Not Dark Yet: Bob Dylan Turns 79 Today

DylanHe has been called "rock's greatest songwriter."  A  better description is "America's greatest writer of popular songs." Bar none.  We can discuss the criteria later, and consider counterexamples.  His earliest four or five albums are not in the rock genre.  I'll permit quibbling about #5, Bringing It All Back Home (1965), but Bob Dylan (1962), The Freewheelin' Bob Dylan (1963) , The Time's They Are A'Changin' (1964), and Another Side of Bob Dylan (1964) are better classified as folk, not that they sit all that comfortably in this niche.

These early albums are studded with lasting contributions to Americana. This is music with meaning that speaks to the mind and the heart.  No Rat Pack crooner Las Vegas lounge lizard stuff here. Two lesser-known compositions both from The Times They Are a'Changin' (1964):

The Ballad of Hollis Brown   Performed by Stephen Stills. Dave Bagwill recommends this outstanding extended version (Freewheelin' outake 2, 1962) of "The Ballad of Hollis Brown." Move over, Stephen Stills! The harp fills don't quite make it, however, in this minor-keyed tune.

North Country Blues.  Written from the point of view of a woman and so appropriately sung by the angel-throated Joan Baez.

D. A. Pennebaker on the making of Don't Look Back.  I saw it in '67 when it first came out.  I just had to see it, just as I had to have all of Dylan's albums, all of his sheet music, and every article and book about him. I was a Dylan fanatic.  No longer a fanatic, I remain a fan.

May he die with his boots on.  It ain't dark yet, but it's gettin' there. When his 30th album Time Out of Mind came out in 1997, twenty three years ago now, I was amazed to discover that Dylan could still tap back into that magic mood he achieved in the mid-60s.

Sometimes my burden is more than I can bear
It's not dark yet, but it's getting there.
 
I was born here and I'll die here, against my will
I know it looks like I'm movin' but I'm standin' still
Every nerve in my body is so naked and numb
I can't even remember what it was I came here to get away from
Don't even hear the murmur of a prayer
It's not dark yet, but it's getting there.

Sinatra is supposed to have said that a pro is one who can play it the same way twice.  Dylan rarely plays it the same way twice. Here is a version of "Just Like a Woman" which is lyrically and in other minor ways different from the Blonde on Blonde version. 

Thanks, Bob, for all the music and all the memories, and for your wonderfully individual and self-reliant appropriation, critique, and celebration of America. It wouldn't have been the long strange trip it's been without you.  May you die with your boots on.

Thomas Merton on Henry Thoreau

Journals, vol. 4, p. 235, 8 August 1962:

Thoreau's idleness was an incomparable gift and its fruits were blessings that America has unfortunately never learned to appreciate. Yet he made his gift, though it was not asked for. And he went his way. If he had followed the advice of his neighbors in Concord, America would have been much poorer, even though he might have sweated a good deal. He took the fork in the road.

Thoreau different drumOld Henry David has meant a lot to me too. My mind drifts back to Wayne Monroe, high school history teacher, a grotesquely obese and superficial man who mocked Thoreau as  a hippy who didn't want to work.  "Freight Train Wayne," as we called him, drove a 1964 Pontiac Catalina. When he got in the vehicle it would list pronouncedly to the port side.  We observing wits would typically make a crack about his Monro-matic schock absorbers.

That Merton was drawn to Thoreau has something to do with my being drawn to both of them.  Thank you, gentlemen, for living your lives in your way and writing it all down for men like me to savor.  Hats off, glasses raised, your memory will be preserved by the like-minded and discerning.

Thoreau was a great aphorist. My favorite: "A man sits as many risks as he runs."  In those ten syllables, the sage of Walden Pond achieves aphoristic perfection. Study it if you would learn the art.

America may not have appreciated him, but the greatness of America is that it allows his like to flourish.

Success is living your own life in your own way.

Thoreau fronting the essential factsTheme music

Political Hatred: A Look Back at Nixon

Has any president of the United States been the object of deeper hatred than Donald Trump? Abraham Lincoln perhaps. But in recent decades only Richard Nixon comes close.  Both Nixon and Trump elicit mindless rage, and for similar reasons.  The elites hate both because they have no class.  That's the short answer. For nuance we turn to Paul Johnson's 1988 In Praise of Richard Nixon, which contains a wealth of insights that can be put to use in the present to understand the Trump phenomenon. Here are some excerpts (emphases added, and brief comments in blue):

Saturday Night at the Oldies: Kerouac Goes Home in October

Jack Kerouac quit the mortal coil 49 years ago tomorrow, securing his release from the samsaric wheel of the quivering meat conception, and the granting of his wish:

The wheel of the quivering meat conception . . . . . . I wish I was free of that slaving meat wheel and safe in heaven dead.  (Mexico City Blues, 1959, 211th Chorus).

The Last Interview, 12 October 1969.  "I'm not a beatnik. I'm a Catholic."  "I just sneak into church now, at dusk, at vespers. But yeah, as you get older you get more . . . genealogical."

As much of a screw-up and sinner as he was, as irresponsible, self-indulgent, and self-destructive, Kerouac was a deeply religious man.  He went through a Buddhist phase, but at the end he came home to Catholicism.  

"Everybody goes home in October." (On the Road, Part I, Ch. 14, Para 1) Here's the whole paragraph:

At dawn my bus was zooming across the Arizona desert — Indio, Blythe, Salome (where she danced); the great dry stretches leading to Mexican mountains in the south. Then we swung north to the Arizona mountains, Flagstaff, clifftowns. I had a book with me I stole from a Hollywood stall, "Le Grand Meaulnes" by Alain-Fournier, but I preferred reading the American landscape as we went along. Every bump, rise, and stretch in it mystified my longing. In inky night we crossed New Mexico; at gray dawn it was Dalhart, Texas; in the bleak Sunday afternoon we rode through one Oklahoma flat-town after another; at nightfall it was Kansas. The bus roared on. I was going home in October. Everybody goes home in October.

 "Pretty girls make graves." (Dharma Bums

 Jack Kerouac, Desolation Angels (G. P. Putnam 1965), p. 48:

Outside it's October night in Manhattan and on the waterfront wholesale markets there are barrels with fires left burning in them by the longshoremen where I stop and warm my hands and take a nip two nips from the bottle and hear the bvoom of ships in the channel and I look up and there, the same stars as over Lowell, October, old melancholy October, tender and loving and sad, and it will all tie up eventually into a perfect posy of love I think and I shall present it to Tathagata, my Lord, to God, saying "Lord Thou didst exult — and praise be You for showing me how You did it — Lord now I'm ready for more — And this time I won't whine — This time I'll keep my mind clear on the fact that it is Thy Empty Forms."

. . . This world, the palpable thought of God . . . [ellipsis in original]

Alela Diane, We Are Nothing  

Jack Kerouac, Tristessa (written 1955-56, first published in 1960), p. 59:

Since beginningless time and into the never-ending future, men have loved women without telling them, and the Lord has loved them without telling, and the void is not the void because there's nothing to be empty of.

Henry Mancini, Moon River.  Video with shots of Rita Hayworth. YouTuber comment: indimenticabile Rita, stupenda Rita, vivi nei nostri ricordi, vivi nei nostri cuori. This was Jack Kerouac's favorite song.  Ellis Amburn, Subterranean Kerouac (St. Martin's 1998), p. 324:

One night he [Kerouac, during a 1962 visit to Lowell, Mass.] left a bar called Chuck's with Huck Finneral, a reedy, behatted eccentric who carried a business card that read: "Professional killer . . . virgins fixed . . . orgies organized, dinosaurs neutered, contracts & leases broken."  Huck's philosophy of life was: "Better a wise madness than a foolish sanity."  They drove to a friend's house in Merrimack, New Hampshire, and on the way, Jack sang "Moon River," calling it his favorite song.  Composed by Henry Mancini and Johnny Mercer, "Moon River" was the theme song of the popular Audrey Hepburn movie Breakfast at Tiffany's.  Sobbed by a harmonica, later swelling with strings and chorus, the plaintive tune's gentle but epic-like lyrics describe a dreamer and roamer not unlike Kerouac.

Indeed they do.  A restless dreamer, a lonesome traveller, a dharma seeker, a desolation angel passing through this vale of mist, a drifter on the river of samsara hoping one day to cross to the Far Shore.  

Jack's GraveJay Farrar and Ben Gibbard, California Zephyr

10,000 Maniacs, Hey Jack Kerouac

Tom Waits, Jack Kerouac on the Road!!

Aztec Two-Step, The Persecution and Restoration of Dean Moriarty

Some readings:

Jack Kerouac, Mexico City Blues, 228th Chorus

Jack Kerouac, Safe in Heaven, Dead.  Good sound quality.  "I wish I was free of that slaving meat wheel, safe in heaven, dead."

Jack Kerouac, Charlie Parker.  "Charlie, Parker, lay the bane off me, and everybody."

Bob Dylan and the Devil at the Crossroads

Make of it what you will. Did Dylan sell his soul to the devil for name and fame?

As a Dylan aficionado since the early '60s, I can tell you that Dylan is never quite straight in an interview. He is a story-teller and shape-shifter. He is a legend in his own mind, but unlike most of us who are legends in our own minds, he has made of the legend in his mind a legend of his time.

The man in me will hide sometimes
To keep from being seen.
But that's just because he doesn't want
To turn into some machine.

Could the author of Father of Day, Father of Night have made a pact with the Prince of Darkness?

Saturday Night at the Oldies: Kerouac Goes Home in October

Jack Kerouac quit the mortal coil 48 years ago today, securing his release from the samsaric wheel of the quivering meat conception, and the granting of his wish:

The wheel of the quivering meat conception . . . . . . I wish I was free of that slaving meat wheel and safe in heaven dead.  (Mexico City Blues, 1959, 211th Chorus).

The Last Interview, 12 October 1969.  "I'm not a beatnik. I'm a Catholic."  "I just sneak into church now, at dusk, at vespers. But yeah, as you get older you get more . . . genealogical."

As much of a screw-up and sinner as he was, as irresponsible, self-indulgent, and self-destructive, Kerouac was a deeply religious man.  He went through a Buddhist phase, but at the end he came home to Catholicism.  

"Everybody goes home in October." (On the Road, Part I, Ch. 14, Para 1) Here's the whole paragraph:

At dawn my bus was zooming across the Arizona desert — Indio, Blythe, Salome (where she danced); the great dry stretches leading to Mexican mountains in the south. Then we swung north to the Arizona mountains, Flagstaff, clifftowns. I had a book with me I stole from a Hollywood stall, "Le Grand Meaulnes" by Alain-Fournier, but I preferred reading the American landscape as we went along. Every bump, rise, and stretch in it mystified my longing. In inky night we crossed New Mexico; at gray dawn it was Dalhart, Texas; in the bleak Sunday afternoon we rode through one Oklahoma flat-town after another; at nightfall it was Kansas. The bus roared on. I was going home in October. Everybody goes home in October.

 "Pretty girls make graves." (Dharma Bums

 Jack Kerouac, Desolation Angels (G. P. Putnam 1965), p. 48:

Outside it's October night in Manhattan and on the waterfront wholesale markets there are barrels with fires left burning in them by the longshoremen where I stop and warm my hands and take a nip two nips from the bottle and hear the bvoom of ships in the channel and I look up and there, the same stars as over Lowell, October, old melancholy October, tender and loving and sad, and it will all tie up eventually into a perfect posy of love I think and I shall present it to Tathagata, my Lord, to God, saying "Lord Thou didst exult — and praise be You for showing me how You did it — Lord now I'm ready for more — And this time I won't whine — This time I'll keep my mind clear on the fact that it is Thy Empty Forms."

. . . This world, the palpable thought of God . . . [ellipsis in original]

Alela Diane, We Are Nothing  

Jack Kerouac, Tristessa (written 1955-56, first published in 1960), p. 59:

Since beginningless time and into the never-ending future, men have loved women without telling them, and the Lord has loved them without telling, and the void is not the void because there's nothing to be empty of.

Jack's GraveJay Farrar and Ben Gibbard, California Zephyr

10,000 Maniacs, Hey Jack Kerouac

Tom Waits, Jack Kerouac on the Road

Aztec Two-Step, The Persecution and Restoration of Dean Moriarty

Some readings:

Jack Kerouac, Mexico City Blues, 228th Chorus

Jack Kerouac, Safe in Heaven, Dead.  Good sound quality.  "I wish I was free of that slaving meat wheel, safe in heaven, dead."

Jack Kerouac, Charlie Parker.  "Charlie, Parker, lay the bane off me, and everybody."

Camille Paglia on Hugh Hefner

Here

Hugh Hefner absolutely revolutionized the persona of the American male. In the post-World War II era, men's magazines were about hunting and fishing or the military, or they were like Esquire, erotic magazines with a kind of European flair.

Hefner reimagined the American male as a connoisseur in the continental manner, a man who enjoyed all the fine pleasures of life, including sex. Hefner brilliantly put sex into a continuum of appreciative response to jazz, to art, to ideas, to fine food. This was something brand new. Enjoying fine cuisine had always been considered unmanly in America. Hefner updated and revitalized the image of the British gentleman, a man of leisure who is deft at conversation — in which American men have never distinguished themselves — and the art of seduction, which was a sport refined by the French.

Camille Paglia does not merit the plenary MavPhil endorsement, but C. P. is a good partial antidote to P. C. , and she never fails to entertain.

You may enjoy this critical piece: Camille Paglia on Philosophy and Women in Philosophy.

Saturday Night at the Oldies: Water High, Wide, Dirty, Troubled, and Moody

In Dispatch from Houston, our friend Patrick Kurp of Anecdotal Evidence reports: 

Power out. Car flooded. Books dry.

So all is well. But I don't reckon Dean Martin will be returning to Houston for a spell even if he could, he being dead and all. 

Not to make light of the suffering of those sorely afflicted. Pray, send benevolent thoughts, fork over some serious money for relief efforts, but don't blog about it. Your charitable contribution, that is.

PattonBob Dylan, High Water.  This is a late-career Dylan gem from Love and Theft (2001). A tribute to Charley Patton.  Demonstrates Dylan's mastery of the arcana of Americana. Our greatest and deepest singer-songwriter. 

My favorite verse:

Well, George Lewis told the Englishman, the Italian and the Jew
You can't open up your mind, boys, to every conceivable point of view
They got Charles Darwin trapped out there on Highway 5
Judge says to the High Sheriff, "I want them dead or alive"
Either one, I don't care, high water everywhere.

Nosiree, Bob, you can't open up your mind to every conceivable point of view, especially when it's not dark yet, but getting there.

Charley Patton, High Water Everywhere.  Nice slide show.

The Band, Up on Cripple Creek

Jimi Hendrix, May This Be Love.  I had forgotten the wonderful guitar solo.

Karla Bonoff, The Water is Wide.  I listened to a lot of Bonoff in the early '80s.  She does a great job with this traditional song.

Bill Monroe and Doc Watson, Banks of the Ohio.  Joan Baez's version from an obscure 1959 album, Folksingers 'Round Harvard Square.

Similar theme though not water-related: Doc Watson, Tom Dooley.  Doc and family in a BBC clip.

Standells, Dirty Water.  Boston and the River Charles. My mecca in the '70s, the Athens of America, the Hub of the Universe, etc.  A great town to be young in.  But when it comes time to own property and pay taxes, then a right-thinking man high tails it for the West.

Simon and Garfunkel, Bridge Over Troubled Water.  A beautiful song.  

Henry Mancini, Moon River.  This was Jack Kerouac's favorite song.  Ellis Amburn, Subterranean Kerouac (St. Martin's 1998), p. 324:

One night he [Kerouac, during a 1962 visit to Lowell, Mass.] left a bar called Chuck's with Huck Finneral, a reedy, behatted eccentric who carried a business card that read: "Professional killer . . . virgins fixed . . . orgies organized, dinosaurs neutered, contracts & leases broken."  Huck's philosophy of life was: "Better a wise madness than a foolish sanity."  They drove to a friend's house in Merrimack, New Hampshire, and on the way, Jack sang "Moon River," calling it his favorite song.  Composed by Henry Mancini and Johnny Mercer, "Moon River" was the theme song of the popular Audrey Hepburn movie Breakfast at Tiffany's.  Sobbed by a harmonica, later swelling with strings and chorus, the plaintive tune's gentle but epic-like lyrics describe a dreamer and roamer not unlike Kerouac.

Indeed they do.  A restless dreamer, a lonesome traveller, a dharma seeker, a desolation angel passing through this vale of mist, a drifter on the river of samsara hoping one day to cross to the Far Shore.  Here is another version of the tune with some beautiful images.

Doc Watson, Moody River.  A moodier version than the Pat Boone hit which was based on the Chase Webster effort.

Clever YouTube comment: "It might be a little early in the day for an Am7."  But this here's Saturday night and I'm working on my second wine spodiodi. Chords minor and melancholy go good 'long about now. 

Saturday Night at the Oldies: ‘The King’ Dead Forty Years

Elvis Presley died on 16 August 1977, 40 years ago. We can't let this weekend pass without a few tunes in commemoration.

First a couple of 'Italian' numbers modeled, respectively, on O Sole Mio and Torna a Surriento

It's Now or Never

Surrender

Continuing in the romantic vein:

Can't Help Falling in Love.  A version by Andrea Bocelli. A woman for a heterosexual man is the highest finite object. The trick is to avoid idolatry and maintain custody of the heart.

A Gospel number:

Amazing Grace

From the spiritual to the secular:

Little Sister

Marie's the Name of his Latest Flame

Devil in Disguise

And then there was hokey stuff like this reflecting his time in the Army in Germany:

Wooden Heart

Can't leave out the overdone and hyperromantic:

The Wonder of You. (Per mia moglie)

Out of time. Next stop: Judge Jeannine.

Saturday Night at the Oldies: Monterey Pop Festival, June 16-18, 1967

Monterey PopIt transpired 50 summers ago, this June, the grand daddy of rock festivals, two years before Woodstock, in what became known as the Summer of Love. Your humble correspondent was on the scene. Some high school friends and I drove up from Los Angeles along Pacific Coast Highway. I can still call up olfactory memories of patchouli, sandalwood incense, not to mention the aroma of what was variously known as cannabis sativa, marijuana, reefer, tea, Miss Green, Mary Jane, pot, weed, grass, pacalolo (Hawaiian term), loco weed, and just plain dope. But my friends and I, students at an all-boys Catholic high school that enforced a strict dress code, were fairly straight: we partook of no orgies, smoked no dope, and slept in a motel. The wild stuff came later in our lives, when we were better able to handle it.

I have in my hand the program book of the Festival, in mint condition. Do I hear $1,000? On the first page there is a quotation from Shakespeare, The Merchant of Venice:

How sweet the moon-light sleeps upon this bank! Here we sit and let the sounds of music creep in our ears; soft stillness and the night, become the touches of sweet harmony.

Hendrix MontereyAh yes, I remember it well, the "sweet harmony" of the whining feedback of Jimi Hendrix's Fender Stratocaster plugged into his towering Marshall amps and the "soft stillness" of the The Who smashing their instruments to pieces. Not to be outdone, Jimi lit his Strat on fire with lighter fluid. The image is burned into my memory. It shocked my working-class frugality. I used to baby my Fender Mustang and I once got mad at a girl for placing a coke can on my Fender Deluxe Reverb amp.

On the last page of the programme book, a more fitting quotation: the lyrics of Dylan's The Times They Are A'Changin', perhaps the numero uno '60s anthem to youth and social ferment. (Click on the link; great piano version. Live 1964 guitar version.) Were the utopian fantasies of the '60s just a load of rubbish? Mostly, but not entirely. "Lately it occurs to me, what a long strange trip it's been."

 

 

 

Tunes and Footage:

The Who, My Generation. I hope I die before I get old."

Mamas and Papas, California Dreamin'

Mamas and Papas, I Call Your Name

Jefferson Airplane, Somebody to Love

Janis Joplin, Down on Me

Otis Redding, Try a Little Tenderness

Scott MacKenzie, San Francisco 

Saturday Night at the Oldies: ‘Spengler’ on Dylan

In mid-October, I wrote,

Of course, it was all a put-on. Woody Guthrie was a middle-class lawyer's son. Pete Seeger was the privileged child of classical musicians who decamped to Greenwich Village. The authenticity of the folk movement stank of greasepaint. But a generation of middle-class kids who, like Holden Caulfield, thought their parents "phony" gravitated to the folk movement. In 1957, Seeger was drunk and playing for pittances at Communist Party gatherings; that's where I first met him, red nose and all. By the early 1960s he was a star again.

To Dylan's credit, he knew it was a scam, and spent the first part of his career playing with our heads. He could do a credible imitation of the camp-meeting come-to-Jesus song ("When the Ship Comes In") and meld pseudo-folk imagery with social-protest sensibility ("A Hard Rain's  a' Gonna Fall"). But he knew it was all play with pop culture ("Lone Ranger and Tonto/Riding down the line/Fixin' everybody's troubles/Everybody's 'cept mine"). When he went electric at the Newport Festival to the hisses of the folk purists, he knew it was another kind of joke.

Only someone who was not moved by the music of that period could write something so extreme.  No doubt there was and is an opportunistic side to Dylan.  He started out an unlikely rock-and roller in high school aping Little Richard, but sensed that the folk scene was where he could make his mark.  And so for a time he played the son of Ramblin' Jack Elliot and the grandson of Woody Guthrie.

In his recent Nobel Prize lecture, Dylan mentions early influences. Let's dig up some of the tunes that inspired him.

Buddy Holly, True Love Ways

I think it was a day or two after that that his [Holly's] plane went down. And somebody – somebody I’d never seen before – handed me a Leadbelly record with the song “Cottonfields” on it. And that record changed my life right then and there. Transported me into a world I’d never known. It was like an explosion went off. Like I’d been walking in darkness and all of the sudden the darkness was illuminated. It was like somebody laid hands on me. I must have played that record a hundred times.

Lead Belly, Cotton Fields

It was on a label I’d never heard of with a booklet inside with advertisements for other artists on the label: Sonny Terry and Brownie McGhee, the New Lost City Ramblers, Jean Ritchie, string bands. I’d never heard of any of them. But I reckoned if they were on this label with Leadbelly, they had to be good, so I needed to hear them. I wanted to know all about it and play that kind of music. I still had a feeling for the music I’d grown up with, but for right now, I forgot about it. Didn’t even think about it. For the time being, it was long gone.

Sonnie Terry and Brownie McGhee, Key to the Highway.  Just to vex London Ed who hates Eric 'Crapton' as he calls him, here is his Derek and the Dominoes version with Duane Allman. Sound good to me, Ed!

New Lost City Ramblers, Tom Dooley

Jean Ritchie and Doc Watson, What Will I Do with the Baby-O?

By listening to all the early folk artists and singing the songs yourself, you pick up the vernacular. You internalize it. You sing it in the ragtime blues, work songs, Georgia sea shanties, Appalachian ballads and cowboy songs. You hear all the finer points, and you learn the details.

You know what it’s all about. Takin’ the pistol out and puttin’ it back in your pocket. Whippin’ your way through traffic, talkin’ in the dark. You know that Stagger Lee was a bad man and that Frankie was a good girl. You know that Washington is a bourgeois town and you’ve heard the deep-pitched voice of John the Revelator and you saw the Titanic sink in a boggy creek. And you’re pals with the wild Irish rover and the wild colonial boy. You heard the muffled drums and the fifes that played lowly. You’ve seen the lusty Lord Donald stick a knife in his wife, and a lot of your comrades have been wrapped in white linen.

I had all the vernacular down. I knew the rhetoric. None of it went over my head – the devices, the techniques, the secrets, the mysteries – and I knew all the deserted roads that it traveled on, too. I could make it all connect and move with the current of the day. When I started writing my own songs, the folk lingo was the only vocabulary that I knew, and I used it.

Mississippi John Hurt, The Ballad of Stagger Lee

Mississippi John Hurt, You've Got to Walk That Lonesome Valley

Mississippi John Hurt, You Are My Sunshine

Blind Willie Johnson, John the Revelator

George F. Will, The Prize that Bob Dylan Really Deserves

Bob Dylan on Moby Dick

Bob Dylan finally gave his Nobel Prize for Literature lecture. I'm impressed. Besides his musical he mentions his literary influences. He cites many of the books I read as assigned readings in high school, books he claims to have read as assigned readings in grammar school! I'm talking about some serious tomes: Moby Dick, Ivanhoe, A Tale of Two Cities, Don Quixote, Robinson Crusoe, and others.

Audio here. Dylan's comments on Moby Dick are from 6:27-12:30.

A BBC article with some of the text. Full text at first link above.

Not Dark Yet: Bob Dylan Turns 76 Today

DylanHe has been called "rock's greatest songwriter."  A  better description is "America's greatest writer of popular songs." Bar none.  We can discuss the criteria later, and consider counterexamples.  Maybe this Saturday night.    His earliest four or five albums are not in the rock genre.  I'll permit quibbling about #5, Bringing It All Back Home (1965), but Bob Dylan (1962), The Freewheelin' Bob Dylan (1963) , The Time's They Are A'Changin' (1964), and Another Side of Bob Dylan (1964) are better classified as folk, not that they sit all that comfortably in this niche.

 

These early albums are studded with lasting contributions to Americana. This is music with meaning that speaks to the mind and the heart.  No Rat Pack crooner Las Vegas lounge lizard stuff here. Two lesser-known compositions both from The Times They Are a'Changin' (1964):

The Ballad of Hollis Brown   Performed by Stephen Stills.

North Country Blues.  Written from the point of view of a woman and so appropriately sung by the angel-throated Joan Baez.

D. A. Pennebaker on the making of Don't Look Back.  I saw it in '67 when it first came out.  I just had to see it, just as I had to have all of Dylan's albums, all of his sheet music, and every article and book about him. I was a Dylan fanatic.  No longer a fanatic, I remain a fan.

May he die with his boots on.  It ain't dark yet, but it's gettin' there. When his 30th album Time Out of Mind came out in 1997, twenty years ago now, I was amazed to discover that Dylan could still tap back into that magic mood he achieved in the mid-60s.

 

Sometimes my burden is more than I can bear
It's not dark yet, but it's getting there.
 
I was born here and I'll die here, against my will
I know it looks like I'm movin' but I'm standin' still
Every nerve in my body is so naked and numb
I can't even remember what it was I came here to get away from
Don't even hear the murmur of a prayer
It's not dark yet, but it's getting there.

Sinatra is supposed to have said that a pro is one who can play it the same way twice.  (Where?) Dylan rarely plays it the same way twice. Here is a version of "Just Like a Woman" which is lyrically and in other minor ways different from the Blonde on Blonde version. 

UPDATE:  Dave Bagwill recommends this outstanding extended version (Freewheelin' outake 2, 1962) of "The Ballad of Hollis Brown." Move over, Stephen Stills! The harp fills don't quite make it, however, in this minor-keyed tune.

Stickin’ it to the Man

Check out this Harley-Davidson promotional video.  A celebration of individuality by people who dress the same, ride the same make of motorcycle, and chant in unison.

"Some of us believe in the Man Upstairs, but all of us believe in stickin' it to the Man Down Here." 

But without the Man Down Here there would be no roads, no gasoline, no science, no technology, no motorcycles, no law and order, no orderly context in which aging accountants and dentists could play at stickin' it to the Man on the weekends. 

The Man is discipline, self-denial, repression, deferral of gratification, control of the instinctual.   The Man is civilization, discontents and all. Without the Man there would be no one to stick it to, and nothing to stick it to him with.  Adolescents of all ages need the Man to have someone to rebel against.

Still and all, after watching this video, what red-blooded American boomer doesn't want to rush out and buy himself a hog?  Get your motor runnin', head out on the highway . . . .