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[Greil Marcus]Like a Rolling Stone : Bob Dylan at the Crossroads (pdf){Zzzzz}

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Description

 							
  
  
  
  Greil Marcus saw Bob Dylan
for the first time in a New Jersey field in 1963. He didn't know the name of the scruffy singer who had a bit part in a
Joan Baez concert, but he knew his performance was unique. So began a dedicated and enduring relationship between
America's finest critic of popular music-- "simply peerless," in Nick Hornby's words, "not only as a rock writer but as
a cultural historian"-- and Bob Dylan. In Like A Rolling Stone Marcus locates Dylan's six-minute masterwork in its
richest, fullest context, capturing the heady atmosphere of the recording studio in 1965 as musicians and technicians
clustered around the mercurial genius from Minnesota, the young Bob Dylan at the height of his powers. But Marcus shows
how, far from being a song only of 1965, "Like a Rolling Stone" is rooted in faraway American places and times, drawing
on timeless cultural impulses that make the song as challenging, disruptive, and restless today as it ever was, capable
of reinvention by artists as disparate as the comedian Richard Belzer and the Italian hip-hop duo Articolo 31. "Like a
Rolling Stone" never loses its essential quality, which is directly to challenge the listener: it remains a call to arms
and a demand for a better world. Forty years later it is still revolutionary as will and idea, as an attack and an
embrace. How Does it Feel? In this unique, burningly intense book, Marcus tells you, and much more besides.
  
  Product Description
  
  About the Author
  Greil Marcus is the author of Mystery Train,
Lipstick Traces, Dead Elvis, In the Fascist Bathroom, The Dustbin of History, The Old, Weird America and Double Trouble.
He has written for numerous publications, among them the New York Times, Rolling Stone, Threepenny Review, Artforum,
Esquire, the Los Angeles Times, Salon, and Granta. In 2000 and 2002 he taught at Berkeley and Princeton, and he
currently lectures in the U.S. and Europe. He lives in Berkeley, California. 
  
  Publisher: PublicAffairs,U.S. (14 March 2006)
  Language: English
  ISBN-10: 158648382X
  ISBN-13: 978-1586483821
  
  Most Helpful Customer
Reviews
  
  No direction home," forty years later 3 April 2005
  By Autonomeus - 
  A whole book about one song? If there's a song that deserves it, it's Dylan's "Like a Rolling Stone," but this is
Greil Marcus, and there's a lot of history, social context and cultural detritus here beyond the song, no surprise. The
first section of the book is on the social context into which the song was launched, the middle section is about the
making of the song itself, and the last section is about its reception and effects.
  
  I found some of
Marcus's cultural commentary compelling and some not so compelling -- the highlights for me are the less disputable
"facts" about the great song itself, recorded on June 15, 1965 and released on July 24, 1965. It stormed the pop charts,
unprecedented for a 6-minute song, and reached #2 in the USA. What was #1, you ask? It was the Beatles' "Help!" Al
Kooper's story of how he ended up playing organ is quite amusing, and Dylan's recruitment and use of Michael Bloomfield
in the session is fascinating. Also superb is Marcus's account of the ensuing tour of the new electric Dylan, with the
booing in the U.S. and the large-scale disruption of the U.K. concerts, some of it quite purposefully organized by the
old British Communist Party, as it turns out, which controlled a network of stodgy folk clubs. "Like a Rolling Stone"
was the last song every night on that tour, a perfect howl of anger for Dylan to wreak vengeance on his recalcitrant
fans. (See my 9/5/04 review of the LIVE 1966 disc, the official release of the famous "Royal Albert Hall" bootleg of the
Manchester concert.)
  
  Once you realize the scope of Marcus's musings, it becomes clear that this book
could have been much longer. He never devotes any attention to the fact that the song was an existentialist anthem, for
instance, which might have involved analysis of the existentialists and their influence on Dylan. He doesn't have much
to say about the class resentment that drives much of the song's powerful angry energy, or the vast and growing
inequality in the the U.S. that might make that resentment more and more relevant at 40 years on, as the old New Deal
programs are under full-scale assault by the president and congress. Dylan himself said "I was hungry, and it was your
world" ("Just Like a Woman"), he also said "Papa's bankbook wasn't big enough" ("Tangled Up In Blue"), both references
to the fact that he, a middle class boy, had entered a higher status world, and experienced class resentment.
  
  Much could have been made of the social context of the Vietnam War, and Dylan's refusal to address it. The turn from
the left-wing politics of his folk period (for civil rights, against war) to the apolitical, surrealist stance he took
in 1964-5 is never seriously tackled. Some of Marcus's musings are quite idiosyncratic -- of all the music that has
followed "Like a Rolling Stone" he chooses the Village People and the Pet Shop Boys for special treatment. I would have
chosen at least a thousand others first, but there you go, it's a wide world for cultural influence, and there's 40
years to work with. He mentions, and includes the entire text of, a great old early '70s comedy skit that they used to
play on WXRT in Chicago with Dylan pitching a K-Tel album of Golden Protest. An Italian rap group's version of The Song
from MASKED AND ANONYMOUS is analyzed at some length.
  
  I can now easily imagine books about Dylan's "Like
a Rolling Stone" quite different from this one. But they haven't been written. I'll close with a quote from Dylan
himself from 2004:
  
  "It's like a ghost is writing a song like that. It gives you the song, and then it
goes away, it goes away." 
  
  The biography of a song... 27 June 2005
  By ewomack - 
 
Here lies a biography of a single song. Of course, not just any song, but the "how does it feeeeeel?" song that
refuses to disappear since its release as a two-sided 45 in 1965. Has any other or, maybe a better question would be,
can any other song receive the in-depth, subterranean, data mined, ultra-nuanced treatment that Greil Marcus gives to
Bob Dylan's "Like A Rolling Stone"?
  
  That the song remains legendary no one probably doubts. That it
stands as one of the greatest rock songs ever recorded may also not meet with much dissidence. But over two-hundred
pages on a single song? The idea alone entices a read.
  
  So what happens in this book? And why should
anyone read it? First off, this book likely won't appeal to those who don't see a connection between popular music,
popular culture, how it potentially affects our lives as consumers/listeners, and how a song can take on a life of its
own (which explains the "biography" moniker - this book really tries to capture the life the song took on all by
itself). Some of the claims this book makes seem a little far out. Did "Like A Rolling Stone" contain seeds for a
"strange revolution"? Does the song have, for lack of a better term, a metaphysical category all of its own (as some of
the descriptions and rhapsodies in this book suggest) that seems unreachable and ineffable? Those who like to put on
music, dance to it, and not think about it will probably close this book quickly. In other words, it's a heady book for
those who want to dig into the mystique of popular music and theorize about what makes it tick. Marcus descends to
levels of granularity that don't seem possible when chatting about popular music. Some of the chapters read thickly,
and, without a share of Marcus' knowledge, some of the references approach the incomprehensible.
  
  Still,
this rather short book bloats with interesting historical tidbits about Dylan, the song, the origins of the song,
multifarious perspectives on the song, readings of the song's lyrics, the recording of the song, and some of its concert
history. Some of these contain new information (songs in which "Rolling Stone" have appeared, the history of Highway 61
- the actual physical highway, the pop and culture scene of the early 1960s - for those of us who weren't there, at
least). Others will seem very familiar to hard core Dylan fans (the 1965 Newport Folk Festival where the crowd booed
Dylan, Al Kooper sneaking into the studio, the infamous "Judas!" remark). The book's epilogue contains almost a
play-by-play of the recording session for the song. It reveals glimpses of how it almost got away from the group. But
was take 4 an "accident" as Marcus claims?
  
  A few things don't receive mention: Dylan included a strange
and sloppy version of "Like A Rolling Stone" on the monolithic and bizarre "Self-Portrait". What was that all about? And
what about Dylan's song "Highway 51 Blues" from his first album. What highway was that and can any connection be drawn
from that song to the 1965 album? Also, Marcus quotes the line "Highway 61, go right past my baby's door" on page 167.
This line appears in the song "Highway 51 Blues" but as "Highway 51, go right past my baby's door." Did he mix the two
up or is there some assumed and implied historical knowledge in that passage?
  
  It's hard to describe what
this book offers. For one, it contains loads of philosophical speculation about the song. It also bequeaths a wealth of
information on this single subject. So much so, that upon finishing it, the loads of information mingle in the brain
with other facts and snippets of the song (try not singing "how does it feeeel" continuously). Is the song as
significant as Marcus makes it out to be? The answer to and degree of that question depends on the person asking it. In
the end, this book is not for everyone. It's a specialist's book. Those who find themselves wondering about how a song
goes from studio to legend or how an artist deals or struggles with a song as it takes on legendary water will likely
love every page. Those that want to dance or groove should close the book and turn on their stereos. Nonetheless, it may
also shine a light on the phenomema of popular music and its mystical and capricious side. There's more to a great song
than notes, after all. 
  
   						

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