2023-11-09 17:46:58
There have been a few scandals in music history. At the premiere of Igor Stravinsky’s The Rite of Spring in Paris in 1913, riots broke out against the “blasphemous racket.” In 1971, Miles Davis blew with his back to the Berlin audience because he couldn’t stand the hostile silence that was supposed to punish him for his new kind of jazz.
When Bob Dylan switched from acoustic to electric guitar at the Free Trade Hall in Manchester in 1966, thereby betraying folk, according to his audience, someone shouted “Judas!” Dylan instructed the band to play “fuckin’ loud,” crowed “Like a Rolling Stone,” thanked them and left.
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The entrance and exit went like this „Royal Albert Hall Concert“ into history. Someone had mislabeled the black-pressed recording and confused London with Manchester. What led the singer Cat Power 56 years later to replay and re-perform the most famous concert recording from the founding era of rock music, Bob Dylan’s best-selling bootleg, at the Royal Albert Hall in London.
Now she is releasing her own recording: “Cat Power sings Dylan – The 1966 Royal Albert Hall Concert”. And her audience also plays along: a little too early, before “Ballad of a Thin Man,” the shout of “Judas!” floats through the hall. Cat Power responds with “Jesus”.
Bob Dylan, 1966 in White Plains, New York
Quelle: Getty Images
It’s no secret that she reveres him, Bob Dylan, like a saint. Unlike her old master herself, she talks openly, a lot and likes to talk about herself. Born Chan Marshall in Atlanta in 1972, she was raised by her mother’s mother because her hippie parents felt overwhelmed with the baby. She moved to New York in the 90s, wrote songs and sang and took part in the folk revival.
On her “The Covers Album” in 2000 she slipped into Dylan’s “Paths of Victory”. In 2008 on her album “Jukebox” she sang “I Believe in You” by Dylan, complemented by her own anthem called “Song to Bobby”: “Backstage pass in my hand / Giving my heart to you was my plan / Can you please be my man?” In her song she was more than the groupie with the backstage pass, she had her heart ready and a marriage proposal. Once she actually met him, her Bob, backstage at Paris. He is said to have murmured: “And so we finally meet.” Whatever he meant to say to her.
“I found my voice again”
Back then, after their successful album “The Greatest” from 2006 and “Jukebox” from 2008, Cat Power had their most serious crises behind them. Concerts that she stopped sobbing, interviews that she conducted from the hotel room toilet through the locked door, alcohol and pill addiction, breakdowns and suicide attempts. She admitted herself to a clinic and, when she felt cured, began recording songs by older men.
Music critics attributed her with a father complex. She said: “I grew up knowing that I could only trust music and rely on songs.” And: “I lost my voice in my own songs, I found my voice again in other people’s songs.”
When Cat Power not only interprets Bob Dylan’s songs, but also covers an entire, full-length concert, a modern myth, it goes beyond the personal into the pop-historical and philosophical.
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When Dylan traveled through Europe in 1966, he was followed by the anger of his offended disciples, who saw in him the savior of a people-singing civil rights movement and who already felt betrayed by the rock of the mob and the pop of capital at the festival in Newport. It was said that folk father Pete Seeger had single-handedly cut Dylan’s power cord.
It was a religious war that an American, songwriter and singer who was just 25 years old brought to Europe. He played seven folk songs in the first half and eight rock songs in the second half of the concert. First to the delight, then to the annoyance of his fans in Manchester.
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Cat Power imitates Bob Dylan, his extended solos on the harmonica in the first act, in pieces like “Just Like a Woman,” and nasally and croaky as in “Baby Let Me Follow You Down,” in the second act, in the “Judas!” -Elevator.
Their concert production is also a mock joke. Dylan came to the Royal Albert Hall in London in 1966, nine days after the Manchester scandal. The song list was the same from hall to hall, unthinkable for the traveling poet-singer later. While he made pop come of age back then by introducing the high tone of literary music into the profane sound of the hit parades, pop is classical music in the 21st century. Albums are performed like works.
Cat Power goes even further and recreates a historic concert. But not as a holy mass, but as a cheerful mass.
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