By Jacob Katel
By Laurie Charles
By Nate "Igor" Smith
By Abel Folgar
By Kat Bein
By Jacob Katel
Yeah, sure, if you actually remember the Sixties you weren't really there. True for any era worth remembering. But as long as the person doing the retelling has some idea of what's important, the results should be okay. It takes real talent to make sex and drugs a dull read. (Bill Wyman should have given up playing bass with the Rolling Stones long ago. His memoir Stone Alone proves he had a whole other career writing tomes for insomniacs.) The rock era has turned out a sizable number of fascinating books, from Pamela Des Barres's innocently sleazy groupie confession I'm with the Band to my personal favorite, Bill Graham Presents, which recounts rock's hard-nosed San Francisco promoter and his dealings with the drugged (Hendrix, Joplin) and the arrogantly rich (Led Zeppelin). Memoirs have appeal for obvious reasons: Who doesn't enjoy reading someone else's diary? Who doesn't wonder what goes on where it says "no admittance"?
You don't even need to be a key player in a major scene. Julian Cope was the leader of the marginally successful Eighties psychedelic pop band, the Teardrop Explodes, and because he understood the hilarity that often accompanies failure, his book Head On reads like an epic doomed tale. It's miles ahead in terms of debauchery and ego than, say, David Crosby's memoir Long Time Gone, which features far more name stars, yet seems too proud of itself for being there to really impress anyone.
When Al Kooper's Backstage Passes first hit in the late Seventies, it had all the makings of a cult classic. Kooper had just enough credibility to get past the gate (playing with Bob Dylan will do that for a person) and his tale-spinning had the right mix of detached humor and personal empathy. He recently updated his book, retitling it Backstage Passes and Backstabbing Bastards. He's added a vast amount of material, moving into the Seventies, Eighties, and Nineties with the same sardonic eye and uncanny ability to lay blame at his own feet.
The man who managed to stumble into a Bob Dylan recording session, sit himself down at the organ, and fake his way through "Like a Rolling Stone" has many such tales. It's amazing, really, how personality traits that would be unseemly and selfish under normal circumstances take on a heroic light when magnified in the public arena. I'm thinking of Bill Graham here, but make no mistake: Kooper has certain social-climber skills that kept him ahead of the pack. As a kid he worked his way into publishing houses and began writing songs and demo-ing material for others before he knew which end up was. He puts it bluntly: "My philosophy was that you couldn't afford the luxury of trying to be in the right place at the right time. You had to be every place at every time, and hope that you might wind up anyplace at all."
After a stint working with Gene Pitney, Kooper lands his spot in rock history. Columbia producer Tom Wilson invites Kooper to watch the Dylan session. What transpires is complete inspiration on Kooper's part. Even better is the background material Kooper offers up. He had been a young hipster, always checking out the latest talent. Young Al bought Dylan's first two folk albums and didn't hear anything. It takes Paul Simon (Kooper had a sixth sense for future stars, if nothing else) playing "Baby, Let Me Follow You Down" on electric guitar to convince him to relisten. Once converted, Kooper begins writing his own Dylan-inspired crap. "'Paper doll princesses' and the like," as he describes it. He heads out for an open-mike night at Cafe Interlude in Forest Hills, Queens to perform his song "Thirty-Eight People," an unhumorous appraisal of the Kitty Genovese story, in which 38 of the woman's neighbors heard her screams as she was murdered near her apartment, but did nothing to help. Realizing the folk bag wasn't the rock-and-roll world he was accustomed to, and, in horror, realizing that Genovese's attack took place not far from the club, Kooper does what any self-respecting rocker would do: He signs up under the name Al Casey.
The Dylan scene is perfect. Kooper arrives early, gets the guitar ready, and waits. The musicians saunter in. Kooper looks composed. Then Michael Bloomfield walks in with Dylan. Wipes off his guitar, which has no case and has weathered the elements, plugs in, and begins playing. Kooper hears Bloomfield's mastery of the instrument, puts away his own guitar, and heads for the control room. It isn't until the organ player is shuffled to the piano that Kooper sees his opening. Ignoring producer Wilson's protest, Kooper sits down at the organ and tentatively plays along with "Like a Rolling Stone." In the control room, Dylan calls for the organ to be made louder. Kooper has joined the fold.
This moment is so much what great rock music is about. An element of improvisation working within a defined song. A happy accident never questioned. A moment being accepted for the moment. Dylan continued to use Kooper on his sessions, which are among both men's finest work. Dylan has always insisted that his session musicians play by the seat of their pants, intuitively understanding that given enough time to work up an "arrangement," old habits and the uniformity take over. Kooper brings us inside with him, admitting his insecurities and downplaying his abilities. He may have been a stranger to the organ but his innate musical gifts pulled it off satisfactorily. If not, his book would've ended here.