John Einarson (johneinarson) Fri 6 May 05 12:30
Thank you both. I will, indeed, continue to check in and respond to questions. Thanks for having me. Cheers.
Steve Silberman (digaman) Fri 6 May 05 13:45
Thanks so much for your generous participation here, John, and thank you, everyone.
Sharon Lynne Fisher (slf) Sat 7 May 05 22:40
I want to see a Warren Zevon book.
John Einarson (johneinarson) Sun 8 May 05 07:32
Me, too. A fascinating life. Wonder if anyone is writing one? I am not aware of such a book in development but it would make a great story.
Sharon Lynne Fisher (slf) Sun 8 May 05 20:22
So, what's stopping you?
Dave Zimmer (waterbrother) Mon 9 May 05 06:39
Sharon, John, The following book deal was announced back in April of 2004: Crystal Zevon's I'LL SLEEP WHEN I'M DEAD: The Life and Times of Warren Zevon, a memoir of her ex-husband, the rock musician who spent three decades writing dark, acerbic songs that pre-saged his death this year from inoperable lung cancer, to David Hirshey at Harper for Ecco, in a pre-empt, by Marian Young at The Young Agency. I think this book is due out sometime before the end of 2005 or early 2006. Am not sure if Crystal is collaborating with a journalist on the book, which may also include some of Warren's diary writings. But I think there is still room for a true biography of Zevon, though, with insights from Jackson Browne, David Lindley, Danny Kootch, David Letterman, and others.
John Einarson (johneinarson) Mon 9 May 05 07:01
Thanks for that update, Dave. Much appreciated! I'll look forward to picking up that book when it hits bookstore shelves.
Sharon Lynne Fisher (slf) Mon 9 May 05 09:20
cool! Then there's always Stevie Nicks' biography...
John Einarson (johneinarson) Mon 9 May 05 10:42
Oooooh. "Just like a white-winged dove....." I'll leave that one to somebody else.
Darrell Jonsson (jonsson) Tue 17 May 05 12:08
"White Light" arrived last week, been listening to it, it is a bit more coherent than Echos. Doesn't knock your socks off right away though, its almost minimalist folk-rock. The lyrics are very good metaphor rich and pituresque. It does not have the vitrol of much of Dylan. Ironically hearing about the hard knocks of Gene Clarks life, lyrically it is remarkablty life-affirming. It does not have the dynamism of the Byrds, Carla Olson/Clark or what I remember of Dillard & Clark, so in a way easy to hear why it wasn't promoted better in its time. Unpretentious, simple, reminds a bit of J.J. Cale, in how songs all have a musical sameness to them. Still makes me think that all Clark needed most of the time was a guitar, tamborine and harmonica to get across, so like Echos the arrangements don't really add much.
John Einarson (johneinarson) Wed 18 May 05 11:36
Most Clark fans lean towards White Light as their favourite. It's lyrics are life-affirming because he was in a positive place and space in his life: in love (about to marry Carly McCummings), living up in Albion (Mendocino), happy, healthy.
Darrell Jonsson (jonsson) Mon 30 May 05 13:36
<scribbled by jonsson Wed 1 Jun 05 01:05>
Darrell Jonsson (jonsson) Thu 30 Jun 05 08:15
Finally got a hold of a copy of "Mr Tambourine Man" and it made for a facinating read. Was particularly interested in the early chapters which depict the shaping of Clarks early imagination in the rural south. As one listens more to Clark's lyrics it is hard not to be struck but what either Einarson or somebody in his book describes to the effect of painting words with brush strokes. Einarson ascribes Clark's imagination in part to the spacious forests that Clark grew up in playing with his 13 siblings. It was enlightening to find Clark had Catholicism and American Indian in his background as well. Still if Clark was not reading much literature there must of been some rich spinning prosaic oral culture going on with the English language around Tipton, MO. It is harder to fully speculate what must spawned his painterly use of words the more you read Clark's lyrics. Part of this is explained by Clark's work methods. Einarson informants describe Clark's marathon allnighter lyric composition sessions that sound vaugely like the sort of tweaked state computer programmers used to get into with 36-48 hour programming sessions. The book certainly enhances the listening material. If I can bother mentioning lyricism again by the time I read the notes above in inkwell.vue "Mr Tambourine" conference I was projecting all kinds of drug imagry into my first listen of 'No Other'. To the extent that when you listen to 'Silver Vial' where they sing 'for gain' I thought they were singing "Cocaine". So it was intriging to find out the real story behind many of those songs which really seem to be from the same fountain of dreams many surrealist derive their work from. Einarson also interviews someone who says Clark used to walk around Mendocino at night composing, although I'm not clear if he was writing things down or simply composing in his head. The part about of McGuinn and Clark deconstructing the Beatles sound and finding a common thread between skiffle and american folk music was interesting. I'm not sure if I still understand exactly how the married these affinities into the Byrd's sound, but from the book you get the sense that it was intense process combining both Roger & Gene working from internalized and studied musical sources. The catapult from MO to Hollywood success is depicted well in both its glory and wierdness along with the combined patterns of addicition and foibles of the music industry that retarded the man's career. There are 300+ pages of details, including notes on how the Byrds constructed their harmonies and how Crosby later improved on vocal harmonies in CS&N. You almost want to read the last chapters with one eye shut though, as things get really grisly towards the end. It does not sound like Einarson is raking any muck, but simply reporting the various spins on Clark's last days is almost a mystery novel in itself. One thing that isn't a mystery when you get done reading the book is how Clark's career seemed to be in a cycle of crashes and near resurections, it is very hard not to damn alcohol and cocaine for the entire debacle, including Clarks stuborn innability to get help. I quess if JE checks back in here at some point, what remains mystifying is where Clark came up with his more abtract lyrics which are far removed from any sort of naive art that one might expect from a mostly unread person. I was wondering if there were any further insights into that, either from your speculations or that of the people you interviewed?
From Steve via E-mail (captward) Tue 29 May 12 12:16
Hello John, On a website, which I can't find now, it mentioned that Gene Clark's solo version of Mr. Tambourine Man (from the Firebyrd LP) was Bob dylan's favorite cover version. Problem is, I can't seem to find this now! Can you give me any info on this subject. Thank You, Steve
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