Tag Archive: Bob Dylan

I’ve never cared much for the Byrds.  I always wrote them off as a glorified Dylan cover band.  And it drives me nuts whenever I see them described as the U.S. version of the Beatles.  Not even close.  And for Los Angeles bands from that era, I always preferred the Doors for being more unique and original.  So I when I found this album used for $6 at the Exchange in Willoughby, I bought it with some trepidation, figuring I probably wouldn’t like it…but it surprised me.  I probably should have realized from the title and the cover, but this isn’t the hippie folk crap I was expecting.  Instead it is country western with a strongblue grass influence, and I actually kind of dug it.  Other than a couple of Gram Parsons’ songs, it’s mostly covers (including two Dylan covers, of course).  It was apparently recorded in Nashville, a city I enjoy quite a bit, and the Nashville influence really does shine through on most of the tracks.

Now, I’m not much of a country guy, but I do like me some alt-country and some bluegrass.  And living here in the crossroads of America, central Ohio actually has a pretty strong original bluegrass scene.  Here in the ‘Bus there are a couple venues like Woodlands Tavern and Rambling House Soda that cater to that crowd.  And despite the fact that that crowd is incredibly hipster and seems to pride itself on overgrown facial hair and skinny jeans, the venues and the bands are pretty cool.  And there is a local band, the Spikedrivers, that I really don’t care for much, but they have built quite a fan base and reputation in the scene.

In fact, about five years ago, the Princess and I did a weekend camp out at a country bluegrass festival called the Duck Creek Log Jam (“Yip, yip, yee-haw!) out in Hocking Hills.  We even tried to do it right by buying the full weekend pass, and it was actually pretty fun.  Friday night it wasn’t very crowded, and they had performances on a really small remote stage in the middle of the woods.  There wasn’t any electricity, so it was all acoustic, and the only lights were from candles in peach jars hanging from tree branches.  The ambiance was incredible!  Then the next day started off with a couple performances on the front porch of the park’s shelter house, and then the rest of the weekend was more traditional performances on the big stage.  I saw quite a few decent bands that weekend, but the stand out for me was band from the ‘Nasty named Buffalo Wabs and the Price Hill Hustle.  I’ve seen them a couple times since and they always put on a great show.  The only downside to the festival was that there were no restrooms, showers, running water, or electrical outlets (which is probably why I’ve never been able to talk the Princess into going back), so we wound up making a run to WallyWorld for a “solar shower” and a bunch of jugs of water.  But it was a fun festival and someday I would like to go again.

Other lists: The Byrds are #45 (overrated) on Rolling Stone’s list of the 100 Greatest Artists and Roger McGuinn is #95 on the list of the 100 Greatest Guitarists.

Ch-ch-changes: This one also dropped 3 spots thanks to Kid A, Kanye, and the Mothers and Fathers.

My favorite track: “Pretty Boy Floyd” (Woody Guthrie cover)

Honorable mention: “Life In Prison” (Merle Haggard cover)

Quote: “As through this life you travel, you meet some funny men.  Some rob you with a six-gun, some with a fountain pen.” – W. Guthrie



“The trash collected by the eyes and dumped into the brain, said it tears into our conscious thoughts, you tell me who’s to blame?” — W.A. Rose

Last spring I was up in the NEO, I think it was for Mi Madre’s Day, and I stopped by The Exchange in Willoughby and found a few of the albums for this list.  This one was $6.00.  And generally I like The Who a lot, so I was pretty excited to listen to it.  But this album is kind of weird.  It’s not bad, just weird.  It sort of reminds me of how rap albums in the 90s would contain skits and stuff between the songs.  In this case, it’s commercials, some real and some fake, interspersed throughout.  The result is somewhat humorous, which I think was the intent, but it isn’t exactly hilarious.  But maybe I’m just jaded.  As for the actual songs, they are pretty good, but overall it isn’t on the level of the stuff on Who’s Next or Tommy (although there is a surprise use of material from “The Underture” towards the end).  The only real stand out for me is “I Can See for Miles”, and that’s because it’s the only song where Roger Daltrey really lets loose.  Townshend sings way too much on this album in his high wispy voice.  And it’s almost as if Daltrey was forced to sing in Townshend’s style on many of the other tracks.  And John Entwistle sings a few character type songs like “Silas Stingy” to a somewhat humorous effect.  But props to Kieth Moon…the drumming is pretty stellar on this record.  That actually might be the highlight for me.

This album does, however, raise the question of what is considered “selling out” in the music industry.  Musicians seem to have pretty strict, unwritten rules about selling out, especially in some of the more extreme punk and indie rock communities.  Now, these rules don’t apply to other types of celebrities.  Pro-athletes hock everything from shoes to jeans to pizza to underwear (and college athletes probably would too if the NCAA would allow it).  And while it seems to be frowned upon for most A-list actors to appear in commercials, that doesn’t seem to have stopped Matthew McConaughey from appearing in ads for cars and liquor.  And it makes me sad every time I see Sam Jackson, the baddest mofo in the Tarantinoverse, trying to sell me a credit card.  But for musicians, selling a song to a commercial triggers instantaneous criticism and a lack of credibility.  Jim Morrison famously blocked the rest of The Doors from selling “Light My Fire” to a car commercial.  I was recently disappointed to hear Public Enemy’s “Shut ‘Em Down” in a shoe commercial, mostly due to the irony that the song originally blasted that particular shoe company back in the 90s for not being socially responsible.  And I thought the world was going to end when I saw Bob Dylan in a super bowl commercial a few years ago.  It is an interesting conundrum…musicians obviously have the right to profit from the songs they write, but they are frowned upon for doing so in a commercial manner.  Is it because we hold musicians to a higher standard?  Do we expect musicians to maintain a certain ideal level of integrity?  Are we looking for musicians to be the voice of truth and social justice in our society?  I actually think we do, and I’m okay with it.  And at any rate, I really don’t buy anything because somebody famous endorses it.  Actually, often times I refuse to buy something because someone I don’t like is endorsing it (I’m looking at you Padre John).  I just hope I never see Thom Yorke or Axl Rose trying to sell me a new car or a pair of sunglasses.

Other Lists: “I Can See for Miles” is #262 on Rolling Stone’s list of the 500 Greatest Songs of All Time.  It is #2 on the list of the 50 Greatest Songs by The Who, along with “Tattoo” at #19, “Sunrise” at #24, “I Can’t Reach You” at #43, and “Relax” at #49.

Ch-ch-changes: This album dropped two spots from it’s rank of #113 on the original list.

My favourite track: “I Can See for Miles”

Honourable mention: “Tattoo”

Quote: “Me and my brother were talking to each other ’bout what makes a man a man.  Was it brain or brawn or the month you were born?  We just couldn’t understand.”



Before I dug into this album, which I picked up on Amazon Prime for $9 (two day shipping baby!), the only Sam Cooke song I thought I knew was “A Change Is Gonna Come.”  And I was aware of that song mostly because we studied it as a civil rights era anthem in one of my music history classes in college.  And like most things, one can study it in a class, but it wasn’t until I became a music teacher that I realized the true power of the song, as it truly has become transcendental in that it has been passed down from generation to generation.  More than any other song, and I include Marvin Gaye’s “What’s Going On” and Bob Dylan’s “Blowin’ in the Wind” in this statement, “A Change is Gonna Come” has been embraced as an anthem for change and equality and human rights by the old and the young across the nation.  And sadly, Sam Cooke didn’t live long enough to see the impact his masterpiece had on people across the country, but that is another story for another time.

So anyway, when I listened to this album, which is essentially a greatest hits package, I discovered that i knew several of the songs on it.  Songs like “(What a) Wonderful World”, “Chain Gang”, “Another Saturday Night”, and “Good Times”, were radio staples when I was kid.  I just never knew those songs were sung by Sam Cooke.  And as a singer, I certainly enjoyed Sam’s voice on this record.  Stylistically, his tenor voice sits somewhere between the silky smoothness of Marvin Gaye and the raw emotional power of Otis Redding.  And he sings in a full voice, rarely, if ever, using falsetto, which is a plus to me.  But, as much as I enjoyed Sam’s voice, I felt his talent was wasted on most of the songs on this album.  For the most part, these songs sound like same trite 50s pop you would have heard on the juke box in a soda shop.  And listening to this album, I just kept yearning to hear Sam sing something more substantial.  Maybe I need to look up his gospel recordings, as I really do like the first song on this album, “Touch the Hem of His Garment” a lot.  At any rate, he was a great singer, even if the quality of these songs doesn’t quite live up to the level of his talent.  And his take on the Gershwin classic “Summertime” is pretty awesome.

Other lists: “A Change is Gonna Come” is #12, “You Send Me” is #115, “(What a) Wonderful World” is #383, and “Cupid” is #458 on Rolling Stone’s list of the 500 Greatest Songs of All Time.  Sam Cooke is ranked at #4 on the list of the 100 Greatest Singers and at #16 on the list of the 100 Greatest Artists.

Ch-ch-changes: Like most of the albums through this section, it is one spot lower than its original ranking at #106.  Kid A!

My favorite track: “Summertime”

Honorable mention: “Another Saturday Night”

Quote: “Yeah, come on and let the good times roll.  We’re gonna stay here till we soothe our souls.”

The Freewheelin' Bob Dylan

So I’m surprised I haven’t talked about it yet on this blog, but Bob Dylan was my first concert.  I guess I haven’t mentioned it yet because, unfortunately, I don’t really remember much about it.  See, I was only 10 years old in the summer of 1986 when Bob Dylan, Tom Petty, and the Grateful Dead played a triple bill at the Akron Rubber Bowl.  It was a family affair that night, as mi madre is a huge Bob Dylan fan, mon soeur is a huge Tom Petty fan, and mon frere, well, he has his Dead Head moments.  So, being the youngest of the bunch, they packed me up in the family truckster (actually, I think it was a grey Impala) and we made the rare journey outside the Geneva city limits to see the show.  What I do remember is that Petty played first, then Dylan, then the Dead.  And at some point during the Dead’s set, Dylan came back out and played a few songs with them.  I’m pretty sure I fell asleep before the end of the show.

Thanks to the magic of the world wide interweb, I’ve been able to take a look at the set list from that night, and all I can say is damn, I wish I had been older and could remember it better.  Dylan played pretty much everything song of his I would want to hear live, including “Blowin’ in the Wind” and “Masters of War” from this album.  Actually, I do remember all the Dead Heads singing along to “Rainy Day Women #12 and #35”.  I wonder if I can find a bootleg of this concert somewhere.  I’d love to hear it again.

As for this album, I picked it up at the Half Price Books on High Street near Worthington for $6.99.   It’s Dylan’s second record and the one that catapulted him in the national spotlight with “Blowin’ in the Wind”, possibly the greatest protest song every written.  The record it mostly folk and blues, but Dylan waxes poetic on “A Hard Rain’s A-Gonna Fail” and he hits hard on “Masters of War” (Edward Louis Severson III and Michael McCready of Pearl Jam fame do a powerful cover of the latter on Bob Dylan’s 30th Anniversary Concert Celebration).  We also get the first example of a Bob Dylan dream song, simply titled “Bob Dylan’s Dream” (although it’s not funny like “Bob Dylan’s 115th Dream”), and we also get his first use of the talking blues in “Talking World War III Blues” (witty, but not quite as funny as “Talking Bear Mountain Picnic Massacre Blues”, an outtake that got left off the album).

Other lists: “Blowin’ in the Wind” is #14 on Rolling Stone’s list of the 500 Greatest Songs of All Time.

My favorite track: “Masters of War”

Honorable mention: “A Hard Rain’s A-Gonna Fall”

Quote: “How much do I know, to talk out of turn?  You might say that I’m young, you might say I’m unlearned.  But there’s one thing I know, though I’m younger than you: even Jesus would never forgive what you do.”