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The early Bob Dylan was compulsively drawn to the conflict between stability and the search for immortality.

Jon Landau

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Jon Landau
Age: 77
Born: 1947
Born: May 14
Composer
Journalist
Music Critic
Record Producer
Talent Manager
the United States of America
Drawn
Search
Conflict
Early
Compulsively
Bob
Dylan
Stability
Immortality

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I saw rock n' roll future and its name is Bruce Springsteen.
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'Sing It Again Rod' touches all the solo bases since Stewart's departure from the Jeff Beck Band, wherein he cut his teeth on American audiences for $75 a week plus expenses, and wisely ignores his generally inferior work with the Faces.
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Part of me believes that the completed record is the final measure of a pop musician's accomplishment, just as the completed film is the final measure of a film artist's accomplishments.
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Often, equipment can as easily function as a security blanket for musicians unwilling or unable to risk anything personal in the studio. Whether one catches the feeling on a record is a subjective matter. How can you be sure? The machinery can hold out the promise of at least mechanical perfection.
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Carole King's second album, 'Tapestry,' has fulfilled the promise of her first and confirmed the fact that she is one of the most creative figures in all of pop music. It is an album of surpassing personal-intimacy and musical accomplishment and a work infused with a sense of artistic purpose. It is also easy to listen to and easy to enjoy.
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One gets the impression that Elvis Presley does what his business advisors think will be most profitable. My advice to them: Put Elvis Presley in the studio with a bunch of good, contemporary rockers, lock the studio up, and tell him he can't come out until he's done made an album that rocks from beginning to end.
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The only criticism heard with any frequency of Elton John's first American album, 'Elton John,' was that the production was too grandiose. The melodies were superb, and lyrics frequently very good, and the performances flawless.
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The Rolling Stones have been the best of all possible worlds: they have the lack of pretension and sentimentality associated with the blues, the rawness and toughness of hard rock, and the depth which always makes you feel that they are in the midst of saying something. They have never impressed me as being kitsch.
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There is a 'patrician arrogance' to James Taylor that accounts in part for his popularity while it at the same time explains the critical resistance to his work.
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On first listening, Joni Mitchell's 'Court And Spark,' the first truly great pop album of 1974, sounds surprisingly light by the third or fourth listening, it reveals its underlying tensions.
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I saw my rock'n'roll past flash before my eyes. And I saw something else: I saw rock and roll future and its name is Bruce Springsteen. And on a night when I needed to feel young, he made me feel like I was hearing music for the very first time.
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My ambition was to be a record producer, and I had started doing that in the late '60s with my work with the MC5 and my friend Livingston Taylor.
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While the Beatles always had George Martin around to clean up their act, the Rolling Stones had Andrew Loog Oldham to coarsen theirs.
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The greatness of Mac Rebennack, alias, Dr. John, also known as John Crieux, rests on his command of the musical use of idiomatic expression. Not a technically well-endowed singer, nor a great songwriter, he leaves his mark through the discipline and control he exerts over all that he touches.
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Joni Mitchell seems destined to remain in a state of permanent dissatisfaction - always knowing what she would like to do, always more depressed when it's done.
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It didn't matter that Charlie Chaplin may not have been a great director or a great anything else. He made great movies.
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Bob Dylan may be the Charlie Chaplin of rock n' roll. Both men are regarded as geniuses by their entire audience. Both were proclaimed revolutionaries for their early work and subjected to exhaustive attack when later works were thought to be inferior. Both developed their art without so much as a nodding glance toward their peers.
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There is something complete about Stevie Wonder, and one senses that he is not only exceptionally important today, but will continue to be for as long as he chooses.
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Since her landmark 'Tapestry,' Carole King has both oversimplified and over elaborated that masterful album's style until her music has become something more overtly but less effectively personal.
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Atlantic's Jerry Wexler believes first-rate records are made by first-rate voices. He certainly has worked with enough of them: Clyde McPhatter, Joe Turner, La Vern Baker, Ray Charles, Otis Redding, Solomon Burke, Wilson Pickett and Aretha Franklin.
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