I'm Not There
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Free Music Notes for I'm Not There
Free Music Review: My Favorite Record of the Fall/Winter
Hit: 5 Stars
I just looked over some of the reviews for this album, and I can't believe how many old hippies have posted on here about how "only Bob can do Bob" (one old-timer even insisted that the list of great artists to cover him begins with the horrible, uninspired noodlings of the Grateful Dead!). These songs are reinterpretations of great songs, and yes, many of them are quite different than the originals. One reviewer suggested that these versions are "too modern," which says a great deal about that person's closed-mindedness when it comes to music produced after the 1960s. Most of the other negative reviews are clearly unfamiliar with the bands on this album (most of whom are pretty popular among music fans, by the way). I don't know why anyone would want these songs to sound just like Dylan, or why anyone would say he'd rather hear Dylan do them when all he'd have to do is pop a Dylan album in.
This is an excellent soundtrack full of excellent versions of excellent songs. It's really interesting, too: halfway through my first listen to Ramblin' Jack Elliott's version of "Just Like Tom Thumb's Blues," I was about to dismiss it as a cheap Dylan imitation, only to realize that hey, early, acoustic Dylan is really a cheap Ramblin' Jack impression, as he's the first to admit, so it's really almost like hearing 1963-era Dylan covering 1965-era Dylan, if you catch my drift, which is really awesome. Other highlights include Sonic Youth doing a great job with the title song; Jim James and Calexico absolutely killing "Going to Acapulco"; Malkmus's unbelievable "Ballad of a Thin Man, in which his slacker-drawl somehow turns the song into something that I can't help dancing to; Yo La Tengo's "Fourth Time Around" with Georgia on vocals; Malkmus again on "Maggie's Farm"; Mason Jennings's versions of the folkie stuff; and the excellent backing by Calexico and the supergroup Million Dollar Bashers. Even Jack Johnson, whom I normally find too vanilla, does a really good job with "Mama, You've Been on My Mind." Only Sufjan Stevens stinks up the joint, doing a limp-wristed, Lawrence Welk-ified version of "Ring Them Bells" that doesn't fit in at all with the rest of the record (but then again, in my opinion Stevens ruins everything he touches).
This is exactly the right kind of soundtrack for this movie: it's smart, artistic, and challenging, and the kind of people who want to see their hero preserved in a time capsule like some sort of psychedelic Vladimir Lenin will undoubtedly be frightened out of their tie-dye. Plus, the vinyl version is four LPs, which is pretty cool.
Free Music Review: Museum Pieces v. the Living Word
Hit: 5 Stars
This is a wonderful collection of new takes on Bob Dylan songs. Although I am of a certain age that would know most (but not the very earliest) of the original Dylan songs in their original contexts, I do not worship the canon nor believe "The Times They Are a Changin' " was inscribed on stone tablets. "Blood on the Tracks" is my favorite album of his, so that should give you some idea of where I'm coming from.
But the comments here bring up an interesting dichotomy that resembles the classicist/romantic split that often comes up when performed art is discussed. The classicists tend toward the "Dylan does Dylan best," or even "only Dylan can do Dylan correctly." The romantic would throw the doors open to anyone performing a Dylan work in any manner he or she wishes. Of course, most people fall somewhere in the middle. Does anyone not appreciate The Byrds' version of "Mr. Tambourine Man?"
This isn't just a technical exercise, but rather has practical implications. Classical music pieces have become something akin to (pre-Modern) museum pieces. The vast majority of the classical music audience wants to hear Beethoven's 9th Symphony performed "correctly." Granted, conductors and musicians interpret the classics during performances, but within a narrow range. Of course, there are exceptions, such as the bright young violinist Carla Kihlstedt, who is building an amazing repertoire across several musical genres.
Do we want Bob Dylan's work to always be performed "correctly?" In 200 years (yes, I think his work will still be performed then and later) will we want to dress up to hear Dylan performed correctly in a concert hall by a performer in period costumes?
There will be a place for this type of performance, but keeping the songs fresh is mandatory. Without reinterpretations from contemporary performers, any music gradually becomes relevant only as history. When songs become museum pieces they lose their vitality and wither away, eventually known only to connoisseurs and members of the academy.
People may not like all of the interpretations here, but none of the performances sounds like it was "phoned in." Most of the artists here have probably lived with these songs during their careers and respect them greatly. The group of musicians making up "the house band" also provide a coherence that is lacking in many multi-artist compilations.
All-in-all, an outstanding collection, as long as you don't expect a completely deferential approach to the material.
Free Music Review: Best collection of Dylan songs I have ever heard
Hit: 5 Stars
The best collection of Dylan covers I have ever heard. From his most popular songs like "All Along the Watchtower" by the mega-popular Pearl Jam, to the unreleased and rare "I'm not there" by the not as popular Sonic Youth (unless you belong to their cult of loyal fans). There are some very cool and different versions of his songs on this CD. Overall, this is a can't miss if you are a Dylan fan. Richie Havens does a terrific job as does the young lad..the 13 year old kid from the movie, sorry...can't remember his name. These songs make you appreciate Dylan in a different way. For me, it made me go back and dust off my Dylan Lps and Cds to listen again to the original versions. Now I hear more nuances in Dylan's songs and am more appreciative of the the meter, the rythm, the math, the lyrics, the structure, the ideas, metaphors, themes, each word, each syllable, how they are pronounced, annunciated, etc. Everything starts to become even more clear and appreciated. It also makes me try to place myself in those times and realize how artists like Dylan and Hendrix for example must have sounded like they came from Mars considering the sounds and music that existed before they came along in the mid-60s. This reminds that the 60s went through a rapid time warp in so many ways not the least of which was the huge evolution of pop art and culture that has not been matched since.Free Music Review: Nobody does Dylan like Dylan, but...
Hit: 5 Stars
This is a worthy cover album. Not bad at all and it's interesting too, hearing younger generation musicians cover and interpret Dylan songs. There are some old timers here too tho, which is cool. Dylan is served well, seems to me, when disentangled a little more from the shadow of the 1960s, a decade the often media still seems is hell bent on imprisoning him. Bob Dylan's music surely belongs to no single generation. If it did I wouldn't listen to him, I'd hate him. Anyway, here's some covers that stand out to me:
Sonic Youth's "I'm Not There"
John Doe's "Pressing On"
Richie Haven's "Tombstone Blues"
Jim James and Calexico's "Goin to Acapulco"
Marcus Carl Franklin's "When the Ship Comes In"
I felt Cat Power's "Stuck Inside of Mobile..." -- kinda weak, imo. And there are some other versions that aren't too great and one or two that I should add to the highlight list. One version that is really standout is "I'm Not There" by Bob Dylan with the Band. Maybe the best song here.
Free Music Review: Dylan Is Here
Hit: 5 Stars
The first thing that struck about this generous 2 disc offering was the choice of material. You could, of course, dip into the Dylan songbook and compose various 'Best Ofs' from 100 plus songs, such are his superior and prodigal gifts. For mine, this, beats any such previous compilations for tonal shifts, themes and interpretations. Inevitably, some artists inhabit and interpret the material more convincingly than others, but this too, is a matter of personal choice. For instance, I think Anthony and the Johnson's,'Heaven's Door' sounds quite brilliant in his inimitable style. Verlaine's, Cold Iron's Abound', is riveting, even chilling, in a way the only other and earlier recording I've heard is not. I could happily erase the version of, John Wesley Harding and without ticking through the remainder of the list, some are merely competent versions without bring much freshness to the table. But these are small quibbles to the greater merits which will get a lot of play.