Bob Dylan –The Stories Behind The Classic Songs 1962-1969-By Andy Gill Welbeck – £21.71
Andy Gill
"In the dime stores and bus stations, People talk of situations, Read books, repeat quotations, Draw conclusions on the wall. Some speak of the future, My love, she speaks softly. She knows there's no success like failure and that failure's no success at all.
Love Minus Zero/No Limit Song by Bob Dylan
"In those days, artistic success was not dollar-driven. It was about having something to say."
Bobby Neuwirth
"The riot squad they're restless / They need somewhere to go / As Lady and I look out tonight / From Desolation Row".
Bob Dylan.
"Of all nations, the United States, with veins full of poetical stuff, most needs poets and will doubtless have both the greatest and use them the greatest. Their Presidents shall not be their common reference as much as their poets shall. "If the time becomes slothful and heavy, he [the poet] knows how to arouse it . . . he can make every word he speaks draw blood. Whatever stagnates in the flat of custom or obedience or legislation, he never stagnates. Obedience does not master him, he masters it."
Walt Whitman
It would be a foolish man or woman who would disagree with Andy Gill's supposition that Bob Dylan's work from 1962-69 was his best and established him as Rock and Roll's only genius and Noble Prize winner. The book takes the form of a dictionary of songs in chronological album order, allowing the reader to pick and choose which song they read about. Each album has an introduction by Gill.
Gill looks at every Dylan song on the following albums: Bob Dylan, The Freewheelin' Bob Dylan, The Times They Are A-Changin', Another Side of Bob Dylan, Bringing It All Back Home, Highway 61 Revisited, Blonde On Blonde, The Basement Tapes, John Wesley Harding and Nashville Skyline.
Gill writes on the recording of Blonde On Blonde, "Given the lyrical malleability […], it's perhaps best not to try and ascribe too literal an interpretation to 'Visions Of Joanna,' which is more of an impressionistic mood anyway. If it doesn't matter to the writer whether it's the peddler or the fiddler who speaks to the countess, why should it matter to us? The song remains one of the high points of Dylan's canon, particularly favoured among hardcore Dylanophiles, possibly because it so perfectly sustains its position on the cusp of poetic semantics, forever teetering on the brink of lucidity yet remaining impervious to strict decipherment."[1]
The book chronologically covers Dylan's formative years in small-town Minnesota, his move to New York City, and the folk scene in Greenwich Village. It ends with the controversy surrounding his "electric" conversion up to 1969.
Gill's book examines Dylan's controversial early period when he was accused of betraying the folk scene. His move to electric was openly and vocally seen as a betrayal, culminating in the iconic moment from the 1966 tour of England at the Manchester Free Trade Hall. When Dylan plugged in his electric guitar for the second set, a fan shouted, "Judas!" Dylan snarled, "I don't believe you," before turning to the band and urging them to "play it fucking loud!".
Andy Gill's Bob Dylan – The Stories Behind The Classic Songs 1962-1969, while well written and at times insightful, is limited when it attempts to place Dylan's work in a more precise objective context. The period between 1962-69 was an extraordinary political time. Gill does little to examine Dylan's place in this ferment. Gill does not seem that interested in exploring the relationship between art, artists and social liberation.
As Paul Bond writes, "The folk music scene was regaining ground with the decline of McCarthyism and was seen largely as a product of "the Left." The idea of music that was able to articulate social and progressive concerns brought many broadly "leftist" artists to folk. Many of the guiding lights of the folk movement, like Guthrie and Pete Seeger, and the editorial circles of such influential magazines as Sing Out! and Broadside, had some affiliation with the Stalinist Communist Party of the USA. The Stalinists took a somewhat proprietorial attitude to the folk scene, but it attracted many songwriters trying to tackle serious social and political subjects in song. They were motivated, as the opening editorial in Broadside (which published many of Dylan's songs) put it, by the idea that "a good song can only do good."[2]
He continues, "Dylan's rejection of what was weakest in the folk scene, which stood in the way of a more complicated way of representing the world, took place under conditions of intensifying political crisis in the United States. He seems to have used the weaknesses of the folk milieu as part of a general move away from tackling social concerns altogether. (Although he has continued to write topical songs since that period.[3]
It remains to be seen if Gill will write on Dylan's more contemporary work. As David Walsh wrote, "A perusal of Bob Dylan's lyrics, at least its first half a dozen years or so, reveals a lively imagination at work, and sometimes deep feeling. Dylan can be witty, satirical, insightful, and genuinely outraged at American society's injustices. The lyrics can convey physical and psychic longing, both for "the beloved" and for recognition by society at large ". As said earlier, Gill is not interested in placing Dylan's art in a social or political context. He does not seem that interested in Dylan's later work.
As Matthew Brennan writes of Dylan's later work, "Cutting himself off from the source of the inspiration for earlier impactful songs, the career ambitions and an unfocused iconoclasm were nearly all that persisted. Except for some of his more moving songs about love and heartache in a later period, evasiveness and vagueness would become Dylan's guiding principles. The protracted process has led to the current news about the sale of his catalogue. Now very wealthy, Dylan has nothing to say about events that are overtaking the circumstances of his younger days.[4]
[1] https://davidmarxbookreviews.wordpress.com/2021/04/20/bob-dylan-the-stories-behind-the-classic-songs-1962-1969/
[2] Ceasing to be the voice of a generation Paul Bond-9 November 2005 www.wsws.org/en/articles/2005/11/dyla-n09.html-
[3] Ceasing to be the voice of a generation Paul Bond-9 November 2005 www.wsws.org/en/articles/2005/11/dyla-n09.html--
[4] Bob Dylan sells his songwriting catalog to Universal for a reported $300 Million- https://www.wsws.org/en/articles/2020/12/16/bobd-d16.html
Woody Guthrie—People Are the Song, at Morgan Library and Museum in New York-Fred Mazelis
(This article is taken from wsws.org-https://www.wsws.org/en/articles/2022/04/18/guth-a18.html)
The career and legacy of folksinger Woody Guthrie (1912-1967) are the subject of a significant exhibition at New York City’s Morgan Library, on view through May 22.
As the exhibition notes, Guthrie was one of the most
influential songwriters and recording artists in American history. His active
career lasted barely 15 years, before he fell victim to Huntington’s Disease,
the inherited neurological disorder that had killed his mother and would
eventually claim several of his own children. In that time, however, Guthrie
had an impact that has lasted for the next three-quarters of a century. He was
a seminal influence in the Folk Music Revival of the 1960s. Both Pete Seeger,
his near-contemporary, as well as Bob Dylan, from the next generation, took
much of their inspiration from the songs of Woody Guthrie.
Woody Guthrie—People Are the Song
The show at the Morgan is jointly presented by the Woody
Guthrie Center in Tulsa, Oklahoma, the museum that opened nine years ago in the
state of Guthrie’s birth, and by Woody Guthrie Publications, whose president is
Nora Guthrie, the singer’s daughter. The exhibition brings together a variety
of materials, including audio and video excerpts, original handwritten lyrics,
photos and other memorabilia on Guthrie’s life.
The World Socialist Web Site has written in some detail on
Guthrie’s career and his musical legacy. While the Morgan exhibition does not
add appreciably to the knowledge of his work, it effectively presents the major
stages of his life and the elements of his career. The audio accompanying the
exhibits is narrated by folksinger Steve Earle and includes many interview
excerpts with Guthrie himself. As the show makes clear, while Guthrie is best
known for his songs, that did not exhaust his creativity, which also included
the production of cartoons, watercolors and oil paintings, along with poetry
and other writings.
Sections of the exhibition are devoted to Guthrie’s early
life in Oklahoma, the impact of the Depression of the 1930s, and the
devastating Dust Bowl, which saw several million forced to leave their homes in
the Plains States. About 200,000, including Guthrie himself, settled in
California during the years of the Depression.
Guthrie was in his mid-20s when he began writing songs and
achieved fame on a Los Angeles radio station. The exhibition gives a truthful
account of Woody Sez, an illustrated column Guthrie wrote for the Communist
Party’s West Coast People’s World newspaper for about 18 months, beginning in
May 1939. The column was also run by the Stalinist Daily Worker, headquartered
in New York City, and Guthrie was well known in CP circles by the time he moved
to New York in early 1940.
In New York, Guthrie later met and married Marjorie Greenblatt Mazia, who became his second wife, and the mother of Guthrie’s three surviving children, Joady, Nora, and well-known folksinger Arlo.
One part of the exhibition presents audio of 15 of Guthrie’s
most famous songs, including “This Land is Your Land,” “So Long, It’s Been Good
to Know You,” “Pastures of Plenty,” “Union Maid,” “Hard Travelin’” and others,
in jukebox format.
Most famous among these is undoubtedly “This Land Is Your
Land,” which gets its own separate treatment in the exhibition. Written more
than 80 years ago, it has been passed down through three or four generations
since early 1940, and is known by tens of millions, many of whom would not
recognize the name of its author. It is only one of more than three thousand
Guthrie compositions, and is by no means the only one for which he is remembered.
The song embodies many of the themes associated with Guthrie, however: an
optimism and belief in the decency of the common man; a love of country which
had nothing to do with nationalism and chauvinism; and outrage at racism and
all other attempts to divide working people, and at the greed of the super-rich
and the injustices perpetrated by the capitalist system.
As the show explains, the inspiration for “This Land Is Your
Land” came from Guthrie’s angry reaction to Irving Berlin’s “God Bless America,”
which was then saturating radio and spreading a message of conservative
patriotism and complacency in the face of continued poverty, inequality and
looming US participation in the Second World War. Guthrie wanted a song that
celebrated the real promise of the US—an America of equality, as exemplified by
his refrain, “This land was made for you and me.”
At the same time, Guthrie’s radicalism never went beyond
left-wing populism. He never grappled with questions of socialist theory, the
need to build an independent party of the working class, or the reasons for the
tragic degeneration of the Russian Revolution. While he never joined the
Communist Party, it was not because he critically examined and rejected its
role as the defender of the privileged Stalinist bureaucracy in the Soviet
Union, and its role in that capacity as the fanatical supporter of the
administration of Democrat Franklin D. Roosevelt. This was the period of the
Popular Front, the doctrine that guided Stalinist policy from the mid-1930s, except
for the two years after Stalin signed his notorious pact with Hitler in August
1939. Guthrie continued to take his cue politically from the Stalinists, giving
his full uncritical support during the war to the “democratic” Allies against
the barbarism of the fascists.
The exhibition says little or nothing about the
anti-communist Cold War that followed the victory over Germany and Japan in
1945. It is true that Guthrie himself was less affected than blacklist victims
like Seeger, who saw his career virtually destroyed for a decade or more.
Guthrie, showing unmistakable and advancing symptoms of Huntington’s Disease by
1952, was not a priority for the witchhunters, including the FBI of J. Edgar
Hoover.
One section of the exhibition refers to “the Peekskill Race Riots.” This is a somewhat misleading reference to the violent attack on a concert by African-American singer Paul Robeson in Peekskill, New York in 1949. Although there was a good dose of racism involved, Robeson was targeted because of his sympathy for the Communist Party and the Soviet Union. Despite his own political disorientation and miseducation at the hands of Stalinism, Robeson correctly refused to line up behind the war drive against the USSR, and for this, at the age of 50, he sacrificed the rest of his singing career.
The anti-communist hysteria on display in Peekskill was to
lead less than a year later to war in Korea, and three years after that to the
execution of Julius and Ethel Rosenberg on frame-up charges of having conspired
to give Moscow the “secret” of the atom bomb.
The very limited attention in the exhibition to this part of
postwar history, and its impact on performers like Guthrie and Seeger, is
perhaps bound up with a renewed push in middle class and “left” circles, and in
the leadership of the Democratic Party itself, for a kind of 21st century
Popular Front. This is demonstrated at the very end of the exhibition, with a
video screen presenting the musical contribution of Bruce Springsteen and Pete
Seeger at the 2009 inauguration of Barack Obama. The implication is that, had
Woody Guthrie been alive at the time, he would have joined in serenading Obama.
Although it can’t be stated with certainty, that would not
have contradicted the politics of Woody Guthrie. Once again, the very real
threat of fascism is being cited today as a reason to politically support
“liberal” capitalist politicians—whereas in fact it is the so-called liberals and
the profit system they defend that is breeding and strengthening fascism every
day.
Stalinism was able to exploit certain political weaknesses
of artists like Woody Guthrie—a lack of theoretical knowledge that owed much to
the history of the United States itself—to win support for a pseudo-populist
reformism, in opposition to the political independence of the working class and
the building of a revolutionary leadership. It was in this way that the
bureaucracy in the USSR worked to head off and betray leftward-moving sections
of the working class as well as artists and intellectuals.
These important political and historical considerations in
no way negate the strengths and the significance of Guthrie and his work. “This
Land Is Your Land” and other Guthrie songs endure for definite reasons,
striking a chord among working people. The current exhibition depicts the life
and times of Woody Guthrie in a lively and informative fashion.
