The Tao of Willie: A Guide to the Happiness in Your Heart, by Willie Nelson, Turk Pipkin
208 pp, hardcover, Gotham Books, May 2006

From Publishers Weekly: In his third book, American icon Nelson mingles stories, jokes and adages with a collection of "lessons" he has learned "in this life." Loosely basing his book on the philosophical text of the Tao Te Ching, Nelson advocates incorporating into one's life many of the teachings of that ancient work, such as meditation and the belief that all things are interconnected. But while the Tao may inspire this book, Nelson's charming, often humorous tales of his Texas childhood, cowboy lifestyle, and famous and interesting friends make the "mysteries of life" not all that mysterious. Indeed, with chapter titles like "The Golden Rule" and "Don't Think No Negative Thoughts," the book is rooted as much in down-home common sense as it is in mystical philosophy. Nelson also shares his liberal views on subjects like marijuana ("I'll support a war on drugs, but not a war on flowers or herbs"), the environment ("Biodiesel reduces carbon dioxide emissions up to eighty percent") and war ("I believe in peace"). Whatever his message, the "Red-Headed Stranger" conveys his thoughts in the same friendly, endearing manner that has made his songs part of the fabric of American life.

Bob Dylan: The Essential Interviews, by Jonathan Cott
464 pp, hardcover, Wenner Books, May 2006

As an interview subject, Bob Dylan is notorious for his unpredictable moods and evasive, impish answers. Yet this priceless collection teems with honest, open, and thoughtful musings from a man described by editor Cott (Dylan; Back to a Shadow in the Night) as a "playful expositor of his munificent and inspiring thought-dreams." Organized chronologically, the interviews illuminate Dylan's changing views of music, life and his career, so readers can watch how a cocksure young man, reluctantly occupying the spotlight ("I'm really not the right person to tramp around the country saving souls," he told Playboy in 1966), remains forever uneasy with his status as he becomes one of the most influential musicians in history ("If I wasn't Bob Dylan, I'd probably think that Bob Dylan has a lot of answers myself," he tells Playboy in 1978). Most notable is Dylan's unwavering conviction in his instincts despite disapproval from other musicians, music critics and fans; after getting booed during his electric debut, he told Nora Ephron "They can boo till the end of time. I know that the music is real, more real than the boos." Those who have been touched by Dylan's songs will find this collection a fascinating window into his one-of-a-kind mind. -- Publishers Weekly

Chronicles, Volume 1, by Bob Dylan
304 pp, hardcover, Simon and Schuster, 2004

One would not anticipate a conventional memoir from Bob Dylan--indeed, one would not have foreseen an autobiography at all from the pen of the notoriously private legend. What Chronicles: Volume 1 delivers is an odd but ultimately illuminating memoir that is as impulsive, eccentric, and inspired as Dylan's greatest music.

Eschewing chronology and skipping over most of the "highlights" that his many biographers have assigned him, Dylan drifts and rambles through his tale, amplifying a series of major and minor epiphanies. If you're interested in a behind-the-scenes look at his encounters with the Beatles, look elsewhere. Dylan describes the sensation of hearing the group's "Do You Want to Know a Secret" on the radio, but devotes far more ink to a Louisiana shopkeeper named Sun Pie, who tells him, "I think all the good in the world might already been done" and sells him a World's Greatest Grandpa bumper sticker. Dylan certainly sticks to his own agenda--a newspaper article about journeymen heavyweights Jerry Quarry and Jimmy Ellis and soul singer Joe Tex's appearance on The Tonight Show inspire heartfelt musings, and yet the 1963 assassination of John Kennedy prompts nary a word from the era's greatest protest singer.

For all the small revelations (it turns out he's been a big fan of Barry Goldwater, Mickey Rourke, and Ice-T), there are eye-opening disclosures, including his confession that a large portion of his recorded output was designed to alienate his audience and free him from the burden of being "the voice of a generation."

Off the beaten path as it is, Chronicles is nevertheless an astonishing achievement. As revelatory in its own way as Blonde on Blonde or Highway 61 Revisited, it provides ephemeral insights into the mind one of the most significant artistic voices of the 20th century while creating a completely new set of mysteries. --Steven Stolder, Amazon

DVDs:

Townes Van Zandt - Be Here to Love Me (2005)
directed by Margaret Brown

You might have never heard of Townes Van Zandt. You might not even know his songs. But this Texan's music was profoundly influential on his peers--so much so that some of the folks interviewed for Be Here to Love Me, a documentary about Van Zandt's work and difficult life, call him one of the best songwriters, maybe even the best, in American history. That's a stretch, but there's no doubting the man's talent; his two best-known tunes, "Pancho and Lefty" (popularized by Willie Nelson and Merle Haggard) and "If I Needed You" (a beautiful Emmylou Harris-Don Williams duet), by themselves guarantee him a spot in a few Halls of Fame. But the Van Zandt chronicled in director Margaret Brown's 100-minute film was his own worst enemy. Born in 1944, he was a troubled young man who played Russian roulette for kicks, deliberately fell off a fourth-floor balcony, and was placed in a mental home, where shock treatments robbed him of significant parts of his memory and personality. Married three times, he was also wedded to the bottle, which ultimately destroyed him (he died of a heart attack in 1997). Be Here to Love Me details these events through various interviews with Van Zandt himself, as well as Nelson, Harris, Steve Earle, Nanci Griffith, and other notables. But whereas a fellow tippler like singer Guy Clark fondly remembers the good times, Van Zandt's family tells a different story: "Bummer," replies one ex-wife when asked to describe living with him, while his eldest son, JT, betrays a good deal of bitterness about a dad who couldn't control his own life, wasn't much of a family man, and died young and unfulfilled. DVD extras include several Van Zandt performances (in addition to clips throughout the main program), which is a good thing; were it not for his soulful, affecting songs, there wouldn't be a lot to admire about this guy. --Sam Graham

 

Bob Dylan - No Direction Home (2005)
directed by Martin Scorsese

It's virtually impossible to approach No Direction Home without a cluster of fixed ideas. Who doesn't have their own private Dylan? The true excellence of Martin Scorsese's achievement lies in how his documentary shakes us free of our comfortable assumptions. In the process, it plays out on several levels at once, each taking shape as an unfailingly fascinating narrative. There is, of course, the central story of an individual genius staking out his artistic identity. But along with this Bildungsroman come other threads and contexts: most notably, the role of popular culture in postwar America, art's self-reliance versus its social responsibilities, and fans' complicity with the publicity machine in sustaining myths. All of these threads reinforce each other, together weaving the film's intricate texture.

Scorsese's 200-plus-minute focus on Dylan's earliest years allows for a portrayal of unprecedented depth, with multiple angles: a rich composite photo is the result. The main narrative has an epic quality: it moves from Dylan growing up in cold-war Minnesota through Greenwich Village coffeehouses and the Newport Folk Festival, climaxing in the controversial 1966 U.K. tour that crowned a period of unbridled and explosive creativity. In his transition from Robert Allen Zimmerman to Bob Dylan, we observe him concocting his impossible-to-describe, unique combination of the topical with the archaic, like an ancient oracle. Scorsese was able to access previously unseen footage from the Dylan archives, including performances, press conferences, and recording sessions. He also uses interviews with Dylan's friends, ex-friends, and fellow artists, and, intriguingly, with the notoriously reclusive Dylan himself (who looks back to provide glosses on the early years), fusing what could have turned into a tiresome series of digressions and tangents into a powerful whole as enlightening, eccentric, contradictory, and ultimately irreducible as its subject.

Some of the deeply personal bits remain unrevealed, but Dylan's preternatural self-assurance acquires a slightly self-deprecating, even comic edge via some of his reflective comments. Alongside the arrogance, we see touching moments of the young artist's reverence for Woody Guthrie and Johnny Cash. Joan Baez, in a poignant confessional mood, comes off well, and the late Allen Ginsberg is so seraphically charming he almost steals the show a few times. A crucial throughline is Dylan's hunger for recognition and ability to shape perceptions so that would be singled out as not just another dime-a-dozen folk singer. It's illuminating--particularly for those familiar with the artist's latter-day aloofness on stage--to see his reactions to audience booing in the wake of his "betrayal" in this fuller context. No Direction Home also makes clear--in a way that wasn't possible in D.A. Pennebaker's iconic Don't Look Back--how Dylan's ability to manipulate his persona always, at its core, protects the urge for expression: Dylan's ultimate mandate, as an artist, is never to be pinned down. As Scorsese masterfully shows, the myth around Dylan only grows bigger the more we discover about him. --Thomas May

DVD features: This two-disc set of Scorsese's full two-part documentary includes treats such as Dylan working on a song at his hotel during the UK tour as well as performing several songs as in concert or on TV.

Bob Dylan - Don't Look Back (1967)
directed by D.A. Pennebaker

Amazon.com essential video
Both a classic documentary and a vital pop-cultural artifact, D.A. Pennebaker's portrait of Bob Dylan captures the seminal singer-songwriter on the cusp of his transformation from folk prophet to rock trendsetter. Shot during Dylan's 1965 British concert tour, Don't Look Back employs an edgy vérité style that was, and is, a snug fit with the artist's own consciously rough-hewn persona. Its handheld black-and-white images and often-gritty London backdrops suggest cinematic extensions of the archetypal monochrome portraits that graced Dylan's career-making early-'60s album jackets.

Pennebaker's access to the legendarily private troubadour enables us to witness Dylan's shifting moods as he performs, relaxes with his entourage (including then lover Joan Baez, road manager Bob Neuwirth, and poker-faced manager Albert Grossman), and jousts with other musicians (notably Animals alumnus Alan Price and Scottish folksinger Donovan), fans, and press. It's a measurement of the filmmaker's acuity that the conversations are often as gripping as Dylan's solo performances. Grossman's machinations with British promoters, Baez's hip serenity, a grizzled British journalist's surrender to the fact of Dylan's artistry, and the artist's own taunting dismissal of a clueless sycophant are all absorbing.

With the exception of the studio recording of "Subterranean Homesick Blues," the live performances (including five newly restored, complete audio tracks excised from the original film but included on the DVD version) are constrained by crude audio gear. Their urgency, however, is timeless, as is Pennebaker's film, a legitimate cornerstone for any serious rock video collection. --Sam Sutherland

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Books:

Lost Highway: Journeys and Arrivals of American Musicians
by Peter Guralnick
368 pp, Back Bay Books, paperback, 1999

Guralnick's growth as a chronicler of American roots music. Originally published eight years after Going Home, Lost Highway tills the same rich soil--the likes of Sun Records chief Sam Phillips, bluesman Howlin' Wolf, and dispirited countrypolitan star Charlie Rich resurface. But here Guralnick also explores the psyches and works of kindred spirits both celebrated (Elvis Presley and Merle Haggard) and obscure (rockabilly journeyman Sleepy LaBeef and the "world's oldest teenager," Rufus Thomas). Guralnick reveals a unifying hook: for each musician, touring has become "journey, arrival, process, definition, virtually replacing in almost every instance the very impetus that set them out on the road in the first place." The author has a knack for finding the insecurities entangled with the talents of his peripatetic idols--perhaps they feel more comfortable opening up to him, sensing he only seeks to understand how their anxiety affects their art. Regardless, you can't read Lost Highway without gaining a greater appreciation of the music that prompted its writing. --Steven Stolder

 

Positively 4th Street: The Lives and Times of Joan Baez, Bob Dylan, Mimi Baez Farina, and Richard Farina
by David Hajdu
336 pp, North Brook Press, paperback 1st edition, 2002

Amazon.com's Best of 2001: David Hajdu (pronounced HAY-doo), the prizewinning author of the magisterial jazz biography Lush Life, now steam-cleans the legend of the lost folk generation in Positively 4th Street: The Lives and Times of Joan Baez, Bob Dylan, Mimi Baez Fariña, and Richard Fariña. What a ripping read! It's like an invitation to the wildest party Greenwich Village ever saw. You feel swept up in the coffeehouse culture that transformed ordinary suburban kids into ragged, radiant avatars of a traditional yet bewilderingly new music. Hajdu's sociomusical analysis is as scholarly as (though less arty than) Greil Marcus's work; he deftly sketches the sources and evolving styles of his ambitious, rather calculating subjects, proving in the process that genius is not individual--it's rooted in a time and place. Hajdu says Dylan heisted many early tunes (e.g., "Maggie's Farm" from Pete Seeger's "Down on Penny's Farm"): "Dylan [told] a radio interviewer that he felt as if his music had always existed and he just wrote it down ... [in fact], much of his early work had existed as other writers' melodies, chord structures, or thematic ideas." But Dylan and company made it all their own, and Hajdu vividly evokes the scenes they made.

Positively 4th Street is very much a group portrait. When something amazing happens, Hajdu puts you right there. The unknown Baez barefoot in the rain, bedazzling the Newport Jazz Festival and becoming immortal overnight. The irresistibly irresponsible Fariña talking his folk-star wife out of shooting him dead with his own pistol. The "little spastic gnome" Dylan transmogrified into greatness onstage, bashing Joan with the searing lyrics of "She Belongs to Me." A stoned Fariña advising Dylan to cynically hitch his wagon to Joan's rising star and "start a whole new genre. Poetry set to music, but not chamber music or beatnik jazz, man... poetry you can dance to."

The book is as delectably gossipy as Vanity Fair (one of Hajdu's employers). Richard married the exceedingly young beauty Mimi and helmed their career, but he might have dumped her for big sister Joan, whose madcap humor and verbal wit harmonized with his--except that he ineptly killed himself on a motorcycle first. Bob mumblingly courted both sisters, but when he cruelly taunted the insecure Joan, Mimi yanked his hair back until he cried. The account of Bob and Joan's musical-erotic passion is first-rate music history and uproarious soap opera. Hajdu's research is prodigious--even Fariña's close chum Thomas Pynchon granted interviews--and his anecdotes are often off-the-cuff funny: "[Rock manager Albert Grossman] was easy to deal with.... It wasn't till maybe two days after you would see Albert that you'd realize your underwear had been stolen." Full disclosure: Hajdu was one of my long-ago bosses at Entertainment Weekly, but that's certainly not why I heartily endorse this book. It's scholarship with a human face, akin to "poetry you can dance to." --Tim Appelo --This text refers to the Hardcover edition.

Bob Dylan: A Portrait of the Artist's Early Years by Daniel Kramer
160 pp, Plexus (UK), paperback, 2001

Bob Dylan was recently named by Life as one of the 100 most important Americans of the 20th century. In this photographic tour of Dylan’s breakthrough years, 1964 to 1965, Daniel Kramer shows the human side of this legendary figure — playing chess, making coffee, and in one whimsical moment, sitting in a tree — and also in the studio and onstage. An essay by the photographer sheds further light on the man and his music.