54 Years Ago Today; Dylan goes electric

[Dennis Donovan]

https://en.wikipedia.org/wiki/Electric_Dylan_controversy



Electric Dylan controversy
By 1965, Bob Dylan was the leading songwriter of the American folk music revival. The response to his albums The Freewheelin' Bob Dylan and The Times They Are a-Changin' led the media to label him the "spokesman of a generation".

In March 1965, Dylan released his fifth album, Bringing It All Back Home. Side one features Dylan backed by an electric band; side two features Dylan accompanying himself on acoustic guitar. On July 20, 1965, Dylan released his single "Like a Rolling Stone", featuring a rock sound. On July 25, 1965, Dylan performed his first electric concert at the Newport Folk Festival, joined by guitarist Mike Bloomfield and Barry Goldberg of the Paul Butterfield Blues Band. Some sections of the audience booed Dylan's performance, leading members of the folk movement, including Irwin Silber and Ewan MacColl, to criticize Dylan for moving away from political songwriting and for performing with an electric band instead.

Newport 1965 set
At the 1963 Newport Folk Festival, Dylan had been received enthusiastically when he performed "Blowin' in the Wind" with Joan Baez, Peter, Paul and Mary, and other Festival performers. At the 1964 Newport Folk Festival, Dylan performed "With God on Our Side" and "Mr Tambourine Man". Positive reviews of Dylan's 1964 performance were accompanied by criticisms of Dylan's antics and dismissive nature; one critic wrote that "being stoned had rarely prevented his giving winning performances, but he was clearly out of control".


Fans were used to seeing Dylan perform alone, with acoustic guitar and harmonica (1963)

On Saturday, July 24, 1965, Dylan performed three acoustic songs, "All I Really Want to Do", "If You Gotta Go, Go Now", and "Love Minus Zero/No Limit", at a Newport workshop. According to Jonathan Taplin, a roadie at Newport (and later a road manager for the acts of Dylan's manager Albert Grossman), Dylan made a spontaneous decision on the Saturday that he would challenge the Festival by performing with a fully amplified band. Taplin said that Dylan had been irritated by what he considered condescending remarks which festival organiser Alan Lomax had made about the Paul Butterfield Blues Band when Lomax introduced them for an earlier set at a festival workshop. Dylan's attitude, according to Taplin, was, "Well, fuck them if they think they can keep electricity out of here, I'll do it. On a whim, he said he wanted to play electric." Dylan assembled a band and rehearsed that night at a mansion being used by festival organizer George Wein.

On the night of Sunday, July 25, Dylan's appearance was between Cousin Emmy and the Sea Island singers, two traditional acts. Dylan's band included two musicians who had played on his recently released single "Like a Rolling Stone": Mike Bloomfield on lead guitar and Al Kooper on organ. Two of Bloomfield's bandmates from the Paul Butterfield Blues Band, bassist Jerome Arnold and drummer Sam Lay, also appeared at Newport, as well as Barry Goldberg on piano.

Footage of the Newport performance appears in the documentary films Festival (1967), No Direction Home (2005) and The Other Side of the Mirror: Bob Dylan Live at the Newport Folk Festival 1963–1965 (2007). The footage begins with Dylan being introduced by Master of Ceremonies Peter Yarrow: "Ladies and gentlemen, the person that's going to come up now has a limited amount of time ... His name is Bob Dylan." In the documentary footage, both boos and cheers are heard a few bars into Dylan's first song, "Maggie's Farm", and continue throughout his second, "Like a Rolling Stone". Dylan and his band then performed "Phantom Engineer", an early version of "It Takes a Lot to Laugh, It Takes a Train to Cry". Dylan was said to have "electrified one half of his audience, and electrocuted the other".

After "Phantom Engineer", Dylan and the band left the stage. Booing and clapping are in the background. When Peter Yarrow returned to the microphone, he begged Dylan to continue performing. According to Robert Shelton, when Dylan returned to the stage, he discovered he did not have the right harmonica and said to Yarrow, "What are you doing to me?" Dylan then asked the audience for "an E harmonica". Within a few moments, a clatter of harmonicas hit the stage. Dylan performed two songs on acoustic guitar for the audience: "Mr. Tambourine Man", and then, as his farewell to Newport, "It's All Over Now, Baby Blue". The crowd exploded with applause, calling for more. Dylan did not return to the Newport festival for 37 years. In an enigmatic gesture, Dylan performed at Newport in 2002, sporting a wig and fake beard.

Reasons for the crowd's reaction
Filmmaker Murray Lerner and others present at Newport argued that the boos were from outraged folk fans who disliked Dylan playing an electric guitar. Others present, including musician Al Kooper, disagreed, arguing that the audience were upset by poor sound quality and the short duration of the set.

Poor sound quality was the reason musician Pete Seeger, who was backstage, gave for disliking the performance: he says he told the audio technicians, "Get that distortion out of his voice ... It's terrible. If I had an axe, I'd chop the microphone cable right now." Seeger has also said, however, that he only wanted to cut the cables because he wanted the audience to hear Dylan's lyrics properly because he thought they were important. Rumors that Seeger actually had an axe, or that a festival board member pulled or wanted to pull out the entire electrical wiring system are apocryphal. In the film No Direction Home, John Cohen of the New Lost City Ramblers, who is Pete Seeger's brother-in-law, states that Seeger wanted to lower the volume of the band because the noise was upsetting his elderly father Charles, who wore a hearing aid. In the same film, Dylan claimed that Seeger's unenthusiastic response to his set was like a "dagger in his heart" and made him "want to go out and get drunk".

According to jazz historian John Szwed, the legend about Pete Seeger cutting the cable or pulling the cords of the acoustic system may have arisen from an actual incident from earlier that afternoon. Szwed writes that Festival organizer Alan Lomax had asked Texas folklorist Mack McCormick, discoverer of Lightnin' Hopkins, to find a Texas prison gang to bring up to Newport to sing work songs, but the Texas Attorney General would not allow it, so McCormick had rounded up a group of ex-convicts. Since they had never performed together in front of an audience, much less a microphone, McCormick wanted to accustom them to the stage before the concert. "But Bob Dylan's electric band had been rehearsing for some time and refused to leave. 'I was trying to tell Dylan, we need the stage', McCormick said. 'He continued to ignore me. So I went over to the junction box and pulled out the cords. Then he listened'."

Bruce Jackson, another director of the Newport Folk Festival, called the incident "the myth of Newport". Jackson was present at Dylan's 1965 performance and in 2002 reviewed an audio tape of it. Jackson contends that the booing was directed at Peter Yarrow (also a member of the Festival's Board), who upset the crowd when he attempted to keep Dylan's spot to its proper length; Jackson maintains there's nothing to indicate the crowd disliked Dylan's music, electrified or not.

Al Kooper has argued that the boos were brought on by the short duration of Dylan's set, not the fact that Dylan had gone electric. He said: "The reason they booed is that he only played for fifteen minutes when everybody else played for forty-five minutes or an hour. They were feeling ripped off. Wouldn't you? They didn't give a shit about us being electric. They just wanted more." (In fact, the standard set length that night was 15 minutes, and by the end of his electric segment Dylan had already been on stage longer than most of the performers who preceded him, but much of his time had been devoted to tuning and band members switching instruments, so he had only played the three songs.) According to performers Ian & Sylvia Tyson, it was "an angry, startled reaction" but that "it was a hostile audience" that year for other performers also.

Joe Boyd, responsible for the sound mixing at the 1965 Newport Folk Festival, said in an interview with Richie Unterberger in 2007: "I think there were a lot of people who were upset about the rock band, but I think it was pretty split. I think probably more people liked it than didn't. But there was certainly a lot of shouting and a lot of arguing, and a sound which, you can hear in a lot of ballparks. You used to get this confusion when Bill Skowron used to come up to the plate for the Yankees, 'cause his nickname was Moose. And everybody used to go, "MOOSE!" And it sounded like they were booing him. Because you don't get the articulation of the consonant, so that a crowd shouting "more, more, more" at the end of Dylan's three songs sounded very much like booing. I've heard recently a recording of that night, and it doesn't sound to me like booing so much as a roar, just a kind of general hubbub between songs, and during Yarrow's attempt to get Dylan back on stage... I really wouldn't be prepared to say it was 50–50, or two thirds/one third, or whatever. But I think that there was a segment of the audience, somewhere between a quarter and a half, that was dismayed or horrified or varying degrees of unhappy about what he was doing."

In 2007, documentary director Murray Lerner released on DVD his complete footage of Dylan's three appearances at Newport: The Other Side of the Mirror: Bob Dylan Live at the Newport Folk Festival 1963–1965. When interviewed by Mojo magazine, Lerner was asked: "There’s been a lot of debate over the years as to who exactly was doing the booing and who were they booing? Dylan? The organizers? The shortness of the set?" Lerner replied: "It's a good question. When we showed the film at The New York Film Festival [in October 2007] one kid gets up and says, 'About this booing... I was sitting right in front of the stage, there was no booing in the audience whatsoever. There was booing from the performers'. So I said, Well, I don't think you're right. Then another kid gets up and says 'I was a little further back and it was the press section that was booing, not the audience', and I said, Well, I don't think you're right. A third guy gets up and says 'I was there, and there was no question, it was the audience that was booing and there was no booing from the stage'. It was fascinating. People remember hearing what they thought they should hear. I think they were definitely booing Dylan and a little bit Pete Yarrow because he was so flustered. He was not expecting that audience's reaction and he was concerned about Bob’s image since they were part of the same family of artists through Al Grossman. But I absolutely think that they were booing Dylan going electric.

Dylan appears to have believed the booing represented disapproval of his new sound. Interviewed in San Francisco, on December 3, 1965, Dylan was asked whether he was "surprised the first time the boos came?" He responded: "That was at Newport. Well, I did this very crazy thing, I didn't know what was going to happen, but they certainly booed, I'll tell you that. You could hear it all over the place.... I mean, they must be pretty rich, to be able to go some place and boo. I couldn't afford it if I was in their shoes."

</snip>

[Crabby Appleton]

1. K & R. nt

[VOX]

2. "Rashomon"-like points of view. Great moment in music history, regardless.

Obviously for Dylan, but also the Paul Butterfield Blues Band, who were terrific, and among the first to introduce straight-up Chicago blues to a broader audience.