Random thoughts about record albums – part 1: Dylan’s LP idea…

“I agonized about making a record, but I wouldn’t have wanted to make singles, 45’s – the kind of songs they played on the radio. Folksingers, jazz artists, and classical musicians made LP’s, long-playing records with heaps of songs in the grooves – they forged identities and tipped the scales, gave more of the big picture. LP’s were like the force of gravity.” – Bob Dylan, Chronicles, Vol. One

Bob Dylan (image courtesy Mojo Magazine)

I’m about 50 pages into Dylan’s memoir Chronicles, Vol. 1. The quote above leapt out at me last night as I was reading. It seems a prescient comment from our latest literature Nobelist, given that he was one of those about to usher in the record album as art form.

Dylan’s preoccupation with making LP’s rather than singles (we still use the term album, though the operative word for a single is “track” these days) seems, on the face of it, in line with his preoccupations: he didn’t see himself as, nor did he want to be, a “hit maker.” That would have been selling out to commercial forces (stop me if you’ve heard that one before) that, as a budding artist (stop me if you’ve heard that one before), Dylan disdained. It might cost him that “force of gravity” he desired.

Serious music fans know that “force of gravity” as authenticity. According to Dylan, authenticity lay in the album format.  Continue reading

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In My Life: Lennon remembers…

“I think ‘In My Life’ was the first song that I wrote that was really, consciously about my life, and it was sparked by a remark a journalist and writer in England made after In His Own Write came out. I think ‘In My Life’ was after In His Own Write… But he said to me, ‘Why don’t you put some of the way you write in the book, as it were, in the songs? Or why don’t you put something about your childhood into the songs?’ Which came out later as ‘Penny Lane’ from Paul – although it was actually me who lived in Penny Lane – and Strawberry Fields.”  – John Lennon

Outtake for the Rubber Soul album cover (image courtesy “Yer Doin’ Great”

The marvelous Beatles Bible offers four John Lennon quotes about the composition of “In My Life.” Lennon considered it one of his most important songs for several reasons. It was the first song, he says, written about his life – the result, Lennon told multiple interviewers, of a comment by British journalist Kenneth Allsopp concerning Lennon’s first book, In His Own Write.

Another concern Lennon has was his ability to write melodies – something that his writing partner, Paul, was and is particularly adept at. “In My Life” is predominantly John’s melody (though he says Paul wrote the middle eight).

Finally, there was, for not just John but for the Beatles collectively, the specter of Dylan. By the time John wrote “In My Life,” the Beatles had met Dylan and Rubber Soul is certainly an album influenced lyrically and musically by Mr. Zimmerman’s work. Rubber Soul is full of introspection – it is also an album of ideas, the Fabs’ first and, in ways, their “great leap forward.”  Continue reading

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Carole, Joni, and Carly: sometimes it’s hard to be a woman…

“A young woman in the spring and summer of 1967 was walking toward a door just as that door was springing open. A stage was set for her adulthood that was so accommodatingly extreme—so whimsical, sensual, and urgent—that behavior that in any other era would carry a penalty for the daring was shielded and encouraged.” – Sheila Weller, Girls Like Us

Girls Like Us by Sheila Weller (image courtesy Goodreads)

Sheila Weller’s triple-decker biography (and I use this word advisedly) Girls Like Us gives readers a look inside the lives of three of the singer-songwriter era’s biggest stars: Carole King, Joni Mitchell, and Carly Simon. Weller’s book is well-researched and the reader learns a great deal about each of these major figures. What becomes a question for the astute reader as he/she progresses through the book is whether what is being learned is always useful or meaningful.

This is not to say that Weller’s book isn’t compelling reading, especially for music buffs, fans of any of these particular music legends, or Boomers nostalgic for the era in which King, Mitchell, and Simon did their finest work. It is.

What may not work for some readers is the focus of Weller’s biographical studies. That may be because the work of these three songwriters are feminine (and feminist) concerns. One certainly cannot argue that three writers known for highly personal and confessional songwriting are treated unfairly by the author’s looking at their artistic careers through the lens of their personal lives. What might be giving me (and may perhaps give other readers) pause is the level of detail that Weller goes into in exploring King’s, Mitchell’s, and Simon’s private lives. Continue reading

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Love Me Do – the first one…

“‘Love Me Do’ is Paul’s song. He wrote it when he was a teenager. Let me think. I might have helped on the middle eight, but I couldn’t swear to it. I do know he had the song around, in Hamburg, even, way, way before we were songwriters.” – John Lennon

“‘Love Me Do’ was completely co-written. It might have been my original idea but some of them really were 50-50s, and I think that one was. It was just Lennon and McCartney sitting down without either of us having a particularly original idea.” – Paul McCartney

John, Paul, George, and Ringo (image courtesy Wikimedia)

We know now (at least those of us who are American) that it was their first.

Most of us learned about it in that tidal wave of spring 1964 when it seemed that the Beatles released a new record every week. Many of them were fantastic – “I Want to Hold Your Hand,” “I Saw Her Standing There,” “She Loves You,” “Please Please Me,” “From Me to You,” “Twist and Shout,” “There’s a Place,” “Do You Want to Know a Secret?” It seemed like an endless stream of great song after great song, the releases of new singles coming sometimes only a week apart thanks to the Beatles’ tangled history of American deals.

So it was Tollie, a Vee-Jay subsidiary, that released “Love Me Do” in the US in April 1964.   Continue reading

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The most famous novel set in NC – according to the internet…

“Nowadays people know the price of everything and the value of nothing.”  – Oscar Wilde, The Picture of Dorian Gray

Nicholas Sparks (image courtesy Wikimedia)

I saw an article this week that’s a pretty good explanation of where we are as a culture. Business Insider published an article called “The most famous book that takes place in every state” that purports to provide readers with – well, the information indicated in its title.  On the face of it this seems like a clever idea – it promotes reading and gives a little shout out to each state. Given the culture we live in, promoting reading is certainly a good idea, and giving every state a nod for its literary contributions is democratic in a way that we need more of.

Well, as Robert burns said in “To a Mouse,” “The best laid plans….” Though perhaps, given the BI article, Dave Marsh’s observation about Kiss Alive II is more apropos: “Here’s a bad idea gone wrong….”

Some of the results offered for “most famous book that takes place in every state” are laudable. Some are arguable. Some, however, are atrocious – ill-informed in ways that make one despair for the future.  Continue reading

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A Hard Day’s Night…in search of the lost chord

“There was no reason for Michael to be sad that morning, (the little wretch); everyone liked him, (the scab). He’d had a hard day’s night that day, for Michael was a Cocky Watchtower.” – John Lennon, In His Own Write (published March 1964)

“I was going home in the car and Dick Lester suggested the title Hard Day’s Night from something Ringo’d said. I had used it in In His Own Write but it was an off-the-cuff remark by Ringo. You know, one of those malapropisms. A Ringoism, where he said it not to be funny, just said it.” – John Lennon (1980 interview)

“”Well, there was something Ringo said the other day’… He said after a concert, ‘Phew, it’s been a hard day’s night.’ John and I went, ‘What? What did you just say?’ He said, ‘I’m bloody knackered, man, it’s been a hard day’s night.’ ‘Hard day’s night! Fucking brilliant! How does he think of ’em? Woehayy!’ So that came up in this brain-storming session, something Ringo said, ‘It was a hard day’s night.'” – Paul McCartney (1997 interview)

The Fabs tormenting the posh gent in A Hard Day’s Night (image courtesy Neatorama)

They began filming the movie A Hard Day’s Night only ten days after returning from their frenetic, triumphant first visit to America.

Frenetic. That’s probably the most accurate word to describe the lives that John Paul, George, and Ringo were leading as the spring of 1964 came on. They’d already endured a year of British Beatlemania (as well as Swedish, German, and French versions). Their lives, accurately chronicled in that epochal film, consisted of planes, trains, cars, vans, hotel rooms, theater dressing rooms, and stages.

As one of the movie’s characters, Paul’s grandfather (played by Wildrid Brambell), observes sourly:

I thought I was supposed to be getting a change of scenery. But so far I’ve been in a train and a room, a car and a room, and a room and a room.

Continue reading

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Positively 4th Street: positively Shakespearean…

 “I think women rule the world and that no man has ever done anything that a woman either hasn’t allowed him to do or encouraged him to do.” – Bob Dylan

“Instead of getting hard ourselves and trying to compete, women should try and give their best qualities to men – bring them softness, teach them how to cry.” – Joan Baez

Positively 4th Street by David Hajdu (image courtesy Goodreads)

Joan Baez and Bob Dylan have had a long and complicated relationship.

There have been a number of books written about that relationship (including memoirs by both Dylan and Baez themselves) which try to get at what drew them together and what drove them apart. To save you any apprehension, the upshot is that nobody, not even Dylan and Baez, will ever understand. That doesn’t mean that writers and scholars won’t try to understand, of course.

One of the most interesting attempts to explore the Baez/Dylan axis of complexity is David Hajdu’s fascinating Positively 4th Street. Hajdu doesn’t get any further than any other scholar or writer (or Dylan or Baez) with explaining the complexities of the Dylan/Baez relationship, but his book is fascinating because he takes an unusual tack in his exploration. In a plot device that is positively Shakespearean, Hajdu uses the microcosm of the relationship between Joan Baez’s sister Mimi and Richard Fariña to parallel the macrocosm of Bob Dylan/Joan Baez.

Continue reading

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