François Gorin was inspired by the concert video of Bob’s 30-year career, in particular by the song « My back pages » which he performs with friends, well-known singer-musicians. A terribly intelligent and edifying essay-story.
A tour de force; here is what the writer and rock critic François Gorin (Rock & Folk, Paris Morning, Telerama). From the recording of the eponymous song « My back pages » – created in June 1964 by the master, performed on stage on October 16, 1992 at Madison Square Garden in New York to celebrate his 30th career in the company of his friends Neil Young, Tom Petty, Éric Clapton, George Harrison and Roger McGuinn – , he traces and analyzes the career of Bob Dylan. A tour de force, yes because, on the one hand, we believed that everything had been said and written about Robert Zimmerman; on the other hand, François Gorin’s style of essay-story never tires but always surprises and informs.
High-level rock criticism
The construction of the book is skillful. The quote and the comment about said song comes back like a leitmotif, like a refrain. Not without mischief and greed, François Gorin confides to us all the pleasure he has in constantly watching this exceptional moment, this moment of pure folk-rock’n’roll magic. We have the right not to blame him. Pure magic, yes; However, as he concedes not without panache and frankness, it is by no means the Bob’s best song, even if the catchy melody and the drive seduce.
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Yes, something is happening between these six monsters who, in turn, sing a verse. In order: McGuinn, Petty, Young, Clapton, Dylan and Harrison in purple jackets and striped collared shirts (but where did he find that?). And these two solos are breathtaking in feeling: that of Eric Clapon, calm, sunny, on his Stratocaster, then that, fiery, almost punk, of Neil Young on his black Gibson Les Paul. And then, the choirs! Ah! the choirs. These simple and clear harmonies like tears of joy. We ask for more.
-François Gorin’s book is fascinating and beautiful because he never tells it to himself. The author tells, precisely, tells what he feels about a Dylan who is so complex, multifaceted, and, let’s drop the word, downright brilliant. He has the honesty not to spare her at times; Gorin scratches when necessary; he taunts. Casually, he achieves what we thought impossible: the reconciliation between the hippie and punk worlds, and those of folk and rock. Here he gives us some high-level rock criticism to read. Let him be thanked for that.
My back pages, Dylan & them by François Gorin; ed. the bolt; 174 pp.