Dylan on r'n'r



Dylan on r'n'r

Postby chris morris » Thu Mar 23, 2017 9:22 am

This is taken from a much longer interview with Dylan. good description of Jerry towards the end! In answer to an earlier question he praises Jimmy Van Eaton as one of his 5 favourite drummers. his love of early rock'n'roll will come as no surprise to anyone who listened to his radio programmes where he played a lot of great music. The whole interview by Bill Flanagan can be found on the Expecting Rain site.

Chris

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“Braggin’” was done by Duke Ellington in 1938 – it’s the sort of big band swinging blues that led directly to rock and roll. As a kid, did rock and roll feel like a new thing to you or an extension of what was already going on?

Rock and roll was indeed an extension of what was going on – the big swinging bands – Ray Noble, Will Bradley, Glenn Miller, I listened to that music before I heard Elvis Presley. But rock and roll was high energy, explosive and cut down. It was skeleton music, came out of the darkness and rode in on the atom bomb and the artists were star headed like mystical Gods. Rhythm and blues, country and western, bluegrass and gospel were always there – but it was compartmentalized – it was great but it wasn’t dangerous. Rock and roll was a dangerous weapon, chrome plated, it exploded like the speed of light, it reflected the times, especially the presence of the atomic bomb which had preceded it by several years. Back then people feared the end of time. The big showdown between capitalism and communism was on the horizon. Rock and roll made you oblivious to the fear, busted down the barriers that race and religion, ideologies put up. We lived under a death cloud; the air was radioactive. There was no tomorrow, any day it could all be over, life was cheap. That was the feeling at the time and I’m not exaggerating. Doo-wop was the counterpart to rock and roll. Songs like “In the Still of the Night,” “Earth Angel,” “Thousand Miles Away,” those songs balanced things out, they were heartfelt and melancholy for a world that didn’t seem to have a heart. The doo-wop groups might have been an extension, too, of the Ink Spots and gospel music, but it didn’t matter; that was brand new too. Groups like the Five Satins and the Meadowlarks seemed to be singing from some imaginary street corner down the block. Jerry Lee Lewis came in like a streaking comet from some far away galaxy. Rock and roll was atomic powered, all zoom and doom. It didn’t seem like an extension of anything but it probably was
chris morris

 
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