It Was 40 Years Ago Today...


Born To Run, released this day:

August 25, 1975

And the world saw the future of Rock & Roll, and his name was Bruce Springsteen.
courant
The Japanese-made Tokai strats and Les Pauls are nice guitars, well worth the money. I had a Tokai strat for 30 years. Marty, I agree about Eddie. On the other hand, I love Hendrix more with each passing year. Not the best singer, but I like his vocal style.
Damn Marty, the more you talk, the more I recognize in you a kindred spirit! You have simply and concisely (how appropriate---read on) differentiated between the two main camps of musician's: Those who play for the song, and those to whom a song's value is merely in providing a platform on which a musician may play. That's an over-simplification, of course, but I'm trying to make a point! Whatever reservations I or anyone else have about Bruce Springsteen, he is definitely of the former; his guitar playing, his arranging of The E-Street Band's parts, and the production of his albums, are all done with the consideration of how they affect the overall presentation and perception of his songs foremost in his mind.

There is a video on You Tube (or at least there used to be. I just looked and couldn't find it) with both George Harrison and Eric Clapton talking about The Band (aw geez, here he goes again ;-). George says he heard in Robbie's playing a musician with the same priority as he, that of contributing to the song itself, and to the Group as a whole. Eric talks about music having been heading in the wrong direction for a long time (not acknowledging his role in that being so!), and when he heard The Band, he said to himself "Someone has finally gone and done it". Meaning nothing less than reminding everyone of what music is supposed to be all about! I had the full quote written down it was so astounding, but inadvertently threw away the sheet of paper it was on. Gotta find that You Tube clip!

Now, there ARE some musics in which the playing abilities of the musicians is a main point of the music itself, Jazz and Blues being two of the main one's (some Jazz "songs" containing but a single chord!). The whole "Blues Revival" coming from England in the mid-60's (The Yardbirds being a major player, with first Eric, then Jeff Beck, and finally Jimmie Page on guitar) really changed the focus of guitar playing from a player's musical contributions to the song and overall sound of the Group/Band, to his guitar solo. In America, the same was happening, with Mike Bloomfield becoming a guitar star in The Paul Butterfield Blues Band. (Two quick asides: Both Bloomfield and Robbie Robertson---The Hawks/Band guitarist---were hired by Dylan for his "Highway 61" album recordings. Upon hearing Robbie play, Bloomfield demurred, moving over to piano! And Butterfield himself became a very good friend of The Band's Levon Helm, playing in Levon's band after The Band ended. He had already played with Levon in The Last Waltz).

Robertson has said that by the time The Band went in to record Music From Big Pink, he had already done the now (in 1967-8) in vogue "flash" guitar playing, and was now thinking of guitar playing in more musical terms, citing Steve Cropper's and Pops Staples' playing as his new model. Speaking as a drummer, the same was happening amongst a certain segment of the drumming fraternity. Jazz type chops had become the yardstick by which a drummer's abilities were being judged, to the point where Keith Moon, in an attempt to humiliate him, was asked if he could play in The Buddy Rich Band. Keith taught the questioner a lesson by replying "No, and Buddy Rich couldn't play in The Who".

Just as Robbie had progressed to being a musical guitarist, Levon Helm was showing drummers how to be a musical drummer (an almost oxymoron!). But he wasn't alone---Dylan had already used the great Muscle Shoals drummer Roger Hawkins (who had played on all the Jerry Wexler-produced Atlantic Records albums---Aretha Franklin, Wilson Pickett, etc. Roger was later in Traffic.) on his albums, and George Harrison would soon use the indescribably great Jim Gordon (L.A. studio session drummer, later in Derek & The Dominoes) on his "All Things Must Pass" album. This musical style of drumming was in stark contrast to the Jazz-influenced playing rampant in '68; Ginger Baker in Cream of course, Mitch Mitchell of The Hendrix Experience, Bobby Columby of Blood, Sweat, & Tears, and the ultra-vulgar Carmine Appice, who proved a player could have ridiculous chops and zero taste.

This change in drumming style was over my head at first (some guitarists never do grasp the concept of taste and restraint), and I couldn't understand what all the fuss was about. In my High School clique, there were some non-musicians who loved Music From Big Pink, and I just could not see why. I didn't dismiss their opinion of it, however, as they were amongst the smartest people I knew. It wasn't until my "Teen Combo" (as I like to call it) opened for The New Buffalo (yeah, the Buffalo Springfield, or what remained of it; only drummer Dewey Martin, though Randy Fuller, Bobby's brother, was on bass) that the light bulb went on over my head. As I watched and listened to Dewey play my drumset (a gig pre-requisite!), I had an epiphany. Oh, NOW I get it! It was just like that---the mystery had been revealed to me. I was now a convert, everything was different. Taste, economy, musicality, ensemble playing---how good musician's play!

Taste, economy, musicality---the operative words in being an ensemble player. When technical virtuosity became valued more than musicality in "Pop" music, everything changed. The ripples of that change have grown into a tital wave, the majority of players falling into the chops camp. There are some players respected in both camps---Ry Cooder and Danny Gatton come to mind. But for most players, it's like the line in The Bible: "You can't serve two masters". A player puts either the song first (or, in the complete picture, the band or group), or himself.
Al Kooper wanted to play guitar on "Highway 61 Revisted" and switched to organ when Mike Bloomfield walked into the studio. Robbie Robertson wasn't part of that recording session. He and Levon were hired for the tour that followed the album.
That's a different story Onhwy61---both happened. Look on the album credits for the Blonde on Blonde album also---"Jaime" Robertson (the 1st Band album has him as J.R. Robertson). Robertson had already been on the Bringing It All Back Home album (as had Levon Helm and Garth Hudson. Dylan hired them away from John Hammond Jr., whose last album they had been the band on. In fact, it was precisely because they were working with Hammond that Dylan knew of The Hawks. It was John who "discovered" them---actually, a lady friend who told John about them, not Bob).

I love Al's telling of his story---the reason he plays the chord changes right behind the rest of the band on "Like a Rolling Stone" is that he hadn't heard the song before, and didn't have the chord sheets in front of him (Dylan likes to record---and play live---under-rehearsed). Al had to wait to see what the next chord was, THEN play it on organ!
Not on "Like a Rolling Stone", you're correct. Two different stories, two different sessions---both happened. Robertson had already been on the Bringing It All Back Home album (the "electric" side, of course), and would be on Blonde on Blonde the following year (credited as Jaime. He is listed as J.R. Robertson on Music From Big Pink), along with fellow Hawks Levon Helm and Garth Hudson.

And it wasn't just Robbie and Levon who were hired for the '66 tour, it was the full Hawks, including bassist Rick Danko, pianist Richard Manuel, and organist Garth Hudson. Levon didn't care for getting booed by Dylan's diehard Folk fans, and left the tour (he ended up working on an oil rig in the Gulf, until he got a call from Danko in Woodstock, telling him to come on up. The rest is history!), replaced by Johnny River's drummer Mickey Jones.

Dylan is credited as "discovering" The Hawks/Band, but it was actually Albert Grossman's secretary, who had seen them on the Jersey Shore playing in a bar. Albert was John Hammond Jr's manager, and knowing Hammond was looking for a band, put he and The Hawks together. They are his band on the So Many Roads album, and were his touring band in'65. Dylan heard them, and hired them away from John.

Kooper's telling of how he ended up being on "Like A Rolling Stone" is great story telling. It started as Onhwy61 says---hearing Bloomfield warming up, Kooper realized he was severely outclassed, and mosied over to the studio's Hammond organ. He started following along, playing along with the others. The reason he waits half a beat on every chord change in "Like A Rolling Stone" to play the chord is that he hadn't heard the song before, and didn't have the chord chart. He had to wait until everyone else played the changes, to hear the next chord!
Oops, neglected to point out that on the tracks on which both Robertson and Bloomfield play, you'll notice Robbie is on guitar and Mike is on piano. The info about Mike moving to piano after hearing Robbie start playing guitar came from Mike himself, and is remarkably similar to Kooper's story!
Speaking of Bloomfield, another great Band I'm so thankful to have seen live was The Electric Flag, with Bloomfield and the great Buddy Miles in '68. The Flag had four saxes that day---two tenor, a baritone, and a bass. HUGE sound!
Bdp24, you said Bob Dylan hired Robbie Robertson for the Highway 61 recording. I said, no Robertson was hired for the tour and it was Mike Bloomfield on the album. You then said Robertson had already appeared on "Bringing It All Back Home" and that both Robertson and Bloomfield played together with Bloomfield on piano. I'm not clear what recordings you are referring to.

Everything I've ever read says Robertson does not appear on the original "Highway 61 Revisted" album. Also he is not listed in the credits of the "Bringing It All Back Home" album. Did he record under an alias? Can you tell me what Dylan tracks both Robertson and Bloomfield appeared together on?

The first Electric Flag album is one of the greatest recordings from that time.

And yes, this is totally off topic.
In an attempt to get things directed a bit more on topic...

@Bdp24: Dylan's cover of Rebecca Black's "Friday" is certainly more redeeming than Springsteen's rendition...
Riwainwright,

I agree with you 100 percent! I grew up in Detroit and saw J.geils band many times in the 70's. I have seen a lot of the greats Stones, Zeppelin, the Who, etc, etc. By far Peter Wolf was the greatest front man I have ever seen. It has been over 35 years since I have seen that band and I can remember it like it was yesterday. I get goose bumps just thinking about it. The sad thing to me is the band was way underrated and the majority of people don't know who they are. Thank god for those experiences. I will take those to my grave.
Regarding the first two posters.. I think that comparing BS of years ago to BS of date in reference to how we receive his music isn't a fair comparison. Years ago, when music was king, is different to how music is now. I believe BS has risen to the challenge and shown he can still rise to the challenge. His music is still relevant. The difference is, other new artists along with the different times we are in, all affect our notion of what music should be.

Andrew9405: Yes, sadly, most threads go "off course" the longer they survive.