Hours turn into days, turn into weeks, turn into months.
I have not yet written anything about my views on Theme Time Radio Hour. My favourite hour of the week. Themes, dreams and schemes...
What an amazing show! Not only has Dylan shown himself to be a great writer, poet, singer, musician, unwitting philosopher and tireless troubadour – now he has the acclaim of being the World’s Greatest DJ!
Well, that is my opinion anyway. Completely objective, of course...!
Each of these shows is perfectly balanced and choreographed. There are reels of interesting background information about the artists; jokes and quips; a true range of influential songs covering just about every style and form of 20th Century North American and British music; a really well-thought-out congruency and flow... pure perfection. In this aspect I think it is a fabulous radio show that is unlike any other.
Dylan has a dry delivery of speech (not his regular conversational voice, but his ‘radio voice’) that sometimes cracks me up. With his (suspected) phoney emails, occasional rants (much toned down from his youth!) and his obvious passion for the music he plays, Dylan is being the ultimate host of generosity. He is a smaller radio-version of Dickens’ Ghost of Christmas Present (‘Come in and know me better, man!’ Well, a little bit better anyhow!).
I have heard that he has a portable recording studio so he can record the slots wherever in the world he may be. As he is often on the road, it is sometimes possible to hear the weariness in his voice. Many times, though, he is in fine form. He laughs and jokes along, caught out singing along to some tracks with a contagious joy. He reads poetry, includes many quotations and cultural references and places new emphasis on lyrics that highlight the subtexts of songs. He plays adverts and snippets from movies and TV shows. He explains the political background of the times, the influence this has on artists and the way the public reacted to the music.
The shows are a history lesson, a chance to hear long-forgotten tracks that deserve to have their rightful place in our hearts and minds; a tribute to the ground-breakers who changed cultural perceptions.
Some of the songs he plays are plain horrible (sorry to say!) but they all have a reason for being on the play list. After one tawdry country song, Dylan himself was heard to say something along the lines of, ‘They don’t make songs like that any more. There’s a reason for that...’
I could sit and listen to Bob Dylan all day. He is fascinating and entertaining. I am always disappointed when the hour is up. I like his ‘radio voice’ – and the clipped way in which he says dates always makes me smile (‘nineteen and sixty five’). It is so delicious and old-fashioned in a way. This makes it even more amusing and revelatory when he throws in a rap song and finishes it off with an imitation of Snoop Doggy Dogg, announcing ‘fo’ shizzle manizzle’ or some such. Priceless!
One thing he never does is talk about his own music. It is funny, but the lack of self-reference is something you get used to. Sometimes, when you hear what the theme is going to be, you find yourself automatically making a mental list of all of Dylan’s own songs that would fit the theme and probably surpass half of the music played. But we have to remember that this show is about the artists Dylan himself listens to and is influenced by. It isn’t a stage for Bob to talk about himself (he would probably never do that anyway). The closest I ever heard to a self-reference was during the episode about ‘musical instruments’. Dylan listed the most popular instruments, saying that the harmonica was the top selling instrument of all time. After a brief silence his amused voice muttered, ‘You’re welcome...’!
Sunday, 16 September 2007
Friday, 20 July 2007
Dylan and the Women.
Wow. I haven't written for almost 6 weeks. I have been working way too hard, studying for my MEd at weekends and I even had time to party a little (!) since I last jotted ideas here.
As a preface to this blog entry, we saw Nanci Griffith in concert this week. She was awesome and I thoroughly enjoyed the experience (apart from the support artist being a little disappointing and a man in our vicinity suffering from halitosis and body odour!). Nanci herself was stunning. She was so charming and poised, and she has the clearest and most beautiful voice ever. I was entranced.
What I was considering for the last little while, and this is linked to my liking Nanci Griffith, is how a female (educated, fairly strong-minded and not a feminist per se, but certainly an egalitarian) can be such a fan of Bob Dylan. He has been labelled a misogynist and there are signs in his songs that he has a somewhat 'old fashioned' view of my sisters and I... downright politically incorrect on some occasions!
There are female stereotypes littering his songs for five decades. I could quote for pages to give examples of this throughout his catalogue... but that would be a waste of time. Better to just list the categories. There are women who are the Madonna/mother/wife figure; the too-perfect ideals; the girls who cheat and deceive and the girls who are 'true like ice, like fire'. There are women who leave; women who are left; women who are angels and worldly women who are sinners. Women who charm away his brain and women who give him the creeps. Sad-eyed ladies and gypsies who 'wiggle'!
Many women are referred to in perceptively demeaning terms in the songs- baby, babe, mama, sweetheart, honey, little girl. Immature or derivative terminology placing the protagonist as the controlling patriarch. This can rile us sometimes...
Liking Bob Dylan is usually seen as a 'guy thing'... but that is another stereotype in itself. It is as abhorrent a phrase as 'chick flick' or 'girlie things'. Let's not even go there!
My personal feeling is that, as a woman, I get something different from Dylan's music than the male fans.
Firstly, Dylan is hot! Not so much physically maybe (sorry Bob!)... although those eyes, those hands, those ill-advised leather trousers back in the day... hmmm. I digress! There is a real sexiness in intelligence - and specifically the form of emotional intelligence Dylan exhibits. He is not a 'new man' by any stretch, but he was vaguely androgynous in the '60s and didn't eschew make-up in the '70s and '80s (all that psycological stuff about masks, duality of personality, performance, public and private faces and so on). He seems unaware of gender boundaries in some senses, but in other ways he is certainly 'one of the blokes'. He is very male, but with the edges blurred in a nice way! As a woman, I find that attractive. Remember that the largest sexual organ is the brain!
Secondly, I find it fascinating to hear the male opinions (real or fictionalized for effect in a song) concerning relationships and emotions. Sometimes I am surprised by the depth of feeling or understanding. Sometimes I am shocked at the unenlightened expressions. There are times when I smile at the wry self-deprecation or sarcasm that might not be in the words on paper so much, but are certainly in Dylan's voice when he sings. There is always that quality where you can't be sure how much he takes himself seriously. For example, I can almost hear a smile in his voice when he sings 'I want a real good woman to do just what I say' whilst bemoaning the state of the modern world in Thunder on the Mountain (Modern Times).
I really can't get mad at Bob Dylan. I could, as an atheist, turn my back on him completely, as even beyond the conversions and preaching there were Biblical allusions and imagery throughout his work from the start. But there is so much else there to enjoy, that it would be cutting off my nose to spite my face. And when used to full effect, the religious content of Dylan's songs invest a power and sometimes apocalyptic gravitas that is hard to ignore.
As a woman, I can't take the stereotypes and call him a misogynist.
The men are often buddies in Dylan's songs. Companions of the road. Lovable rogues - the way Dylan identifies himself with the 'honourable outlaw' ('to live outside the law you must be honest'). However, there is also a share of evil or ruthless businessmen. There have been some pimps and wife-beaters in there as well. I could probably write an essay on the oedipal father-son references in Dylan's work too. It isn't just the male-female relationships that struggle along here.
I get the impression from the songs that the protagonist (I must be careful to separate the real Dylan from the fictional voice of his songs) actually likes women very much - but often feels let down or confused by them. Women and men do act, feel and think differently in many ways. We women do not really understand men either - much as we like to kid ourselves we have you all sussed!
Believe me, though, there are a lot of us ladies out here who think Dylan is the business.
As a preface to this blog entry, we saw Nanci Griffith in concert this week. She was awesome and I thoroughly enjoyed the experience (apart from the support artist being a little disappointing and a man in our vicinity suffering from halitosis and body odour!). Nanci herself was stunning. She was so charming and poised, and she has the clearest and most beautiful voice ever. I was entranced.
What I was considering for the last little while, and this is linked to my liking Nanci Griffith, is how a female (educated, fairly strong-minded and not a feminist per se, but certainly an egalitarian) can be such a fan of Bob Dylan. He has been labelled a misogynist and there are signs in his songs that he has a somewhat 'old fashioned' view of my sisters and I... downright politically incorrect on some occasions!
There are female stereotypes littering his songs for five decades. I could quote for pages to give examples of this throughout his catalogue... but that would be a waste of time. Better to just list the categories. There are women who are the Madonna/mother/wife figure; the too-perfect ideals; the girls who cheat and deceive and the girls who are 'true like ice, like fire'. There are women who leave; women who are left; women who are angels and worldly women who are sinners. Women who charm away his brain and women who give him the creeps. Sad-eyed ladies and gypsies who 'wiggle'!
Many women are referred to in perceptively demeaning terms in the songs- baby, babe, mama, sweetheart, honey, little girl. Immature or derivative terminology placing the protagonist as the controlling patriarch. This can rile us sometimes...
Liking Bob Dylan is usually seen as a 'guy thing'... but that is another stereotype in itself. It is as abhorrent a phrase as 'chick flick' or 'girlie things'. Let's not even go there!
My personal feeling is that, as a woman, I get something different from Dylan's music than the male fans.
Firstly, Dylan is hot! Not so much physically maybe (sorry Bob!)... although those eyes, those hands, those ill-advised leather trousers back in the day... hmmm. I digress! There is a real sexiness in intelligence - and specifically the form of emotional intelligence Dylan exhibits. He is not a 'new man' by any stretch, but he was vaguely androgynous in the '60s and didn't eschew make-up in the '70s and '80s (all that psycological stuff about masks, duality of personality, performance, public and private faces and so on). He seems unaware of gender boundaries in some senses, but in other ways he is certainly 'one of the blokes'. He is very male, but with the edges blurred in a nice way! As a woman, I find that attractive. Remember that the largest sexual organ is the brain!
Secondly, I find it fascinating to hear the male opinions (real or fictionalized for effect in a song) concerning relationships and emotions. Sometimes I am surprised by the depth of feeling or understanding. Sometimes I am shocked at the unenlightened expressions. There are times when I smile at the wry self-deprecation or sarcasm that might not be in the words on paper so much, but are certainly in Dylan's voice when he sings. There is always that quality where you can't be sure how much he takes himself seriously. For example, I can almost hear a smile in his voice when he sings 'I want a real good woman to do just what I say' whilst bemoaning the state of the modern world in Thunder on the Mountain (Modern Times).
I really can't get mad at Bob Dylan. I could, as an atheist, turn my back on him completely, as even beyond the conversions and preaching there were Biblical allusions and imagery throughout his work from the start. But there is so much else there to enjoy, that it would be cutting off my nose to spite my face. And when used to full effect, the religious content of Dylan's songs invest a power and sometimes apocalyptic gravitas that is hard to ignore.
As a woman, I can't take the stereotypes and call him a misogynist.
The men are often buddies in Dylan's songs. Companions of the road. Lovable rogues - the way Dylan identifies himself with the 'honourable outlaw' ('to live outside the law you must be honest'). However, there is also a share of evil or ruthless businessmen. There have been some pimps and wife-beaters in there as well. I could probably write an essay on the oedipal father-son references in Dylan's work too. It isn't just the male-female relationships that struggle along here.
I get the impression from the songs that the protagonist (I must be careful to separate the real Dylan from the fictional voice of his songs) actually likes women very much - but often feels let down or confused by them. Women and men do act, feel and think differently in many ways. We women do not really understand men either - much as we like to kid ourselves we have you all sussed!
Believe me, though, there are a lot of us ladies out here who think Dylan is the business.
Thursday, 7 June 2007
Using Ideas As My Maps
It is strange to hear Bob Dylan talk (on the No Direction Home DVD) about how he felt on first hearing Woody Guthrie. I believe he said (to paraphrase – I can’t recall the exact words) that here was a person singing about life and people in a way that almost gave one a blueprint of how to live. The music dealt with the human morality of living – treating your fellow man properly, taking a position on social issues and working conditions. Love, religion, families... it was all there.
I consider that to be a fair reflection of how I felt when first hearing Dylan’s music.
This was not a case of blindly following Dylan’s every word as though they were written in stone. Some people do, but I do not feel I need a leader, guide or guru. As I said in my first ever entry to this blog, it was more like somebody saying, ‘I have been there before; I have lived what you are feeling now; I have the words to express those emotions.’
Bob Dylan always publicly states that he does not want to be a crusader. He does not want to lead any causes (even those he supports as right and just). He does not want to be considered the spokesperson of a generation or a ‘messiah’. He is political in the original definition of the Ancient Greek word 'politikos' (pertaining to matters of citizens and states - Dylan has always included social statement in his writing), but he is not party political. I like to consider him as being open minded and free without the labels and boxes of 'right wing', 'left wing' and so on.
However (and I realize I am dangerously bordering on the realms of the dreaded Dylanology when I start down this path!), Bob Dylan’s songs are littered with words of wisdom that can actually be helpful to a person. Beyond the observation and emotion there are some basic philosophical truths in there which are well worth heeding!
These are a few of the quotations that have struck me in some way. You could undoubtedly find hundreds of similar ideas in Dylan’s songs. These are just the first that came to my mind.
- Things that look large from a distance, close up are never that big.
- The answer is blowing in the wind.
- A hard rain’s gonna fall.
- He not busy being born is busy dying.
- You don’t need a weatherman to know which way the wind blows.
- When you think you’ve lost everything, you find out you can always lose a little more.
- The walls of pride are high and wide.
- Conceit is a disease.
- Reality has always had too many heads.
- Silver and gold won’t buy back the beat of a heart grown cold.
- We live in a political world.
- It’s rough out there...
- The writing’s on the wall...
- The sun will always shine.
- The road is long; it’s a long, hard climb.
- It’s a shadowy world, skies are slippery grey.
- Love is just a four letter word.
- Sometimes no-one wants what you got; sometimes you can’t give it away.
- Some people will offer you their hand and some won’t.
- It’s not dark yet, but it’s getting there.
- Sometimes, silence can feel like thunder.
- The things you have the hardest time parting with are the things you need the least.
- Steal a little and they throw you in jail, steal a lot and they make you king.
- Everybody’s got something to sell.
And it may not be philosophy, but it is important to remember – no-one can sing the blues like Blind Willie McTell.
I consider that to be a fair reflection of how I felt when first hearing Dylan’s music.
This was not a case of blindly following Dylan’s every word as though they were written in stone. Some people do, but I do not feel I need a leader, guide or guru. As I said in my first ever entry to this blog, it was more like somebody saying, ‘I have been there before; I have lived what you are feeling now; I have the words to express those emotions.’
Bob Dylan always publicly states that he does not want to be a crusader. He does not want to lead any causes (even those he supports as right and just). He does not want to be considered the spokesperson of a generation or a ‘messiah’. He is political in the original definition of the Ancient Greek word 'politikos' (pertaining to matters of citizens and states - Dylan has always included social statement in his writing), but he is not party political. I like to consider him as being open minded and free without the labels and boxes of 'right wing', 'left wing' and so on.
However (and I realize I am dangerously bordering on the realms of the dreaded Dylanology when I start down this path!), Bob Dylan’s songs are littered with words of wisdom that can actually be helpful to a person. Beyond the observation and emotion there are some basic philosophical truths in there which are well worth heeding!
These are a few of the quotations that have struck me in some way. You could undoubtedly find hundreds of similar ideas in Dylan’s songs. These are just the first that came to my mind.
- Things that look large from a distance, close up are never that big.
- The answer is blowing in the wind.
- A hard rain’s gonna fall.
- He not busy being born is busy dying.
- You don’t need a weatherman to know which way the wind blows.
- When you think you’ve lost everything, you find out you can always lose a little more.
- The walls of pride are high and wide.
- Conceit is a disease.
- Reality has always had too many heads.
- Silver and gold won’t buy back the beat of a heart grown cold.
- We live in a political world.
- It’s rough out there...
- The writing’s on the wall...
- The sun will always shine.
- The road is long; it’s a long, hard climb.
- It’s a shadowy world, skies are slippery grey.
- Love is just a four letter word.
- Sometimes no-one wants what you got; sometimes you can’t give it away.
- Some people will offer you their hand and some won’t.
- It’s not dark yet, but it’s getting there.
- Sometimes, silence can feel like thunder.
- The things you have the hardest time parting with are the things you need the least.
- Steal a little and they throw you in jail, steal a lot and they make you king.
- Everybody’s got something to sell.
And it may not be philosophy, but it is important to remember – no-one can sing the blues like Blind Willie McTell.
Monday, 4 June 2007
Dylanologist or Bobcat?
I have said before, and I will say it again, I have avoided writing an overt analysis of any of Dylan's songs in previous posts simply because I believe it is unnecessary. My 'take' on a song is not what your reaction is - and maybe (almost certainly) not what Bob Dylan meant when he wrote it. There is a point where the subjective truth of a song - the way it relates specifically to the individual - merges with the objective message that is 'understood' by the general listeners. If a song is too subjective, it cannot be fully accessed by anyone other than the writer. Make it too broad a statement and the personal quality is lost - the feeling that the singer is speaking just to you in some way.
I feel that analysis - although interesting - is only useful to a point. Sometimes it might be fun to hear someone else's opinion about a song as it could open up a meaning to you that you never thought of and enriches your understanding.
However, sometimes I listen to a song and depending on my mood it can take on a different perspective. Ultimately, the best thing to do is just listen and react on your own terms. Take it or leave it alone. A song says something to you or it doesn't. Simple.
What I am trying to say, in a very circuitous manner (!), is that I am not a Dylanologist. I know that many fans of Dylan memorize dates, recordings, concert play listings, clothing styles and analyse lyrics into oblivion. I dislike this intensely. It is the A.J. Weberman approach that has no sympathy with me. It is the lowest of the low. Garbage-picking insanity.
Instead I call myself a Bobcat... a hard-core fan, enjoying the music, interested in the history and background, intrigued by the man behind the music and my personal reactions, but seeking nothing more than that which is given willingly.
I am not asking for anything beyond the music. If I ever met Bob Dylan I would not even ask for an autograph (pointless things, autographs!). Bob Dylan has given my life more enrichment than I could ever wish. That is enough.
I feel that analysis - although interesting - is only useful to a point. Sometimes it might be fun to hear someone else's opinion about a song as it could open up a meaning to you that you never thought of and enriches your understanding.
However, sometimes I listen to a song and depending on my mood it can take on a different perspective. Ultimately, the best thing to do is just listen and react on your own terms. Take it or leave it alone. A song says something to you or it doesn't. Simple.
What I am trying to say, in a very circuitous manner (!), is that I am not a Dylanologist. I know that many fans of Dylan memorize dates, recordings, concert play listings, clothing styles and analyse lyrics into oblivion. I dislike this intensely. It is the A.J. Weberman approach that has no sympathy with me. It is the lowest of the low. Garbage-picking insanity.
Instead I call myself a Bobcat... a hard-core fan, enjoying the music, interested in the history and background, intrigued by the man behind the music and my personal reactions, but seeking nothing more than that which is given willingly.
I am not asking for anything beyond the music. If I ever met Bob Dylan I would not even ask for an autograph (pointless things, autographs!). Bob Dylan has given my life more enrichment than I could ever wish. That is enough.
Thursday, 24 May 2007
Happy Birthday!
On May 24th 1941, Robert Allen Zimmerman entered the world. Yes, it is Bob Dylan's birthday today. In honour of the occasion I am reprinting some words of birthday wisdom from the man himself. I hope he is having a good day, wherever he is...
Advice for Geraldine on her Miscellaneous Birthday
stay in line. stay in step. people are afraid of someone who is not in step with them. it makes them look foolish t' themselves for being in step. it might even cross their minds that they themselves are in the wrong step. do not run nor cross the red line. if you go too far out in any direction, they will lose sight of you. they'll feel threatened. thinking that they are not a part of something that they saw go past them, they'll feel something's going on up there that they don't know about. revenge will set in. they will start thinking of how t' get rid of you. act mannerly towards them. if you don't, they will take it personal. as you come directly in contact face t' face do not make it a secret of how much you need them. if they sense that you have no need for them,the first thing they will do is try t' make you need them. if this doesn't work, they will tell you of how much they don't need you. if you do not show any sadness at a remark such as this, they will immediately tell other people of how much they don't need you. your name will begin t' come up in circles where people gather to tell about all the people they don't need. you will begin t' get famous this way. this, though, will only get the people who you don't need in the first placeall the more madder.you will become a whole topic of conversation. needless t' say, these people who don't need you will start hating themselves for needing t' talk about you. then you yourself will start hating yourself for causing so much hate. as you can see, it will all end in one great gun burst.never trust a cop in a raincoat. when asked t' define yourself exactly,say you are an exact mathematician. do not say or do anything that he who standing in front of you watching cannot understand, he will feel you know something he doesn't. he will react with blinding speed and write your name down. talk on his terms. if his terms are old-fashioned an' you've passed that stage all the more easier t' get back there. say what he can understand clearly. say it simple t' keep your tongue out of yourcheek. after he hears you, he can label you good or bad. anyone will do. t' some people, there is only good an' bad. in any case, it will make him feel somewhat important. it is better t' stay away from these people. be careful of enthusiasm...it is all temporary an' don't let it sway you. when asked if you go t' church, always answer yes, never look at your shoes. when asked what you think of gene autrey's singing of hard rains gonna fall say that nobody can sing it as good as peter, paul and mary. at the mention of the president's name, eat a pint of yogurt an' go t' sleep early...when asked if you're a communist, sing america the beautiful in an italian accent. beat up nearest street cleaner. if by any chance you're caught naked in a parked car, quick turn the radio on full blast an' pretend that you're driving. never leave the house without a jar of peanut butter. do not wear matched socks. when asked to do 100 pushups always smoke a pound of deodorant beforehand. when asked if you're a capitalist, rip open your shirt, sing buddy can you spare a dime with your right foot forward an' proceed t'chew up a dollar bill. do not sign any dotted line. do not fall in trap of criticizing people who do nothing else but criticize. do not create anything. it will be misinterpreted. it will not change. it will follow you the rest of your life. when asked what you do for a living say you laugh for a living. be suspicious of people who say that if you are not nice t' them, they will commit suicide. when asked if you care about the world's problems, look deeply into the eyes of he that asks you, he will not ask you again. when asked if you've spent time in jail, announce proudly that some of your best friends've asked you that. beware of bathroom walls that've not been written on. when told t' look at yourself...never look. when asked t' give your real name...never give it.
Bob Dylan
Most of all, remember: 'he not busy being born is busy dying'.
Advice for Geraldine on her Miscellaneous Birthday
stay in line. stay in step. people are afraid of someone who is not in step with them. it makes them look foolish t' themselves for being in step. it might even cross their minds that they themselves are in the wrong step. do not run nor cross the red line. if you go too far out in any direction, they will lose sight of you. they'll feel threatened. thinking that they are not a part of something that they saw go past them, they'll feel something's going on up there that they don't know about. revenge will set in. they will start thinking of how t' get rid of you. act mannerly towards them. if you don't, they will take it personal. as you come directly in contact face t' face do not make it a secret of how much you need them. if they sense that you have no need for them,the first thing they will do is try t' make you need them. if this doesn't work, they will tell you of how much they don't need you. if you do not show any sadness at a remark such as this, they will immediately tell other people of how much they don't need you. your name will begin t' come up in circles where people gather to tell about all the people they don't need. you will begin t' get famous this way. this, though, will only get the people who you don't need in the first placeall the more madder.you will become a whole topic of conversation. needless t' say, these people who don't need you will start hating themselves for needing t' talk about you. then you yourself will start hating yourself for causing so much hate. as you can see, it will all end in one great gun burst.never trust a cop in a raincoat. when asked t' define yourself exactly,say you are an exact mathematician. do not say or do anything that he who standing in front of you watching cannot understand, he will feel you know something he doesn't. he will react with blinding speed and write your name down. talk on his terms. if his terms are old-fashioned an' you've passed that stage all the more easier t' get back there. say what he can understand clearly. say it simple t' keep your tongue out of yourcheek. after he hears you, he can label you good or bad. anyone will do. t' some people, there is only good an' bad. in any case, it will make him feel somewhat important. it is better t' stay away from these people. be careful of enthusiasm...it is all temporary an' don't let it sway you. when asked if you go t' church, always answer yes, never look at your shoes. when asked what you think of gene autrey's singing of hard rains gonna fall say that nobody can sing it as good as peter, paul and mary. at the mention of the president's name, eat a pint of yogurt an' go t' sleep early...when asked if you're a communist, sing america the beautiful in an italian accent. beat up nearest street cleaner. if by any chance you're caught naked in a parked car, quick turn the radio on full blast an' pretend that you're driving. never leave the house without a jar of peanut butter. do not wear matched socks. when asked to do 100 pushups always smoke a pound of deodorant beforehand. when asked if you're a capitalist, rip open your shirt, sing buddy can you spare a dime with your right foot forward an' proceed t'chew up a dollar bill. do not sign any dotted line. do not fall in trap of criticizing people who do nothing else but criticize. do not create anything. it will be misinterpreted. it will not change. it will follow you the rest of your life. when asked what you do for a living say you laugh for a living. be suspicious of people who say that if you are not nice t' them, they will commit suicide. when asked if you care about the world's problems, look deeply into the eyes of he that asks you, he will not ask you again. when asked if you've spent time in jail, announce proudly that some of your best friends've asked you that. beware of bathroom walls that've not been written on. when told t' look at yourself...never look. when asked t' give your real name...never give it.
Bob Dylan
Most of all, remember: 'he not busy being born is busy dying'.
Monday, 21 May 2007
Powers of Expression... Thoughts so Sublime
It has been a busy couple of weeks. My last posts were just lists and so I have been looking forward to actually writing again. Work really gets in the way of the fun stuff!
I have been listening a lot to Good As I Been To You and World Gone Wrong for the last little while... amongst a variety of other albums (I am still addicted to Modern Times... Can't see me letting that one drop any time soon)!
As an aside, I read a review of a Dylan concert from 1984 when he toured the UK with Carlos Santana. It was the height of Thatcherism and there was plenty of disaffection and urban poverty (being a teenager in the UK in the 1980's I could write a book about that alone!). Apparently, Dylan played a storming version of Maggie's Farm that almost brought the house down. That must have been a sweet moment to see! My husband saw Dylan and Santana play on that same tour - in Vancouver, Canada. I am pretty envious... I mean, Dylan and Santana!
I have been listening a lot to Good As I Been To You and World Gone Wrong for the last little while... amongst a variety of other albums (I am still addicted to Modern Times... Can't see me letting that one drop any time soon)!
As an aside, I read a review of a Dylan concert from 1984 when he toured the UK with Carlos Santana. It was the height of Thatcherism and there was plenty of disaffection and urban poverty (being a teenager in the UK in the 1980's I could write a book about that alone!). Apparently, Dylan played a storming version of Maggie's Farm that almost brought the house down. That must have been a sweet moment to see! My husband saw Dylan and Santana play on that same tour - in Vancouver, Canada. I am pretty envious... I mean, Dylan and Santana!
There was also a website I hit when surfing randomly, and it reproduced a couple of letters Bob Dylan wrote in the 60's (they are on the Book of Bob website - here is the link: www.slopbucket.com/bob/tbob/index.html).
My mind is linear. My senses feel constrained. When I express myself, it is through convention and tight language with all its complex spelling, grammatical rules and regulations. A limited freedom within the box. I carefully choose the right words. My emotions have names and adjectives as befits them. When I write poetry I try to think more openly. I 'bend the broken rules' to suit the moment... I make forays, dig tunnels, peek at the world over the edge of the barbed wire, but I never quite make it over those walls.
I was trained to think that way. I quite like it. All those rules and regulations. There is a satisfaction in precision. It's ordered, logical... safe.
But read Dylan's thoughts and the way he expresses himself. The spelling. The punctuation. The phrasing. The language. The images. It is exciting and different. It is a taste of freedom.
Maybe that is why I like Dylan's music, even when he is covering ancient ballads or 20th century blues - he gives us that glimpse of a new way of looking at the world. It is all relevant because it is all about human experience. Different people, different lives, different emotions, different eyes.
That is what all great artists should be able to do - painters, musicians, writers and poets. They show us the world in a new light. Even if sometimes they illuminate things we don't particularly want to see...
Thursday, 10 May 2007
Trying to Get to Heaven...
Subsequent to my last post, I wanted to add the list of songs that almost made it to my top 40 list ('Top 40'... sounds like a bad DJ! OK, pop-pickers, here we go!).
Again, I will place the songs in alphabetical order with no particular preference. Some of them were so difficult to relegate.
*Absolutely Sweet Marie
*Beyond the Horizon
*Bob Dylan's 115th Dream
*Dignity
*Dirt Road Blues
*Everything's Broken
*High Water
*If You Gotta Go, Go Now
*Isis
*Lay, Lady, Lay
*Leopard-Skin Pill-Box Hat
*The Levee's Gonna Break
*Lonesome Day Blues
*Man in the Long Black Coat
*Million Miles
*Mr. Tambourine Man
*Moonlight
*Nettie Moore
*New Pony
*Ninety Miles an Hour (Down a Dead End Street)
*Nobody 'Cept You
*Political World
*Ragged and Dirty
*Sad-Eyed Lady of the Lowlands
*Shelter From The Storm
*Shooting Star
*Spirit on the Water
*Ugliest Girl in the World
*What Good am I?
*Where are You Tonight?
Well, I guess that makes another 30!
Again, I will place the songs in alphabetical order with no particular preference. Some of them were so difficult to relegate.
*Absolutely Sweet Marie
*Beyond the Horizon
*Bob Dylan's 115th Dream
*Dignity
*Dirt Road Blues
*Everything's Broken
*High Water
*If You Gotta Go, Go Now
*Isis
*Lay, Lady, Lay
*Leopard-Skin Pill-Box Hat
*The Levee's Gonna Break
*Lonesome Day Blues
*Man in the Long Black Coat
*Million Miles
*Mr. Tambourine Man
*Moonlight
*Nettie Moore
*New Pony
*Ninety Miles an Hour (Down a Dead End Street)
*Nobody 'Cept You
*Political World
*Ragged and Dirty
*Sad-Eyed Lady of the Lowlands
*Shelter From The Storm
*Shooting Star
*Spirit on the Water
*Ugliest Girl in the World
*What Good am I?
*Where are You Tonight?
Well, I guess that makes another 30!
Wednesday, 9 May 2007
Temporary Like Achilles
This week, I have been asked what my 25 favourite Bob Dylan songs are. I could not get it down to 25 no matter how hard I tried... but with much soul-searching and a few internal wranglings, I have compiled a list of my 40 personal favourites. Then I have an 'almost-made-it' list of 30 more songs which I will list in a separate post. I am putting my choices in alphabetical order without preference and I am not including any explanation at this point. Most of these songs have been analysed to infinity in the past, and my thoughts on them are not necessary. Of course, this is today's list - tomorrow things might change...
*A Hard Rain's A-Gonna Fall
*Ain't Talkin'
*All Along The Watchtower
*Ballad of a Thin Man
*Blood In My Eyes
*Brownsville Girl
*Buckets of Rain
*Bye And Bye
*Cold Irons Bound
*Desolation Row
*Don't Think Twice, It's Alright
*The Groom's Still Waiting at the Altar
*Highlands
*I Can't Wait
*Idiot Wind
*If Not For You
*It Ain't Me, Babe
*It's All Over Now, Baby Blue
*It's Alright, Ma (I'm Only Bleeding)
*I Want You
*Jokerman
*Like A Rolling Stone
*Love Minus Zero / No Limits
*Love Sick
*Mississippi
*Most of the Time
*Not Dark Yet
*Rainy Day Women #12 & 35
*Silvio
*Simple Twist of Fate
*Standing In The Doorway
*Subterranean Homesick Blues
*Summer Days
*Takes a Lot to Laugh, Takes a Train To Cry
*Tangled Up In Blue
*Visions of Johanna
*What Was it You Wanted?
*Where Teardrops Fall
*Wiggle Wiggle
*You're Gonna Make Me Lonesome When You go
These are not always the best songs (although I think some are), but they make me react in some way. Some just make me smile or want to dance. Some are there for the 'stream of consciousness' lyrics that I love to lose myself in and listen to again and again. I surprised myself because there are so few early songs on the list, and none of the 'classics' (Blowin' In The Wind, The Times They Are A-Changin' or Mr. Tambourine Man for example). I do love those songs, but they are not my absolute favourites. Maybe they are of a particular time and place that speaks less to me in some way than the songs that are from my own era (The 1970s and beyond).
Anyway, the list is organic and evolutionary... temporary (like Achilles)!
*A Hard Rain's A-Gonna Fall
*Ain't Talkin'
*All Along The Watchtower
*Ballad of a Thin Man
*Blood In My Eyes
*Brownsville Girl
*Buckets of Rain
*Bye And Bye
*Cold Irons Bound
*Desolation Row
*Don't Think Twice, It's Alright
*The Groom's Still Waiting at the Altar
*Highlands
*I Can't Wait
*Idiot Wind
*If Not For You
*It Ain't Me, Babe
*It's All Over Now, Baby Blue
*It's Alright, Ma (I'm Only Bleeding)
*I Want You
*Jokerman
*Like A Rolling Stone
*Love Minus Zero / No Limits
*Love Sick
*Mississippi
*Most of the Time
*Not Dark Yet
*Rainy Day Women #12 & 35
*Silvio
*Simple Twist of Fate
*Standing In The Doorway
*Subterranean Homesick Blues
*Summer Days
*Takes a Lot to Laugh, Takes a Train To Cry
*Tangled Up In Blue
*Visions of Johanna
*What Was it You Wanted?
*Where Teardrops Fall
*Wiggle Wiggle
*You're Gonna Make Me Lonesome When You go
These are not always the best songs (although I think some are), but they make me react in some way. Some just make me smile or want to dance. Some are there for the 'stream of consciousness' lyrics that I love to lose myself in and listen to again and again. I surprised myself because there are so few early songs on the list, and none of the 'classics' (Blowin' In The Wind, The Times They Are A-Changin' or Mr. Tambourine Man for example). I do love those songs, but they are not my absolute favourites. Maybe they are of a particular time and place that speaks less to me in some way than the songs that are from my own era (The 1970s and beyond).
Anyway, the list is organic and evolutionary... temporary (like Achilles)!
Monday, 30 April 2007
Slow Train...
Today I have little to say. Tough day at work. Tired. Monday blues. Tried to listen to World Gone Wrong on the way home on the train, but some shrieking teenagers in the seats around me drowned out the music. Someone is always yelling these days, no matter where you go.
So I put Silvio on just loud enough to almost block out the noise and sat back. It made me smile.
'I can tell you fancy, I can tell you plain
You give something up for everything you gain
Since every pleasure's got an edge of pain
Pay for your ticket and don't complain'
The clarity of the lyrics rang through my ears as the swinging camel-jaws of the constantly chattering and screeching teens arced silently on and on through the stations home.
I paid for my ticket. I didn't complain. I had some musical pleasure to compensate for the discomfort. I am so thankful for my MP3 player on days like today!
So I put Silvio on just loud enough to almost block out the noise and sat back. It made me smile.
'I can tell you fancy, I can tell you plain
You give something up for everything you gain
Since every pleasure's got an edge of pain
Pay for your ticket and don't complain'
The clarity of the lyrics rang through my ears as the swinging camel-jaws of the constantly chattering and screeching teens arced silently on and on through the stations home.
I paid for my ticket. I didn't complain. I had some musical pleasure to compensate for the discomfort. I am so thankful for my MP3 player on days like today!
Sunday, 29 April 2007
Sometimes The Silence Can Feel Like Thunder...
I would like this opportunity to thank Bob Dylan for something very special.
I have been playing the guitar, in my own artless and impassioned but somewhat unskilled fashion, for well over half my lifetime. I have been singing along - sometimes flat, sometimes in tune, always happy - since I was a child and able to speak. But until Dylan gave me the gift of silence, I had never truly understood the power of sound.
Because silence is tangible. The pause can indeed be pregnant - heavy and full with the promise of a new birth of ideas and feelings. I also have a great respect and affection for the music of Paul Simon, but always thought The Sound of Silence was simply a clever rhetoric. Intellectually I knew what he meant, but never felt it in my soul until Bob Dylan came into my life, like a patient kindergarten teacher, and explained it to me carefully.
If you are wondering what I mean, I will give a few examples (although to run through the catalogue of songs and quote from each would be tiresome after a while - I will just highlight two or three).
Firstly, consider the staccato phrasing on The Man in the Long Black Coat. Each line broken and whispered so that the anticipation builds in an atmospheric way that makes the breaks and pauses as important as the lyrics themselves.
Then there is the beautiful moment in Highlands (maybe this is because I am English!) when a delicious pun is expertly worked by a silence:
'Insanity is smashing [pause]
up against my soul
You can say I was on anything [pause]
but a roll'
The thought of insanity being 'smashing' (in the UK sense of being fun and pleasant) enters my head for that split second before the full meaning of the continued line takes grip. Then there is the inference of drugs or medication by the second pause... again, this might be unintentional and just the way my mind works!
My final example is my favourite. In The Groom's Still Waiting at the Altar there is a great line with an amazing use of the pause:
'There's a wall between you [pause]
what you want and you got to leap it
Tonight you've got the power to take it
Tomorrow you won't have the power to keep it'
The lyrics on bobdylan.com add the word 'and' in that pause, but on the recording he certainly does not sing that. He pauses. The silence becomes as physical and as insurmountable as the wall he talks of. In the frenzy of that fevered song, it is a stroke of masterful vocalization that sets Dylan apart. He is never obvious. Always subtle. But therein lies the intensity that obviousness is devoid of.
If you listen to Dylan's music, you will find countless examples of the same thing. Never sloppy. Always precise. Carefully measured.
There is a song by Nanci Griffith I enjoy playing on the guitar - Is This All There Is? - in which the final chorus is preceded by a pause. A silence that always terrified me. I was scared of that break more than I was of the inferiority of my own voice or the lack of skill I showed in self-taught guitar strumming. I used to add a chord there. Anything to fill that chasm. The addition sounded wrong, but was less formidable than the moment of empty nothingness.
However, now I have learnt the value of golden silence I no longer fear that moment. I embrace the quiet - that eye of the storm which sometimes has more to say than any word could express. In the Nanci Griffith song, it is a poignant moment. The silence expresses the void left by the loss of a loved one before the final burst - the outpouring of grief, anger and the feeling one has been cheated of the dreams you build at the start of a relationship.
This is true in life as well. There are moments when silence says more than words ever could. There is a time for quiet, for reflection, for listening and contemplation.
I always loved the quote from Macbeth which describes life as 'a tale told by an idiot, full of sound and fury, signifying nothing'. Transferring this idea to music, using an understated pause correctly can speak volumes and can only really be achieved by the best vocalists and writers.
The realization might not have improved my own dubious musical abilities, but it has furthered my understanding of the process.
Thanks, Bob!
I have been playing the guitar, in my own artless and impassioned but somewhat unskilled fashion, for well over half my lifetime. I have been singing along - sometimes flat, sometimes in tune, always happy - since I was a child and able to speak. But until Dylan gave me the gift of silence, I had never truly understood the power of sound.
Because silence is tangible. The pause can indeed be pregnant - heavy and full with the promise of a new birth of ideas and feelings. I also have a great respect and affection for the music of Paul Simon, but always thought The Sound of Silence was simply a clever rhetoric. Intellectually I knew what he meant, but never felt it in my soul until Bob Dylan came into my life, like a patient kindergarten teacher, and explained it to me carefully.
If you are wondering what I mean, I will give a few examples (although to run through the catalogue of songs and quote from each would be tiresome after a while - I will just highlight two or three).
Firstly, consider the staccato phrasing on The Man in the Long Black Coat. Each line broken and whispered so that the anticipation builds in an atmospheric way that makes the breaks and pauses as important as the lyrics themselves.
Then there is the beautiful moment in Highlands (maybe this is because I am English!) when a delicious pun is expertly worked by a silence:
'Insanity is smashing [pause]
up against my soul
You can say I was on anything [pause]
but a roll'
The thought of insanity being 'smashing' (in the UK sense of being fun and pleasant) enters my head for that split second before the full meaning of the continued line takes grip. Then there is the inference of drugs or medication by the second pause... again, this might be unintentional and just the way my mind works!
My final example is my favourite. In The Groom's Still Waiting at the Altar there is a great line with an amazing use of the pause:
'There's a wall between you [pause]
what you want and you got to leap it
Tonight you've got the power to take it
Tomorrow you won't have the power to keep it'
The lyrics on bobdylan.com add the word 'and' in that pause, but on the recording he certainly does not sing that. He pauses. The silence becomes as physical and as insurmountable as the wall he talks of. In the frenzy of that fevered song, it is a stroke of masterful vocalization that sets Dylan apart. He is never obvious. Always subtle. But therein lies the intensity that obviousness is devoid of.
If you listen to Dylan's music, you will find countless examples of the same thing. Never sloppy. Always precise. Carefully measured.
There is a song by Nanci Griffith I enjoy playing on the guitar - Is This All There Is? - in which the final chorus is preceded by a pause. A silence that always terrified me. I was scared of that break more than I was of the inferiority of my own voice or the lack of skill I showed in self-taught guitar strumming. I used to add a chord there. Anything to fill that chasm. The addition sounded wrong, but was less formidable than the moment of empty nothingness.
However, now I have learnt the value of golden silence I no longer fear that moment. I embrace the quiet - that eye of the storm which sometimes has more to say than any word could express. In the Nanci Griffith song, it is a poignant moment. The silence expresses the void left by the loss of a loved one before the final burst - the outpouring of grief, anger and the feeling one has been cheated of the dreams you build at the start of a relationship.
This is true in life as well. There are moments when silence says more than words ever could. There is a time for quiet, for reflection, for listening and contemplation.
I always loved the quote from Macbeth which describes life as 'a tale told by an idiot, full of sound and fury, signifying nothing'. Transferring this idea to music, using an understated pause correctly can speak volumes and can only really be achieved by the best vocalists and writers.
The realization might not have improved my own dubious musical abilities, but it has furthered my understanding of the process.
Thanks, Bob!
Friday, 20 April 2007
It's Alright, Ma (I'm Only Bleeding)
Today I was watching a video on youtube and I was struck by something very interesting about Bob Dylan that I had never noticed before.
Maybe it was the way the clips were orchestrated that made me feel a little differently. There were snippets of interviews from the 1960s; interviews with other great musicians citing Dylan as their inspiration; a newer interview from 2006 and early performance clips of Dylan on stage alone in the spotlight with only his guitar and his beautiful words. All of these I had seen before. There was just something about this video that made me stop and think...
I considered the apparent 'arrogance' of Dylan in early interviews. The way he challenges people, interviews the interviewer, turns the attention from the way he thinks and feels, refuses to fit into a box and pushes people into impossible corners from which they cannot escape. To be honest, when I first saw Don't Look Back and No Direction Home I felt that Bob Dylan was a bit of a prat when he was younger! He comes across as cocky; intelligent and creative, but dismissive of those who can't contribute or keep up. Those who 'stand in the doorways' or 'block up the halls'. Young Bobby Zimmerman never did suffer fools gladly!
I now question though - was it arrogance or was it a case of attack being the best form of defence?
I could be wrong, but I get the feeling that Dylan was upset by what was happening. He was writing songs and performing - suddenly everyone wants him to be their spokesperson. They are looking for answers he doesn't have; wanting him to lead them on whatever causes they may champion; calling him 'messiah' then calling him a traitor when he doesn't accept the role. People are always searching for that guidance and he had been 'chosen' as prophet (actually, he was visionary - consider the truth of Hard Rain today... chilling in its accuracy).
People were camping outside Dylan's house; breaking in when his wife and children were there. The Dylan family were constantly moving - striving for a little normality and peace. It must have been horrendous.
Yes, Bob Dylan is cagey and 'enigmatic' - and that appears to me to be a big part of the self-preservation. To keep going and maintain sanity through all that madness takes a lot of strength (many great creative people have fallen by the wayside). It could also be said that whilst the songs Dylan writes, records and performs are perceived as public property, his personal life and opinions are nobody's business. Many interviewers ask inane or personal questions that can be seen as trite or 'out of order'.
There is also the probability that Dylan did not like the fact that people could not separate the man from the songs. To some people, the music is more important than the human who created them - a human with a need for privacy and personal space. People live with the songs - feel them and inhabit them, believing they are speaking to them personally. Feelings of the artist are not considered.
I see the media and 'fans' still today, talking about pop stars and celebrities as though they were devoid of humanity. Ridiculing, insulting - deifying with one hand and condemning with the other.
I was interested to see that Bob Dylan in 2006 seems a lot less sure of himself than when he was younger. His attitude expresses the realization that fame can be a double-edged sword. You can be popular this week and in the gutter the next. His songs might be a 'legacy' but how people judge them and regard them in the future is uncertain and nothing to get egotistical about.
To be honest, there appears to be very little egotism in Bob Dylan these days. I feel he now appears more comfortable in his own skin. Wiser and more knowing about the joys and pitfalls of life. More mature, quieter, self-effacing almost. Cool...
http://www.youtube.com/watch?v=ghH0yFEIcNo
Maybe it was the way the clips were orchestrated that made me feel a little differently. There were snippets of interviews from the 1960s; interviews with other great musicians citing Dylan as their inspiration; a newer interview from 2006 and early performance clips of Dylan on stage alone in the spotlight with only his guitar and his beautiful words. All of these I had seen before. There was just something about this video that made me stop and think...
I considered the apparent 'arrogance' of Dylan in early interviews. The way he challenges people, interviews the interviewer, turns the attention from the way he thinks and feels, refuses to fit into a box and pushes people into impossible corners from which they cannot escape. To be honest, when I first saw Don't Look Back and No Direction Home I felt that Bob Dylan was a bit of a prat when he was younger! He comes across as cocky; intelligent and creative, but dismissive of those who can't contribute or keep up. Those who 'stand in the doorways' or 'block up the halls'. Young Bobby Zimmerman never did suffer fools gladly!
I now question though - was it arrogance or was it a case of attack being the best form of defence?
I could be wrong, but I get the feeling that Dylan was upset by what was happening. He was writing songs and performing - suddenly everyone wants him to be their spokesperson. They are looking for answers he doesn't have; wanting him to lead them on whatever causes they may champion; calling him 'messiah' then calling him a traitor when he doesn't accept the role. People are always searching for that guidance and he had been 'chosen' as prophet (actually, he was visionary - consider the truth of Hard Rain today... chilling in its accuracy).
People were camping outside Dylan's house; breaking in when his wife and children were there. The Dylan family were constantly moving - striving for a little normality and peace. It must have been horrendous.
Yes, Bob Dylan is cagey and 'enigmatic' - and that appears to me to be a big part of the self-preservation. To keep going and maintain sanity through all that madness takes a lot of strength (many great creative people have fallen by the wayside). It could also be said that whilst the songs Dylan writes, records and performs are perceived as public property, his personal life and opinions are nobody's business. Many interviewers ask inane or personal questions that can be seen as trite or 'out of order'.
There is also the probability that Dylan did not like the fact that people could not separate the man from the songs. To some people, the music is more important than the human who created them - a human with a need for privacy and personal space. People live with the songs - feel them and inhabit them, believing they are speaking to them personally. Feelings of the artist are not considered.
I see the media and 'fans' still today, talking about pop stars and celebrities as though they were devoid of humanity. Ridiculing, insulting - deifying with one hand and condemning with the other.
I was interested to see that Bob Dylan in 2006 seems a lot less sure of himself than when he was younger. His attitude expresses the realization that fame can be a double-edged sword. You can be popular this week and in the gutter the next. His songs might be a 'legacy' but how people judge them and regard them in the future is uncertain and nothing to get egotistical about.
To be honest, there appears to be very little egotism in Bob Dylan these days. I feel he now appears more comfortable in his own skin. Wiser and more knowing about the joys and pitfalls of life. More mature, quieter, self-effacing almost. Cool...
http://www.youtube.com/watch?v=ghH0yFEIcNo
Sunday, 8 April 2007
Feel Good Factor
I was thinking again today about why I tend to listen to Bob Dylan more than any other singer these days. I do listen to other things... in fact I consider myself highly eclectic. I have a collection of all sorts of music from opera, classical, blues, jazz, folk, disco, country, pop, Motown, swing... Beyond the enjoyment that music gives me, I have always believed that for myself to appreciate music as fully as possible, I wanted to understand the history, cultural influences and processes as much as I could. I am not an expert, but I like to experience as wide a variety as possible.
One thing I like about Dylan is that he makes me feel as though he is the gathering of all this history in one place. You can hear and feel the past in his music and lyrics, but you can also taste the future. His songs sometimes feel like they have always existed, and yet they still sound new and fresh more than 40 years after them having been written. Never predictable, never conventional. It is the paradox that makes his music so addictive, relevant and timeless.
Another thing I like about Bob Dylan is the way his music makes me feel. I have a reaction that burns deep inside. It calls to me on some deeper level. It means something - it makes me think and challenges me intellectually and emotionally. It also makes me feel good. When I hear some of Bob Dylan's music, I can feel his passion and enjoyment - his pure love for what he does - come pouring through every note 'like burning coals'.
Some of his songs make me burn and itch. Some make me feel like crying. Others fill me with intense happiness and a joy of life.
I reckon that is why I keep coming back. The challenge. The emotion. The thought. The music.
One thing I like about Dylan is that he makes me feel as though he is the gathering of all this history in one place. You can hear and feel the past in his music and lyrics, but you can also taste the future. His songs sometimes feel like they have always existed, and yet they still sound new and fresh more than 40 years after them having been written. Never predictable, never conventional. It is the paradox that makes his music so addictive, relevant and timeless.
Another thing I like about Bob Dylan is the way his music makes me feel. I have a reaction that burns deep inside. It calls to me on some deeper level. It means something - it makes me think and challenges me intellectually and emotionally. It also makes me feel good. When I hear some of Bob Dylan's music, I can feel his passion and enjoyment - his pure love for what he does - come pouring through every note 'like burning coals'.
Some of his songs make me burn and itch. Some make me feel like crying. Others fill me with intense happiness and a joy of life.
I reckon that is why I keep coming back. The challenge. The emotion. The thought. The music.
Friday, 6 April 2007
The Complexity of Genius
My husband and my friend were recently having an email debate covering a wide range of topics. One email began with the assumption by my friend that my husband was 'missing out' on something by not reading Jane Austen... and then leaping to the conclusion that people who do not read 'the classics' are somehow inferior intellectually to those who do.
However, this can be a matter of taste, not intellect. Whilst reading material that stretches a person intellectually is definitely beneficial to mental well-being, I have read several 'classics' that do not inspire or stir me. Some worlds are not remotely related to mine. Some attitudes do not strike a chord with me. There is no visceral connection. My emotions remain unmoved.
I feel that we can accept that in music, art and literature someone is creatively innovative and recognise their achievements without particularly feeling drawn to them. We can objectively realize that there are standards of intellect and achievement that qualify as 'great' without personally reacting to them on a subjective level.
We can also accept that some things - especially in music, movies, books and entertainment - are simply there to provide enjoyment on a desultory level. Pop music, paperback romances, action movies with big explosions and miniscule dialogue... people might 'enjoy' them, but they say nothing. They have little to no relevance. They are escapism. They are fine for the 'here and now' moment of amusement or release, but the problem arises when these 'frothy coffee' versions of creativity becomes the staple diet for the intellects of the masses.
Some people have forgotten how to think and analyse. Everything is instant - food, money, sex, credit, entertainment. The brain is like a muscle. If we do not exercise it enough it atrophies and dies.
This could be an essay in itself, and was not particularly what I began this posting to talk about!
The next question my friend posed to my husband concerned Bob Dylan, and that is where my interest was piqued and where it becomes relevant to this blog.
She asserted that a minority of people thought that Dylan was 'overrated' (whatever that means) and she questioned whether he was of the creative calibre to be labelled a 'genius'. She allowed that she liked to read some of his lyrics as poetry, but found the music 'unmelodic' and could not understand what he was saying a lot of the time.
These have been common accusations made by people who are not particularly Dylan fans (one 'critic' in a newspaper this morning, in advance of Dylan's tour of the UK which begins this week, described his voice as a 'rusty hoover'!) and I would roundly dispute them.
Firstly, I have to say that Bob Dylan has very clear diction on most of his recordings. I have never had any more or less difficulty understanding him than I do with any other artist... although being British, the American accent sometimes catches me out with many singers! He has an idiosyncratic vocal style that fits the songs and expresses the emotion of a piece of music quite beautifully. His voice brings depth and meaning that few others can achieve. It is a big leap from the sanitized pop that people's ears are accustomed to... maybe that is the difficulty. I know that the friend in question tends to veer towards 'safe' music in her own tastes. Music that reflects her own 'mainstream' views of life and does not seek to question or challenge. Music that does not encourage thought or debate. Music that is 'bland' in its predictability and lack of ability to either inspire or offend.
Secondly, I believe that although you can read Dylan's lyrics as poetry (I believe there are academic courses and weighty tomes that do this very thing!), there is something lost when the 'voice' and musical cadence is absent. For example, in 'Don't Think Twice, It's All Right' we can read the lyrics:
I'm a-thinkin' and a-wond'rin' as I'm walkin' down the road
I once loved a woman, a child I'm told
I give her my heart but she wanted my soul
But don't think twice, it's all right.
But what does Dylan mean? There are some recordings where you can hear resentment in his voice as he sings - I gave her all I could, but she wanted more... she wanted the impossible. It obviously is not 'all right' and there is a bitterness to the song. However, on some recordings (especially live ones) Dylan's voice is tinged with regret - I am so sorry I couldn't give her what she needed, but everything will be all right.
Now it might be interesting to debate these in an academic context, but in the end only Bob Dylan knows what he means. Emotions change over time - what begins as bitterness can turn into regret and forgiveness with hindsight (which is always 20:20). Dylan has also experimented with musical structure and given new life to old songs through altering the emphasis of the off beat and so forth (I am not musically trained, so I can't provide the technical explanation!). Still, this all can change the 'feel' of a song. When we consider how the production methods of Daniel Lanois gave some of Dylan's songs an ethereal quality that drifts through the senses like a mist, and clings to the heart and memory... that cannot be captured on paper and contributes and enhances the lyrics and melodies. It all goes together and I do not think that separating the process works. That is why so few cover versions actually hit home (maybe apart from the Hendrix version of 'All Along The Watchtower').
There is another aspect to this debate - Dylan often will alter and add new lyrics to his songs that can completely change what he is saying. I might infer that he often feels his songs are not 'finished' or explaining the point he wants to get across in quite the way he first intended. If we do not look at the excluded, added or altered lyrics as well, are we missing something? Dylan's songs are not concrete entities; they are organic and evolutionary.
Is Dylan a genius? he certainly has intellect, creativity, originality and talent in abundance. He has inspired others and been innovative in the field of music. He is 'out of the ordinary' and beyond the mainstream 'norm'. He confounds people, never works within expected boundaries, defies categorization, refuses to be boxed and packeged neatly... to me, this pretty much fits the definition of 'genius'.
I do not agree with everything Dylan says. I do not think everything he has ever done is that great. If I ever talked to Bob Dylan (as soon as I had picked myself off the floor!) I am sure that we would disagree and debate many ideas without seeing eye to eye - as well as having much in common and, I suspect, sharing a similar sense of humour. But I am not a blind 'worshipper'. Bob Dylan is a man - a human. I respect his talent and he has provided much enjoyment and richness to my life, for which I thank him.
I hope that I can recognize when somebody is exceptional at what they do. The fact that Bob Dylan is still touring and selling out venues after 5 decades; reinventing himself (maybe consciously, maybe as a natural development of character and maturity), metamorphosing, evolving... the secret of longevity is flexibilty and adaptation. But above all, it is remaining true to oneself. Frauds will soon be rousted out and exposed.
Bob Dylan is still here. Still relevant. Still creative. Still pushing boundaries.
Questions answered.
However, this can be a matter of taste, not intellect. Whilst reading material that stretches a person intellectually is definitely beneficial to mental well-being, I have read several 'classics' that do not inspire or stir me. Some worlds are not remotely related to mine. Some attitudes do not strike a chord with me. There is no visceral connection. My emotions remain unmoved.
I feel that we can accept that in music, art and literature someone is creatively innovative and recognise their achievements without particularly feeling drawn to them. We can objectively realize that there are standards of intellect and achievement that qualify as 'great' without personally reacting to them on a subjective level.
We can also accept that some things - especially in music, movies, books and entertainment - are simply there to provide enjoyment on a desultory level. Pop music, paperback romances, action movies with big explosions and miniscule dialogue... people might 'enjoy' them, but they say nothing. They have little to no relevance. They are escapism. They are fine for the 'here and now' moment of amusement or release, but the problem arises when these 'frothy coffee' versions of creativity becomes the staple diet for the intellects of the masses.
Some people have forgotten how to think and analyse. Everything is instant - food, money, sex, credit, entertainment. The brain is like a muscle. If we do not exercise it enough it atrophies and dies.
This could be an essay in itself, and was not particularly what I began this posting to talk about!
The next question my friend posed to my husband concerned Bob Dylan, and that is where my interest was piqued and where it becomes relevant to this blog.
She asserted that a minority of people thought that Dylan was 'overrated' (whatever that means) and she questioned whether he was of the creative calibre to be labelled a 'genius'. She allowed that she liked to read some of his lyrics as poetry, but found the music 'unmelodic' and could not understand what he was saying a lot of the time.
These have been common accusations made by people who are not particularly Dylan fans (one 'critic' in a newspaper this morning, in advance of Dylan's tour of the UK which begins this week, described his voice as a 'rusty hoover'!) and I would roundly dispute them.
Firstly, I have to say that Bob Dylan has very clear diction on most of his recordings. I have never had any more or less difficulty understanding him than I do with any other artist... although being British, the American accent sometimes catches me out with many singers! He has an idiosyncratic vocal style that fits the songs and expresses the emotion of a piece of music quite beautifully. His voice brings depth and meaning that few others can achieve. It is a big leap from the sanitized pop that people's ears are accustomed to... maybe that is the difficulty. I know that the friend in question tends to veer towards 'safe' music in her own tastes. Music that reflects her own 'mainstream' views of life and does not seek to question or challenge. Music that does not encourage thought or debate. Music that is 'bland' in its predictability and lack of ability to either inspire or offend.
Secondly, I believe that although you can read Dylan's lyrics as poetry (I believe there are academic courses and weighty tomes that do this very thing!), there is something lost when the 'voice' and musical cadence is absent. For example, in 'Don't Think Twice, It's All Right' we can read the lyrics:
I'm a-thinkin' and a-wond'rin' as I'm walkin' down the road
I once loved a woman, a child I'm told
I give her my heart but she wanted my soul
But don't think twice, it's all right.
But what does Dylan mean? There are some recordings where you can hear resentment in his voice as he sings - I gave her all I could, but she wanted more... she wanted the impossible. It obviously is not 'all right' and there is a bitterness to the song. However, on some recordings (especially live ones) Dylan's voice is tinged with regret - I am so sorry I couldn't give her what she needed, but everything will be all right.
Now it might be interesting to debate these in an academic context, but in the end only Bob Dylan knows what he means. Emotions change over time - what begins as bitterness can turn into regret and forgiveness with hindsight (which is always 20:20). Dylan has also experimented with musical structure and given new life to old songs through altering the emphasis of the off beat and so forth (I am not musically trained, so I can't provide the technical explanation!). Still, this all can change the 'feel' of a song. When we consider how the production methods of Daniel Lanois gave some of Dylan's songs an ethereal quality that drifts through the senses like a mist, and clings to the heart and memory... that cannot be captured on paper and contributes and enhances the lyrics and melodies. It all goes together and I do not think that separating the process works. That is why so few cover versions actually hit home (maybe apart from the Hendrix version of 'All Along The Watchtower').
There is another aspect to this debate - Dylan often will alter and add new lyrics to his songs that can completely change what he is saying. I might infer that he often feels his songs are not 'finished' or explaining the point he wants to get across in quite the way he first intended. If we do not look at the excluded, added or altered lyrics as well, are we missing something? Dylan's songs are not concrete entities; they are organic and evolutionary.
Is Dylan a genius? he certainly has intellect, creativity, originality and talent in abundance. He has inspired others and been innovative in the field of music. He is 'out of the ordinary' and beyond the mainstream 'norm'. He confounds people, never works within expected boundaries, defies categorization, refuses to be boxed and packeged neatly... to me, this pretty much fits the definition of 'genius'.
I do not agree with everything Dylan says. I do not think everything he has ever done is that great. If I ever talked to Bob Dylan (as soon as I had picked myself off the floor!) I am sure that we would disagree and debate many ideas without seeing eye to eye - as well as having much in common and, I suspect, sharing a similar sense of humour. But I am not a blind 'worshipper'. Bob Dylan is a man - a human. I respect his talent and he has provided much enjoyment and richness to my life, for which I thank him.
I hope that I can recognize when somebody is exceptional at what they do. The fact that Bob Dylan is still touring and selling out venues after 5 decades; reinventing himself (maybe consciously, maybe as a natural development of character and maturity), metamorphosing, evolving... the secret of longevity is flexibilty and adaptation. But above all, it is remaining true to oneself. Frauds will soon be rousted out and exposed.
Bob Dylan is still here. Still relevant. Still creative. Still pushing boundaries.
Questions answered.
Tuesday, 3 April 2007
Street Legal
I have been listening to Street Legal this week. A much undervalued and great album. (It might be my own flight of fancy, but I hear an echo of these melodies in the songs of Jakob Dylan in The Wallflowers' album Breach. Hmmm... that's a pretty good album too!)
Anyway, between blasts of old favourites, it is good to bring out the CDs that haven't had an airing for a while. They sound fresher and you remember why they mesmerized you in the first place. Baby Stop Crying is fantastic. Is Your Love in Vain? really gives a little insight into Bob Dylan's mind... there is always a level of misunderstanding in relationships and it is interesting to hear that concern in song. It is quite interesting to hear the line:
'All right, I'll take a chance, I will fall in love with you; If I'm a fool you can have the night, you can have the morning too.'
That almost sounds like 'falling in love' in this instance is a conscious decision to let the guard down, rather than a spontaneous emotion. I like the thought of that - feeling unsure and knowing there is a good possibility that you will come off worse, but going ahead and jumping into the abyss anyway. A mix of logic and emotion that really rings true - especially when coupled with the doubts that the potential partner really understands you or is in the relationship for the right reasons. Boy, Bob knows how to touch a nerve with a simple line and a quick vocal inflection.
This album has plenty of good tracks. True Love Tends To Forget, Where Are You Tonight (Journey Through Dark Heat), and the filthy (!) New Pony are all well worth a listen.
We went for a day trip to York today - the long hours on crowded trains left me plenty of time for my iPod as I took the time to contemplate the Yorkshire scenery - the seemingly contradictory beauty of the rolling dales and the incongruous industrial blots along the wayside. My Dylan soundtrack fits with a train journey - the rhythms and cadences are perfection. I lost myself in tracks like Brownsville Girl, Forever Young and Series of Dreams ... Dylan's songs (although he has negated this in his autobiography) have a nostalgic feel and an emotional rise and fall that seem to completely fit journeys. Wandering feet, moving on, loss, change, endings... Dylan is the constantly moving troubadour and balladeer in the old style of the medieval minstral. He sings the times and rings the changes as he moves from town to town. What greater music for a journey? Of course, this could all be part of the illusion:
I know it looks like I'm moving, but I'm standing still.
Anyway, between blasts of old favourites, it is good to bring out the CDs that haven't had an airing for a while. They sound fresher and you remember why they mesmerized you in the first place. Baby Stop Crying is fantastic. Is Your Love in Vain? really gives a little insight into Bob Dylan's mind... there is always a level of misunderstanding in relationships and it is interesting to hear that concern in song. It is quite interesting to hear the line:
'All right, I'll take a chance, I will fall in love with you; If I'm a fool you can have the night, you can have the morning too.'
That almost sounds like 'falling in love' in this instance is a conscious decision to let the guard down, rather than a spontaneous emotion. I like the thought of that - feeling unsure and knowing there is a good possibility that you will come off worse, but going ahead and jumping into the abyss anyway. A mix of logic and emotion that really rings true - especially when coupled with the doubts that the potential partner really understands you or is in the relationship for the right reasons. Boy, Bob knows how to touch a nerve with a simple line and a quick vocal inflection.
This album has plenty of good tracks. True Love Tends To Forget, Where Are You Tonight (Journey Through Dark Heat), and the filthy (!) New Pony are all well worth a listen.
We went for a day trip to York today - the long hours on crowded trains left me plenty of time for my iPod as I took the time to contemplate the Yorkshire scenery - the seemingly contradictory beauty of the rolling dales and the incongruous industrial blots along the wayside. My Dylan soundtrack fits with a train journey - the rhythms and cadences are perfection. I lost myself in tracks like Brownsville Girl, Forever Young and Series of Dreams ... Dylan's songs (although he has negated this in his autobiography) have a nostalgic feel and an emotional rise and fall that seem to completely fit journeys. Wandering feet, moving on, loss, change, endings... Dylan is the constantly moving troubadour and balladeer in the old style of the medieval minstral. He sings the times and rings the changes as he moves from town to town. What greater music for a journey? Of course, this could all be part of the illusion:
I know it looks like I'm moving, but I'm standing still.
Thursday, 29 March 2007
Broke Down Engine
There is a Bob Dylan album called World Gone Wrong (1993), which is a tribute by Dylan to the blues music that clearly influenced him. The songs are performed by him and him alone... no band, no backing. Just Bob and his guitar hammering out these beautiful, powerful, sad, lonesome ballads and stories. Human lives from past decades rolling out and coming into colourful existence once more.
My personal favourites are Blood In My Eyes and Broke Down Engine. Dylan himself wrote in the liner notes:
BLOOD IN MY EYES is one of two songs done by the Mississippi Sheiks, a little known de facto group whom in their former glory must've been something to behold. rebellion against routine seems to be their strong theme. all their songs are raw to the bone & are faultlessly made for these modern times (the New Dark Ages) nothing effete about the Mississippi Sheiks.
BROKE DOWN ENGINE is a Blind Willie Mctell masterpiece. it's about trains, mystery on the rails -- the train of love, the train that carried my girl from town -- The Southern Pacific, Baltimore & Ohio whatever -- it's about variations of human longing -- the low hum in meter & syllables. it's about dupes of commerce & politics colliding on tracks, not being pushed around by ordinary standards. it's about revival, getting a new lease on life, not just posing there -- paint chipped & flaked, mattress bare, single bulb swinging above the bed. it's about Ambiguity, the fortunes of the privilege elite, flood control -- watching the red dawn not bothering to dress.
The punctuation and writing style is pure Dylan - capturing the essence and the connection of these songs (interesting that he uses the phrase 'these modern times' in referring to the Mississippi Sheiks - then makes an album in 2006 called Modern Times that is obviously hearkening back to a bygone musical era in style, but very much in the present in terms of lyrics).
One thing I had not realised until this week was that back in 1987, Dylan had what he describes in Chronicles as a 'freak accident' where his hand was pretty mangled up and took a lot of rehab. I listened to the guitar playing on the Blind Willie McTell cover with new admiration and appreciation. The first time I heard that song, the joy burst through me like a bubble and I laughed aloud. Not because of the lyrics or the meaning of the song, which is serious, lonesome and about loss - but the spirit with which Dylan plays it. Love; enthusiasm; skill; a celebration of life amongst the 'cities of the plague'. That pure fighting quality makes me stand up against the world and laugh out loud in its face.
Bob Dylan is real and raw and honest in his music. A person I work with once accused Dylan of being 'a phoney' and I became incensed. I am sure he doesn't need me to fight his corner and as he once said (paraphrase), it doesn't matter what others think of you as long as you know inside that you are true to yourself.
However, I don't know how anyone could listen to World Gone Wrong and think that the emotion and heart pouring through every note - which then echoes through Dylan's own music like the chime of a perfectly-honed bell - could possible not be genuine.
It is a hurricane of truth that will knock you off your feet.
Then again, some people fear the truth...
My personal favourites are Blood In My Eyes and Broke Down Engine. Dylan himself wrote in the liner notes:
BLOOD IN MY EYES is one of two songs done by the Mississippi Sheiks, a little known de facto group whom in their former glory must've been something to behold. rebellion against routine seems to be their strong theme. all their songs are raw to the bone & are faultlessly made for these modern times (the New Dark Ages) nothing effete about the Mississippi Sheiks.
BROKE DOWN ENGINE is a Blind Willie Mctell masterpiece. it's about trains, mystery on the rails -- the train of love, the train that carried my girl from town -- The Southern Pacific, Baltimore & Ohio whatever -- it's about variations of human longing -- the low hum in meter & syllables. it's about dupes of commerce & politics colliding on tracks, not being pushed around by ordinary standards. it's about revival, getting a new lease on life, not just posing there -- paint chipped & flaked, mattress bare, single bulb swinging above the bed. it's about Ambiguity, the fortunes of the privilege elite, flood control -- watching the red dawn not bothering to dress.
The punctuation and writing style is pure Dylan - capturing the essence and the connection of these songs (interesting that he uses the phrase 'these modern times' in referring to the Mississippi Sheiks - then makes an album in 2006 called Modern Times that is obviously hearkening back to a bygone musical era in style, but very much in the present in terms of lyrics).
One thing I had not realised until this week was that back in 1987, Dylan had what he describes in Chronicles as a 'freak accident' where his hand was pretty mangled up and took a lot of rehab. I listened to the guitar playing on the Blind Willie McTell cover with new admiration and appreciation. The first time I heard that song, the joy burst through me like a bubble and I laughed aloud. Not because of the lyrics or the meaning of the song, which is serious, lonesome and about loss - but the spirit with which Dylan plays it. Love; enthusiasm; skill; a celebration of life amongst the 'cities of the plague'. That pure fighting quality makes me stand up against the world and laugh out loud in its face.
Bob Dylan is real and raw and honest in his music. A person I work with once accused Dylan of being 'a phoney' and I became incensed. I am sure he doesn't need me to fight his corner and as he once said (paraphrase), it doesn't matter what others think of you as long as you know inside that you are true to yourself.
However, I don't know how anyone could listen to World Gone Wrong and think that the emotion and heart pouring through every note - which then echoes through Dylan's own music like the chime of a perfectly-honed bell - could possible not be genuine.
It is a hurricane of truth that will knock you off your feet.
Then again, some people fear the truth...
Saturday, 24 March 2007
Sold Out?
My 'album of the week' this week has been Time Out Of Mind. I find that it is an album that I can listen to from start to finish without skipping a single beat. Even the lengthy Highlands is an absolute joy. That said, it is a sad album and the songs concern endings, loss, sadness, death... all the things Dylan encapsulates so well in his music and lyrics.
The one song I wanted to write about was the first on the album. Love Sick has an ethereal quality to it. It is punchy with the rhythm of a measured pace - the footsteps as Dylan begins, 'I'm walking through streets that are dead...'.
It is amazing in terms of the emotion. Here we see a person unsure; rejected and wandering the empty, late-night streets wondering what to do; seeing others who are in relationships adding to his misery. Dylans voice cracks in the right places to convey all the unspoken anguish. He stutters in parts. It is obsessional and dark. I find it a fantastic description of that complete incongruity - love like an illness that can make you feel so pained and bad you don't ever want to experience it again... yet such an addictive drug you can't give it up.
This awesome song caused a bit of a ruckus when it was used in a Victoria's Secret advert on US television a few years back. Dylan even appeared in the ad. Shot in Venice, it was quite dark and mysterious - a lingerie model in angel wings wandering around and Dylan in the shadows. Living in the UK, I heard the commotion but did not see the advert until recently, courtesy of YouTube.
Some people found it a bit creepy, but I didn't mind so much. I thought Bob Dylan looked great in the advert, and I wished I looked like one of those models so he would chase me around Venice! I wouldn't try too hard to get away...
The big question though - did Dylan 'sell out' with this branch into commercial advertising? He always said that the only thing to tempt him to 'sell out' would be ladies' underwear! Then there was the Starbucks issue. Crikey.
Ever since the cry of 'Judas' as Dylan went electric, everyone has thrown accusations about 'selling out' and not being true or faithful to the cause of protest music... or whatever else they saw Dylan as their champion of.
But Bob Dylan has always rejected that role. He is not a prophet or a spokesperson. He writes about what is in his heart. He experiments and branches where the music takes him. People put expectations onto him and give him a predestined role - this is an unfair burden on any man.
Bob Dylan writes songs and performs music for a living. It is his trade. He is not a 'messiah'. He supports causes that he feels drawn to, but he is not 'political'. He is nobody's spokesman. He is not here to represent us.
Accept the musical gifts that Bob Dylan gives to us. If you like them and they touch and enrich your life, thank him.
If you don't, nobody is forcing you to listen.
The one song I wanted to write about was the first on the album. Love Sick has an ethereal quality to it. It is punchy with the rhythm of a measured pace - the footsteps as Dylan begins, 'I'm walking through streets that are dead...'.
It is amazing in terms of the emotion. Here we see a person unsure; rejected and wandering the empty, late-night streets wondering what to do; seeing others who are in relationships adding to his misery. Dylans voice cracks in the right places to convey all the unspoken anguish. He stutters in parts. It is obsessional and dark. I find it a fantastic description of that complete incongruity - love like an illness that can make you feel so pained and bad you don't ever want to experience it again... yet such an addictive drug you can't give it up.
This awesome song caused a bit of a ruckus when it was used in a Victoria's Secret advert on US television a few years back. Dylan even appeared in the ad. Shot in Venice, it was quite dark and mysterious - a lingerie model in angel wings wandering around and Dylan in the shadows. Living in the UK, I heard the commotion but did not see the advert until recently, courtesy of YouTube.
Some people found it a bit creepy, but I didn't mind so much. I thought Bob Dylan looked great in the advert, and I wished I looked like one of those models so he would chase me around Venice! I wouldn't try too hard to get away...
The big question though - did Dylan 'sell out' with this branch into commercial advertising? He always said that the only thing to tempt him to 'sell out' would be ladies' underwear! Then there was the Starbucks issue. Crikey.
Ever since the cry of 'Judas' as Dylan went electric, everyone has thrown accusations about 'selling out' and not being true or faithful to the cause of protest music... or whatever else they saw Dylan as their champion of.
But Bob Dylan has always rejected that role. He is not a prophet or a spokesperson. He writes about what is in his heart. He experiments and branches where the music takes him. People put expectations onto him and give him a predestined role - this is an unfair burden on any man.
Bob Dylan writes songs and performs music for a living. It is his trade. He is not a 'messiah'. He supports causes that he feels drawn to, but he is not 'political'. He is nobody's spokesman. He is not here to represent us.
Accept the musical gifts that Bob Dylan gives to us. If you like them and they touch and enrich your life, thank him.
If you don't, nobody is forcing you to listen.
Tuesday, 20 March 2007
How very dare you, Mr. Ferry?!
I am still reeling from the horrific news that Bryan Ferry has released an album of Bob Dylan covers - entitled (originally) Dylanesque.
My blood runs cold. I shudder. How can such a fey and lightweight performer do this? Some reviews of a recent concert, where Ferry performed several of the songs, reported that he seemed to have removed the fire and power from Dylan's words. He must surely be far too 'smooth' and impassionate to even attempt this. Were I Bob Dylan, I might be tempted to sue... were it not for the fact that I might also be taking legal action against the makers of the terrible film Factory Girl for gross misrepresentation in the Edie Sedgwick biopic. The lawyers will be rubbing their hands.
Poor Bob. It has been a bad month. I can feel a song coming on...
My blood runs cold. I shudder. How can such a fey and lightweight performer do this? Some reviews of a recent concert, where Ferry performed several of the songs, reported that he seemed to have removed the fire and power from Dylan's words. He must surely be far too 'smooth' and impassionate to even attempt this. Were I Bob Dylan, I might be tempted to sue... were it not for the fact that I might also be taking legal action against the makers of the terrible film Factory Girl for gross misrepresentation in the Edie Sedgwick biopic. The lawyers will be rubbing their hands.
Poor Bob. It has been a bad month. I can feel a song coming on...
Monday, 19 March 2007
The Voice of God?
This should be a fairly short post. I am an atheist and friends sometimes wonder how I square that with my interest in the music of Bob Dylan.
I am not a 'Dylanologist' and I do not pretend to know or understand his beliefs - and I do not want to know. When Dylan uses Biblical references, I understand them and can see their cultural and spiritual meaning (I was brought up in a Christian household and my mother is still horrified that she raised a heathen!).
Religion is often used by Dylan in a profound and beautiful way. But then, he has used Shakespeare, poetry, quotes from Humphrey Bogart, references to obscure literature... Bob Dylan has a way of amalgamating cultural touchstones and forming them into fresh and new expressions of time and space. He has a magpie mind - constantly collecting and re-using thoughts and ideas; making them unique again in new ways by placing them in a new context.
I once read a fan's comments, and she said she thought that Dylan had been sent to us by God as a prophet, and that the voice of the Lord was speaking through him. To me, that is pure nonsense.
I see Bob Dylan as an immensely talented individual. A human being. I recall reading somewhere that he himself was often surprised at the songs he wrote - that they seemed to come from the aether as though someone else was giving him the words. This is not unusual for creative people. Artists who have 'visions'; novelists who almost 'see' their characters and simply record what they do or say... poets for whom the words just tumble down into their minds unbidden.
This is the power of human creativity. But if someone wants to call it 'God' that is their choice. Not mine.
Suffice it to say that I accept the religious content of Dylan's songs. It does not affect my perception of his music. He still speaks to me about life, love, emotion, loss, transition... As with my religious friends, this is not a barrier.
I am not a 'Dylanologist' and I do not pretend to know or understand his beliefs - and I do not want to know. When Dylan uses Biblical references, I understand them and can see their cultural and spiritual meaning (I was brought up in a Christian household and my mother is still horrified that she raised a heathen!).
Religion is often used by Dylan in a profound and beautiful way. But then, he has used Shakespeare, poetry, quotes from Humphrey Bogart, references to obscure literature... Bob Dylan has a way of amalgamating cultural touchstones and forming them into fresh and new expressions of time and space. He has a magpie mind - constantly collecting and re-using thoughts and ideas; making them unique again in new ways by placing them in a new context.
I once read a fan's comments, and she said she thought that Dylan had been sent to us by God as a prophet, and that the voice of the Lord was speaking through him. To me, that is pure nonsense.
I see Bob Dylan as an immensely talented individual. A human being. I recall reading somewhere that he himself was often surprised at the songs he wrote - that they seemed to come from the aether as though someone else was giving him the words. This is not unusual for creative people. Artists who have 'visions'; novelists who almost 'see' their characters and simply record what they do or say... poets for whom the words just tumble down into their minds unbidden.
This is the power of human creativity. But if someone wants to call it 'God' that is their choice. Not mine.
Suffice it to say that I accept the religious content of Dylan's songs. It does not affect my perception of his music. He still speaks to me about life, love, emotion, loss, transition... As with my religious friends, this is not a barrier.
Sunday, 18 March 2007
Only you...
Today was Mother's Day here in the UK. I went to see my Mum. Whilst at her house, my husband and I browsed the shelves of my old CDs - the ones I left behind when I went to Canada to get married eight years ago. They brought back some memories, and I thought it would be neat to take some home and give them a long-overdue airing.
When we got home I immediately put one on. I listened to one track then switched to another CD. This happened 8 times before I finally put them all away and put Oh Mercy back in the stereo. I listened all the way through as I was making dinner. No switching. No skipping. It felt like coming home.
I have been listening to Oh Mercy almost exclusively (apart from the odd dip into Modern Times) for a couple of weeks now. On my iPod, on my stereo, on my PC... I get the yearning for an album and it stays with me for a while and I have to play it out. Last month it was Blood on the Tracks which was fairly emotionally draining there for a spell.
I love Oh Mercy for many reasons. There is the sound that hits you first - quiet and seemingly creeping up on a person, but powerful beyond belief. It is quite a 'political' album in a way as well. Not party political, but in terms of the original etymology of the word 'politics' - affairs of state and society. As the opening song of the album says, 'We live in a political world'. It is also an odd mixture of cynical, sad, tender and sweet.
Some of the songs hearken back to old doo-wop and rock & roll sounds. Where Teardrops Fall and Shooting Star in particular. Bittersweet; sad reminiscences reflecting maturity.
There is the country ballad feel of Man in the Long Black Coat, which is deeply allegorical and layered in meaning. When I play it on the guitar and sing the lyrics myself, I find myself putting inflections and pauses in different places to Dylan who is quite staccato on this track. Very broken phrasing and selected images pop out. Beautiful vocals (throughout the album actually). My problem with playing that song myself is that I have a young female voice, when an older male voice is necessary to convey the meaning. Dylan's vocals far surpass those of any other singer around in my opinion.
Most of the Time almost makes me cry. Some of Dylan's songs give you an ache in the gut because they hit home with such power. The repetition of that simple phrase 'most of the time' is so resonant and completely contradicts his statements of him doing fine after a relationship ends - but without denying anything outright. It is so human. Most of us get on with life after upsets and trauma. We follow our daily routines and we function - but then moments of weakness and memories always seem to come back to haunt us.
I tend to give an ironic smile when I hear What was it you Wanted?. This must be a brief foray into Dylan's world, where it seems like everyone is after a piece of him for something. In the song he leaves in the middle of the conversation, comes back, asks for the request to be repeated because 'he forgot' what it was... the person making the demands seems a little unsure themselves. Then there is the religious imagery of betrayal with the 'kiss on the cheek', which is almost thrown away. The vocals are quiet and almost whispered in parts. To be honest, if I needed something from Bob Dylan, I don't think I would have chosen that particular moment to ask!
As to the religious content of the album, you might have thought that an atheist like me would have problems with it! I don't - but I will explain my views on this in the next post...
When we got home I immediately put one on. I listened to one track then switched to another CD. This happened 8 times before I finally put them all away and put Oh Mercy back in the stereo. I listened all the way through as I was making dinner. No switching. No skipping. It felt like coming home.
I have been listening to Oh Mercy almost exclusively (apart from the odd dip into Modern Times) for a couple of weeks now. On my iPod, on my stereo, on my PC... I get the yearning for an album and it stays with me for a while and I have to play it out. Last month it was Blood on the Tracks which was fairly emotionally draining there for a spell.
I love Oh Mercy for many reasons. There is the sound that hits you first - quiet and seemingly creeping up on a person, but powerful beyond belief. It is quite a 'political' album in a way as well. Not party political, but in terms of the original etymology of the word 'politics' - affairs of state and society. As the opening song of the album says, 'We live in a political world'. It is also an odd mixture of cynical, sad, tender and sweet.
Some of the songs hearken back to old doo-wop and rock & roll sounds. Where Teardrops Fall and Shooting Star in particular. Bittersweet; sad reminiscences reflecting maturity.
There is the country ballad feel of Man in the Long Black Coat, which is deeply allegorical and layered in meaning. When I play it on the guitar and sing the lyrics myself, I find myself putting inflections and pauses in different places to Dylan who is quite staccato on this track. Very broken phrasing and selected images pop out. Beautiful vocals (throughout the album actually). My problem with playing that song myself is that I have a young female voice, when an older male voice is necessary to convey the meaning. Dylan's vocals far surpass those of any other singer around in my opinion.
Most of the Time almost makes me cry. Some of Dylan's songs give you an ache in the gut because they hit home with such power. The repetition of that simple phrase 'most of the time' is so resonant and completely contradicts his statements of him doing fine after a relationship ends - but without denying anything outright. It is so human. Most of us get on with life after upsets and trauma. We follow our daily routines and we function - but then moments of weakness and memories always seem to come back to haunt us.
I tend to give an ironic smile when I hear What was it you Wanted?. This must be a brief foray into Dylan's world, where it seems like everyone is after a piece of him for something. In the song he leaves in the middle of the conversation, comes back, asks for the request to be repeated because 'he forgot' what it was... the person making the demands seems a little unsure themselves. Then there is the religious imagery of betrayal with the 'kiss on the cheek', which is almost thrown away. The vocals are quiet and almost whispered in parts. To be honest, if I needed something from Bob Dylan, I don't think I would have chosen that particular moment to ask!
As to the religious content of the album, you might have thought that an atheist like me would have problems with it! I don't - but I will explain my views on this in the next post...
Mystery and Attraction
'What's your name?
Alias.
Alias what?
Alias anything you please...'
Last night I watched Pat Garrett and Billy the Kid. I had never seen it before. I have to say that I did not like it all that much. It was too violent in some parts - without the violence being particularly relevant beyond convivcing us that they were desperate times where life was cheap. I did not particularly like any of the characters. I find Kris Kristofferson irritating with his smug grin and sparkly eyes. Like Tobey Maguire in Cider House Rules. Enough already. James Coburn was great, but I did not like the character of Pat Garrett. I couldn't connect with him as a human.
I really loved Bob Dylan in it though. I liked the character he played. The best scene was at the trading post where Alias and a couple of the boys bump into Garrett. Dylan shines in that scene. I was amazed that it was his first acting role as he stood up beside a great ensemble cast and even managed to outshine them.
But then I began to think - maybe Dylan has spent his whole life acting. He has always seemingly been a plethora of different people inhabiting one body. He keeps his personal life an enigma. In today's world of paparazzi and every minor celebrity's lives (and genetalia) exposed in the daily press, it is refreshing that Bob Dylan keeps himself so private even after all these years at the top.
This is obviously part of the attraction. People discuss his songs and his life looking for clues. They scrutinize and analyze looking for an answer - a glimpse of the real man. People are curious.
Maybe one of the great things about Dylan is this level of mystery. People of many backgrounds and opinions all believe he is singing to them - singing about their lives. He is personal enough to make listeners feel he is intimately addressing them; however, he is general and enigmatic enough not to alienate anyone.
Maybe, like Alias, he represents 'anything you please'.
Alias.
Alias what?
Alias anything you please...'
Last night I watched Pat Garrett and Billy the Kid. I had never seen it before. I have to say that I did not like it all that much. It was too violent in some parts - without the violence being particularly relevant beyond convivcing us that they were desperate times where life was cheap. I did not particularly like any of the characters. I find Kris Kristofferson irritating with his smug grin and sparkly eyes. Like Tobey Maguire in Cider House Rules. Enough already. James Coburn was great, but I did not like the character of Pat Garrett. I couldn't connect with him as a human.
I really loved Bob Dylan in it though. I liked the character he played. The best scene was at the trading post where Alias and a couple of the boys bump into Garrett. Dylan shines in that scene. I was amazed that it was his first acting role as he stood up beside a great ensemble cast and even managed to outshine them.
But then I began to think - maybe Dylan has spent his whole life acting. He has always seemingly been a plethora of different people inhabiting one body. He keeps his personal life an enigma. In today's world of paparazzi and every minor celebrity's lives (and genetalia) exposed in the daily press, it is refreshing that Bob Dylan keeps himself so private even after all these years at the top.
This is obviously part of the attraction. People discuss his songs and his life looking for clues. They scrutinize and analyze looking for an answer - a glimpse of the real man. People are curious.
Maybe one of the great things about Dylan is this level of mystery. People of many backgrounds and opinions all believe he is singing to them - singing about their lives. He is personal enough to make listeners feel he is intimately addressing them; however, he is general and enigmatic enough not to alienate anyone.
Maybe, like Alias, he represents 'anything you please'.
Friday, 16 March 2007
Why Dylan? A hurricane of truth...
I am not an expert in Bob Dylan. No Dylanologist I. I do not know the dates, facts, figures and garbage-snooping details that some obsessives seem to revel in.
This blog is just an opportunity for me to think aloud... Why does Bob Dylan's music seem to have such an impact on my life?
I have been considering what makes Dylan different from other singer/songwriters. Some people get hit by a lightning strike - a road to Damascus, an epiphany, a blinding flash of piercing clarity. Others, like myself, have it creep up on them gradually. My life has been filled with Dylan's music and, like the air we breathe, we do not notice most of the time that we are being sustained and kept alive by this invisible, undetectable force. Like oxygen, Dylan's songs keep my blood running through my veins.
That sounds dramatic, but the essence is correct. I recently was asked, as people do sometimes, which of my senses I would miss most should I lose one. My immediate reaction was that if I were deaf, I would never again hear Bob Dylan's voice in my ear.
Dylan's songs fulfill so many purposes. They rile, they tease, they seduce, they hurt, they inspire, they confuse and provoke thought. There are even a few that can raise a smile or an outright laugh! They are always intense, multi-faceted... nothing is to be taken at face value in Dylan's world.
Entering - no, immersing - oneself in Dylan's world is like living Alice's Adventures Through The Looking Glass. Characters recur. Reality is exaggerated and twisted until it becomes a new reality. Dreams merge with consciousness and the lines become blurred.
And yet, through all the twisting, blurring, posturing and allegory, listening to Dylan is like standing in a hurricane-force wind of truth. It is like standing on top of a mountain and taking a deep breath of the clearest air imaginable. It is enough to knock you off your feet with the power of the realization. Human emotion and condition laid bare. Painfully so sometimes.
It is as though Dylan says, 'Listen to me. I know how it is. I have lived it. I have felt the joys and the pain; the highs and the lows. Let me take that burden from you and guide you through to the other side.'
Hopefully, this blog will give me a chance to explore my relationship with Bob Dylan's music and my reactions to particular songs or albums. As I said at the start, this is not an 'expert' view - no analysis or thought beyond how I respond to the music. It might prove cathartic.
This blog is just an opportunity for me to think aloud... Why does Bob Dylan's music seem to have such an impact on my life?
I have been considering what makes Dylan different from other singer/songwriters. Some people get hit by a lightning strike - a road to Damascus, an epiphany, a blinding flash of piercing clarity. Others, like myself, have it creep up on them gradually. My life has been filled with Dylan's music and, like the air we breathe, we do not notice most of the time that we are being sustained and kept alive by this invisible, undetectable force. Like oxygen, Dylan's songs keep my blood running through my veins.
That sounds dramatic, but the essence is correct. I recently was asked, as people do sometimes, which of my senses I would miss most should I lose one. My immediate reaction was that if I were deaf, I would never again hear Bob Dylan's voice in my ear.
Dylan's songs fulfill so many purposes. They rile, they tease, they seduce, they hurt, they inspire, they confuse and provoke thought. There are even a few that can raise a smile or an outright laugh! They are always intense, multi-faceted... nothing is to be taken at face value in Dylan's world.
Entering - no, immersing - oneself in Dylan's world is like living Alice's Adventures Through The Looking Glass. Characters recur. Reality is exaggerated and twisted until it becomes a new reality. Dreams merge with consciousness and the lines become blurred.
And yet, through all the twisting, blurring, posturing and allegory, listening to Dylan is like standing in a hurricane-force wind of truth. It is like standing on top of a mountain and taking a deep breath of the clearest air imaginable. It is enough to knock you off your feet with the power of the realization. Human emotion and condition laid bare. Painfully so sometimes.
It is as though Dylan says, 'Listen to me. I know how it is. I have lived it. I have felt the joys and the pain; the highs and the lows. Let me take that burden from you and guide you through to the other side.'
Hopefully, this blog will give me a chance to explore my relationship with Bob Dylan's music and my reactions to particular songs or albums. As I said at the start, this is not an 'expert' view - no analysis or thought beyond how I respond to the music. It might prove cathartic.
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