Bob [EMAIL PROTECTED] wrote
>add Dylan to the list and you could say that they
>wouldn't have happened without Chuck Berry.
This site, dedicated to Dylan influences - collected by
Matthew Zuckerman - see
http://www.expectingrain.com/dok/div/influences.html
gives this example:
~~~~~~
18 Original song: Too Much Monkey Business (Chuck Berry)
Dylan song: Subterranean Homesick Blues (January 1965)
"By 1965, Dylan had absorbed an enormous amount of
traditional and quasi-traditional material, but it is from this
time that we see him start to incorporate the influence of
more contemporary works. Chuck Berry has, with good
reason, been called the first poet of rock and roll, and his
"Too Much Monkey Business" (1957) is a perfect example
of his mastery of colloquial American English. Dylan takes
Berry's rapid-fire approach to the language and ups the stakes:
~~~~~
Workin' in the fillin' station Too many tasks Wipe the windows
Check the tires Check the oil Dollar gas!
Too Much Monkey Business
~~~~
Ah get born, keep warm, Short pants, romance. Learn to dance,
get dressed, get blessed Try to be a success. Please her,
please him, buy gifts Don't steal, don't lift - Twenty years of
schoolin' And they put you on the day shift
Subterranean Homesick Blues
~~~~
For earlier Dylan, (having read the following - see
http://members.nbci.com/elstongunn/leaving.html),
looks like Nigel Denver, Martin Carthy, Liam & Pat Clancy
(with help from Dylan's manager, Albert Grossman) should be
added to the list influences;
>PAT CLANCY: Let me tell you some of the mechanics now, because
>I was very close to it. Al Grossman's father's neighbour... Grossman
>started in Chicago, and he wanted to come to New York to find out
>about folk music. I was contacted to show him around the Village.
>He arrived at night, at 240 West 10th Street, in a suit and tie. He
>was a very bright man... You want to know where Dylan got his stuff?
>There was a little folk club here in London, down in the basement;
>we sung in it one night, where the fellow was singing about the tiger
>in the grass and the bullet up his arse, do you remember that? Anyway,
>Al Grossman paid somebody and gave them a tape-recorder, and
>every folk-singer that went up there was taped, and Bob Dylan got
>all those tapes. And when you hear The Leaving of Liverpool adapted
>by Bob Dylan, it is from one of those tapes!
>LIAM CLANCY: Yes, and the tune of "Farewell"... because whoever
>was singing harmony was closer to the mike than the guy singing
>melody, and when [Dylan] wrote his version, he wrote it to the harmony
>not the melody line...
PaulC (off to the UK Dylan Convention in Manchester next weekend -
any jmdlers going?)
