Bob-Dylan
Bob Dylan’s music has rarely been more heartbreaking, his poetic storytelling rarely more beguiling, and the singing never less nasal.
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Because they were masters of performance, metamorphosis, and movement — of “containing multitudes” — Allen Ginsberg and Bob Dylan are the closest peers to Whitman America has yet produced.
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Songs were wholesale rearranged, and, most strikingly, Bob Dylan was a commanding presence at the baby grand piano for an 18-song, nearly two-hour set.
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“Blood In the Tracks” delivers a minor miracle: a host of fresh looks at the most (over)written about musician of our age.
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I’ve always admired Bob Dylan’s resolute reluctance to repeat himself, artistically or otherwise. The Bootleg Series Vol. 17: Fragments reminds us how obsessive that aesthetic restlessness really is.
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The point of Bob Dylan’s project is emotional rather than definitive: to probe the power of song to influence us, make us feel, and ultimately transform us.
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It’s a work that shifts gears often, which is not in itself a bad idea for a book about a famed shape-shifter.
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At 80 years old, Bob Dylan sounds imperturbable and fierce.
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The book’s main contention is clearly correct: Dylan’s lyrics aren’t everything, and his vocal delivery is eminently important. But, according to Larry Starr, every period is a golden one, and the most minor effort deserves major respect.
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Book Review: “Folk Music — A Bob Dylan Biography in Seven Songs”
At points Greil Marcus’ digressive style can seem like nervy brilliance, at others, idle whimsy. What ennobles the book is the critic’s love for his underlying subject: the soulful search for a truer America.
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