One of the chief pleasures of James Mangold’s acclaimed new Bob Dylan film biography “A Complete Unknown” comes from the assistance it provides to old-timers often trying, usually failing, to explain why the cultural landscape shift from folk to rock back in 1965 was such a big deal.
In “Unknown,” of course, it’s a very big deal and the journey from aspiring teenage folkie arriving in New York City in 1961 to rock star blazing onstage at the Newport Folk Festival vividly demonstrates the gravitational pull away from folk and toward increasingly loud electric rock and roll that was hugely lucrative as well as pop culture-defining.
In “Unknown,” Timothee Chalamet is drawing rave reviews, but students of the era know there’s a film record of the real Bob Dylan in the months just before that seismic event in Rhode Island. It’s called “Don’t Look Back,” directed by D.A. Pennebaker, and it might be the greatest rock music documentary ever made.
Also figuring prominently at the epicenter of that revolution and in “Back” is Scottish folk-rock flower-power pioneer Donovan, who this year celebrates the 60th anniversary of his first album’s release in May of 1965. Titled “What’s Been Did and What’s Been Hid,” the LP contained Donovan’s first global hit, “Catch the Wind,” and the buzz around the then-teen bard put him inside the Dylan entourage as Dylan launched a music tour in England with Joan Baez only a few weeks before the historic events of Newport.
Donovan was also there, and performed a short set at Newport, which included a duet of his newly released song, “Colours,” accompanied by Baez. This coupling caught the attention of a Variety reporter in attendance, who noted in their July 28, 1965, report of both the booing of Bob and the healthy box office of the Festival, the following rather uncharacteristic (for Variety) gossipy note:
“Joan Baez, the high priestess of the folk movement, performed on the festival’s second night, working with the British folk-pop singer, Donovan. In past years, Miss Baez and Dylan generally teamed for a duetting session and their failure to do so at this get-together sparked rumors that there had been joint exit from their mutual admiration society.”
Flash forward 60 years and Donovan is not simply recalling the creative triumphs of that period but stepping out to engage with fans through a week of celebratory events, including concerts in European cities such as Rome, from May 9 –15. (See Donovan’s website for details.)
He’s also creating new works in new ways.
Fans can plug into Donovan’s latest creative musings via the free release of what he calls a “visual essay,” “Tale of the Gael,” a two-hour recitation/ photographic history of the ‘60s music revolution which he is releasing for one week exclusively on Variety.com, to be followed by release on his website.
Donovan describes “Gael” as “my story, but also the story of all of us who are called to a hidden vocation.”
He writes: “When we Gaels heed the call, we become aware that we are heir to an Ancient Skill, preserved here in Ireland, Wales and Scotland. Here, where the Industrial Monster was born, I will reveal how we Gaels from the mid-1800s on are preserving The Mythic Dreaming of Humanity by The Skill of our Music, Poetry and Theatre.”
You might have missed 1965, but here’s a chance to journey inside the mind and soul of one that era’s most inspired and unique troubadours.
Here’s Donovan’s “Tale of the Gael.”
