Like "superstars" in sports, the moniker "enigma" in music circles has been rendered virtually superfluous by its overuse. Marc Eliot's Death of a Rebel: A Biography of Phil Ochs delineates the all-too brief life of a GENUINE musical enigma, Phil Ochs, who hanged himself to death at age 36. Eliot's work transcends mere biographical rehashes of career vicissitudes; it presents a compelling psychological profile of a revered lyricist/folk singer possessing personality contradictions comparable to Shakespeare's Hamlet. Eliot's character dissection is twofold: coverage of Phil's musical career is adroitly complimented by discussion of Phil's political activism. Through warm, personal reminisces of Phil by friends and peers and an exemplary presentation of the ambience of the Sixties, Eliot challenges the reader to diagnose the cause(s) of Phil's psychological breakdown. All explanations inherently possess a paucity of conviction, highlighting Eliot's characterization of Phil as an unsolvable enigma.
The book first and foremost presents Phil as a superlative lyricist, capable of protest and introspective songs of high quality. Pete Seeger, author of 'Where Have All the Flowers Gone?' and (w/ Lee Hays) 'If I Had a Hammer," wrote to Phil: "I wish I had one-tenth your talent as a songwriter." London's Melody Maker, the most analytical of music periodicals, cited Phil for his synergism of "Beatles' musicality and Dylan's poetry." His lyrics expressed an intrinsic part of his personality. Eliot quotes Phil: "I write about (issues) out of an inner need for expression, not to change the world. The roots of my songs are psychological, not political." This explains Phil's lyrical inconsistency; i.e., some songs variously laud or condemn the protest movement, liberals, JFK, etc. The wit and creativity of Phil's songs is partially explained by Eliot's characterization of the preadolescent Phil as a dreamer too absorbed with movie screen images of Brando (whom he meets- pages 74-4), Wayne, and Dean to discern reality; the innate ability to simplify and satirize issues to their bare essentials stems partly from Phil's college days at Ohio St. (straight A's) and the political indoctrination espoused by the Marxist father of a college friend.
Phil's true musical roots lied not with folk/protest but with rock-n-roll as practiced by Elvis and Buddy Holly, and his ultimate goals were the decidedly unfolkish ideals of riches and superstardom. Phil quickly realized he couldn't acquire Dylan's status as institution solely through folk. Eliot quotes Paul Rothchild, producer of Phil's first three albums: "(Phil's voice) was too cultured. It wasn't 'of the people' enough. It wasn't Pete Seeger or Woody Guthrie; it sounded too trained." So, Phil rejected Dylan's abandoned throne, and followed the latter's conversion to folk-rock. After signing a lucrative contract with A&M Records and the release of two successful records, Phil destroyed his pop commercial viability through his (to me) heroic role in the fiasco of Chicago, 1968, and alienated his legions of folk fans by dressing in a gold lame suit in Carnegie Hall in 1970 by singing Elvis and Buddy Holly tunes. Phil had great talent and, yet, couldn't find a suitable musical genre to express himself- an unpalatable proposition for a genius.
Politics were truly a double-edged sword for Phil, providing fodder for some of his best songs and planting the seeds for the irreversible writer's block, paranoia, manic depression, and split personas that plagued Phil's final years. Eliot gives the reader the flavor of the Sixties' student movement through the eyes of one of its leading practitioners. Eliot shows how the ideals and dreams Phil possessed were shattered many times and the personal trauma this created- in Mississippi, in Chicago '68, and in Chile in 1973 with the overthrow and murder of that country's elected socialist president Salvador Allende. Phil's frustration and resignation with the failure of the Left had a masochistic effect, leading to self-effacing and self-destructive behavior. Eliot also highlights fascinating political idiosyncrasies of Phil's; he implicitly understood music and students couldn't change the attitude of the middle class and yet publicly espoused its value. He later proclaimed the need for an Elvis Presley-type to become a Che Guevara of the Left, leading to the lame suit concert whose negative response confused and hurt Phil deeply. Political and social issues made Phil musically and broke him spiritually.
The most attractive feature of the book is its objective feel. The author's love of Phil's music, wit, activism, and sincerity is balanced by discussion of the repugnant last years of Phil's life. Phil's excessive drinking, spurts of anger and violence at loved ones, and his creation of an evil alter ego, John Train ("I live outside of the law!") are discussed in an intimate manner that allows the reader to spiral and careen with Phil/John to the bitter end. Eliot passes no opinions or judgments; instead, he allows the readers to draw their own conclusions.
Eliot spent 18 months tracking down colleagues of Phil and retracting Phil's steps. The result is a thorough, in-depth profile unprecedented in pop literature. Phil will always remain an enigma, but Eliot gives us warm, personal clues to solve an unsolvable genius. Phil will forever be remembered for his music, his candidness, and his mystique.
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