The Guardian‘s Richard Williams offers a preview of the “new” “Bob Dylan” album, created along the lines of Billy Bragg and Wilco’s Woody Guthrie records — old Basement Tapes-era lyrics, new music. ‘Everybody brought their A game,’ he said. ‘But you don’t record all 44 versions of these songs in 12 days by being precious about it.'”
New York Magazine music critic Jody Rosen argues Bob Dylan is having a laugh in his new Superbowl Chrysler ad. “Dylan hasn’t recorded a protest song in decades, but make no mistake: The car ad and the yogurt ad, they’re protests.”
“When Clint Eastwood did his Chrysler Super Bowl ad, he was introduced with a silhouette, and there was never any doubt; once Dylan appears the ad does everything short of superimposing a neon arrow labeled ‘Dylan’ and directed at him. At one point, he actually goes into a guitar store, stops, and brings his face close to a rack of books with his name and pictures on their covers.”
Meanwhile, The New Yorker‘s Amy Davidson argues it was a dumb ad anyway. “It’s not even the best car ad Dylan has ever made; he did a better job for Cadillac.” (And for Victoria’s Secret, for that matter.)
Like Rosen, I think this was very much in keeping what Dylan does these days. And like Davidson, I thought the ad could have been better — Even the syncing of Bob’s voice and face seemed off.
My biggest issue, intentional or not, was that the sincerity of Bob’s pitch was completely undercut by the song in the background — “Things Have Changed”. It’s a little late in the day to try and repurpose Dylan’s existential classic, and an obvious riff off the almost snide self-assurance that Good Will Inherently Prevail in “The Times They-Are-A-Changin’,” into an upbeat marketing anthem.
“Only a fool in here would think he’s got anything to prove…You can’t win with a losing hand…All the truth in the world adds up to one big lie.” Theoretically, Bob is telling us to Buy American, Buy Detroit, but all I could hear was the ode to not giving a good-goddamn about a broken world anymore. “Highway 61” or the jaunty “Stuck Inside of Mobile” would’ve made more sense.
As making the rounds today: Forty-eight years after that trademark snare-shot first “kicked open the door to your mind,” as Bruce Springsteen once put it, Bob Dylan’s seminal “Like a Rolling Stone” gets a spiffy official interactive video. I clicked on this yesterday and didn’t even notice the lip-syncing on every channel. In my defense, I may have gone to the finest schools alright, but I only used to get juiced in them.
The Roots on New Years’ Eve notwithstanding, I’ve been derelict about posting on live entertainment I’ve seen this year, like Louis CK in Baltimore, The Motherf**ker with the Hat at Studio Theater, The Last Five Years in Shirlington, Dean Fields in Arlington and The Postal Service at Merriweather Post.
All that being said, since there’s an especially clear precedent here — 1, 2, 3, 4, 5, 6, 7, 8, 9 — I shouldn’t neglect to mention I caught my tenth Dylan show two weeks ago, as part of the Americana Music Festival (with Ryan Bingham, My Morning Jacket, and Wilco). Here’s the setlist:
Things Have Changed | Love Sick | High Water (For Charley Patton) | Soon After Midnight | Early Roman Kings | Tangled Up In Blue | Duquesne Whistle | She Belongs To Me | Beyond Here Lies Nothin’ | A Hard Rain’s A-Gonna Fall | Blind Willie McTell | Simple Twist Of Fate | Thunder On The Mountain | All Along The Watchtower | Ballad Of A Thin Man
Perhaps it’s because the setlists are fluctuating less this tour, or he’s playing a shorter set, or he’s just inspired by the bands he’s touring with, but this was actually the best I’ve heard Bob sound in awhile. He seemed animated and his voice, while always gravelly these days, sounded more mellifluous than it’s been in many a moon. “Things Have Changed” and “Ballad of a Thin Man” are always favorites, but the highlight for me this time around was finally catching Blind Willie McTell live — You can see it as well above, thanks to Joanna’s Visions.
Also, due to the vagaries of having a job and all that — the festival started at 4:30pm over in Columbia, MD — we missed Ryan Bingham’s set and all but the last song of My Morning Jacket, but here was the evening for the Wilco-inclined (who were also very good):
Ashes of American Flags | Bull Black Nova | Blood of the Lamb | Christ for President | I Am Trying to Break Your Heart | Art of Almost | Jesus, Etc. | Can’t Stand It | Born Alone | Passenger Side | I Got You (At the End of the Century) | Heavy Metal Drummer | I’m the Man Who Loves You | Dawned on Me | A Shot in the Arm | The Lonely 1
Fifty years after his first album, and eleven years after a memorable 9/11 also brought forth Love and Theft, Bob Dylan’s Tempest drops today.
Update: Been settling in with the album tonight, and it’s already my favorite since Time Out of Mind. It’s very dark — Bob’s in full-on Blind Willie apocalyptic mode. This is dead land, this is cactus land. Eliot’s in the captain’s tower & the Titanic sails at dawn.
Speaking of which, what with the 14-minute titular track about the Titanic, “Desolation Row” obviously comes to mind. But there’s a little John Wesley Harding here as well — My early favorites are “Scarlet Town” and “Tin Angel,” the latter very much a frontier tale like “Frankie Lee and Judas Priest” or “Lily, Rosemary, and the Jack of Hearts,” and the opening track and first single, “Duquesne Whistle,” is much like “I’ll Be Your Baby Tonight” in that it doesn’t seem to fit the rest of the album. Anyways, a few listens in, I really like it.
NPR’s All Songs Considered gets their hands on “Duquesne Whistle”, the first track from Bob Dylan’s forthcoming Tempest, due out September 11th. True, there is something Basement Tapesy about it upon first listen.
As breaking over the weekend, the Coens’ next project may well be a look at the sixties folk scene in Greenwich Village, based on the life of Dave Von Ronk — above, with Dylan and Suze Rotolo — and his memoirs, The Mayor of McDougal Street. He shouldn’t overpower the story, but I do hope Jack Rollins get his due.