The Aaron Copland / Bob Dylan connection


Do I have your attention now?!

I am about 2/5th's the way into an amazing book that anyone with the slightest interest in American art forms should find well worth his or her time. It was written by Sean Wilentz, a Professor of American History at Princeton, and author of a few books on that subject. But the book I'm reading is entitled Bob Dylan In America, and it is, hands down, the best writing on Dylan I have yet to read. And I have read a lot about Dylan!

Wilentz starts the book by laying out the context within which Dylan's work will be examined and discussed, starting with the very American music of Aaron Copland. I guarantee you, you have never before heard what Wilentz has to say about the connection between that composer and Dylan. The next section is about the overlap between the Beat writers and the Folk singers of the late 50's and early 60's, but not without tracing their origins back to the 1930's. The relationship between Dylan and Allen Ginsberg is discussed in great detail, and continues into future chapters. It is fascinating stuff.

Wilentz finally gets to Dylan himself, and provides details on the writing and recording of Bob's first six albums, as well as the live shows coinciding with them, culminating in by far the best examination of his masterpiece, "Blonde On Blonde", I have read. Every song, every recording session, every musician involved (there are some surprises!), all examined with fanatical attention to detail. I thought I already knew a lot about the album, but I learned much more than I already knew. Absolutely fantastic!

I do believe this may be the best book I have ever read on the subject of, not just Dylan, but of any artist. I found it at my Public Library, but I'm going to buy a copy. That I'll want to read it again I have no doubt.


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And hopefully a Happy 2025 to you @jafant 

 

I just finished reading The Double Life Of Bob Dylan---A Restless, Hungry Feeling (1941-1966) by Clinton Heylin. Highly recommended! Now I gotta get my ass to the theater to see the new movie on his 1961-65 period.

 

I still want to hear any unreleased material from the Planet Waves sessions, though there is fact may be none. I love that album, as well as the live album from the related 1974 Dylan/Band tour. I sent for tickets to the show at The Oakland Coliseum, but like 9 out of 10 people who did the same wasn't among the luckier people who got tickets.

 

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Agreed- the Book "Double Life" is excellent. I am ready for the next period 1966- onward. I want to read more about Dylan's motorcycle crash and beyond.

 

Go see "A Complete Unknown". Thank me later.

 

Happy Listening!

 

@jafant: I find the post-’66 period very interesting myself. While in 1967 the Rock world was turning to psychedelia, long instrumental jams, and non-U.S.A. instruments and music forms (I consider the introduction of the sitar into Rock ’n’ Roll a miserable idea. Does anyone actually like "Within You Without You"? Oy!), Dylan spent the whole year in the basement of Big Pink, schooling The Hawks in all things American), recording the musical collaboration that became known as The Basement Tapes. That year has already been covered in the great Bootleg Series Vol. 11 that Columbia finally put out in 2014.

Then on December 27th of 1967, out of nowhere Dylan reappears with the very low key John Wesley Harding album, which could not have been more different from what everyone else was doing (and what Dylan had himself doing on his last album, Blonde On Blonde) if Dylan had tried. Actually, that is perhaps exactly what he was doing with that album. I remember hearing it and being completely mystified. I was in the throes of my Cream/Hendrix/etc.phase, which I didn’t snap out of until the Summer of ’69.

I heard Music From Big Pink when it was released in June of ’68, but found it incomprehensible. It wasn’t until that Summer of ’69 that I had my musical epiphany, so when The Band’s "brown" album came out that year I was ready for it. I also found a copy of the 2-LP bootleg of The basement tapes, and set about studying them. Every other musician I knew (well, the good ones at least) was doing the same.