Bob Dylan corner

[DukeEllington]

Just watched "No Direction Home" for the first time this weekend. As a total Dylan neophyte, I found it extremely informative and well done. I mean, I feel I got a fairly good introduction to the early stage of his career and to the man himself.

Just a little question on chronology. As far as Dylan "going electric" (that's almost become a social meme), can someone clear up when this happened. Was this in '65, when or shortly after he released Highway 61 Revisited?

Yes, pretty much in 65, when he played an electric set at the Newport Folk Festival, actually a few weeks before the release of Highway 61 Revisited. But he could be heard dabbling in electric in '64 on Bringing It All Back Home and period outtakes. The UK shows with the Hawks, where Dylan was booed and called, "Judas," were in Spring of '66.

Did it really take the folk-rock world by storm back then?

There was no "folk-rock" until Dylan plugged in. Period.

Yes, it took the Folk world by storm in that Dylan's main fan base wanted to claim Bob completely for their own. He had become their figurehead artist—and the first one to elevate Folk music to a level of fine artistry previously unreached. To his existing fan base at the time, Dylan playing rock-and-roll was akin to being a traitor and seen as an abandonment of the audience that "made" him. Furthermore, many were of the opinion that he was catering to a sophomoric pop audience and hence, selling out. Of course, history and hindsight has shown that Dylan quickly changed the entire direction of Rock as much as he did with Folk music previously. This theme of Dylan (seemingly) abandoning his audience would continue to be repeated throughout his career; first with his dip into Country music in the late-60's with the incredible Nashville Skyline LP; again, inventing a whole sub genre, "Country Rock" single-handedly and practically overnight.

He would "abandon" his audience once again in the late 70's, when he became Born Again and again changed Gospel music forever over the course of three albums, before once again, moving on... without explanation.

Not familiar with his catalogue, I always thought of Blood on the Tracks as this major turn in his career but in the past it appears that I conflated that with "Dylan going electric"]

Blood on the Tracks was received as a huge comeback album when it was released in 1974, and his strongest released material since the his infamous motorcycle crash mid-60s, that is, the period culminating with Blonde On Blonde. Very few knew at the time, that the period immediately after the motorcycle crash, while Dylan was in recluse, he was actually going through the most prolific period of songwriting he would ever enjoy, jamming with the Band in the basement of a "Big Pink" house in West Saugerties, Upstate New York in 1967. Although this material circulates quite freely among collectors, the majority of it still remains to be officially released. Despite their scarcity, these "Basement Tapes" are still considered to be some of the most important and influential music in the history of Rock music. Edited November 5, 2009 by DukeEllington

[Norm]

Just watched "No Direction Home" for the first time this weekend. As a total Dylan neophyte, I found it extremely informative and well done. I mean, I feel I got a fairly good introduction to the early stage of his career and to the man himself.

Just a little question on chronology. As far as Dylan "going electric" (that's almost become a social meme), can someone clear up when this happened. Was this in '65, when or shortly after he released Highway 61 Revisited?

Yes, pretty much in 65, when he played an electric set at the Newport Folk Festival a few weeks before the release of Highway 61 Revisited. But he could be heard dabbling in electric in '64 on Bringing It All Back Home and period outtakes. The UK shows with the Hawks, where Dylan was booed and called, "Judas," were in Spring of '66.

Did it really take the folk-rock world by storm back then?

There was no "folk-rock" until Dylan plugged in. Period.

Yes, it took the Folk world by storm in that Dylan's main fan base wanted to claim Bob completely for their own. He was their figurehead artist—and the first one to elevate "folk" music to a level of artistry previously unreached. To his existing fan base at the time, Dylan playing rock-and-roll was akin to being a traitor and seen as an abandonment of the audience that "made" him. Furthermore, many were of the opinion that he was catering to a sophomoric pop audience and hence, selling out. Of course, history and hindsight has shown that Dylan changed Rock as much as he did Folk music previously. This theme would continue to be reprized in Dylan's career; first with his dip into Country music in the late-60's; again, inventing a whole sub genre, "Country Rock" single-handedly and practically overnight.

He would "abandon" his audience again in the late 70's, when he became Born Again and again changed Gospel music forever, before once again, moving on.

Not familiar with his catalogue, I always thought of Blood on the Tracks as this major turn in his career but in the past it appears that I conflated that with "Dylan going electric"]

Blood on the Tracks was received as a huge comeback album when it was released in 1974, and his strongest released material since the his infamous motorcycle crash mid-60s, that is, the period culminating with Blonde On Blonde. Very few knew at the time, that the period immediately after the motorcycle crash, while Dylan was in recluse, he was actually going through the most prolific period of songwriting he would ever enjoy, jamming with the Band in the basement of a "Big Pink" house in West Saugerties, Upstate New York in 1967. Although this material circulates quite freely among collectors, the majority of it still remains to be officially released. However, "The Basement Tapes" are still considered to be some of the most important and influential music in the history of Rock music.

Thanks for the info and explanations. Very fascinating stuff.

Nice first post

[DukeEllington]

Just watched "No Direction Home" for the first time this weekend. As a total Dylan neophyte, I found it extremely informative and well done. I mean, I feel I got a fairly good introduction to the early stage of his career and to the man himself.

Just a little question on chronology. As far as Dylan "going electric" (that's almost become a social meme), can someone clear up when this happened. Was this in '65, when or shortly after he released Highway 61 Revisited?

Yes, pretty much in 65, when he played an electric set at the Newport Folk Festival a few weeks before the release of Highway 61 Revisited. But he could be heard dabbling in electric in '64 on Bringing It All Back Home and period outtakes. The UK shows with the Hawks, where Dylan was booed and called, "Judas," were in Spring of '66.

Did it really take the folk-rock world by storm back then?

There was no "folk-rock" until Dylan plugged in. Period.

Yes, it took the Folk world by storm in that Dylan's main fan base wanted to claim Bob completely for their own. He was their figurehead artist—and the first one to elevate "folk" music to a level of artistry previously unreached. To his existing fan base at the time, Dylan playing rock-and-roll was akin to being a traitor and seen as an abandonment of the audience that "made" him. Furthermore, many were of the opinion that he was catering to a sophomoric pop audience and hence, selling out. Of course, history and hindsight has shown that Dylan changed Rock as much as he did Folk music previously. This theme would continue to be reprized in Dylan's career; first with his dip into Country music in the late-60's; again, inventing a whole sub genre, "Country Rock" single-handedly and practically overnight.

He would "abandon" his audience again in the late 70's, when he became Born Again and again changed Gospel music forever, before once again, moving on.

Not familiar with his catalogue, I always thought of Blood on the Tracks as this major turn in his career but in the past it appears that I conflated that with "Dylan going electric"]

Blood on the Tracks was received as a huge comeback album when it was released in 1974, and his strongest released material since the his infamous motorcycle crash mid-60s, that is, the period culminating with Blonde On Blonde. Very few knew at the time, that the period immediately after the motorcycle crash, while Dylan was in recluse, he was actually going through the most prolific period of songwriting he would ever enjoy, jamming with the Band in the basement of a "Big Pink" house in West Saugerties, Upstate New York in 1967. Although this material circulates quite freely among collectors, the majority of it still remains to be officially released. However, "The Basement Tapes" are still considered to be some of the most important and influential music in the history of Rock music.

Thanks for the info and explanations. Very fascinating stuff.

Nice first post

Thanks, Neighbor Norm. I'm sure we've come figuratively close to brushing elbows over at Amoeba. Although I'm a self-professed Duke Ellington and Thelonious Monk fanatic, and love many others, I don't think I know quite as much about Jazz as I do Dylan and The Beatles, which is why I'm here!

Yes, Dylan is endlessly fascinating in no small part to the enigma that he has created, fostered and nurtured for the past 50 years. For all we know about him, there is still so much left to be answered.

[Noj]

I own the following albums from Mr. Dylan:

Bringing It All Back Home

Highway 61 Revisited

The Times They Are A-Changin'

Blonde On Blonde

The Freewheelin' Bob Dylan

Blood On The Tracks

Nashville Skyline (this one is my favorite)

Greatest Hits 1&2

What should I get next, Dylan heads? I've always wanted to hear the one with the Dead, so that's on my radar.

[Neal Pomea]

Since you seem to enjoy his early stuff, you might like Basement Tapes, John Wesley Harding, and Another Side of Bob Dylan. The one closest to Nashville Skyline's sound is probably Self Portrait. New Morning has his raspy voice and includes The Man in Me from the Big Lebowski movie.

Edited November 5, 2009 by It Should be You

[DukeEllington]

I own the following albums from Mr. Dylan:

Bringing It All Back Home

Highway 61 Revisited

The Times They Are A-Changin'

Blonde On Blonde

The Freewheelin' Bob Dylan

Blood On The Tracks

Nashville Skyline (this one is my favorite)

Greatest Hits 1&2

What should I get next, Dylan heads? I've always wanted to hear the one with the Dead, so that's on my radar.

Another L.A. neighbor!

Based on Nashville Skyline being your favorite (one of mine as well), I would line up these 3 next, in order; The Basement Tapes, New Morning and John Wesley Harding. Although none of these carry the distinctive sound of Nashville Skyline (no other Dylan album does), they do relate to it quite well and are all VERY entertaining listens with no weak tracks.

Regarding Dylan and The Dead, it is widely widely regarded to be the weakest of the many Dylan live albums. No slight on The Dead, but neither were in top form during these shows (I was at one of them) and the fidelity of the released recording doesn't leave much to be desired. I would suggest buying a single track to see if you like the quality, and whatever you do don't judge Dylan's potency as a live performer on that disc!

Feel free to hit me up for questions/suggestions anytime.

Edited November 5, 2009 by DukeEllington

[Noj]

Thanks ISBY and Duke.

[Norm]

Another L.A. neighbor!

Based on Nashville Skyline being your favorite (one of mine as well), I would line up these 3 next, in order; The Basement Tapes, New Morning and John Wesley Harding. Although none of these carry the distinctive sound of Nashville Skyline (no other Dylan album does), they do relate to it quite well and are all VERY entertaining listens with no weak tracks.

Regarding Dylan and The Dead, it is widely widely regarded to be the weakest of the many Dylan live albums. No slight on The Dead, but neither were in top form during these shows (I was at one of them) and the fidelity of the released recording doesn't leave much to be desired. I would suggest buying a single track to see if you like the quality, and whatever you do don't judge Dylan's potency as a live performer on that disc!

Feel free to hit me up for questions/suggestions anytime.

This may generate some repeat suggestions, but assuming that Blood on the Tracks is my favorite of what I've heard so far (which doesn't extend much beyond Highway 61 Revisited!, Blonde on Blonde, and a live 1964 double-disc) , is there anything I should look into? Farther up thread, a number of people chimed in to suggest the "Blood on the Tapes" alternate sessions which I did find on the internet and have been enjoying. I keep seeing The Basement Tapes...is this title synonymous with "Blood on the Tapes" (NY recordings) or is the former a larger project that includes the latter? Anyway, if Dylan produced any similar material before moving on to the next phase (was it gospel?) please let me know.

As an aside, ever since joining this forum, I have found it pretty cool that it is not uncommon for Thelonious Monk fanatics to be Bob Dylan fanatics as well. I would never have made the connection previously, but it makes quite a bit of sense.

And, yes, Amoeba rocks!

[DukeEllington]

This may generate some repeat suggestions, but assuming that Blood on the Tracks is my favorite of what I've heard so far (which doesn't extend much beyond Highway 61 Revisited!, Blonde on Blonde, and a live 1964 double-disc) , is there anything I should look into? Farther up thread, a number of people chimed in to suggest the "Blood on the Tapes" alternate sessions which I did find on the internet and have been enjoying. I keep seeing The Basement Tapes...is this title synonymous with "Blood on the Tapes" (NY recordings) or is the former a larger project that includes the latter? Anyway, if Dylan produced any similar material before moving on to the next phase (was it gospel?) please let me know.

As an aside, ever since joining this forum, I have found it pretty cool that it is not uncommon for Thelonious Monk fanatics to be Bob Dylan fanatics as well. I would never have made the connection previously, but it makes quite a bit of sense.

And, yes, Amoeba rocks!

I'm going to make slightly different suggestions to you, Norm, although you can't go wrong with my suggestions to the other poster. First you should get, Bringing it All Back Home, which is my personal favorite. For me, no other Dylan album does a better job of putting all of Dylan's personas and compositional styles under one roof. It is quite simply a flawless record.

If you like Blood on the Tracks for it's intimate and acoustic nature, I would work my way back from BIABH chronologically, and check out Another Side of Bob Dylan and The Times Are A-Changin. Nashville Skyline is also an amazing, fun and very accessible listen and as I stated earlier, gave birth to the sub-genre of Country Rock.

Regarding "The Basement Tapes," this has nothing to do with Blood On The Tapes. The Basement Tapes is the only legitimate release of the material Dylan recorded with The Band while in recluse following his post Blonde On Blonde motorcycle crash. This is the material that I refer to in my first post, for which the large majority of the material remains unreleased. The legitimate release is quite good, and was considered an instant classic at the time of it's release in 1975, 9 years after the material was originally recorded. However, it is now known that much of the material received revisionist overdubs in 1975, and some of the material on the album was not even recorded during the same period at the actual Basement Tapes. So it's good, but not authentic, and actually only contains about a single hour of the 5+ hours of Basement Tapes material that circulate within collectors circles.

For the real deal, you'll want to use the same methods you used to acquire your Blood On The Tapes, and seek out a 4CD set called A Tree With Roots: The Genuine Basement Tapes Remasters. All of these recordings are EXTREMELY informal (as the nickname "Basement Tapes," fairly implies) and were never intended for formal release, which makes them a challenging listen at times. However, like Monk, it's a challenge that pays off immensely once you realize what's going on. To help you navigate and understand the 4 discs, I highly recommend buying the book, Million Dollar Bash: Bob Dylan, The Band and The Basement Tapes by Sid Griffin. It's basically a 300+ page book which acts as wonderful liner notes for the A Tree With Roots set. (Assuming you "find" the set in collector's circles, and not pay a bootlegger, the $14 price of the book is totally worth it and really increases enjoyment of the music discussed. It's also casually written, which means—like the best liners—you can listen and read along very easily.)

See you at the A!

Edited November 5, 2009 by DukeEllington

[jazzbo]

I have Million Dollar Bash waiting to be read, for about seven months now. I'll get to it soon enough. . . maybe by the end of the year. Looks great.

Duke is giving great recommendations for you both, Norm and Jon.

[Neal Pomea]

As an aside, ever since joining this forum, I have found it pretty cool that it is not uncommon for Thelonious Monk fanatics to be Bob Dylan fanatics as well. I would never have made the connection previously, but it makes quite a bit of sense.

Note: New Morning (1970) features Dylan on piano. I believe he plays more piano on that album than any other. And there is a jazzy tune (with someone else on piano) that's a sort of recitation called If Dogs Run Free. A lady sings scat in the background.

[jazzbo]

New Morning is out in a newly remastered version as well (released the same time as the Dylan/Dead and Basement Tapes.) The sound is improved (on all three) and this is a favorite album of mine. "If Not For You" --- one of his most effective love songs.

[WorldB3]

I

What should I get next, Dylan heads? I've always wanted to hear the one with the Dead, so that's on my radar.

New Morning, John Wesley Harding and Love and Theft.

Don't bother with Dylan and the Dead.

Edited November 5, 2009 by WorldB3

[Noj]

Looks like I'm after:

Another Side Of...

The Basement Tapes

New Morning

John Wesley Harding

Love and Theft

Self Portrait

Blood On The Tapes

Thanks again, all!

[mjzee]

I want to offer a provocative, contrarian view:

If you can afford it, and like .mp3's, the best way to just plunge in is to buy "Bob Dylan - The Collection" from the iTunes Music Store. For $200, you'd get every official BD release through Modern Times. Then you could explore his oeuvre at your leisure. It really is a tremendous price for the amount of music you'd be getting.

Otherwise, in my long acquaintance with Bob's music (40 years and counting), I've always been bemused by how often I didn't love his "best" releases, and found wonderful things in his "lesser" works. "Blood On The Tracks," for example: never much cared for it. I like the original versions a little better; my guess is those songs went through editing and "sanitizing" to protect his family. But "Planet Waves," on the other hand: I've always loved that album! His singing, the songs, the arrangements, The Band's playing (Garth Hudson is such a monster!).

Other albums I've loved (and you might):

John Wesley Harding

New Morning (very underrated)

Slow Train Coming

Infidels

Real Live (great rock and roll, with Mick Taylor and Ian McLagen)

Knocked Out Loaded/Down In The Groove (I think of these as one album; they could've easily fit on one disc)

The later stuff is more problematic, for two reasons: I find his steadily-decaying voice difficult to listen to, and the point of view presented by the newer songs often doesn't connect with me. But if you're up for it, check out "Unplugged." I also liked "Tell Tale Signs."

Finally, let's discuss "Dylan and the Dead." I LOVE this album. To me, it embodies so much of the Dylan ethos: the passion, the inscrutability, the implacability. "Joey," for example: Why "Joey"? What on earth made him think that the audience wanted to hear a 15-minute version of one of his hardest-to-buy-into songs? But I love that he did it, and I love the performance. Jerry Garcia is a monster throughout the whole record: listen to his guitar solo in Slow Train Coming. Queen Jane Approximately is a great rendition. So is I Want You, even if he flubs the words. And Knocking On Heaven's Door is just beautiful. My only complaint about the album is they left off Rainy Day Women, which you can probably imagine is a very appropriate song considering his back-up band ("Everybody must get stoned" indeed).

[DukeEllington]

I want to offer a provocative, contrarian view:

If you can afford it, and like .mp3's, the best way to just plunge in is to buy "Bob Dylan - The Collection" from the iTunes Music Store. For $200, you'd get every official BD release through Modern Times. Then you could explore his oeuvre at your leisure. It really is a tremendous price for the amount of music you'd be getting.

Otherwise, in my long acquaintance with Bob's music (40 years and counting), I've always been bemused by how often I didn't love his "best" releases, and found wonderful things in his "lesser" works. "Blood On The Tracks," for example: never much cared for it. I like the original versions a little better; my guess is those songs went through editing and "sanitizing" to protect his family. But "Planet Waves," on the other hand: I've always loved that album! His singing, the songs, the arrangements, The Band's playing (Garth Hudson is such a monster!).

Other albums I've loved (and you might):

John Wesley Harding

New Morning (very underrated)

Slow Train Coming

Infidels

Real Live (great rock and roll, with Mick Taylor and Ian McLagen)

Knocked Out Loaded/Down In The Groove (I think of these as one album; they could've easily fit on one disc)

The later stuff is more problematic, for two reasons: I find his steadily-decaying voice difficult to listen to, and the point of view presented by the newer songs often doesn't connect with me. But if you're up for it, check out "Unplugged." I also liked "Tell Tale Signs."

Finally, let's discuss "Dylan and the Dead." I LOVE this album. To me, it embodies so much of the Dylan ethos: the passion, the inscrutability, the implacability. "Joey," for example: Why "Joey"? What on earth made him think that the audience wanted to hear a 15-minute version of one of his hardest-to-buy-into songs? But I love that he did it, and I love the performance. Jerry Garcia is a monster throughout the whole record: listen to his guitar solo in Slow Train Coming. Queen Jane Approximately is a great rendition. So is I Want You, even if he flubs the words. And Knocking On Heaven's Door is just beautiful. My only complaint about the album is they left off Rainy Day Women, which you can probably imagine is a very appropriate song considering his back-up band ("Everybody must get stoned" indeed).

When it comes to Bob, 25¢ a song certainly can't be beat!

(And okay, I'm going to give Dylan and The Dead another listen for the first time in many years. One thing I did always liked about it was the cover!)

Edited November 6, 2009 by DukeEllington

[chewy-chew-chew-bean-benitez]

im having trouble finding a mono Blonde on Blonde someone was telling me dylan started using like session players a lot on it and its good but i just need that, and john wesley harding the last USA mono to complete my collectuion

[Norm]

. First you should get, Bringing it All Back Home, which is my personal favorite. For me, no other Dylan album does a better job of putting all of Dylan's personas and compositional styles under one roof. It is quite simply a flawless record.

If you like Blood on the Tracks for it's intimate and acoustic nature, I would work my way back from BIABH chronologically, and check out Another Side of Bob Dylan and The Times Are A-Changin. Nashville Skyline is also an amazing, fun and very accessible listen and as I stated earlier, gave birth to the sub-genre of Country Rock.

Awesome. Just ordered Bringing it All Back Home from Amazon. Before hitting submit, I looked over the track listing and noticed that "Maggie's Farm" and "Mr. Tambourine Man" are both on there. Oh, this bodes well. Those were probably my two favorite clips from "No Direction Home."

As you know, today was one of those magical fall days in SoCal....perfect temp and a stillness about the city that one rarely finds. I listened to Blood on the Tapes as I biked to Santa Monica Library in the middle of the afternoon and was totally in the zone, Honestly, I don't think anything could have sounded better. I was indeed tangled up the blue skies and all kinds of thoughts thanks to Bob. What a fine blend of music and lyric. I feel like I'm on the precipice to a major musical journey here...thanks again for the suggestions. I'm sure I'll follow the order you laid out..

[Niko]

Looks like I'm after:

Another Side Of...

The Basement Tapes

New Morning

John Wesley Harding

Love and Theft

Self Portrait

Blood On The Tapes

Thanks again, all!

i'd strongly suggest to add Desire to that list...

[king ubu]

"Time Out of Mind" from 1997 is another excellent one.

I think "Love and Theft" is more fun, but it's very different, much straighter, simpler, while "Time Out of Mind" is a somewhat swampy Daniel Lanois production. Some wonderful stuff there, including "Sad Eyed Lady of the Lowlands", one of my favorite Dylan epics.

For those willing to look into the 70s/80s period as well, I found "Biograph" to be excellent. It also contains some early rarities (including a couple of singes/b-sides), some rehearsals and outtakes, as well as a very good selection from his albums up to the time it appeared (1986 I think? That would make it end with the weird but excellent "Empire Burlesque"). The liners are mostly based on a long interview with Dylan, summing up his career to that point. Even to a longtime fan like me, getting that box, listening and reading was a delight!

And for those who like the country-rock stuff, I'd recommend the soundtrack album for Samuel Peckinpah's film "Pat Garrett & Billy the Kid" - it's not much of a typical Dylan album (only two or three songs contain vocals), but it's a very nice listen.

Btw: those who love "Nashville Skyline" probably know, but his voice there is so flexible and all, it's quite fascinating he could do that... almost crooner like in some spots. I don't think he sounds like that anywhere else.

[king ubu]

And yes on Desire! Great album! Some more favorite epics (Joey, Hurricane), some almost tex-mex, Oh Sister, Durango... hell of a great album in fact!

Also the Bootleg volume dedicated to the Rolling Thunder Revue might be of interest (and two or three titles included in "Biograph" are NOT duplicated there). It's from the first tour. The second is documented (well, that's an exaggeration, you get a glimpse of it) on "Hard Rain", which seems to be among the least regarded of his albums as well.

The Bootleg volume with the Manchester 1966 concert is effing amazing, too. The Hawks! Say no more! The power and immediacy of the sound is incredible, you can really feel the raw energy there - a fascinating document!

Also for anyone in love with the "big three" (Bringing It All Back Home, Highway 61, Blonde on Blonde), the soundtrack from Scorsese's great film is a must buy (it's also a volume in the Bootleg Series - sorry, I'm too lazy to check all those right now and give the numbers...) - lots of fascinating outtakes and a couple of more live tracks (some others are on The Band's "Musical History" box, which also has a few from the 1974 US tour they did together... which brings us to "Before the Flood", another good one... and then on to "Rock of Ages", where Dylan turns up on some of the bonus tracks on the expanded 2CD version, as well as to his little set on "The Last Waltz", all with The Band...)

[jazzbo]

Yeah, Dylan with the Band, in any form, I love to listen to. Planet Waves hit me hard when it was released and it still means a lot to me. What lyrics, and what singing!

I hate "Joey." But then I hate gangster/mafia movies, books, songs. "Joey" just gives me the creeps. I skip over it whenever possible.

[AllenLowe]

that is truly one of the most offensive songs written ever. One of the things he "points out" is that Gallo, allegedly because of his progressive views, befriended black prisoners - well, it turns out that he was recruiting them as hit men. It was a black guy who shot Joe Gambino (at Gallo's behest) and it was remarked, at the time, how unusual this was for a mob hit. Basically it gave Gallo deniability.

I lost a lot of respect for Dylan after that one -

and then of course, after Hurricane Carter was re-convicted in a new trial (that was horribly biased; same judge, same tainted evidence) Dylan, like a lot of other celebs, didn't have the guts to stand by him (though he was later released).

I find all of this to be the worst kind of political dilettantism.

[king ubu]

I didn't/don't have any background on these songs... sorry, no offense intended or anything... is it possible to just enjoy these as songs? I guess it's not after one does know... will have to do my homework there, I guess.

Any yes Lon, Planet Waves is wonderful! Robertson doing these almost mandoline-like acoustic guitar runs on one of the "Forever Youngs"... marvellous! It's one of the simples, straightest, happiest Dylan albums, I think.

[AllenLowe]

no offense taken. I just think Dylan has had some.....................issues. I think he lost his way creatively some time ago and some of his attempts to be "relevant" have fallen quite flat.

but I am in a little minority in thinking this.