DESOLATION ROW ![]()
In like manner, I don’t view the release of Another Side of Bob Dylan as a radical break from the past, but rather a natural evolution of his music. For that matter, I feel the same way about Bob Dylan’s “going electric” on his next two albums, Bringing it All Back Home and Highway 61 Revisited; and also his Christian period in the trilogy of albums from 1979-1981: Slow Train Coming, Saved, and Shot of Love. Bob Dylan is very much undervalued as an instrumentalist, in my judgment; his guitar playing – and his harmonica, and his work as a pianist – is so strong that I often don’t even notice whether a song is acoustic or electric. As an example, until I saw it pointed out in Wikipedia while I was researching this month’s post, I had not realized that one of my Top Ten favorite Bob Dylan songs – the last and longest track on Highway 61 Revisited, “Desolation Row” – was the only non-electric song on the album.
(May 2013)
* * *
Along with many other figures from the underground press, Mick Farren moved to the influential New Musical Express (NME) in 1974. Quoting again from the Telegraph obituary: “Allowed free rein to explore the outer reaches of popular culture by its editor, Nick Logan, Farren turned in a series of memorable pieces on people such as the motorbike stunt-rider Evel Knievel and the avant-garde film director Kenneth Anger. “In the summer of 1976, by which time the Sex Pistols were introducing Britain to punk, Farren’s NME piece headlined ‘The Titanic Sails At Dawn’ [again using a Bob Dylan lyric, this time from one of my all-time favorites, “Desolation Row”] was judged to have caught the mood among the generation of teenagers disaffected by giant stadium acts like the Rolling Stones and Led Zeppelin.”
(March 2014/1)
|