It seems hard to believe now both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). It is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.Others have, endlessly, gone on about Bob Dylan's role as the voice of his generation (and mine), his lyrics and what they do or do not mean and his place in the rock or folk pantheons, or both. I just want to mention a couple of points here. The selections here present quite a mix although the perennial themes of lost love, longing and perfidiousness get their full Dylan workout. I would start with Visions of Johanna that is being covered by more artists (the most recent version that I have heard being from Chris Smithers on his Leave the Light On album)) which in several minutes not only goes through the woes of the modern love dilemma but is real stream of consciousness song with some interesting use of language that Dylan had gotten away from for a while prior to the release of this album. Of course Just Like A Woman is something of an anthem for the Generation of '68 (although she is no longer breaking like a little girl). As is in very different and funky way Rainy Day Woman. Nor should one exclude the playfulness of Leopard-Skin Pill-Box Hat. But here is the real question for Dylan aficionados- who was Sad-Eyed Lady of the Lowlands written for- really? If you know the purpose of the question (much less the answer) you qualify for the title of aficionado. Okay.
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