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Yes I'm a Dylan Fan (for Steve Bank)

Tharmas

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In a post in the General Religion section Steve Bank includes the following opinion. I told him I’d like to start a dialogue on the topics of pop music and Dylan in particular. So here it is:

steve bank said:
My favorite example of human behavior in this aspect is Bob Dylan. He started off imitating Woody Guthrie and 60s counter culture types turned his largely incoherent lyrics into prophetic works. and Dylan into a prophet. Books and PHD theses were written about Dylan, yet if you listed to what he said if interpret his lyrics that is up to you.

I’ll parse the above opinion in a bit, but first as one of those “60s counter-culture types” I want to say a few words about the folk music renaissance, which was really a 50s movement. Folk singers researched and performed traditional folk songs. You weren’t considered authentic if your band lacked a washtub bass and washboard percussion. This is the environment Dylan, as well as Joan Baez, came up in. As a teenager Dylan acquired an encyclopedic knowledge of folk music. His first album contains only two original songs; one was a tribute to Woodie Guthrie, which Dylan claims was the first song he’d ever written.

steve bank said:
He started off imitating Woody Guthrie and 60s counter culture types turned his largely incoherent lyrics into prophetic works. and Dylan into a prophet.

Dylan worshiped Guthrie and literally sat as his feet when he made his frequent trips to see Guthrie in the hospital. It’s more accurate to say that Guthrie mentored and inspired/encouraged Dylan to write his own songs.

I’m not sure what you mean by “incoherent lyrics.” Consider these song titles, off one early album:

Blowin’ In the Wind

Girl From the North Country

Masters of War

A Hard Rain’s A-Gonna Fall

Don’t Think Twice, It’s Alright

Oxford Town

Corina Corina

That’s a short list from the album. Which ones are incoherent? Some are definitely rooted in folk traditions. Others clearly reflect social and cultural concerns. Clearly.

I don’t think my generation turned Dylan into a prophet so much as a spokesperson. Some of his songs became marching songs of the Civil Rights movement. Others were anti-war and anti-military-industrial complex. These were not controversial opinions. But Dylan rejected all attempts to pigeonhole him or make him a leader of anything. I just write songs, they don’t mean anything, he says in a 1965 interview with a Time magazine reporter (from the documentary “Don’t Look Back”). He goes on that people come to his concerts to be entertained, and he’s essentially an entertainer.

The fact is, Dylan is/was a very private person who resisted being made into a spokesperson, and like many other serious writers before and since, he resisted all efforts of people to discover the “meaning” of what he wrote. In one interview, when asked why he wrote what he wrote, he answered “news sells.”

I don’t think that makes him a hypocrite. I don’t think he “sold out.”

Steve, a bit later in the religion thread you expand on your thoughts:

steve bank said:
At a 60s Newport Folk Festival Dylan, real name Robert Allan Zimmerman, showed up at a Newport Folk Festival playing an electric guitar backed by what became The Band. His devotees were horrified.

He was an entertainer who gained fame and fortune. He did country music for awhile. In an interview he was asked given his iconic status among the counter culture how he felt about being rich. He said what is wring with with getting rich?

There were genuine activists and folk music social commentators like Pete Seeger and others, and grass roots music like the Carter Family.

Same with Johnny Cash's image. Does not men I did not like his music sometime, but like Jesus man vs myth.

I’ll get back to you on this when I have some more time.
 
There are three ways to be successful in popular music:

1) Write inspiring lyrics that capture the mood of your audience. Bob Dylan exemplifies this; He couldn't carry a tune in a bucket, but it didn't matter. He's one of very few famous performers whose work sounds as good or even better when covered by someone else. Folk, as a genre, lends itself to this - it's supposed to be sung by everyone and anyone.

2) Be an accomplished musician/performer. If the tune is catchy and performed skillfully and stylishly, nobody cares about the lyric. You could sing "do-wah-diddy-diddy", or "do-wap-be-bop" or "Hey-nonny-nonny", and people would still want to listen. This is the most common path, and is why most pop is ephemeral.

3) Do both at once, and become immortal mega-stars. Queen exemplified this, Bowie too. If Dylan could sing, he would have been in this bracket too.
 
As a (former) Dylan fan I agree with your synopsis.

The other aspect of it, is that some of his lyrics do approach something like oracular speech. Not quite realist, not quite abstract, but mysterious and intriguing enough in contrast to what was around before him, that he gained a following of people who were curious about his poetry. His lyrics were interesting, with flashes of brilliance. But the prophet aspect likely started with some of the earlier, more coherent lyrics, before he became more intentionally obscure.

But I wouldn't call the 'obscure' songs incoherent whatsoever, it's their exact quality of being hard to pin down that drew people to them. Think about something like 'Visions of Johanna', that one blew me away for months when I was younger.
 
Dylan is absolutely protean, like few other artists. Who even comes close? Maybe Miles Davis. You'll never pin either one down to a simple definition. I used to listen to a lot more Dylan than I do now, but, in so many categories, he's done classic work.
Folk: North Country Blues, Boots of Spanish Leather, Tangled Up in Blue, You're Gonna Make Me Lonesome When You Go (why this one hasn't been covered by more singers, I just don't know) (All four of these are gorgeous songs.)
Scorching rock: Like a Rolling Stone, Absolutely Sweet Marie, Odds and Ends, Idiot Wind, Shelter from the Storm, All Along the Watchtower, Leopard-Skin Pill-Box Hat
Gospel: Precious Angel, I Believe in You, Dear Landlord
Country: Down Along the Cove, I'll Be Your Baby Tonight
Ballads: Abandoned Love, Sad Eyed Lady of the Lowlands, Just Like a Woman (are these ballads? Who knows -- he can't be pigeon-holed.)
Blues: Buckets of Rain (what a song -- where did it come from?), Journey Through Dark Heat (neither of these was written in classic blues form, but they're still in the zone, for me), The Wicked Messenger (insanely catchy blues run in this thing)
Absurdist/Unclassifiable: She's Your Lover Now, Quinn the Eskimo, Clothesline Saga (which is probably my favorite Dylan track ever, it seems to come from outer space, and he talks his way through it), Rainy Day Women, Visions of Johanna
Other singer/songwriters would sell their children to write just one of those songs. Dylan wrote 'em all. Also... I could redo this post with an entirely different list of Dylan songs. That's our man.
 
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Although, I'm no longer a fan of Dylan, this thread made me nostalgic for my teen. years when my two best friends and I were big Dylan fans. Those songs are from the album, "The Freewheelin' Bob Dylan". It was released in 1963 when I was in high school.

A nutty woman who I mentioned in another thread awhile back was a big Dylan fan. I think she probably liked him because he became a so called "born again Christian". I had bought her a CD player as she was poor and her CD player stopped working. She was so exited until someone told. her I was an atheist. She returned it because I "don't believe in the power of prayer". I know that's not exactly related to the thread, but it reminded me of her. I guess it takes all kinds to be fans of Dylan. :D

Being an antiwar protester during the Viet Nam War, I loved "Masters of War" and might still know most of the words. I never cared for his later stuff.

I like Miles Davis, but if you want an artist that could do soul, funk, rock, jazz and country, that would be the musical genius Ray Charles.
 
To add a little more, in poetry terms what Dylan was doing with his writing was evocation. In poetry proper the common adage is show, don't tell, and Dylan was one of the first to bring that style of writing to popular music. People were fascinated by it because he didn't tell people what to feel or think, he let his audience use their imagination to react to his songs. It'd never been done before.

Dylan and Cohen comparisons run rampant, and it was Dylan's career that inspired Cohen's. The strongest argument I've heard in how they differ is that Dylan was able to write cohesive, complete songs, Cohen only knew how to write lyrics. As a poet, Cohen was far stronger, but Dylan's level of writing skill was exactly what was needed to strike a chord in popular music.
 
Springsteen was influenced a lot by Woody Guthrie too. But he could actually sing.
 
I have to buck the trend on this "Dylan can't sing" theme. He has been a highly influential vocalist. Yeah, lost his range by the time this century started, and has lost tone and timbre, over the years. But his vocal prime (say, 1963 to 1982) was a classic era. His vocals bring out all the moods in the Blonde on Blonde album perfectly -- no other singer could take that material and do it justice. A song like Positively 4th Street -- you'd want to hear any other singer take that on? Blood on the Tracks -- another wonderful vocal performance.
Unconventional voice? Yep. But if Dylan "couldn't sing", then neither could Louis Armstrong or Charley Patton. Not to mention Bonnie Raitt, Tom Waits, Tina Turner, Joe Cocker, or Janis.
Anne Murray can sing, too, and she's as boring as watching a cup of tea cool.
 
Cohen couldn't sing, Dylan could sing, he was just one of the first to do it without a pretty voice.
 
Hmm...I'd call Cohen a monotonous singer, in that his vocal approach to many/most of his songs is minimalist. (I have The Essential LC and listen to it, but usually play maybe 4 songs in a row before switching to something else.) But there are Cohen songs where I hear him using every bit of his phrasing skills and range to suit the song. I think his vocal on Hallelujah is strong, and Tower of Song is another good listen, although it's partly a spoken vocal. He wrote some songs that are close to novelty material (I'm Your Man and Got a Little Secret) and I love what he does with them. An example of a song that I think he short-changed: Take This Longing. When he sings it, his vocal drones, and he flattens the melody. Judy Collins covered it in '76, I think, on Bread and Roses, and her version, which is the first version I heard, is heartbreaking. She brings out the melody that you don't properly hear in Cohen's take. Rare example, perhaps, of a cover version discovering melodic values that were missing in the original version.
 
One interesting aspect of Cohen's career is that some time after Various Positions (I can't remember exactly when) they figured out that including more women on his albums would heighten the music. On Various Positions there are three absolutely stunning songs lyrically, and I can barely make it through the album. I find almost everything before the 90s unlistenable, save maybe Recent Songs and Songs of Leonard Cohen, which is a real testament to his writing skill (words, not music).
 
I have to buck the trend on this "Dylan can't sing" theme. He has been a highly influential vocalist. Yeah, lost his range by the time this century started, and has lost tone and timbre, over the years. But his vocal prime (say, 1963 to 1982) was a classic era. His vocals bring out all the moods in the Blonde on Blonde album perfectly -- no other singer could take that material and do it justice. A song like Positively 4th Street -- you'd want to hear any other singer take that on? Blood on the Tracks -- another wonderful vocal performance.
Unconventional voice? Yep. But if Dylan "couldn't sing", then neither could Louis Armstrong or Charley Patton. Not to mention Bonnie Raitt, Tom Waits, Tina Turner, Joe Cocker, or Janis.
Anne Murray can sing, too, and she's as boring as watching a cup of tea cool.
I'm glad you brought this up. I feel the same way. I think when Dylan first hit the airwaves people just weren't used to his somewhat guttural style as opposed to the tin pan alley pop signers' smoother vocals. But Dylan's style worked with his material. He had excellent breath control and phrasing.

He adapted his vocals to the material he was performing. His voice on "Nashville Skyline" is almost that of a different person.

When I was a teenager and had just started listening to Dylan I bought into the "Dylan can't sing" meme. When The Byrds recorded "Tambourine Man" I thought it was great. Now I find it virtually un-listenable compared to Dylan's version.



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I have to buck the trend on this "Dylan can't sing" theme. He has been a highly influential vocalist. Yeah, lost his range by the time this century started, and has lost tone and timbre, over the years. But his vocal prime (say, 1963 to 1982) was a classic era. His vocals bring out all the moods in the Blonde on Blonde album perfectly -- no other singer could take that material and do it justice. A song like Positively 4th Street -- you'd want to hear any other singer take that on? Blood on the Tracks -- another wonderful vocal performance.
Unconventional voice? Yep. But if Dylan "couldn't sing", then neither could Louis Armstrong or Charley Patton. Not to mention Bonnie Raitt, Tom Waits, Tina Turner, Joe Cocker, or Janis.
Anne Murray can sing, too, and she's as boring as watching a cup of tea cool.
I disagree with almost everything you wrote.

I last saw Dylan in the early 2000's and his singing was as good as it ever was, if somewhat different: not at all pretty and and very effective nonetheless. He and Cash and some others have an advantage that most other singers do not have: Their voices were never pretty nor ever intended to be. But that actually gave them much more staying power than say, Gordon Lightfoot, whose music I also adore but who had definitely lost most of his ability to sing when I last heard him maybe 15 years ago--albeit after a long illness and perhaps a stroke. He was definitely an old man and the crowd quit singing along because their voices drowned his. Still, I have to point out that his voice gained in strength and quality, taking energy from those who loved him and who had gathered to hear him perform.

Janis Joplin did not have the typical melodical voice expected of female singers in particular. How much staying power she had it is impossible to say, given her very early death. I take great issue with your characterization of Bonnie Raitt, and Tina Turner in particular: Bonnie Raitt sings very well. Just not like Sinead O'Connor. Tina Turner was a powerhouse singer. Raitt and Turner just do not follow the girls rules. They allow a rasp in their voice and the rawness of emotion to come through, as did Etta James and some others. No sanitized prettied up close harmonies for those women. But their voices! Nothing compares. Of course, being female, they hardly count, I suppose.
 
Well, you misread me!! Raitt, Turner, Joplin are CONSUMMATE singers, always taking you to the core emotion of the song. Look again at the list I gave of unconventional, non-Neil Sedaka type voices. Louis? Charley Patton? These guys are legends. I then listed other singers, starting with Raitt, who give gutsy roots performances, but who will probably not impress ABBA fans. My point -- and you missed it entirely -- is that these singers give authentic performances LIKE DYLAN. I can't imagine how you thought I was in any way taking Raitt or Turner to task! As for Dylan losing range/tone/timbre since the 80s, I stand by that. You might want to play the 1974 performance of You're Gonna Make Me Lonesome When You Go and try to imagine Dylan singing it today. Dylan, like Jerry Garcia before him, like Paul McCartney in the past 10 years, lost a lot of range over time. It's just the way it is.
 
In his recent (2020) album "Rough and Rowdy Ways" (which is in my opinion a remarkable production) Dylan pretty much gives up "singing" altogether and opts for a sort of chant. It's very reminiscent of Leonard Cohen.

I Contain Multitudes
 
Springsteen was influenced a lot by Woody Guthrie too. But he could actually sing.
He still CAN actually sing. He brings more energy to his concerts than anyone I’ve ever seen. Still.
Springsteen is one of my all time favorites but I've never had the opportunity to see him live.

This is a really cool movie about Springsteen concerts and how he treats his fans.



If you can get a chance to watch to do so.
 
Springsteen was influenced a lot by Woody Guthrie too. But he could actually sing.
He still CAN actually sing. He brings more energy to his concerts than anyone I’ve ever seen. Still.
Springsteen is one of my all time favorites but I've never had the opportunity to see him live.

This is a really cool movie about Springsteen concerts and how he treats his fans.



If you can get a chance to watch to do so.

My husband got me tickets as a Christmas gift several years ago (pre-pandemic but just) and it was amazing to watch him perform. There was barely a beat between one song and the next. And yes, he really treats the crowd well. We were way back, in the actual seats, not the floor seats which I don't really regret because I know I would have been exhausted by the end but he and the band came out and wove their way through the crowd on the floor, invited people up on stage with them. Extremely generous performance and performers. Highly, highly recommend seeing him if you ever get the chance. You will get your money's worth.

And yeah, that part about people putting their arms around each other: true story.


Another true story: Many more years before I saw Bruce, Dylan was playing in a town about 30 miles away and a dear friend who had introduced me to Dylan way back in the day came up and my oldest son and one of his friends and a local friend and her brother, sister and sister in law all got tickets together. It was a really really good performance. I think it was maybe...25 years ago or so. Anyway much younger than I am now but had been solidly a wife/mother for decades at that point and as we were leaving the parking ramp, I let a car load of kids get in the exit line ahead of us. Very stop and go, with emphasis on stop so I wasn't in any hurry. Anyway, this girl from the car got out and came back to our car. We rolled down our window and she told us how cool it was that we let them out---and then offered us a hit. I declined-- Which explains why she was so blown away because we let this carload of kids out. Anyway, we both politely declined and then laughed all the way home because it had been...maybe 25 years since either of us were offered pot. Felt like kids again. And now, when I think about that time, it makes me nostalgic for that time when we were kids and went to see Bob Dylan.
 
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The poetic/lyrical genius of Dylan can be illustrated with just a couple lines.

"Yes to dance beneath the diamond sky..." Okay, great image. It's night and the stars are out.

"with one hand waving..." The obvious rhyme is high, but not for Bob. It's

"with one hand waving free..." Wait, what? Where is this going?

"silhouetted by the sea.. " Now we're at the beach, in the dark.

"Circled by the circus sands
With all memory and fate
Driven deep beneath the waves
Let me forget about today until tomorrow" Now we're swimming in the ocean under a starlit sky and certainly naked.

Not many songs can take your clothes off without you noticing.
 
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