Taylor Swift won TEN Billboard Music Awards on Thursday (12/12), giving her the most wins for any artist in the history of the awards. (These new trophies brought her career total to 49. She had previously been tied with Drake with 39. Drake won three more of his own Thursday Night, so Taylor now commands a 49-42 lead.) kk
I just saw a Searchlight screening of "A Complete Unknown" in Los Angeles. Was thinking about Johnny Cash.
On August 16, 1975, Johnny Cash was in Southern California to promote his autobiography, Man in Black (1975), and performed a special concert for the Christian Booksellers convention. We sat down for an interview that day inside the Royal Inn Hotel in Anaheim for a story focused on Man in Black in the now-defunct UK music weekly Melody Maker. Johnny and I were both born on February 26th.
Cash lit up when I asked about his friendship with Bob Dylan.
“I became aware of Bob Dylan when the Freewheelin’ album came out in 1963. I thought he was one of the best country singers I had ever heard. I always felt a lot in common with him. I knew a lot about him before we had ever met. I knew he had heard and listened to country music. I heard a lot of inflections from country artists I was familiar with. I was in Las Vegas in ’63 and ’64 and wrote him a letter telling him how much I liked his work. I got a letter back and we developed a correspondence.
“We finally met at Newport in 1964. It was like we were two old friends. There was none of this standing back, trying to figure each other out. He’s unique and original. I keep lookin’ around as we pass the middle of the 1970s and I don’t see anybody come close to Bob Dylan. I respect him. Dylan is a few years younger than I am, but we share a bond that hasn’t diminished. I get inspiration from him.
“We’ve gone fishin’ on my boat dock for hours and haven’t said a word.”
Dylan (birth name Robert Allen Zimmerman) had been a Cash fan since the very late 1950s, when, as a teenager, he hitchhiked the 75 miles from his Hibbing, Minnesota, hometown to Duluth to see Cash and the Tennessee Two at the Duluth Amphitheater.
On February 6, 2015, when Dylan was honored at the 25th anniversary MusiCares 2015 Person of the Year Gala at the Los Angeles Convention Center, he praised Cash in his stage remarks.
“Johnny Cash recorded some of my songs early on, too. I met him about ’63 when he was all skin and bones. He traveled long, he traveled hard, but he was a hero of mine. I heard many of his songs growing up. I knew them better than I knew my own. ‘Big River.’ ‘I Walk the Line.’ ‘How High’s the Water, Mama?’ I wrote ‘It’s Alright Ma (I’m Only Bleeding)’ with that song reverberating inside my head.
“Johnny was an intense character, and he saw that people were putting me down [for] playing electric music. And he posted letters to magazines, scolding people, telling them to ‘shut up and let him sing.’ In Johnny Cash’s world of hardcore Southern drama, that kind of thing didn’t exist. Nobody told anybody what to sing or what not to sing.”
Dylan’s Slow Train Coming tour stopped at the Santa Monica Civic Auditorium on November 19, 1979, and drummer Jim Keltner, a longtime friend, was in the band. He invited Knack drummer Bruce Gary and me to attend. I reviewed the concert for Melody Maker.
In my very brief encounter with Dylan backstage, Bob asked about Phil Spector. I told him I had recently interviewed the producer for Melody Maker, and Phil talked about R&B vocalists, also listing “Dion, John, Paul, Elvis, Bobby Darin, and Johnny Cash as great singers.”
Dylan immediately removed his sunglasses. He has blue eyes like Eva Marie Saint, Charles Bukowski, and Kris Kristofferson. Bob offered a firm handshake and smiled: “Johnny Cash is a friend of mine.”
In November, 1961, Cash had stuck his head inside the Columbia Records studio when talent scout/A&R man John Hammond was producing Dylan’s eponymous debut album.
“Dylan was also grateful that Cash would constantly endorse his talents to Columbia Records executives,” author Antonino D’Ambrosio told me in a 2009 interview, “after the initial weak sales of his first platter, some calling it ‘Hammond’s Folly.’”
In his 2022 book, The Philosophy of Modern Song, Dylan wrote about two songs Cash wrote and recorded: “Don’t Take Your Guns to Town,” the first single from his 1958 Columbia Records debut album The Fabulous Johnny Cash; and “Big River,” a single from the Sings the Songs That Made Him Famous LP released by Sun Records earlier that year.
Dylan and The Band performed “Big River” in 1967 during The Basement Tapes sessions, officially released in 2014 on The Bootleg Series Vol. 11: The Basement Tapes Complete. Dylan and Cash then recorded “Big River” with producer Bob Johnston during the 1969 Dylan-Cash sessions, officially issued in 2019 on The Bootleg Series Vol. 15: Travelin’ Thru, 1967-1969.
During Dylan’s 2024 tour, at the Ruth Eckerd Hall in Clearwater, Florida, he paid homage to Cash with a version of “Big River.”
Harvey Kubernik
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We have tickets to see this on Christmas Day and are really looking forward to it. I’ve seen some pretty glowing reviews, especially regarding Timothée Chalamet’s performance as Dylan. (kk)
More from Harvey on this … including part of his interview with Al Kooper about playing on the “Like A Rolling Stone” session …
With the theatrical release of "A Complete Unknown," the biographical drama film of Bob Dylan by director James Mangold, starring Timothée Chalamet, set for a national December 25th opening, Dylan's "Like A Rolling Stone" recording session and live performance of the song at the 1965 Newport Folk Festival are scenes in this biopic.
This century, Al Kooper wrote the segment on Bob Dylan for the Encyclopedia Britannica. And, an Al Kooper hologram appeared on the Bob Dylan CD-ROM, Highway 61 Interactive, which details how he met Dylan and includes several takes of “Like A Rolling Stone.”
In 2000, I talked to the legendary multi-instrumentalist and Rock and Roll Hall of Fame inductee Al Kooper about that landmark recording session, producer Tom Wilson, and musicians on the epic June 16, 1965 date.
--Harvey Kubernik
Q. I wanted to ask you about record producer Tom Wilson
A. Wonderful guy.
Q. I know you used to cop Dylan acetates out of his office.
A. I did. I was a bad boy.
Q. I think Wilson gets overlooked in history. I was around him a bit when he worked for Motown in Hollywood.
A. Yep. So does John Simon, by the way. Tom earlier worked for Savoy Records. He was a very bright and high class guy.
He was like ‘What’s happening, man?’ That kind of guy. But you knew he was bright and he talked about very erudite things, and he really saved my life that day on that Dylan “Like A Rolling Stone” session.
Because, he could have … I went to him and said, ‘Man, let me play the organ.’ They had just moved Paul Griffin from the organ to the piano. And I went over to Tom Wilson, and I was invited just to watch, you know. And I said, ‘Man, why don’t you let me play the organ? I got a great part for this.’ Which was bullshit. I had nothing. And he said, “Man … you’re not an organ player …”
And then they came to him and said, “Phone call for you, Tom.” And he just went and got the phone. And I went into the studio and sat down at the organ. He didn’t say no. He just said I wasn’t an organ player. OK.
That was the moment he could have just thrown me out and rightfully so. And you know what? He didn’t. And that was it. That was the beginning of my career. Right then and there. That studio dialogue is documented. Wilson is the guy who invited me to the session first of all, which is really nice. You didn’t get invited to Bob Dylan sessions, you know, especially if you were a nobody like I was. And there it was. There was the chance he had to toss me, and it would have reflected back on him because he had invited me to the session.
Q: Talk to me about guitarist Michael Bloomfield.
A: Well, Michael [Bloomfield] and I met on the “Like A Rolling Stone” session. I had read about him in "Sing Out Magazine," and saw a picture of him where he looked a little more rotund than he was when I met him. His brother says he was a fat kid growing up. So we met on the “Like A Rolling Stone” session and really hit it off. So we played together on that.
I was supposed to play guitar on that record. I packed up my guitar when I heard him warming up. It never occurred to me that somebody my age, and my religion could play the guitar like that. That was only reserved for other people. It never even occurred to me that that was an option for someone my age and my color. I had never seen that or heard that up to that day.
Q. And you brought bassist Harvey Brooks into that session as well.
A. That’s right. So, that pretty much ended my guitar playing by and large. I said, “Well, OK, he’s as old as me and he can play like that. I’m never gonna be able to play like that. Thank you, goodbye.” And, you know, I ended up playing organ on that record, and then I became a keyboard player really that day. So, it was a damn good thing because, you know, that was competition I couldn’t deal with.
Q: I think the secret sauce of the "Highway 61 Revisited" album, and "Blonde On Blonde" sessions was Paul Griffin. I know he was on some records by Garnet Mimms and on Chuck Jackson’s “Any Day Now.”
A: Oh ... man… A big influence on me as well! Paul Griffin came from the Baptist Church. On the "Highway 61 Revisited" album we did the tracks to “Tombstone Blues” and “Queen Jane Approximately” in one day.
The best thing I can say about Paul Griffin is take five minutes out of your busy day and get a time where you have nothing to bother you at all. Find a real nice stereo system and sit back and put on “One Of Us Must Know” from "Blonde On Blonde." And just listen to the piano … And tell me if you can find on a rock ‘n’ roll record anybody playing better than that. And I would really like to hear what your decision is.
To me, it is the greatest piano achievement in the history of rock ‘n’ roll. I don’t hear anything other than him playing the piano when I hear that record. And I’m thrilled that I’m playing organ, but I’m embarrassed. And I think that Dylan should be embarrassed, too. ‘Cause Paul just steals that fuckin’ record. It’s the most incredible piano playing I’ve heard in my life. If you’re a piano player, try playing that note for note. It’s just incredible.
I played the organ on “Like A Rolling Stone.” Paul Griffin on piano was so brilliant. He plays amazing things. And the thing that is really eye-opening about it, are the drums. Bobby Gregg, who had a hit record with “The Jam.” Besides Michael’s playing, you can really hear the drums of Bobby.
Q: On a recent solo album “Black Coffee,” you covered “Get Ready,” a tune Smokey Robinson initially wrote for The Temptations. Do you see the influence of Robinson’s writing on Dylan? I do. He sort of professionally acknowledged this to me one time in a very brief chat. Am I the only person who hears the musical and vocal influence of the Smokey penned tune "My Girl" Temptations recording on Dylan's recording of "Queen Jane Approximately?"
A: One of my favorite things is when I called Dylan one day and said, “Hey … What are you doing?” “Eating a piece of toast and listening to Smokey Robinson ...” So, that makes a lot of sense."
“Kooper always disparaged his ability to navigate the organ at the time he played on the record, and was prone to belittle his contribution,” offered music historian and writer Kirk Silsbee to me in a 2010 interview.
“Producer Tom Wilson didn't do anything to change his mind, telling Dylan he needed to ‘get a real organ player.’ And it's true -- Kooper didn't have much in the way of vocabulary; he certainly didn't display much in the tune. ‘Like a Rolling Stone’ has an extremely simple chord structure and Kooper didn't get flashy, he didn't embellish, and he didn't play against the structure to stir up any creative sabotage,” Silsbee continued. “Leave it to Dylan, then, to understand and sanction Kooper's contribution. After the drum pickup kicked the record down the hill, Kooper's chords crashed like waves, got underneath Dylan and carried the song along, imbuing the record with a melancholy mist. As usual, Dylan had the last word: ‘Don't tell me about organ players.’”
HK
Variety also singled out Boyd Holbrook for his portrayal of Johnny Cash (which ties in nicely with Harvey Kubernik’s piece above!)
https://variety.com/2024/film/news/complete-unknown-boyd-holbrook-johnny-cash-1236248942/
The long-awaited Sly Stone documentary, produced and directed by Questlove (Ahmir Thompson), will FINALLY see its premier at The Sundance Film Festival next year.
From the Sundance Website: “Through an incredible soundtrack, exuberant archival footage and thought-provoking discussions with family, band members, scholars, and musicians, Thompson presents a powerful tribute to the visionary musical artistry of Sly & the Family Stone, while honoring and celebrating Black creativity.”
We have been looking forward to this one for quite some time. (It was first announced in 2021.) kk
Ray Stevens announced that he will be discontinuing his weekly
shows at his CabaRay Showroom dinner theater in Nashville.
I attended one of the final shows, last night’s Christmas themed show in which
Ray presented a mix of holiday songs with his hits and other significant
recordings tied together with humor. Ray was supported by a full orchestra
including a string section, sparing no expense for a first class performance
rivaling anything I’ve ever seen in Las Vegas showrooms.
I hadn’t realized that he produced all the sounds in songs like “Gitarzan” and
“Ahab The Arab” until I saw him do that live.
With his crossover hits like “Everything Is Beautiful,” “The Streak” and
his TV show, Ray did a lot to expand the audience for Country radio when I
began my programming career in the 70s. One of the first gold records that I
was awarded was for “The Streak” which I played from an acetate before it was
released.
Ed Salsmon
Nashville, TN
All photos © copyright 2024 by Ed Salamon
I have always wanted to see Ray Stevens live … the last time we were in Nashville, HE wasn’t!!! So his theater was “dark” that week. Sad to hear that it’s closing, as we never got the chance to see it.
Ray Stevens in Vegas??? Now THAT would be a cool show to see! (kk)
Check out my request for Friday the 13th …
Bad Boy Brooklyn Billy / "MEMORIES OF YESTERDAY" / "FRIDAY NIGHT DANCE PARTY" (WRTR.org) 8 - 11 PM
I Asked Him If He Could Get A Longer Title For His Show
I Always Send Him A Request On Thursday -- For His Friday Night Show.
Looked At My Calendar (Friday, December 13th) & Thought It Would Be A Good Idea To Request This Song …
1975 / "BAD LUCK" / HAROLD MELVIN & THE BLUE NOTES / PHILADELPHIA INTERNATIONAL RECORDS
I Could've Gone With "SUPERSTITION" By Stevie Wonder
(I Should've Asked For A Double - Play Request!)
And Dion Is Listed As Guest On Cousin Brucie’s Show Saturday Night --
Dion Is Listed As Guest On Tony Orlando’s Show Saturday Night --
Do You Think Dion Is Going To Do A Double - Header Saturday Night ?
Don't These Guys Talk To Each Other?
Here's a Dion Update ...
Dion Has New Book & CD Coming Out In January. He Didn't Give Exact Date.
He Said The Audio Version Of Book Is Already Out.
"DION = THE ROCK & ROLL PHILOSOPHER"
For A Guy Trying To Sell A New Book & CD, He Didn't Mention Title Of Either One Even Once.
He Debuted A New Song "IN A NEW YORK MINUTE" On Cousin Bruce's Show.
It's About When He Met His Wife In School 68 Years Ago.
Dion Told Another Interesting Story.
He Was With Eddie Cochran In The Brill Building.
They Get Off The Elevator & Ran Into Sharon Sheeley.
Dion Says To Eddie She's "SOMETHIN' ELSE" ... A Bronx Term That Eddie Never Heard Before.
Eddie & Sharon Then Wrote The Song.
Brian Hyland Coming Up To Talk About His New Christmas Song.
Time For Columbo / Johnny Cash Kills Ida Lupino.
Bye Cousin Brucie.
FRANK B.
Forgotten Hits was the first to premier Brian's new Christmas song ...
Ron Dante (who produced the track) sent it to us a few weeks ago.
Brian still sounds great! (kk)
Timmy suggests this as the perfect Christmas Gift for the person who already has everything ….
(I actually gave this to somebody last year … and they were completely clueless when they opened it up!) kk
60 YEARS AGO TODAY:
12/15/64 – Troubadour Glenn Yarbrough records “Baby The Rain Must Fall”
Also on 12/15 - Dusty Springfield is deported from South Africa after performing in front of a multiracial audience at a show near Cape Town.
