Jim Carroll: I should say, like.. I mean.. just… does anybody, like, have any questions about, anything? (But), like, I’m thinking about the nature of.. I obviously ask about.. the nature of the difference between lyrics and poems, generally, but.. you know, that’s not important to.. (go further into) (We can) talk about that next time. What? Allen? [Allen puts up his hand to ask a
JC: It [“Sherlock Holmes“] – has a real long fade I don’t want to subject you to it, you know…. But this one is a regular…this is not the same song now – obviously, but this is called… no.. wait a minute.. this is called…”Shake”? – no, this is called “American Express“.
This is a better mix, it’s an engineer mix, and I think
(JC: here, can you cue this up? first song on Side A – Student: Sure)
This is some of the stuff. I shouldn’t really play this either, but this is the stuff with a couple of new songs I wrote with me and (Ray) Manzarek – I think this one’s called.. This is a real rough mix. I made.. I had the engineer make it while the guitar guy was doing his lead lines.. so.. I … Read More
[Patti Smith and Jim Carroll c 1969 – Photograph by Wren D”Antonio]
Jim Carroll’s June 30, 1986 Naropa Poetics and Music Workshop contimues – see previous segments – here. here, here and here
JC: Then, you know, the danger of course being, you didn’t want to fall into that kind of stream-of-consciousness type of scene because, I mean, that falls into a certain lassitude too easily also. So you have to use a song structure, I think. You can’t just put a poem to music. That’s very difficult, you know. I think with every song by this young … Read More
JC: I mean, that just has..you know. Like, I mentioned before about Henry Miller – the one book.. when they ask(ed) me what books people should read for this course, I mention(ed) the Henry Miller book, (The)Time of the Assasins, because, I mean, simply because it made me feel like.. That was he book that made me want to get into music, you know.
I mean, it’s his assessment of Rimbaud – it’s really just as much his assessment of Henry Miller, of course … Read More
This weekend, following on from last weekend, transcription of the 1980 Jim Carroll music and poetics workshop at Naropa continues.
For the two previous segments – see here and here
JC: And also I mean, like, people, eventually, knew where his [Bob Dylan‘s] influences were coming from, whereas they didn’t know where Lou (Reed)’s influences were coming from. Not as many people had read Delmore Schwartz as Allen Ginsberg and Rimbaud. And so, I don’t know, there were certain songs of Dylan’s which just got…I lost faith in, for a while, you know. And then I … Read More
JC: Well, I’m going to play a song that was a great.. one of
..Actually, I’m going to play this early Velvet Underground song and then I’m going to play a Phil Ochs song. For some reason,
Phil Ochs and The Velvet Underground have this weird connection for me. I mean.
they got me into poetry as much as Bob.. well more than Bob Dylan, and as much
as Frank O’Hara