Happy Birthday Bob Marley-A Coming of Age Story for Generation X (I Think)

BOOK REVIEW

Rule Of The Bone, Russell Banks, HarperPerennial, New York, 1996

Okay, every generation X, Y or Z (including my generation, the generation of '68) has to have its own coming of age stories, male or female. For this reviewer, always full of a sense of the necessity to understand his own misbegotten youth, J.D. Salinger's Catcher in the Rye explored the longings for understanding, companionship (female variety in my case) and power in that strange modern experience of growing up absurd- the teen years. Well, after reading Brother Banks Holden Caulfield better move over because he has company, very good company, in the coming of age field.

Strangely, my first exposure to the name Russell Banks was in a review that Larry McMurtry (he of Lonesome Dove, and a million other good novels, fame) did for The New York Review of Books. But at that time it was just a name. Then, as I was recently re-reading Nelson Algren's Walk on the Wild Side, I found that in the edition that I had Brother Banks had done the Foreword. Now I rank Algren right up there with Hemingway, Fitzgerald and Dorothy Parker in my literary pantheon so when Banks does a review that hits almost exactly all the points that have caused me to admire Algren I have one question. Isn't it about time to see what this writer is all about? And, friends, off a reading of this my first book of his I was not mistaken in my instinct.

Bank's young `searcher for truth' Bones, of dysfunctional family (sound familiar?), dope smoking and all set in upstate New York in the 1990's (and then switches somewhat erratically halfway through to Jamaica, the only weakness in the story) is exactly the kind of character one needs to explore in order to understand Generation X (I think that would be the correct designation, right?).

Using the currently fashionable literary trope of magical realism Banks goes through the whole catalogue of coming of age experiences as Bones looks for companionship (not necessarily automatically sexual, like in my youth), longings and personal power. Hey, didn't I just talk about those questions concerning Catcher in the Rye's Holden Caulfield. I guess that is the point. Read this book if you want the current `skinny' on this perplexing issues of growing up absurd in modern society written with a very nice literary flair for a sense of time, place and class. Kudos, Brother Banks.

***On Sugar Mountain"- The Musak Of James Taylor

DVD MUSICAL REVIEW

James Taylor Live At The Beacon Theater, James Taylor and various artists, Columbia Music Video, 1998

Strangely, as a youth caught up in the fervor of the early 1960's folk revival and its aftermath James Taylor the subject of this review was never on my personal radar. I knew the name, knew people who knew him, and had many chances to hear him perform in the old days. I passed. And with the exception of a couple of songs here that remains true. Somehow he is, however, the perfect performer for aging `baby boomers' who have lost the taste for hard-driving, edgy music but still love the old tunes-and memories. Moreover, Taylor is the perfect performer for Public Broadcasting System fundraisers. The PBS fundraising moguls know their demographics.

Oh yes, I listened to Fire and Rain and You Can't Close Your Eyes back in the days like everyone else. That is not the question. I listened to tons of stuff in those days (and now, as well). However, those songs lacked pathos for me then and off of Taylor's performance here at New York's Beacon Theater in 1998 that condition still prevails. Moreover, the covers here like Jimmy Jones' Handy man and Buddy Holly's Not Fade Away point to my problem with Taylor's work. Generally, good workmanlike performances but no "soul". And to these eyes and ears no real stage presence despite the blurb accolades that accompanied the DVD to the contrary. Unless you are a die hard Taylor fan pass this by.


Bonnie Raitt-Road Tested, Bonnie Raitt and various artists, Capitol Records, 1997

Let us take a trip down memory lane to the Boston Common in the summer of that fateful year, 1968. A bunch of us were sitting (on the ground, no less) fairly far back in that locale and then suddenly a woman’s voice came booming through the air. Moreover, she was playing not the female de rigueur acoustic guitar but an electric one. Just like the guys! That, my friends was my introduction to Bonnie Raitt and she has been rockin’, bluesin’ and folkin’ ever since. This San Francisco concert from 1995 brings all those trends together. For Bonnie Raitt fans, or just the casual blues/folk/rock fan this is a treat. When I occasionally call back memories of the 1960’s and say that that was a time when men (and women) played Rock ‘n’ Roll for keeps it is Bonnie that I have in mind as one of the women.

Honestly, after that early introduction to Bonnie on that long ago summer day I did not follow her career that closely for a time although I knew she learned here craft later at the feet of Mississippi Fred McDowell and would catch her at various Cambridge night spots. However, this concert brings all that back. Not only that but the added attractions of Jackson Browne and the legendary blues singer Ruth Brown (a favorite of mine from way back) round out a very nice concert. What’s good here: John Prine’s Angel From Montgomery; Never Make Your Move Too Soon (with Brown); Chris Smither’s Love Me Like A Man and Rock Steady. Nice stuff, well performed with her band and guest artists.


John Prine At Sessions At West 54th, John Prine with Iris Dement and various artists, OnBoy Records, 2001

Over the last several months I have done more musically-oriented reviews that I had expected. One of the themes that keep cropping up is that for some folk/blues-oriented musical artists like Bob Dylan my attachment was immediate, long time and on-going. For other artists like John Prine it has been more of a recently acquired taste. I had, obviously, heard Bonnie Raitt do his Angel From Montgomery but I never associated his name with that song. Then a couple of years ago I happened to listen to his Hello In There and Sam Stone. Yes, this guy has something to say that I wanted to (on some songs, needed to) hear.

This concert represents a small selection of some of his work, although with the exception of Sam Stone, Lake Marie and Hello in There not much in the way of classics, at least that I am familiar with. This concert would thus only rate as a pretty fair performance except that on a few songs like When Two World Collide he is accompanied by Iris Dement (wife of the folksinger/songwriter Greg Brown). Iris is also a recent acquisition. I would travel very far to hear that voice of hers (and have done so). Incidentally, I have seen both these performers in person over the past couple of years- they still have it. Still this is not the DVD that YOU need to understand either talent, but you may want it.

Songs To Aging Children- Joni Mitchell

DVD REVIEW

Joni Mitchell- Woman of Heart and Mind, American Masters-PBS, 2003

I viewed the American Masters documentary on Joni Mitchell during a time when I had been re-reading Norman Mailer's Marilyn- his take on the life of the legendary screen star Marilyn Monroe. And although there is no obvious connection between the lives or the talents of the two women there is a tale of two generations hidden here. Marilyn represented for my parents' generation, the generation that survived the Great Depression and fought World War II, the epitome of blond glamour, sex and talent. To my more `sedate' generation blond-haired Joni represented the introspective, searching, quiet beauty that we sought to represent our longings for understanding in a seemingly baffling world that we had not made. As this documentary and Mailer's book point out however they `represented' our fantasies they also shared a common vulnerability- attempting to be independent women in worlds dominated by men- the movie and recording studios. Such is the life of the great creative talents.

This well-done documentary traces Joni's life from the snow-bound Canadian farmlands to her early rise to stardom at the tail end of the folk revival of the 1960's. It also traces the later twists in her creative career as she tried to break out of the `folkie' milieu; the successful attempt to be a rocker; the less successful attempt to be a female Leonard Cohen searching the depths of her soul; the attempt to turn herself into a torch singer and later the attempt to take on the jazz idiom under the direction of the legendary Charlie Mingus: and, finally the semi-reversion to her youth under the banner of protest against some of the injustices of the world. Along the way various lovers, learners, hangers-on and fellow song writers give their takes on her place in the musical history of her time. This is always a welcome touch. Moreover, since she will have a big place in that history it helps tell us how very influential she was in that endeavor.

In Honor Of Newport 1965- Bob Dylan- Unplugged and Plugged at Newport 1963-65

Bob Dylan- Unplugged and Plugged at Newport 1963-65

Bob Dylan: The Other Side of The Mirror: Live at The Newport Folk Festival 1963-1965,Bob Dylan and various other artists, 2007

Were we ever really that young? That is the first reaction I had in viewing this film. A young Bob Dylan featured with his lady at the time (I believe, if memory serves) a young Joan Baez. And who, at least for the controversial 1965 concert (where he did that taboo couple of electrified guitar numbers that freaked the old-time folkies out) had a young Markin as part of his audience. I am not altogether sure that in the end Bob Dylan cared one way or the other whether he was the voice of a generation, my generation, the generation of ’68 but in this very well configured musical documentary there is certainly a case to be made for that proposition. This is the high tide of Dylan’s career as an acoustic folk performer making the transition to, for lack of a better term, folk rock or just flat out rock.

Probably the most important reason to view this documentary, however, is to observe Dylan’s visual, vocal and professional transformation during this short two year period. In 1963 Dylan is dressed in the de rigueur work shirt and denim jeans with an unmade bed of a hairdo. His voice is, to be kind, reedy and scratchy, and his songs sung at that time are things like Blowin’ in the Wind (done here with Baez and others in an incredible finale) and With God on Our Side (with Baez) reflecting the influence of traditional folk themes and of a style derived from his early hero Woody Guthrie. Newport 1964 is a transition. The hair is somewhat styled, the outfit more hippie than traditional folk garb, the voice is stronger reflecting the established fact that he is now ‘king of the hill’ in the folk world. And he sings things like the classic Mr. Tambourine Man that give a hint that he is moving away from the tradition idiom.

Newport 1965 gives us the full blown Dylan that we have come not to know. The one that once we think we have him pegged slips away on us. Here we get no mixing it up with Baez or other folkies but a full-bore rock back up band to play Maggie’s Farm and one of the anthems for my generation, Like A Rolling Stone. Then back to acoustic with It’s All Over Now, Baby Blue and Love Minus Zero, No Limit (which is something of the love anthem for my generation or, at least, one of them). All done in a very strong and confident voice that says here it is, take it or leave it. Wow. You know my answer.

This film, seemingly consciously, shies away from an investigation of any of the controversies of the time concerning the direction of Dylan’s work. Pete Seeger’s only shot on film, as I recall, was to introduce Dylan at the 1964 festival. The most controversial subjects addressed seem to be whether or not it would throw the schedule off to give into the crowd and have Dylan play longer. Or whether it was okay for the jaded youth of the day to have folk singers as idols. Aside from that shortcoming, which in any case can be pursued elsewhere, this film will go a long way to solving any lingering controversy about whether Mr. Dylan belongs in the folk pantheon.