In case you were wondering how definitive that self-portrait was, here comes its mirror image four months later. Other points: it's overpriced, the cover art is lousy, and it sounds good on WMCA. It is possible to use strings and soprano choruses well, but Johnston has never demonstrated the knack. The singing is not consistently good, though it has its moments, and the production-for which I blame Bob Johnston, though Dylan has to be listed as a coconspirator-ranges from indifferent to awful. I don't know anyone, even vociferous supporters of this album, who plays more than one side at a time.
But in order for a concept to work it has to be supported musically-that is, you have to listen. Second, that the people's music is the music people like, Mantovani strings and all. First that "self" is most accurately defined (and depicted) in terms of the artifacts-in this case pop tunes and folk songs claimed as personal property and semispontaneous renderings of past creations frozen for posterity on a piece of tape and (perhaps) even a couple of songs one has written oneself-to which one responds. Conceptually, this is a brilliant album which is organized, I think, by two central ideas. Jon Landau wrote to suggest I give this a D, but that's pique. The Freewheelin' Bob Dylan īringing It All Back Home Dylan & the Dead Consumer Guide Reviews:.1965-1966: The Best of the Cutting Edge.Tell Tale Signs: Rare and Unreleased 1989-2006.
BOB DYLAN DISCOGRAPHY EXPECTING RAIN SERIES
The Bootleg Series Volumes 1-3 (Rare and Unreleased).
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