Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties, by Elijah Wald
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Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties, by Elijah Wald
Best Ebook Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties, by Elijah Wald
One of the music world’s pre-eminent critics takes a fresh and much-needed look at the day Dylan “went electric” at the Newport Folk Festival, timed to coincide with the event’s fiftieth anniversary.
On the evening of July 25, 1965, Bob Dylan took the stage at Newport Folk Festival, backed by an electric band, and roared into his new rock hit, Like a Rolling Stone. The audience of committed folk purists and political activists who had hailed him as their acoustic prophet reacted with a mix of shock, booing, and scattered cheers. It was the shot heard round the world—Dylan’s declaration of musical independence, the end of the folk revival, and the birth of rock as the voice of a generation—and one of the defining moments in twentieth-century music.
In Dylan Goes Electric!, Elijah Wald explores the cultural, political and historical context of this seminal event that embodies the transformative decade that was the sixties. Wald delves deep into the folk revival, the rise of rock, and the tensions between traditional and groundbreaking music to provide new insights into Dylan’s artistic evolution, his special affinity to blues, his complex relationship to the folk establishment and his sometime mentor Pete Seeger, and the ways he reshaped popular music forever. Breaking new ground on a story we think we know, Dylan Goes Electric! is a thoughtful, sharp appraisal of the controversial event at Newport and a nuanced, provocative, analysis of why it matters.
Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties, by Elijah Wald- Amazon Sales Rank: #219887 in Books
- Published on: 2015-07-14
- Released on: 2015-07-14
- Original language: English
- Number of items: 1
- Dimensions: 8.25" h x 1.17" w x 5.75" l, .0 pounds
- Binding: Hardcover
- 368 pages
Review “Provides a deeply researched and entertaining chronicle of the culture clash that Dylan sparked from the Newport stage.” (David Remnick, The New Yorker)“It is a great work of scholarship, brimming with insight – among the best music books I have ever read.” (The Guardian)“Wald contextualizes the deeply divisive event in illuminating detail . . . a major contribution to modern musical history.” (Booklist (starred review))“Wald is a superb analyst of the events he describes. And his analyses fly in the face of conventional wisdom. Even his introduction includes enough startling context to indicate ‘Dylan Goes Electric!’ will be seeing the old story with new eyes.” (Janet Maslin, New York Times)“Wald’s personal knowledge seems encyclopedic . . . An enjoyable slice of 20th-century music journalism.” (Kirkus Reviews)“Anyone interested in Dylan, folk music, or rock and roll will adore this volume. It might not resolve the questions of what really happened in Newport in 1965, but it comes very close.” (Library Journal)“In this tour de force, Elijah Wald complicates the stick-figure myth of generational succession at Newport by doing justice to what he rightly calls Bob Dylan’s ‘declaration of independence’ . . . This is one of the very best accounts I’ve read of musicians fighting for their honor.” (Todd Gitlin, author of The Sixties and Occupy Nation)“What Wald reveals about that most mystified of singer-songwriters and the folk and rock worlds that then surrounded and elevated him changed my own view of a moment I thought I had all figured out-and of the songwriterly 1960s as a whole.” (Ann Powers, author of Weird Like Us: My Bohemian America and, with the artist, Tori Amos: Piece by Piece)“Devastatingly smart analysis . . . Wald is a remarkably sharp and graceful writer, capable of drawing extraordinary connections between artists, genres, and cultural moments. There’s simply no one better when it comes to unpacking not just the mechanics of American music, but the mythology of American music.” (Amanda Petrusich, author of Do Not Sell At Any Price: The Wild, Obsessive Hunt for the World's Rarest 78rpm Records)“Elijah Wald’s book reflects the many directions in which America’s music scene evolved in those extraordinary years, 1963-1970-I can’t recommend it enough.” (George Wein, Founder of the Newport Folk Festival)“Concise and entertaining . . . a great story, masterfully told, of how the times were, indeed, a-changin’-and why.” (Ed Ward, rock and roll historian for NPR's Fresh Air with Terry Gross and author of Michael Bloomfield: The Rise and Fall of an American Guitar Hero)“Easily the definitive account of Newport ‘65.” (CounterPunch Magazine)“There is no shortage of books about Bob Dylan . . . but Elijah Wald’s heavily researched book manages to offer new information and unique insight into the social context of this controversial moment in music history.” (Buzzfeed)
From the Back Cover
On the evening of July 25, 1965, Bob Dylan took the stage at the Newport Folk Festival. Backed by an electric band, he roared into a blistering version of “Maggie’s Farm,” followed by his new rock single, “Like a Rolling Stone.” The audience of committed folk purists and political activists who had hailed him as their acoustic prophet reacted with a mix of shock, boos, and scattered cheers. It was the shot heard round the world—Dylan’s declaration of musical independence, the end of the folk revival, and the birth of rock as the voice of a generation—and one of the defining moments in twentieth-century music.
In Dylan Goes Electric! Elijah Wald explores the cultural, political, and historical roots and impact of this seminal event. He delves deep into the folk revival and its intersections with the civil rights movement, the rise of rock, and the tensions between traditional and groundbreaking music to provide important insights into Dylan’s artistic evolution, his special affinity to blues, his complex relationship to the folk establishment and his sometime mentor Pete Seeger, and the ways he reshaped popular music forever.About the Author
Elijah Waldis a writer and musician whose books include Escaping the Delta: Robert Johnson and the Invention of the Blues and How the Beatles Destroyed Rock ’n’ Roll: An Alternative History of American Popular Music. A respected expert on the folk revival, he collaborated with Dave Van Ronk on The Mayor of MacDougal Street, the inspiration for the Coen Brothers’ film Inside Llewyn Davis. His awards include a 2002 Grammy, and he has taught blues history at UCLA and lectured widely on American, Mexican, and world music. He currently lives in Medford, Massachusetts.
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Most helpful customer reviews
21 of 22 people found the following review helpful. WOULD YOU LIKE BOBBY TO SING ANOTHER SONG?" PETER YARROW TO THE CROWD AFTER DYLAN'S ELECTRIC SET, 1965. By Stuart Jefferson "It is essential that you get your levels for your instruments, and for your amplifiers, and get them into your heads!" Peter Yarrow talking to Dylan's band.Pete Seeger: "That noise is terrible! Make it stop."George Wein, festival producer: "Pete, it's too late. There's nothing we can do."Mike Bloomfield: "Bob, how do you think we did?"Bob Dylan: "They were booing. Didn't you hear it?"Mike Bloomfield: "No, man. I thought it was cheers."If you're a Dylan fan chances are you already know something about his "going electric" at the 1965 Newport Folk Festival back when he was seen and touted as the new folk messiah for many folk music followers. This book by Elijah Wald ( who also wrote "How The Beatles Destroyed Rock 'N' Roll", "The Mayor of MacDougal Street", "Escaping The Delta" (these three I've read), and a few other books, delves deeper into the music, the people, and the era itself for a closer look at those crucial years. Included is a Notes section, a Bibliography, and an Index that proves useful.Wald talked with many people who were there at the time like Willie Chambers (Chambers Brothers), Barry Goldberg, John Koerner (his albums are great), Julius Lester, Tom Paxton (another long time "folkie"), Geoff Muldaur, Maria Muldaur, Mark Naftalin, Peter Stampfel (Holy Modal Rounders), festival producer George Wein, Peter Yarrow, and a number of others. Wald also had access to Alan Lomax's files with letters and other documents from the era.Besides Dylan, Wald explores other musicians like Pete Seeger in some depth, as performer and also when it pertains to the Dylan/Newport/electric "scandal", and other festival performers, giving the book an almost "you are there" feel for the kinds of music being performed. He also lays open the foundation of the Newport festival by going back a few years (into the 1950's) so we get a better picture of how important/confusing Dylan going electric was in some circles. By better understanding the previous festivals we get a clearer picture of the '65 festival. Seeger looms large in this book, and plays an important part with Wald comparing and contrasting both men. He writes about Seeger's life both in and out of music which gives a better foundation for Dylan's "betrayal"."It must have been an absolutely magnificent thing. And I realize that my own singing of it is kind of pale and wishy-washy, compared to what it once was." Pete Seeger on his singing of "Michael Row the Boat Ashore.""We heard Delta blues played by real people." Paul Rothchild (producer for Elektra Records) in the late 1960's.Throughout the book are quotes (usually whole paragraphs) that shed light on that whole time from those who experienced it--producers, musicians, etc.. Wald talks about how the years before 1965 were as Robert Shelton said, "...a dress rehearsal for Woodstock Nation..the cocoon of an alternative culture." In 1965 Dylan was 24 years old. His "going electric" at Newport was years away from Woodstock and Altamont, the "Summer of Love", the Kent State massacres, the "Sgt. Pepper's..." album, the escalating Civil Rights movement, and the escalation of U.S. troops in Vietnam and the draft resistance movement. And it was just weeks before the Watt's riots. The Newport festival during that time (mid '60s and before) was still relatively conservative and innocent--the music may make you think on some level--but it wasn't as hard and defined sounding, and wasn't as relatively confrontational as it would become. Over the years many people have forgotten (or didn't realize) that at the '65 Newport festival other artists had performed with electric backing--Lightnin' Hopkins, the Chambers Brothers, and the Butterfield Blues Band."Old men with banjos aren't the kind of Saturday's heroes the young generation understands very well." Paul Nelson, Little Sandy Review."The white boys just don't have the voices for the blues. It isn't white man's music." Lightnin' Hopkins' debating white-played blues.This book goes into some detail about not only the music/performers, but about life itself in those years that shaped, to some extent, the music. Included are eight pages of b&w photos from the era (including one with a number of performers holding hands on stage at the 1963 festival showing solidarity) which add to the informative text. The chapters are intelligently laid out so the entire picture of that time can be better understood. Wald writes about the crowd's reaction to Dylan playing with an electric band ("With the last notes of 'Maggie's Farm', we leave the realm of history and enter the realm of myth. What anyone experienced depended not only on what they thought about Dylan, folk music, rock 'n' roll, celebrity, selling out, tradition, or purity, but on where they happened to be sitting and who happened to be near them..."). Those words, in a nutshell, are a major part of this fine book, but only one part. Wald has cast his net much wider and gives us a clearer picture of not only that day, but that entire period of thinking and music.When I first picked up this book I thought this would be just another "Dylan/Newport/going electric" book, with little or nothing worth reading. I was wrong. Wald has written about those years to include everything that helped form the music and the thinking of those times. If you're interested in that period of folk music/Dylan/Seeger/acoustic versus electric instrumentation, you should give this book a good look.
21 of 22 people found the following review helpful. Dylan Again By fionaII I thought when I saw this book why would I want to read another Bob Dylan book. I had read every book about him that had been written. But, I finally ordered it. Guess what? It was great. I did learn some things I did not know and I thought this book gave a very honest look at the man we call Bob Dylan. I enjoyed it very muchI saw Dylan at Emory University right after he finished his first album. I was fifteen years old. I had never heard of him . The concert was not in a large hall. My friends and I had front row seats because not that many people were there. The lights went out and a small, young looking man/boy walked on stage carrying a guitar and a stool. He had that funny little cap on. He opened his month and began to play and sing and in that one second I traveled from a southern girl growing up in a very small southern town into something totally different.I came home and took a bus to Nashville and bought his first and only album. Came back home, put it on the turn table and began to hear Bob's voice float into my room. My daddy came into the room and ask me what was that awful noise, thought he sounded like a communist and took the record away. I never saw it again. But I was hooked. I have seen Bob Dylan more times than I can count, I have every record he every recorded and every book or magazine article written about him. Therefore, I can greatly recommend this book. My daddy was defeated in his quest to stop me from listening to Dylan .
4 of 4 people found the following review helpful. The 1965 Newport Folkie Fight, again (but improved) By G. Wallace At 50 years, I guess this famous sixties event seems about as pertinent as a Reformation church schism, but the book is entertaining. Wald uses the wide lens and possesses the requisite historical imagination to attempt to describe the campfire crew that was the butt of the joke. This isn't easily done because it's hard to imagine today's analogy to that innocence (Apple fanboys?). I suppose Joe Boyd was a little closer to the mischief in his description in White Bicycles but essentially the small group responsible for the sound seems to have wished to give part of the audience a little poke in the eye before watching it be buried in the sand of history. Dylan comes off like a mist driven by storm, creating what he can with scarcely a thought toward marketability (which was definitely part of the charm) and this is a big turning point in his performing biography: the ensuing ten months or so got nasty enough audience response that drummer Levon Helm quit to work on an oil rig. Dylan persisted to the end (and his motorcycle accident) but seldom seemed comfortable with his audience when he resumed performing ("all I see is dark eyes").I think Wald had yet a more interesting book but there's such an industry in Dylan biographies that he took the deal he could. He's especially good at perceiving and explaining all the social fissures within the broad folk "movement." And having been close enough to Dave Van Ronk to finish his autobiography Mayor of McDougall Street, Wald certainly has the inside scoop. He understands the commercial angles and he's listened to all the bootleg tapes. Finally, he's enough of a wit that there are plenty of laughs. Not your standard "artist versus audience" triumphal Dylan book and that's a good thing.
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