The search for how and why popular music happens is, in many respects, a search for provenance — put crudely and not how my mother taught me to communicate, it’s a search for where’d that thang come from?
When and where are the building blocks of provenance, the two legs on the table that keeps falling over but will stand up quite effectively if you throw in the how and why.
Bring in the who for the table top — the concept not the band unless you want a really loud table — and that ship of knowledge has set sail, destination history.
I write all this to introduce the author Jonathan Gould, who I believe does rock ‘n’ roll provenance better than anyone. Gould tells the creation tale like few if any others, his Beatlemania table setting (in the book “Can’t Buy Me Love”) the gold standard for an acute understanding of that epoch-changing occurrence.
Gould does it again with the book “Otis Redding: An Unfinished Life,” and you can get a taste of his action by listening to the Let It Roll podcast replays this week and last.
I promise you this, loyal readers: Read the first tenth of this book, and you will forever think differently about the Jim Crow South and the 20th-Century nation in which it existed. That thar is some heavy-duty provenance, Bucky, like a big ol’ swig of sobriety.