.

On the Road With Bob Dylan, Joan Baez, and the Rolling Thunder Revue

The pilgrims have landed on Kerouac's grave

January 15, 1976
Bob Dylan and Joan Baez on Issue No. 204
Bob Dylan and Joan Baez on Issue No. 204
Ken Reagan

Backstage at the Rolling Thunder Revue, Allen Ginsberg (who has just dedicated his book of First Blues to "Minstrel Guruji Bob Dylan") asks the convener of these revels, these winds of the old days, "Are you getting any pleasure out of this, Bob?"

The convener, who can use words as if they were fun-house mirrors when he's pressed, fingers his gray cowboy hat and looks at the poet. The first he had ever heard of Allen Ginsberg and the kind of people he hung out with was in Time around 1958 while he was still a kid in Minnesota. ("I'm Allen Ginsberg and I'm crazy." "My name is Peter Orlovsky and I'm crazy as a daisy." "My name is Gregory Corso and I'm not crazy at all." That had broken up the kid in Minnesota.)

Now, here on the road with this hooting, rocking carnival of time present and time past, both perhaps present in time future, is Allen, who has survived serene and curious, in a business suit.

"Pleasure?" Dylan finds the word without taste, without succulence. "Pleasure? I never seek pleasure. There was a time years ago when I sought a lot of pleasure because I'd had a lot of pain. But I found there was a subtle relationship between pleasure and pain. I mean, they were on the same plane. So now I do what I have to do without looking for pleasure from it."

"He is putting you on," said a friend to whom Ginsberg, later in the tour, had described Dylan's exorcism of the pursuit of pleasure.

Photos: Bob Dylan Hanging With Joan Baez, Allen Ginsberg, More

"No," Ginsberg said firmly. "Bob's attitude is very similar to the Buddhist view of nonattachment. The belief that seeking pleasure, clinging to pleasure, evokes pain. It stunned me when Bob said that. It meant that he's reached a philosophical level very few come close to. And it's a long-range, practical, workable, philosophical level. Bob has grown an awful lot. He's alchemized a lot of the hangups of his past. Like his insecurity, which has now become," Ginsberg laughs, "an acceptance of and an ability to work with continuous change."

On the other hand, a musician in Minstrel Guruji's band tells of an epiphany early in the tour:

"Joan and Bob are doing a duet. I forget the name of it, it's one of his old tunes. She's really moving. I mean dancing. She starts doing the Charleston and the audience is digging it and we're digging it. Dylan though, he's plunking his guitar, moving his eyes around quick, like he does, looking at Joanie, looking at us, looking at the audience. Like, 'What the hell is she doing that's going over so damn big?' It's over, and Joan walks offstage, grinning, sees a friend in the wings, and says to him, 'You won't be hearing that number again from this little old duo on this tour.' And laughs because neither the friends nor the others standing there can figure out what she's talking about. But she's right. Bob's never called for that tune since. He couldn't stand the competition. Big as he is, in some ways he's still a kid scrabbling for his turf."

"Not true," says Joan Baez of the kid characterization. "Or, not as true as it used to be." She had once described Dylan as "a huge ego bubble, frantic and lost, so wrapped up in ego, he couldn't have seen more than four feet in front of him." But now, "Bob has learned how to share," Joan told me one night after a three-and-a-half-hour show in Waterbury, Connecticut, at an old rococo movie theater that reminded me of Depression nights as a boy when we would go to just such a place to feel good anyhow and come home with some dishes besides. No dishes this time, but the most mellow feelings I've had from a concert since the Duke Ellington band on an exceptionally good night. The kicks were from the genuine mutual grooving of the music makers; but it was Dylan, as shaper of the thunder, who was responsible for lifting the audience and keeping it gliding.

A bounteous dispenser of thunder was Dylan this time around. At least three and a half hours every night, sometimes longer. (The first concert in Toronto, one of the tour's more exalted evenings, ran close to five hours.) And yet always, or nearly always, the pacing, though relaxed, didn't go slack.

The right mix of a backup band, driving strong but sinuously so it never sounded like an assault. If you could keep T-Bone Burnett, Steve Soles, Howie Wyeth, Mick Ronson, Luther Rix and David Mansfield together — I was thinking as a once and former A&R man — you could have one hell of a house insurance band. Especially with Mansfield, 19 and the kind of natural whom conservatory students prone to neurasthenia should never be allowed to hear or see. Mandolin, pedal steel, dobro, violin — Mansfield makes them all sing, for God's sake, as if he were the sorcerer, not the apprentice he looks like.

Up front Rob Stoner, who doesn't get in the way, and the authentically raffish Bob Neuwirth who may, he says, be in the movies soon. Finally a Rhett Butler for our time. Put another way, I think you have to see Neuwirth to remember his singing.

Then the substars. Ronee Blakley, who earnestly needs direction, as her albums and her musical aimlessness on this tour rather painfully indicate. Roger McGuinn, who has become a large, jolly, historic rocker, almost right for a Christmas mime show. And surprisingly, most impressive of all in the second line some nights, Jack Elliott. With his rambling white cowboy hat and folk collector's glasses, Jack is real serious, however idiosyncratic, and on this tour quite moving in his seriousness. Watching and feeling what "Pretty Boy Floyd," let's say, still means to him, I started thinking of Cisco Houston. Not that they sang alike, Cisco being more of an original, but they trained a lot of memories. And Jack is still spreading seeds.

All the way up front, Joan Baez and, as she calls him, The Kid. Her voice has lowered and so the bodiless sound of medieval caroling in a cathedral is also gone. But now there is more warmth and flesh and survivor's humor ("Love is a pain in the ass"); and still that surging vibrato which is so strong that when Joan sings a cappella, the vibrato becomes her rolling rhythm section.

Photos: Joan Baez Through the Years

In her duets with Dylan, Joan, most of the time, is a secondary strand. She could overpower him because her timbre penetrates deeper and because she is more resourceful with her voice than he is, but Joan is content to orchestrate Dylan. And Dylan — less coiled, even dancing from time to time — cannot ever be called relaxed but now is so in charge that even he believes he's in charge. His singing, therefore, is more authoritative than ever before. That is, the anxiety in his delivery has to do with the story he's telling rather than with the way he's telling it.

It feels good to him, this tour. The itch was there last summer. One liquid night, if you believe Bob Neuwirth: "Me and Bob and Ramblin' Jack decided we were going to go out and tour in a station wagon, go out and play Poughkeepsie. That didn't turn out to be possible. So we did this instead. And this ain't no Elton John show, you know. This ain't no fucking one-fourth of the Beatles show or nothing like that. This show, we got it all, man. Between us we got it all. And it just gets better and better and better."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

prev
Music Main Next

blog comments powered by Disqus
Daily Newsletter

Get the latest RS news in your inbox.

Sign up to receive the Rolling Stone newsletter and special offers from RS and its
marketing partners.

X

We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy.

Song Stories

“Santa Monica”

Everclear | 1996

After his brother and girlfriend both died of drug overdoses, Art Alexakis -- depressed and hooked on drugs himself -- jumped off the Santa Monica Pier in California, determined to die. "It was really stupid," said the Everclear frontman, who would further explore his personal emotional journey in the song "Father of Mine." "I went under the water. Then I said, 'I don't wanna die.'" The song, declaring "Let's swim out past the breakers/and watch the world die," was intended as a manifesto for change, Alexakis said. "Let the world do what it's gonna do and just live on our own."

More Song Stories entries »
 
www.expandtheroom.com