“I’m A Poet! I Know It! Hope I Don’t Blow It!”; A Proper Introduction To Bob Dylan
As Aaron mentioned in his introduction of me, I am quite knowledgeable in the areas of The Beatles, Bob Dylan, and US-Canadian Relations. For my second Enough Cowbell article, I considered writing on the precarious relationship between John Diefenbaker and the Kennedy Administration, focusing on the hesitant cooperation of “Dief the Chief” during the Cuban Missile Crisis; however, I decided such a nuanced report would have to be crafted when I had more time for detailed research.
Instead, I decided to try and tackle a far more ongoing issue: listening to Bob Dylan.
No matter who an individual is on the spectrum of musical preferences, it is rare to encounter someone that does not recognize the pure excellence of The Beatles, or at a bare minimum someone that respects and appreciates what they accomplished. The same does not hold true with Dylan, where one sees far less unified praise. Of course you have your terrifying obsessive fans, (“Should I go for the 8-CD Live 1966 set or the 26-CD set? Those extra Australian radio broadcasts would be pretty sweet!” – Billy Clark), but to the same extreme you have people who will confidently state: “I could sing better than Bob Dylan” – a former friend of Billy Clark).
Within that vast middle area, I believe there is a large portion of people that truly would appreciate the brilliance of Dylan’s music if they could get a foothold on his domineering catalogue: 32 studio albums and a staggeringly stupid amount of bootlegs. And even I will admit how inconceivably awful some of these albums are; for every Highway 61 Revisited there is a Down In The Groove. To these lost souls looking for deliverance, I offer myself to you as your folk-rock Moses, guiding you to a land of milk, honey, amphetamines, occasional fundamentalist Christianity, and earth-shatteringly great songs. Here are three paths by which to enter the Promise Land.
1) The Freewheelin’ Bob Dylan (1963)
Freewheelin’ was the album that launched Dylan out of the coffee houses and into the pop music scene, as it has some of his most well known and revered songs (Blowin’ In The Wind, A Hard Rain’s A-Gonna Fall). The beauty of the album in its cross generational synthesis of the form of traditional folk songs with the words of startlingly poignant political critique just at the start of the civil rights movement. Unifying all of Freewheelin’ is the youthful vibrancy and passion of a twenty-two year old who was still sleeping on couches and living off cheeseburgers in Greenwich Village. This is where the legend began and it is a great place to begin one’s appreciation of his art.
2) Bringing It All Back Home (1965)
Bob Dylan in 1965 was the supposed voice of the young generation, appointed by everyone but himself. He was the leader of the folk revival movement, the genre of revolution for what was assumed to be years to come. All he needed to do was toe the line as the marketable rebellious acoustic troubadour. This is not what he does. Instead, with a newfound pulse of screaming Chicago blues side-by-side with wistful echoes of MacDougal Street, Bringing It All Back Home proclaimed itself as a stunning calamity of genre defying genius. We see Dylan waving farewell to his past and embracing his future, all the while holding the match to light the world on fire
My final path is a mix I have painstakingly organized to highlight his entire career. It is a collage of defining themes and ideas, the central one established by the opening track “Last Thoughts On Woody Guthrie”. Whether spitting his whispered wisdom to the still silence of an overflowing hall or bleeding his drowned words to the cursing screams of mutinous devotees, Bob Dylan is a poet of the highest order.
A Proper Introduction To Bob Dylan: Muxtape
1. Last Thoughts On Woody Guthrie (Live 1963) -The Bootleg Series Vol. 1
2. It Takes A Lot To Laugh, It Takes A Train To Cry (1965) -The Bootleg Series Vol. 7
3. Simple Twist Of Fate (1974) - Blood On The Tracks
4. Bob Dylan’s 115th Dream (1965) - Bringing It All Back Home
5. Blood In My Eyes (1993) - World Gone Wrong
6. Visions Of Johanna (1966) - Blonde On Blonde
7. You Ain’t Goin’ Nowhere (1971) - Greatest Hits Vol. 2
8. The Lonesome Death Of Hattie Carroll (1963) - The Times, They Are A-Changin’
9. Not Dark Yet (1997) - Time Out Of Mind
10. Don’t Think Twice, It’s All Right (1963) - The Freewheelin’ Bob Dylan
11. Like A Rolling Stone (Live 1966) - The Bootleg Series Vol. 7
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Hey Billy,
How do you feel about Under the Red Sky, Infidels and No Mercy, Street Legal and Slow Train Coming? Just curious. I fancy myself a Dylan afficienado as well, and love all five of these albums from the oft-forgotten “middle years.”
I find that far too many people who profess to enjoy Dylan’s entire body work just select the obvious pre-motorcycle accident stuff and then the last few acclaimed modern albums and leave out the stuff in the middle. (There are some absolute turkeys though….)
Ultimately, there is no wrong way to love good music… But there’s just so much more in Dylan’s catalog than most people realize.
Hey Ryan,
I couldn’t agree more that there is more to Dylan’s catalog than most people realize (I once when through a two week period where I listened to nothing but Pat Garrett and Billy the Kid outtakes). I think Dylan’s late 70s and 80s period suffer from misconceptions from fans, but I think they suffer the most from poor track selections by Dylan, in that the songs that were not officially released in this time are some of the best (Blind Willie McTell, Series of Dreams, the live on David Letterman version of Jokerman, and countless others). Oh Mercy is a fantastic album, the rest have their moments to me. I need to give Slow Train Coming another try, but Dylan praising Jesus like that is always gonna be a tough sell for me.
To overlook these years would be a mistake, and there are breathtakingly great tracks that were officially released (Dark Eyes off Empire Burlesque blows me away every time I hear it). I dunno, I just feel the brilliance is far more fragmented in these years, the lyrics and melodies too drowned out by ridiculous production. When he went back to his roots with Good As I Been To You and World Gone Wrong, he left these methods behind, which I am truly grateful for.
By the way, I did come very very close to putting either Blind Willie McTell or Someone’s Got A Hold Of My Heart on the mix, but McTell was too long for a mix where most of the songs are already long and I felt that the early 70’s are even more overlooked than the 80’s (also I really really like the Greatest Hits version of You Ain’t Goin’ Nowhere
One of the outake versions of “Billy” (the thump on the mike version) from Pat Garrett and Billy the Kid is probably the closest I have come to bawling unexpectedly when listening to a song. To quote Bob in that magnificent session. upon learning of the almost inaudible imperfection…. “Aw… That’s too bad. That’s too bad.”
You should really not short change yourself on Slow Train Coming. This one is no “Shot of Love!” (That God - is right!) For the album, Dylan writes songs that Christians would allow themselves to love - but these songs are whimsical and fun expressions from a careful songwriter. I’m Agnostic and love that album!
We will have to chit-chat at a show sometime. Cheers.
Definitely. Have you seen the track listing for Bootleg Series 8? I’m pretty pumped for the Time Out Of Mind outtakes, that’s gonna be awesome
i don’t see “mary had a little lamb” on your muxtape.
you might not know it. it’s a protest song.
Kelsey,
You must be mistaken because Bob Dylan does not write “protest” songs, only “topical” songs.