Book Received: That Thin, Wild Mercury Sound by Daryl Sanders

So I asked for, and received, a copy of Daryl Sanders's recently published tome, That Thin, Wild Mercury Sound (Chicago Review Press, October 2018), from my daughter and son-in-law for Christmas. (I learned years ago that one needs to provide a Christmas "wish list" to family, otherwise one ends up with questionable -- and often impractical -- tchotchkes as gifts. This way, one always gets what one wants! So, a huge "thank you" to my family!)

The book's subtitle: "Dylan, Nashville, and the Making of Blonde on Blonde" sums up exactly what this book is about. Blonde on Blonde was Bob Dylan's seventh studio album, released on June 20, 1966 -- and holds the distinction as the first rock double-album.

To accompany my reading of this book, I had previously purchased a copy of the limited release of Mobile Fidelity's Original Master Recording of Blonde on Blonde: a stunning three-LP box set mastered at 45 RPM. This LP release is no longer available (except on the secondary market), but the Super Audio CD (SACD) version is still being sold at retail, and that is the link I've provided.

"Detailed and diligent, Daryl Sanders has played local detective, seemingly digging up every Nashville cat who was in Studio A when Dylan did it his way in 1966, changing country and rock for good."
–Clinton Heylin, author of Trouble in Mind: Bob Dylan's Gospel Years and Bob Dylan: Behind the Shades Revisited

"Major victories like Blonde on Blonde often seem inevitable and easy. But Daryl Sanders has interviewed the survivors, noted the casualties, and pondered the battlefield strategies that conquered a country."
–Daniel Wolff, author of Grown-Up Anger: The Connected Mysteries of Bob Dylan, Woody Guthrie, and the Calumet Massacre of 1913

Now Reading: This Wheel's on Fire by Levon Helm with Stephen Davis

He was born Mark Lavon (yes, with an "a") Helm on May 26, 1940, but somewhere along the way, once he started touring and playing music, he became "Levon" (pronounced "Lee-von") Helm. The subtitle of This Wheel's on Fire is "Levon Helm and the Story of The Band." If you have to ask, "What band?" then you don't know your classic rock music, and you certainly aren't a fan of Bob Dylan's body of work.

Then again, if you are a moviegoer, you just might have seen Levon in the role of the coal miner, Ted Webb, in the 1980 screen adaptation of Loretta Lynn's autobiography Coal Miner's Daughter. He also played the role of Captain Jack Ridley, friend and fellow conspirator of Chuck Yeager in the film The Right Stuff. [I have watched this movie on numerous occasions (still have it on a double VHS!) and absolutely never realized that Ridley was played by Levon Helm....]

But back to the music: This is the story of how five musicians -- four Canadians and one Arkansawyer, multi-instrumentalists all -- came together over a span of years and endless road touring to eventually form The Band. To be honest, they never called themselves "the band" as they always thought this to be too pretentious: they were five individual musicians, each of whom went by their own name. But, while living in the Woodstock area of New York, the townfolk would simply refer to them as "the band": "Oh, he's in the band." And when their first album, Music From Big Pink, was released, they became The Band.

What motivated me to finally [see next to last paragraph] pick up this book and actually read it straight through? Believe it or not, this year marks the 50th anniversary of the release of Music From Big Pink (gawd, 50 years?), and the remaining two members of the band have opted to release a 50th Anniversary edition of this seminal work: a box set as well as a newly remastered (from the original analogue tapes) double-LP on pink vinyl.

Levon Helm writes:

"We wanted Music From Big Pink to sound like nothing anyone else was doing. This was our music, honed in isolation from the radio and contemporary trends, liberated from the world of the bars and the climate of the Dylan tours. We'd grown up with Ronnie Hawkins [Ronnie Hawkins and the Hawks], playing that quicker tempo of tunes. Now we cut our tempo, our pulse, right in half. The sense of teamwork and collaboration was incredible. Robbie [Robertson, vocals, guitar] was writing stuff that evoked simple pictures of American life. Richard [Manuel, vocals, keyboards, drums] was writing beautiful songs like 'In a Station' and 'Lonesome Suzie.' Garth [Hudson, keyboards, accordion, brass and woodwinds] took a great song like 'Chest Fever' and composed an organ prelude. Rick's [Danko, vocals, bass, fiddle, trombone] playing and singing were amazing, and that blend of the three voices -- Richard, Rick, and me -- sounded really rich after we'd worked with John Simon [producer] for a while."

And the reviews for Big Pink, to use Levon's own words, were "pretty good." Al Aronowitz, in Life magazine: "With Big Pink, the band dips into the well of tradition and comes up with bucketsful of clear, cool country soul that washes the ears with a sound never heard before. Traditionalists may not like it because it's too original. Pop faddists won't like it because it's too traditional." And in Rolling Stone, Al Kooper wrote: "I have chosen my album for 1968. Music From Big Pink is an event and should be treated as one....This album was recorded in approximately two weeks. There are people who will work their lives away in vain and not touch it."

I could go on and on with reviews of Big Pink as well as their follow-up album, simply called The Band, but I'd rather not overwhelm you with facts and opinions, but simply recommend a few albums if, indeed, you are not familiar with the music:

• Music From Big Pink (1968)
• The Band (1969)
• Bob Dylan/The Band - Before the Flood (1974)
• Bob Dylan & The Band - The Basement Tapes (1975)
• Northern Lights - Southern Cross (1975)
• Levon Helm - Dirt Farmer (2007, Grammy Award for Best Traditional Folk Album)
• Levon Helm - Electric Dirt (2009, Grammy Award for Best Americana Album)

I've been reading the 1993 hardbound edition of this book, which I've had in my library, well, since 1993(!), but while looking the title up on Amazon I have learned that Chicago Review Press published a trade paperback edition in 2000, and then a "Revised Edition" in 2013. If you are intrigued by my post and decide to pursue your own reading copy, try to snag the 2013 revised edition as it contains an additional chapter as well as an afterword, neither of which are in my copy. Levon Helm passed away in 2012, so these additions may include the last words we'll every hear from him.

"They were grown men who had climbed the mountain together, spoken to the gods, and returned to the valley, where they once again became mortal."

– The Philadelphia Inquirer

Now Reading: Michael Bloomfield: The Rise and Fall of an American Guitar Hero by Ed Ward

"The music you listen to becomes the soundtrack of your life. It may be the first music you made love to or got high to or went through your adolescence to, went through poignant times of your life—well, that music is going to mean a lot to you. It's going to take on much more import than just the sound of the notes, because it's the background track for your existence."

– Michael Bloomfield, in an interview with
Tom Yates and Kate Hayes, February 13, 1981.

At 11:00 a.m. on February 15, 1981, Michael Bloomfield was found slumped over the steering wheel in his parked car, keys still in the ignition, in a part of San Francisco in which he never frequented. The pathologist ruled the cause of death as cocaine and methamphetamine poisoning -- very odd, considering that Michael never touched cocaine, and as a lifelong insomniac, why would he intentionally take two drugs that keep one awake? Questions, sadly, that will never be answered.

Fortunately, we still have his music....

When Bob Dylan went electric at the 1965 Newport Folk Festival, Michael Bloomfield was on that same stage, backing Dylan on guitar. This was three days before Michael's twenty-second birthday. Here's what Ed Ward wrote about that performance:

"During 'Maggie's Farm,' Bloomfield becomes Dylan's second voice. He sits so hard on top of the beat that it screams, and what he plays amounts to a sardonic running commentary on Dylan's song. Bloomfield approaches atonality in a couple of places, but his playing on 'Maggie's Farm' sits squarely within the blues tradition. It's not hard to understand why some people in the audience were confused, because what Bloomfield gave them on the evening of July 25, 1965, was the future of rock guitar."

Following Newport, Bloomfield then played on the Dylan recording sessions, along with Al Kooper who also played at Newport, for the album Highway 61 Revisited, released by Columbia Records later that year.

In addition to Highway 61 Revisited, here are a few "must have" albums that showcase Michael Bloomfield's work. I assume most, if not all, of these albums are available for streaming, but that's not my thing. Personally, I want the physical media, and the larger (i.e. vinyl) the better:

• The Paul Butterfield Blues Band self-titled album (1965)
• The Paul Butterfield Blues Band - East-West (1966)
• The Electric Flag - A Long Time Comin' (1968)
  
• Mike Bloomfield, Al Kooper, Steve Stills - Super Session (1968)
• The Live Adventures of Mike Bloomfield and Al Kooper (1969)
• Michael Bloomfield and Friends - Live at Bill Graham's Fillmore West 1969
• Nick Gravenites - My Labors (1969)
• Muddy Waters - Fathers and Sons (1969)

Michael Bloomfield, to Ed Ward, on why he chose not to tour with Dylan following the release of Highway 61 Revisited:

"With Bob, I'd have no identity. I didn't even know that [at the time]. All I knew was that I didn't understand what was happening....So I told Albert [Grossman, Dylan's manager], 'Man, I'm a bluesman. I'll go with Butterfield.' And I played with Butter and didn't play with Dylan, and we were cookin'. We wailed from then on."

Michael Bloomfield: The Rise and Fall of an American Guitar Hero by Ed Ward (Chicago Review Press Inc., 2016, Revised Edition).