I knew a guy in college who was in love with Stevie Wonder. He could name any tune after the first note or two; he would perk up and say, “That’s a Wonder.” Any little incident in everyday life could remind him of one Wonder or another, which we would go ahead and sing to you, bidden or un. Some of them really were wonders, and some were contractual-obligation filler material, as anyone outside that special relationship could have told you. But he loved them all. The good stuff was so good and so plentiful it was easy to forgive the bad.
I thought I was immune to that particular media-age quirk then. I’m not, of course. Bob has had exactly the same effect on me for a long time. Long ago I figured out (late, as usual) what gibberish most of that oracular-sounding stuff from the 60s was, and how un-earthshaking the non-gibberish portion really was. Who cares. I still love every new album a little more than the last one. (Mary even likes them some.) The first Bob I ever heard was his most reviled pair of albums, Nashville Skyline and Self-Portrait, at the home of a couple of hippie refugees my parents were friends with in Costa Rica, in the 70s. (Maybe that explains it: everything he did after that had to sound good in comparison.) I loved everything about them. Later on I kind of liked his pathetic born-again ditties, I really liked the silly Western soundtrack, I loved the hateful, nasty Infidels album.So here it is Bob’s 60th birthday. A few years ago, at the peak of his powers and doubtless figuring he could do anything he wanted now, he made a couple of CDs of nothing but old folk tunes, with just his own ugly old voice and his guitar with the strings that sound like he last changed them right before the motorcycle accident. This went down pretty big around our house. They became our main car stereo fare. Laura has memorized Bob’s version of “Froggie Went A-Courtin’” and taught it to her preschool buddies. (I’ll put an MP3 of it here when I get a chance.) (You knew there would be a Laura or Lillian tie-in here somewhere, I bet.) Mary is partial to his version of Stephen Foster’s “Hard Times” (which sure sounds a lot realer than the smug, sleek version James Taylor recorded with Yo Yo Ma). Riding around listening to this stuff reminds me of the two boxed LP sets we had when we were little, recorded at one of the Newport Folk Festivals I think, with a whole lot of Odetta, the Weavers, Leon Bibb, Joan Baez, Sonny and Brownie. Each of us had our favorites; I think I leaned toward the long, droning outlaw ballads. If I could find those collections, or even remember their titles so I could do an EBay search, I’d grab them. Kids shouldn’t grow up without that kind of stuff.