Once or twice a semester there is a book sale at Woodstock. At the last one I went to, I purchased a little story by Hermann Hesse. Last night I made some tea and cracked it open. Thus far, the story of Siddhartha's life is fascinating. He is a willful man who's journeys allow him to meet many people and experience vastly different lifestyles. After three years living as an ascetic - thinking, fasting and waiting - he decides to live a more worldly life - gambling, eating and drinking. I've only 40 or so pages to finish, and I just finished a part where he regrets the "worldly life" and is seriously contemplating suicide. Ultimately, he regrets past decisions in which he did not listen to his conscious or inner voice.
There have been words, phrases and situations throughout the book which remind me of other musicians and books. Perhaps I'll do some sleuthing on Wikipedia once I finish to see how it influenced other musicians and books.
This Siddhartha's story, has rekindled my appreciation for Bob Dylan. I think of the way Dylan spent years listening to recordings of literally every folk song he could get his hands on (legally or illegally). Legend has it he picked up the different strumming and plucking patterns as well as various vocal lines and songwriting techniques; with such mastery of the folk tradition Dylan assembled his first 4-5 studio recordings. However, after the mid 60s, these folk influences, other voices, were masked or of little affect to his sound. Far more prominent in his following albums, was his own voice and style.
Mason Jennings, photographed here with scruffy facial hair not unlike mine at the moment, can also use his voice. One chapter I just finished reminded me of a line from Mason Jennings' How Deep Is That River. This is a song in which Jennings, greatly influenced by Dylan, sounds like a wise old sage, perhaps a bit like the main character in the book. The major difference between the two is that Jennings sings of finding a savior down by the river whereas Siddhartha's savior, or more generally, Siddhartha's reason to live, is the rediscovery his "inner voice". Though, if Sid was looking for a reason, as to why we're here, he also could have looked no farther than Jennings.
Professionally, both Dylan and Jennings have clearly established inner voices. Guided by (their) voices, these dudes plot their musical direction, decide the overall sound of their upcoming record, and transform their thoughts and unique observations into the next lyric. Or - due to producers and record labels/contracts - maybe I have a naive and idealistic understanding of my favorite musicians and their work.
There have been words, phrases and situations throughout the book which remind me of other musicians and books. Perhaps I'll do some sleuthing on Wikipedia once I finish to see how it influenced other musicians and books.
This Siddhartha's story, has rekindled my appreciation for Bob Dylan. I think of the way Dylan spent years listening to recordings of literally every folk song he could get his hands on (legally or illegally). Legend has it he picked up the different strumming and plucking patterns as well as various vocal lines and songwriting techniques; with such mastery of the folk tradition Dylan assembled his first 4-5 studio recordings. However, after the mid 60s, these folk influences, other voices, were masked or of little affect to his sound. Far more prominent in his following albums, was his own voice and style.
Professionally, both Dylan and Jennings have clearly established inner voices. Guided by (their) voices, these dudes plot their musical direction, decide the overall sound of their upcoming record, and transform their thoughts and unique observations into the next lyric. Or - due to producers and record labels/contracts - maybe I have a naive and idealistic understanding of my favorite musicians and their work.
