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Gary Smith's avatar

This is a really great essay. Dylan is a gift that keeps on giving for anyone who likes to dive deep. There are so many layers to everything he does. Blood on the Tracks is the only post-1960s Dylan album I ever purchased, because so many insist it's one of his best, but I have to admit I've never really got into it compared to the earlier 1965/66 stuff.

Obviously this is all completely subjective, but the album is a bit too self-aware for me -- a bit too directly personal in a way that crosses into awkwardness at times. And I have enough of my own awkwardness, I don't need Bob's too. But the album contains a few great tracks: "Meet Me in the Morning" is probably my favourite, but it's also the least like the rest of the album.

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Mathew Lyons's avatar

Thank you, Gary! I understand what you mean about awkwardness. It’s uncomfortable listening in places. For my part, I’ve never quite appreciated Highway 61 and Blonde on Blonde to the extent I think I should. As you say, he’s the gift that keeps on giving…

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Rob Riley's avatar

the Desire album is great too

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Daniel Moran's avatar

Nicely done--and I also clicked the link to read your essay about musicians becoming novelists. "I'd rather read Leonard Cohen than Matt Haig" made me laugh.

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Mathew Lyons's avatar

Thanks, Daniel. Not sure what link you clicked – that essay sounds great but sadly it's not by me!

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Daniel Moran's avatar

You still brought it, LOL.

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Ann Kennedy Smith's avatar

Wow! So interesting. Thanks for a lovely piece, and brilliant untangling.

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Mathew Lyons's avatar

Thank you, Ann!

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Rob Riley's avatar

Rob Stoner on bass, no? Dylans' poetic approach is brilliant. I've spoken with Rob on Facebook, he played on American Pie by Don McClean too. I play bass too, but he and I didn't have a great vibe, he's great though.

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