Joy Boyd was where the actions was during the ’60s and ’70s. He produced Nick Drake, Fairport Convention, Richard & Linda Thompson, Sandy Denny, the Incredible String Band and plenty more.
Now he’s written an essay on “Inside Llewyn Davis” for Logger, The Believer‘s blog.
While it’s true that Inside Llewyn Davis takes some of its plot from The Mayor of MacDougal Street (Elijah Wald’s book about Dave Van Ronk), the Coen Brothers never intended the character portrayed by young, skinny Oscar Isaac to bear much resemblance to gruff, burly Van Ronk. This hasn’t prevented re-evaluations of Van Ronk’s music appearing in both The New York Times and The Guardian, explaining to younger generations his importance as a folk-blues singer and an influence on the young Bob Dylan.
Before proceeding further, I’d better declare my interest. I knew Van Ronk and heard him play a number of times, but was never a fan. From my youthfully opinionated 1962 perspective, I disliked the path he laid out for younger white folk singers to butcher the blues: scratchy voice, “red-hot-mama” clichés, plunky Josh-White-influenced guitar picking.
In White Bicycles, I wrote about waking on the morning of November 22, 1963, hearing about the killing of President Kennedy and rousing Dave, who was sleeping on my couch in Cambridge, Massachusetts. His reaction was to gloat that “chickens” were “coming home to roost,” and then to turn over and go back to sleep.
Read the whole thing here.
Eric von Schmidt backed by Dick Farina and Bob Dylan:
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