Anarchist philosopher Robert Paul Wolff, over at The Philosopher's Stone, writes,
While I was making dinner, Susie put on a CD of Pete Seegar [sic] songs. I was struck once again by the oft-remarked fact that for half a century, the left has had all the good songs. That cannot be irrelevant.
By the way, the old commie's name is 'Seeger' not 'Seegar.' In the ComBox, some guy confuses him with Bob Seger! The Left has had all the good songs over the last 50 years? Nonsense. Here are 50 counterexamples.
The really interesting case is Bob Dylan. The Left can of course claim the early topical songs such as Only a Pawn in Their Game and The Lonesome Death of Hattie Carroll. (Not that we contemporary conservatives don't take on board all that was good in these critiques of racism and Jim Crow.) But it wasn't long before Dylan distanced himself from politics and leftist ideology, a distancing documented in My Back Pages. And then came the absurdist-existentialist-surrealist phase represented by the three mid-'sixties albums, Bring It All Back Home, Highway 61 Revisited, and Blonde on Blonde. After that, the motorcycle accident and another attitude adjustment culminating in a couple of masterful albums, John Wesley Harding and New Morning, in which religious and conservative themes come to the fore.
I'll give just one example, Sign on a Window, from the October 1970 album, New Morning. The song concludes:
Build me a cabin in Utah
Marry me a wife, catch rainbow trout
Have a bunch of kids who call me 'Pa'
That must be what it's all about
That must be what it's all about.
To appreciate the full conservative flavor of this song, listen to it in the context of "Masters of War" from the protest period and It's Alright Ma (I'm Only Bleeding) from the absurdist-existentialist-surrealist period.
