the book.
This book helps to remind us that the past really is a different place, possibly even a foreign country (Hartley). We can never truly place ourselves within in, just as we can never walk in someone else’s shoes. This coupled with the fact that books of this nature need to impart knowledge and perspective of people and places of a different era means there is always judgement required. For example, it is easy now to overlook just how run down London was in the 1970s. Albertine reminds us that in the 1970s “Oxford Street looked Dickensian” and that there were regularly shops boarded up as well as regular electricity rationing. All this and more combined to make for a depressing, drab, place London in 1976 was.
This is a breezy and fun read, with some serious issues and intent thrown in, such as the bleak socio-economic landscape of 60s London, the violence and inequalities of family life, the impact of infertility on the female psyche, and a feminist striving for true individuality and independence. Not a simple warts and all story of my five minutes of fame on the punk train as a key member of The Slits! The subject matter, contents and even the title all chimes with the Slits' anarcho-feminist ethos.
Since 2009 Viv Albertine has been a successful solo artist and now author, but between 1976 and 1982 she was a key member of the pioneering feminist punk band The Slits. However she decided to reject the reformed band in the 1990s. In 2015 she published ‘Clothes Clothes Clothes, Music Music Music, Boys Boys Boys’. the title of which is a not very succinct but accurate comment on her autobiography! Consciously presented like a collection of punk chapters - short, punchy she laid it out as 2 sides of an LP. Very retro to today's readers. Side 1 is chapters 1 - 59 (250 pages) the far shorter Side 2 is Chapters 1 - 36 (150 pages). Her musical influences are covered and of interest, but despite the title I would have liked more on the music she made. I would have liked more detail on the Slits music and time in the studio as a solo artist, but these are not dwelt on. Boys, perhaps to be expected, come across in many different lights. some good, some very bad (in a sexy and decidedly unsexy) way, some exploitative some considerate... (but again these are not mutually exclusive) and others just dull. The Clothes of the title though serve to highlight how well Albertine claims to remember some things. I for one struggle to remember what I wore yesterday - she seems to know what she wore for nearly every outing, although in many cases she does have the documented assistance of a lot of photographs of the era. The fact that she so vividly remembers what clothes she wore is perhaps indicative of the punk movement's emphasis and obsession with visual style and image. There are frustrations with this though. The photographs in the paperback at least, are not in clear chronological or even in some ways fully logical order. There is for example a photograph of her in Yugoslavia, before she ‘left England’, on the same page as she claims not to have travelled! There is, similarly, a photo showing her with a Les Paul in 1978 which she bought it in 1976.
Minor gripes aside the narrative arch is pleasing. You warm towards, and increasingly sympathise with, the protagonist even then she does not initially come across as a trustworthy narrator. The main recurring theme again, and rightly so, is gender. But as a book about gender, or at least about a woman, this is timely and relevant. But her musical muse Patti Smith acts as a vehicle for liberation. Prior to that she had assumed you had to “have a willy to play guitar”
With the end of the Slits we move to her later life. The second 'half' (aka side 2) reads like a frantic manic rush. Here, I at least, wish it would slow down and add a bit more context and background, perhaps even a few nice asides of coffess with Poly Styrene in Hastings!! Throughout part 2 when the media spotlight was no longer on her and she no longer lived cheek by jowl with her punk partners in crime she really let's fly with palpable honesty and amiable frankness. Ari Up (Slit’s lead singer) and Poly (X-Ray Spexs lead singer) crop up but in no way regularly enough from the amount they clearly featured in vivs life.she is very fair and considered in discussing her marriage breakdown and the temporary nature of love. She offers no context to meeting Roald Dahl, Spike Milligan or even her continuous contact with other well know people. Though she does dwell a lot on and is admirably frank about her desperate desire for children. Interestingly a number of women readers condemned the husband both sides of the narrative may have given a more balanced perspective on how she may have alienated him, which she conceded. At points she is self-absorb and myopic which she makes no attempt to deny (but not as much as the follow up). At others she is honest and matures with an ability to step outside her own self to gain perspective or perhaps simply distance herself from trauma. Trauma of this kind resonates deeply throughout the book.
This book helps to remind us that the past really is a different place, possibly even a foreign country (Hartley). We can never truly place ourselves within in, just as we can never walk in someone else’s shoes. This coupled with the fact that books of this nature need to impart knowledge and perspective of people and places of a different era means there is always judgement required. For example, it is easy now to overlook just how run down London was in the 1970s. Albertine reminds us that in the 1970s “Oxford Street looked Dickensian” and that there were regularly shops boarded up as well as regular electricity rationing. All this and more combined to make for a depressing, drab, place London in 1976 was.
Bob Dylan Chronicles Volume One
There is no getting away from, and perhaps no surprise, that this book, from one of the greatest songsmith’s of the 20th century, is artistic, derivative, prosaic and is packed full of ornate prose from start to finish. Even now - some 15 years after its release (2004) - it is timeless and yet despite all its only selective offerings there is still no threatened follow up (which seems to have had as many twists and turns as the Guns and Roses album Chinese Democracy). But this is also not a traditional autobiography - a cliche narrative of a simple story (born, listened to, influenced by, hard graft and success followed by a few pleasing anecdotes of success.) This is an artistic statement.
Loosely structured around Dylan’s first year in New York City (c.1961) we jump to the end of the apparent stagnation of the 1980s (Oh Mercy 1989) and 1970s New Morning, as well as references to the formative years as a child in Minnesota. Now perhaps it was my own prejudices but, even then, the absence of ‘going electric at Newport’ (1965) or ‘Judas’ in Manchester (1966) hang heavily over all the text of the book by this non conformist folkie.
It references an amazing list of names Dylan met over the years both before and after he himself was famous, including Fred Neill, Woody Guthrie Ricky Nelson, Cisco Houston, Paul Clayton (who’s death goes unreferenced) and many more. But a couple of the most fascinating portraits are of Dave Van Ronk - an early hero and the magnificent, prescient musician and producer John Hammond.
There are moments of the surreal as he observes you “can manufacture faith out of nothing” [p159] as well as the slightly disingenuous or consciously satirical when for example Dylan claims with the creation of one of his own songs in the abstract, one he has perfected the sound “I would not even have to be there”! There are subtle religious references which Dylan drops in to tease his reader like his room in New York before he became famous featuring a Crucifix on the table [p270] and the art for which Dylan received coverage in the 70s onwards. But also interesting discussions over the metaphysical power of the number 3 and the mathematical formula of music.
If it is true that this autobiography evolved out of writing liner notes for reissues of specific albums - then that at least goes some was to explaining, from an outsiders point of view, the relatively arbitrary selection of build up and recording of specific albums - albums that to the general public are not key or seminal like so many of Dylans releases. But the accuracy or veracity of what you are reading needs to be taken with a sense of theatre. This is entertainment and as Dylan himself acknowledges elsewhere these are possibly even ‘just’ 'novelistic writing." As we all know now in the post-truth world (OUP’s word of the year for 2016) - truth is only really a concept not necessarily a compulsory reality.
Loosely structured around Dylan’s first year in New York City (c.1961) we jump to the end of the apparent stagnation of the 1980s (Oh Mercy 1989) and 1970s New Morning, as well as references to the formative years as a child in Minnesota. Now perhaps it was my own prejudices but, even then, the absence of ‘going electric at Newport’ (1965) or ‘Judas’ in Manchester (1966) hang heavily over all the text of the book by this non conformist folkie.
It references an amazing list of names Dylan met over the years both before and after he himself was famous, including Fred Neill, Woody Guthrie Ricky Nelson, Cisco Houston, Paul Clayton (who’s death goes unreferenced) and many more. But a couple of the most fascinating portraits are of Dave Van Ronk - an early hero and the magnificent, prescient musician and producer John Hammond.
There are moments of the surreal as he observes you “can manufacture faith out of nothing” [p159] as well as the slightly disingenuous or consciously satirical when for example Dylan claims with the creation of one of his own songs in the abstract, one he has perfected the sound “I would not even have to be there”! There are subtle religious references which Dylan drops in to tease his reader like his room in New York before he became famous featuring a Crucifix on the table [p270] and the art for which Dylan received coverage in the 70s onwards. But also interesting discussions over the metaphysical power of the number 3 and the mathematical formula of music.
If it is true that this autobiography evolved out of writing liner notes for reissues of specific albums - then that at least goes some was to explaining, from an outsiders point of view, the relatively arbitrary selection of build up and recording of specific albums - albums that to the general public are not key or seminal like so many of Dylans releases. But the accuracy or veracity of what you are reading needs to be taken with a sense of theatre. This is entertainment and as Dylan himself acknowledges elsewhere these are possibly even ‘just’ 'novelistic writing." As we all know now in the post-truth world (OUP’s word of the year for 2016) - truth is only really a concept not necessarily a compulsory reality.
Dylan’s Autobiography of a Vocation: A Reading of the Lyrics 1965-67 -
Louis A Renza
“Do not create anything.
It will be misinterpreted.
It will not change.
It will follow you the rest of your life”
So declared Bob Dylan in 1964.* It is this warning that has hung over him for half a century. In this book Louis Renza claims to be trying to follow or trace the abstract notion of a ‘Dylan’ who subtends the songs written by ‘Bob Dylan’ in his “ongoing spiritual autobiography”(pxii). Whether he is right is open to debate. What is not open to debate is the fact that this is an intricate, somewhat surreal, exploration (possibly even fruitless exercise) of an individual through c.75 relatively arbitrary songs. The overarching thesis is salient at points, but would be more convincing if Renza’s endpoint was Blonde on Blonde rather than the later John Wesley Harding, or at least if the chronologically confusing The Basement Tapes was omitted.
It is currently an interesting time to be a Dylan scholar: Renza himself acknowledges his is one of “the many exegeses of Dylan songs by eminent literary critics, biographers, and scholars from various disciplinary fields”(pxiii). The quality of the corpus on the man, the myth and the music is taking a healthy shape and covering many aspects from his own life and its conditions, both of his writing and speculation about the mind of the man himself. Much has been written about and even by Dylan in the past 2 decades, though don’t hold your breath for a second instalment of the imaginative and poetic Chronicles (see above). 2017 alone ‘was a very good year’ for Dylan related releases as people sought to react to what has been deemed his recent perceived ‘return to form’ (and therefore relevance) on recent albums, as well as the previous year’s Nobel award for Literature. These include Bob Dylan: A Spiritual Life by Scott M Marshall, Why Dylan Matters by Richard Thomas, Trouble In Mind: Bob Dylan's Gospel Years by Clinton Heylin and Light Come Shining: The Transformations of Bob Dylan by Andrew McCarron to name but a few of the more ‘academic’ books. It is interesting to note that unlike Renza, the latter [McCarron] uses the motorcycle ‘accident’ of 1966 as a critical cut off - but that book is specifically about the transformations of Dylan, not his ‘autobiography as vocation’. Instead Renza interrogates the lyrics and builds an image of the author based upon very personalised and largely subjective readings of them. The focus is also on a short - but very prolific - point in Bob Dylan’s career: 1965 to 1967. This is unquestionably a defining period in the young life of Bob Dylan and the era and events have been heavily discussed. Greil Marcus for example did an entire book about Bob Dylan ‘at the Crossroads’ for ‘Like a Rolling Stone’ from Highway 61 Revisited. Whilst author Michael Gray has argued that, in an important sense, the 1960s "started" with this album**. Thomas stated “In just 15 months ... [March 1965-May 1966] … Dylan recorded and released three albums – Bringing it All Back Home, Highway 61 Revisited and Blonde on Blonde – that would establish and perfect the entirely new genre of folk rock” (Richard Thomas). ‘Dylan’s Autobiography of a Vocation’ focuses on how most of Dylan’s 1965-1967 songs manifest intricate traces of his own internal “autobiography”.
The book is very experiential and this dense, detailed, analysis makes for heavy reading. According to Renza (and his detail is compelling) Dylan continually declares and questions his relation to a self-determined existential summons. However his own first caveat in his preface of the book acknowledges his own “Deviant perspective” in the shaping of this book. Whilst the second caveat (of 2) is that this book is a “critical detour from the ‘probable’”. Brave admission for the beginning of an analysis of the lyrics' autobiographical nature.
Louis A. Renza is a colossus in the field of autobiography studies, writing now about his musical hero after decades of studying the works of Edgar Allan Poe and Wallace Stevens. It is therefore no surprise that this book includes reference to Augustine (Confessions), the beginnings of Western Spiritual autobiography, and tries to use Keats, Beckett and Yeats, even if Dylan’s place within this canon is not fully explored. Though this text is not merely a fan indulgence - Renza is ‘qualified’ to write about Dylan not least because he has taught him as a university course since the early 1970s. It is nonetheless a complicated and possibly even thankless task but Renza claims (quite convincingly) that songs penned during this era fit together neatly as a whole entity. Within that he has chosen tracks that were possibly written during the era - not always the material released and made publicly available during this time frame: The aptly named Bringing It All Back Home from March 1965 to the erroneously titled John Wesley Harding (December 1967).
So a bit of chronology: Dylan had been releasing music for 3 years at this point - but had only really begun on his road to superstardom in 1963 with the release of Freewheelin’ and the now well known tracks “Blowin' in the Wind" "Girl from the North Country" "Masters of War" "A Hard Rain's a-Gonna Fall" and “Don't Think Twice, Its Alright”. Within 2 years he seems to have tired of the overtly political tracks of this and the albums that followed (he was prolific in recording and releasing music early in his career). Renza’s premise is that between the political and the religious country (Nashville Skyline 1969), coursing through Dylan’s reflective style can be deduced a deep autobiography of his vocation as an recording artist.
Renza himself acknowledges (pxiii) “His [Dylan’s] songs show him multitudinously calibrating his experiences of external and internal events against the horizon of his oncoming awareness of the Absurd” … perhaps over imbuing the artist with significance? As he can ultimately always fob off any discrepancies as merely the ‘absurd’. But one area that he is at fault is his style - as he acknowledges in the introduction - “My style ….lurches towards the trying-to-say-too-much-in-a-sentence-or-two”, this is an understatement. This book - and especially the first two chapters - are a dense forest of analysis of complex lyrics, making it nearly impossible to see the wood for the trees. Although this weakness does ease startlingly from Chapter 3 onwards [Highway 61 Revisited].
There are, of course, some complex ideas and analysis here, which sometimes appear, to this reader at least, to be nonlinear, outwith obvious logic, but there are also still some interesting observations. Renza acknowledges the scope for this early on p2 “The Dylan song thus generates at least two possible meanings, both of which work in tandem yet resist a simple semantic synthesis”. Yet his passing comments betray the reality of this book. As early as page 15 whilst discussing Gates of Eden he states the song “can’t express even this truth … since poetic insights into the real can occur only indirectly”, so to find any truth is always going to be oblique. But this is further compounded by discussing “the lamppost ...with folded arms” and extrapolating that it refers to “how social law, ..acts wholly certain about its truth”. I am not convinced, but ultimately if I cannot offer alternative readings Renza's has to stand (although for me the lamppost can be read as “the shining light of justice towering above us”). But also to suit the story (p18) Renza places Dylan out of the story at points - as an observer: “Yonder stands your orphan [Dylan] with his gun” (‘Its all over now, baby blue’) , as a biographical removed observer. There is a fascinating moment when Renza touches on celebrity and mass media (p55) - an interesting string of observations he could have teased out more, whilst “going to Desolation Row”. Overall though Renza offers an excellent narrative arc to each of his chapters as well as the whole book - cleverly constructed but at points confusing, for example, where he observes “I have previously noted how this idealless ideal occurs entirely in the subjunctive mode” (p30)
Alongside the insights and brilliant observations, and apparent non sequiturs, there are other factual and frustrating omissions or inclusions. His first analysis of a song for example is of ‘Chimes of Freedom’ - not on Bringing It All Back Home (instead on 1964s Another Side of Bob Dylan) - but this well known track acts to lay the foundations and as a good initiation into the dense,detailed and occasionally flighty or obscure style of Renza. As well as only passing reference to the life changing bike crash (or drop?) of ‘66 Renza also fails to fully contextualise the importance of Herman Melville’s Moby Dick in Dylan’s inspirational journey (p11).
A practical observation - the same wording is roughly given to all albums - which is strange as Blonde on Blonde is a double LP, whilst the Basement Tapes event produced 100s of tracks, but also the 24 track album eventually released in 1975. The greatest weakness of this book though, and one that greatly undermines it, is the nature of his track selection. Not just taking tracks from Another Side Of Bob Dylan which was before the chronology but also drawing on only those tracks on The Basement Tapes which maintain his narrative - a more in depth analysis of the other 75+ songs would have greatly improved the breadth. Whilst Chapter 2: ‘Rebel without a Cause’ focuses on songs of the Highway 61 Revisited period, again not always those on the official release. The selection of Rebel rather than Revolutionary though reiterates Dylan's status, as Jean Paul Sartre highlighted the distinction between rebel and revolutionary - Dylan is merely a rebel, he only flirts with change and not with wholesale replacement. It is also frustrating that Renza appears to lack consistent treatment of even the songs. For large parts of John Wesley Harding only he treats liner notes as ripe for as much analysis as some of the songs. There are other minor gripes - when discussing ‘coat of solid gold’ (p140) Renza doesn't seem to allow for or acknowledge the Christian analogies within the coat of gold, especially given Dylan’s later conversion. What would have been fascinating is more on how some things “characterises the deeper basement of Dylan’s basement songs” which could have invited more on this area, but was glossed over. There is a lot to agree on in the book, but more potential to explore. It is though not exhaustive - merely one possible autobiographical reading Blonde on Blonde for example, even just the title can be read as BOB or the contemporary Blonde bombshell Bridget Bardot, and her blossoming relationship at the time with Bob Zagury, or lesbian fantasy or even camouflage of the contents - a disguise (Blonde on Blonde can't be seen) on an album jammed full of complex love songs. The final chapter neatly brings together Bringing it all Back Home to John Wesley Harding for example on The Ballad of Frankie Lee and Judas Priest.
I do not doubt Dylan’s ability to create complex songs, nor his depth of meaning in many of those songs. But there are, as Renza acknowledges, points where he pushes credibility or Dylan’s possible meaning too far. … In “Long Distance Operator” Dylan (or the narrator) is perhaps trying to talk to us and not his “faraway girl” - but is he trying to get us to surrender our “sense of possessing a socially secure self-identity”? Dylan’s possible message is perhaps more “difficult to apprehend” (p107). This is of course one of a possible infinite myriad of readings of the lyrics of Bob Dylan from this or any era.
There is a popular perception that most artists have one ‘great’ creative flourish that lasts approximately for up to 7 years (Beatles, Stones, and many more) but for Dylan it seems he can have many great resurgences (1975, 1997 to 2004? and 2011?). This book focuses on a short - but very prolific - 3 year period in Bob Dylan’s career and how a reading of his lyrics could be interpreted as autobiographical on his calling as a versatile popular and political musician or poet. This era, Renza argues is more personal than the political message of earlier albums or spiritual than later releases. What is clear is just how sexual the song contents are. P27 theme recurring is sexual appetite: farewell Angelina: the triangle tingles / and the trumpets [horns] play slow” - could, in fact, reflect a change which Baez could have made to the original, with Dylan's being less innuendo laden or alliterated: ‘the triangle tingles, the music plays slow’. This book merely reinforces, and highlights for new listeners, how good, how ambiguous, and ultimately how intricate Dylan’s lyrics are - possibly denser than Renza’s own writing - though, and herein lies the genius - easier to unpack.
*****************
● * (Clinton Heylin ‘Behind Closed Doors’ Pxiv. Heylin is one of Dylan's most respected biographers although it is actually from a 1964 prose poem, “Advice For Geraldine on Her Miscellaneous Birthday”, )
● ** . ( Gray, Michael (2006). The Bob Dylan Encyclopedia. Continuum International.) Amongst many others Ruth Padel has repeated such assumptions unquestioningly.
Louis A Renza
“Do not create anything.
It will be misinterpreted.
It will not change.
It will follow you the rest of your life”
So declared Bob Dylan in 1964.* It is this warning that has hung over him for half a century. In this book Louis Renza claims to be trying to follow or trace the abstract notion of a ‘Dylan’ who subtends the songs written by ‘Bob Dylan’ in his “ongoing spiritual autobiography”(pxii). Whether he is right is open to debate. What is not open to debate is the fact that this is an intricate, somewhat surreal, exploration (possibly even fruitless exercise) of an individual through c.75 relatively arbitrary songs. The overarching thesis is salient at points, but would be more convincing if Renza’s endpoint was Blonde on Blonde rather than the later John Wesley Harding, or at least if the chronologically confusing The Basement Tapes was omitted.
It is currently an interesting time to be a Dylan scholar: Renza himself acknowledges his is one of “the many exegeses of Dylan songs by eminent literary critics, biographers, and scholars from various disciplinary fields”(pxiii). The quality of the corpus on the man, the myth and the music is taking a healthy shape and covering many aspects from his own life and its conditions, both of his writing and speculation about the mind of the man himself. Much has been written about and even by Dylan in the past 2 decades, though don’t hold your breath for a second instalment of the imaginative and poetic Chronicles (see above). 2017 alone ‘was a very good year’ for Dylan related releases as people sought to react to what has been deemed his recent perceived ‘return to form’ (and therefore relevance) on recent albums, as well as the previous year’s Nobel award for Literature. These include Bob Dylan: A Spiritual Life by Scott M Marshall, Why Dylan Matters by Richard Thomas, Trouble In Mind: Bob Dylan's Gospel Years by Clinton Heylin and Light Come Shining: The Transformations of Bob Dylan by Andrew McCarron to name but a few of the more ‘academic’ books. It is interesting to note that unlike Renza, the latter [McCarron] uses the motorcycle ‘accident’ of 1966 as a critical cut off - but that book is specifically about the transformations of Dylan, not his ‘autobiography as vocation’. Instead Renza interrogates the lyrics and builds an image of the author based upon very personalised and largely subjective readings of them. The focus is also on a short - but very prolific - point in Bob Dylan’s career: 1965 to 1967. This is unquestionably a defining period in the young life of Bob Dylan and the era and events have been heavily discussed. Greil Marcus for example did an entire book about Bob Dylan ‘at the Crossroads’ for ‘Like a Rolling Stone’ from Highway 61 Revisited. Whilst author Michael Gray has argued that, in an important sense, the 1960s "started" with this album**. Thomas stated “In just 15 months ... [March 1965-May 1966] … Dylan recorded and released three albums – Bringing it All Back Home, Highway 61 Revisited and Blonde on Blonde – that would establish and perfect the entirely new genre of folk rock” (Richard Thomas). ‘Dylan’s Autobiography of a Vocation’ focuses on how most of Dylan’s 1965-1967 songs manifest intricate traces of his own internal “autobiography”.
The book is very experiential and this dense, detailed, analysis makes for heavy reading. According to Renza (and his detail is compelling) Dylan continually declares and questions his relation to a self-determined existential summons. However his own first caveat in his preface of the book acknowledges his own “Deviant perspective” in the shaping of this book. Whilst the second caveat (of 2) is that this book is a “critical detour from the ‘probable’”. Brave admission for the beginning of an analysis of the lyrics' autobiographical nature.
Louis A. Renza is a colossus in the field of autobiography studies, writing now about his musical hero after decades of studying the works of Edgar Allan Poe and Wallace Stevens. It is therefore no surprise that this book includes reference to Augustine (Confessions), the beginnings of Western Spiritual autobiography, and tries to use Keats, Beckett and Yeats, even if Dylan’s place within this canon is not fully explored. Though this text is not merely a fan indulgence - Renza is ‘qualified’ to write about Dylan not least because he has taught him as a university course since the early 1970s. It is nonetheless a complicated and possibly even thankless task but Renza claims (quite convincingly) that songs penned during this era fit together neatly as a whole entity. Within that he has chosen tracks that were possibly written during the era - not always the material released and made publicly available during this time frame: The aptly named Bringing It All Back Home from March 1965 to the erroneously titled John Wesley Harding (December 1967).
So a bit of chronology: Dylan had been releasing music for 3 years at this point - but had only really begun on his road to superstardom in 1963 with the release of Freewheelin’ and the now well known tracks “Blowin' in the Wind" "Girl from the North Country" "Masters of War" "A Hard Rain's a-Gonna Fall" and “Don't Think Twice, Its Alright”. Within 2 years he seems to have tired of the overtly political tracks of this and the albums that followed (he was prolific in recording and releasing music early in his career). Renza’s premise is that between the political and the religious country (Nashville Skyline 1969), coursing through Dylan’s reflective style can be deduced a deep autobiography of his vocation as an recording artist.
Renza himself acknowledges (pxiii) “His [Dylan’s] songs show him multitudinously calibrating his experiences of external and internal events against the horizon of his oncoming awareness of the Absurd” … perhaps over imbuing the artist with significance? As he can ultimately always fob off any discrepancies as merely the ‘absurd’. But one area that he is at fault is his style - as he acknowledges in the introduction - “My style ….lurches towards the trying-to-say-too-much-in-a-sentence-or-two”, this is an understatement. This book - and especially the first two chapters - are a dense forest of analysis of complex lyrics, making it nearly impossible to see the wood for the trees. Although this weakness does ease startlingly from Chapter 3 onwards [Highway 61 Revisited].
There are, of course, some complex ideas and analysis here, which sometimes appear, to this reader at least, to be nonlinear, outwith obvious logic, but there are also still some interesting observations. Renza acknowledges the scope for this early on p2 “The Dylan song thus generates at least two possible meanings, both of which work in tandem yet resist a simple semantic synthesis”. Yet his passing comments betray the reality of this book. As early as page 15 whilst discussing Gates of Eden he states the song “can’t express even this truth … since poetic insights into the real can occur only indirectly”, so to find any truth is always going to be oblique. But this is further compounded by discussing “the lamppost ...with folded arms” and extrapolating that it refers to “how social law, ..acts wholly certain about its truth”. I am not convinced, but ultimately if I cannot offer alternative readings Renza's has to stand (although for me the lamppost can be read as “the shining light of justice towering above us”). But also to suit the story (p18) Renza places Dylan out of the story at points - as an observer: “Yonder stands your orphan [Dylan] with his gun” (‘Its all over now, baby blue’) , as a biographical removed observer. There is a fascinating moment when Renza touches on celebrity and mass media (p55) - an interesting string of observations he could have teased out more, whilst “going to Desolation Row”. Overall though Renza offers an excellent narrative arc to each of his chapters as well as the whole book - cleverly constructed but at points confusing, for example, where he observes “I have previously noted how this idealless ideal occurs entirely in the subjunctive mode” (p30)
Alongside the insights and brilliant observations, and apparent non sequiturs, there are other factual and frustrating omissions or inclusions. His first analysis of a song for example is of ‘Chimes of Freedom’ - not on Bringing It All Back Home (instead on 1964s Another Side of Bob Dylan) - but this well known track acts to lay the foundations and as a good initiation into the dense,detailed and occasionally flighty or obscure style of Renza. As well as only passing reference to the life changing bike crash (or drop?) of ‘66 Renza also fails to fully contextualise the importance of Herman Melville’s Moby Dick in Dylan’s inspirational journey (p11).
A practical observation - the same wording is roughly given to all albums - which is strange as Blonde on Blonde is a double LP, whilst the Basement Tapes event produced 100s of tracks, but also the 24 track album eventually released in 1975. The greatest weakness of this book though, and one that greatly undermines it, is the nature of his track selection. Not just taking tracks from Another Side Of Bob Dylan which was before the chronology but also drawing on only those tracks on The Basement Tapes which maintain his narrative - a more in depth analysis of the other 75+ songs would have greatly improved the breadth. Whilst Chapter 2: ‘Rebel without a Cause’ focuses on songs of the Highway 61 Revisited period, again not always those on the official release. The selection of Rebel rather than Revolutionary though reiterates Dylan's status, as Jean Paul Sartre highlighted the distinction between rebel and revolutionary - Dylan is merely a rebel, he only flirts with change and not with wholesale replacement. It is also frustrating that Renza appears to lack consistent treatment of even the songs. For large parts of John Wesley Harding only he treats liner notes as ripe for as much analysis as some of the songs. There are other minor gripes - when discussing ‘coat of solid gold’ (p140) Renza doesn't seem to allow for or acknowledge the Christian analogies within the coat of gold, especially given Dylan’s later conversion. What would have been fascinating is more on how some things “characterises the deeper basement of Dylan’s basement songs” which could have invited more on this area, but was glossed over. There is a lot to agree on in the book, but more potential to explore. It is though not exhaustive - merely one possible autobiographical reading Blonde on Blonde for example, even just the title can be read as BOB or the contemporary Blonde bombshell Bridget Bardot, and her blossoming relationship at the time with Bob Zagury, or lesbian fantasy or even camouflage of the contents - a disguise (Blonde on Blonde can't be seen) on an album jammed full of complex love songs. The final chapter neatly brings together Bringing it all Back Home to John Wesley Harding for example on The Ballad of Frankie Lee and Judas Priest.
I do not doubt Dylan’s ability to create complex songs, nor his depth of meaning in many of those songs. But there are, as Renza acknowledges, points where he pushes credibility or Dylan’s possible meaning too far. … In “Long Distance Operator” Dylan (or the narrator) is perhaps trying to talk to us and not his “faraway girl” - but is he trying to get us to surrender our “sense of possessing a socially secure self-identity”? Dylan’s possible message is perhaps more “difficult to apprehend” (p107). This is of course one of a possible infinite myriad of readings of the lyrics of Bob Dylan from this or any era.
There is a popular perception that most artists have one ‘great’ creative flourish that lasts approximately for up to 7 years (Beatles, Stones, and many more) but for Dylan it seems he can have many great resurgences (1975, 1997 to 2004? and 2011?). This book focuses on a short - but very prolific - 3 year period in Bob Dylan’s career and how a reading of his lyrics could be interpreted as autobiographical on his calling as a versatile popular and political musician or poet. This era, Renza argues is more personal than the political message of earlier albums or spiritual than later releases. What is clear is just how sexual the song contents are. P27 theme recurring is sexual appetite: farewell Angelina: the triangle tingles / and the trumpets [horns] play slow” - could, in fact, reflect a change which Baez could have made to the original, with Dylan's being less innuendo laden or alliterated: ‘the triangle tingles, the music plays slow’. This book merely reinforces, and highlights for new listeners, how good, how ambiguous, and ultimately how intricate Dylan’s lyrics are - possibly denser than Renza’s own writing - though, and herein lies the genius - easier to unpack.
*****************
● * (Clinton Heylin ‘Behind Closed Doors’ Pxiv. Heylin is one of Dylan's most respected biographers although it is actually from a 1964 prose poem, “Advice For Geraldine on Her Miscellaneous Birthday”, )
● ** . ( Gray, Michael (2006). The Bob Dylan Encyclopedia. Continuum International.) Amongst many others Ruth Padel has repeated such assumptions unquestioningly.
The Great British Dream Factory: The Strange History of Our National Imagination
Dominic Sandbrook
This is a fascinating and interesting read. Well researched, well constructed and an interesting way to look at what Britain has produced culturally over the last 100 years. At a few points it is simplistic and the accurate story line can be glossed over (especially his slightly disingenuous though sometimes spot on criticism of John Lennon and more specifically Imagine) but overall entertaining and well executed. It has an overarching bold narrative that fits together well, focusing on artistic colossi like David Bowie, Elton John and John Lennon, as well as British film and the Arts more generally. Of this book the Guardian stated “He is for the Midlands, for Middle Earth, Middle England and the middlebrow.” Whilst that could be construed as a criticism it should be taken as a compliment that entwines Tolkien, the Conservatives and Labour and of course Black Sabbath through to Oasis on the popularist music front.
Worth reading as a full piece of work, but can also be dipped in and out as the chapters are often self contained but work as a unit within a bigger picture of British Pop Culture of the late 20th Century.
Dominic Sandbrook
This is a fascinating and interesting read. Well researched, well constructed and an interesting way to look at what Britain has produced culturally over the last 100 years. At a few points it is simplistic and the accurate story line can be glossed over (especially his slightly disingenuous though sometimes spot on criticism of John Lennon and more specifically Imagine) but overall entertaining and well executed. It has an overarching bold narrative that fits together well, focusing on artistic colossi like David Bowie, Elton John and John Lennon, as well as British film and the Arts more generally. Of this book the Guardian stated “He is for the Midlands, for Middle Earth, Middle England and the middlebrow.” Whilst that could be construed as a criticism it should be taken as a compliment that entwines Tolkien, the Conservatives and Labour and of course Black Sabbath through to Oasis on the popularist music front.
Worth reading as a full piece of work, but can also be dipped in and out as the chapters are often self contained but work as a unit within a bigger picture of British Pop Culture of the late 20th Century.
The Sex Revolts: Gender, Rebellion and Rock'N'Roll Book by Joy Press and Simon Reynolds 1995
This is an interesting, readable, and admirable first foray into analysing the connection between rebellion and rock n roll through the lens of gender rather than simply ‘women in rock’. Despite the interesting topic and subject matter (and lot of thought that has obviously gone into this) it is disappointingly executed. That said it remains (25 years later) a good starting point and ultimately an important book in the oeuvre. The book is excellent in part as it analyses well aspects of both popular music and the male psyche. Starting with the ‘Born to Run’ impulse of The Rolling Stones and Iggy Pop it moves on to the ‘Soldier / Warrior’ who takes refuge in the camaraderie of brotherhood in arms as seen in The Clash and Public Enemy: “And self-aggrandising fantasies of man-machine omnipotence: heavy metal and techno”… or the idea of ‘Kingship’, examples of which include The Doors and Nick Cave. The insight that male conceptions of ‘freedom’ often conceal the seeds of domination, often over women and ultimately for oneself is not a revelation but needed to be written down and this book did it first (1995). It also points out that what sounds like ‘freedom’ can conceal a lot more - often over what purported to be ‘freedom’. The Rolling Stones are an obvious misogynist choice – a band of their era often accused of portraying women as enfeebled victims of suburbia (Mother's Little Helper, 19th nervous b/down). Nowadays these are not new points but they are well structured early in this publication.
This books main weakness though is the factual errors. There may only be the few I happened to notice, but any detract from the merit of the text overall and undermine its trustworthiness in undermining the entire text and consequently detracting from the validity of the study. When quoting a Led Zepplin song about being on the killing floor they are surely referencing the Lemon Song not Dazed and Confused (p24). Also, though slightly more forgivable for a music book, in Greek mythology it was not Icarus, but Daedalus his father, who built the wings which melted in the sun (p79). To have shown this awareness, as well as important, would have also added another other aspects of the father/son dynamic in the book. These 2 errors unfortunately do not stand in isolation.
Another aspect that is weak (but more opinion than factual) is the selection of consciously obscure artists who are often within the ‘cool’ set, rather than artists purely based upon their popularity. Though of course beyond sales alone this is hard to quantify. John’s Children were relatively popular but also took on a more important persona only really retrospectively because of their influence on punk and the fleeting membership of Marc Bolan. The book, at points, also tries too hard to pigeon hole: especially when it asserts for instance that My Bloody Valentine’s line-up “as arguably a microcosm of a sexual utopia” (p222). Sometimes that is also personal opinion of course - in prioritising 3 great bands they list the Sex Pistols number 1, Sigue Sigue Sputnik 2 and the Manic Street Preachers 3rd (p331). Now although this would have been written early in the Manics career I would certainly list this as 1,3,2. But again this is opinion.
There are moments where Press and Reynolds talk in banal generalities when they state, for example, that ‘Anorexics are often drug fiends’, even if this was true (which i don't think it is) it overlooks the fact that anorexia is often ‘in place’ long before drug availabilities - ie early teens. The book also claims that within ‘art’ women have more trouble taking credit for what they have created - but surely so do most men in music! I acknowledge that it may be perhaps more problematic for women, but that has been the case since at least 5th Century Athens where women were portrayed as merely carriers / receptacles (see for example Aeschylus’ Oresteia). Then as the book gets into full swing it just as strangely tapers out - the final few chapters are more like post scripts or appendices - not full chapter studies like earlier writings. This book needed to be written and is a great opening salvo, but could have been better. Overall if this is an area of interest to you - gender and rock/pop music - then this is an essential read - but take with an air of caution
This is an interesting, readable, and admirable first foray into analysing the connection between rebellion and rock n roll through the lens of gender rather than simply ‘women in rock’. Despite the interesting topic and subject matter (and lot of thought that has obviously gone into this) it is disappointingly executed. That said it remains (25 years later) a good starting point and ultimately an important book in the oeuvre. The book is excellent in part as it analyses well aspects of both popular music and the male psyche. Starting with the ‘Born to Run’ impulse of The Rolling Stones and Iggy Pop it moves on to the ‘Soldier / Warrior’ who takes refuge in the camaraderie of brotherhood in arms as seen in The Clash and Public Enemy: “And self-aggrandising fantasies of man-machine omnipotence: heavy metal and techno”… or the idea of ‘Kingship’, examples of which include The Doors and Nick Cave. The insight that male conceptions of ‘freedom’ often conceal the seeds of domination, often over women and ultimately for oneself is not a revelation but needed to be written down and this book did it first (1995). It also points out that what sounds like ‘freedom’ can conceal a lot more - often over what purported to be ‘freedom’. The Rolling Stones are an obvious misogynist choice – a band of their era often accused of portraying women as enfeebled victims of suburbia (Mother's Little Helper, 19th nervous b/down). Nowadays these are not new points but they are well structured early in this publication.
This books main weakness though is the factual errors. There may only be the few I happened to notice, but any detract from the merit of the text overall and undermine its trustworthiness in undermining the entire text and consequently detracting from the validity of the study. When quoting a Led Zepplin song about being on the killing floor they are surely referencing the Lemon Song not Dazed and Confused (p24). Also, though slightly more forgivable for a music book, in Greek mythology it was not Icarus, but Daedalus his father, who built the wings which melted in the sun (p79). To have shown this awareness, as well as important, would have also added another other aspects of the father/son dynamic in the book. These 2 errors unfortunately do not stand in isolation.
Another aspect that is weak (but more opinion than factual) is the selection of consciously obscure artists who are often within the ‘cool’ set, rather than artists purely based upon their popularity. Though of course beyond sales alone this is hard to quantify. John’s Children were relatively popular but also took on a more important persona only really retrospectively because of their influence on punk and the fleeting membership of Marc Bolan. The book, at points, also tries too hard to pigeon hole: especially when it asserts for instance that My Bloody Valentine’s line-up “as arguably a microcosm of a sexual utopia” (p222). Sometimes that is also personal opinion of course - in prioritising 3 great bands they list the Sex Pistols number 1, Sigue Sigue Sputnik 2 and the Manic Street Preachers 3rd (p331). Now although this would have been written early in the Manics career I would certainly list this as 1,3,2. But again this is opinion.
There are moments where Press and Reynolds talk in banal generalities when they state, for example, that ‘Anorexics are often drug fiends’, even if this was true (which i don't think it is) it overlooks the fact that anorexia is often ‘in place’ long before drug availabilities - ie early teens. The book also claims that within ‘art’ women have more trouble taking credit for what they have created - but surely so do most men in music! I acknowledge that it may be perhaps more problematic for women, but that has been the case since at least 5th Century Athens where women were portrayed as merely carriers / receptacles (see for example Aeschylus’ Oresteia). Then as the book gets into full swing it just as strangely tapers out - the final few chapters are more like post scripts or appendices - not full chapter studies like earlier writings. This book needed to be written and is a great opening salvo, but could have been better. Overall if this is an area of interest to you - gender and rock/pop music - then this is an essential read - but take with an air of caution
Pirates of the British Radio - the Beeb or the rebels?
Death of a Pirate: British Radio and the Making of the Information Age by Adrian Johns
Wow. To quote the late*, great* Jamie Lawson “I wasn't expecting that”.
I opened this book expecting a very dry narrative on the history of Pirate Radio in Britain. What I got, within the first few pages, was a murder and what followed was an entire anthropological study of Britain in the 20th century as a precursor and precedent to the internet age and the influence of copyright and pirate bay. This is a thoroughly compelling book - which highlights just as much British class snobbery as it does the history of establishing the precarious pirate radio of 1960s Britain and the influence on the BBC.
But this is a divisive book; just read the polarised reviews on amazon.com where one person described it as "a badly written autobiography of Friedrich Hayek and libertarian thought". I disagree and was absorbed from beginning to end.
Based upon the fact that many involved are still alive this is also controversial but if you believe history is cyclical then it is a particularly pertinent story of relevance in the internet piracy age and free data like songs on the air waves.
It is also important because, despite what many may try and tell you, the class problems discussed with reference to 1960s Britain, as well as being well encapsulated, are also still as relevant today.
This book gives a short, sharp, informative observation on the era; including everything from the Lady Chatterley's Lover trial to the advent of the teenage consumer. A rewarding read and worth the herculean efforts of Adrian Johns.
*(unfortunately neither of these is true)
Wow. To quote the late*, great* Jamie Lawson “I wasn't expecting that”.
I opened this book expecting a very dry narrative on the history of Pirate Radio in Britain. What I got, within the first few pages, was a murder and what followed was an entire anthropological study of Britain in the 20th century as a precursor and precedent to the internet age and the influence of copyright and pirate bay. This is a thoroughly compelling book - which highlights just as much British class snobbery as it does the history of establishing the precarious pirate radio of 1960s Britain and the influence on the BBC.
But this is a divisive book; just read the polarised reviews on amazon.com where one person described it as "a badly written autobiography of Friedrich Hayek and libertarian thought". I disagree and was absorbed from beginning to end.
Based upon the fact that many involved are still alive this is also controversial but if you believe history is cyclical then it is a particularly pertinent story of relevance in the internet piracy age and free data like songs on the air waves.
It is also important because, despite what many may try and tell you, the class problems discussed with reference to 1960s Britain, as well as being well encapsulated, are also still as relevant today.
This book gives a short, sharp, informative observation on the era; including everything from the Lady Chatterley's Lover trial to the advent of the teenage consumer. A rewarding read and worth the herculean efforts of Adrian Johns.
*(unfortunately neither of these is true)
Down the highway: The life of Bob Dylan, Sounes, Howard.
What more can be said about the icon Bob Dylan? A lot more, at least in 2001, judging from the contents of this book. And much more did and will follow. Rightly so. One of the greatest popular poets of the last 2 centuries his art is informative eloquent and perceptive as well as the all-important entertaining. It is also vague enough to apply or be applied to many moments, events and situations. The vagueness of his lyrics though are not a weakness but enables subtle ambiguity and more nuanced reader interpretation, a skill in its own right.
This book does the man’s life a justice. There is no doubting that it has been thoroughly researched and above all buoyed by a sharp writing style. A difficult task for a daunting 500-page book. Sounes has clearly read broadly around his subject although, understandably, this is only an overview of a life lived to the fullest both in private and, largely by necessity, in the public eye. This has meant that Dylan has spent 50 + years avoiding publicity and many mentally unstable fans, some of whom are covered in this book. The most interesting of whom was not the obvious, bin rifling, AJ Weberman but the more threatening and unsavoury ‘Mrs. Dylan’. This book gives a greater, more rounded, impression of the man than many books notionally about him. Certain things like his friendship with Van Morrison or the emergence of the Tom Petty and the Heartbreakers collaboration are glossed over without sufficient context or background. (Did Van arrange for Winston Watson to be sacked or was it merely a natural progression after 4 years? How did members of the Heartbreakers come to feature so heavily in Dylan’s professional life in the mid-80s?) But by necessity a book of this nature has to often leave out more than it can include.
Published at the turn of the Century, this text has an unreal finality about it towards the end. Well received at the time it is certainly copiously researched and includes many interesting interviewees (sometimes anonymously) but often intelligently presented. We know now Dylan had at least 2 decades of touring and further classic albums left in him plus his own story to tell! This book proves prescient in its Nobel Prize discussion (although he had been nominated originally in 1997). Above average this book also hinges on the exclusive new information at the time about Dylan’s previously unknown second marriage to Carolyn Dennis (a real Mrs Dylan not a mad interloper!). Overall a thorough commendable start for those looking for a detailed biopic on one of the most important entertainers and commentators on the twentieth century.
I’m A Man: Sex, Gods and Rock n Roll. Ruth Padel 2000
An intelligently constructed, well executed book, at least, in part, about what is now called ‘toxic masculinities’, and its possible classical heritage. Though at the time of publication of this book (mid 1990s) that phrase was probably only in its infancy. The main focus of this book takes the perspective of male performance ‘art’ as a continuation of Greek mythology and its relationship with rock music. Padel’s narrative, not completely convincingly, uses the harnessing of the power of electricity as a metaphor, a catalyst and metonym throughout this. Overall it is a successful and informative book on sex, the ancient gods and the 20th century phenomenon of rock n roll (time will tell if it is a 21st century phenomenon as well - I suspect parts of it are). Padel is right to assert early on “Rock music .... got their first story shapes, and models of relationships, in Greek myth" (p3). Looking back this book misses some of the more nuanced points it could make about religion and ancient parallels. Padel is right to assert that the way rock culture and music handles gender and sexuality demonstrates its conservatism: the way it clings to the structures of the society it purports to defy. RnR may have ‘enabled’ progress and beneficial ‘changes’ but contradictorily, it also reinscribes patriarchal values in the way it “validates the aggressive, misogynist and supremacist side of male sexuality as no Western music ever had before” (p274) “Music is like fantasy, made up. Rock music is sexual fantasy’s winged chariot” (p324).
The mythical hero of Greek stories is epitomised for Padel in Rock’s elevation of the lead singer. Throughout history Padel shows that male tradition “empowered itself by using the image of the abandoned woman” (p97). Even the points at which she seems to push the analogy too far are convincing (p161-2). For example in highlighting criticisms levelled at Hendrix by Blacks - like Prometheus bringing whites ‘fire’. However, at points she does miss certain nuance - Padel loves the irony and rightly points out those items which strongly supports her premise. In discussing Bob Dylan she highlights him as “a hero of creative maleness” but that it is ‘nearly always men who go on about him’. However, in a nice observation she states “Bob Dylan was empowered on to his starry creative road by a girl called Echo” p301! (one of his earliest and perhaps most important girlfriends being Echo Helstrom).
There is one near fatal flaw to this book and that is the number of errors. They are neither critical not exhaustive - but are still substantial and frustrating. Calling Duke Ellington's title A Drum is a Lady inserts a different emphasis to the correct title A Drum is a Woman. Likewise, to call Ian Whitcomb, albeit in parenthesis, a little Irish boy, as well as possibly being diminutive is also factually incorrect! Similarly the title of Van Halen’s 1991 album Unlawful Carnal Knowledge misses the dubious and simplistic (puerile and not subtle!) humour of its full acrostic name of its full title - For Unlawful Carnal Knowledge. Another weakness is that Padel seems to imply the incorrect authorship for songs like ‘I Love Rock n Roll’ not to Alan Merrill of The Arrows, but the performer who made it her own (Joan Jett). Likewise ‘Radar Love’ was written by ‘Barry Hay et al’ (of Golden Earring), not a female singer as she seems to imply. In some ways these sorts of errors are critical - implying female authorship to these tracks undermines the validity of her argument - in others just slightly detract from the overall point.
Padel states midway through this book “Movements against tradition usually end up enriching it” (p268). However, here she misses out again on a potential nuance that could add more to this book. Generally they do enrich it - but perhaps they could (and sometimes do?) help in overhauling it. If and when they don’t, why not? Is it that the artists are not seeking a revolution, even if “we’d all love to change the world”. Instead most artists back down at the chance of real conflict, concluding instead that in “sleepy London town there’s just no place for a street fighting man”. Why did the lead singer of the Sex Pistols attempt to raise awareness for anarchy, yet after the publication of this book, descend to selling butter on TV? Ultimately “Rock culture, like teenage life, depends on parental economics” (p272) and so in order to support artists one needs to step into the marketplace. Historically a separate marketplace - but now the key factor in latter day capitalism. So to invest both emotionally and often materially into these artists you invest in some parts of the ‘traditions’ of the culture that it challenges. This culture is categorically far from perfect and could easily be portrayed with some justification as as retrograde, and patriarchal. There are many important observations Ruth Padel tries and largely succeeds in making and supporting with evidence in this interesting book.
An intelligently constructed, well executed book, at least, in part, about what is now called ‘toxic masculinities’, and its possible classical heritage. Though at the time of publication of this book (mid 1990s) that phrase was probably only in its infancy. The main focus of this book takes the perspective of male performance ‘art’ as a continuation of Greek mythology and its relationship with rock music. Padel’s narrative, not completely convincingly, uses the harnessing of the power of electricity as a metaphor, a catalyst and metonym throughout this. Overall it is a successful and informative book on sex, the ancient gods and the 20th century phenomenon of rock n roll (time will tell if it is a 21st century phenomenon as well - I suspect parts of it are). Padel is right to assert early on “Rock music .... got their first story shapes, and models of relationships, in Greek myth" (p3). Looking back this book misses some of the more nuanced points it could make about religion and ancient parallels. Padel is right to assert that the way rock culture and music handles gender and sexuality demonstrates its conservatism: the way it clings to the structures of the society it purports to defy. RnR may have ‘enabled’ progress and beneficial ‘changes’ but contradictorily, it also reinscribes patriarchal values in the way it “validates the aggressive, misogynist and supremacist side of male sexuality as no Western music ever had before” (p274) “Music is like fantasy, made up. Rock music is sexual fantasy’s winged chariot” (p324).
The mythical hero of Greek stories is epitomised for Padel in Rock’s elevation of the lead singer. Throughout history Padel shows that male tradition “empowered itself by using the image of the abandoned woman” (p97). Even the points at which she seems to push the analogy too far are convincing (p161-2). For example in highlighting criticisms levelled at Hendrix by Blacks - like Prometheus bringing whites ‘fire’. However, at points she does miss certain nuance - Padel loves the irony and rightly points out those items which strongly supports her premise. In discussing Bob Dylan she highlights him as “a hero of creative maleness” but that it is ‘nearly always men who go on about him’. However, in a nice observation she states “Bob Dylan was empowered on to his starry creative road by a girl called Echo” p301! (one of his earliest and perhaps most important girlfriends being Echo Helstrom).
There is one near fatal flaw to this book and that is the number of errors. They are neither critical not exhaustive - but are still substantial and frustrating. Calling Duke Ellington's title A Drum is a Lady inserts a different emphasis to the correct title A Drum is a Woman. Likewise, to call Ian Whitcomb, albeit in parenthesis, a little Irish boy, as well as possibly being diminutive is also factually incorrect! Similarly the title of Van Halen’s 1991 album Unlawful Carnal Knowledge misses the dubious and simplistic (puerile and not subtle!) humour of its full acrostic name of its full title - For Unlawful Carnal Knowledge. Another weakness is that Padel seems to imply the incorrect authorship for songs like ‘I Love Rock n Roll’ not to Alan Merrill of The Arrows, but the performer who made it her own (Joan Jett). Likewise ‘Radar Love’ was written by ‘Barry Hay et al’ (of Golden Earring), not a female singer as she seems to imply. In some ways these sorts of errors are critical - implying female authorship to these tracks undermines the validity of her argument - in others just slightly detract from the overall point.
Padel states midway through this book “Movements against tradition usually end up enriching it” (p268). However, here she misses out again on a potential nuance that could add more to this book. Generally they do enrich it - but perhaps they could (and sometimes do?) help in overhauling it. If and when they don’t, why not? Is it that the artists are not seeking a revolution, even if “we’d all love to change the world”. Instead most artists back down at the chance of real conflict, concluding instead that in “sleepy London town there’s just no place for a street fighting man”. Why did the lead singer of the Sex Pistols attempt to raise awareness for anarchy, yet after the publication of this book, descend to selling butter on TV? Ultimately “Rock culture, like teenage life, depends on parental economics” (p272) and so in order to support artists one needs to step into the marketplace. Historically a separate marketplace - but now the key factor in latter day capitalism. So to invest both emotionally and often materially into these artists you invest in some parts of the ‘traditions’ of the culture that it challenges. This culture is categorically far from perfect and could easily be portrayed with some justification as as retrograde, and patriarchal. There are many important observations Ruth Padel tries and largely succeeds in making and supporting with evidence in this interesting book.
Robbie; setting the record straight (on my terms...)
Feel: Robbie Williams by Chris Heath
The short snappy narrative style of this book, with bullet points and conversation pieces slotted in, (rather than a linear traditional biography), is perhaps indicative of the immediacy and snapshot aspect of the MTV generation of (music) journalism. [Ed - see what I did there!]
Heath's style is clearly readable, entertaining and interesting, but meanders into irrelevancies at points. There is no denying that the author seems to have lived almost in Robbie Williams' pocket for a long period of time, to achieve a full picture of his subject but this closeness perhaps clouds the judgement and objectivity of perspective. Fragmented, disparate snippets and episodes of long research sit uncomfortably alongside random paragraphs of events or articulated thoughts by Robbie dutifully recorded and reproduced by Heath. It does explore Robbie's wrestle with the competitiveness of his father, a professional comedian. Acknowledging how emotionally immature Williams is, is explained by his being surrounded by 'yes-men' and being pampered and allowed to dictate his career apparently on last minute whims. (Yes - I am jealous!)
Robbie obsesses about Noel Gallagher and Gary Barlow constantly and revels in his ability to fart, none of which in themselves is problematic, just not that interesting. Although a respected Telegraph writer (perhaps helping to explain the two favourable Telegraph reviews on the cover) the style of this biography is tabloidy. Highlighting at the same time the genius that is both high brow and low brow writing and how much fact is a matter of interpretation. Having said that, in doing so it is of value more as a critique and study of the late nineties rather than an out and out biography of Robbie. Heath uses his famous subject as a prism through which to examine stardom and the pressures of life in the limelight as well as debunking tabloid myths. The overridding theme, which is well captured, is todays media obsession and the lengths that some fans (or stalkers?) will go to meet their man, but, the text, like their hero concludes that they too are missing some kind of stability in there lives!
This books was released at the peak of Robbie's prime in 2002/3 just after getting rid of his song-writing genius partner Guy Chambers. I, for one, doubt that he will reach the critical acclaim or popularity that he achieved within this creative partnership, so the book does well to chronicle a man at the height of his powers.
The short snappy narrative style of this book, with bullet points and conversation pieces slotted in, (rather than a linear traditional biography), is perhaps indicative of the immediacy and snapshot aspect of the MTV generation of (music) journalism. [Ed - see what I did there!]
Heath's style is clearly readable, entertaining and interesting, but meanders into irrelevancies at points. There is no denying that the author seems to have lived almost in Robbie Williams' pocket for a long period of time, to achieve a full picture of his subject but this closeness perhaps clouds the judgement and objectivity of perspective. Fragmented, disparate snippets and episodes of long research sit uncomfortably alongside random paragraphs of events or articulated thoughts by Robbie dutifully recorded and reproduced by Heath. It does explore Robbie's wrestle with the competitiveness of his father, a professional comedian. Acknowledging how emotionally immature Williams is, is explained by his being surrounded by 'yes-men' and being pampered and allowed to dictate his career apparently on last minute whims. (Yes - I am jealous!)
Robbie obsesses about Noel Gallagher and Gary Barlow constantly and revels in his ability to fart, none of which in themselves is problematic, just not that interesting. Although a respected Telegraph writer (perhaps helping to explain the two favourable Telegraph reviews on the cover) the style of this biography is tabloidy. Highlighting at the same time the genius that is both high brow and low brow writing and how much fact is a matter of interpretation. Having said that, in doing so it is of value more as a critique and study of the late nineties rather than an out and out biography of Robbie. Heath uses his famous subject as a prism through which to examine stardom and the pressures of life in the limelight as well as debunking tabloid myths. The overridding theme, which is well captured, is todays media obsession and the lengths that some fans (or stalkers?) will go to meet their man, but, the text, like their hero concludes that they too are missing some kind of stability in there lives!
This books was released at the peak of Robbie's prime in 2002/3 just after getting rid of his song-writing genius partner Guy Chambers. I, for one, doubt that he will reach the critical acclaim or popularity that he achieved within this creative partnership, so the book does well to chronicle a man at the height of his powers.
Restless Pilgrim: The Spiritual Journey of Bob Dylan. 2002
Scott M. Marshall and Marcia Ford. Relevant Books
The premise of this book, the Spiritual Journey of Bob Dylan, is interesting. The execution disappointing. It has been done both before and afterwards by many others, and done better. In some ways this book is best left alone by music fans - it is a religious tract aimed at reaffirming for the Christian reader that Dylan is a Christian of sorts and that he has a Christian message. Both of which are true - but this book is soft on analysing both how the songs offer a Christian message and why specific songs may be relevant at specific times. The tracks may well be Dylan's own (In The Garden and Gotta Serve Somebody) and others he chooses to cover (Hallelujah I’m Ready To Go and I’m The Man, Thomas), either way Bob Dylan’s personal expressions of faith (the aspects of which he has chosen to make public) are sympathetically presented but not really scrutinised alongside the lyrics to his songs.
It is not surprising Dylan's words, both in his songs and in his interviews, have often touched upon biblical themes. His devotion to and spiritual belief in some higher power are indisputable. The book does do well to iron out some of the seemingly contradictory facets of Dylan's preoccupation with Jesus and his own Jewish heritage, but it takes a straw man in the form of lazy journalism which see the stance as necessarily one or the other and never explores or allows for nuance. Like the media more generally he will never acknowledge grey when there is scope for the simple black and white. In that sense this book, if it was novel [adj.] would be an important record - but others including Michael Gilmour (Tangled up in the Bible) Stephen H. Webb (Dylan Redeemed: From Highway 61 to Saved) and more recently Clinton Heylin (Trouble In Mind: Bob Dylan's Gospel Years - What Really Happened) have all dealt with the same issue, even if the time frames are different to Marshall and Ford’s.
This publication is in no way helped by its strange short paragraph style - a collection of 100 word punchy brief sections which are not quite standalone comments and at points are nothing beyond a collection of largely unconnected anecdotes. If they had been tied together and edited down, they may have been more interesting. Instead this book just stumbles along in a dull chronological fashion not really assessing Bob Dylan’s spiritual journey. When it does get down to the aim of the subtitle it does so fleetingly and with limited evidence. This is more a poorly written biography. On top of that, at points it reads like simply a Christian tract trying to justify Dylan and his place in the fold, repetitively and pointedly stressing that Dylan has not renounced Jesus since 1981 but at the same time still holds dear and important his Jewish heritage. Fans of the man know this already.
Taking its starting point from Dylan’s famous conversion in 1979 it tracks, in unfortunately dull and pithy chronological fashion, Dylan's key ‘spiritual’ events and other performances from that era to 2002. But it leaves so many areas unexplored in depth whilst also acting as a simplistic biography of the mans life. For a biography we would be better going to Clinton Heylin’s Bob Dylan: Behind the Shades Revisited or Sounes’ Down the Highway, for a spiritual assessment there are a whole host of better books out there.
Note -
I am reviewing this because Marshall (one of the co-authors) has released a ‘follow up’ in a similar vein ‘Bob Dylan: A Spiritual Life’. After reading this i am a little more reticent to pick that up. ….. watch this space for a (possible) review ….
Scott M. Marshall and Marcia Ford. Relevant Books
The premise of this book, the Spiritual Journey of Bob Dylan, is interesting. The execution disappointing. It has been done both before and afterwards by many others, and done better. In some ways this book is best left alone by music fans - it is a religious tract aimed at reaffirming for the Christian reader that Dylan is a Christian of sorts and that he has a Christian message. Both of which are true - but this book is soft on analysing both how the songs offer a Christian message and why specific songs may be relevant at specific times. The tracks may well be Dylan's own (In The Garden and Gotta Serve Somebody) and others he chooses to cover (Hallelujah I’m Ready To Go and I’m The Man, Thomas), either way Bob Dylan’s personal expressions of faith (the aspects of which he has chosen to make public) are sympathetically presented but not really scrutinised alongside the lyrics to his songs.
It is not surprising Dylan's words, both in his songs and in his interviews, have often touched upon biblical themes. His devotion to and spiritual belief in some higher power are indisputable. The book does do well to iron out some of the seemingly contradictory facets of Dylan's preoccupation with Jesus and his own Jewish heritage, but it takes a straw man in the form of lazy journalism which see the stance as necessarily one or the other and never explores or allows for nuance. Like the media more generally he will never acknowledge grey when there is scope for the simple black and white. In that sense this book, if it was novel [adj.] would be an important record - but others including Michael Gilmour (Tangled up in the Bible) Stephen H. Webb (Dylan Redeemed: From Highway 61 to Saved) and more recently Clinton Heylin (Trouble In Mind: Bob Dylan's Gospel Years - What Really Happened) have all dealt with the same issue, even if the time frames are different to Marshall and Ford’s.
This publication is in no way helped by its strange short paragraph style - a collection of 100 word punchy brief sections which are not quite standalone comments and at points are nothing beyond a collection of largely unconnected anecdotes. If they had been tied together and edited down, they may have been more interesting. Instead this book just stumbles along in a dull chronological fashion not really assessing Bob Dylan’s spiritual journey. When it does get down to the aim of the subtitle it does so fleetingly and with limited evidence. This is more a poorly written biography. On top of that, at points it reads like simply a Christian tract trying to justify Dylan and his place in the fold, repetitively and pointedly stressing that Dylan has not renounced Jesus since 1981 but at the same time still holds dear and important his Jewish heritage. Fans of the man know this already.
Taking its starting point from Dylan’s famous conversion in 1979 it tracks, in unfortunately dull and pithy chronological fashion, Dylan's key ‘spiritual’ events and other performances from that era to 2002. But it leaves so many areas unexplored in depth whilst also acting as a simplistic biography of the mans life. For a biography we would be better going to Clinton Heylin’s Bob Dylan: Behind the Shades Revisited or Sounes’ Down the Highway, for a spiritual assessment there are a whole host of better books out there.
Note -
I am reviewing this because Marshall (one of the co-authors) has released a ‘follow up’ in a similar vein ‘Bob Dylan: A Spiritual Life’. After reading this i am a little more reticent to pick that up. ….. watch this space for a (possible) review ….
Bon No, Oui c'est BonO
Bono on Bono
Conversations With Michka Assayas
There is no denying that in many ways Bono's life is full of events that even in isolation are fascinating. From sleeping in Brezhnev's bed to forgetting Sunday lunching with Gorbachev both of which only merit passing comment in this selection of interviews.He seems to have met, and ultimately respects, everyone in all walks of life from successful politicians to world class artists, all with an apparent ability to take it in his stride, but clearly working hard every step of the way.
This however is another book that is a light, easy, though actually quite an informative read. Structured in a Q and A collection of sessions over a period of years it is easy both to dip in and out of the chapters or read as a complete unit. Overall it is interesting, though perhaps what is (though shouldn't be!) most surprising is just how considered and intelligent the answers are from Paul Hewson and how much they are injected with humour - even if that sometimes fails to translate easily from the page.
It is genuinely hard not to come away from this book with an increased respect for Bono as he articulates his aims and ambitions and aspirations for good causes always considered and never being overly patronising. He appears sincere and answers most questions frankly and eloquently - though some are obliquely deflected ("fear of returning home to wife and family").
I ultimately am surprised at how much I warmed to Bono and respected his sincerity and drive. You may not come away feeling you know Bono any better - I am never sure a book can really offer that (it is contrived and edited after all) but it does increase my respect for the man who's spirituality comes across and who balances realism with idealism, walking the (fine) line but sometimes willing to look pompous and overblown for the greater good.
A good read.
Conversations With Michka Assayas
There is no denying that in many ways Bono's life is full of events that even in isolation are fascinating. From sleeping in Brezhnev's bed to forgetting Sunday lunching with Gorbachev both of which only merit passing comment in this selection of interviews.He seems to have met, and ultimately respects, everyone in all walks of life from successful politicians to world class artists, all with an apparent ability to take it in his stride, but clearly working hard every step of the way.
This however is another book that is a light, easy, though actually quite an informative read. Structured in a Q and A collection of sessions over a period of years it is easy both to dip in and out of the chapters or read as a complete unit. Overall it is interesting, though perhaps what is (though shouldn't be!) most surprising is just how considered and intelligent the answers are from Paul Hewson and how much they are injected with humour - even if that sometimes fails to translate easily from the page.
It is genuinely hard not to come away from this book with an increased respect for Bono as he articulates his aims and ambitions and aspirations for good causes always considered and never being overly patronising. He appears sincere and answers most questions frankly and eloquently - though some are obliquely deflected ("fear of returning home to wife and family").
I ultimately am surprised at how much I warmed to Bono and respected his sincerity and drive. You may not come away feeling you know Bono any better - I am never sure a book can really offer that (it is contrived and edited after all) but it does increase my respect for the man who's spirituality comes across and who balances realism with idealism, walking the (fine) line but sometimes willing to look pompous and overblown for the greater good.
A good read.
Mad on Her. Taraborrelli seems to be.
Madonna: An Intimate Biography by J. Randy Taraborrelli
For what it’s worth, I read this book almost a decade after it was first published, not least because artistically I feel that it covers the period of 'all you need to know about Madonna'. She is no longer as relevant as she once was - her artistic ardour still burns as brightly - but her relevance less so. Back in the early ‘80s through to the turn of the century she has consistently come back stronger - but she has surely reaching her zenith as an actress with the warmth of Evita and a musician with the album Music. It is my opinion that her star and ultimately her originality are on the wane, something which she presumably will have blips from, but the trajectory is in full spin.
Now a seasoned biography writer, J. Randy Taraborrelli has perfected his art down to a tee. Yet with all his experience there is still a bit of a fan-clubesque feel to this book, peppered as it is with bitty, superficial dipping’s in and out, seldom getting to the bones of specific matters in Madonna's professional and private life. As this is also tagged as 'an initimate biography' it should be no surprise that there is little about the machinations of the studio and her musical and media-savvy abilities, as well as recruitment of songwriters and performers, and rather more about her relationships and controversies that the media made of that. (Though sometimes when the two coincide, as with Stephen Bray, there is some symmetry between career and her personal life).
Taraborelli perhaps buys into the myths a bit too much as well (and I could stand corrected on this!) did Prince really come round and repair a damaged wall because Sean Penn had punched a hole in it when he found out about their relationship? Although the Sean Penn tempestuous 'true love' dynamic shouldn’t come as a revelation to any fan, it is still well explored and ultimately balanced.
This is unapologetically an intimate biography so focusing on her sex life should not come as a surprise (fortunately not in that much detail!) though he does like falling back on psychology and analysts! Ultimately there is very little actually new in the book. Granted there are a few revelations and the volume and breadth of Taraborrelli’s reading to achieve a full picture is clearly exhaustive! But he still concludes (righty perhaps) girls with Daddy issues become attention seeking lap dancers – perhaps depending too much on popular psychobabble and not enough on proper in-depth analysis of a career that has spanned decades and amassed an impressive array of accolades and attention.
Madonna and/ or the author (or some readers?) also have an obsession with clothes that certainly didn’t interest me! A little more direction on her business success and her empire which are glossed over - surely this and her recording merited more coverage - but again the subtitle was clear!
Madonna's ambition and drive are never overlooked by any biographers of hers - her celebrity focus, her desire to be relevant and hang with the right people are something she has always sought. But this book does capture the Queen of Pop's admirable single-mindedness in everything from becoming a star, targeting lovers or meeting Jackie Onassis.
Her drive and ambition, as well as her single-mindedness reach a pleasant apex at the end of this book to imply that they have mellowed with age - to a contentedness after her (misguided?) early 90s indulgences and pushing of the envelope. It does well to portray a clear direction and ultimately a settled Madonna by the end of the 'story' to date! At the point we leave the 'story,' she is settling into the honeymoon period after her lavish secretive British wedding to Guy Ritchie.
Ultimately in writing this book and divulging the confidences of perhaps a handful of connected people who have spilt beans with direct quotes has produced a very readable book and, in its relative discreteness, has not cost Taraborrelli any future interviews or connections.
For what it’s worth, I read this book almost a decade after it was first published, not least because artistically I feel that it covers the period of 'all you need to know about Madonna'. She is no longer as relevant as she once was - her artistic ardour still burns as brightly - but her relevance less so. Back in the early ‘80s through to the turn of the century she has consistently come back stronger - but she has surely reaching her zenith as an actress with the warmth of Evita and a musician with the album Music. It is my opinion that her star and ultimately her originality are on the wane, something which she presumably will have blips from, but the trajectory is in full spin.
Now a seasoned biography writer, J. Randy Taraborrelli has perfected his art down to a tee. Yet with all his experience there is still a bit of a fan-clubesque feel to this book, peppered as it is with bitty, superficial dipping’s in and out, seldom getting to the bones of specific matters in Madonna's professional and private life. As this is also tagged as 'an initimate biography' it should be no surprise that there is little about the machinations of the studio and her musical and media-savvy abilities, as well as recruitment of songwriters and performers, and rather more about her relationships and controversies that the media made of that. (Though sometimes when the two coincide, as with Stephen Bray, there is some symmetry between career and her personal life).
Taraborelli perhaps buys into the myths a bit too much as well (and I could stand corrected on this!) did Prince really come round and repair a damaged wall because Sean Penn had punched a hole in it when he found out about their relationship? Although the Sean Penn tempestuous 'true love' dynamic shouldn’t come as a revelation to any fan, it is still well explored and ultimately balanced.
This is unapologetically an intimate biography so focusing on her sex life should not come as a surprise (fortunately not in that much detail!) though he does like falling back on psychology and analysts! Ultimately there is very little actually new in the book. Granted there are a few revelations and the volume and breadth of Taraborrelli’s reading to achieve a full picture is clearly exhaustive! But he still concludes (righty perhaps) girls with Daddy issues become attention seeking lap dancers – perhaps depending too much on popular psychobabble and not enough on proper in-depth analysis of a career that has spanned decades and amassed an impressive array of accolades and attention.
Madonna and/ or the author (or some readers?) also have an obsession with clothes that certainly didn’t interest me! A little more direction on her business success and her empire which are glossed over - surely this and her recording merited more coverage - but again the subtitle was clear!
Madonna's ambition and drive are never overlooked by any biographers of hers - her celebrity focus, her desire to be relevant and hang with the right people are something she has always sought. But this book does capture the Queen of Pop's admirable single-mindedness in everything from becoming a star, targeting lovers or meeting Jackie Onassis.
Her drive and ambition, as well as her single-mindedness reach a pleasant apex at the end of this book to imply that they have mellowed with age - to a contentedness after her (misguided?) early 90s indulgences and pushing of the envelope. It does well to portray a clear direction and ultimately a settled Madonna by the end of the 'story' to date! At the point we leave the 'story,' she is settling into the honeymoon period after her lavish secretive British wedding to Guy Ritchie.
Ultimately in writing this book and divulging the confidences of perhaps a handful of connected people who have spilt beans with direct quotes has produced a very readable book and, in its relative discreteness, has not cost Taraborrelli any future interviews or connections.
Good Evening Sheffield: The Greystones Live
Good Evening Sheffield: The Greystones Live
Simon Hughes
Here is an 80 page thing of beauty - and a snapshot of a prestigious music venue. Formerly the Highcliffe Hotel (a venue itself), This collection of photographs from late 2010 to 2011 of the many and diverse gigs that took place in the Backroom venue of the Thornbridge Brewery's Greystones Pub.
Artistic, black and white shots of some local heroes as well as a few legends (Duane Eddy, Ian Mclagan) still on the circuit. Folkies such as Andy Cutting and Heidi Talbot
Some great shots of Vic Goddard and Wilko Johnson. Full also of sharp annecdotes and observations.
It is perhaps obvious where the photogrpahers loyalties lie - with some 10% of the book given over to the performance and visit of Ian Mclagan - this takes pride of place in the collection.
Simon Hughes
Here is an 80 page thing of beauty - and a snapshot of a prestigious music venue. Formerly the Highcliffe Hotel (a venue itself), This collection of photographs from late 2010 to 2011 of the many and diverse gigs that took place in the Backroom venue of the Thornbridge Brewery's Greystones Pub.
Artistic, black and white shots of some local heroes as well as a few legends (Duane Eddy, Ian Mclagan) still on the circuit. Folkies such as Andy Cutting and Heidi Talbot
Some great shots of Vic Goddard and Wilko Johnson. Full also of sharp annecdotes and observations.
It is perhaps obvious where the photogrpahers loyalties lie - with some 10% of the book given over to the performance and visit of Ian Mclagan - this takes pride of place in the collection.
Richard Hawley morphing into Martin Simpson!
Sid Griffin – Shelter from the Storm: Bob Dylan’s Rolling Thunder Years
This is an interesting and highly readable book about Bob Dylan during his hugely important ‘Rolling Thunder years’. Let’s call them loosely 1975 to 1978 (roughly the dates Griffin limits himself to). To modern authors all Bob Dylans years are hugely important, with the exception perhaps of his happiest in the early 70s at home with Sara and children and the late 70s devoted Christian period, which has been reappraised of late. This book neatly sits between those two critical periods. Dylan was going through personal crisis. Not quite what we would today call midlife crisis – but personal angst over the love of his life and breakdown of his family relationship.
The Rolling Thunder years themselves were built around Bob Dylan’s desire to push the boundaries of what, by the mid-1970s, were traditional rock and roll tours by specific headline artists. Instead he tried to encourage a broad range of artists out in his travelling gypsy entourage – encouraged by spending an extended period of months the previous summer (1974) in the south of France meeting gypsy groups. He pulled together his own hero Jack Elliot, and a number of Greenwich village folk stars and respected names to go on an extended tour performing in circus tents and smaller venues. Although it does not enthral me on later video (Hard Rain) or album (Live 1975: The Rolling Thunder Revue (2CD)) it was by most accounts a riveting tour for audiences and the musicians involved.
Undeniably entertaining and informative this book does still leave the reader, or at least this reader, with a disappointed taste in the mouth. Yes it deals with the Rolling Thunder Revue tour but its main points of reference are really just opines on the infamous film Renaldo and Clara and the Hard Rain footage. It doesn’t limit itself to or even focus on the Rolling Thunder Revue, a two leg tour that lasted from 30 October 1975 – 25 May 1976 but the reworking of Renaldo and Clara – the film which found limited release in 1978. The biggest weakness of this book is the unnecessary chapters on the film. A discussion and even analysis of it fits this period, but we do not need a 50-page chapter given over to Griffins synopsis of all the scenes and his opinion on what edit would have made a more relevant film. Likewise an entire chapter dedicated to the transcript of a tour bus conversation may well be fascinating and historically important, but it does not make for entertaining reading! Griffin is clearly proud he has managed to source this exclusive footage – but it doesn’t even feature his main protagonist but the ramblings of a collector of bit players. (A Bonus CD disc of this tour bus discussion on the other hand would have been riveting – giving a real sense of the tour – but for whatever reasons this was not done)
Griffin has done a lot of work and offers a lot if not too many opinions which are largely speculation on the occurrences – speculating with no grounding that Bob Neuwirth may have taken Dylan to the cinema or ribbed him about seeing certain films. Overall it is pleasant but little more than pleasant. Not worth seeking out and certainly not worth buying a copy for the high prices asked for copies online at present.
This is an interesting and highly readable book about Bob Dylan during his hugely important ‘Rolling Thunder years’. Let’s call them loosely 1975 to 1978 (roughly the dates Griffin limits himself to). To modern authors all Bob Dylans years are hugely important, with the exception perhaps of his happiest in the early 70s at home with Sara and children and the late 70s devoted Christian period, which has been reappraised of late. This book neatly sits between those two critical periods. Dylan was going through personal crisis. Not quite what we would today call midlife crisis – but personal angst over the love of his life and breakdown of his family relationship.
The Rolling Thunder years themselves were built around Bob Dylan’s desire to push the boundaries of what, by the mid-1970s, were traditional rock and roll tours by specific headline artists. Instead he tried to encourage a broad range of artists out in his travelling gypsy entourage – encouraged by spending an extended period of months the previous summer (1974) in the south of France meeting gypsy groups. He pulled together his own hero Jack Elliot, and a number of Greenwich village folk stars and respected names to go on an extended tour performing in circus tents and smaller venues. Although it does not enthral me on later video (Hard Rain) or album (Live 1975: The Rolling Thunder Revue (2CD)) it was by most accounts a riveting tour for audiences and the musicians involved.
Undeniably entertaining and informative this book does still leave the reader, or at least this reader, with a disappointed taste in the mouth. Yes it deals with the Rolling Thunder Revue tour but its main points of reference are really just opines on the infamous film Renaldo and Clara and the Hard Rain footage. It doesn’t limit itself to or even focus on the Rolling Thunder Revue, a two leg tour that lasted from 30 October 1975 – 25 May 1976 but the reworking of Renaldo and Clara – the film which found limited release in 1978. The biggest weakness of this book is the unnecessary chapters on the film. A discussion and even analysis of it fits this period, but we do not need a 50-page chapter given over to Griffins synopsis of all the scenes and his opinion on what edit would have made a more relevant film. Likewise an entire chapter dedicated to the transcript of a tour bus conversation may well be fascinating and historically important, but it does not make for entertaining reading! Griffin is clearly proud he has managed to source this exclusive footage – but it doesn’t even feature his main protagonist but the ramblings of a collector of bit players. (A Bonus CD disc of this tour bus discussion on the other hand would have been riveting – giving a real sense of the tour – but for whatever reasons this was not done)
Griffin has done a lot of work and offers a lot if not too many opinions which are largely speculation on the occurrences – speculating with no grounding that Bob Neuwirth may have taken Dylan to the cinema or ribbed him about seeing certain films. Overall it is pleasant but little more than pleasant. Not worth seeking out and certainly not worth buying a copy for the high prices asked for copies online at present.
Bob Dylan: A Spiritual Life Hardcover – 20 Jun 2017 by Scott M. Marshall
As with his previous book [Restless Pilgrim], beyond a cursory review of the 60s over 10 pages, Marshall starts with Bob Dylan in the 1970s, building to 1979’s famous “conversion” moment. Thereby, according to Marshall's construction, making Christianity the only possible real spiritual life open to Dylan (and by implication anyone). This, and its contents, beg the question whether the book is really about spirituality, faith or a specific monotheism.
The rigid chronology climaxing in what Marshall portrays as the almost inevitable finding of a Christian God in November 1978 does not suit his writing style either. The text and events are well researched and clearly Marshall has read a lot of interviews with Dylan over the ensuing period, but it reads more like a religious tract in and of itself. Bob Dylan’s religious journey though began in his songs with biblical and gospel songs even before he recorded his first album. Dylan was so interested in religious iconography that his first manager (Albert Grossman) gave him a lectern – which had pride of place in his house before their hostile parting (and its bitter return). Dylan is steeped in faith and religion. Something Marshall seems unwilling to dwell on.
In his writing, and presumably in his opinion, Marshall see’s all agency in this relationship as sitting with a higher being – making Dylan’s conversion inevitable. Instead I think Dylan’s curiosity and desire to question everything led logically to his belief in certainties which he felt he needed and Christianity seems to offer. Overall this book is disappointing in its simplicity – written for a Christian audience to nod along to – not an interrogation of all the facts that led to Dylan’s picking up a cross hurled from the crowd in San Diego on that fateful November night in 1978.
As with his previous book [Restless Pilgrim], beyond a cursory review of the 60s over 10 pages, Marshall starts with Bob Dylan in the 1970s, building to 1979’s famous “conversion” moment. Thereby, according to Marshall's construction, making Christianity the only possible real spiritual life open to Dylan (and by implication anyone). This, and its contents, beg the question whether the book is really about spirituality, faith or a specific monotheism.
The rigid chronology climaxing in what Marshall portrays as the almost inevitable finding of a Christian God in November 1978 does not suit his writing style either. The text and events are well researched and clearly Marshall has read a lot of interviews with Dylan over the ensuing period, but it reads more like a religious tract in and of itself. Bob Dylan’s religious journey though began in his songs with biblical and gospel songs even before he recorded his first album. Dylan was so interested in religious iconography that his first manager (Albert Grossman) gave him a lectern – which had pride of place in his house before their hostile parting (and its bitter return). Dylan is steeped in faith and religion. Something Marshall seems unwilling to dwell on.
In his writing, and presumably in his opinion, Marshall see’s all agency in this relationship as sitting with a higher being – making Dylan’s conversion inevitable. Instead I think Dylan’s curiosity and desire to question everything led logically to his belief in certainties which he felt he needed and Christianity seems to offer. Overall this book is disappointing in its simplicity – written for a Christian audience to nod along to – not an interrogation of all the facts that led to Dylan’s picking up a cross hurled from the crowd in San Diego on that fateful November night in 1978.
Holly Go not so lightly.
Holly Johnson
A Bone in My Flute
It is nearly 20 years since this autobiography was first published, but Holly Johnson’s sharp and humorous remembrances are still as relevant today as they were then. This book contemplates the events of a decade earlier when he and his band (Frankie Goes To Hollywood) exploded onto the scene with a blend of controversial imagery (Frankie Says Relax) and pop/dance/disco music shaped in the gay clubs of Liverpool.
This book gives the background to that and so much more. Well written and entertaining the autobiography captures Holly Johnson’s journey from well-to-do English schoolboy to charismatic pop entertainer. The story oscillates between the sometimes interchangeable music and gay scenes of the time – the two of which he describes as very different but often overlapping in the same seedy world around Liverpool and further afield. His own musical awakening is described in tandem with his sexual awakening in equally graphic detail. Johnson as a writer and raconteur demonstrates both an acute memory whilst always maintaining an always humourous sense of perspective. The narrative style is entertaining and alluring, with the camp bitchy humour adding spice to already colourful anecdotes about everything from the difficulties of growing up gay in working-class Liverpool, to the cut-throat nature of the music industry. Indeed, this book is arguably less a music biography than a coming of age sexual exploits story which apes his literary heroes (most obviously Genet). But the prudish be warned - the sexual retellings are graphic, but not titillating. Holly seamlessly strikes a fine balance of storytelling without falling into salacious lurid gossip; Some names are not given, others are thrown across the pages with pride!
Unlike many autobiographies, nearly half the book is given over to life before his ‘break through’ with Frankie Goes to Hollywood. Big In Japan is dealt with in tantalising detail, including as it did an influential group of future musicians. His sexual openness is at points disturbingly frank – but this openness is strategical, helping as it does to break down barriers that still exist in the larger world.
Johnson’s writing skill and ability to warm himself to the writer is such that despite the fact that this is clearly a ‘high maintenance’ person he comes across as inherently likeable and despite the fact that he has alienate two record labels and a number of colleagues on his path he can still come across as the injured party! Self deprecating style and sharp humour gives the impression of honesty ensuring that it is easier to warm to our hero perhaps than it is to the suits! A great read.
A Bone in My Flute
It is nearly 20 years since this autobiography was first published, but Holly Johnson’s sharp and humorous remembrances are still as relevant today as they were then. This book contemplates the events of a decade earlier when he and his band (Frankie Goes To Hollywood) exploded onto the scene with a blend of controversial imagery (Frankie Says Relax) and pop/dance/disco music shaped in the gay clubs of Liverpool.
This book gives the background to that and so much more. Well written and entertaining the autobiography captures Holly Johnson’s journey from well-to-do English schoolboy to charismatic pop entertainer. The story oscillates between the sometimes interchangeable music and gay scenes of the time – the two of which he describes as very different but often overlapping in the same seedy world around Liverpool and further afield. His own musical awakening is described in tandem with his sexual awakening in equally graphic detail. Johnson as a writer and raconteur demonstrates both an acute memory whilst always maintaining an always humourous sense of perspective. The narrative style is entertaining and alluring, with the camp bitchy humour adding spice to already colourful anecdotes about everything from the difficulties of growing up gay in working-class Liverpool, to the cut-throat nature of the music industry. Indeed, this book is arguably less a music biography than a coming of age sexual exploits story which apes his literary heroes (most obviously Genet). But the prudish be warned - the sexual retellings are graphic, but not titillating. Holly seamlessly strikes a fine balance of storytelling without falling into salacious lurid gossip; Some names are not given, others are thrown across the pages with pride!
Unlike many autobiographies, nearly half the book is given over to life before his ‘break through’ with Frankie Goes to Hollywood. Big In Japan is dealt with in tantalising detail, including as it did an influential group of future musicians. His sexual openness is at points disturbingly frank – but this openness is strategical, helping as it does to break down barriers that still exist in the larger world.
Johnson’s writing skill and ability to warm himself to the writer is such that despite the fact that this is clearly a ‘high maintenance’ person he comes across as inherently likeable and despite the fact that he has alienate two record labels and a number of colleagues on his path he can still come across as the injured party! Self deprecating style and sharp humour gives the impression of honesty ensuring that it is easier to warm to our hero perhaps than it is to the suits! A great read.
Further to the above and below reviews - With reference to the sexual in both - I also like the juxstaposition of this book review next to Chuck Berry's - both very sexual, but both different! One comes across as sleazy, the other, despite being less the norm (and more graphic!), comes across as simply frank and honest both with the reader and its author!
Chuck B - In His Own Words .
Chuck Berry
Autobiography
The father of modern rock n roll. If it wasn’t for him we wouldn’t be talking about the Beatles or the Rolling Stones.
Chuck Berry begins this autobiography by telling us of his forefathers; his mixed German, English, African and Indian heritage and their ‘seed sowing’, with pleasant turn of phrase “Isaac was a farmer at heart and sowed seed that brought a total of seven children”. This sets the tone for a puerile but floral look at the life and times of one of rock ‘n’ rolls greatest fathers. Or at least the parts of his life he wants to be remembered for. His status as hero of the genre is unassailable, but his way of telling it leaves a little to be desired. His own autobiography – “raw in form” – by his own admission was in excess of eight years in the making! (There was an earlier autobiography he claims he started it in 1959 but lost in a fire in his office in the late 60s.) With his colourful but superficial control of the English prose this seems hard to believe. It is shallowly written – dwelling on the ladies on tour (his poor wife had to edit and proof it!).
Growing up within the Baptist soul community and with a love of cars, this is more a simple hand book of what creates a strange hybrid of 1) subservient black man in an unfriendly (and down right sickeningly racist) society as well as 2) one of the absolute masters of rock ‘n' roll. Only one brief chapter is dedicated to the songs. But then his songs are often simple works of genius (In his defence – it is hard to put into words how one writes and in his case sets genius limericks often to plagiarised or at best very simplistic music!)
The autobiography possibly consists of more myth making and wishful thinking than reportage. He claims to put in a professional show because the public have paid their hard earned cash. Commendable aspirations that should be lauded – however that overlooks the fact that it is almost legendary that his no show for concerts are not that rare. Slow hand clapping for his late timekeeping and no shows are a regular occurrence at his concerts all over the world. Woe betide any promoter who pays him in advance! (I personally experienced one such event at the Glasgow Royal Concert hall where he was said to have entered the venue in a fluster and foul mood – then found fault with his changing room before storming out and not performing to a large crowd).
One funny observation towards the end highlights that he got caught doing a few unsavoury acts – or rather “naughty naughties I would commit from time to time. Every fifteen years, in fact, it seems I make a big mistake.” By his own calculation he was safe until the late 90s. He was wrong – by the late 80s he was already courting controversy again – this time filming women in toilets (for security reasons he claimed).
He may not be much longer for this world – and perhaps an overview which is fully objective may not be too far round the corner – but for a funny, easy read about what the man himself wants to be remembered for this is a good starting point! He is undoubtedly stoic in his acceptance of racist America, but that does not excuse his many crimes and nefarious activities – but then he doesn’t try and defend them – merely almost glossing over them to tell the story of his next conquest!
Autobiography
The father of modern rock n roll. If it wasn’t for him we wouldn’t be talking about the Beatles or the Rolling Stones.
Chuck Berry begins this autobiography by telling us of his forefathers; his mixed German, English, African and Indian heritage and their ‘seed sowing’, with pleasant turn of phrase “Isaac was a farmer at heart and sowed seed that brought a total of seven children”. This sets the tone for a puerile but floral look at the life and times of one of rock ‘n’ rolls greatest fathers. Or at least the parts of his life he wants to be remembered for. His status as hero of the genre is unassailable, but his way of telling it leaves a little to be desired. His own autobiography – “raw in form” – by his own admission was in excess of eight years in the making! (There was an earlier autobiography he claims he started it in 1959 but lost in a fire in his office in the late 60s.) With his colourful but superficial control of the English prose this seems hard to believe. It is shallowly written – dwelling on the ladies on tour (his poor wife had to edit and proof it!).
Growing up within the Baptist soul community and with a love of cars, this is more a simple hand book of what creates a strange hybrid of 1) subservient black man in an unfriendly (and down right sickeningly racist) society as well as 2) one of the absolute masters of rock ‘n' roll. Only one brief chapter is dedicated to the songs. But then his songs are often simple works of genius (In his defence – it is hard to put into words how one writes and in his case sets genius limericks often to plagiarised or at best very simplistic music!)
The autobiography possibly consists of more myth making and wishful thinking than reportage. He claims to put in a professional show because the public have paid their hard earned cash. Commendable aspirations that should be lauded – however that overlooks the fact that it is almost legendary that his no show for concerts are not that rare. Slow hand clapping for his late timekeeping and no shows are a regular occurrence at his concerts all over the world. Woe betide any promoter who pays him in advance! (I personally experienced one such event at the Glasgow Royal Concert hall where he was said to have entered the venue in a fluster and foul mood – then found fault with his changing room before storming out and not performing to a large crowd).
One funny observation towards the end highlights that he got caught doing a few unsavoury acts – or rather “naughty naughties I would commit from time to time. Every fifteen years, in fact, it seems I make a big mistake.” By his own calculation he was safe until the late 90s. He was wrong – by the late 80s he was already courting controversy again – this time filming women in toilets (for security reasons he claimed).
He may not be much longer for this world – and perhaps an overview which is fully objective may not be too far round the corner – but for a funny, easy read about what the man himself wants to be remembered for this is a good starting point! He is undoubtedly stoic in his acceptance of racist America, but that does not excuse his many crimes and nefarious activities – but then he doesn’t try and defend them – merely almost glossing over them to tell the story of his next conquest!
Slash by Slash. Warm Slash anyone?
Slash: Slash with Anthony Bozza.
Slash is telling his story - the first of the band to do so. As he himself concedes this is not at the end of a career, but closure on the end of an era and an important part of his life. Whilst there is a ‘never say never’ ethos in the world of free market economies this book fairly safely confirms that a Guns ‘n’ Roses reunion is not on the cards any time soon.
The autobiography itself is an easy read. Largely dictated to Anthony Bozza, it maintains an amiable spoken word or dictated feel throughout. That said, it is a thorough book – some 450 pages charting the virtuoso guitarist’s career from pre GnR through to Velvet Revolvers second album (Libertad). To be expected the grammar at points is frustrating whilst the text is littered with typing errors which should have been picked up on.
As we progress, the dynamic, perhaps not surprisingly, focuses more upon the relationship between Slash himself and Axl Rose. The two were perceived at the time as the explosive Jagger and Richards of the band. Slash puts forward a very convincing argument, however, for the sum of the parts being greater than any one member, supported perhaps by the nonstop decline in quality as members left from the iconic Appetite line up to what became the tepid Chinese Democracy of Axl and co.
The songs themselves could perhaps do with a bit more depth of explanation and clarification on the creative process that went into them, especially the Velvet Revolver period. Bearing in mind this was published on the back of Libertad, their second album, this is possibly a conscious decision.
The book is interesting though often apparently contradictory – but more importantly at points reads like an auto-boast-ography rather than an autobiography. Yet it achieves a balance between self deprecating humour and cold observation. He regularly concedes frankly that “I don’t actually know what happened there”!
It is also a good anti-drugs narration in many ways – but the simplicity with which Saul Hudson kicks the habit on a few occasions runs the risk of simplifying the problems and compounding the ‘coolness’: “I was just starting to become one of those junkie musicians that assumes that what they are doing is so commonplace”.
There is a feeling of slight rush towards the end unfortunately – with the focus on the GnR years – The Spaghetti Incident album (and event) is glossed over in a simple sentence.
There are also inaccuracies and understatements. For example the observation that Faith No More ‘left the tour’ (1992) and ‘broke up shortly afterwards (1998 -though Jim Martin did leave in 1993 on the back of that tour) implies that they were at fault on the tour as opposed to Axl’s actions or Guns arrogance and splintering.
Overall, though, an interesting read and worth discovering for those with more than a passing interest in the most energetic rock ‘n’ roll band of the late 80’s and early 90’s.
Slash is telling his story - the first of the band to do so. As he himself concedes this is not at the end of a career, but closure on the end of an era and an important part of his life. Whilst there is a ‘never say never’ ethos in the world of free market economies this book fairly safely confirms that a Guns ‘n’ Roses reunion is not on the cards any time soon.
The autobiography itself is an easy read. Largely dictated to Anthony Bozza, it maintains an amiable spoken word or dictated feel throughout. That said, it is a thorough book – some 450 pages charting the virtuoso guitarist’s career from pre GnR through to Velvet Revolvers second album (Libertad). To be expected the grammar at points is frustrating whilst the text is littered with typing errors which should have been picked up on.
As we progress, the dynamic, perhaps not surprisingly, focuses more upon the relationship between Slash himself and Axl Rose. The two were perceived at the time as the explosive Jagger and Richards of the band. Slash puts forward a very convincing argument, however, for the sum of the parts being greater than any one member, supported perhaps by the nonstop decline in quality as members left from the iconic Appetite line up to what became the tepid Chinese Democracy of Axl and co.
The songs themselves could perhaps do with a bit more depth of explanation and clarification on the creative process that went into them, especially the Velvet Revolver period. Bearing in mind this was published on the back of Libertad, their second album, this is possibly a conscious decision.
The book is interesting though often apparently contradictory – but more importantly at points reads like an auto-boast-ography rather than an autobiography. Yet it achieves a balance between self deprecating humour and cold observation. He regularly concedes frankly that “I don’t actually know what happened there”!
It is also a good anti-drugs narration in many ways – but the simplicity with which Saul Hudson kicks the habit on a few occasions runs the risk of simplifying the problems and compounding the ‘coolness’: “I was just starting to become one of those junkie musicians that assumes that what they are doing is so commonplace”.
There is a feeling of slight rush towards the end unfortunately – with the focus on the GnR years – The Spaghetti Incident album (and event) is glossed over in a simple sentence.
There are also inaccuracies and understatements. For example the observation that Faith No More ‘left the tour’ (1992) and ‘broke up shortly afterwards (1998 -though Jim Martin did leave in 1993 on the back of that tour) implies that they were at fault on the tour as opposed to Axl’s actions or Guns arrogance and splintering.
Overall, though, an interesting read and worth discovering for those with more than a passing interest in the most energetic rock ‘n’ roll band of the late 80’s and early 90’s.
Razor’s Edge: Bob Dylan and the Never Ending Tour. Andrew Muir
It is a truth universally acknowledged that the Never Ending Tour (N.E.T.) began on 7th June 1988 at the Concord pavilion in California.This book is built around that ‘event’ or cultural phenomenon which, in the popular imagination at least, is still going strong in 2019. For Muir the NET is alive and well, both in the present and the past. Bob Dylan does not share his visceral immediacy: “Don’t be bewildered by the never ending tour chatter. There was a never ending tour, but it ended with the departure of GE Smith” (1993 World Gone Wrong liner notes). Muir’s book is built around the pivotal date of 21st July 1993 – when Dylan is in London, Muir manages to track him down and get an autograph alongside some stilted conversation.
Although Muir first published this book 15 years into the N.E.T. , his aim was to “to put the vast and unwieldy N.E.T. into some kind of perspective” (p7). That perspective has of course changed in the 15 years since. But, as Muir acknowledges in the prologue, “I want to tell you about my N.E.T. – the fans experience of a tour” (p7). The prologue deals with Dylan’s story over a few brief pages (8 – 14 deal with 1962 to 1978). He addresses in the usual non-controversial manner Dylan’s metamorphosis from 1962-4 folkie, to 1964’s rock hero, then the Basement Tapes and country songs of 1968 onwards. He correctly observes “decades later, these are still the years which Dylan is lauded” (p9). Then goes on from the oft-dismissed 1978 Christian conversion to Live Aid. The chronology out the way, we then get a personal diary; an anecdotal collection of stories and observations. This is a common trope with all Dylanologists who feel the need to document their experiences. It seems to me the common theme of such ‘autobiographical’ books featuring Dylan, is that the author feels the compelling need to add personal anecdotes omitted from most histories. Such stories make great ammunition for autoethnographic historians, but make slightly boring reading for the passing fan. The anecdotal can be exciting and revealing but it can also be opinionated and largely irrelevant to the removed reader. One man’s journey (Andrew Muir’s) involves a potted history of bootleg tapes and occasional entertaining live sets. But at points one man’s journey literally misses the broader point and also perhaps the impartial or critical eye of a removed observer. Muir wears his fandom on his sleeve – and whilst he understands that the minority he is in does not have a monopoly on opinion, he is also aware at points that this obsessiveness does not leave room for critical thinking. Occasionally this reads like an apologia for Dylan, but what rankles are the factual errors. ‘Baby let me follow you down’ is not an Eric Von Schmidt song, though Dylan may have only known that version, but the song itself is a lot older. The same error arises when Muir seems to imply ‘Hey Joe’ is a Hendrix song – no! It is an old folk song and Dylan would surely have been aware of it LONG before Hendrix. Another minor stylistic comment - given the nature of the book I would prefer footnotes rather than end notes.
Factual errors aside, I have a couple of other minor gripes: sometimes Muir’s opinion just seems wrong. He claims “Every Grain of Sand” is one of those songs that should never be played live because the studio versions “are so perfect”. Seemingly implying that songs perfect on disc should not be performed live. An amazing assertion when you are talking about an artist so dynamic that his reinventions of songs on stage are so diverse that the risk of even repeatedly poor versions on stage seems a small price to pay. For me the ceaseless reworking of old songs does not equal a loss of creativity but the very centre of Dylan's expression and art. Perfection may even be impossible, but great art reinvented can still be great art. But that is largely irrelevant – art should and will change with time. Muir acknowledges as much when he states that by 1998 “a Dylan gig [was] less of an event in the sense of something magical and special and more an “event” in the sense of a deliberately calculated stage show” premeditated and constructed. “I know that this is a stage show, but does it have to be such a ‘staged’ show” (p170). The answer is yes especially if the formula works – but Muir thinks “NET Shows were supposed to be something more spontaneous and meaningful” (p171). Dylan challenges that more than most.
Ultimately whilst this is an interesting read for those with more than a passing interest in Bob Dylan it is largely dated. As Muir states in the book, the internet was tailor made for the NET (or at least its fans and the ease of file sharing) [p139] the internet age makes this book look and feel a little hollow and dated – all these tracks exist on the internet if as an obsessive fan you choose to go searching for them. So beyond such obsessive fans this book is probably best left with its pages unturned.
It is a truth universally acknowledged that the Never Ending Tour (N.E.T.) began on 7th June 1988 at the Concord pavilion in California.This book is built around that ‘event’ or cultural phenomenon which, in the popular imagination at least, is still going strong in 2019. For Muir the NET is alive and well, both in the present and the past. Bob Dylan does not share his visceral immediacy: “Don’t be bewildered by the never ending tour chatter. There was a never ending tour, but it ended with the departure of GE Smith” (1993 World Gone Wrong liner notes). Muir’s book is built around the pivotal date of 21st July 1993 – when Dylan is in London, Muir manages to track him down and get an autograph alongside some stilted conversation.
Although Muir first published this book 15 years into the N.E.T. , his aim was to “to put the vast and unwieldy N.E.T. into some kind of perspective” (p7). That perspective has of course changed in the 15 years since. But, as Muir acknowledges in the prologue, “I want to tell you about my N.E.T. – the fans experience of a tour” (p7). The prologue deals with Dylan’s story over a few brief pages (8 – 14 deal with 1962 to 1978). He addresses in the usual non-controversial manner Dylan’s metamorphosis from 1962-4 folkie, to 1964’s rock hero, then the Basement Tapes and country songs of 1968 onwards. He correctly observes “decades later, these are still the years which Dylan is lauded” (p9). Then goes on from the oft-dismissed 1978 Christian conversion to Live Aid. The chronology out the way, we then get a personal diary; an anecdotal collection of stories and observations. This is a common trope with all Dylanologists who feel the need to document their experiences. It seems to me the common theme of such ‘autobiographical’ books featuring Dylan, is that the author feels the compelling need to add personal anecdotes omitted from most histories. Such stories make great ammunition for autoethnographic historians, but make slightly boring reading for the passing fan. The anecdotal can be exciting and revealing but it can also be opinionated and largely irrelevant to the removed reader. One man’s journey (Andrew Muir’s) involves a potted history of bootleg tapes and occasional entertaining live sets. But at points one man’s journey literally misses the broader point and also perhaps the impartial or critical eye of a removed observer. Muir wears his fandom on his sleeve – and whilst he understands that the minority he is in does not have a monopoly on opinion, he is also aware at points that this obsessiveness does not leave room for critical thinking. Occasionally this reads like an apologia for Dylan, but what rankles are the factual errors. ‘Baby let me follow you down’ is not an Eric Von Schmidt song, though Dylan may have only known that version, but the song itself is a lot older. The same error arises when Muir seems to imply ‘Hey Joe’ is a Hendrix song – no! It is an old folk song and Dylan would surely have been aware of it LONG before Hendrix. Another minor stylistic comment - given the nature of the book I would prefer footnotes rather than end notes.
Factual errors aside, I have a couple of other minor gripes: sometimes Muir’s opinion just seems wrong. He claims “Every Grain of Sand” is one of those songs that should never be played live because the studio versions “are so perfect”. Seemingly implying that songs perfect on disc should not be performed live. An amazing assertion when you are talking about an artist so dynamic that his reinventions of songs on stage are so diverse that the risk of even repeatedly poor versions on stage seems a small price to pay. For me the ceaseless reworking of old songs does not equal a loss of creativity but the very centre of Dylan's expression and art. Perfection may even be impossible, but great art reinvented can still be great art. But that is largely irrelevant – art should and will change with time. Muir acknowledges as much when he states that by 1998 “a Dylan gig [was] less of an event in the sense of something magical and special and more an “event” in the sense of a deliberately calculated stage show” premeditated and constructed. “I know that this is a stage show, but does it have to be such a ‘staged’ show” (p170). The answer is yes especially if the formula works – but Muir thinks “NET Shows were supposed to be something more spontaneous and meaningful” (p171). Dylan challenges that more than most.
Ultimately whilst this is an interesting read for those with more than a passing interest in Bob Dylan it is largely dated. As Muir states in the book, the internet was tailor made for the NET (or at least its fans and the ease of file sharing) [p139] the internet age makes this book look and feel a little hollow and dated – all these tracks exist on the internet if as an obsessive fan you choose to go searching for them. So beyond such obsessive fans this book is probably best left with its pages unturned.
Elvis Costello: Mr Complicated. But simplicity itself.
Complicated Shadows : The Life and Music of Elvis Costello.
Graeme Thomson
No doubt about it, this is an excellent book. Thoroughly researched, Graeme Thomson seems to have interviewed nearly everyone except the main protagonist to get a full and rounded picture of Declan MacManus and his alter ego Elvis Costello. Charting both his personal life and his success as a musician this is a well written, offering a thorough overview with commentary on many of the songs, plus a healthy balance of the necessary personal life when it adds to the artistic influences and adds to the overall picture. From the fascinating back history as MacManus struggles to find a hit in pub bands to the obvious success with the surly Costello image, all the early days are covered in depth, including observations of the fact that the doppelganger is perhaps taken too far for dramatic effect. As Thomson perceptively notes the Churlish Costello needs to be reeled back in by MacManus mid way through the 80’s.
Tour track listings and songs that feature are given in the text but, but very pedantic, criticism it is a shame that all the set, gig and tour track listings aren’t included as an appendix at the back, but such an indepth presentation in the text implies this could be done with a few exceptions. (besides Costello’s own website http://www.elviscostello.info/gigography/setlists.php covers that in enough detail) Also missing is a definite list of songs composed for other people – although the text not only tells you, but also tells you if the person recorded it or not! (Solomon Burke, Ian Dury and many, many others were written for). Again these are minor criticisms. For anyone with more than a passing interest in Costello this is gospel. I do not use that word lightly. This is a thorough and factually accurate book, as well as an interesting read without veering too far into Hello or gossip territory which would be easy with such a celeb and red carpet lover.
Great book – pick it up.
Graeme Thomson
No doubt about it, this is an excellent book. Thoroughly researched, Graeme Thomson seems to have interviewed nearly everyone except the main protagonist to get a full and rounded picture of Declan MacManus and his alter ego Elvis Costello. Charting both his personal life and his success as a musician this is a well written, offering a thorough overview with commentary on many of the songs, plus a healthy balance of the necessary personal life when it adds to the artistic influences and adds to the overall picture. From the fascinating back history as MacManus struggles to find a hit in pub bands to the obvious success with the surly Costello image, all the early days are covered in depth, including observations of the fact that the doppelganger is perhaps taken too far for dramatic effect. As Thomson perceptively notes the Churlish Costello needs to be reeled back in by MacManus mid way through the 80’s.
Tour track listings and songs that feature are given in the text but, but very pedantic, criticism it is a shame that all the set, gig and tour track listings aren’t included as an appendix at the back, but such an indepth presentation in the text implies this could be done with a few exceptions. (besides Costello’s own website http://www.elviscostello.info/gigography/setlists.php covers that in enough detail) Also missing is a definite list of songs composed for other people – although the text not only tells you, but also tells you if the person recorded it or not! (Solomon Burke, Ian Dury and many, many others were written for). Again these are minor criticisms. For anyone with more than a passing interest in Costello this is gospel. I do not use that word lightly. This is a thorough and factually accurate book, as well as an interesting read without veering too far into Hello or gossip territory which would be easy with such a celeb and red carpet lover.
Great book – pick it up.
Don’t Rhyme for the sake of Riddlin’: The Authorised Story of Public Enemy
Russell Myrie
Don’t Rhyme for the sake of Riddlin’: The Authorised Story of Public Enemy
Russell Myrie
This is an excellent, if slightly lightweight, book telling the detailed story of the early shaping of PE from the days of Spectrum and underground college radio – to the superstar status of the late 80’s and beyond. Written by a fan for fans it occasionally overlooks or assumes knowledge of some essential facts and is at points overindulgent about the bands place in history.
Chuck D may be a god amongst men and the obvious leader of this tight outfit, and his upbringing and aim for the band are handled well. Likewise the departures of Terminator X or Professor Griff are looked into but not over played. The role of Flavour Flav as court jester but more generally comedy diversion do not deflect from the fact that as a band their important message is delivered well and with eloquence as well as power. There is even a balanced commentary on Flav’s later love affair with Brigitte Nielsen, which after the celebrity dust has settled seems to have been genuine. But correctly, and in the interests of balance, Myrie does not shy away from reminding the reader of Flav’s darker relationships of the past.
Although the author (?Russell Myrie)'s energy and enthusiasm are commendable and make you want to go and listen to PE music, it is a bit over the top at points in a desire to stress how forward thinking and revolutionary the band are, because unfortunately a lot of their albums don’t stand the test of time. Whilst you shouldn’t believe the hype – do read the book! Overall worth a read for fans and those with a passing interest in the godfathers of hip hop.
Russell Myrie
This is an excellent, if slightly lightweight, book telling the detailed story of the early shaping of PE from the days of Spectrum and underground college radio – to the superstar status of the late 80’s and beyond. Written by a fan for fans it occasionally overlooks or assumes knowledge of some essential facts and is at points overindulgent about the bands place in history.
Chuck D may be a god amongst men and the obvious leader of this tight outfit, and his upbringing and aim for the band are handled well. Likewise the departures of Terminator X or Professor Griff are looked into but not over played. The role of Flavour Flav as court jester but more generally comedy diversion do not deflect from the fact that as a band their important message is delivered well and with eloquence as well as power. There is even a balanced commentary on Flav’s later love affair with Brigitte Nielsen, which after the celebrity dust has settled seems to have been genuine. But correctly, and in the interests of balance, Myrie does not shy away from reminding the reader of Flav’s darker relationships of the past.
Although the author (?Russell Myrie)'s energy and enthusiasm are commendable and make you want to go and listen to PE music, it is a bit over the top at points in a desire to stress how forward thinking and revolutionary the band are, because unfortunately a lot of their albums don’t stand the test of time. Whilst you shouldn’t believe the hype – do read the book! Overall worth a read for fans and those with a passing interest in the godfathers of hip hop.
Why Dylan Matters. Thomas, Richard. 2017 William Collins
The premise of this book is, to a degree, like shooting fish in a bowl, but then perhaps Thomas is preaching to the converted? Setting up a straw man which is easy to dismantle, or in this case built up with each chapter. Richard Thomas is a career classicist with a love of Dylan, who since the 1970s, has also taught courses on his hero. And despite the sympathetic audience, he does make some strong statements and bold pronouncements: such as Dylan’s art “implants the possible answer in our imaginations, the rest is up to us” (p27). In the case of Thomas though, I would expect more textual analysis and examples of ultimately when and why he, and his texts, still matter. Perhaps Thomas is guilty of believing his own rhetoric that “The Art of Poetry is not to say everything”. Indeed at points Thomas seems to be writing more for the sake of art than he is for the sake of his reader, deliberately using intertextuality (amongst many others p115 and p177) and a few, surely more than coincidental, non-Dylan song lyrics - including most obviously Don Mclean.
Thomas also missed many opportunities. Whilst discussing and supporting the claims of reuse (or intertextuality) there is no mention here (p196) or elsewhere of, for example Shakespeare’s reuse of Plutarch in Antony and Cleopatra, worse than anything Dylan could come up with. Both writers firmly prove that it isn’t what you do, but the way you do it. Thomas highlights the use of the obscure Junichi saga – Confessions of a Yakuza (Japanese Gangster novel) – where Dylan uses two stanzas per song (p197-8). This is not direct copying this is subtle inflection that possibly limits his art. Using two per song gives structure to Dylan’s otherwise free hand. Whether that is to mock the listener depends upon whether it adds to the songs narrative or detracts from it – and that is largely opinion.
As a Classicist perhaps Thomas was always going to draw comparisons between the Imperial Roman Era and modern America (see especially p195). Although “It was chiefly in the 21st Century that Dylan started to reference, borrow from and “creatively reuse” [Roman and Greek Poets] ….work in his own songs” But it is important to note, as he does, “History is always about the place of the past in the present time, and in 1991 and 2004 the times of Gulf Wars I and II, Dylan was connecting America and the Ancient Greeks and Romans”
The text could still be a lot sharper. Thomas sometimes deviates off the point. For example there is little relevance (beyond possible titillation) at one point telling us that Sara Dylan used to be a Playboy Bunny (p110 Chronicles) but to repeat it three other times detracts from its effectiveness! But such repetition is not in isolation. We are told twice Dylan saw Buddy Holly 2 days before the latter’s death. Similarly there is frustratingly close together repetition of the fact that there are quotation marks around the “Love and Theft” album title. This implies a slightly rushed affair especially when looking at publication dates: This was commissioned in December 2016 and published 2017. Amazing for an academic! - but also begs the question should it not have been more thoroughly peer reviewed? A judicial editorial eye may have added nuance, sharpness and detail.
Thomas makes a number of good points, not least that Dylan sees himself as a continuation of history, as merely a cog in evolution and that communicating with people should be live, hence the never ending tour. “It is that yearning for that human experience that keeps us coming back to Dylan” - which is really Thomas’s premise. Readable but certainly not one of the best books on the greatest poet of the 20th Century.
The premise of this book is, to a degree, like shooting fish in a bowl, but then perhaps Thomas is preaching to the converted? Setting up a straw man which is easy to dismantle, or in this case built up with each chapter. Richard Thomas is a career classicist with a love of Dylan, who since the 1970s, has also taught courses on his hero. And despite the sympathetic audience, he does make some strong statements and bold pronouncements: such as Dylan’s art “implants the possible answer in our imaginations, the rest is up to us” (p27). In the case of Thomas though, I would expect more textual analysis and examples of ultimately when and why he, and his texts, still matter. Perhaps Thomas is guilty of believing his own rhetoric that “The Art of Poetry is not to say everything”. Indeed at points Thomas seems to be writing more for the sake of art than he is for the sake of his reader, deliberately using intertextuality (amongst many others p115 and p177) and a few, surely more than coincidental, non-Dylan song lyrics - including most obviously Don Mclean.
Thomas also missed many opportunities. Whilst discussing and supporting the claims of reuse (or intertextuality) there is no mention here (p196) or elsewhere of, for example Shakespeare’s reuse of Plutarch in Antony and Cleopatra, worse than anything Dylan could come up with. Both writers firmly prove that it isn’t what you do, but the way you do it. Thomas highlights the use of the obscure Junichi saga – Confessions of a Yakuza (Japanese Gangster novel) – where Dylan uses two stanzas per song (p197-8). This is not direct copying this is subtle inflection that possibly limits his art. Using two per song gives structure to Dylan’s otherwise free hand. Whether that is to mock the listener depends upon whether it adds to the songs narrative or detracts from it – and that is largely opinion.
As a Classicist perhaps Thomas was always going to draw comparisons between the Imperial Roman Era and modern America (see especially p195). Although “It was chiefly in the 21st Century that Dylan started to reference, borrow from and “creatively reuse” [Roman and Greek Poets] ….work in his own songs” But it is important to note, as he does, “History is always about the place of the past in the present time, and in 1991 and 2004 the times of Gulf Wars I and II, Dylan was connecting America and the Ancient Greeks and Romans”
The text could still be a lot sharper. Thomas sometimes deviates off the point. For example there is little relevance (beyond possible titillation) at one point telling us that Sara Dylan used to be a Playboy Bunny (p110 Chronicles) but to repeat it three other times detracts from its effectiveness! But such repetition is not in isolation. We are told twice Dylan saw Buddy Holly 2 days before the latter’s death. Similarly there is frustratingly close together repetition of the fact that there are quotation marks around the “Love and Theft” album title. This implies a slightly rushed affair especially when looking at publication dates: This was commissioned in December 2016 and published 2017. Amazing for an academic! - but also begs the question should it not have been more thoroughly peer reviewed? A judicial editorial eye may have added nuance, sharpness and detail.
Thomas makes a number of good points, not least that Dylan sees himself as a continuation of history, as merely a cog in evolution and that communicating with people should be live, hence the never ending tour. “It is that yearning for that human experience that keeps us coming back to Dylan” - which is really Thomas’s premise. Readable but certainly not one of the best books on the greatest poet of the 20th Century.
Broozer Bill, keeping it less than REAL
Big Bill Blues: William Broonzy’s Story
by Big Bill Broonzy
1955
This is a short snappy collection of thoughts rather than a traditional autobiography. Dictated to an author (Yannick Bruynoghe) this is a very easy read. Affectionate narrative dialogue give a warm picture but also give the jocular fireside feel to the book. Unfortunately though – as Broonzy himself concedes in the text little of it should or could be taken at face value as a recollection of historical ‘events’ – large parts are 100% ‘fiction’. Broonzy himself clearly liked the humourous nature of what is the truth and more generally playing with perceptions. An intelligent man with a love of playing the guitar Bill was also not afraid to play the stereotypical fool as well.
The Book is divided into 3 main sections (My Life, My Songs and My Friends) each gives a monologue on the varies items important in his life. The most interesting is his songs which has a small selection of the many songs Broonzy wrote. Each has a detail on either how the song came about or the events and ‘stories’ that inspired it. The Life makes veiled but matter of fact references to how hard life was, whilst the Friends is all too brief but is interesting as he discusses other musicians who have inspired or worked with him. Much is made of similarities between and predecessors he has seen.
Overall an easy read, and great for anyone with a deep interest in folk and the blues.
by Big Bill Broonzy
1955
This is a short snappy collection of thoughts rather than a traditional autobiography. Dictated to an author (Yannick Bruynoghe) this is a very easy read. Affectionate narrative dialogue give a warm picture but also give the jocular fireside feel to the book. Unfortunately though – as Broonzy himself concedes in the text little of it should or could be taken at face value as a recollection of historical ‘events’ – large parts are 100% ‘fiction’. Broonzy himself clearly liked the humourous nature of what is the truth and more generally playing with perceptions. An intelligent man with a love of playing the guitar Bill was also not afraid to play the stereotypical fool as well.
The Book is divided into 3 main sections (My Life, My Songs and My Friends) each gives a monologue on the varies items important in his life. The most interesting is his songs which has a small selection of the many songs Broonzy wrote. Each has a detail on either how the song came about or the events and ‘stories’ that inspired it. The Life makes veiled but matter of fact references to how hard life was, whilst the Friends is all too brief but is interesting as he discusses other musicians who have inspired or worked with him. Much is made of similarities between and predecessors he has seen.
Overall an easy read, and great for anyone with a deep interest in folk and the blues.
Ramblin' Man, Ramblin' hero: A detailed homage
Woody Guthrie
Joe Klein
Faber and Faber (reprint)
ISBN: 0571152 775
450+ pages
This well researched, detailed and thorough beast of a book is as detailed as you will get about one of the 20th Century’s most curious, and posthumously successful, musicians. Woody Guthrie lived from 1912 to October 3rd 1967 – not dying until after the rise of the Dylan, The Beatles and The Stones. But was essentially at his height in the post war period and tragically was encumbered in a hospital for much of his last 10 years even as he still drifted between prolific bouts of song writing and letter writing.
This book itself warmly explores both the harsh realities of life lived in hardship and emotional turmoil of many in the southern states of America whilst still keeping Woody in the picture. Focusing early on on the mother’s gradual and painful breakdown into Huntingdon’, which is echoed in the last few chapters of the book with her son, we are shown the harsh realities of life for many hard working and loyal American workers.
The Book is often humourous and thoroughly detailed about the individual, the family and more generally the atmosphere of the time. But it is always warmly written and funny. Right down to even the Guthrie family’s spiral of incest down some branches, and the hunt for rumoured lost gold elsewhere.
The book is both homage to a great and prolific man and a tomb for balanced research – not relying too much on Guthrie’s own myth making in later years.
Joe Klein
Faber and Faber (reprint)
ISBN: 0571152 775
450+ pages
This well researched, detailed and thorough beast of a book is as detailed as you will get about one of the 20th Century’s most curious, and posthumously successful, musicians. Woody Guthrie lived from 1912 to October 3rd 1967 – not dying until after the rise of the Dylan, The Beatles and The Stones. But was essentially at his height in the post war period and tragically was encumbered in a hospital for much of his last 10 years even as he still drifted between prolific bouts of song writing and letter writing.
This book itself warmly explores both the harsh realities of life lived in hardship and emotional turmoil of many in the southern states of America whilst still keeping Woody in the picture. Focusing early on on the mother’s gradual and painful breakdown into Huntingdon’, which is echoed in the last few chapters of the book with her son, we are shown the harsh realities of life for many hard working and loyal American workers.
The Book is often humourous and thoroughly detailed about the individual, the family and more generally the atmosphere of the time. But it is always warmly written and funny. Right down to even the Guthrie family’s spiral of incest down some branches, and the hunt for rumoured lost gold elsewhere.
The book is both homage to a great and prolific man and a tomb for balanced research – not relying too much on Guthrie’s own myth making in later years.
Stranded in the Jungle: Jerry Nolan’s Wild Ride. A tale of drugs, fashion, the New York Dolls and Punk Rock.
With foreword by Chris Stein. BackBeat Books 2017 Curt Weiss
Before reading this book, if i ever thought of Jerry Nolan it was as a ‘johnny come lately’ to the greatest band in rock history. Either a second fiddle to the late Billy Murcia, or as a wayward reckless jazz loving junkie who dragged down Johnny Thunders with him. And to a degree this book reinforces both those conclusions. In some ways it confirmed that Nolan was, if it was a competition, a far better drummer than Murcia, more intricate and even in his drug induced haze a consummate professional. But as with many people who chase fame and stardom he also had his daemons. However this book also adds a lot more. Sylvain’s 2018 autobiography of the same era and Weiss’ book made me reassess my assumptions. In some aspects I stand corrected, with a far greater knowledge and understanding of a complex and talented character after reading this interesting, well executed book. It is clearly heavily indebted to Nina Antonia, the original Dolls aficionado, though I believe the author and Antonia also fell out with towards the end of the writing of this detailed book.
The text has a punchy, episodic layout, with stories and comments, whilst Nolan’s key life events are well interspersed with anecdotes and opine from the many people Weiss has spoken to. It is well narrated and never feels like you are stumbling from one anecdote or story to another. Weiss, himself a drummer, does show himself to indulge in discussing set up and beat sounds as well as kits Nolan bought, pawned and used! Weiss tries to play up that talent for drumming with Nolan, alongside a dapper eye for fashion. It is not faultless - he gets names wrong (Norwich University) and also cites gigs that did not, in the end, occur (eg. supporting Lou Reed in England) but overall it is well researched. There are though points at which one has to ask do we really need to know? Do we need to know the amount of ‘spunk’ produced after Jerry “going into withdrawal” and when he is indulging in night nurse. Does this fact add to Nolan’s story? Curiously and somewhat out of context Weiss also chooses to highlight the books Nolan read towards the end of his life, which were biographies of Little Richard and Jerry Lee Lewis: “Stories of eccentric individuals who were maximum profilers who somehow survived life’s ups and downs, outran their internal demons and came out heroes.” Nolan never outran those demons and how hard he tried is not addressed. Weiss, possibly based upon wider reading, is also obsessed that Jerry was, or could be, constantly contexting himself alongside and comparing himself with his peers and former friends. As time went by this was compounded by his earliest friends in the industry such as Bette Midler, Peter Criss and Suzi Quatro all finding perceived success elsewhere, and invariably this was material. His many character flaws and his obvious insecurities, alongside the oft quoted lack of father figure (something he shared with Thunders), were all already in place before he joined the New York Dolls. A band who also suffered a similar fate of relative anonymity in their first incarnation.
Weiss claims that Jerry Nolan knew both the look and the sound he wanted long before he joined the Dolls. Deeply inspired by Jazz one of the highlights of his late teens was meeting Gene Krupa and it is perhaps the junkie jazz musician persona that damaged Nolan the most. He also loved early Rock and Roll and as well as being friends he also adored the Dolls from the outset. As Syl’s book confirmed he was the logical choice, and Murcias own choice to replace him (from beyond the grave as it were). It could be presented as Nolan backed the wrong horse. But it was a horse he loved dearly - and so did most people who came into contact with the New York Dolls. Rightly so - in 1972 they offered electrifying music and glamour as well as excitement every night. This exciting high though took on another level once Iggy Pop injected heroin into the mix, around the same time as the bands novelty began to dwindle. Some have even said that Nolan was unchanged on drugs - but Thunders certainly was not. By 1975 it seemed too late for these two characters - The Heartbreakers offered a glamourous escape from their old band.
Later in his career Hank Eriksson, quoted by Weiss, may be correct to assert “Jerry used to say ‘A band should be like a fist’ , implying that ‘united we stand divided we fall’, but unfortunately with Jerry I think he saw himself as the palm of the hand not one of the fingers. This could be true for a drummer but not for disloyal drug addict whose priorities, from at least 1974, were perhaps at best misguided. Anachronistically, despite this, Jerry demanded loyalty even when he did not always extend it - the junkie side of things meant he begged, borrowed and more often than not stole to get drugs. In fact this was the reason he and close friend Peter Criss (Kiss) didn’t speak for over a decade. Nolan seemed either unable (he got clean a few times) or unwilling (“ah, I love drugs”) to ever follow the straight and narrow. However there is no doubt that before his death Nolan wanted and desired recognition, therefore the detailed 1991 Village Voice feature, solely about his contribution to popular music, timed nicely for much coveted recognition. But “For Jerry it was all about loyalty again” which is not a little ironic given his lack of loyalty towards most notably women in the book. He was a hypocrite (as we all are) but his indulgences and hypocrisies in over racism, anti semitism and money make him a hard character to feel sorry for - though Weiss largely succeeds. The book is certainly not a hagiography, instead a detailed study of a deeply flawed talent. Weiss’ fandom, whilst present, is generally kept well under wraps for the book: occasionally bubbles over but never in too impartial overtones. He remembers or is quick to point out how Lee Black Childers observed Jerry “he would turn people on to heroin constantly. It was a horrible thing to do” and despite all that went before and his obvious charms this was unfortunately the way he will be remembered.
With foreword by Chris Stein. BackBeat Books 2017 Curt Weiss
Before reading this book, if i ever thought of Jerry Nolan it was as a ‘johnny come lately’ to the greatest band in rock history. Either a second fiddle to the late Billy Murcia, or as a wayward reckless jazz loving junkie who dragged down Johnny Thunders with him. And to a degree this book reinforces both those conclusions. In some ways it confirmed that Nolan was, if it was a competition, a far better drummer than Murcia, more intricate and even in his drug induced haze a consummate professional. But as with many people who chase fame and stardom he also had his daemons. However this book also adds a lot more. Sylvain’s 2018 autobiography of the same era and Weiss’ book made me reassess my assumptions. In some aspects I stand corrected, with a far greater knowledge and understanding of a complex and talented character after reading this interesting, well executed book. It is clearly heavily indebted to Nina Antonia, the original Dolls aficionado, though I believe the author and Antonia also fell out with towards the end of the writing of this detailed book.
The text has a punchy, episodic layout, with stories and comments, whilst Nolan’s key life events are well interspersed with anecdotes and opine from the many people Weiss has spoken to. It is well narrated and never feels like you are stumbling from one anecdote or story to another. Weiss, himself a drummer, does show himself to indulge in discussing set up and beat sounds as well as kits Nolan bought, pawned and used! Weiss tries to play up that talent for drumming with Nolan, alongside a dapper eye for fashion. It is not faultless - he gets names wrong (Norwich University) and also cites gigs that did not, in the end, occur (eg. supporting Lou Reed in England) but overall it is well researched. There are though points at which one has to ask do we really need to know? Do we need to know the amount of ‘spunk’ produced after Jerry “going into withdrawal” and when he is indulging in night nurse. Does this fact add to Nolan’s story? Curiously and somewhat out of context Weiss also chooses to highlight the books Nolan read towards the end of his life, which were biographies of Little Richard and Jerry Lee Lewis: “Stories of eccentric individuals who were maximum profilers who somehow survived life’s ups and downs, outran their internal demons and came out heroes.” Nolan never outran those demons and how hard he tried is not addressed. Weiss, possibly based upon wider reading, is also obsessed that Jerry was, or could be, constantly contexting himself alongside and comparing himself with his peers and former friends. As time went by this was compounded by his earliest friends in the industry such as Bette Midler, Peter Criss and Suzi Quatro all finding perceived success elsewhere, and invariably this was material. His many character flaws and his obvious insecurities, alongside the oft quoted lack of father figure (something he shared with Thunders), were all already in place before he joined the New York Dolls. A band who also suffered a similar fate of relative anonymity in their first incarnation.
Weiss claims that Jerry Nolan knew both the look and the sound he wanted long before he joined the Dolls. Deeply inspired by Jazz one of the highlights of his late teens was meeting Gene Krupa and it is perhaps the junkie jazz musician persona that damaged Nolan the most. He also loved early Rock and Roll and as well as being friends he also adored the Dolls from the outset. As Syl’s book confirmed he was the logical choice, and Murcias own choice to replace him (from beyond the grave as it were). It could be presented as Nolan backed the wrong horse. But it was a horse he loved dearly - and so did most people who came into contact with the New York Dolls. Rightly so - in 1972 they offered electrifying music and glamour as well as excitement every night. This exciting high though took on another level once Iggy Pop injected heroin into the mix, around the same time as the bands novelty began to dwindle. Some have even said that Nolan was unchanged on drugs - but Thunders certainly was not. By 1975 it seemed too late for these two characters - The Heartbreakers offered a glamourous escape from their old band.
Later in his career Hank Eriksson, quoted by Weiss, may be correct to assert “Jerry used to say ‘A band should be like a fist’ , implying that ‘united we stand divided we fall’, but unfortunately with Jerry I think he saw himself as the palm of the hand not one of the fingers. This could be true for a drummer but not for disloyal drug addict whose priorities, from at least 1974, were perhaps at best misguided. Anachronistically, despite this, Jerry demanded loyalty even when he did not always extend it - the junkie side of things meant he begged, borrowed and more often than not stole to get drugs. In fact this was the reason he and close friend Peter Criss (Kiss) didn’t speak for over a decade. Nolan seemed either unable (he got clean a few times) or unwilling (“ah, I love drugs”) to ever follow the straight and narrow. However there is no doubt that before his death Nolan wanted and desired recognition, therefore the detailed 1991 Village Voice feature, solely about his contribution to popular music, timed nicely for much coveted recognition. But “For Jerry it was all about loyalty again” which is not a little ironic given his lack of loyalty towards most notably women in the book. He was a hypocrite (as we all are) but his indulgences and hypocrisies in over racism, anti semitism and money make him a hard character to feel sorry for - though Weiss largely succeeds. The book is certainly not a hagiography, instead a detailed study of a deeply flawed talent. Weiss’ fandom, whilst present, is generally kept well under wraps for the book: occasionally bubbles over but never in too impartial overtones. He remembers or is quick to point out how Lee Black Childers observed Jerry “he would turn people on to heroin constantly. It was a horrible thing to do” and despite all that went before and his obvious charms this was unfortunately the way he will be remembered.
All Dolled up and bitching like hell! RIP
I, Doll: Life and Death with the New York Dolls (Hardcover)
by Arthur Kane (Introduction and Epilogue Barbara Kane)
Chicago Review Press (Aug 2009)
This is a warmly written and humourous book, covering only 18 month period of the New York Dolls all too brief explosion onto ‘the scene’ written by one of the gang. Nonetheless, any book that starts with a publishers note stating “What he says ….should not always be taken as literal truth” should be a clue to caveat emptor. Some of the self deprecating references, whilst possibly entertaining, do not always read as such and come across as insecure self pity (“My subsequent demotion to unpaid deaf-mute backseat passenger” being the most obvious). That said, the book sheds light and detail on various stages of the band’s all too short career. It is exciting to read about smuggling out of the (usually locked) Rusty’s to their debut gig at a Christmas Party. The short punchy chapters are akin to a simple collection of thoughts and half thoughts but are actually weaved together well to highlight the tapestry of the Dolls formative years.
The book was begun in late ‘80’s and finished 2003, despite the time span the vitriolic embittered nature of it comes through constantly. “All my financial and musical woes to date … can be traced back to one day of evil in June 1972 when we signed out production/publishing / management deal … and threw away our careers forever” The book is worth reading for that acerbic paragraph and chapter alone!
Kane sees conspiracy between management and Edgar Winters over Frankenstein, rather than a larger picture, whilst he firmly believes David Johansen stole all his ideas off him.
The catalogue of woes wears a bit thin, but this is redressed by Barbara Kane’s balanced Epilogue and footnotes – where she corrects and clarifies Arthur’s lack of detail. Ultimately whilst this is a bitter tale for the individual it is also a fascinating insight into a proto-punk band at the height of their considerable powers. Well worth a read, but not the definitive account of the band at the time.
James Masterson
by Arthur Kane (Introduction and Epilogue Barbara Kane)
Chicago Review Press (Aug 2009)
This is a warmly written and humourous book, covering only 18 month period of the New York Dolls all too brief explosion onto ‘the scene’ written by one of the gang. Nonetheless, any book that starts with a publishers note stating “What he says ….should not always be taken as literal truth” should be a clue to caveat emptor. Some of the self deprecating references, whilst possibly entertaining, do not always read as such and come across as insecure self pity (“My subsequent demotion to unpaid deaf-mute backseat passenger” being the most obvious). That said, the book sheds light and detail on various stages of the band’s all too short career. It is exciting to read about smuggling out of the (usually locked) Rusty’s to their debut gig at a Christmas Party. The short punchy chapters are akin to a simple collection of thoughts and half thoughts but are actually weaved together well to highlight the tapestry of the Dolls formative years.
The book was begun in late ‘80’s and finished 2003, despite the time span the vitriolic embittered nature of it comes through constantly. “All my financial and musical woes to date … can be traced back to one day of evil in June 1972 when we signed out production/publishing / management deal … and threw away our careers forever” The book is worth reading for that acerbic paragraph and chapter alone!
Kane sees conspiracy between management and Edgar Winters over Frankenstein, rather than a larger picture, whilst he firmly believes David Johansen stole all his ideas off him.
The catalogue of woes wears a bit thin, but this is redressed by Barbara Kane’s balanced Epilogue and footnotes – where she corrects and clarifies Arthur’s lack of detail. Ultimately whilst this is a bitter tale for the individual it is also a fascinating insight into a proto-punk band at the height of their considerable powers. Well worth a read, but not the definitive account of the band at the time.
James Masterson
Greil Marcus: Like a Rolling Stones
Hailed as “definitive biography of the song that caught the questing spirit of the time” ...and “changed the rules of pop music”. Marcus both discusses Dylan’s time and situation leading up to the track, the entire album and its song alongwith the tracks creation and its ‘On The Air’ and ‘In The Air’ influences. It is important to note that Marcus’s brave and definitive title has Dylan at not simply a crossroads in his music (of which say McCarron would argue there are many) but the crossroads, possibly even the crossroads of popular music in general.
In 2004 country singer songwriter Rodney Crowell declared that he thought that the song Like a Rolling Stone was “somehow part of the fabric of our culture”. Clinton Heylin has gone as far as to call it “” … the birth 60s”? And although other tracks could be contenders for the start of an era this track stands as relevant today and as vibrant as it was in July 1965. And yet again if Dylan’s own statements to Playboy in 1966 are to be believed it nearly didn’t happen. Dylan himself stated “Last spring, I guess I was going to quit singing. I was very drained, and the way things were going, it was a very draggy situation ... But 'Like a Rolling Stone' changed it all. I mean it was something that I myself could dig.” If it is good enough for Bob it is definitive for Greil Marcus. Marcus would concur wholeheartedly with these comments having said that every time he (or indeed we) hear the song “is also the first time”. ‘Like a Rolling Stone’, over its exceptional 6 minutes, purports to tell a story of a woman who has fallen from her pedestal or perch but in finding freedom arguably finds that (as Kris Kristofferson put it 4 years later) “Freedom's just another word for nothin' left to lose”. When Dylan asserts optimistically at the end “ When ya' ain't got nothin', you got nothin' to lose, You're invisible now, ya' got no secrets to conceal”, we are left in little doubt that beyond the individuals ego this could be a liberating event: Even a celebration of the human condition. And that is what makes this song phenomenal. But Marcus does not choose to interrogate the lyrics quite so directly. He has gone one further and written about book both about the song and about its environ. As with all Greil Marcus work, or at least all Marcus’ work i have read, and i suspect all others, this is a strange piece of literature. It is at once trying to tell the story of a song and trying to be a work of art at the same time. Marcus attempts to place the reader in the era of the events he writes about. For moments in the book ‘Invisible Republic’ I felt he succeeded, but less so for this book about a slightly earlier era. The song, the album (Highway 61 Revisited) and tracks either side of it chronologically limit this being a clear coherent narrative about the song alone. Plus late 20th Century examples by Dylan (‘Highlander’) and even the Pet Shop Boys (‘Go West’) as comparisons stretch the boundaries of context. I would even argue that West End Girls is a stronger track for analysis is this instance.
Marcus is often overly polarised in his conviction, overstating some things and understating others at his convenience. He asserts - possibly correctly - that Pop music symbolised the destruction of communities by Capitalist mass society in stating that “The Beatles were a commodity fetish”. Despite this however the book is less dense than Marcus’ style elsewhere, slightly more care-free and even light hearted than say ‘Lipstick Traces’. Consequently it is an easy read with a clear message. For Marcus, Dylan is the only saviour of the sixties. Although there is a real danger of adding too much gravitas to everything Dylan does. Paul Nelson once observed “Hungry for a sign, the world used to follow him around,just waiting for him to drop a cigarette butt. When he did they’d sift through the remains, looking for significance. The scary part is they’d find it.” But this whole book has Greil Marcus’ usual verbose, slightly transcendental, style. An interesting premise - as always with Marcus - and a very easy read, but I still finished the book feeling that the song itself handt been analysed enough and its position as possibly the most important song of the 20th century, whilst supported, was certainly not consolidated within this text.
Hailed as “definitive biography of the song that caught the questing spirit of the time” ...and “changed the rules of pop music”. Marcus both discusses Dylan’s time and situation leading up to the track, the entire album and its song alongwith the tracks creation and its ‘On The Air’ and ‘In The Air’ influences. It is important to note that Marcus’s brave and definitive title has Dylan at not simply a crossroads in his music (of which say McCarron would argue there are many) but the crossroads, possibly even the crossroads of popular music in general.
In 2004 country singer songwriter Rodney Crowell declared that he thought that the song Like a Rolling Stone was “somehow part of the fabric of our culture”. Clinton Heylin has gone as far as to call it “” … the birth 60s”? And although other tracks could be contenders for the start of an era this track stands as relevant today and as vibrant as it was in July 1965. And yet again if Dylan’s own statements to Playboy in 1966 are to be believed it nearly didn’t happen. Dylan himself stated “Last spring, I guess I was going to quit singing. I was very drained, and the way things were going, it was a very draggy situation ... But 'Like a Rolling Stone' changed it all. I mean it was something that I myself could dig.” If it is good enough for Bob it is definitive for Greil Marcus. Marcus would concur wholeheartedly with these comments having said that every time he (or indeed we) hear the song “is also the first time”. ‘Like a Rolling Stone’, over its exceptional 6 minutes, purports to tell a story of a woman who has fallen from her pedestal or perch but in finding freedom arguably finds that (as Kris Kristofferson put it 4 years later) “Freedom's just another word for nothin' left to lose”. When Dylan asserts optimistically at the end “ When ya' ain't got nothin', you got nothin' to lose, You're invisible now, ya' got no secrets to conceal”, we are left in little doubt that beyond the individuals ego this could be a liberating event: Even a celebration of the human condition. And that is what makes this song phenomenal. But Marcus does not choose to interrogate the lyrics quite so directly. He has gone one further and written about book both about the song and about its environ. As with all Greil Marcus work, or at least all Marcus’ work i have read, and i suspect all others, this is a strange piece of literature. It is at once trying to tell the story of a song and trying to be a work of art at the same time. Marcus attempts to place the reader in the era of the events he writes about. For moments in the book ‘Invisible Republic’ I felt he succeeded, but less so for this book about a slightly earlier era. The song, the album (Highway 61 Revisited) and tracks either side of it chronologically limit this being a clear coherent narrative about the song alone. Plus late 20th Century examples by Dylan (‘Highlander’) and even the Pet Shop Boys (‘Go West’) as comparisons stretch the boundaries of context. I would even argue that West End Girls is a stronger track for analysis is this instance.
Marcus is often overly polarised in his conviction, overstating some things and understating others at his convenience. He asserts - possibly correctly - that Pop music symbolised the destruction of communities by Capitalist mass society in stating that “The Beatles were a commodity fetish”. Despite this however the book is less dense than Marcus’ style elsewhere, slightly more care-free and even light hearted than say ‘Lipstick Traces’. Consequently it is an easy read with a clear message. For Marcus, Dylan is the only saviour of the sixties. Although there is a real danger of adding too much gravitas to everything Dylan does. Paul Nelson once observed “Hungry for a sign, the world used to follow him around,just waiting for him to drop a cigarette butt. When he did they’d sift through the remains, looking for significance. The scary part is they’d find it.” But this whole book has Greil Marcus’ usual verbose, slightly transcendental, style. An interesting premise - as always with Marcus - and a very easy read, but I still finished the book feeling that the song itself handt been analysed enough and its position as possibly the most important song of the 20th century, whilst supported, was certainly not consolidated within this text.
Van Morrison: No surrender
Van Morrison: No surrender
by Johnny Rogan
Secker & Warburg Isbn:0436205661
3/5
As the title suggests this 600 page behemoth draws heavily on Van Morrison’s Northern Irish upbringing, its shaping of the musician and his often apparently obstreperous ways. The late Alan Bullock wrote a parallel lives on Stalin and Hitler, arguably two of the 20th Centuries evilest men and their partly symbiotic relationship. The comparisons between Ivan Morrison and Ian Paisley (and the ongoing peace process) which Johnny Rogan makes are simplistic, but effective. However when focusing on the man himself the level of research spans over 20 years and proved well worth while. It is when discussing the music and the elusive Mr. Morrison’s temperament and style that this book really shines: investigating the personal relationships Morrison had and their shaping of the man and the music. The vast majority of this book is thoroughly researched and compelling reading, however the final few chapters slip into salacious gossip columnist largely interested in the irrelevant life of Michelle ‘I was gorgeous once’ Rocha, and nothing to do with the supposed subject of the biography. All in all a thoroughly disappointing end to a very exciting book. Read this for a Van Morrison biography up until the mid 1990’s – when Van became slightly more relaxed and his entourage became more interesting to the paparazzi than the man and his music!
© James Masterson
by Johnny Rogan
Secker & Warburg Isbn:0436205661
3/5
As the title suggests this 600 page behemoth draws heavily on Van Morrison’s Northern Irish upbringing, its shaping of the musician and his often apparently obstreperous ways. The late Alan Bullock wrote a parallel lives on Stalin and Hitler, arguably two of the 20th Centuries evilest men and their partly symbiotic relationship. The comparisons between Ivan Morrison and Ian Paisley (and the ongoing peace process) which Johnny Rogan makes are simplistic, but effective. However when focusing on the man himself the level of research spans over 20 years and proved well worth while. It is when discussing the music and the elusive Mr. Morrison’s temperament and style that this book really shines: investigating the personal relationships Morrison had and their shaping of the man and the music. The vast majority of this book is thoroughly researched and compelling reading, however the final few chapters slip into salacious gossip columnist largely interested in the irrelevant life of Michelle ‘I was gorgeous once’ Rocha, and nothing to do with the supposed subject of the biography. All in all a thoroughly disappointing end to a very exciting book. Read this for a Van Morrison biography up until the mid 1990’s – when Van became slightly more relaxed and his entourage became more interesting to the paparazzi than the man and his music!
© James Masterson
Townes Van Zandt To Live's To Fly John Kruth
Townes Van Zandt To Live's To Fly: The Ballad of the Late, Great Townes Van Zandt (Paperback)
John Kruth
Paperback: 360 pages
Publisher: Da Capo Press (1 April 2008)
ISBN: 0306816040
4.5/5 (maybe 5)
This is a thorough and well researched book and claimed, at the time of release, to be the only detailed book and the first official Townes Van Zandt biography on the great man. I have not read A Deeper Blue: The Life and Music of Townes Van Zandt by Robert Earl Hardy so cannot comment on that. However the detail John Kruth achieves is certainly exceptional. The author takes a lot of peoples’ observations / remembrances at face value, but also juxtaposes them brilliantly with other people’s slightly (or drastically) different recollections. Born into relative affluence (the Van Zandts were a well established family around Texas) Townes, despite initially forays, decided not to follow the expected professional route. Instead he became an iconic country singer and countercultural folk hero. Surprisingly this was much to his father’s pride. Unfortunately his father died too early to appreciate Townes’ full contribution or success. The man was hugely influenced by many artists including Lightnin’ Hopkins who, as this books details, he was fortunate enough to tour with. But his other major influences were the classic staples of the age - Elvis, Bob Dylan, and Hank Williams.
Lives are never clean cut affairs (heavy on the affairs in Townes case) and the interviews with wives and girlfriends, the musicians and friends he inspired and aggravated help to bring out a detailed, but never full, picture of the man. Interviewed are Steve Earle, Guy Clark and longtime manager Kevin Eggers. Clark, for one, is still obviously deeply shaken by the loss of a close friend. Townes’ self destructive nature and the ‘tortured artist’ identity are there in abundance, but this is not maudlin or over laden, it simply highlights one man’s major insecurities and ultimately failings.
The ‘he lived this life so we didn’t have to’ put forward by some of the interviewees rings a bit empty. What comes across fully is the dichotomy of this person’s characters – at points an overly generous man but also a desperate gambler and addict in general. But his songwriting ability certainly has the writer and his interviewees gushing at some points. Alongside the plethora of quotes from those interviewed, the book is weighed down by the amount of Van Zandt’s lyrics that are quoted verbatim. Kruth seems to think the lyrics comparable with poetry and can stand alone without music (The majority can’t!)
But what is made obvious is a love and warmth for and from a great songwriter who I now want to hear more of (aside from the greatest hits I already have).
© James Masterson
John Kruth
Paperback: 360 pages
Publisher: Da Capo Press (1 April 2008)
ISBN: 0306816040
4.5/5 (maybe 5)
This is a thorough and well researched book and claimed, at the time of release, to be the only detailed book and the first official Townes Van Zandt biography on the great man. I have not read A Deeper Blue: The Life and Music of Townes Van Zandt by Robert Earl Hardy so cannot comment on that. However the detail John Kruth achieves is certainly exceptional. The author takes a lot of peoples’ observations / remembrances at face value, but also juxtaposes them brilliantly with other people’s slightly (or drastically) different recollections. Born into relative affluence (the Van Zandts were a well established family around Texas) Townes, despite initially forays, decided not to follow the expected professional route. Instead he became an iconic country singer and countercultural folk hero. Surprisingly this was much to his father’s pride. Unfortunately his father died too early to appreciate Townes’ full contribution or success. The man was hugely influenced by many artists including Lightnin’ Hopkins who, as this books details, he was fortunate enough to tour with. But his other major influences were the classic staples of the age - Elvis, Bob Dylan, and Hank Williams.
Lives are never clean cut affairs (heavy on the affairs in Townes case) and the interviews with wives and girlfriends, the musicians and friends he inspired and aggravated help to bring out a detailed, but never full, picture of the man. Interviewed are Steve Earle, Guy Clark and longtime manager Kevin Eggers. Clark, for one, is still obviously deeply shaken by the loss of a close friend. Townes’ self destructive nature and the ‘tortured artist’ identity are there in abundance, but this is not maudlin or over laden, it simply highlights one man’s major insecurities and ultimately failings.
The ‘he lived this life so we didn’t have to’ put forward by some of the interviewees rings a bit empty. What comes across fully is the dichotomy of this person’s characters – at points an overly generous man but also a desperate gambler and addict in general. But his songwriting ability certainly has the writer and his interviewees gushing at some points. Alongside the plethora of quotes from those interviewed, the book is weighed down by the amount of Van Zandt’s lyrics that are quoted verbatim. Kruth seems to think the lyrics comparable with poetry and can stand alone without music (The majority can’t!)
But what is made obvious is a love and warmth for and from a great songwriter who I now want to hear more of (aside from the greatest hits I already have).
© James Masterson
Andrew McCarron: Light Come Shining. The Transformations of Bob Dylan OUP 2017
This is the best of the modern or current crop of books on Dylan, in contrast to the over-academic style of Louis Renza, and the over colloquial of Richard Thomas. Instead this book strikes the near perfect balance of observation, information and injected opine. Over 6 easy to read chapters McCarron discusses the key ‘transformations’ of Bob Dylan over his life and career, and if Dylan writes in any way autobiographically these events cannot be separated from his song canon. It must be acknowledged initially though that McCarron has chosen the most obvious moments in Dylan's life - not in any way adding new pivotal events to a well studied popular personality, but he has succeeded in doing the key thing that a book of this nature needs: He has done the basics very well. A deceptively simple read packed full of information, very little of it new per se, but well constructed, well researched and well executed - Dylan’s complexities are given context and, using psychology and logic, possibly even meaning. Renza's Autobiography of a Vocation from the same year was just too dense and analytical assessing nearly every verse with his own prejudices, whilst Thomas's rhetorical ‘Why Dylan Matters’ was too much a collection of relatively bland lecture seminars from his decades of teaching Dylan as a cultural colossus compounded by a large amounts of repetition. This book, whilst repetitive at points, encapsulates Dylan’s seeing the metaphorical light which can take the form of religion, perceived near death, and the fragility of life on this earth more broadly in clever, eloquent but well written prose. As a study of an individual it offers the right level of background, biopic, psychology, analysis and quotes - both Dylan’s and others who have studied and analysed his art. It reaffirms for the reader how important these events may have been for Dylan and how the metaphor of the sun (light) and sex - or women more broadly - are Dylan’s guiding mantras. His muse perhaps as well as his destruction.
Dylan is an illusive character - but a compelling one for that, and, like everyone, awash with contradictions. It could be argued though that his character and contradictions are a lot more stark than most. And to compound matters he is too private for today’s popular entertainment stars. This, juxtaposed with his attempted and sought after musical success, are hard to reconcile in the public consciousness - but Dylan certainly does not appear to covet the celebrity aspect of his fame. He seems to see his role more as a voice or oracle for old music that he is either updating or simply being a mouthpiece for. He has a genuine conviction that it would be tragic if the voice of history were lost in the name of progress (or Nuclear annihilation). So Dylan sees his role as purveyor of important cultural messages that need recycling and sometimes reshaping to help us understand our place in the scheme of things.
Dylan’s public persona though is pockmarked with humorous and surreal fictions as he attempts to deflect (and navigate) his superstar celebrity status. Wading through this fiction and differentiating or isolating grains of truth can be difficult and subjective. McCarron does this well with a healthy dose of cynicism as well as broad research without reinventing the wheel or going over old ground. It is amazing how little we know about the man, but this book is pitched at the right level. A thoroughly riveting read accessible for Dylan virgins and aficionados alike.
This is the best of the modern or current crop of books on Dylan, in contrast to the over-academic style of Louis Renza, and the over colloquial of Richard Thomas. Instead this book strikes the near perfect balance of observation, information and injected opine. Over 6 easy to read chapters McCarron discusses the key ‘transformations’ of Bob Dylan over his life and career, and if Dylan writes in any way autobiographically these events cannot be separated from his song canon. It must be acknowledged initially though that McCarron has chosen the most obvious moments in Dylan's life - not in any way adding new pivotal events to a well studied popular personality, but he has succeeded in doing the key thing that a book of this nature needs: He has done the basics very well. A deceptively simple read packed full of information, very little of it new per se, but well constructed, well researched and well executed - Dylan’s complexities are given context and, using psychology and logic, possibly even meaning. Renza's Autobiography of a Vocation from the same year was just too dense and analytical assessing nearly every verse with his own prejudices, whilst Thomas's rhetorical ‘Why Dylan Matters’ was too much a collection of relatively bland lecture seminars from his decades of teaching Dylan as a cultural colossus compounded by a large amounts of repetition. This book, whilst repetitive at points, encapsulates Dylan’s seeing the metaphorical light which can take the form of religion, perceived near death, and the fragility of life on this earth more broadly in clever, eloquent but well written prose. As a study of an individual it offers the right level of background, biopic, psychology, analysis and quotes - both Dylan’s and others who have studied and analysed his art. It reaffirms for the reader how important these events may have been for Dylan and how the metaphor of the sun (light) and sex - or women more broadly - are Dylan’s guiding mantras. His muse perhaps as well as his destruction.
Dylan is an illusive character - but a compelling one for that, and, like everyone, awash with contradictions. It could be argued though that his character and contradictions are a lot more stark than most. And to compound matters he is too private for today’s popular entertainment stars. This, juxtaposed with his attempted and sought after musical success, are hard to reconcile in the public consciousness - but Dylan certainly does not appear to covet the celebrity aspect of his fame. He seems to see his role more as a voice or oracle for old music that he is either updating or simply being a mouthpiece for. He has a genuine conviction that it would be tragic if the voice of history were lost in the name of progress (or Nuclear annihilation). So Dylan sees his role as purveyor of important cultural messages that need recycling and sometimes reshaping to help us understand our place in the scheme of things.
Dylan’s public persona though is pockmarked with humorous and surreal fictions as he attempts to deflect (and navigate) his superstar celebrity status. Wading through this fiction and differentiating or isolating grains of truth can be difficult and subjective. McCarron does this well with a healthy dose of cynicism as well as broad research without reinventing the wheel or going over old ground. It is amazing how little we know about the man, but this book is pitched at the right level. A thoroughly riveting read accessible for Dylan virgins and aficionados alike.
A Drink with Shane MacGowan, Victoria Mary Clarke & Shane MacGowan
A Drink with Shane MacGowan (Hardcover) by Shane MacGowan (Author), Victoria Mary Clarke (Author)
Hardcover: 400 pages
Publisher: Sidgwick & Jackson Ltd (9 Mar 2001)
ISBN 0283062991
0/5
This is a terrible book. Badly written, badly edited and playing on the one recurring theme of Shane MacGowan’s self publicism; ‘Look at me I am a loveable? waster, (not elegantly wasted in the Keith Richards vein), just a clone of Sid Vicious’ except this one nearly survived. As his cultural mentor once said (posthumously!) ‘it is better to provoke a reaction than to react to provocation’.
The flawed genius image was achieved by many (including the above Townes Van Zandt), but MacGowan completely fails.
This book is (auto)biographical as the chapters talk us through MacGowan’s life as a
tragic-comic caricature. All humans are contradictory and their identity or projected image depend on the mood you catch them, but MacGowan is contradictory to a farcical degree. He sticks to his points in a fanatical manner for the sake of being controversial. The bravado, bluff and hollowness are of someone who is unquestionably very clever, but not clever enough to know when to shut up! To compound that, throughout the book he is then vain enough to try and justify his misguided and contradictory opinions.
There is no denying his recollections on growing up in rural Ireland and the subsequent resentment of relocation to the south of England are clear and genuine. They are just about the only unclouded or unconstructed aspects of the story.
One review of this has already said ‘forgive the lack of clarity and instead, allow yourself to be taken along on MacGowan's often-hilarious journey into the past’ – but it seems to me it is only to laugh at him rather than with him that we get our kicks. I think this is wrong. He is honest at points and does acknowledge his own role in the downfall of the Pogues, but seems more obsessed with finances than he would like his image to be tainted with. Ultimately this is a waste of reading when there are so many other good books out there! Don’t waste your time.
© James Masterson
Hardcover: 400 pages
Publisher: Sidgwick & Jackson Ltd (9 Mar 2001)
ISBN 0283062991
0/5
This is a terrible book. Badly written, badly edited and playing on the one recurring theme of Shane MacGowan’s self publicism; ‘Look at me I am a loveable? waster, (not elegantly wasted in the Keith Richards vein), just a clone of Sid Vicious’ except this one nearly survived. As his cultural mentor once said (posthumously!) ‘it is better to provoke a reaction than to react to provocation’.
The flawed genius image was achieved by many (including the above Townes Van Zandt), but MacGowan completely fails.
This book is (auto)biographical as the chapters talk us through MacGowan’s life as a
tragic-comic caricature. All humans are contradictory and their identity or projected image depend on the mood you catch them, but MacGowan is contradictory to a farcical degree. He sticks to his points in a fanatical manner for the sake of being controversial. The bravado, bluff and hollowness are of someone who is unquestionably very clever, but not clever enough to know when to shut up! To compound that, throughout the book he is then vain enough to try and justify his misguided and contradictory opinions.
There is no denying his recollections on growing up in rural Ireland and the subsequent resentment of relocation to the south of England are clear and genuine. They are just about the only unclouded or unconstructed aspects of the story.
One review of this has already said ‘forgive the lack of clarity and instead, allow yourself to be taken along on MacGowan's often-hilarious journey into the past’ – but it seems to me it is only to laugh at him rather than with him that we get our kicks. I think this is wrong. He is honest at points and does acknowledge his own role in the downfall of the Pogues, but seems more obsessed with finances than he would like his image to be tainted with. Ultimately this is a waste of reading when there are so many other good books out there! Don’t waste your time.
© James Masterson
