So, it’s just Garth now on the mystery train. I will never be able to decide where I stand on Robertson, except for his guitar playing on “Who Do You Love” and with Dylan in England c. 1966. And what else did he have to do, really? Any final thoughts would be greatly appreciated. —DEREK MURPHY
Thank you for this - the whole continuing series really - they're so interesting and pleasurable to read. Few things hit your inbox and instantly generate the kind of anticipation and excitement that certain magazines once did, but "Ask Greil" is an instant 'drop everything and devour'. It's a great kindness that you put so much time into writing and sharing them with us. Much appreciated.
Harlan Ellison had the line “I am an artist and should be exempt from shit" posted on his Olympia typewriter. No P.J fan, he, but HE knew a good aphorism when he saw it, and he saw it.
I once passed a bookstore in New Orleans and in the front window sat a man at a typewriter. There was a sign reading HE WILL WRITE A STORY AS YOU WATCH. It was Harlan Ellison, ponding away as people gathered around and looked over his shoulder. I didn’t get a look at his machine.
Too bad you didn't go into the bookstore--that would have been a cool meeting! I He had written in an introduction to one of his books--probably "Spider Kiss"--about how chuffed he was that you had written a glowing appreciation of the book, and included it in a list of your favorite rock novels.
As with any list of “songs I like,” your mileage may vary, but other worthwhile Gene Vincent songs include “Woman Love,” “Bop Street,” “Race With The Devil,” “Blue Jean Bop,” and “Git It.” And since it’s known that Tony Sheridan tried to attach himself to Vincent and Eddie Cochran during their 1960 English tour (Vincent and Cochran refused to let Sheridan join them on that fateful taxi ride), I find myself wondering if Sheridan might have used Vincent’s 1956 LP version of “Ain’t She Sweet” to convince John Lennon to record the song. Just speculation, of course. Robert Mitchell, Tucson
I never could connect with "Who Slapped John." If I were going to add songs, I'd start with "Lotta Lovin'" (a top 20 hit in 1957), "Dance To The Bop," and maybe "She She Little Sheila." And as long as I'm this far down the GV rabbit hole, I'll mention that (based on Bear Family videos of his Town Hall Party appearances), it looks like Vincent had bad teeth - no hanging matter, but along with his limp, it would have rendered him less telegenic than his peers. Favorite "Be Bop A Lula" cover version? Everly Brothers, by a mile. And finally, leave us not forget Johnny Carroll's "Be Bop A Lula Is Back On The Scene."
Bad teeth and less telegenic, but maybe more fetishistic, attainable, endearing and relatable, especially in Britain...remember Coronation Street and Austin Powers, etc...and I think his bands' sound really influenced Johnny Kidd and the Pirates who were very important in early British rock. I like John Lennon's "Be Bop a Lula"--it was a nice homage and cleanly done. Didn't know the Everlys ever covered it . I have to check that out now. Thanks
I re-watched Pleasantville the other day (a Greil fave) and was pleasantly reminded that "Be Bop a Lula" is used, and well, with a slow pan surveying the teens making out (waking up, really) at Lover's Lane--it's never sounded so lascivious.
My Buddy Holly alternate history is that he was in the plane when it went down, but survived as a paraplegic. He moved back to NYC, his daughter was born healthy, and he began hanging out in Greenwich Village clubs to pass the time. He keeps writing songs, and becomes a sort of Doc Pomus figure. Bob Dylan moves to New York to hang out with him, not Woody Guthrie. Holly’s daughter grows up to be Joan Jett. Robert Mitchell, Tucson
A little bothered by the posthumous Robbie Robertson bashing in a couple of questions. For those who don't care for The Last Waltz, watch the b'n'w video via Bill Graham's house camera of the show. It gives the viewer a single angle of the entire stage and it's like watching the concert in person. There is also fantastic footage on YouTube of The Band in their glory, The Festival Express tour in '70, w/plenty of outtakes. As Greil says, it was tough to capture Richard and Garth because they were tucked away onstage and not upfront. Both men shunned the spotlight, as did most of The Band. Robbie had to step out, not because he was a narcissist, but because no one else would or could. Post Robbie would have Levon as their spokesman and god love his incredible talent, but Helm turned those guys back into a bar band.
I should clarify that I didn’t post Robert Christgau’s words because I agreed with them myself but because I was fairly sure Mr. Marcus didn’t share that view and wanted to know what his response would be just as well. My own view of Robertson was shaped by my initial experience watching The Last Waltz. And in fairness Mr. Marcus is probably correct in indicating that the way Robertson came off in that film was just as much Martin Scorsese’s doing if not more so. There are subsequent interviews with Robertson which find him in a more believable and relaxed setting. And while my own views of Robertson have yet to crystallize, I do respect him even if my initial question about the film may have come off a little strong to you.
I love Christgau's Record Guide. Legendary stuff. And Greil is an OG himself in rock writing. I discovered The Band when they were still current and their '74 Tour w/Dylan started in Chicago, where I grew up. I was too young to go to those shows, but I cherish the memory of their music and will miss Robbie as he was still working (like Dylan) this year.
They're fantastic in that one. Richard's piano intro especially. Robbie wearing a Garrison Keillor beard! Check out the outtakes from that film: Time To Kill and other rarities. I love Rick Danko, but he gets so shit-faced with Janis Joplin it gives a peak into what Robbie had to deal with at times. I think he was relieved to get out from under those guys. Dylan didn't want Richard and Rick backstage at Concert For Bangladesh because he was so wary of their behavior and felt embarrassed to have George and Ringo see it. I love 'em all; they were all nice guys mostly, but the three singers were a heroin brotherhood, as Greil suggests.
To clarify, I saw Christgau’s words in the most recent Xgau Sez entry. You can find them there in response to a question over his views on Robertson in light of his passing.
I should add that Christgau's actual full phrase was "self-important roots pop middlebrow." I don't really know if the part of self-importance adds anything to Mr. Marcus's answer to my question. That's up to him.
Comparing the "new and revised Creem" to a deluxe Yes album gave me a real chuckle, Greil. The Creem doc was pretty good (and necessary), and making the Creem archives readily available (reasonably priced, I think) annual subscription is terrific. But why why why does the world need a "new" Creem? The magazine died a quiet, albeit sad, death almost 35 years ago. The attempted revival of Creem is not unlike the vestiges of Herman's Hermits or Gerry and the Pacemakers or the Union Gap performing at these pathetic nostalgia festivals at state fairs in the Midwest (now the Big Market is British Invasion or Flower Pop cruises for folks my age to wallow in the memories of mediocre AM radio hits). Next to Rolling Stone, Creem was the greatest widely distributed rock magazine ever, and it had a decent run with a remarkable heyday. Why fuck that up? Anyway, thanks for calling out a very bad idea. (I did not know about The Pitchfork Review so I just bought the full run via Ebay - looking forward to reading it.)
RIP Robbie Robertson. I liked Robertson's scarf in Last Waltz-- it looked good on him. I guess he was starting to adopt a more suave, sophisticated persona, and also maybe distancing himself from his bandmates. He definitely was the best-looking of the group, and just emanated a fashion sense that definitely let you know that he had left the pastoral, rural American landscape behind. I wasn't crazy about the way he added Elvis to the list of musicians the "road destroyed or killed". Although true, he delivered the line in a gratuitous, coy ,staged way. My fave moments from the film are Van Morrison's high kicks, the way Rick Danko is so Canadian he wields his bass like a hockey stick, and the ribbing Ronnie Hawkins gives the boys during "Who Do You Love..."Big time, big time...Take it easy Garth, don't give me no lip".
Good looks don’t make up for an overcompensating stage presence. Much of the rest of his interview material felt similarly staged and hence less than sincere. Robertson did come off better as a person in subsequent interview material.
Thank you for this - the whole continuing series really - they're so interesting and pleasurable to read. Few things hit your inbox and instantly generate the kind of anticipation and excitement that certain magazines once did, but "Ask Greil" is an instant 'drop everything and devour'. It's a great kindness that you put so much time into writing and sharing them with us. Much appreciated.
Harlan Ellison had the line “I am an artist and should be exempt from shit" posted on his Olympia typewriter. No P.J fan, he, but HE knew a good aphorism when he saw it, and he saw it.
I once passed a bookstore in New Orleans and in the front window sat a man at a typewriter. There was a sign reading HE WILL WRITE A STORY AS YOU WATCH. It was Harlan Ellison, ponding away as people gathered around and looked over his shoulder. I didn’t get a look at his machine.
Too bad you didn't go into the bookstore--that would have been a cool meeting! I He had written in an introduction to one of his books--probably "Spider Kiss"--about how chuffed he was that you had written a glowing appreciation of the book, and included it in a list of your favorite rock novels.
As with any list of “songs I like,” your mileage may vary, but other worthwhile Gene Vincent songs include “Woman Love,” “Bop Street,” “Race With The Devil,” “Blue Jean Bop,” and “Git It.” And since it’s known that Tony Sheridan tried to attach himself to Vincent and Eddie Cochran during their 1960 English tour (Vincent and Cochran refused to let Sheridan join them on that fateful taxi ride), I find myself wondering if Sheridan might have used Vincent’s 1956 LP version of “Ain’t She Sweet” to convince John Lennon to record the song. Just speculation, of course. Robert Mitchell, Tucson
How about "Who Slapped John"?
I never could connect with "Who Slapped John." If I were going to add songs, I'd start with "Lotta Lovin'" (a top 20 hit in 1957), "Dance To The Bop," and maybe "She She Little Sheila." And as long as I'm this far down the GV rabbit hole, I'll mention that (based on Bear Family videos of his Town Hall Party appearances), it looks like Vincent had bad teeth - no hanging matter, but along with his limp, it would have rendered him less telegenic than his peers. Favorite "Be Bop A Lula" cover version? Everly Brothers, by a mile. And finally, leave us not forget Johnny Carroll's "Be Bop A Lula Is Back On The Scene."
Bad teeth and less telegenic, but maybe more fetishistic, attainable, endearing and relatable, especially in Britain...remember Coronation Street and Austin Powers, etc...and I think his bands' sound really influenced Johnny Kidd and the Pirates who were very important in early British rock. I like John Lennon's "Be Bop a Lula"--it was a nice homage and cleanly done. Didn't know the Everlys ever covered it . I have to check that out now. Thanks
I re-watched Pleasantville the other day (a Greil fave) and was pleasantly reminded that "Be Bop a Lula" is used, and well, with a slow pan surveying the teens making out (waking up, really) at Lover's Lane--it's never sounded so lascivious.
My Buddy Holly alternate history is that he was in the plane when it went down, but survived as a paraplegic. He moved back to NYC, his daughter was born healthy, and he began hanging out in Greenwich Village clubs to pass the time. He keeps writing songs, and becomes a sort of Doc Pomus figure. Bob Dylan moves to New York to hang out with him, not Woody Guthrie. Holly’s daughter grows up to be Joan Jett. Robert Mitchell, Tucson
A little bothered by the posthumous Robbie Robertson bashing in a couple of questions. For those who don't care for The Last Waltz, watch the b'n'w video via Bill Graham's house camera of the show. It gives the viewer a single angle of the entire stage and it's like watching the concert in person. There is also fantastic footage on YouTube of The Band in their glory, The Festival Express tour in '70, w/plenty of outtakes. As Greil says, it was tough to capture Richard and Garth because they were tucked away onstage and not upfront. Both men shunned the spotlight, as did most of The Band. Robbie had to step out, not because he was a narcissist, but because no one else would or could. Post Robbie would have Levon as their spokesman and god love his incredible talent, but Helm turned those guys back into a bar band.
I should clarify that I didn’t post Robert Christgau’s words because I agreed with them myself but because I was fairly sure Mr. Marcus didn’t share that view and wanted to know what his response would be just as well. My own view of Robertson was shaped by my initial experience watching The Last Waltz. And in fairness Mr. Marcus is probably correct in indicating that the way Robertson came off in that film was just as much Martin Scorsese’s doing if not more so. There are subsequent interviews with Robertson which find him in a more believable and relaxed setting. And while my own views of Robertson have yet to crystallize, I do respect him even if my initial question about the film may have come off a little strong to you.
I love Christgau's Record Guide. Legendary stuff. And Greil is an OG himself in rock writing. I discovered The Band when they were still current and their '74 Tour w/Dylan started in Chicago, where I grew up. I was too young to go to those shows, but I cherish the memory of their music and will miss Robbie as he was still working (like Dylan) this year.
The FESTIVAL EXPRESS "Slippin' and Slidin'" is still the Band clip I pull up on YouTube most often.
They're fantastic in that one. Richard's piano intro especially. Robbie wearing a Garrison Keillor beard! Check out the outtakes from that film: Time To Kill and other rarities. I love Rick Danko, but he gets so shit-faced with Janis Joplin it gives a peak into what Robbie had to deal with at times. I think he was relieved to get out from under those guys. Dylan didn't want Richard and Rick backstage at Concert For Bangladesh because he was so wary of their behavior and felt embarrassed to have George and Ringo see it. I love 'em all; they were all nice guys mostly, but the three singers were a heroin brotherhood, as Greil suggests.
To clarify, I saw Christgau’s words in the most recent Xgau Sez entry. You can find them there in response to a question over his views on Robertson in light of his passing.
I should add that Christgau's actual full phrase was "self-important roots pop middlebrow." I don't really know if the part of self-importance adds anything to Mr. Marcus's answer to my question. That's up to him.
If my memory serves me well, it is the cover of "Blonde on blonde" that appears in "Wonderstruck".
Thank you for years of eye-opening writings
Comparing the "new and revised Creem" to a deluxe Yes album gave me a real chuckle, Greil. The Creem doc was pretty good (and necessary), and making the Creem archives readily available (reasonably priced, I think) annual subscription is terrific. But why why why does the world need a "new" Creem? The magazine died a quiet, albeit sad, death almost 35 years ago. The attempted revival of Creem is not unlike the vestiges of Herman's Hermits or Gerry and the Pacemakers or the Union Gap performing at these pathetic nostalgia festivals at state fairs in the Midwest (now the Big Market is British Invasion or Flower Pop cruises for folks my age to wallow in the memories of mediocre AM radio hits). Next to Rolling Stone, Creem was the greatest widely distributed rock magazine ever, and it had a decent run with a remarkable heyday. Why fuck that up? Anyway, thanks for calling out a very bad idea. (I did not know about The Pitchfork Review so I just bought the full run via Ebay - looking forward to reading it.)
RIP Robbie Robertson. I liked Robertson's scarf in Last Waltz-- it looked good on him. I guess he was starting to adopt a more suave, sophisticated persona, and also maybe distancing himself from his bandmates. He definitely was the best-looking of the group, and just emanated a fashion sense that definitely let you know that he had left the pastoral, rural American landscape behind. I wasn't crazy about the way he added Elvis to the list of musicians the "road destroyed or killed". Although true, he delivered the line in a gratuitous, coy ,staged way. My fave moments from the film are Van Morrison's high kicks, the way Rick Danko is so Canadian he wields his bass like a hockey stick, and the ribbing Ronnie Hawkins gives the boys during "Who Do You Love..."Big time, big time...Take it easy Garth, don't give me no lip".
Good looks don’t make up for an overcompensating stage presence. Much of the rest of his interview material felt similarly staged and hence less than sincere. Robertson did come off better as a person in subsequent interview material.