Bob dylan

Thursday

Alexandra Coghlan

This Winter Journey goes far beyond expectation

You can tell a lot about a book from its bibliography. It’s the non-fiction equivalent of skipping to the final page of a novel. Turn to the end of Ian Bostridge’s Schubert’s Winter Journey — a study of the composer’s celebrated song cycle Winterreise — and you’ll find monographs on ornithology, weeping as a cultural phenomenon and wood sculpture in Renaissance Germany, essays on Samuel Beckett and the history of the mail coach, and the rather forbidding ‘Regulation of floral organ abscission in Arabidopsis thaliana’. Intrigued? Who wouldn’t be? As academic disciplines go, musicology was a slow starter. It took until 1985 for Joseph Kerman to startle academics into looking

Thursday

Christopher Caldwell

Bob Dylan and the illusion of modern times

I was talking the other day to a young woman who knows a lot about the history of rock. We shared an enthusiasm for Bob Dylan’s later work — especially Blood on the Tracks (1975). As we talked, it occurred to me that Dylan recorded this ‘late’ effort 40 years ago, only 13 years into his career. So why do we treat it as belonging more to our time than, say, his folk ballads from the early 1960s? Some baby-boomer journalist must have decided around 1970 that something Dylan did in 1965 or 1966 — maybe his switch to electric instruments or his motorcycle accident — marked a critical break

Thursday

James Walton

James Walton uncovers the sound of Nashville – money

Twenty minutes into BBC4’s The Heart of Country (Friday), there was a clip of Chet Atkins, country music’s star producer of the 1960s, being asked to define ‘the Nashville sound’. Atkins reached into his pocket, pulled out some coins and rattled them in his hands. ‘That’s the Nashville sound,’ he said with a slightly rueful smile. ‘Money.’ By this stage, mind you, the revelation of Nashville’s commercialism didn’t come as an enormous surprise. After all, WSM, the radio station that started the whole thing with its live shows from the Grand Ole Opry, was the broadcasting arm of the National Life and Accident Insurance Company. It also took a stern

Wednesday

Ed West

Bob Dylan falls foul of Europe’s neo-blasphemy laws

The French authorities are investigating Bob Dylan after some Croats were offended by something he said in an interview with Rolling Stone last year. The singer had said: ‘If you got a slave master or [Ku Klux] Klan in your blood, blacks can sense that. That stuff lingers to this day. Just like Jews can sense Nazi blood and the Serbs can sense Croatian blood.’ Dylan is the latest victim of Europe’s neo-blasphemy laws, in which offending someone’s group identity is treated in the same way that offending God once was. When Christianity stops being sacred, everything becomes sacred; did GK Chesterton say that? Well it’s the sort of thing

Thursday

Peter Hoskin

Another Self-Portrait isn’t just for the Bobsessives

So, there’s this guy called Bob Dylan and, across just seven years in the 1960s, he’d released nine albums that were already legendary. The Times They Are a-Changin’, Highway 61 Revisited, Blonde on Blonde… yeah, you know them all. But then, at the start of the 1970s, came his Self Portrait. With a title like that, it promised to be mythic and definitive, except it wasn’t. It was a pick ‘n’ mix of country standards, concert snippets and Simon & Garfunkel covers. Dylan subsequently distanced himself from this weird confection. But, through these hindsight goggles I’m wearing, Self Portrait doesn’t look half so bad now. We’ve grown used to seeing