CD REVIEW
Bringing it All Back Home, Bob Dylan, Columbia, 1965
It seems hard to believe now both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). It is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.
Others have, endlessly, gone on about Bob Dylan’s role as the voice of his generation (and mine), his lyrics and what they do or do not mean and his place in the rock or folk pantheons, or both. I just want to comment on a couple of songs here. Obviously, no one will ever really unravel what the meaning of "Subterranean Homesick Blues" is about except that it has produced one of the most famous lines of the 1960’s- ‘you don’t need a weatherman to know which way the wind blows’ (although if the truth be known you do) that I am fond of using anytime I get a change to use it as a political cutting edge. "Love Minus Zero No Limit" is one of the great modern love songs that will along with a few others define what love,longing and companionship meant for our generation.
Needless to say "Gates of Eden" is the modern equivalent of John Milton’s Paradise Lost (and I do not mean to use that praise hyperbolically). If Milton was explaining the ways of god to man in the aftermath of the defeat of the English Revolution then Dylan was attempting to give his take on the eternal verities for modern times.
John Wesley Harding, Bob Dylan, 1970
Others have, endlessly, gone on about Bob Dylan's role as the voice of his generation (and mine), his lyrics and what they do or do not mean and his place in the rock or folk pantheons, or both. I just want to comment on a couple of songs here. Needless to say this is a theme album centered on the old West that Dylan has written songs about elsewhere as well. That too is part of the American folk heritage. This rather good thematic conception hits right from the opening "John Wesley Harding" (a real, if more villainous, character of the Old West than portrayed here), "All Along the Watchtower" (that was given its definitive cover by Jimi Hendrix) and finishes up with the bittersweet "I’ll Be Your Baby Tonight". Politically, "I Pity The Poor Immigrant" takes on added meaning with today’s immigrant trials and tribulations. Is this Dylan’s best work? No, but it is a worthy effort.
Bob Dylan's Greatest Hits, Vol 3, Bob Dylan, 1993
Others have, endlessly, gone on about Bob Dylan's role as the voice of his generation (and mine), his lyrics and what they do or do not mean and his place in the rock or folk pantheons, or both. I just want to comment on a couple of songs here. This is compilation of songs from various, none of them new except the lyrically very well done "Dignity" that tells more about the meanness of modern life than many a novel. Some of the other material of note- "Forever Young" (our anthem as the 1960’s generation grows older) - the surreal "Brownsville Girl" that shows that Dylan could certainly use that stream of consciousness trope to great effect, the flat out rocking of "The Groom Still Waiting At The Altar", the topically political "Hurricane" (about the frame up for murder of the fighter Rubin Carter and the fight to free him-a fight that we can draw lessons from today about the nature of class struggle defense) and from his born-again Christian period a rousing "You Got To Serve Someone". Just a nice cross section of material here.
Highway 61 Revisited, Bob Dylan, Columbia, 1965
Others have, endlessly, gone on about Bob Dylan’s role as the voice of his generation (and mine), his lyrics and what they do or do not mean and his place in the rock or folk pantheons, or both. I just want to mention a couple of points here. Any song that starts out like "Desolation Row" with the line- “ They are selling post cards of the hanging, they’re painting the passports brown” will automatically get my attention every time- and keep it through over 11 minute of stream of consciousness, word play and harmonica energy. If I had to pick my number one favorite Dylan song (and the one that I have listened to the most) this is the one. Start me off with the “ When you're lost in the rain in Juarez ” of "Tom Thumbs Blues" as an appetizer and I am all set for a while. How is that for back-to-back treats- harmonica thrown in gratis?
Having mentioned my two favorites on this album I have hardly completed comment. I am not sure whether Bob Dylan was the voice of the generation of ’68, or whether he wanted to be. However, few can deny that "Like A Rolling Stone" was one of the anthems of our generation- with or without direction home. Highway 61 Revisited has over the years gone up in my estimation as a song with an interesting story line and a very rock beat. Of course, with Dylan one needs some thoughts of lost love, longing and the vagaries of keeping a relationship on course so "Queen Jane Approximately" fits the bill. Well, I could go on and on but you get the point this is a Dylan album you must own. More than that though if you want to get a feel for the trials and tribulations of the 1960’s by one of its best troubadours you NEED this album.
Bringing it All Back Home, Bob Dylan, Columbia, 1965
It seems hard to believe now both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). It is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.
Others have, endlessly, gone on about Bob Dylan’s role as the voice of his generation (and mine), his lyrics and what they do or do not mean and his place in the rock or folk pantheons, or both. I just want to comment on a couple of songs here. Obviously, no one will ever really unravel what the meaning of "Subterranean Homesick Blues" is about except that it has produced one of the most famous lines of the 1960’s- ‘you don’t need a weatherman to know which way the wind blows’ (although if the truth be known you do) that I am fond of using anytime I get a change to use it as a political cutting edge. "Love Minus Zero No Limit" is one of the great modern love songs that will along with a few others define what love,longing and companionship meant for our generation.
Needless to say "Gates of Eden" is the modern equivalent of John Milton’s Paradise Lost (and I do not mean to use that praise hyperbolically). If Milton was explaining the ways of god to man in the aftermath of the defeat of the English Revolution then Dylan was attempting to give his take on the eternal verities for modern times.
John Wesley Harding, Bob Dylan, 1970
Others have, endlessly, gone on about Bob Dylan's role as the voice of his generation (and mine), his lyrics and what they do or do not mean and his place in the rock or folk pantheons, or both. I just want to comment on a couple of songs here. Needless to say this is a theme album centered on the old West that Dylan has written songs about elsewhere as well. That too is part of the American folk heritage. This rather good thematic conception hits right from the opening "John Wesley Harding" (a real, if more villainous, character of the Old West than portrayed here), "All Along the Watchtower" (that was given its definitive cover by Jimi Hendrix) and finishes up with the bittersweet "I’ll Be Your Baby Tonight". Politically, "I Pity The Poor Immigrant" takes on added meaning with today’s immigrant trials and tribulations. Is this Dylan’s best work? No, but it is a worthy effort.
Bob Dylan's Greatest Hits, Vol 3, Bob Dylan, 1993
Others have, endlessly, gone on about Bob Dylan's role as the voice of his generation (and mine), his lyrics and what they do or do not mean and his place in the rock or folk pantheons, or both. I just want to comment on a couple of songs here. This is compilation of songs from various, none of them new except the lyrically very well done "Dignity" that tells more about the meanness of modern life than many a novel. Some of the other material of note- "Forever Young" (our anthem as the 1960’s generation grows older) - the surreal "Brownsville Girl" that shows that Dylan could certainly use that stream of consciousness trope to great effect, the flat out rocking of "The Groom Still Waiting At The Altar", the topically political "Hurricane" (about the frame up for murder of the fighter Rubin Carter and the fight to free him-a fight that we can draw lessons from today about the nature of class struggle defense) and from his born-again Christian period a rousing "You Got To Serve Someone". Just a nice cross section of material here.
Highway 61 Revisited, Bob Dylan, Columbia, 1965
Others have, endlessly, gone on about Bob Dylan’s role as the voice of his generation (and mine), his lyrics and what they do or do not mean and his place in the rock or folk pantheons, or both. I just want to mention a couple of points here. Any song that starts out like "Desolation Row" with the line- “ They are selling post cards of the hanging, they’re painting the passports brown” will automatically get my attention every time- and keep it through over 11 minute of stream of consciousness, word play and harmonica energy. If I had to pick my number one favorite Dylan song (and the one that I have listened to the most) this is the one. Start me off with the “ When you're lost in the rain in Juarez ” of "Tom Thumbs Blues" as an appetizer and I am all set for a while. How is that for back-to-back treats- harmonica thrown in gratis?
Having mentioned my two favorites on this album I have hardly completed comment. I am not sure whether Bob Dylan was the voice of the generation of ’68, or whether he wanted to be. However, few can deny that "Like A Rolling Stone" was one of the anthems of our generation- with or without direction home. Highway 61 Revisited has over the years gone up in my estimation as a song with an interesting story line and a very rock beat. Of course, with Dylan one needs some thoughts of lost love, longing and the vagaries of keeping a relationship on course so "Queen Jane Approximately" fits the bill. Well, I could go on and on but you get the point this is a Dylan album you must own. More than that though if you want to get a feel for the trials and tribulations of the 1960’s by one of its best troubadours you NEED this album.
Once Again Haunted By The Question Of Questions-Who Represented The “Voice” Of The Generation Of ’68 When The Deal Went Down-And No It Was Not One Richard Millstone, Oops, Milhous Nixon
By Seth Garth
I have been haunted recently by various references to events in the early 1960s brought to mind by either seeing or hearing those references. First came one out of the blue when I was in Washington, D.C. on other business and I popped in as is my wont to the National Gallery of Art to get an “art bump” after fighting the dearies at the tail-end of the conference that I was attending. I usually enter on the 7th Street entrance to see what they have new on display on the Ground Floor exhibition areas. This time there was a small exhibit concerning the victims of Birmingham Sunday, 1963 the murder by bombing of a well-known black freedom church in that town and the death of four innocent young black girls and injuries to others. The show itself was a “what if” by a photographer who presented photos of what those young people might have looked like had they not had their precious lives stolen from them by some racist KKK-drenched bastards who never really did get the justice they deserved. The catch here, the impact on me, was these murders and another very disturbing viewing on television at the time, in black and white, of the Birmingham police unleashing dogs, firing water hoses and using the ubiquitous police billy-clubs to beat down on peaceful mostly black youth protesting against the pervasive Mister James Crow system which deprived them of their civil rights.
Those events galvanized me into action from seemingly out of nowhere. At the time I was in high school, in an all-white high school in my growing up town of North Adamsville south of Boston. (That “all white” no mistake despite the nearness to urban Boston since a recent look at the yearbook for my class showed exactly zero blacks out of a class of 515. The nearest we got to a black person was a young immigrant from Lebanon who was a Christian though and was not particularly dark. She, to my surprise, had been a cheer-leader and well-liked). I should also confess, for those who don’t know not having read about a dozen articles I have done over the past few years in this space, that my “corner boys,” the Irish mostly with a sprinkling of Italians reflecting the two major ethic groups in the town I hung around with then never could figure out why I was so concerned about black people down South when we were living hand to mouth up North. (The vagaries of time have softened some things among them for example nobody uses the “n” word which needs no explanation which was the “term of art” in reference to black people then to not prettify what this crowd was about.)
In many ways I think I only survived by the good graces of Scribe who everybody deferred to on social matters. Not for any heroic purpose but because Scribe was the key to intelligence about what girls were interested in what guys, who was “going” steady, etc. a human grapevine who nobody crossed without suffering exile. What was “heroic” if that can be used in this context was that as a result of those Birmingham images back then I travelled over to the NAACP office on Massachusetts Avenue in Boston to offer my meager services in the civil rights struggle and headed south to deadly North Carolina one summer on a voting drive. I was scared but that was that. My guys never knew that was where I went until many years later long after we had all gotten a better gripe via the U.S. Army and other situations on the question of race and were amazed that I had done that.
The other recent occurrence that has added fuel to the fire was a segment on NPR’s Morning Edition where they deal with aspects of what amounts to the American Songbook. The segment dealt with the generational influence of folk-singer songwriter Bob Dylan’s The Times They Are A-Changin’ as an anthem for our generation (and its revival of late in newer social movements like the kids getting serious about gun control). No question for those who came of political age early in the 1960s before all hell broke loose this was a definitive summing up song for those of us who were seeking what Bobby Kennedy would later quoting a line of poetry from Alfred Lord Tennyson call “seeking a newer world.” In one song was summed up what we thought about obtuse indifferent authority figures, the status quo, our clueless parents, the social struggles that were defining us and a certain hurried-ness to get to wherever we thought we were going.
I mentioned in that previous commentary that given his subsequent trajectory while Bob Dylan may have wanted to be the reincarnation Plus of Woody Guthrie (which by his long life he can rightly claim) whether he wanted to be, could be, the voice of the Generation of ’68 was problematic. What drove me, is driving me a little crazy is who or what some fifty plus years after all the explosions represented the best of what we had started out to achieve (and were essentially militarily defeated by the ensuing reaction before we could achieve most of it) in those lonely high school halls and college dormitories staying up late at night worrying about the world and our place in the sun.
For a long time, probably far longer than was sensible I believed that it was somebody like Jim Morrison, shaman-like leader of the Doors, who came out of the West Coast winds and headed to our heads in the East. Not Dylan, although he was harbinger of what was to come later in the decade as rock reassembled itself in new garb after some vanilla music hiatus but somebody who embodied the new sensibility that Dylan had unleashed. The real nut though was that I, and not me alone, and not my communal brethren alone either, was the idea that we possessed again probably way past it use by date was that “music was the revolution” by that meaning nothing but the general lifestyle changes through the decade so that the combination of “dropping out” of nine to five society, dope in its many manifestations, kindnesses, good thought and the rapidly evolving music would carry us over the finish line. Guys like Josh Breslin and the late Pete Markin, hard political guys as well as rabid music lovers and dopers, used to laugh at me when I even mentioned that I was held in that sway especially when ebb tide of the counter-cultural movement hit in Nixon times and the bastinado was as likely to be our home as the new Garden. Still Jim Morrison as the “new man” (new human in today speak) made a lot of sense to me although when he fell down like many others to the lure of the dope I started reappraising some of my ideas -worried about that bastinado fate.
So I’ll be damned right now if I could tell you that we had such a voice, and maybe that was the problem, or a problem which has left us some fifty years later without a good answer. Which only means for others to chime in with their thoughts on this matter.
