Chronicles - Bob Dylan [0]
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Copyright © 2004 by Bob Dylan
All rights reserved, including the right of reproduction in whole or in part in any form.
Excerpt from Scratch by Archibald MacLeish. Copyright © 1971 by Archibald MacLeish, renewed 1999 by William MacLeish. Reprinted by permission of Houghton Mifflin Company. All rights reserved.
SIMON & SCHUSTER and colophon are registered trademarks of Simon & Schuster, Inc.
Designed by C. Linda Dingler
Library of Congress Cataloging-in-Publication Data
Dylan, Bob, 1941–
Chronicles / Bob Dylan.
p. cm.
1. Dylan, Bob, 1941– 2. Singers — United States — Biography. I. Title.
ML420.D98A3 2004
782.42164’092 — dc22
[B] 2004056454
ISBN 0-7432-7258-7
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Contents
1. Markin’ Up the Score
2. The Lost Land
3. New Morning
4. Oh Mercy
5. River of Ice
1
Markin’ Up the
Score
LOU LEVY, top man of Leeds Music Publishing company, took me up in a taxi to the Pythian Temple on West 70th Street to show me the pocket sized recording studio where Bill Haley and His Comets had recorded “Rock Around the Clock” — then down to Jack Dempsey’s restaurant on 58th and Broadway, where we sat down in a red leather upholstered booth facing the front window.
Lou introduced me to Jack Dempsey, the great boxer. Jack shook his fist at me.
“You look too light for a heavyweight kid, you’ll have to put on a few pounds. You’re gonna have to dress a little finer, look a little sharper — not that you’ll need much in the way of clothes when you’re in the ring — don’t be afraid of hitting somebody too hard.”
“He’s not a boxer, Jack, he’s a songwriter and we’ll be publishing his songs.”
“Oh, yeah, well I hope to hear ’em some of these days. Good luck to you, kid.”
Outside the wind was blowing, straggling cloud wisps, snow whirling in the red lanterned streets, city types scuffling around, bundled up — salesmen in rabbit fur earmuffs hawking gimmicks, chestnut vendors, steam rising out of manholes.
None of it seemed important. I had just signed a contract with Leeds Music giving it the right to publish my songs, not that there was any great deal to hammer out. I hadn’t written much yet. Lou had advanced me a hundred dollars against future royalties to sign the paper and that was fine with me.
John Hammond, who had brought me to Columbia Records, had taken me over to see Lou, asked him to look after me. Hammond had only heard two of my original compositions, but he had a premonition that there would be more.
Back at Lou’s office, I opened my guitar case, took the guitar out and began fingering the strings. The room was cluttered — boxes of sheet music stacked up, recording dates of artists posted on bulletin boards, black lacquered discs, acetates with white labels scrambled around, signed photos of entertainers, glossy portraits — Jerry Vale, Al Martino, The Andrews Sisters (Lou was married to one of them), Nat King Cole, Patti Page, The Crew Cuts — a couple of console reel-to-reel tape recorders, big dark brown wooden desk full of hodgepodge. Lou had put a microphone on the desk in front of me and plugged the cord into one of the tape recorders, all the while chomping on a big exotic stogie.
“John’s got high hopes for you,” Lou said.
John was John Hammond, the great talent scout and discoverer of monumental artists, imposing figures in the history of recorded music — Billie Holiday, Teddy Wilson, Charlie Christian, Cab Calloway, Benny Goodman, Count Basie, Lionel Hampton. Artists who had created music that resonated through American life. He had brought it all to the public eye. Hammond had even conducted the last recording sessions of Bessie Smith. He was legendary, pure American aristocracy. His mother was an original Vanderbilt, and John had been raised in the upper world, in comfort and ease — but he wasn’t satisfied and had followed his own heart’s love, music, preferably the ringing rhythm of hot jazz,