![]() ![]() His own solo career was steeped in murky Americana. More than an adept, sensitive producer, Burnett was a kindred spirit to the Wallflowers. ![]() Burnett had also known Jakob since he was a little boy, when he manned piano and guitar in Bob Dylan’s Rolling Thunder Revue. For the Wallflowers’ second album, Dylan and Jaffee were joined by guitarist Michael Ward, drummer Mario Calire, bassist Greg Richling, and vitally, producer T Bone Burnett, who’d sculpted sounds by Elvis Costello, Marshall Crenshaw, Bruce Cockburn, and Gillian Welch. The title, a tweaked lyric from the forlorn “ Invisible City,” referred to Dylan wresting control of his own creativity. “We were severely damaged and mauled goods at that point.” That stale sense of dissatisfaction crept into the songs on Bringing Down the Horse, which Dylan wrote in the fallow years between 19. “When our contract fell through, there was a year where nobody would come to see us, talk to us, or even return our manager’s phone calls,” Dylan once told Billboard of his band’s post-debut slump. I was never the kid on Melrose who wanted to grow the dreadlocks and put on Doc Martens.” The limp reception prompted a change in labels and personnel-only Jaffee stayed on with Dylan as they readied their second album, 1996’s Bringing Down the Horse. “I was never interested in just being in fashion. “It’s just not what I’m interested in,” Dylan told The Los Angeles Times when asked if he’d consider a heavier sound. Or maybe, to entertain another of Dylan’s pet theories, it wasn’t sad, angry, or grunge enough. Maybe the vocals were too muddied in the mix. Jaffee played with Dylan daily for about two months before Yanowitz tipped him off about his old man.īy the mid-’90s, the Wallflowers’ debut had only moved 40,000 units. They convened in the back bar of Canter’s Deli for weekly jam sessions, where Jaffee invited scores of local musicians to bang out Neil Young covers around a beat-up house piano. Jaffee joined two years later, as the band became more of a presence around L.A. Two weeks into the semester, he returned to Los Angeles and accepted his fate.ĭylan enlisted his childhood friend Tobi Miller on lead guitar, bassist Barrie Maguire, and drummer Peter Yanowitz, who gigged in the late ’80s as the Apples, “which is even more pathetic than the Wallflowers,” the frontman once joked. It was one final push against a tide rising inside him. ![]() After high school, Dylan moved to New York to study painting at Parsons. He asked for a bathroom key and slipped quietly out of the classroom. and the Beatles was a thumbnail photo of Jakob’s dad. Printed on a page next to Martin Luther King Jr. One day in seventh grade, his classmates flipped their social-studies textbooks to a chapter about the 1960s. In school, there was nowhere to bury it, but Dylan would hide out when he could. He had tried to conceal his lineage for as long as humanly possible. ![]() That charged music ignited something in Dylan, who picked up a guitar as a pre-teen, and played in garage bands with names like Trash Matinee. He idolized his older brothers, who exposed him to all kinds of punk rock: the Jam, Stiff Little Fingers, and crucially, the Clash. When pressed about his childhood in early interviews, the younger Dylan alluded to a whitebread American upbringing. Whether it was conscious or not, he’d been resisting the family business for years many men outdo their fathers, but only a fool would think he could best Bob Dylan. Jakob Dylan formed the Wallflowers in a fit of surrender. ![]()
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