******I Did It My Way-With Bob Dylan’s Shadows In The Night In Mind

******I Did It My Way-With Bob Dylan’s Shadows In The Night In Mind

 

From The Pen Of Bart Webber

Recently Sam Eaton an old friend of mine from high school days down at Carver High School in Southeastern Massachusetts did a review for the well-regarded and informative American Folk Music blog where he is listed as a regular contributor for Bob Dylan’s then latest CD brought out in 2014, Shadows In The Night.  [Subsequently in 2015 Columbia Records brought out Volume 12 f the apparently never-ending bootleg series this one centered on a 6 CD set of outtakes, mistakes, variations, songs that didn't make the albums, and whatnot from Dylan's fruitful 1965-66 period but that is old-time well-know music so doesn't really count as a latest CD. Sam had yet to review that compilation since he is not sure that he should not just go back and review the original albums; Blonde on Blonde, Bringing It All Back Home, Highway 61 Revisited.]  

Sam had sent me a copy of the review after I had reunited with him when I was looking for information via Google  about my Carver High School Class of 1964 50th anniversary class reunion via the “magic” of the Internet where Diana Rico (nee Kelly) along with her reunion committee had set up a class reunion website which he had joined thus proving that the Internet seems to be able to ferret out anybody who has ever put the slightest information on any website (and which has been recorded by our “friends” at NSA and other “big brother” operations done in “our interest” by the American government but enough of that for now as that is a subject worthy of another time). I then bought the CD on Amazon and after listening did my own amateur review, since writing such things is something I like to do in my spare time, which is essentially based on a lot of Sam's observations in that American Folk Song review. The reason for depending on Sam's observations is that while this album is slightly different from Dylan's early folk song work I have never really been able to do anything but grind my teeth when I hear such music and particularly Dylan's. Unlike Sam I am no folk music aficionado.    

The album a tribute to the king of Tin Pan Alley songwriter fest, Frank Sinatra, in the days when there was something of an unwritten code or maybe not unwritten but assumed by the division of labor that the singer and songwriter were strangers in the night in another sense. Songwriters for the most part wrote the lyrics and singers gobbled up what they were presented with. (Also later, after a semi-successful screen career where he did excellent work in the film adaptations of James Jones’ From Here To Eternity and Nelson Algren’s wrenching The Man With The Golden Arm and some notoriety as the leader of a rat pack of Hollywood and Los Vegas celebrities, named the “Chairman of the boards,” the boards being the stage upon which his fame rested as a singer, actor and hail fellow, well met.) In that review Sam noted that such an effort to go back to an aspect, an off-shoot of the great American Songbook of which Dylan knew so much even early on before he became famous as the “king of folksingers” was bound to happen if he lived long enough.

[Fir those who have forgotten, who had only a vague remembrance from parents' radio listening in the 1950s to the exclusion of rock and roll listening, or were too  young Frank Sinatra was the cat's meow in those day. Later, after a semi-successful screen career where he did excellent work in the film adaptations of James Jones’ From Here To Eternity and Nelson Algren’s wrenching The Man With The Golden Arm and some notoriety as the leader of a rat pack of Hollywood and Los Vegas celebrities, he was declared named the “Chairman of the boards,” the boards being the stage upon which his fame rested as a singer, actor and hail fellow, well met.)

Going back to the Great Depression/World War II period that our parents, we the baby-boomers parents (although Dylan born in 1941 missed the big generation of '68 boat but for Sam’s purpose that was okay Dylan got tagged as an honorary '68er) slogged through for musical inspiration. Going back to something, some place that when we were young and immortal, young and thinking that what we had created would last forever we would have, rightly, dismissed out of hand. And since Dylan has lived long enough, long enough to go back to some bygones roots  here we are talking about something that let us say in 1970 Sam would have dismissed as impossible. Dismissed as the delusional ravings of somebody like Sam’s older brother, Mason, who hated almost everything about the counter-cultural movement of the 1960s. Hated both before he did two tours in Vietnam beginning in 1965 even before the big call-ups after the Gulf of Tonkin Resolution, enlisting naturally, without a scratch on him, before he got married to his high school sweetheart who had waited, had waited through those two long tours for him maybe sensing that he would come through unscratched, got his little white picket house in hometown North Carver away from his South Carver working class son of a bogger (cranberry bogs the only thing that keep the town together back then and for which it had been famous for generations), and after when he would, along with the lovely bride stand in front of abortion clinics and spew hateful words and make threatening gestures against poor bedraggled young women (mainly)  up against it after some guy left her in the lurch to worry and fret about bringing another baby into this wicked old world. In addition "fag" bait (without the bride as far as Sam knew, they were not exactly on the best of terms then, or now for that matter) every guy in town whose had a word to say about peace and went crazy when somebody mentioned that gays ("in the closet gays") had served in the military during his war. Mason would think nothing of punching any guy who he thought was “light on his feet” (lesbians he seemed, according to Sam, he skipped for some reason), had been ready to spill blood it seemed to cut off the heads of anybody who wanted to breathe a new fresh breath not tinged with our parents’ worn out ways of doing business in civil society.

A whole dissertation or at least a serious long article could be written about how the gap of maybe three years, graduating in say 1961 like Mason and 1964 like Sam created a whole divide in social/political/cultural attitudes in many families. Not all but many where the fresh breeze of the Kennedy Camelot minute dream breeze had not been strong enough to check the desire of the former grouping to serve one’s country, right or wrong, marry one time forever, and get that little white fence house that was a step, maybe two, up from Ma and Pa and go down and dirty with every right-wing  yahoo who promised to "take the country back" and you can fill in the blanks on your own about who from when things came to a head.      
 

Strange as it may seem to a generation, the generation of ’68, today’s AARP generation, okay, baby-boomers who came of age with the clarion call put forth musically by Bob Dylan and others to dramatically break with the music of our parents’ pasts, the music that got them through the Great Depression and slogging through World War II, he has put out an album featuring the work of Mr. Frank Sinatra the king of that era in many our parents’ households. Dylan’s call, clarion call if you will of Blowin’ In The Wind and The Times They Are A-Changin’ (those dropped “gs” a sign of the folk informally and a general mid-country Midwest phenomenon) written and sung by him which began a trend in music that pulled the mythical Tin Pan Alley marquee down (and a lot of non-singing-instrument composers and professional studio musical on to cheap street) were direct assaults on whatever Grandfather Ike, the Cold War death bombs mentality or the deep freeze cultural and personal red scare which had carried  the country (and Frank) through the 1950s.
 

The music of the Broadway shows, Tin Pan Alley, Cole Porter/Irving Berlin/ the Gershwins/Jerome Kern, Sam who along with his interest in rock and roll, urban blues and protest-tinged folk music a la Dylan (and Phil Ochs, Joan Baez, Utah Phillips, Tom Paxton and a group of other who I forget that Sam was always talking about ) also knew about and hence his status as “professional” amateur archivist and reviewer so forgive me if I have left anybody of  importance out. Have I missed anybody of importance, probably, probably missed some of those Rogers and Hart Broadway show tunes teams, and so on.

That proposition though, at least as it pertains to Bob Dylan as an individual, seems less strange as Sam pointed out to me if you were not totally mired in the Bob Dylan protest minute of the early 1960s as he was although folk music beyond a few Dylan tunes sung by others as I said before made my teeth grind, left me flat and even with Dylan it was an iffy proposition when he was cranky-voiced in live performances like one time, maybe 1964, when Sam, at Sam’s insistence, forced me since I had access to a car to go down to the Newport Folk Festival one hot July night to hear “the bard ” and he croaked out his set. Those were the days though when even I realized that whether Dylan wanted that designation or not, he was the “voice of a generation,” catching the new breeze a lot of us felt coming through the land.

In the end Dylan did not want it, ran from it (with the “help” of a serious motorcycle accident which kept him out of the live limelight, holed up in Woodstock along with musicians who would be the Band, the rock and roll back-up band for Dylan when he went electric in 1965 and later on their own, although not out of big time album making, that being a rather prolific album period for him, did not want to be the voice of a generation, had no banner to wave, no sign to hold up for humanity as say Joan Baez, an ex-girlfriend or something like that, and Phil Ochs did, although he liked and wanted to be “king of the hill” in the music department of that generation, no question.

Wanted too to be the king hell troubadour entertaining the world for as long as he drew breathe, as long as he had a song to sing (in what kind of voice god only knows, reptilian the last time I heard him previously a few years ago on some aspect of his never-ending tour gig and Sam said in that review of the Sinatra tribute album that they must have had to come up with some miracles of modern “fixer man” music technology to get his voice to sound even as bad as it did on his Sinatra-etched covers which were just short of spoken verses like some New Jersey Best Western hotel lounge lizard act) and he has accomplished that, the longevity part.

What Dylan has been about for the greater part of his career though has been as an entertainer, a guy who sings his songs to the crowd and hopes they share his feelings for his songs. As he is quoted as saying in a 2015 AARP magazine article connected with the release of his Frank Sinatra tribute what he hoped was that like Frank he sang to, not at, his audience. Just like Frank did when he was in high tide around the 1940s and 1950s and our bobby-soxer mothers were tripping all over themselves like he was Elvis or something and throwing who knows what his way, maybe, notes with telephones numbers and promises of the best time he ever had. That sensibility is emphatically not what the folk protest music ethos was about but rather about stirring up the troops, stirring up the latter day Gideon’s Army to go smite the dragon, to right a few, maybe more, of the wrongs of this wicked old world. Dylan early on came close, stepped into Mississippi for a day or so, then drew back, although it is hard to think of anybody from our generation except maybe Joan Baez and Phil Ochs who wrote and sang to move people from point A to point B in the social struggles of the times. 

What Dylan has also been about through it all has been a deep and abiding respect for the American songbook that he began to gather in his mind early on (look on YouTube to a clip from Don’t Look Back where he is up in some European hotel room with Joan Baez and Bob Neuwirth singing Hank Williams ballads like Lost Highway or stuff from the Basement tapes, either set, the recently released five CD set in the never-ending bootleg set or the rarer “Genuine Basement” tape which is  where he runs the table on a few earlier genres, especially country and show tunes). In the old days that was looking for roots, roots music from the mountains, the desolate oceans, the slave quarters, along the rivers and Dylan’s hero then was Woody Guthrie. But the American songbook is a “big tent” operation and the Tin Pan Alley that he broke from when he became his own songwriter is an important part of the overall tradition and now he has added his hero Frank Sinatra to his version of the songbook (at least he called him his hero but Sam said he would be hard-pressed to name one song Dylan covered of Frank’s in the old days even as a goof.)

Sam said (an I agree somewhat, as much as I am going to with folk songs that can still make my teeth grind) that he may long for the old protest songs, the songs that stirred his blood to push on with the political struggles of the time like With God On Our Side which pushed him (and dragged me along in his wake, for a while) into the ranks of the Quakers, shakers, and little old ladies and men in tennis sneakers in the fight for nuclear disarmament, songs from the album pictured above, you know Blowin’ In The Wind which fit perfectly with the sense that something, something undefinable, something new as in the air in the early 1960s and The Times Are A Changin’ stuff like that, the roots music and not just Woody but Hank (including an incredible version of You Win Again), Tex-Mex working later with George  Sahms of the Sir Douglas Quintet, the Carters, the odd and unusual like the magic lyric play in Desolation Row, his cover of Charley Patton’s Highwater Rising or his cover of a song Lonnie Johnson made famous, Tomorrow Night, but Dylan has sought to entertain and there is room in his tent for the king of Tin Pan Alley (as Billie Holiday was the “queen”).

Having not heard Dylan live and in concert over the past several years with his grating lost voice (for Sam it was always about the lyrics not the voice although in looking at old tapes from the Newport Folk Festival on YouTube his voice was actually far better then than I would have given him credit for) I said to Sam I really did wonder, like he did, though how much production was needed to get the wrinkles out of that voice to sing as smoothly as the “Chairman of the boards,” to run the pauses and the hushed tones Frank knew how to do to keep his audience in his clutches. Yeah, still what goes around comes around.