Tag Archives: rock music history

(I Can’t Get No) Satisfaction

1965

1965: The Most Revolutionary Year in Music by Andrew Grant Jackson (Thomas Dunne Books, $27.99, 352 pages)

1965 could have been a direct, engaging and entertaining account of that year’s music. Instead, this nonfiction story begins with Acknowledgements, a Selected Time Line, an Introduction, and a Prologue before it actually starts. The ending is, naturally, followed by an Epilogue. And instead of simply discussing the music of the 12-month period, Andrew Grant Jackson proceeds to attempt to cover all of the political and social developments of the time, with far too much attention paid to psychedelic drugs. (Boring, “oft-covered” territory.)

One or two factual errors might be excusable, as Jackson was not alive when these events occurred. But there are far too many in 1965. Jackson writes that the Beatles tried to out-jingle-jangle the Byrds with the song “Nowhere Man.” No, it was George Harrison’s “If I Needed Someone.” He lists the Beatles’ “Think For Yourself” as a song about politics and free expression. No, it was a break-up song. He writes that the Lovin’ Spoonful’s “Daydream” was a remake of “Baby Love” by the Supremes. Not even close. And he cites “Sloop John B” by the Beach Boys as a drug song. It was a remake of a West Indies traditional folk song earlier recorded by the rather benign, innocent Kingston Trio.

There are other statements that are questionable. Jackson writes, for example, that the Rolling Stones based their single “Paint It Black” on “My World Is Empty Without You” by the Supremes. Maybe, maybe not. One of the highly doubtful statements made by Jackson is that Brian Wilson based his classic song “God Only Knows” on the lightweight song “You Didn’t Have To Be So Nice” by the Spoonful. C’mon, now.

1965 is also plagued with no small amount of repetition. Jackson often makes the claim that specific rock song introductions were based on Bach’s classical music. In a couple of instances, he is likely right, but he goes on to state that this is the case for a large number of songs. Again, this is questionable.

beatles-1965-granger

Every now and then Jackson does uncover something of interest. He may have discovered the song that Paul McCartney heard as a very young boy in the early 50s, which subconsciously inspired him to write “Yesterday.” Well, maybe.

aftermath-usa

The book’s subtitle claims that 1965 was the most revolutionary year in rock music. Really? Pet Sounds and Blonde on Blonde and Aftermath were released in 1966, and Sgt. Pepper’s Lonely Hearts Club Band followed in 1967. I’d argue that these were the most significant, revolutionary years in rock music.

One final point is that Jackson often attempts to connect one type of music to everything else, musically and otherwise. You can love the music that Frank Sinatra recorded in the 60s without tying it to what the Beatles, Bob Dylan or the Rolling Stones were doing at the time. There are different types of music, and some music is created without reference to the political struggles or happenings of the time.

1965 is a book that had a lot of potential. Due to its strangely formal structure and its errors, the potential was largely wasted.

Joseph Arellano

A review copy was provided by the publisher. This book was released on February 3, 2015.

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Positively Spot On

Out of the Vinyl Deeps: Ellen Willis on Rock Music (University of Minnesota Press, $22.95, 272 pages)

“I wish that for just one time/ You could stand inside my shoes/ And just for that one moment/ I could be you…” Bob Dylan, “Positively 4th Street

In the eternal quest to try to interpret the “real” meaning of Bob Dylan’s songs, some have speculated that “Positively 4th Street” is his retort to the many critics who emerged following Dylan’s controversial decision to “go electric.” Most people who have even some passing knowledge of music history have seen multiple examples of Dylan being cantankerous with the media, dating all the way back to the 1963 Newsweek article questioning his identity and past, and famously filmed in D.A. Pennebaker’s film Don’t Look Back.

Out of the Vinyl Deeps

Lately, Dylan has mellowed in that regard, or so it seems. Perhaps because he is now a revered survivor and not a young rebel.

What does Out of the Vinyl Deeps: Ellen Willis on Rock Music have to do with Dylan? Quite a bit as it turns out. This book is a compilation of writings on music by the late writer that appeared in a variety of publications, including her regular column for The New Yorker, “Rock, Etc.”, over a span of 34 years. The book is edited by her daughter Nona Willis Aronowitz, and virtually every column and essay that doesn’t actually address Dylan, references him. Judging by Willis’ intuitive take on the music as it interweaves with the various time periods, her insightful commentary, and fine writing, this would be one critic who Dylan might actually like.

Willis drops a few names, but rarely seems caught up with celebrity. For her, it is all about the music. Her favorites, in addition to Dylan, are Lou Reed, The New York Dolls, and the Rolling Stones. Many others receive prominent mention, including Creedence Clearwater Revival, an often under-rated band, and others ranging from obscure to superstar, such as Bruce Springsteen. Willis was a feminist who could objectively analyze the art for its strengths and flaws without either coming across as a man-hater or relinquishing her status as a fan — two of the three would be pretty good, but to pull off all three makes for a damn interesting and good writer.

Fifty-nine short pieces are divided into six themes: World-Class Critic, The Adoring Fan, The Sixties Child, The Feminist, The Navigator, and The Sociologist. The first entry is on Dylan, and the last is a commentary on her philosophy of the role of music in society that mentions him in the third to last paragraph of the book. The final paragraph invokes Little Richard and The Ramones in the same sentence. How great is that?

This book is perfect for any 60s/70s rock-and-roll head. No doubt they would be overcome with nostalgia. But for those who are just as fanatical, but younger — who love the music just the same — and who perhaps even fancy themselves a bit knowledgeable about rock’s history and the great music of this era, they, too, will love Deeps because Willis is one writer who can make you feel like you were there.

Highly recommended for music lovers of all ages.

Dave Moyer

Out of the Vinyl Deeps is available as a Kindle Edition download. This book was purchased for review.

Dave Moyer is an educator who thinks a lot about rock music. A drummer, he has not yet played for the Rolling Stones. His book about baseball and Bob Dylan is entitled, Life and Life Only: A Novel.

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Another Day

a day in the life

A Day in the Life of the Beatles by Don McCullin (Rizzoli; $24.95; 143 pages)

This is a charming set of Beatles photographs taken in a single day about 6 months before what was to be their dissolution.   What we seem to see is a band of brothers, happy to be together.   Something else is that they are not the Beatles who were photographed to look as much like each other as possible.   Instead, what we see are four separate individuals – a prideful and content Paul, a wacky John, a contemplative George and a Ringo who looks like he’s tougher than the rest.   (Paul’s dog Martha makes a guest appearance.)

It’s a bittersweet collection as it represents the last time the band members would not look either exhausted or angry.   These were the boys enjoying the calm before the storm.   They also seemed to occasionally be making fun of their earlier stage-managed image; some of the poses reflect an overly playful – if not over-the-top – Monkees aura.

At $24.95, it’s a Rizzoli that will be a bit rich for some budgets, and it’s not essential when compared to the large, comprehensive Chronology book.   But the picture of Paul, on pages 122-123, appearing to sleep with a smile on his face while his best mates laugh is worth the money.

Recommended.

Joseph Arellano

A review copy was received from the publisher.   Note:  One article about this book noted that at one point the Beatles tried to buy the rights to this collection of photographs.   This raises two possibilities: either the band members loved the photos so much that they wanted to release them as an Apple book, or they disliked them so much that they wanted to ensure they would never be released to the world.   A fun aspect of reviewing the pics is trying to decide which possibility was the more likely one.

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Days Like These

Starting Over: The Making of John Lennon and Yoko Ono’s Double Fantasy by Ken Sharp (Gallery Books/VH1 Books; $26.99; 262 pages)

starting over book

“You don’t have to do it anymore.   You can exist outside of the music.”   Yoko Ono to John Lennon, 1975

“There’s only two artists that I’ve ever worked with for more than a one-night stand.   That’s Paul McCartney and Yoko Ono, and I think that’s a pretty damned good choice!”   John Lennon, 1980

Before this, only one book took you inside the recording studio with The Beatles, and that was Here, There and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick.   Emerick’s book explained the fascinating work performed by sound engineers such as that which led (in some small measure) to the success of the four moptops.   One of the disclosures in HT&E was that the recording sound process at Abbey Road always began with ensuring that Ringo’s drums would sound right and/or unique on each track. (Paul McCartney, who lived around the corner, was the individual who usually tuned the drums used by Ringo and Badfinger’s drummer.)

Now, with Ken Sharp’s book,  we go into the sound studios of New York City circa the winter of 1980, with former Beatle John Lennon, his wife Yoko Ono and a new band of hotshot musicians.   Lennon’s final album, Double Fantasy, would be recorded just weeks before his death (the single “Starting Over” was the track the public heard first), and would be well-crafted enough to preserve his legacy as a musical genius.

This was the happy-husband period for John Lennon who was pleased about everything, even the past:  “He never spoke about the Beatles in a negative way.   Ever.   He only said positive, affectionate things about them…  He was able to look back at their work and realize how great a band they were.”   (Andy Newmark, drummer)

And this was the John Lennon who filled his new album with what some viewed as recordings invading Paul McCartney’s well-marked territory – (silly or non-silly) love songs and songs of domestic harmony and bliss.   John was not at all apologetic about his new-found contentment:  “To work with your best friend is a joy and I don’t intend to stop it…  My best friend is my wife.   Who could ask for anything more?”

“…records do tend to either gain or lose aura as decades pass.   I would say Double Fantasy is one of the many excellent records that has gained a certain aura, glow, stature and presence.”   Robert Christgau

The participants interviewed for this book all display a sense of both bittersweet happiness and sorrow at having worked with John Lennon before his untimely death.   “I hadn’t listened to Double Fantasy in a long time.   I recently put it on and as soon as I started playing it, the tears welled up.   It was a real emotional experience for me.   There was a lot of joy doing that record…  When I hear the songs, I see John working on the tracks.   It’s the closing musical statement of his life and it’s filled with great songs.”   (Hugh McCracken, guitarist)

Well said, and this account is a well-written, detailed and loving tribute to someone who simply left us too soon.   Read this book and you will come to know and admire John Lennon’s honesty and his integrity.   By reading this book you’ll also come to discover the background stories of such great songs as “Beautiful Boy (Darling Boy),” “(Just Like) Starting Over” and “Watching the Wheels”.

Think of Starting Over, the book, as the great lost album notes to the original vinyl release.   It will serve you well.

Highly recommended.

Joseph Arellano

A review copy was provided by the publisher.

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When I Paint My Masterpiece

When That Rough God Goes Riding: Listening to Van Morrison by Greil Marcus (PublicAffairs, $22.95, 208 pages)

“Music can take us beyond literate sequence and consequence.”   Wilfred Mellers

“If you didn’t hear from him, that just means he didn’t call.”   Van Morrison

Sometimes a complete portrait of a person, or an artist, requires that one explain and explore both their positives and their negatives.   Although rock-critic-writer Greil Marcus is clearly infatuated with Van Morrison and his music, he decided to write this profile – in a sense, a collection of essays about the subject – in an honest fashion.   On the one hand, we see Morrison as a musical genius who can sing songs without a musical arrangement, leading and requiring his backing musicians to follow him.   He’s been a musician who can recruit a record producer by simply singing a new song to him one-on-one, like an actor seducing a director by reading from a promising script.

Then there’s the difficult Morrison, the singer who often avoids looking at his audience; a performer who can storm off of the stage when he’s angry; a singer who sometimes hates being bothered by the joyful participation of those in his audience.   As noted in this account, one night Van was performing for a San Francisco audience when he got tired of their clapping and yelling.   He yelled out, “Just shut up.   Just shut up!   We do the work here on stage, not you.”

And so we see that Van Morrison is a musician-artist of both sequence and consequence.   As Marcus writes, “What defines great singing in the rock and soul era is some underlying tension in the space between singer and song.”

Van Morrison did not start out great.   With the band known as Them he released the notable single “Gloria” (first released as a 45 in a rather weak 2 minute and 35 second cover version by Shadows of Knight of Seattle) and also “Here Comes the Night,” and the much lesser known “Mystic Eyes.”   But the band members did not click as a group, and the newly-freed artist went on to write and record what is today his most played song, “Brown Eyed Girl.”   Yet, there was something about his rock and soul voice that was not totally distinct; he tended to be confused in people’s minds with Eric Burdon of The Animals (it didn’t help that both Morrison and Burdon covered Sam Cooke’s classic “Bring It On Home to Me.”)

Morrison’s solo career went on to be a steadily successful one, but Marcus elects to place the focus here on Van’s masterpiece, Astral Weeks.   Greil, who owns thousands of recordings, confesses to us that, “I’ve played Astral Weeks more than I’ve played any other record I own.”   The tale of how the album came to be created is worth the price of admission, for this was not a tightly structured creation.   Instead, it was the product of near-magical jazz-like improvisation.   The record’s producer, Lewis Merenstein of Chicago (who didn’t know who Morrison was before the recording began) was to say:  “I don’t want to sound existential, but there was Van and that was it; there was no band, there were no arrangements.   The direction was him singing and playing – that was where I followed.   That’s why it came out the way it did…  There obviously was a direction from somewhere in the sky.”

Marcus makes clear in Rough God that Morrison himself does not know the intended meanings of many of the songs he writes, one such song being “Madame George.”   That’s alright, such is the nature of genius.   Vincent Van Gogh would likely not be able to produce a scholarly treatise on each of his paintings.   But Morrison – like his female counterpart Joni Mitchell, is one of those artists who has demonstrated for us lesser mortals that, “There’s more to life than you thought.   Life can be lived more deeply.”

Thank you, both Van and Greil.   Highly recommended.

Joseph Arellano

A review copy was provided by the publisher.   Greil Marcus is also the author of Like a Rolling Stone: Bob Dylan at the Crossroads (Public Affairs, 304 pages, 2006).

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