Happy Birthday, Mister Zimmerman
by Steve
Bob Dylan is 70 today. That seems a pretty weird statement. 70. Phew. In the lead-up to this momentous occasion, I’ve been dabbling in some low-level Dylanology, watching No Direction Home for the umpteenth time and listening to the Sound Opinions Dylan specials. I thought I’d share the following thoughts/opinions/theories in no particular order or with no real organised thread…
The whole Dylan Goes Electric story has to be one of the all-time great rock tales. Even today we worry about artists ‘selling out’, and whenever an artist changes direction or sound it kind of makes sense to view it within the context of Dylan plugging in. It’s funny that, with the benefit of hindsight, his early crowd-pleasing protest songs sound far more calculated than the electric stuff that followed.
Saying that – as much as I haven’t got a whole lot of time for Blowin’ In The Wind or The Times They Are A-Changin’, even now most of his acoustic stuff sounds incredibly fresh and powerful. It’s also easy to forget just how young he was when he broke through. By all accounts, he got real good, real quick. I think we’d still be listening to his songs now even if he’d retired in 1963.
But thank goodness he didn’t. I think Dylan ‘going electric’ shows what a risk-taker he was willing to be – he could have easily just muddled along, writing the same old safe songs, to the same old audience. Yet, he went on to produce far deeper, more complex and more satisfying work, despite knowing he’d lose some of his audience along the way. Of course, that risk-taking side to him has led to some dodgy musical and career decisions. But I think the best artists are the ones willing to make monumental mistakes.
In one of those Sound Opinions specials, they point out that in 15 months Dylan released Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. Has any artist had such a run of quality material in such a short period? Considering the economic models of the music business, will an artist ever again be able to release so much good music in such a brief space of time?
I think one thing that made Dylan stand out from his contemporaries was his sense of mischief. Particularly early on his career, he seemed to have a glint in his eye and a grin on his lips. From changing his name, to inventing a backstory, to his countless misleading interviews, he has never played it straight and has been far more interesting for it. He seems to have always appreciated the value of myth-making in modern music. That made him far more compelling than most of the over-earnest folk crowd. The Life Of Bob Dylan is as fascinating and perplexing as his music. I think it also helped him be a pretty mesmerising performer too.
It’s funny how the young Dylan idolised all those old folk and bluesmen, and how he seems to resemble one himself. Fifty years of music-making is no mean feat. He started off trying to sound as old as the hills – now he genuinely does.
I think many people overlook just how ambitious Dylan was. He wasn’t afraid to steal songs or arrangements. He appeared to be incredibly focused and single-minded. I’m not sure how idealistic he ever was.
To finish off, I wanted to post some of that cool mid-sixties footage, but it appears that YouTube have purged 99 per cent of the decent Dylan film out there, which is a shame. Oh well. What are your thoughts/opinions/theories on Dylan?
I grow weary of Dylan worship, but your post nails it. The young Dylan (much like the young Elvis) was the period for which he should be celebrated. The new Dylan/anything under 42 years is mostly overrated and, well, kinda lame. Nice post.
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Thank you!
There is an element of the Emperor’s New Clothes about Dylan’s work recent work. While there are some good songs there, there is plenty of filler. I just think music journos are itching to shout “Return to form!” or to paint Dylan’s later years as the Renaissance Years, rather than just listen to the records objectively.
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I never went too deep into the Bob Dylan rabbit hole–I frequently steer away when baby boomers pile on too much adulation. That said, I’ll listen to the hell out of anything he did with The Band, who also get too much boomer-love but are one of my favorite bands of the era.
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Anything from the Boomer era receives too much adulation.
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I have a hard time separating the hype from the product. Abbey Road and Everybody Knows this is Nowhere are two of my favorite albums, but I’m not sure if they live up to the Beatlemania and Neil Young-love hype.
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There’s so much baggage and hot air around the Boomer Era records it is hard to listen to them with fresh ears. I wonder if the next couple of generations after us will have an easier time picking out the good stuff, and just appreciating it for what it is.
I think there is also the knee-jerk Gen X/Y trait of taking a Boomer Era band and then deciding the popular stuff is no good, but the more obscure stuff is (I suspect mainly because it is less well-known, with any artistic merit coming second). Exhibit A would be the Beach Boys, and the hipster love their 70s records get. It’s only a matter of time before someone declares Dylan’s 80s Christian records to be his finest work.
I’m as guilty of this as anyone. I probably play the Beach Boys’ 70s albums more than their 60s stuff, I think Beatles For Sale is the best Beatles record, and I love me some Dylan outtakes/bootlegs.
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