Sunday, March 28, 2010
I had a friend ask me where he should start with Bob Dylan's music. That's a pretty loaded question. The great part about listening to Bob Dylan's music, is that every five years or so is a completely different style from the five years that proceeded it. It's almost like listening to a completely different artist, with a different songwriting style, different backing musicians, & most importantly, a different voice. How one musician's voice can sound so different from year to year might be a mystery, unless you understand that said musician is constantly searching for something different. With that thought in mind, the journey begins...
We'll start with 1965-1966 for many reasons. First of all, it's this period that comes to mind when people think of Bob Dylan, it's him at his most energetic, his most prolific, his most sarcastic, & from all accounts, it was when he was the most self-destructive. Most people know the cliches, those who don't know anything about Bob Dylan have probably heard him snarl the words "How does it feel" or "everybody must get stoned (insert your worst Bob Dylan impression here)". The majority of his most well known songs come from the albums Bringing it All Back Home, Highway 61 Revisited, & Blonde on Blonde which were all released in these two years, along with a host of outtakes, unrecorded songs & live performances. It was as if writing a song came just as naturally as breathing. Images fly by quickly, & it's hard to keep track of 'em all, images of characters both biblical & mythical, gambling boats, train whistles, prostitutes, old folk singers, legends, veiled references to people in his own life & people in the news all ride on the same wacky bus of his mind. Some of it means something, some of it is just clever wordplay & some of it is pure nonsense. If these songs have some deep meaning in your life, good for you, but don't hold too closely to the meaning you have in your mind because there's a 99% chance you got it completely wrong. That's what these songs do, they allow you conjure up anything in your mind. Many years since I first heard these songs, I still hear them in new ways that hadn't occurred to me before.
It's fitting that we start with track one side one of Bringing it All Back Home, as Subterranean Homesick Blues was the song that hooked me. I had bought Greatest Hits Volume One through one of those cd clubs, & for the most part, I was underwhelmed by the songs at first. The songs seemed to me to be rather one dimensional, except for Subterranean Homesick Blues.
I had no idea what this song was about, but the language used was just so damn cool, & there was such a swagger to it. No matter that the melody is almost a direct copy of Chuck Berry's Too Much Monkey Business. There's just something about the line "You don't need a weatherman to know which way the wind blows" that just makes you question just about everything you ever thought you knew. I spent lots of money buying cd's looking for another song that sounded like Subterranean Homesick Blues & I never found one, but in the process every other song from this period revealed itself to be a masterpiece all on it's own. The rest of the songs that make up Bringing it All Back Home stand on their own as well, including one of Dylan's most famous songs covered by everybody, Mr Tambourine Man, one of his greatest love songs Love Minus Zero/No Limit & one of his greatest poetic lyrical masterpieces, It's Alright Ma (I'm Only Bleeding). This song exhibits Dylan's command of the language with his uncanny ability to manipulate it to mean something new. More than any other song in his canon, this one could stand alone on the page as a brilliant poem without ever being performed.
By the time Bringing it All Back Home was released in 1965, Bob Dylan's reputation as the folk music revival's biggest star was still spreading. As everyone from Peter, Paul & Mary to Stevie Wonder to Bobby Darin covered Blowin' in the Wind, Bob Dylan became known as a protest singer, singing for causes like equal rights. This reputation never caught up with him, though, as Bringing it All Back Home takes on a completely different sound & a completely different songwriting style. This album is the first one where Bob Dylan played electric, which was considered a slap in the face by some of his folk musician peers & by many of his fans. There was a strange combination of boos & cheers at most of Bob Dylan's concerts in 1965 & 1966 until a motorcycle accident forced him to quit. This tension can best be heard in the album "Live '66", Bob's greatest live album, & to my ears the greatest moment in rock & roll history.
It wasn't as though what Bob Dylan was doing playing electric guitars was completely new. Blues, country & rockabilly musicians were plugged in for a long time. It's just that no one with these kind of lyrics were playing this kind of music. In fact, up to this point no one had lyrics like these. No one. But they were rooted in early folk music. Listen to Penny's Farm by the Bently Boys.
Even the infamous Maggie's Farm from the Newport Folk Festival when Dylan first went electric in concert sounds alot like early Johnny Cash records. Dylan may be a thief, but he sure does steal from the coolest of stories. Whoever thought to bring people like Woody Guthrie & Hank Williams together with Allen Ginsberg & Arthur Rimbaud? It's a boiling hot cocktail of all sorts of influences & sources, some legal & some not.
Highway 61 Revisited starts off with Bob Dylan's most famous song, Like a Rolling Stone. It's often hard for someone who has heard this song so many times to hear it with new ears & remember how brilliant it is. Forget all the accolades (Rolling Stone magazine ranked it #1 on it's list of the 500 greatest songs, go figure), it is 6 minutes full of cynicism, revenge, wit & anger. He said it began "as a long piece of vomit". Every lyric is a landed punch in a quick fight. The original intent of this song is obviously a put down to a girl who thought she had it all together. Like most of my favorite songs or pieces of literature, it asks (literally) how it feels to have what you thought you always wanted & realize that it doesn't fulfill you in the way you thought it would, or in the case of this song, it actually does you harm. When played in concert over the past 10 or 15 years, the song takes on an anthemic quality to it. When Bob Dylan sings the words "How does it feel?", the lights shine on the audience, who obviously cheer along. It's either a cruel joke, or it's a feeling like we've all been on our own with no direction home at one point or another & at least we're still here to sing about it.
The rest of the songs on Highway 61 Revisited don't let up on this energy, & to my ears is Bob Dylan's greatest album. The last song on the album is Desolation Row, a song I could listen to daily, I love it that much. Somebody can attempt to explain it, & they might be right, but it's just a guess. It would be like trying to explain Picasso's Guernica, it's best to just let the images wash over you & see if you're better off by the time you're through.
Bob Dylan had a habit of hiring the greatest musicians available & giving them absolutely no clue of what was going to happen when they showed up for an album session. Thelonious Monk once said that the real feeling from a song comes from the first time you play it, so if you don't capture it that first time around, you may have lost it. I think this was the feeling that happened when Bob Dylan brought his musicians into a Nashville Studio at 4 in the morning to record Blonde on Blonde. He wanted to create songs that would happen in sort of a combustible way. When the final song of the album was recorded, Sad Eyed Lady of the Lowlands, the musicians expected it to be a three minute song, it ended up being 11 minutes long, so each verse builds & builds as everybody thinks it will be the last verse. The rest of the songs that make up Blonde on Blonde have that late summer night feeling, a party that has perhaps gone on too long. Everybody has had a good time, perhaps too good, & some sinister things occur as well.
Blonde on Blonde has the best SOUND of all three albums, the embodiment of That Thin Wild Mercury Sound. The songwriting isn't quite as solid, although Visions of Johanna & Sad Eyed Lady of the Lowlands rank up there with his best. Blonde on Blonde also produced several great pop songs, including I Want You, Just Like a Woman & everybody's favorite (but mine), Rainy Day Women #12 & 35.
These three albums produced some great one liners, that are great all on their own.
"You don't need a weatherman to know which way the wind blows." from Subterranean Homesick Blues
"She can take the dark out of the nighttime & paint the daytime black." from She Belongs to Me
"I try my best to be just like I am, but everybody wants you be be just like them. They say sing while you slave & I just get bored." from Maggie's Farm
"There's no success like failure & failure's no success at all." from Love Minus Zero/No Limit
"Don't ask me nothin' about nothin', I just might tell you the truth."
"Well I rapped upon a house with a US flag upon display. I said 'could you help me out, I got some friends down the way.' The man says 'get outta here, I'll tear you limb from limb'. I said, 'you know they refused Jesus too', he said, 'you're not him'" from Bob Dylan's 115th Dream
"Though you might hear laughin', spinnin', swinging madly across the sun, it's not aimed at anyone, it's just escapin' on the run, & but for the sky there are no fences facing." from Mr Tambourine Man
"The foreign sun, it squints upon
A bed that is never mine
As friends and other strangers
From their fates try to resign
Leaving men wholly, totally free
To do anything they wish to do but die
And there are no trials inside the Gates of Eden" from Gates of Eden
"For them that think that death's honesty, won't fall upon them naturally, life sometimes must get lonely." from It's Alright Ma (I'm Only Bleeding)
"Money doesn't talk, it swears." from It's Alright Ma (I'm Only Bleeding)
"Leave your stepping stones behind, something calls for you. Forget the dead you've left, they will not follow you." from It's All Over Now Baby Blue
"When you ain't got nothing, you've got nothing to lose." from Like a Rolling Stone
"The sun's not yellow, it's chicken." from Tombstone Blues
"Don't say I never warned you if your train gets lost." from It Takes alot to Laugh (It Takes a Train to Cry)
"Something is happening but you don't know what it is, do you, Mister Jones?"
"Up on housing project hill, it's either fortune or fame. You must pick one or the other though neither of them are to be what they claim." from Just Like Tom Thumb's Blues
"Everybody is either making love or else expecting rain." from Desolation Row
"Inside the museum, infinity goes up on trial. Voices echo this is what salvation must be like after a while." from Visions of Johanna
"Name me someone who's not a parasite & I'll go say a prayer for him." from Visions of Johanna
"I wasn't born to lose you." from I Want You
"I'm trying to read your portrait, but I'm helpless like a rich man's child." from Temporary Like Achilles
"To live outside the law you must be honest." from Absolutely Sweet Marie
"Don't waste your words, their just lies." from Fourth Time Around
"Well the farmers & the businessmen, they all did decide, to show you where the dead angels are that they used to hide. But why did they pick you to sympathize with their side? Oh how could they ever mistake you?" from Sad Eyed Lady of the Lowlands
Stay tuned for Step Two: Out Here a Thousand Miles from My Home 1961-1964