Barry Goldberg, an acclaimed keyboard participant who slipped by a aspect door into the rock pantheon by collaborating in Bob Dylan’s epochal electrical set on the Newport People Pageant in 1965, died on Jan. 22 within the Tarzana neighborhood of Los Angeles. He was 83.
His son, Aram Goldberg, mentioned the reason for his demise, in a hospital, was issues of lymphoma.
Mr. Goldberg was a part of a wave of white musicians who emerged in Chicago within the Nineteen Sixties — among the many others had been the singer and harmonica participant Paul Butterfield and the guitarist Michael Bloomfield — to create their very own model of blues-based rock.
Over the course of his profession, he led a band with the guitarist and future hitmaker Steve Miller, and performed on indelible recordings like Mitch Ryder and the Detroit Wheels’ 1966 Prime 10 hit “Satan With a Blue Gown On/Good Golly Miss Molly,” in addition to albums by the Byrds, Leonard Cohen and the Ramones.
Relocating in San Francisco for a interval within the mid-Nineteen Sixties, Mr. Goldberg joined with Mr. Bloomfield, a good friend from highschool; the singer Nick Gravenites, one other Chicago blues devotee; and the drummer Buddy Miles, who would later work with Jimi Hendrix, and others, to type the Electrical Flag, an earthy blues-rock outfit that rode the psychedelic wave and carried out on the watershed Monterey Worldwide Pop Pageant in 1967.
Mr. Goldberg additionally made his mark as a songwriter. He collaborated with the country-rock pioneer Gram Parsons on “Do You Know How It Feels to Be Lonesome?,” launched by the Flying Burrito Brothers in 1969, and with the lyricist Gerry Goffin on Gladys Knight & the Pips’ 1973 Prime 10 hit “I’ve Acquired to Use My Creativeness.”
Regardless of his lengthy résumé, Mr. Goldberg will most likely eternally be most carefully linked with Mr. Dylan, who first achieved fame as a folks singer of the primary order however stepped onstage at Newport, R.I., in 1965 in a leather-based jacket with an electrical band and an amplified Fender Stratocaster and, legend has it, seared the ears of an outraged viewers crammed with folks traditionalists. The history-making set is represented within the climactic scene of the Academy Award-nominated movie “A Full Unknown,” starring Timothée Chalamet as Mr. Dylan.
What all of it meant has been debated for 60 years.
Barry Joseph Goldberg was born on Dec. 25, 1941, in Chicago, the one baby of Frank Goldberg, who owned a leather-based tanning manufacturing unit, and Nettie (Spencer) Goldberg, a pianist and singer who carried out in Yiddish theaters across the metropolis.
Along with his son, he’s survived by his spouse, Gail Goldberg.
He discovered piano from his mom, and he additionally discovered confidence in performing, regardless of stage jitters that will final a lifetime. “It most likely had so much to do with my mom forcing me to play for strangers once I was 8, 9 years previous,” he as soon as informed Dan Epstein of the Jewish newspaper The Ahead.
However his actual musical training got here late at evening, listening to South Facet blues artists on his transistor radio. “Issues could be unleashed within the music and I may really feel the thrill,” he mentioned in a 1996 interview with the positioning Bloomfield Notes. “It was wild and uncontrollable,” he added.
By his midteens he was touring with Mr. Bloomfield to blues golf equipment on the town’s South Facet, the place they mingled with luminaries like Muddy Waters, Howlin’ Wolf and Buddy Man.
At 18, he began performing with Robby and the Troubadours, a band from New York that was cashing in on the twist craze, in nightclubs on Rush Road — which Mr. Goldberg referred to as “the Bourbon Road of Chicago” — and located himself hanging out at Hugh Hefner’s Playboy Mansion.
When the Paul Butterfield Blues Band was invited to play the Newport pageant on the identical Sunday in 1965 as Mr. Dylan, Mr. Goldberg traveled to Newport with the band as a result of he anticipated to sit down in. However in planning the Butterfield band’s set, Paul Rothchild, who was producing their first album, knowledgeable Mr. Goldberg that he didn’t need a keyboardist onstage. (One other keyboardist, Mark Naftalin, would be part of the band a couple of months later.)
“And that was it,” Mr. Goldberg recalled in a 2022 remembrance of the occasion, written with Mr. Epstein, in The Ahead. “In a single minute, I went from having the best time to being utterly alone and having no gig. It simply destroyed me.”
Destiny would flip at a celebration the evening earlier than Mr. Dylan’s gig, the place Mr. Bloomfield and Mr. Goldberg had been drafted into an impromptu backing band, together with different Butterfield sidemen. Al Kooper, who had carried out the hovering organ half on Mr. Dylan’s file “Like a Rolling Stone,” performed organ; Mr. Goldberg performed piano — besides on “Rolling Stone,” on which Mr. Goldberg performed organ and Mr. Kooper performed bass.
To Mr. Goldberg, it was a pure match. “We had been three Jewish guys from the Midwest who had related backgrounds, related attitudes and even the identical garments,” he recalled in The Ahead. “After I met Bob on the social gathering, he was sporting tapered pants and pointed boots, similar to I used to be. Bob may inform we had been cool, that we had been at Newport to play music and never simply to ‘make the scene.’”
Tremors had been already felt on the soundcheck earlier than the Dylan efficiency. Peter Yarrow of Peter, Paul and Mary, who was serving because the M.C. that night, “saved yelling at us to show down,” Mr. Goldberg recalled. “Each time Yarrow yelled at us, I may see Michael obtrusive again at him like, ‘Oh, simply you wait.’”
“After we went on,” he mentioned in a 2018 video interview, “Michael turned his guitar up at 9, and it was simply electrifying.”
“This,” he added, “was rock ’n’ roll.”
Nevertheless well-known it shortly turned, Mr. Dylan’s electrical set lasted solely three songs: “Maggie’s Farm,” “Like a Rolling Stone” and “It Takes a Lot to Chortle, It Takes a Practice to Cry.” He then returned for a short acoustic encore.
As portrayed in “A Full Unknown” and in numerous vital value determinations, the efficiency was one of the crucial seismic of the twentieth century — Mr. Dylan tilting the favored music world off its axis, bidding farewell to a stodgy yesterday for numerous incandescent tomorrows dominated by rock.
There may be one other view. “In most tellings, Dylan represents youth and the longer term, and the individuals who booed had been caught within the dying previous,” Elijah Wald wrote in “Dylan Goes Electrical!” (2015). “However there’s one other model, by which the viewers represents youth and hope, and Dylan was shutting himself off behind a wall of electrical noise, locking himself in a citadel of wealth and energy.”
Nonetheless, to Mr. Goldberg, the brand new period was welcome. “On the finish, there have been boos but additionally cheers,” he mentioned in a 2013 interview with Rolling Stone journal. Those that had been upset presumably “felt betrayed by him,” he mentioned. “However Bob was creating a brand new form of music, and after we had been achieved, everybody knew how particular it was.”
