I Love Bob Dylan (Why Joseph Farah's A Fan Of the 60s Great As Much Ann Coulter Alert)

Worldnetdaily.com ^ | 12/28/04 | Joseph Farah

[goldstategop]

just read a fascinating book – "Chronicles, Volume 1" by Bob Dylan.

There are some real surprises in this book.

Most of us baby boomers thought of Dylan as a man with a political agenda. It turns out Dylan wasn't trying to lead anyone anywhere. He just wanted to be a singer-songwriter.

It's quite a revelation, and Dylan has an interesting way of telling the story.

Dylan was a private man who tried to put his family first. He didn't want to get caught up in the '60s activism. He was conspicuously absent from Woodstock, Altamont and all the other big festivals and protests of the era.

He writes of an introduction he received at the Newport Folk Festival that made him shudder.

Ronnie Gilbert, one of the Weavers, told the audience: "And here he is ... take him, you know him, he's yours."

"I had failed to sense the ominous forebodings in that introduction," writes Dylan.

Elvis had never been introduced like that. "Take him, he's yours!" What a crazy thing to say! Screw that. As far as I knew, I didn't belong to anybody then or now. I had a wife and children whom I loved more than anything else in the world. I was trying to provide for them, keep out of trouble, but the big bugs in the press kept promoting me as a mouthpiece, spokesman, or even conscience of a generation. That was funny. All I'd ever done was sing songs that were dead straight and expressed powerful new realities. I had very little in common with and knew even less about a generation that I was supposed to be the voice of.

Dylan goes on to talk about just how estranged he was from the values of that generation while trying to live a quiet life in Woodstock, N.Y. He sensed people wanted him to lead the charge against the Roman Empire.

"But America wasn't the Roman Empire and someone else would have to step up and volunteer," he writes. "I really was never any more than what I was – a folk musician who gazed into the gray mist with tear-blinded eyes and made up songs that floated in a luminous haze. Now it had blown up in my face and was hanging over me. I wasn't a preacher performing miracles."

When Dylan and his family first moved to the quiet, rural town of Woodstock, it offered a sanctuary for them. Later, intruders started breaking in day and night.

"Tensions mounted almost immediately and peace was hard to come by," he writes.

At one time the place had been a quiet refuge, but now, no more. Roadmaps to our homestead must have been posted in all 50 states for gangs of dropouts and druggies. Moochers showed up from as far away as California on pilgrimages. Goons were breaking into our place all hours of the night. At first, it was merely the nomadic homeless making illegal entry – seemed harmless enough, but then rogue radicals looking for the Prince of Protest began to arrive – unaccountable-looking characters, gargoyle-looking gals, scarecrows, stragglers looking to party, raid the pantry.

Dylan had a few firearms, but the local police cautioned that if he used them to defend his property and family – or even fired warning shots – that it would be he who found himself in jail. He was also worried that "creeps thumping their boots across our roof could even take me to court if any of them fell off. This was so unsettling. I wanted to set fire to these people. These gate-crashers, spooks, trespassers, demagogues were all disrupting my home life."

Dylan wanted to get away. And the place he wanted to go might surprise many of his fans.

"I don't know what everybody else was fantasizing about, but what I was fantasizing about was a nine-to-five existence, a house on a tree-lined block with a white picket fence, pink roses in the backyard," he writes. "That would have been nice. That was my deepest dream."

It wasn't that Dylan was apolitical. He was just so out of step with those around him that he didn't feel like he could talk about it.

"I had a primitive way of looking at things and I liked country fair politics," he writes.

My favorite politician was Arizona Sen. Barry Goldwater, who reminded me of Tom Mix, and there wasn't any way to explain that to anybody. I wasn't comfortable with all the psycho polemic babble. It wasn't my particular feast of food. Even the current news made me nervous, I liked old news better. All the new news was bad.

It turns out Dylan was more iconoclastic than any of us ever realized.

His book is a great read for anyone who lived through the '60s. You'll never look at Dylan or his generation the same way again.

[goldstategop]

A fascinating look at the 60s great Bob Dylan. You'll never see the singer or his generation the same way again after you've finished his autobiography. A radical he never was. And his songs are timeless.

[sonserae]

I had the priveledge of working on his CD ROM "Bob Dylan, Highway 61". At the time I started on it, I didn't like Dylan. By the time I finished, I had a great admiration for the man and his amazing song writing. He's up for a Nobel Peace Prize this year in Journalism for his songwriting. Well-deserved.

[Lancey Howard]

Dylan bump!

[Tristram Shandy]

I learned an important lesson from reading one too many bios of my favorite writers: the less you know about an artist you revere, the better. Looking into their personal lives rarely gives you any deep insights into their creative undertakings. I've always regarded Dylan as utterly enigmatic; I'll let him stay that way.

For those of you who don't like the voice but like the songs, this can't be recommended highly enough.

[sushiman]

Ultimate 60's war ( Vietnam ) protest song , Masters of War by Bobby Dylan :

Come you masters of war
You that build all the guns
You that build the death planes
You that build the big bombs
You that hide behind walls
You that hide behind desks
I just want you to know
I can see through your masks

You that never done nothin'
But build to destroy
You play with my world
Like it's your little toy
You put a gun in my hand
And you hide from my eyes
And you turn and run farther
When the fast bullets fly

Like Judas of old
You lie and deceive
A world war can be won
You want me to believe
But I see through your eyes
And I see through your brain
Like I see through the water
That runs down my drain

You fasten the triggers
For the others to fire
Then you set back and watch
When the death count gets higher
You hide in your mansion
As young people's blood
Flows out of their bodies
And is buried in the mud

You've thrown the worst fear
That can ever be hurled
Fear to bring children
Into the world
For threatening my baby
Unborn and unnamed
You ain't worth the blood
That runs in your veins

How much do I know
To talk out of turn
You might say that I'm young
You might say I'm unlearned
But there's one thing I know
Though I'm younger than you
Even Jesus would never
Forgive what you do

Let me ask you one question
Is your money that good
Will it buy you forgiveness
Do you think that it could
I think you will find
When your death takes its toll
All the money you made
Will never buy back your soul

And I hope that you die
And your death'll come soon
I will follow your casket
In the pale afternoon
And I'll watch while you're lowered
Down to your deathbed
And I'll stand o'er your grave
'Til I'm sure that you're dead

[Lancey Howard]

'Masters of War' was not about the Vietnam War - - it was about ALL war and those who profit from it (the defense industrial complex that Eisenhower warned about in his farewell speech?). The song was included on Dylan's Freewheelin' album which was released in May 1963 (Kennedy was President!) and Vietnam was just coming onto the radar screen.

[weegee]

Rock and Roll PING! email Weegee to get on/off this list (or grab it yourself to PING the rest)

[rogue yam]

Today I went to the Dylan exhibit at the E.M.P. in Seattle. It was excellent. It covered the years 1956 to 1966. The overwhelming impression I got was of a young man who was uninhibited in his ambitions, who was in the very right place at the right time, and who was taken up by some very talented and well-connected people. It seemed to me that Zimmy went from cute, talented upstart to icon in about 18 months at age 20 or so. How could anyone have anticipated this? Of course he played along because he wanted to enjoy the wealth and the audience. But in no way did it seem that he ever conceived of himself as anything more than a singer/songwriter parcel to a well-established American tradition of such.

[rogue yam]

On July 1, 1978, I saw B.D. play that song at a rock festival in Nuremberg at the Zeppelinfeld, site of the infamous Nazi Party rallies held there in the 1930s. He introduced the song by saying simply "I can't believe that I'm singing this song here."

[dennisw]

 

http://bobdylan.com/performances/

 

Pancho and Lefty, { listen } Bonnaroo 2004 Music Festival, Manchester, Tennessee, 6/11/04 You Win Again, { listen } Bonnaroo 2004 Music Festival, Manchester, Tennessee, 6/11/04 Samson and Delilah, { listen } Bonnaroo 2004 Music Festival, Manchester, Tennessee, 6/11/04 Sing Me Back Home, { listen } Bonnaroo 2004 Music Festival, Manchester, Tennessee, 6/11/04 Tryin' To Get To Heaven, { listen } Warner Theatre, Washington, DC, 4/4/04 A recent performance of "Tryin' To Get To Heaven", from Time Out Of Mind. Simple Twist Of Fate, { listen } Jerry Garcia, from the new All Good Things: Jerry Garcia Studio Sessions box set. In addition to Jerry Garcia's five studio albums, this new 6-disc set includes over four hours of unreleased studio work. The set features covers of "Simple Twist Of Fate, "Tangled Up In Blue", and "Knockin' On Heaven's Door." jerrygarcia.com is offering to its customers a seventh disc which includes a 16 minute version of "Visions of Johanna". Hazel, Washington, DC, 4/2/04 { RealAudio } An exceedingly rare performance of "Hazel,", from the 1974 album Planet Waves. Bob Dylan had only performed this song twice previously, at the taping of MTV Unplugged (though unreleased) and at The Last Waltz (recently released on the expanded box set). Most Likely You Go Your Way and I'll Go Mine, Washington, DC, 4/2/04 { RealAudio } From Blonde on Blonde, "Most Likely You Go Your Way and I'll Go Mine" was a highlight of the 1974 tour with The Band, documented on the live album Before the Flood.. It Ain't Me, Babe, Toronto, 3/21/04 { RealAudio } From Bob Dylan's three-night-three-venue stand in Toronto. "It Ain't Me, Babe" first appeared on his 1964 album Another Side of Bob Dylan. Down Along the Cove, St. Louis, 3/2/04 { RealAudio } The opening number on night two of the recent engagement at the Pageant in St. Louis, "Down Along The Cove's" only official release was on Bob Dylan's 1967 album John Wesley Harding. It's All Over Now, Baby Blue, Chicago, 3/7/04 { RealAudio } From Bob Dylan's recent performance at The Vic, one of four venues he played in Chicago on his 2004 winter tour, "It's All Over Now, Baby Blue" first appeared on his 1965 album Bringing It All Back Home. Moonlight, Chicago, 3/7/04 { RealAudio } A new arrangement of "Moonlight", from "Love and Theft". Something, New York City, 11/13/02 { RealAudio } Dedicated to George Harrison "because we were such good buddies," this performance of "Something" was the final encore performed at Bob Dylan's second show at Madison Square Garden. You Ain't Goin' Nowhere, New York City, 11/13/02 { RealAudio } Another Basement Tapes favorite, "You Ain't Goin' Nowhere". Yea! Heavy and a Bottle of Bread, New York City, 11/11/02 { RealAudio } The first-ever live performance of "Yea! Heavy and a Bottle of Bread", a chestnut drug out of The Basement Tapes. The End of the Innocence, Los Angeles, California, 10/15/02 { RealAudio } Tell Me That It Isn't True, Los Angeles, California, 10/15/02 { RealAudio } Don Henley and Bruce Hornsby's song "The End of the Innocence" and "Tell Me That It Isn't True", originally released on Nashville Skyline. Mutineer, Berkeley, California, 10/11/02 { RealAudio } Floater (Too Much To Ask), Berkeley, California, 10/11/02 { RealAudio } Warren Zevon's song "Mutineer" and "Floater", originally released on "Love and Theft". Some recent cover versions of Bob Dylan songs: Gates of Eden, Marc Carroll { RealAudio } Marc Carroll is an acclaimed Irish songwriter from Dublin. This cover of Bob Dylan's "Gates of Eden" appears on Carroll's recent EP Crashpad Number. A version of "Senor (Tales of Yankee Power)" also appears on his next EP to be released in February. Both EP's and his debut album are released on the Evangeline label. Visit the Marc Carroll webpage. Seven Days, Loup Garou { RealAudio } Loup Garou is a New York City zydeco band of great local repute. This recording of Bob Dylan's "Seven Days" appears on the Dobb's Ferry CD, released in 2002. Find out more at Great Big Island. You're A Big Girl Now, Mary Lee's Corvette { RealAudio } Mary Lee's Corvette is a New York City band with several releases, the most recent of which is Blood On The Tracks, a live recording of the entire Bob Dylan album of the same name. You can find out more about the band at maryleescorvette.com She Belongs To Me, Grateful Dead { RealAudio } The Grateful Dead covered many Bob Dylan tunes over the course of thirty years together. Their new CD Postcards Of The Hanging is an excellent compilation of live Dead recordings of Bob Dylan songs recorded from 1973 to 1990. Track list at Amazon.com Things Have Changed, Barb Jungr { RealAudio } Barb Jungr is a British singer whose new album, Every Grain of Sand is a collection of Bob Dylan songs. Visit barbjungr.com and Linn Records for more information.   High Water (for Charley Patton), Sunrise, Florida, 2/1/02 { RealAudio } Lonesome Day Blues, Sunrise, Florida, 2/1/02 { RealAudio } "High Water" and "Lonesome Day Blues", originally released on "Love and Theft". I Can't Get You Off Of My Mind, from Timeless { RealAudio } Bob Dylan has recorded "I Can't Get You Off Of My Mind" for the newly-released album Timeless," Lost Highway Record's tribute to Hank Williams. Other artists contributing tracks include Emmy Lou Harris, Ryan Adams, Beck, Lucinda Williams, Keith Richards, Keb' Mo' and Johnny Cash. Tweedle Dee & Tweedle Dum, UCSB Events Center, Santa Barbara, California, 10/14/01 { RealAudio } "Tweedle Dee & Tweedle Dum", from "Love and Theft", is one of the seven new songs performed so far on Bob Dylan's current tour. Check future tour dates on the Live and In Person! page on bobdylan.com. Standing in the Doorway, Osaka Koseinenkin Kaikan, Japan, 3/6/01 { RealAudio } "Standing in the Doorway", from Time Out of Mind, was not performed live until June, 2000, almost three years after the album's release. This performance is from Bob Dylan's tour of Japan in early 2001. Dusty Old Fairgrounds, Town Hall, New York, NY, 4/12/63 { RealAudio } "Dusty Old Fairgrounds" is a Bob Dylan composition for which there are no known official releases or known studio recordings. This recording is from his 1963 Town Hall concert and was originally intended for release on the never-issued Bob Dylan In Concert album. This World Can't Stand Long, performed by Johnnie & Jack, recorded 1947, composed by Johnnie Wright, Jim Anglin and Jack Anglin { RealAudio } Humming Bird, performed by Johnnie & Jack, recorded 1951, composed by Johnnie Wright, Jim Anglin and Jack Anglin { RealAudio } For the past couple of years, Bob Dylan has been performing songs originally recorded by Johnnie & Jack. Here are two of those original recordings. Ring Them Bells, The Supper Club, New York, NY, 11/16/93 (early show) { RealAudio } "Ring Them Bells" was originally released on Oh Mercy High Water Everywhere, part 1, Charley Patton { RealAudio } A recording from 1929 or 1930, Charley Patton's work was an inspiration for Bob Dylan's new song on "Love and Theft", "High Water (for Charley Patton)". Though, as you'll hear, the lyrics are a bit hard to make out, there is a valiant effort at transcription at Harry's Blues Lyrics Online. Biographical notes on Charley Patton can be found at The Blue Flame Cafe. This recording can be found on Revenant Record's staggering 7 CD set, "Screamin' and Hollerin' The Blues: The World of Charley Patton", due to be released in October, and on Yazoo Records' Charlie Patton: Founder of the Delta Blues, 1929-34 Poor Lazarus, "Minneapolis Hotel Tape", Minneapolis, MN, 12/22/61 { RealAudio } From the legendary recording in Bonnie Beecher's apartment back in 1961. Dink's Song, "Minneapolis Hotel Tape", Minneapolis, MN, 12/22/61 { RealAudio } Another song recorded that same night.

[WestVirginiaRebel]

Actually, in his own way Dylan was far more radical than the self-styled posers of the time, because he truly was his own man, or tried to be. I think he also had a conversion to Christianity in the Seventies.

[goldstategop]

Yep. He converted to fundamentalist Christianity at one point, I think. It speaks to his quintessentially conservative leanings. No other singer has taken that step.

[Brian Allen]

Ping-list me please? Thanks -- B A

[Brian Allen]

#10 - Wow. Thanks -- B A

[the invisib1e hand]

I Love Bob Dylan (Why Joseph Farah's A Fan Of the 60s Great As Much Ann Coulter Alert)

Bob's cool. But I love Ann Coulter.

[Mr. Mojo]

Not only was "Masters of War" written at least two years before American troops saw any action at all in Vietnam, but Dylan's folk/protest period of his career lasted exactly that same period of time -- two years. That's two years out of more than forty. But for some strange reason that's the era many people want to remember him by. .....his weakest.

[Mr. Mojo]

I learned an important lesson from reading one too many bios of my favorite writers: the less you know about an artist you revere, the better. Looking into their personal lives rarely gives you any deep insights into their creative undertakings. I've always regarded Dylan as utterly enigmatic; I'll let him stay that way.

Very wise. ....concur completely.

[Mr. Mojo]

Dylan had a few firearms, but the local police cautioned that if he used them to defend his property and family – or even fired warning shots – that it would be he who found himself in jail. He was also worried that "creeps thumping their boots across our roof could even take me to court if any of them fell off. This was so unsettling. I wanted to set fire to these people. These gate-crashers, spooks, trespassers, demagogues were all disrupting my home life."

He got a few English Mastiffs to help deal with the problem when he lived in Pt. Dume (Malibu), but the fact that he was told he couldn't defend his life and property without being considered a criminal himself is just outrageous. ......but typical, considering his state of residence.

[Mr. Mojo]

My favorite politician was Arizona Sen. Barry Goldwater, who reminded me of Tom Mix, and there wasn't any way to explain that to anybody

lol.....can you imagine Dylan attempting to explain to his folky friends that he supported Goldwater?. They might've killed him right then and there.

[sushiman]

I was only a punk kid of 10 in 1962 ...Found out about Dylan a few years later ...Despite Dylan's reluctance to directly speak out against the Vietnam War in public , he was , and still is to a great extent , associated with anti-war songs . Add in the fact that he was tight with people like Joan Baez ( they lived together for a while ) and Allen Ginsberg ( no America lover ) , and it is easy form misconceptions of the man . Anyway , I appreciate your setting me straight .