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Bob Dylan

Bob had already moved beyond this album by the time Columbia released it. His new songs kept being demonstrated at concerts and clubs and Dylan was growing in confidence about being a singer/songwriter rather than just a folk/blues performer. Switching back to 'Bob Dylan', he demonstrates his skill at the harmonica and acoustic guitar. He also sings. Well, his voice sounds older than it was, Dylan going for an authentic sound. This gets him into trouble here and there, and elsewhere, he has fun with his voice as if he's almost embarrassed by it. He was at odds with the smooth likes of Joan Baez right from the start, Dylan going for the Guthrie, lived-in sound. Only two originals here, the talking blues of 'Talkin' New York' which humorously yet somewhat bitterly tells the tale of Dylan first arriving in New York and 'Song To Woody', which is self explanatory. The young Dylan travelled upto the hospital the dying Guthrie was staying at and played him the tune by his bedside. Woody showed encouragement. 'Bob Dylan' was recorded live in two days and Dylan picks some interesting material. 'House Of The Rising Son' was already circulating well in folk circles, Baez having covered it on her debut LP in 1960. Dylan's reading of the same tune is really good actually, he captures the songs seriousness and gives it a fitting bluesy vocal. His introduction to 'Baby Let Me Follow You Down' reveals where he borrowed the tune from, but these traditional tunes and covers are always given a Dylan twist through the performance and arrangements.

'Freight Train Blues' is a funny tune, Dylan sounding somewhat like a mountain goat, yet he does try to stretch those notes, yodel those words and more besides. It's needed, because the final two songs end the album on a slightly down note, not that either song or performance is poor, just that the mood of the songs is serious and perhaps an upbeat closer would have worked better? That's just me, though. 'In My Time Of Dyin' is impressive, one of the better Dylan vocals, he really does reach for those blues. 'Pretty Peggy-O' is given a talkin' blues musical makeover, Dylan rips through the song and it's most enjoyable. 'Man Of Constant Sorrow' is a welcome slower tune and Dylan convinces at both types of tune. Ultimately, 'Bob Dylan' is a quietly impressive LP that even if nothing else happened, we'd still enjoy now, assuming it had remained in print, of course.

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Readers Comments Patrick Bird I concur mostly with your review of Bob Dylan's first album. It truly is odd when listening to his back catelogue to hear the difference between his singing voice on this album as opposed to those that followed in its wake. I'm unwilling to go so far as to say he sounds older, but he certainly sounds...different! He comes across as trying perhaps too hard to mimic his musical idols, as we all know Bob was never going to sound like anybody else. On albums such as Highway 61 and Blonde on Blonde, he sounds so much more sure of himself than on this debut and just a year after the album was released he declared, "I'm not the boy who sang those songs now", clearly demonstrating that he understood the progress he had already made musically since the release of the album. However, I still regard the album as strong and as having a particular charm: of youthful promise synthesised with generationally-different influence and packaged within a rugged and barely controlled 60'! s soundscape. The beginning of the album is particularly strong, in my opinion, with the first two songs demonstrating Bob's unique gift to draw the listener into an entirely different environment with all the coarse appeal of a streetwise-busker sporting unconventional haircut and scratched wizened guitar. Altough as the album continues it becomes apparent that Dylan had not yet developed the necessary intra-album scope enabling a piece of work to transcend the good, to attain excellence and to allow the listener to better understand it on its own terms and without inhibitions. Such argumentation must not be overstated, however, and in my humble opinion this is a fine debut, to which you have ascribed a very reasonable rating. Thanks for all the great reviews, and long may they continue! Patrick (18 - Yes, you have (relatively!) young readers also!) John, County Kildare john.j.doyle@nuim.ie Phew..! Where do you start to analyse Bobby boy's first album? As pointed out so often, he had already developed beyond this even during recording it. But a nice and interesting document of his early days, and certainly a deceptive piece if one looks at the amount of (then) un-released material Bob was recording while at the same cutting his debut. A long way from being a disappointment, but much MUCH better was on the horizon. 7.5/10.

( 1963, UK pos 1 )
Blowin' in the Wind / Girl from the North Country / Masters of War / Down the Highway / Bob Dylan's Blues / A Hard Rain's A-Gonna Fall / Don't Think Twice, It's All Right / Bob Dylan's Dream / Oxford Town / Talking World War III Blues / Corrina, Corrina / Honey, Just Allow Me One More Chance / I Shall Be Free

Bob was not considered a song writer of note in 1961 when he started performing around New York. His debut contained only one note-worthy original composition, 'Song To Woody'. By the end of 1962 however Bob had written a whole ton of songs and was performing them and changing them. It's also worth noting however that he was often only providing original words to already existing melodies. If his recordings of these tunes come across as something different, it was due to the fact Bob never seemed to 'hear' a song quite the same as everybody else, so couldn't help but sound different. He completed ( or so he thought ) 'The Freewheelin' Bob Dylan' in December 1962. But following a trip to London both to play and to soak up information regarding English Folk Song - he replaced four of the songs originally slated to appear on 'Freewheelin'. The result of all of this activity is that the sessions for this album were spread over a whole year, four different sessions. He worked hard to make a name for himself here.

Some of the songs are so famous, it's difficult to talk in a sense of them being new to anybody. Surely everybody has heard 'Blowin' In The Wind' for example, if not the Dylan version, then at least a version, if only being sung on a street corner someplace. I love the sound of Bob's voice on this song. He sounds very sweet, actually. He does! 'Girl From The North Country' has some lovely guitar picking and another warm and personal Dylan vocal. The lyrics are stupendous, they are poetry. I had to mention that somewhere. I won't again. 'Masters Of War' is chilling, absolutely devastating. Variety too - following the strangely mellow and resigned 'Blowin In The Wind' and the beauty of 'Girl From The North Country'. We have a number of songs based on the talkin' blues style of song. Where the music is unimportant, the lyrics a funny series of lines building to a story usually with a punchline at the end. 'Talking World War III Blues' obviously fits this 'talkin blues' style - but other songs here do as well, though less blatant than that. 'Down The Highway' in amongst the little guitar sections has some very funny words and the closing 'I Shall Be Free' is possibly the funniest of the whole lot.

The length of time this album took to write and record shows. The care with which each and every track is performed and recorded shows. And, the songs aren't bad! 'A Hard Rains A Gonna Fall' and 'Don't Think Twice' are both Dylan classics. 'Bob Dylan's Dream' and 'Corrina Corrina' both have affecting and accomplished vocal performances. A very strong record it would take him a few years to match in terms of overall consistancy.

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Readers Comments Magnus_Sjöberg magnus-sjoberg@telia.com In my opinion one of the all-time greatest albums in American folk, rock & pop history. It´s definitely worth a 10 on my list! Not only does it feature some of Dylan´s most famous and best songs, but it´s also timeless and just as enjoyable to hear today as it was some 40 years ago. Daniel Thomas danielthomas5@hotmail.com This is just a masterful album. Can you believe this 21-year-old kid could write songs like this? The young Dylan drew from his obvious Woody Guthrie influence and his masterful word skills. And, of course, there is a terrific variety, from protest songs to wisecracking humor. I would consider this among the absolute essentials for anyone interested in knowing Dylan. Barry Doherty barryodoherty@yahoo.co.uk Thanks for an interesting read. I must say I really like this album. It's playful, ingenious, funny, insightful and a bit cheeky. It always makes me smile to hear it. He makes these really ironic and jokey cultural references - wonderful. 'Tell your Ma, tell your Pa, our loves gonna grow ooh-aw, ooh-aw.' Lots of great songs in many different styles. I think your score is about right. Magnus Wistrand magnus@otenet.gr Isn't it great (and frustrating) how Biograph and Bootleg Series plus the remasters allow us to (try to) put together our own fav Dylan albums? Freewheeling: Girl from the North country/Don't think twice/Oxford Town/Corrina/I shall be free/Going to New Orleans/Rocks&gravel/Whatcha gonna do?/Thats's alright, mama. Longing for those last four to be officially released. mark bartlett msbartlett@btinternet.com A schoolmate lent me a copy of Freewheelin’ at the tender age of 14. (Thanks Ken, I’ve still got it but I don’t suppose you want it back now after more than 40 years.) By this simple twist of fate the mysterious New York minstrel poet came to inspire my homework for several years in my small Welsh hometown. This album is a veritable showcase of pre-electric Dylan; the protest singer, the witty surrealist, and the tender lover, all done with the aid of nothing but a folk guitar and harmonica. Oh yeah, and that voice. Yeah, and some poetic and musical genius too. I’m not saying its aim was to be a showcase, but the quality and song mix sure make it turn out that way. It will make you laugh, cry and want to set the world to rights in equal measure. ‘Girl from the North Country’ is a most beautiful love song, maybe his best, ‘Hard Rain’ and ‘Talkin’ World War 3’ are undiminished after all this time; one still mesmerises me and the other never fails to make m! e smile though I must have heard them both more than a thousand times. It also contains the song that any lesser writer would have been happy to sell his soul for, namely, ‘Blowin’ in the Wind’ – surely the greatest anthem ever written – and the perfectly executed ‘Don’t Think Twice It’s Alright’ which was, as I recall, the one that bit me hardest and quickest all those years ago. (There’s some fine picking on that track, though I’m not sure who should get the credit.) And then there are 8 other superb tracks, one or two of which are also considered Dylan classics. Externally too, it glows. The cover shows a young man, girl on arm in his adopted territory, (dominating his adopted territory according to the camera angle), contented and completely at the top of his game. Very satisfied with his latest job of work no doubt. This gets the full 10 in my book with no hesitation at all. It is a treasure trove that everyone could do with in their collection. p.s! . Ladies and Gentleman, we seem to be pretty much in agreemen! t over t his one at least. dan rebalinlancaster@yahoo.com i think oxford town is one of the best songs on the album. for at the time racial inequality was in full affect down in the south. people were being killed just because of the colour of their skin and religious beliefs. Gazza garyhess44@hotmail.com I think anyone interested in bob should start here or with a comprehensive compilation . Freewheelin still stands up today because bob knew how important this record was going to be for him and agonized over the song sequence for months - he had enough material for 2 albums actually . As a guitarist it shows he was no slouch , his voice is tender,strident at times accusatory but always convincing . Many of these songs are classics that are part of the fabric of modern music now (masters of war will never date unfortunately), they need no introduction - but a special word for "bob dylans dream" and the way bobs voice cracks with emotion recalling lost friendships and "i shall be free" which should be played to anyone who says bobs music is depressing . John john.j.doyle@nuim.ie Has to be 10/10, it's as simple as that. Bob's first masterpiece of many, an album that is both challenging and enjoyable. If you don't own it, then you should get a copy immediately.

With Dylan still writing songs daily and performing wonderful compositions such as 'Percys Song' and 'Lay Down Your Weary Tune' it must have been something of a disapointment to find 'The Times They Are A-Changin' without those two great songs. They can be found elsewhere ( notably on 'Biograph' ) but this album is poorer without them. Dylan was very much in his protest phase by now and as a result this record is almost unremittingly bleak. It certainly lacks both the variety and humour of 'Freewheelin'. The title song is another of those omipresent classics for which Dylan is known. I like the vocal melody, though the music seems very bare in comparison to the carefully considered tracks from 'Freewheelin'. 'The Ballad Of Hollis Brown' is a fine song that would have sounded great electric! The influences Bob was picking up were shaping his songwriting away from tradittional folk, even as early as this. 'With God On Our Side' should have been a poem. Either that, or half as long. Does it drag? Does it? Well, it's another highly regarded Dylan song, and certainly accomplished lyrically. The music is another matter. Very bare guitar work for the most part and Dylan's voice sounds raw and exposed. An absolute highlight arrives though with 'One Too Many Mornings' - a simple song on the face of it, but perhaps the better for being simple. It's not really a protest song either and provides welcome relief lyrically. Sweet vocals and a nice guitar performance here. 'North Country Blues' is again bare musically but this time it doesn't matter at all. This is blues, real blues music - very accomplished and chilling. A great 'cold' vocal performance full of desolation.

'Only A Pawn In Their Game' sees Bob going political. Certainly a protest song - the vocal melody is enticing, the words scathing. It's very difficult listening. 'Boots Of Spanish Leather' and 'When The Ship Comes In' don't fit with many of the other songs here being tender love songs. Beautiful and wonderful songs, though. And, the album ends well. 'The Lonesome Death Of Hatti Carroll' tells a story that keeps you captivated right through to its finish. The music is bare but appropriate here, at least. The closing 'Restless Farewell' has some lovely acoustic guitar and possibly the finest vocal Dylan had done to date. Great stretching of vowels! So, a fine, if often difficult ( disturbing? ) album release! A handful of classic songs is just enough in this case.

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Readers Comments Alex af_kennedy@yahoo.co.uk I really like 'With God On Our Side'. Perhaps it should have been a poem or half as long, but I still like it. Dylan's vocals on this album are pleasing. Alan Brooks albrookscentury21@yahoo.com 'when the ship comes in' is not a tender love song. it is a protest song in keeping with the rest of the album about when "the foes will rise With the sleep still in their eyes" "Then they'll raise their hands, Sayin' we'll meet all your demands" "And like Goliath, they'll be conquered". no mention of romance, it seems to be an optimistic song about apocalypse Magnus Wistrand magnus@otenet.gr Hero blues(piano)/Hollis Brown/One too many mornings/North country blues/Paths of victory/Spanish leather/When the ship comes in/Moonshiner/Percy's song I mean, just as with Blowin in the wind and Hard rain from Freewheeling, more exciting versions of Times and Hattie Carroll can be heard '75-'76 and Restless farewell at the Sinatra concert. Finally, it's a shame that the Town hall concert from apr'63 is not released in it's entirety plus Talking WW3 from Carnegie hall. john, county kildare, ireland john.j.doyle@nuim.ie possibly his most overrated album, but just like "bitches brew" and "sgt pepper", it still stands out as a fine artistic achievement, and deserves an 8.5/10 at the very minimum. all i can really fault here, is that one or two songs go on a little longer than they should, and it would have been nice to hear more piano orientated pieces, especially the version of "when the ship comes in" still, when all is said and done, this album sets the pace nicely for its equally impressive follow up. gazza garyhess44@hotmail.com how on earth is when the ship comes in a tender love song ? its one of the angriest songs on the album.. What is frightening is how these songs of a world gone wrong are still relevant today . boots of spanish leather is gorgeous but magnus is right considering the trax bob recorded at this time he could have delivered a much more powerful sequence of songs . I think lay down your weary tune was recorded at this time as well . Mark Bartlett msbartlett@btinternet.com Definitely grey and gritty, much like its cover. Bob looks as if he stumbled into an uber-strict health farm for a few weeks where they not only starve you but throw in a bit of sleep deprivation as well. Subversion, revolution, injustice, tales of bleak misfortune abound to such an extent that I don’t think he’s ever dared be quite that heavy since. I’m not knocking it though, it may have been his most honest and most effective hour. Armed with guitar, harmonica and a voice that never really took to polishing he was a hugely threatening figure to the establishment and a magnet to any rebels short of a cause or two. Musically the album is about as stripped down as it could be but every song has a distinctive melody and Bob shows himself to be a tunesmith of some calibre here – allowing for a little ‘borrowing’. The title track has entered into the worldwide canon of classics and deservedly so, nobody had yet expressed this sentiment with such clarity and certainty; the trag! ic story of Hollis Brown and his family pounds your sensibilities and is told so simply and directly as to crack even the toughest nut; With God on Our Side alarmingly asks us to re-consider; North Country Blues eloquently speaks a genuine sadness at the decline of , I imagine, his own homeland; Only a Pawn warns of sinister movers and shakers who call the shots in the game of life; Hattie Carroll pours shames on the rich and privileged who are above true justice, even as murderers. These are the jewels in the crown and are delivered in earnest and sober fashion, as befits their content. The remainder of the songs don’t have the same level of intensity but are nonetheless very worthy offerings and balance an album which might otherwise have been too harrowing. Restless Farewell, Boots of Spanish Leather and One Too Many Mornings are all parting songs of a kind, very listenable in terms of music and lyrics; When the Ship Comes In is almost rousing and looks forward to a ! brighter future in whatever sense you want it to. A landmark p! rotest/f olk album which I would give 10 for the quality of its songs and for delivering some serious messages.

An album ( plus half a dozen out-takes ) recorded in a single night with the aid of a bottle of Beaujolais or two. Dylan has always been happier outside of the studio rather than in it, and it shows here. The songs were already worked out, for the most part, before entering the studio. The writing of these songs were heavily influenced by Dylans burgeoning interest in becoming an author of poems and books rather than of songs. This shaped the words to these new songs. We have less of the story-telling in an obvious fashion and instead chains of imagery difficult to sometimes decipher. In any case, whatever he did, the words sound great! Some of the songs are great, undeniable classics! So, how come this album sounds so bad? Something to do with the haste with which it was recorded? Quite possibly. The songs do save the day. They are such good songs! 'All I Really Want To Do', 'Chimes Of Freedom' and 'My Back Pages' would all be sucessfully covered by The Byrds and turned into hit singles. 'Black Crow Blues' employs Piano rather than acoustic guitar and points the way forward to the following years 'Bringing It All Back Home' in terms of structure. This is a rock n roll song! 'Spanish Harlem Incicent' was another song covered by The Byrds who owe a large proportion of their entire career to this album. They wrapped the songs in electric guitars and sweet gorgeous harmonies of course. They sound very bare here but something such as 'Spanish Harlem Incident' still wins through due to it's sheer melody.

We have a 'talkin blues'! 'I Shall Be Free' given that Dylan was recording an album in an single drunken evening was quite possibly made up entirely on the spot. I truly believe that! It is very very funny. I especially like the 'knock him clean right out of his spleen' lyric! After that piece of drunken revellery, 'To Ramona' is sheer beauty in song. A fantastic vocal performance, weary but affecting. The melody is enticing and the harmonica playing as beautiful as anything else here. Definitely a highlight. 'Motorpsycho Nitemare' is so much in the style of the following years 'Bringing It All Back Home' it beggars belief Dylans transition to electric music would garner so much controversy. The signs were there for all to see! 'I Don't Believe You' and the closing 'It Aint Me Babe' are both brilliant songs that could have been turned into hits by The Byrds if they had only chosen to do so! But, there is one blight ( apart from the often ramshackle nature of the recording ) on this otherwise mighty fine album. That blight is the turgid overly personal 'Ballad In Plain D' - like listening to someone sing extracts from their diary for eight minutes. Still - skip it and you find yourself with a fine if flawed album. But, you know. Those songs!

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Readers Comments Alan Brooks albrookscentury21@yahoo.com This is the first album by Dylan that I liked. Simple but very atmospheric. Great lyrics on 'It Aint Me Babe'. 'Motorpsycho Nitemare' is a comedic song about a biker who gets stranded on a farm; it mentions everything from Fidel Castro and Reader's Digest to Tony Perkins in 'Psycho'. KEVIN C LLIA420@AOL.COM THE FIRST ALBUM I OWNED BY DYLAN WHEN I WAS 12 ,I ALWAYS COME BACK TO IT RAMONA,MY BACKPAGES AND CHIMES OF FREEDOM ALWAYS BRING BE JOY AND I LOVE MOTORPYSCO NITEMARE A GREAT ALBUM Sean seanedwards71@hotmail.com Youn talk about 'another side of Bob Dylan' containing an excellent vocabulary, yet you call Ballad in Plain D a blight? Ballad in plain D is an elegant, intricate and poetic song. I cannot understand myopic, ignorant people who will think anything but. Magnus Wistrand magnus@otenet.gr Lovely little songs but what a shame with his slightly sloppy drunkenness, only Black crow and Spanish Harlem please my ears whereas I have to go to '75 for It ain't me, I don't believe you and Mama, you been on my mind. To Ramona fall '80 must be released but which is the best Chimes of freedom? Mark Bartlett msbartlett@btinternet.com A fabulous album, a landmark and an indication of what was to come, as our host has rightly commented. I imagine most people reading these pages have heard the songs so I won’t mention any particular one; they are all real good numbers in my view and there are none that I would avoid . I also feel that they fit together well reflecting a certain strength and power that had arrived. This is where Dylan’s own style and ideas become the most dominant feature and whatever is borrowed or stolen underneath is a secondary matter; it’s been made into something new and you can’t categorise it except under ‘Dylan’. He holds himself like a proud Native American on the cover (or is he striking a Brando pose ?) The songs are delivered with confidence. The lyrics range between a low of excellent and a high of amazing. As has been said many times, when you consider what others would write at round about that age you see how amazing they really are. ( To be fair you couldn’t really da! nce to Bob’s stuff though could you ? not the way he does it anyway). One or two of the tunes are truly amongst the best he has come up with; but a good tune isn’t essential and every song has the character to make you sit up and take notice. I think this album contains the essence and the embryo of what is generally considered Dylan’s golden age and time does not diminish it in any way; quite the reverse in fact. I would have to give it ten. John, County Kildare john.j.doyle@nuim.ie I concur totally with everybody above. At this stage, Bob was just slightly short of matching the class of "Freewheelin'", in the meantime though "Another Side..." fits the bill perfectly. Great album, and deserving of a 9/10. GAZZA A transitional record for sure and its certainly a bit lighter in tone than "times" but an amazing insight into what can happen when you let loose a genius in the recording studio . Dylan recorded 14 songs in one continous all night session ,11 of which are here. Chuck in a few bottles of wine and some grass and you get a record like this . "spanish harlem incident" "i dont believe you" and "to ramona" are my fave performances - these are different kinds of love song, sometimes anti-love songs , the kind of which never had been written up to this point . "my back pages" on the other hand is a love song to himself -or to the SELF for that matter . While "all i really want to do" is his last woody guthrie homage for a while . "motorpsycho nitemare" however is a joke song too many tho , and should have been replaced by the beautiful,regretful songwriting of "mama youve been on my mind" which is one of bobs finest songs. Rating bang on again adrian .

Dylan goes electric! Controversy would follow of course, booing at concerts left right and centre from fans who felt 'betrayed'. But, Bob gave a thought to those fans for this album at least, by including an entire side of acoustic songs. Not that these acoustic tunes can exactly be called folk music. The length of these compositions was part of the reason Dylan went electric in the first place. He was beginning to feel restricted by the folk song form and by the acoustic guitar with added harmonica format. Always being something of a rock n roll fan ( as well as a lover of the blues of course ) a jump to something like 'Subterranean Homesick Blues' isn't actually such a drastic thing for him to have done. Great song though, and a fantastic video as well. Bob was spreading his wings :) It just sounds so great, this 'Subterranean Homesick Blues' - so great it's enough to make you giddy. 'She Belongs To Me' has stupendous lyrics, a gorgeous melody and is pretty much a perfect song in every single respect. The production is great too, crystal clear sound. 'Maggies Farm' is one of those songs. Sounds great turned up loud, sounds like shit played on a crappy hi-fi with the volume half way down. It's hardly a great song in terms of writing. Generic rock music although Bob gives it some in terms of both his singing and harmonica playing. 'Love Minus Zero' is another gorgeous song. This, and 'She Belongs To Me' have to be two of my favourite Dylan songs ever, actually. The three songs that wrap up this first electric half of 'Bringing It All Back Home' are more generic rock 'n' roll although admittedly infused with Dylan's unique character. Especially on 'Bob Dylan's 115th Dream'! A great false start and then it simply rolls along most enjoyably.

'Mr Tambourine Man' kicks off side two and almost made it to 'Another Side Of' but Bob held it back. It's certainly an important song - just ask Roger McGuinn. The lyrics are wonderful of course, but something else is happening. This something else also occurs through all the acoustic songs on this second half of 'Bringing It All Back Home'. The acoustic guitar playing suddenly sounds utterly hypnotic. Little repeating melodies, over and over. The production may have helped. Tom Wilson did a fine job here. 'It's Alright, Ma' has especially great guitar. Although these are acoustic guitar songs they bear no resemblance to the songs on the first two Dylan albums. This isn't folk music at all. God knows what it actually is. Bob Dylan music I suppose. Let's just say, oh, I don't know. Good music :)

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Readers Comments Alan Brooks albrookscentury21@yahoo.com This disc, along with HIGHWAY 61 REVISITED, is Dylan's finest early work. Mike Harrison fughedaboudit455@yahoo.com The Dylan version of Mr. Tambourine Man is tough going after you've heard the Byrds' version, but that's only because the Byrds' were gunning for a 2-minute hit and Dylan's take is more complex lyrically. The Dylan version is no less inferior, though, and much more important in its poeticism. This is a groundbreaking album for its sound and production considering the standards of the time. No one else sounded like this in 1965. matt byrd matthewbyrd@hotmail.com ok, here we have it! Bob Dyaln ryhming up a storm.... from the quiet acoutic sound of Love Minus Zero/No Limit to the rock 'n' roll fury of Homesick Blues to the hilarious Bob Dylan's 115th Dream. This is an excellent Dylan album but the song-writing is not as grand as on Highway 61 Revisited, Blonde On Blonde, and Blood On The Tracks..... it is still an entertaining album.... far better than many. Love Minus Zero/No Limit seems to be a bit of an unsung Dylan classic.... I give it a 9.5 Magnus Wistrand magnus@otenet.gr My BIABH goes Homesick blues/She belongs to me/It's alright/115thdream if only Homsesick & 115th dream could sound as clean as She belongs to me, i.e. minus the electric rythm guitar(s) etc. Baby blue and Tambourine man are so much more captivating on live '66 and hopefully Gates of Eden from '78 will once be official. max horseloverfat23@hotmail.com You mean the only part of "It's Alright Ma" you noticed was the guitar playing? How could you completely neglect to comment on the lyrics, which are absolutely masterful, even beyond Dylan standards. Sam Wilson freewheelinsam@hotmail.com his album is a collection of mostly great songs but it's also a pack of strays. Bob Dylan's 115th Dream, Outlaw Blues, and On The Road Again don't belong here. For a more perfected example of Bob Dylan's 1965 studio recordings, check out Highway 61 Revisited. It never disappoints. GAZZA garyhess44@hotmail.com The furore over going electric now looks childish in the extreme and this is one of bobs strongest set of songs. Theres a lot of beauty amongst the loose garage rock - love minus zero, she belongs to me ,baby blue ."its alright ma" is probably the most savage musical critique of american society available . Dont agree about the production though , i think some of the electric songs could have sounded fuller and rocked harder - and thats precisely what happened when bob replaced tom wilson with bob johnston for highway 61 .

( 1965, UK pos 4 )
Like A Rolling Stone / Tombstone Blues / It Takes A Lot To Laugh, It Takes A Train To Cry / From A Buick 6 / Ballad Of A Thin Man / Queen Jane Approximately / Highway 61 Revisited / Just Like Tom Thumb's Blues / Desolation Row

After producing the masterful 'Like A Rolling Stone' Bob and Tom Wilson reputedly had a falling out resulting in the future Frank Zappa and Velvet Underground producer being ousted and replaced by Bob Johnston. Not that you'd notice a huge difference in the quality of the tracks in terms of sound, or whatever. Bob was on a roll creatively and led proceedings in the studio. And you know - the album opens with 'Like A Rolling Stone' after all. What more do you want? Well, the other eight tracks are pretty good too. Bobs first all electric album is something of a tour-de-force. 'Tombstone Blues' as well as sporting a torrent of fabulously brilliant lyrics rolls along at a fair pace musically. The words are often hilarious, the music rich, immense and exciting. The stately and elegant 'It Takes A Lot To Laugh, It Takes A Train To Cry' features great singing from Bob and a wonderful Piano/Guitar led backing track. 'From A Buick 6' is more of a throwback to the first side of 'Bringing It All Back Home' when compared to other songs here. A lot rawer in terms of sound than anything else on the entire record bar possibly 'Ballad Of A Thin Man' but that's for different reasons. A slow haunting piano track, spooky organ effects and a vitriolic set of scathing lyrics, mark out 'Ballad Of A Thin Man' as something very special indeed. 'From A Buick 6' almost sounds like a demo when placed next to the other songs here. A good demo though, mind you!

'Queen Jane Approximately' screams out 'mid sixties' if only because Bob was producing such great music at this stage he had become a worldwide superstar in the process. Hit singles! Hit albums, of course. Controversial tours, etc. 'Queen Jane Approximately' is almost a softer cousin to 'Like A Rolling Stone' from a musical point of view. That same combination of organ, drums and guitar is used. The title song has yet more fantastic lyrics but apart from that I like its galloping rhythm! And, apart from even that and everything that's gone before we have 'Just Like Tom Thumb Blues' and 'Desolation Row' to close. 'Desolation Row' features interweaving acoustic guitars and is hypnotic even over an eleven minute length. Lots of little melodies to catch your attention and keep your interest. Over the top of this Bob is letting out another captivating set of lyrics, well, poetry in fact. Rock music had never had such poetic and intelligent lyrics before. Partly because of this 'Highway 61 Revisited' is both a pivitol release in terms of Bob Dylans career, but also for Rock music in general.

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Readers Comments Alan Brooks albrookscentury21@yahoo.com Dylan said after finishing the recording of HIGHWAY 61 REVISITED, "I'll never do a better record than this". Well, maybe as good as, but not better. All the songs are gems. Even 'From A Buick 6' is worthwhile, with funny lyrics. Simon Brigham slb23@shaw.ca This is, IMHO, the best Dylan album I've ever heard. Every song is good in it's own unique way. After listening to this album, I thought ' they really should study the lyrics of Bob Dylan in school. This would be a very good - if not perfect - album to study.' Weirdly enought, I'm not a great fan of "Like A Rolling Stone". I sometimes find it irritating. "Tombstone Blues" has a good feel to it. It isn't my favourite song on the album, but it's good. "It Takes A Lot To Laugh, It Takes a Train To Cry" is beautiful. the arrangement is great, and the lyrics are full of pretty imagery. "From a Buick 6" is rockin' and swinging (not in the big band sense, but just the rhythm.) "Ballad of a Thin Man" is almost like some sort of nightmare. You get a sense of foreboding. As with many Dylan songs, the lyrics could mean anything. "Queen Jane Approximately" is nice with a very pretty piano in it. "Highway 61" brings back that rockin' and swinging feeling of "From a Buick 6" and adds some occasionally hilarious (in a good way) lyrics. "Just Like Tom Thumb's Blues" kind of reminds me of "Queen Jane Approximately". Cool lyrics. Next comes the masterwerk of the album, "Desolation Row". Full of great lyrics, puns, playing with phrases, and all that good stuff. Great imagery. And also, great acoustic guitar melody.All in all, this should be in the top 5 of the best rock albums of all time. matt byrd matthewbyrd@hotmail.com This is one of the grand Dylan albums.... one of the best records out there. Leave it to a Jew to make beat everyone in nearly everything.... well, Dylan writes intelligently in this one and, of course, "Like A Rolling Stone" is excellent. Nearly every track is something to talk about... but I'll spare you... 10 from me. Zach thedoors@msn.com I listened to this album a little while ago for the first time, it is VERY good. I love "Queen Jane Approximately" and "Like A Rolling Stone", I mean, who doesnt like "Like A Rolling Stones" but anyway, those are just a few of the mentionable ones but the album is great all the way through, good review, I agree Magnus Wistrand magnus@otenet.gr Now consider: Rolling stone/Tombstone blues/Lot to laugh/Buick 6 (alt)/Thin man/Queen Jane (alt)/Highway 61 (alt)/Tom Thumb/Positively 4th street/Killing me alive. I just hope there is a more funky version of Queen Jane just as the alternate Buick 6 and Highway 61 and can someone please remove the bludgeoning drums on Tombstone, Lot to laugh, Thin man and Tom Thumb...??? There's more than enough rhythm in there already. Giancarlo De Cristofaro decristofag1@mail.montclair.edu This album is great, there is not a bad track in it, they may not be his best songs ever, but the whole is definatly greater than the sum of all it's parts, if that makes any sense. gazza garyhess44@hotmail.com This is the one adrian - its difficult to know what to write about such an incredible record . It was the record that stood out for me growing up even among the many classics of the 60s era . nothing was the same in songwriting after this . It rocks, its beautiful , its surreal , its moving ,angry, powerful and you can dance to it!! Many evenings me and my friends would get "herbalised" and read the baffling essay on the back cover and listen to this over and over feeling that anything was possible. Bobs talent and productivity were unparalleled in modern music and that was clear only 3 years into his recording career- imagine that today !! dylans voice was never stronger than here and he looked incredible, cool as f**k. A rock star with a brain that knew how to use it . And despite his lauding of the "wild mercury sound" of the later blonde on blonde , highway 61 stands out as the more focused and inspirational work and a clear candidate for the greatest album of ! all time. Ben Leach Kingoftheeyesores@yahoo.com This album is incredible. But am I the only one in saying that Queen Jane is better than Like a Rolling Stone? HUH?!?!The album is packed though and Desolation Row might be one of the more pretty, simple, well written songs i know of. Delahaye delahaye1@hotmail.com The embarrassing thing is that people dub Rubber Soul 'mature', released the same year as this record. Highway 61 makes Rubber Soul look about as mature as Kylie Minogue. John Co Kildare, Ireland A perfect 10/10. Eh, that's it, I really want to engage in a good arty farty academic style chit chat about this album, but I can't, it's just too fucking good for words. D'oh....

A double album helping of Bob. Rocks first double album, beating Frank Zappa ( his 'Freak Out' album was originally only a single LP set in England as well as some other territories ). And, like famous double albums to come, there is some debate this would have made a better single album set. Trouble is, too many good songs for two sides of vinyl, maybe not enough good songs for four sides. More of which later. That 'Rainy Day Women #12 And #35' was a hit single is something in itself! Of course, when Bob sings 'Everybody must get stoned' it has a dual meaning. It had all sorts of meanings quite apart from the obvious drug connotations. 'Pledging My Time' which follows 'Rainy Day Women' on the album is a fine blues influenced song, very accomplished and featuring some great harmonica and guitar work. 'Visions Of Johanna' for my money is the finest set of vocals Bob ever laid down. When someone next complains about Bobs singing voice, just play them this. Ask them to sing along with the song, if neccessary. See how well THEY get on! Arreg, it's a fantastic song, so dreamy and strangely romantic. It could only be strangely romantic of course given Bobs symbolism and imagery rich lyrics. 'One Of Us Must Know' was considered something of a failure upon single release, but only because it followed 'Like A Rolling Stone' and the mighty 'Positively Fourth Street'. It's still a fine song, bordering on classic status. The chorus is very strong and memorable, even if the song as whole isn't quite as good as the aforementioned two classics.

Strong start to this album though. Very strong, 'I Want You' and the simply brilliant 'Stuck Inside Of Mobile' follow. 'I Want You' has such a happy little melody that when married to Bobs amazing sounding lyrics is practically guaranteed to make you smile. 'Stuck Inside Of Mobile' is kaleidoscopic, a twirling, twisting - rich sounding seven minute plus track that fails to be boring for even a single second. Another fine vocal performance too, incidently. 'Leopard Skin Pillbox Hat' is one of the songs that maybe could have been trimmed off if this were a three sided vinyl album instead of four. But, then again, what was he gonna to do? Have one side blank!? It's quite a funny song lyrically and a fantastic blistering guitar solo enlivens proceedings no end when it arrives shortly after the two minute mark. 'Just Like A Woman' like 'I Want You' is another display of a sweeter Bob Dylan. A Bob Dylan love song. It's just as good as 'I Want You' if not slightly better. 'Most Likely You Go Your Way And I'll Go Mine' is another galloping rhythm ala 'Highway 61 Revisited' although without the cowboy feel this time round. Another classic song, that's all really. Lovely Piano introduces the start of 'Temporary Like Achilles', 'Absolutely Sweet Marie' arriving two thirds of the way through the album, although doing nothing wrong in itself would be another track that may have made way if this had been a single rather than a double album release.

The ending to this album is superb if forgetting the slightly lightweight if bouncily enjoyable 'Obviously 5 Believers'. Then again, to call a song this good filler is to do an injustice to it, really. But, if we are talking in terms of an album listening experience, from beginning to end, then it comes across as a song too many. It joins 'Absolutely Sweet Marie' and 'Leopard Skin Pill Box Hat' in being dropped from my dream ideal of a 'Blonde On Blonde' album. Still, '4th Time Around' is a another delight with beautifully delicate guitar going round and round and another fine Dylan vocal. The closing 'Sad Eyed Lady Of The Lowlands' has been known to reduce me to tears on occasion. Impossibly beautiful, yet another great vocal performance on an album full of them. Another Dylan album within a whisker of absolute perfection.

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Readers Comments Joe H Jcjh20@aol I love this one! A timeless classic. Has some absolute beautiful songs ("Just Like A Woman", "4th time Around", "I Want You", "Visions of Johanna" etc.) and also some great creative rock n roll songs ("Absolutely Sweet Marie", "Most Likely You Go Your Way and Ill Go Mine" etc.) and its just awesome. The opening drunken "Rainy Day Woman" is just hilariously fun. I love it! A 10. Alan Brooks albrookscentury21@yahoo.com In my opinion (and of course it is all subjective) Dylan is about great lyrics, not great music..and he can't really sing. But on its own terms, BLONDE ON BLONDE is spectacular. Danz235@aol.com not quite sure how this album did not get a 10......i rank it as the second greatest album of all time, slightly behind abbey road? why? because the album, as a whole, is downright ridiculous in its quality. The trick to it, as is the trick with most Dylan albums, is that the listener does not quite "get" the album immediately. Blonde On Blonde took me about 2 months of listening before it "hit" me. Now I cannot do anything with outlistening to it. Visions of Johanna is Dylan's finest lyrical song ever, with such beautiful physcho-imagery as "see the primitive wall flower freeze" and "jewels and binoculars hang from the head of the mule." The album is littered with classics and moments. Sad Eyed Lady is the obvious highlight, as it stretches on and on but never gets old. "Sooner or Later" is a great wintery ballad. In fact every song on here is great. The only time any one would catch that wild thin flowing mercury sound on vinyl. Buy it now or don't call yourself a fan of music, art, of life. Simon Brigham slb23@shaw.ca I don't know what people see in this album. It's INCREDIBLY hard to get into, the music isn't the greatest, and Bob's voice has taken a dive into the annoying and nasal section of the vocal pool. But hey, it went down in the record books as the first double rock album ever.6.5/10 Mike Harrison fughedaboudit455@yahoo.com Dylan expands lyrically AND musically here. Forget Jimbo Morrison.....if you're looking for real rock poetry, here it is. "Visions of Johanna" is a drag, though.....the lyrics are interesting but it's WAY too long and sluggish. Otherwise, this set is never boring. I still can't understand why "I Want You" didn't chart higher than the top 20. Gerth Molander gerth.molander@telia.com I baught my first Blonde on Blonde 1966, and it is still my favorite, I can play it every day, oh God thank you for Bob Dylan gerth molander, Stockholm Sweden Simon B. slb23@shaw.ca I'd just like to add another comment. I think that, IMHO, BLONDE ON BLONDE is one of those double albums that could arguably be reduced to a single record. My ideal BLONDE ON BLONDE album: Side One: 1)Rainy Day Women #12 and 35 2)I Want You 3)Stuck Inside of Mobile With The Memphis Blues Again 4)4th Time Around. Side Two: 1)Just Like a Woman 2)Obviously 5 Believers 3)Sad Eyed Lady of the Lowlands. thanks for your time. matt byrd matthewbyrd@hotmail.com How is it that I really enjoyed this album on first album and I still cannot warm up to Blood On The Tracks afer repeated listenings? Now if I made a list of my favorite albums it would include many Bob Dylan albums but not the hugely acclaimed Blood...., wow, this makes me a bit upset. Damn! I'll give it a listen in a few months or so... Back to Blonde On Blonde, this is absolutely excellent... 10/10. Martin Warren elephant_range@yahoo.com Many of the songs on 'Blonde on Blonde' have an New York session outtake with The Hawks and holdovers from Hwy 61 sessions. If you reconstruct the album with these alternate versions replacing the Nashville versions, you discover that this album would have had more of an 'edge' if the rest of it had been recorded in New York. 'One of Us Must Know' is the only song from the NY sessions that made it past acetate, mostly because it had already been released as a single. In response to Mike Harrison: if you find the Nashville version of 'Johanna' boring, check out the wacky NY version ('Seems Like a Freeze-Out'). Sounds like he wants to kick that mule wearing the 'jewels and binoculars'! Barry Doherty barryodoherty@yahoo.co.uk This album is unbelieveable - how did they get that sound? The band is working together terrifically, the songs have superb lyrics and melodies. Even those 'lightweight' songs you mention I find move along with this great feeling. An unmistakeable masterpiece. Magnus Wistrand magnus@otenet.gr Forgot to lament Dylan's hoarse voice on the studio Desolation row, a real pity considering the otherwise beautiful performance. I prefer the live '66 version. As for Blonde on blonde it's interesting to read so many different opinions all of which I can relate to. With the remastered SACD however, I think I finally see, it's the piano that put some songs on a higher level than the others. Dylan's vocal comes through clearer on a few tracks as well. My BoB: Rainy Day Women (shortened, 1st verse+chorus)/Pledging my time/Visions of Johanna/One of us must know/Sadeyed lady of the lowlands/Achilles/Pill-box hat/5 believers/She's your lover, now (piano). Just like a woman breaks my heart better on live '66 and I want you from '76 ought to be released. But for Memphis blues again, Sweet Marie, Most likely and 4th around I'm still searching for the ultimate performances. Kier Smith Amusedtodeath@hotmail.co.uk brilliant, from 'rainy day women 12 & 35' to 'sad eyed lady of the lowlands' it rocks, it sooths, its quirky, its diverse its everything the 60's was and influenced everything that followed. It has great songs of course - 'i want you' is a personal favourite, 'stuck inside a mobile....' 'just like a woman', 'absolutely sweet marie' - a masterpiece for sure... Jimmy G soup_is_lord@sbcglobal.net There isn't a whole lot more anyone could add about B.O.B...the man was a gushing fountain of ideas and imagination during this period...this is one of the most ever lasting listens you'll ever experience. Mark Bartlett msbartlett@btinternet.com This is Dylan’s ‘Blue’, the one most people would think of first in a game of ‘album association’, and possibly the most consistently highly rated. No, thinking about it that’s probably Blood on the Tracks, but not for me anyway. ( Even the stories about Blonde are great, whether they’re true or not; keeping the Nashville Cats hanging around in the studio while he finished some of the songs etc.) As a collection it totally hangs together; apart from the dreadful Sad Eyed Lady of course which is in a class of it’s own, and unfortunately I don’t mean that in a good way. It’s at the end though so you’ve got all the rest to listen to before skipping. You’ve guessed! it’s not one of my favourites but I completely accept that quite a large number do rate it most highly, including Bob himself I’m told. My stand-outs are the aching,breaking Visions of Johanna; the crazy, frustrated rocker Stuck Inside of Mobile – I wanna build a fire on Main Street and shoot it full of ho! les someday; the hugely humorous blues Leapord-Skin Pill Box Hat; and the playful, rockers Absolutely Sweet Marie, Obviously 5 Believers. But the rest are by no means second class or fillers and Blonde is definitely a case of the whole being greater than the sum of it’s parts. Taken as a whole it’s a classic, a reference point in popular music, and a record I will never tire of hearing. Would it be the one I couldn’t do without ? On most days yes, I love the whirling stream of music and lyrics, you can look on the surface or you can look into the depths. I guess that must mean a ten. Frank Armitage How can you put Absolutely Sweet Marie in a catagory as a "less than ideal" Blonde on Blonde track. It has one of the greatest Bob harp solos you'll ever hear. The backing band especially the drummer are "Absolutely" inspired, pumpin! "Stuck inside of Mobile..." after four minutes sounds stuck inside that same confining redundent melody.It does get boring! It's three and a half minutes too long.Bob's biggest mistake on this album was leaving "She's Your Lover Now" off of it. Musically it's dazzling.Lyrically speaking it's as brilliant as anything he's ever done.It's multidimensional Picasso cubism in lyric form.It would have been one of the strongest songson an already very strong record. Far superior to the similarly themed and relatively less sophisticated "Sooner or Later One of Us Must Know". Gazza garyhess44@hotmail.com I tend to agree with frank armitage. Id have left off "stuck inside of mobile" and put on "shes your lover now" (one of bobs best) and i dont think it sounds much like "one of us must know" either (which is one of my faves on the album). Id also have put on "ill keep it with mine" at the expense of one of the blues numbers (obviously 5 believers). For evidence check out the bootleg series volume 1 . When he moved the recording away from the band and NYC to nashville both songs seem to have got dropped. Ah well most dylan albums have baffling tracklisting selections - part of the fun is finding the stuff that could have gone on the official albums on the wonderful bootleg series :) Its still a great,great album though and its blessed with one of the best album covers ever . Andrew Taylor atbdjlep@hotmail.co.uk If there is an album that deserves the complete score of a 10 than surely is there not a more fitting album than Blonde on Blonde? From the start you realise Dylan has moved on 30 years in his mind in terms of production, songwriting and creative confidence when in reality 8 months had passed since his last studio album. The masterpiece truely is timeless, I can't imagine anyone feeling any different emontions listening to it in any perticular time than true wonderment and adulation. When playing Blonde the time period between the drunk, piss-taking, care free Rainy day Women to the ever-lasting, mind- melting, numbing love song of Sad-eyed lady becomes an event in time by itself. When a major event time occurs Like 9/11 or the death of Diana people remember exactly what they were doing and where they were. Now I'm not saying that every time played Blonde on Blonde becomes a key memory in my life i'm merely suggesting that somehow it plays with that part of the brain where m! emories are created, giving it this time warping effect. It brings back thoughts and day dreams that only it could.There is a level of organisation like nothing else i've heard, and a conscious psychotic path of which Dylan plays with your mind like a puppet. The whole album is an invitation to experience another reality where you'll only find Dylan with his constant barrage of explosive 6 minute visions. Individually the tracks can stand up on there own, Visions of Johanna has a serious claim to being one Dylans best, also within the album exsists hard rock/blues songs like "Pledging my Time" and "Leopard skin Pill-box hat"in addition to the whimisical, soft and dreamy pieces like "4th time Around and "I want you". Its a creative peak of one the most creative people of our time if that doesn't deserve a 10/10 Adrian then what does?

Dylan sings lead on sixteen of these songs, The Band take lead on the remaining eight. Recorded in a big pink house rented by The Band near New York, Dylan and The Band wrote furiously and fast, these twenty four selections eventually released in 1975, representing a mere fraction of the material actually recorded. So, whilst speculation may have existed as to how Dylan was going to follow-up The Beatles great statement 'Sgt Pepper', it appeared that Dylan himself had no such desire to do so, especially after crashing his motorcycle and shedding some layers of his old, hectic lifesyle. Primarily these songs were written by Dylan with the intention somebody else would record them. So, these recordings are demo quality. It hardly matters. It may be an injustice that this Robbie Robertson selected tracklisting only reveals a mere fraction of the real beauty of what went on that year in 'Big Pink', but it's nice to have whilst we wait for the full thing to eventually by authorised by Dylan and/or his record label, Columbia. Bootlegs abound, but that's not the same, of course.

Songs as famous then as 'I Shall Be Released' and 'Quinn The Eskimo' aren't on this album. Why these were left off remains open to conjecture, it's rumoured Robbie Robertson only put this thing together as an official release to shore up The Band's then depleted resources. Let's imagine though for a second the best of these songs had been 'properly' recorded by Dylan in 1967 and released. What might he have chosen for, let's say, a twelve track album? Well, let's imagine an LP looking like this. Side A, 'You Ain't Goin Nowhere', 'Please Mrs Henry', 'Quinn The Eskimo', 'This Wheels On Fire', 'Down In The Flood', 'Nothing Was Delivered'. Side B, 'Million Dollar Bash', 'I Shall Be Released', 'Too Much Of Nothing', 'Lo And Behold', 'Goin' To Acapulco', 'Tears Of Rage'. Not too shabby, is it? I love the way 'Odds And Ends' kicks this thing off, though. Real rock music, great bluesy guitar parts married of course to electricity. Only a short tune, it's as good a way as any to introduce the sound of 'The Basement Tapes', unprofessional, reel to reel, warts and all. The songs by The Band are slightly more polished, by the way. One of their best tunes collected here would arguably be the menacing rhythm and blues rumble of 'Yazoo Street Scandle', faux-dylan lyrics and all.

'Goin To Acapulco' is one recording here that perhaps would have firmly resisted any kind of re-recording. It's impossible to imagine Dylan nailing a more perfect or soulful vocal than this vocal full of sorrow, longing and it's just so wonderfully evocative. Joined during the chorus beautifully by Richard Manuel from The Band on backing vocals, 'Goin' To Acapulco' is as much a thing of beauty as anything Dylan has ever released. 'This Wheel's On Fire' is far better known that the unearthed gem that is 'Goin' To Acapulco', yet it's debatable whether any of the numerous cover versions have actually topped the feel of this Dylan version. Is this the nearest Dylan got to psychedelic? I don't know, some of the lyrics from 'Blonde On Blonde' and 'Highway 61 Revisited' were pretty out there. 'This Wheels On Fire' is clearly from the same pen that wrote 'Ballad Of A Thin Man' and the chorus, 'this wheel shall explode', the voices rising on the last word as the dirge-like Piano continues to rumble on like a funeral procession? It's quite something. In contrast, the easy going, country-tinged melodies of 'You Ain't Goin Nowhere' are a delight, as of course are the lyrics. Songs of such a quality as these put pay to the rumour Dylan's motorcycle crash in 1966 stopped dead his rush of creativity. He changed, for sure, but the best of these Dylan 'Basement Tapes' songs are as good as any he ever wrote, simple as that.

'The Basement Tapes' as collected here is far from a definite document of what went on in that Pink House back there in the Sixties. We may never fully know how it felt for Bob and the guys. It sounds like fun though, 'Lo And Behold' barely holding itself together, yet Dylan still manages to come out with stunning and funny lyrics most other writers would die to have written. The silly little Piano melodies and the way the organ comes piping in like some kind of weird circus attraction is also joyous. What else? Well, a final word for 'Tears Of Rage', cut some the same cloth as 'Goin' To Acapulco', yet arguably even finer a composition and performance. Dylan can't sing? Listen to this, listen and wallow in the wonder of it all as Garth Hudson's keyboards evoke a hundred years of music. Listen as Manuel sings backing vocals of utter loveliness and Dylan leads, in all his masterly mysteriousness.

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Readers Comments JFK saniette@hotmail.com Great review (though i would rate it a 10, but why quibble?). "The Basement Tapes" has always been my favorite Dylan period. His style of songwriting here really seems to unite his bizarre, associative, stream-of-consciousness lyris with traditional musical ideas. And of cource there are so many beautiful songs, the best of which ("I'm Not There" and "Sign on the Cross") don't appear on the official set. Hopefully, Bootleg Series Vol. 8 will be the complete Basement Tapes. One can always dream. GAZZA Dylans rawest album since "another side" and like that record microphones pop, instruments go out of tune and laughter and wrong lyrics abound but what comes through loud and clear is that bob was having a blast . Its rare in his catalogue to find something so unguarded and joyous . I like the look of your tracklisting for a dylan album from the period except i would find room for "clothes line saga" . Indeed i would also have dropped a 2 or 3 band tunes to add "im not there" and "sign on the cross" . Certainly its about time the bootleg series gave this a proper remastering and packaging , say devoting 2 discs to dylans work solely (the current dylan catalogue reissues boast excellent sound quality ) . One also has to marvel at what great musicians the band were - in particular hudson and robertson. It shows on "planet waves" too but some of the material on that record could have benefitted from a little less instrumentation . Anyway "orange juice blues" "! kazoo st scandal" and "aint no more cane" are some of the finest of their early work. Another reason to get this record. In essence id rather this had come out in place of "john wesley harding" a record i find hard to love with its plodding grainy sound and dreary songs - ive never understood its lauding by fans. This in comparison is a flood of colour, a rush of improvised ,simple down home fun - an attempt to reconnect with what had been lost in psychedelia , that beyond the artifice and production you could have music as real and vivid as todays news and also something as old as the hills .

A lot happened to Dylan during the Blonde On Blonde era and its immediate aftermath. He toured with 'The Band' and attracted controversy at virtually every single concert they played. This has been captured well in the recently released Royal Albert Hall live album. The story has been told many times elsewhere of course, so I won't repeat it here. The way Bob was living his life was reaching breaking point. That 'breaking' point came with a motorcycle accident and Bob withdrawing from public gaze for quite some time before officially emerging with this set of recordings. He recorded a bunch of classic songs after his motorcycle accident that were compiled by The Band's Robbie Robertson for release in 1975 and turned into hit singles by a whole number of acts prior to that release. With this release Bob presented the public with a very different sounding record than the albums preceeding it. Gone was the torrent of words replaced by lyrics rich in story-telling and biblical imagery. An album of stories this. The music is very stripped back, Bob handles all the guitar duties himself bar two songs featuring Pedal Steel. The rhythm section is understated if perfectly suiting the material. The bass guitar in particular holds this album together, musically. The opening title song is a case in point. Little shuffling drums, Bob on acoustic guitar and harmonica. The bass provides the melody and very fluent and fluid the playing is too. The words are story-telling, simplistic at first glance but like many other songs here, presenting hidden depths of meaning after repeated listening. 'As I Went Out One Morning' again seems a simple sort of song, but the lyrics are strangely captivating. A whole industry has sprung up just to detail the true meaning behind these lyrics. There are supposedly something like 61 or so Biblical references sprinkled across these twelve tracks. Knowing what they are isn't important in terms of enjoying the record however! The 'stories' can make sense in any case, they can present themselves to your mind in a number of different ways. You don't need to know who 'Tom Paine' actually is!

A strangely relaxing listen, this album. The songs are high quality compositionally even within a more laid-back framework if compared to previous Dylan songs. We do have 'All Along The Watchtower', a classic in anyone's book and famously turned into a hit by Jimi Hendrix of course. 'The Ballad Of Frankie Lee And Judas Priest' is so very funny. A happy little musical track and fascinating, captivating lyrical work. Piano is introduced for 'Dear Landlord' and it works very well to vary the sound of the record. A desolate, pleading sort of a song and more biblical allusions. 'I Am A Lonesome Hobo' has stupendous little bass lines - a great track. 'I Pity The Poor Imigrant' follows and it's equally as good. The cumulative effect of such songs starts to push the album towards the status of a major work. Songs, if taken individually from here, don't seem especially astonishing but the flow of these songs, one after the other, makes the whole more than the sum of it's parts. We also have a beautiful straight love song to close with 'I'll Be Your Baby Tonight'. Certainly a highlight and also presaging his 'Nashville Skyline' record with a subtle country feel flowing through the music.

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Readers Comments Alan Brooks albrookscentury21@yahoo.com BLONDE ON BLONDE is like an acid trip, and its successor, JOHN WESLEY HARDIN, is like the morning after tripping; a little eerie. Whereas BLONDE ON BLONDE was jam-packed, JOHN WESLEY is stripped-back, economical. Magnus_Sjöberg magnus-sjoberg@telia.com In my book, it´s a true masterpiece and a refreshing listening experience from a time when psychedelia and orchestrated rock was the thing of the day. Worth at least one point more and one of Dylan´s top 5 albums I think. reidar.samuelsen@lillestrom.vgs.no Congratulations on your lovely review of what I think is one Dylan's top 5 albums and perhaps the most overlooked of his ouvre. The point you're making about the songs here just being stories is a good one though it's quite obvious, isn't it? You know, there is one link between "Drifter's Escape" and a piece of European literature that I have never seen anybody comment on ever before. Do you know which? (Clue - he's a German guy.) dawson dawsdani@ukonline.com I think this a generally under rated album. its no blonde on blonde or highway 61 but is still very good. Magnus Wistrand magnus@otenet.gr Usually I just love Dylan's harmonica playing - here, however, I find it a bit annoying on some songs. A solo or two could certainly be edited away on John W Harding, St Augustine, Lonesome hobo and Poor immigrant. The songs that survive my ears uncensored are As I went out one morning, Dear landlord, Down along Cove and Baby tonight whereas Watchtower may be better heard live in Europe '78 if released and the others on the NET eventually. john, county kildare, ireland john.j.doyle@nuim.ie a quality listening experience. the relatively small studio band gel together with ease, on this album. 8.5./10. plenty of highlights. especially "dear landlord" and that song about the cove, dang, i keep forgetting its name. gazza garyhess44@hotmail.com I just cant connect with this record at all . It seems very one dimensional and flat. Apparently bob wanted the band to overdub parts onto the record originally , and i think it would have been a stronger realised record if this had happened. Also It seems like the 2 country tunes at the end were tagged on as an afterthought and overall i much prefer nashville skyline .

Shortly after completing the sessions for 'Nashville Skyline' which had gone pretty smoothly due to the generally simple nature of the songs - Bob entered the studios with Johnny Cash with an intention of recording an album of country covers. They recorded a dozen or so songs but the results were generally chaotic and disapointing. One of the songs was 'rescued' for release here. Bob didn't have a lot of material at the time. 'Lay Lady Lay' had been submitted ( too late ) for the 'Midnight Cowboy' movie and released as a pretty sucessful single. There is an instrumental here, and the whole album comes in at less than thirty minutes playing time. Certain Dylan fans were disapointed with getting only twenty seven minutes of music when during the time that had elapsed since the last Dylan record The Beatles had released 'The White Album' and recorded 'Abbey Road'. Another initially off-putting factor for the average Dylan fan may have been the sound of Dylan's voice. It's actually a throwback to how he sounded in the very early days before moving to New York and getting into Woody Guthrie. A rich, honey crooning kind of singing voice. Although sounding almost like a different singer altogether, this voice is kind of charming. And yeah, it is sweet sounding! Ultimately, this record is what it is, and should be judged that way rather than in direct comparison to 'Highway 61 Revisited' or whatever.

The Johnny Cash duet, a version of Dylans own 'Girl From The North Country' is very strained in places, especially when they attempt to singing harmony together and generally fail to do so. Dylan has never been the greatest harmony singer in the world but the results are still strangely captivating in a ramshackle kind of way. 'Nashville Skyline Rag' is a hugely silly country instrumental. The fact that it is hugely silly means that's it's a lot of fun though. It raises a smile, especially when the Piano comes in. 'To Be Alone With You' is the first new Dylan song proper on the collection and whilst lacking in ambition when compared to 'Like A Rolling Stone' is a very listenable song in it's own right. More interesting Piano percussion through this track. 'I Threw It All Away' is just stone cold gorgeous. Dylan's 'new' voice is highlighted well with a bit of echo and is genuinely moving. 'Peggy Day' is full of the charm of this 'Nashville Skyline' record. Another silly piece of shit :) The second side of the album opens with the big hit, 'Lay Lady Lay'. Another fine sounding Dylan vocal, another fine and charming song. Another beautiful song. The beauty present within 'Nashville Skyline' is often overlooked, I feel. 'One More Night' and 'Tell Me That Isn't True' are another two fine songs. The latter in particular comes closest to sounding like 'classic' Dylan here with the addition of Organ parts through the song. 'Country Pie' is almost a throwback to The Basement Tapes era, very fun and playful lyrics in addition to some nice guitar work.

'Tonight I'll Be Staying Here With You' joins 'I Threw It All Away' in being a gorgeous ballad performance. Whilst everyone focused on the how and why of Dylan's new voice - few actually paid attention to the quality of the vocal performances here. He sounds so very good vocally throughout 'Tonight I'll Be Staying Here With You' and it's pretty much a Dylan standard these days - often appearing on hits compilations. It may seem i've given this record too high a grade to some. There is only twenty seven mintues of music here, after all. I just think that it's fun and enjoyable. It plays well and is good to put on when you just don't feel like listening to something heavy.

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Readers Comments Alan Brooks albrookscentury21@yahoo.com NASHVILLE SKYLINE is an overrated work, though it does deserve an 8 for influencing later talents...It's hard for me to conceive of James Taylor releasing his exquisite 'SWEET BABY JAMES' without Dylan having prepared the market for it-- but perhaps I'm wrong on this. However, you can be sure that a man as influential as Dylan having put his seal of approval on country-pop-rock must have had some impact. All the songs on NASHVILLE SKYLINE are pleasant, and sure not to offend conservatives with the lyrics: 'moon', 'June', and 'spoon' goes the rhyme in one track. "Oh me oh my, love that country pie" go some lyrics to 'Country Pie', a song that Dan Quayle could appreciate. William Gladstone exmodernlover@comcast.net I appreciate the thoughts on this album. It is personally my favorite of his work for the fact that it's Dlyan writing a fun song and playing it skillfully without all the weightiness of previous efforts like "Highway 61" or "Blonde" that, while wonderful and perfect for what they are, can sometimes be a bit much to take in depending on your mood, etc. Fellow Dylan fans have raked me over the coals for such slander but to me "Nashville Skyline" is like a tasty little nugget of Dylan, just long enough to leave you wanting a bit more. When you want a full meal throw in "Blonde". Magnus Wistrand magnus@otenet.gr Yeah, it's impossible not love this little bugger of an album even if I, myself, would have preferred Threw it all away and Lay, lady, lay without drums. Andrew Taylor atbdjlep@hotmail.co.uk This album is a gently and rich piece of work from Dylan, who is obviously tired of his hard- hitting music and polictical stature he recieved during the early sixties. Also I think Dylan doesn't want to rebel against anything anymore, resulting in john w harding and this flowing and fun album that stands out from any of his previous efforts of any of his albums he has ever made. "Girl from the north country" is beautiful and rough and almost totally unrecognizable from the earlier version. I love it. GAZZA garyhess44@hotmail.com One of the best products of dylans "off the road" domestic bliss period . His voice is so sweet and the transformation to nashville crooner is effortless and enjoyable . You sense real joy here at being freed from the past and the material isnt as difficult as JWH or new morning . "i threw it all away" is one of his greatest songs , a warning against temptation and to never turn your back on love - weve all learned that one the hard way . its one of his prettiest melodies. The record has a warm almost funky feel in places "to be alone with you" "country pie" "tonight ill be staying here with you" and theres plenty of sensuality in bobs delivery - hell its a sexy record ... "lay lady lay" is a case in point! Only minus is bob sounds like john boy walton up against the imperious johnny cash but bob is now firmly in that exalted company where he belongs.

Well, well, well. Your eyes may be popping out of your head in disbelief at the rating I've given this. Especially if you are at all familiar with the story behind this record. But, nothing is as straight-forward as it seems. The most accepted opinion of this record is that it was a deliberate fk you from Dylan to his fans. An attempt to create a record so lousy it would lose him at least half his audience and also much of the unwelcome attention he was receiving. There is evidence and quotes from Dylan himself that he did indeed have such an idea in mind. But, the final form of the record muddies the water somewhat. The original idea was that Dylan would quite simply and acceptably be putting out an album of cover versions. This was to re-enforce his 'Nashville Skyline' persona as the covers here are nearly all country tunes. That original form slipped away. A handful of new Dylan originals were introduced. Some of these were 'Nashville Skyline' out-takes. A few were brand new songs. To even further confuse matters however, a few tracks were taken from Bobs then recent Isle Of Wight performance. Hardly Dylan's finest hour as a live performer. And, the live songs are so out of place here! But then, remember the albums title. Dylan complained about the kind of songs people 'expected' him to perform. The title of this album is of course tongue in cheek. But the live tracks here, classic Dylan songs such as 'Like A Rolling Stone' and 'She Belongs To Me' are perhaps included to highlight just how different the rest of the record is. Which is the real Dylan? Well, they both are! 'Self Portrait'! A multi-faceted character and personality!! Nothing is indeed as straight-forward as it seems.

The first thing to bear in mind when listening to this record is that it isn't meant to be a serious work of artistic endeavour. It's just a fun record! Listen to the opening song, for instance. Dylan is nowhere to be seen. We get ( a gorgeous, actually ) string section over the top of female gospel singers. And, the only lyric? All the tired horses, in the sun. How I'm supposed to get any ridin' done? Ridin? Funny, that sounded like writing! Hmmmm. The lyric is coated in a truly beautiful string arrangement. But, it's all 'light'. There is little art here, just a string section to take away from the message of the song! It's almost like a conjurers trick, albeit a very tired and wanting to go to bed conjurer! In contrast, 'Alberta #1' presages much of his 'New Morning' record. The sessions for 'Self Portrait' were spread, the final sessions coinciding with the beginning of the 'New Morning' sessions. 'Alberta #1' features a slightly gruffer voice than 'Nashville Skyline'. The song is no classic, but it does have a nice atmosphere and decent female harmonies. Should Dylan be allowed to be 'simple' material? Or is he expected to produce a 'Like A Rolling Stone' every time out? And, look. Here comes the first country cover! The title says it all and ties in perfectly with the albums concept. 'I Forgot More Than You'll Ever Know' features an astonishingly beautiful Dylan vocal. He's in pure country mode and sounds unrecognizable from the Dylan of even two years before. If this was a complete unknown singer however, you'd be praising this singing voice. It's a fine vocal performance all round.

The best cover? Actually, it's 'Days Of 49' which isn't at all in country mode, but rather harking back to 'John Wesley Harding' in terms of its sound. It drives forwards, Dylan turns in a performance of some passion. Other notable Dylan vocal performances across this album include the truly gorgeous ballads of 'Copper Kettle' and 'Belle Isle'. Dylan has rarely, if ever, sung better than he does on these two songs. 'Belle Isle' is even a Dylan original! Well, of sorts :) And, before I get carried away, yes, of course there are faults with this album. The live tracks with the exception of 'The Mighty Quinn' which has a ramshackle charm all of its own - are atrocious. The instrumental 'Woogie Boogie' doesn't amount to very much either. Some of the covers border a little too much on easy listening. Still. We have the funky 'Gotta Travel On'! We have the truly bizarre, so bizarre you can't help but smile Dylan cover of Simon And Garfunkels 'The Boxer'. Dylan decides to harmonize with himself. One voice 'old gruff' Dylan, the other the sweet crooning of 'Nashville Skyline'. It really is one of the strangest things I've ever heard, but surely a pure piece of theatre? It's just so damn funny! I'm sure this was the intention. Even the little guitar phrases sound intentionally comical. All of this and more. And, did you know? 'Wigwam' was a top fifty charting single for Dylan in Billboard? It reached number twenty eight on 'Cashbox'! That it consists entirely of Dylan humming over the top of some Latin/Spanish exotica, like a sunset at some low budget resort, says much for how one concept of 'Self Portrait' failed miserably. That it would rid Dylan of all his fans! We have a famous review in 'Rolling Stone' magazine. We have a mixture of the bizarre, the difficult and the truly gorgeous. We have a half-decent album! It's heavily flawed of course, but I for one actually enjoy listening to this collection of 'half-baked' ideas.

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Readers Comments Craig Connell craig@connell1970.freeserve.co.uk Well said fellow, totally agree with you.I remember when i bought it,couldnt stop playing it for weeks.When I finaly spotted a review I couldnt understand the reaction.Not a classic but sometimes utterly compeling. Magnus_Sjöberg magnus-sjoberg@telia.com After lots of listenings, I still have to say this is a truly awful album! 7½ seems to be at least 5 (!) points too much for this peace of crap! oliver fairlamb oli316@hotmail.com i think your rating system is seriously flawed. Self Portrait, an album of minor compositions and average covers gets a better mark then the times they are a changing? Please that record had 4 stone cold classics on it - title song, one too many mornings, boots fo spanish leather, and the lonesome death of hattie carol. Im not totally sure you know what your talking about duncan elzombiewoof@hotmail.com I can't say i agree with all of your reviews, but I must say you got it right with Self Portrait. I'm sick of people jumping on the bandwagon and bashing it. It is weird and it sounds great. Belle Isle is a beautiful song enough said. Toni toni_valjus@hotmail.com I have to say this review is the best I've read about this album. That is, I agree 100 % with what you say. Hard to understand the rough reactions so long after it's released. Magnus Wistrand magnus@otenet.gr Took me a long time to open up my ears to this album. Now, I admit, I rank it the best of Dylan's '67-'73 period or rather approximately half of it: I forgot more/Early morning rain/Can't help falling in love (from 'Dylan')/Living the blues/Copper kettle/Gotta travel on/Blue moon/Take me as I am/Hurts me too/ Alberta #2. I can live without the Isle of Wight performances but I long to hear the sixteen or so outtakes! By the way, above songs will actually help you convince a bunch of Dylan doubters. andrew mccoy jigga_3@msn.com you seem to know your stuff about dylan theres only like 4 albums i need to complete his whole collection however you were very un fair to albums planet waves knocked out loaded and quite a few others i think you should listen to them again i was happy you gave self portrait a good review as its a great album and agree totally what you said about belle isle and days of 49 2 amazing songs and some of dylans finest stuff you shouldve gave another side of and blood on the tracks 9 and a half and blonde on blonde a ten cause it is perfection and another side of and blood on the tracks are the only 2 that come close to it John john.j.doyle@nuim.ie Undeniably, Self Portrait has it's moments, some spectacular, but there's too much of a disjointed feel going on here. Far too many covers and half assed live versions of already released songs. "Like A Rolling Stone" is completely unnessecary, and not performed too impresively either, for example. A long way from being the turkey some make it out to be, but at the same time, it was his first SERIOUS screw up. 6/10. Frank Armitage farmitage@hotmail.com In my opinion it can be asserted that not only is Self Portrait a great album but it could be Bobs most ecclectic and musical.He seems loose,he's having fun but don't be fooled because their are moments of truly inspired, powerful beauty.As for the fun stuff,"In Search of Little Sadie" as inconsequential as it seems contains as outrageous and mind blowing chord changes as you'll ever hear. I'll bet alot of listeners just daydream when it comes on so they can get to the next song.But LISTEN, it's also hilarious. Then their is the haunting gorgeous beauty of "Belle Isle", a near masterpiece. Shoulda done a few more takes to get the lyrics right Bob. This beauty deserved it."Copper Kettle" is right there with it too. "Livin the Blues" and "Take a Message to Mary" just flow n glow.The musicians and vocalists on this record weren't screwin around. They were very commited to the task at hand. Great to hear your mention of the strings in "All the Tired Horses" However, as great as! they are, they wouldn't be half as effective without the accompanying haunting church organ.a solo instrument contrasted to a full symphony. A master stroke to a brilliant arrangement. I don't know why but I hear the deepest part of the American soul,it's plains and prairies in that music.My brother bought this record on the week of it's release in defiance of all the reviews that slaughtered it; Greil Marcus/Rolling Stone ect. Those wankers wuz wrong,my bro right. I just bought the cd one month ago. First time I heard it in more than 20 years. More gorgeous than ever. I don't mind the Isle of Wright stuff at all.It's just one added ingredient to a very rich and compelling stew.

This arriving only four months after 'Self Portrait' was seen as Dylan 'admitting' the failures of 'Self Portrait' in rushing out a new record so soon afterwards. In fact, the earliest sessions for 'New Morning' overlapped with the sessions for 'Self Portrait'. The fact that his voice had reverted to its usual gruff state was put down by Dylan himself as a result of a bad cough he had during recording. He's not totally out of his 'country phase' just yet however, several of the songs have subtle country feels about them. The most notable aspect musically though is the fact Dylan plays Piano on seven of the albums twelve songs. The opening song, 'If Not For You' was first worked on with George Harrison. George cut his own version of the song too. Well, it's a fine song, simple and charming with a little Dylan harmonica break present and correct. Following the string laden, almost easy listening tracks that made up the bulk of 'Self Portrait' something like 'Day Of The Locusts' sets the character for 'New Morning'. The sound is slightly murky but this actually gives this record an added sense of warmth and humanity. The Piano playing of Dylan hits the spotlight on the beautiful 'Time Passes Slowly'. As with everything else, Dylan has a unique sound on the Piano and his vocals are soulful and strong. 'Went To See The Gypsy' is a happy, charming little song with an undulating and rolling Piano rhythm with bass guitar to match. 'Blonde On Blonde' man Al Kooper pops up on organ, piping through the bass and shuffling drums.

'Winterlude' and 'If Dogs Run Free' are often picked out as the most obvious failures on this album in terms of songwriting. 'Winterlude' is indeed a simple song, but the spanish guitar and female harmonies help make this palatable. 'If Dogs Run Free' has a Jazz feel about it and sees Dylan experimenting with different song forms and styles. It drags on a little and the scat singing of Maeretha Stewart in the background just sounds bizarre. The title song gets things back on track, and 'Sign On The Window' is another moment of beauty from Dylans Piano sessions. The gospel harmonies work well in addition to Dylans Piano and tender, weary vocal work. 'One More Weekend' is a Dylan stab at an electric blues. It doesn't sound at all like typical Dylan though, certainly nothing like tracks from 'Bringing It All Back Home' or 'Blonde On Blonde'. It has a certain charm but isn't anything essential and seems a lot longer than its three minute length would suggest. 'The Man In Me' is more back to 'Day Of The Locusts' in terms of sound and feel, the closing 'Three Angels' and 'Father Of Night' typical of this records moving through different song formats. 'Three Angels' is a spoken Dylan story whilst the music flows underneath. The closing 'Father Of Night' is Dylan back at the Piano but singing a set of pretty simplistic lyrics. Hardly his finest writing effort! In fact, the whole record isn't really about Dylan writing masterpieces again, it's a record that sees Dylan feeling his way back into things, but at the same time, still trying to move forwards.

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Readers Comments Jeff Clark clark@hexenergy.com Your New Morning album review is a joke. Clearly one of Dylan's greatest songs/Albums is New Morning and the music support of Al Kooper and Harvey Brooks (same folks who put together the Super Session album with Stills and Bloomfield) adds a unique dimension to this album. Unfortunately you've never been up in the mountains for any extended period of time living or camping I can tell. This album is about being a part of something greater than we are and his music reflects this just like his Highlands song on Time out of Mind. Also the song If Dogs Run Free is perhaps one of the freshest songs on the entire album contrary to your review. Oh well to each his own. I've got every Dylan album (album not CD) he ever made and New Morning is every bit as good as Highway 61 or Blood on the Tracks. Do me a favor and listen to If Dogs Run Free again and tell me it's a failure. Al Kooper's piano work is great. Zack Wilson zsgrayny@aol.com You seem to view this album quite closely to the way I do. Winterlude and If Dogs Run Free which lay at the midsection of the album, while not at all "bad songs" (as no Dylan tune is), seem to almost break the aura of the album. New Morning is like a free, youthful river, which breaks over a small hill, then straightens out in full stride. Moreover, New Morning is more than you make it out to be, in terms of songwriting and fulfilling its purpose; a lighter one than say Blood on the Tracks or Freewheelin'. Still, a 7 1/2 seems a bit too low in comparison to other Dylan classics. Magnus Wistrand magnus@otenet.gr Can't wait to hear a remastered New Morning album after having heard the title song remastered. I'm sure there will be more songs than Sign on the window to talk about then. I also would have included the piano/violin If not for you, the piano Spanish is the loving tongue and had Time passes slowly with only piano. What about the six or so outtakes? I wouldn't mind a few covers. Gazza garyhess44@hotmail.com New morning kinda changes every time you hear it . I just cant make my mind up about it overrall. Its a mix of the mediocre (one more weekend,if dogs run free) the banal (winterlude,went to see the gypsy) the innapropriate (father of night and 3 angels) - both songs seem to belong on another album entirely . The rest is solid enough "sign on the window" "man in me" "if not for you" - couple other tracks are ok , enough perhaps to recommend getting a copy for the curious but not necessarily buying unless youre a dylan fanatic 6/10 John john.j.doyle@nuim.ie It's one of those Dylan albums I find difficult to wax lyrical about. Not that I mean it in a negative way. It's a sort of back to basicS feeling despite the more Soul/Gospel direction and reasonably big production, but still the feeling is a tad uninspired and jaded. Still it's a return to form though after the weirdness of "Self Portrait". I'd give it a healthy 7/10, which is of course the most enigmatic rating one could probably give to an album, well that and 0/10.... Mostly quality tunes in fairness to Bob, I just think that Nashville Skyline is the best of his post J.W.H./pre B.O.T.T. albums. John Kedward Chiang Mai Another overlooked track is 'Time passses slowly. There's a great dialogue between a stark piano and meandering guitar but the lyrics give an impression of landscape, dreams and vastness and being able to be content with this, without needing to strive for anythng extra. The only thing I don't like about this album is the quality of his singing on most of the tracks but an enjoyable album nevertheless

This was the first Dylan CD I ever owned or heard. Indeed, at the age of eighteen, I’d rarely come across any Dylan songs such is the lack of decent radio here in the UK. I guess the only songs I really knew were ‘Subterranean Homesick Blues’, ‘Blowin In The Wind’ and a variety of cover versions. A Dylan novice I was, for sure. A few months after having this, I bought ‘Freewheelin’, ‘Times They Are A Changin’, ‘Another Side Of’, ‘Bringing It All Back Home’, ‘Highway 61 Revisited’ and ‘Blonde On Blonde’. That was a terrific 5cd for £30 deal if ever I saw one. Still, this is where I started. Loads of great songs including several not on any regular Dylan album. ‘Watching The River Flow’ and ‘When I Paint My Masterpiece’ were new songs written and recorded for the album. Both sit more than nicely on this comp, no mean feat considering they came about during a period in the early 70s when Dylan was considered washed up. Oh, I guess Dylan’s original hits LP contained many of the best known songs from this era, ‘Like A Rolling Stone’ and so forth, yet there’s still a remarkably large amount of very well known tunes here. ‘The Mighty Quinn’, one of several basement tapes tunes, for example. Back in 1967 whilst the summer of love was around and The Beatles ruled the universe, Dylan seemingly had no response. Yet, without actually releasing a new album, he was all over the charts, Manfred Mann hitting top 5 with their version of ‘The Mighty Quinn’, for example. What else? Well, to this day I’m deeply impressed by the variety here. Take the first five songs, for example. Gritty roots-rock to finger-picking folk to country pop, to pure wild mercury back to country and then switching back to folk. Elsewhere, Dylan digs out the lovely ‘Tomorrow Is A Long Time’, another tune not previously issued at the time.

You may be wondering whether ‘More Greatest Hits’ has any significance in this day and age? Well, subsequent compilations seem to be more wide-ranging, but for my money, this is the perfect Dylan starting point. The fact it contains three or four tunes not easily obtainable elsewhere is a plus. It covers the years 63 to 71, pick up ‘Biograph’ as well and you have everything else you could need without having to buy all of the regular Dylan albums. Of course, you could get ‘Essential Bob Dylan’ but where’s the romance in that? My brother has the vinyl copy of ‘More Greatest Hits’. It’s a beautiful thing, I loved vinyl. So much more romance in that or even the CD than ‘Essential Bob Dylan’. Anyway, I won’t get into individual tunes here, there’s doesn’t really seem to be a lot of point, except to say everything here is great without exception. You knew that already, didn’t you? If you’re also wondering why I didn’t mention this album on my Dylan beginners guide page, I must admit, I forgot. Replace ‘Bringing It All Back Home’ on the list with this little beauty if you wish. One final, final thing. It’s one of those rock n roll clichés, but it’s true. Dylan changed a lot of lives, mine included. He broadened my musical horizons to incorporate folk, blues and country. He was the gateway into an entire forest of great music. ‘More Greatest Hits’ succinctly displays a lot of the reasons why.

PS, a note for those that need to know. Bob recorded 'Watching The River Flow', 'Spanish Is The Loving Tongue' and 'When I Paint My Masterpiece' March 1971. He recorded proper studio versions unavailable elsewhere of 'You Aint Going Nowhere', 'I Shall Be Released' and 'Down In The Flood ( Crash On The Levee )' October 1971. 'Tomorrow Is A Long Time' is an out-take from 63/64.

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Readers Comments Al Brooks kerry_prez@yahoo.com I met Dylan in 1971 in Greenwich Village NYC, but only for about a minute-- and neither of us said anything, we merely nodded at each other after being introduced outside a television taping session that he was about to enter. I was only fifteen and couldn't think of anything witty to say. What would anyone say in those circumstances?: "hey mr. tambourine man, play a song for me"?

I don't care about the movie or the history or the fact this is Bob Dylan. The only way I can deal with this soundtrack album is to judge it as just that, a soundtrack album. When Dylan is involved, expectations distort a mind to the point where objectivity is almost impossible. So, although this albums status within the Dylan catalogue is minor, you may find it outweighing some of the more 'major' album works because of how it is to actually listen to. Apart from a couple of tracks, this is an entirely instrumental LP and something of an anomaly in the Dylan catalogue because of it. That it happens to contain one all time classic song has probably helped it stay in print. Compared to today's soundtrack albums, this one is a little short and a little light. It isn't any heavy project but the songs are nice diversions, all well put together and showcasing how melodic the music of the composer ( Dylan ) can be. The classic is of course 'Knockin On Heavens Door', a song so simple anybody could have written it, yet it took Dylan to match the tune and performance together. None of the cover versions really come close. On the album, it's followed by one of the best instrumental cuts, 'Final Theme'. We've got acoustic, backing vocals, flute. Drums and bass enter in around a minute and a half in and this is a very pretty melody.

A song as good as 'Billy 4' is lyrically renders any movie version of the story redundant, this is a little movie all in itself. The song presages, with a little imagination, parts of 'Blood On The Tracks'. This is after all a stripped back, acoustic affair much in line with classic Dylan. Doesn't make the song better or worse, just thought i'd throw in some context. Despite saying at the start of the review I didn't care about the Dylan aspect or the film, what is music without context? Without context all music is backround music that doesn't connect emotionally. These brief instrumental excerpts and couple of songs proper do connect emotionally. 'Billy 4' is a minor little masterpiece.

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Some may think i've boxed myself into a corner here. For example, giving 'Planet Waves' a lowly 6/10 surely must mean 'Dylan' HAS to score significantly lower? Then again, I never was one much for reputations. Even Dylan himself in 'Chronicles' describes this 'Dylan' album with bemusement, although he's careful not to actively criticize it. I'll dig in my Dylan sessionography by the way for you now to reveal exactly where these 'Dylan' songs come from. Well, a few are outtakes from 'Self Portrait'. The remainder and majority of the tracks come from the 'New Morning' sessions. This news may not fill you with confidence, but then again, the better moments from both albums were absolutely great. What confuses me is that 'Dylan', released by Columbia during a brief moment Dylan was no longer with the label, apparently as 'revenge', is actually a fairly strong release. We all know Dylan doesn't always choose the best songs necessarily to go onto his albums, don't we? I don't think he's ever been obtuse about it, just not sure of what his own best work is. So, the outtakes from 'New Morning' are all fun, perfectly respectable, although not amongst his very best work, it's fair and blindingly obvious to say. The tracks from 'Self Portrait', the final three basically, are just fun things. To counteract the accusation though that 'Self Portrait' and indeed' 'Dylan' were active acts of sabotage, Dylan does actually properly sing. He's not giving half-hearted vocal performances. Besides, some people like Dylan doing the trad/arr and the odd cover version.

So, what do we have? Well, the opening 'Lily Of The West' is great! It's got a speedy little rhythm, Dylan playing Harmonica and this is a proper tune. Sure, Dylan wasn't so hot on songwriting at this stage and he mumbles some of the words, but this works really very well indeed. It sounds like Dylan, you know? If you're a fan, it should work for you, too, hopefully. 'Can't Help Falling In Love' is the same tune made famous by Elvis. Dylan sings this properly, you know, properly. Female backing vocals make his soft and considered vocal sound even better. Quite lovely, really. 'Sarah Jane' is fun and kooky and 'Ballad Of Ira Hayes' another female backing vocals assisted Dylan, a strange semi-spoken, semi-sung country/folk story-telling piece. True, the second half of the album isn't as good as the first, with a throwaway cover of Joni Mitchell's 'Big Yellow Taxi', dreary things such as 'A Fool Such As I' and 'Mary Ann'. The closing 'Spanish Is The Loving Tongue' could also be said to be dreary, yet Dylan does his syrupy 'Nashville Skyline' / 'Copper Kettle' type singer, sounding unlike we expect Dylan too, but his voice sounds glorious here. So, an odd release? Well, clearly. An utterly disposable one? Surprisingly not. It's not a Dylan set you'll reach for very often, I suspect, but because everything here is fairly light and undemanding, a pleasant one to listen to. You know, you can't listen to 'The Times They Are A-Changin' all day long, can you?

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As the first proper new Dylan record in four years following a soundtrack and an album of out-takes there was a sense of expectation surrounding this. Especially as news filtered out it would be a reunion between Bob Dylan and The Band. The accompanying tour sold out in record time whilst the album was somewhat forgotten, even though it did debut at number one. Following the majestic work Bob did with The Band in the past, something like 'On A Night Like This' seems slight and half developed. It does have a good pace about it though. 'Going Going Gone' is a strong track enriched by classy guitar playing and a good Dylan vocal. 'Tough Mama' is great! Would have made a far better album opener. It's actually funky - not something you would readily associate with Dylan, but there you go. 'Hazel' follows, and whilst it's a pretty beautiful song it doesn't flow well following 'Tough Mama' as 'Going Going Gone' didn't flow well from 'On A Night Like This'. There is no communal sound or atmosphere across this records eleven songs as compared to the silly but charming 'Nashville Skyline' or even just the murk and humanity of 'New Morning'.

There is a lapse in the centre of the record. Two different versions of the same song with 'Forever Young' in addition to the terminally dull 'Something There Is About You'. Given the sleepwalking nature of many songs here, 'Dirge' stands out a mile. A desolate, spine chilling set of lyrics. A stripped back instrumental track that consists entirely of Piano and a single guitar. 'You Angel You' and 'Never Say Goodbye' both of which follow 'Dirge' are entirely forgettable filler. 'Never Say Goodbye' in particular is hardly the best example of Dylans vocal work. The third truly worthwhile song from this set arrives with the closing 'Wedding Song'. This is almost an old style Dylan folk song, though it's not quite enough to save 'Planet Waves'.

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Readers Comments Michael Vogt m_p_v_13@yahoo.com Disagree on "You Angel You" being a forgetable song. This song is one of my favorites from Planet Waves. I find it a simple, powerful (not too serious)love song, with a catchy tune and fine rhythm. David Johnstone As a long time Dylan fan, I would consider this album the real 'grower' in his catalogue and one of his major albums. The album could easily have been named 'Love Songs' looking at the said subject from a bunch of angles. Forever Young is a Father/Son song with a quite beautiful lyric. Why twice though? A bit strange indeed. Maybe he had been listening to Tonight's the Night or something. Wedding Song and Dirge are interesting lyrically but for me they are the two weakest songs performance wise and their relative popularity mystifies me. Never Say Goodbye is my fave. What a performance. Passion. The arrangements in Planet Waves have, in the main, an elastic and playful quality, which stand up to repeat listening. My opinion anyway. Adrian, thanks for reviewing so many Dylan albums. Enjoyed :) Magnus_Sjöberg magnus-sjoberg@telia.com An album that is constantly growing in my opinion. Sadly overlooked in discussions about great Dylan albums, this is a very good one. Correction, it´s a splendid one, and worth at least 8½ I think. Magnus Wistrand magnus@otenet.gr I can understand the mixed rewievs that this album receives. To my ears, however, most of the songs remain great without spirited performances from either singer or band. Thus the album, in my opinion falls into the same category as other potentially good albums Another side, Street legal and Saved as even outtakes can't make up for the lack of passion on the released songs. Maybe someday we'll get Tough mama/Something there is about you/Forever young/Except you/Wedding song from Tour '74 and Going, going, gone from '78. Todd Lekan tmlekan@yahoo.com I disagree with your assessment that there is no coherence to this album. Musically it does shift and turn. However, as one other reviewer points out, this album is a study of love from multiple, contrasting perspectives. Whether intended or not, Dylan juxtaposes opposites. We get idealized over sentimental versus jaded or angry. Take "Dirge" and "You Angel You." Take "Going Going Gone" and "On A Night Like This." Or consider the bawdy and almost voyeuristic lust of "Tough Mama"--a song the singer addresses to his wife? (That night in the country side was hotter than a croutch, I stood alone up on the ridge, and all I did was watch)? Mark Bartlett msbartlett@btinternet.com Planet Waves has been a favourite of since its release. The songs have a loose, comfortable, earthy feel about them as you might expect from the ‘re-union’ with The Band and the lyrics are generally on the light side for Dylan making a nice change. There is a fair amount of diversity in the execution too (The Band again ?) and I find it predominantly uplifting with Benevolent Bob expressing at various points his good wishes, loving admiration and contentedness. No spitting and snarling here; he seems to be generally happy with life, God bless him. I’m always happy to pull this one out of the box and give it a spin. I find it a pretty even album with no absolute stand-outs and definitely no dogs. (As a matter of interest I would rate the previously maligned ‘You Angel You’ as one of the best songs here; and not merely because the line ‘I swear it could make me sing’ , or thereabouts, always brings a smile to my lips !). I would give it a 9 for the overall mood it creates! in me. John john.j.doyle@nuim.ie I'm happy to see that it's not just myself that felt shocked at Adrian's critique of "You Angel You", a charming little ditty, and a most pleasant form of relief as storm clouds begin to brew on Zimmy's horizon. Ditto "Going, Going, Gone", an ideal late March, early April Saturday afternoon *GETTING MY HEAD TOGETHER* in an overcast, half deserted, small seaside town, type tune. Nothing really stands out as SPECTACULAR here, well apart from the obvious ode to his young 'un, but generally, it deserves 7/10. No masterpiece, but a satisfying album. Gazza Recorded over 3 days with the band prior to his first major tour in years expectations were high for this album . Adrian seems a little underwhelmed but i rather enjoy the record . The arrangements work pretty well and bobs in good voice . it was a mistake to have 2 versions of "forever young " never mind back to back on the record though . Theres 3 classic dylan songs plus several that are very enjoyable , the looseness of the playing makes it even more so . Dissapointed "nobody cept you" couldnt be on the running order though. Apart from the bitter lyrics to the latin flavoured "dirge" dylan seems to be in great spirit too . 7.5/10

What exactly did happen to Bob in the time after 'Planet Waves' to produce this?? Well, he went to art lessons. He became creatively inspired, and given the state of his marriage at this stage - for the first time in a fair few years actually had something to write about. The idea Bob had was this. If you look at a painting, you don't see all of it at once. Some parts are off in the distance, some nearby. Also, you have no fixed sense of time. Something like 'Tangled Up In Blue' displays this well lyrically. Both past, present and future are equally applicable to the sense of where you are in the story. 'Tangled Up In Blue', as well as making for a fine opening track was also one of the songs Bob re-recorded for the final release of this record. Originally, it was intended the whole album would be bare and stripped back, just Bob on Acoustic with a bass guitar for company. The re-recording of tracks ensured some controversy from those that felt some of the original versions were superior to the eventually used takes. Just listen to 'Tangled Up In Blue' however! Listen to 'Lilly, Rosemary And The Jack Of Hearts' or even 'Idiot Wind'. Now, in it's stripped back version, 'Idiot Wind' had a set of personal lyrics very close to home as far as Bob was concerned. He laid out his heart and soul through song. But, nine or ten songs of this, it was decided, would prove heavy going for most people. The album is more varied as a result of a selection of tracks featuring full band performances.

'Simple Twist Of Fate' is achingly beautiful, full of sadness and resignation. It makes you feel for the world, for all of those in suffering. 'You're A Big Girl Now' is made for me by the beautiful guitar and bass introduction but also by Bob's superlative vocal performance. His finest since 'Blonde On Blonde' most likely. I think so. When he reaches upwards for the high notes, gets them, holds onto them.... It's a romantic sounding song in any case. 'Idiot Wind' in it's final 'Blood On The Tracks' incarnation is a fury of anger and bitterness wrapped in the hardest hitting musical track on a Dylan record since 'Highway 61 Revisited'. 'You're Gonna Make Me Lonesome When You Go' cheers matters up somewhat. A breezy and happy sounding declaration of love and feeling. 'Meet Me In The Morning' which closes the first half is fairly forgettable though. A blues influenced number that fails to match the character or unique nature of much else that's here. 'Lily Rosemary And The Jack Of Hearts' is one of Bobs story-telling flights of fancy! A movie in song wrapped in one of the fullest sounding band performances on the entire album. It runs for nearly nine minutes but remains a joy throughout and another dose of happiness on this otherwise sadness tinged record. Speaking of which..... 'If You See Her Say Hello' arrives next. A beautifully delicate guitar performance with a concentrated Dylan vocal. 'Shelter From The Storm' and 'Buckets Of Rain' are retained from their original acoustic based versions. 'Shelter From The Storm' has a fine melody and a Bob vocal sending shivers down the spine. 'Buckets Of Rain' for such a simple song squeezes in so many little melodic moments and changes. A happy, optimistic closer! A fantastic album! Yeah, it's true. Bob was back!

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Readers Comments McPherson, Norman NMcpherson@fac.unc.edu I have never heard Dylan sounding as angry or heartbroken on any other album that I have. He uses one of the best studio bands that has ever backed him and his voice is the cleanest ever [except maybe during his country period]. -An eleven. Jamie Edmondson jeffbuckley94@yahoo.com Never, ever, have I got so much pleasure out of a record that wallows in someone else's sorrow. How does Dylan do this? Jamie Edmondson Danz235@aol.com I also disagree and question whether you listened to the album. Box of rain is, in fact, one of the top five dead songs of all time, beautiful harmonies, gorgeous chord changes... and Brokedown Palace might just be the saddest song ever written, to Jerry's dead mom, absolutely heartbreaking. Listen to it again man. dex Dextano@hotmail.com A sublime album - "Buckets Of Rain" is one of the most powerful acoustic songs i have ever heard, sends shivers down my spine every time i listen to it. Only con of the album for me was the jack of hearts song. Didnt fit into the albums style. Magnus Wistrand magnus@otenet.gr Oh-ahh! Why don't we have Tangled up in blue from Bootleg series and Big girl now and Up to me from Biograph remastered? And why don't we have the 'original' Idiot wind, Jack of hearts and If you see her? But Lonesome when you go is better live '76