Tag Archives: Bob Dylan

365 Days of Album Recommendations – Dec 8

Bob Dylan – The Bootleg Series, Vols. 1-3


Dylan’s peculiar genius is maddening, and possibly never more so than on this collection. Whether it’s his preternatural ability—at such a young age—to deliver a masterpiece performance like “He Was A Friend Of Mine,” or the fact that it turns out he was recording incredible work like “Blind Willie McTell” at a time when we despaired that he’d ever write anything good again (i STILL can’t fathom why he’d leave the recording on the cutting room floor), Dylan has been confounding and delighting us for so many decades it’s virtually impossible to remember he’s actually just another mortal like the rest of us. Admittedly, as these recordings make clear, a bizarrely talented mortal, but a mortal all the same.


365 Days of Album Recommendations – Sep 7

Hank Williams as Luke the Drifter – Beyond the Sunset


Well, here’s about all you need to know about this record in the way of endorsement:

“The Luke the Drifter record, I just about wore out. That’s the one where he sings and recites parables, like the Beatitudes. I could listen to the Luke the Drifter record all day and drift away myself, become totally convinced in the goodness of man.”

That’s from Bob Dylan.

365 Days of Album Recommendations – Aug 12

Bob Dylan – Blood on the Tracks


My Dylan kick continues, but I have to now jump chronologies a bit, as, after John Wesley Harding, things go a bit (pardon the pun) off the track for a few releases.

Until this one, that is.

Blood on the Tracks is a staggering accomplishment. This was Dylan’s 15th album. That’s more than most artists will ever record, period. If they even DO make that many, you’d think #15 would inevitably come in the winter years. But Dylan was barely 34 at this point. This is hardly even mid-career.

Yet, in many ways, it’s an archetypal “mid-career” release.

If the stereotypical trajectory of a maturing artist runs from the over-zealous early years, to the overly minimal winter years, then of the mid-career years we would expect the seamless integration of everything passionate and wild and exuberant and dangerous and groundbreaking that made the early years so good, balanced against the refinement, the maturation, the seasoning, and the devastatingly spot on self-editorial skills of a lion in winter.

And that’s pretty much exactly what we have here. In my opinion, Blood on the Tracks is probably the single best representation of the broadest range of Dylan’s otherworldly abilities. That’s not to say it doesn’t have it’s awkward moments—it does. It’s not perfect, not flawless. But if someone asked me, with one single album, to try to establish grounds for saying that Bob Dylan is the greatest songwriter this country has ever produced, I’d probably hand ’em this one.

Tangled Up In A Blue alone could sustain the curriculum demands of an entire University system devoted to songwriting. As could Shelter From The Storm; Lily, Rosemary, and The Jack of Hearts; Simple Twist of Fate, and so forth.

Put another way, it’s a hell of an album.


365 Days of Album Recommendations – Aug 11

Bob Dylan – John Wesley Harding


The Dylan kick continues.

This is an album for which the term “deceptive simplicity” might have been coined.

It was recorded in about 12 hours total, across 3 sessions.

It was commercially released about 4 weeks after the recording sessions were complete.

There are only two other musicians on the bulk of album—Kenny Buttrey on drums and Charlie McCoy on bass. There is a bit of steel guitar from Pete Drake on 2 songs. All the rest is Dylan, on acoustic guitar, piano, and harmonica.

There are 12 songs total.

The album is less than 40 minutes long.

There are, give or take, something like 60 different “biblical allusions” to be found in the lyrics.

Of this album, Dylan once said, “There’s no blank filler. Each line has something.”

I believe it was Rodin who once famously described sculpting as something to the effect of , chipping away at everything that wasn’t the sculpture.

When you’ve chipped away the sculpture, this is the album that remains.

And what a perfect sculpture it is.

Deceptively simply.

365 Days of Album Recommendations – Aug 10

Bob Dylan – Blonde on Blonde


Alright, so first, let me get this off my chest: I like Old Crow Medicine Show. But their take on this album, is a bad album.

Next, I am agnostic about  “Rainy Day Women #12 & 35.” I neither like it nor dislike it.

Finally, my favorite thing about this album is remembering my Dad singing “Stuck Inside of Mobile with the Memphis Blues Again” to me when I was a kid.

Double-finally, I don’t agree with Bob Dylan that Sad-Eyed Lady of the Lowlands is the best song he’s ever written.

That said, it’s pretty fuckin’ incredible.


365 Days of Album Recommendations – Aug 9

Bob Dylan – Highway 61 Revisited


Yep, still on my Dylan kick. We already recommended Bringing It All Back Home a few months ago, so skippin’ ahead to Highway 61 …

Is this Bob Dylan’s single greatest album? It’s entirely possible it is.

in 1965, Bob Dylan was 24 years old. 24 years old. 24 years old.

Bob Dylan was 24 years old, and this was already his 6th album.

Rolling Stone listed this 4th on its 500 Greatest Albums of all Time list, behind Sgt. Pepper, Pet Sounds, and Revolver. This is patently stupid to the point of nonsensicality.

Is Ballad of a Thin Man this most brilliantly scathing song ever written? Possibly …

Al Kooper has recalled that at the end of the session, when the musicians listened to the playback of the song, drummer Bobby Gregg said, “That is a nasty song, Bob.” Kooper adds, “Dylan was the King of the Nasty Song at that time.”

He was also simply King of the Song.

365 Days of Album Recommendations – Aug 8

Bob Dylan – Another Side of Bob Dylan


It happens sometimes. You get on a Bob Dylan kick. I’m on a Bob Dylan kick.

Is this Dylan’s funniest album? Possibly. It’s also one of his weirdest, and greatest.

That it could be all that, and still be entirely solo acoustic—all recorded in one single session—is pretty fucking remarkable.

You could pretty much rank the importance of this album entirely by the cover versions of its songs, if you wanted to. It’s almost unbelievable how many classic tracks there are here.

It’s also almost impossible not to read meaning into these lyrics, given how much we know of what was going on in his life at the time:

Go melt back in the night
Everything inside is made of stone
There’s nothing in here moving
An’ anyway I’m not alone
You say you’re looking for someone
Who’ll pick you up each time you fall
To gather flowers constantly
An’ to come each time you call
A lover for your life an’ nothing more
But it ain’t me, babe

But on the other hand, we can just read them, listen to them, and thank God for this man’s songs.

365 Days of Album Recommendations – Aug 7

Bob Dylan – The Times They Are A-Changin’


This is one of the most important albums ever recorded.

365 Days of Album Recommendations – May 24 [Bob Dylan Edition]

Bob Dylan – The Freewheelin’ Bob Dylan


Well, it is the man’s birthday after all.

Having already recommended Mr. Dylan’s first album, I now move to his second.

If his debut yielded one arguably almost-great song—that being Song to Woody, of course—album number two offers, by my count, at least five indisputably great songs:

  1. Blowin’ in the Wind
  2. Masters of War
  3. Girl from the North Country
  4. A Hard Rain’s A-Gonna Fal
  5. Don’t Think Twice, It’s All Right

Which is a pretty stunning leap forward, to say the least.

It’s not yet his greatest album, and it’s not quite my favorite, but it is an astonishing, incredible, towering, and moving achievement.

365 Days of Album Recommendations – Apr 4

Bob Dylan – Bringing It All Back Home


Recommending this album is a bit like announcing that water is wet.

It’s so obvious that it’s that good, and it’s of course SO influential, and we all know it, and we’ve all listened to it a million-and-half times, and generation after generation has simply devoured its offerings without ever being sated, because we just want more and more and more.

But there is a limit.

Incredibly enough, the album completes itself before the 47 minute mark. Just 46 minutes of music. That’s all. Just 11 songs.

It’s as if The Bible, The Koran, The Blue Cliff Record, all were just 11 chapters long. Just brief afternoon reads. That’s all.

As far as I’m concerned, Dylan invented songwriting with this album. Either that, or he invented something we need a new name for. Cuz whatever this is, and whatever came before it, are very different things.

Recommended track to start with? Don’t be silly.


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