The best songs of this [modern] period - the apocalyptic "High Water," for example - return [Bob] Dylan to where he was in his first phase, updating and transforming American traditional music.
Except in these latter-day songs, [Bob] Dylan is a grizzled old prophet who's already been to hell and back.
I suspect many readers might associate [Bob Dylan] with one of the shortest phases of his career, the time from 1963 to '65 when he wrote his most famous "protest songs," like "Blowin' in the Wind" and "The Times They Are a-Changin.'"
[Bob] Dylan thus deserves the Nobel Prize, not just for "new poetic expressions within the great American song tradition," as the Nobel committee aptly described his work, but also for embodying the contradictions within it.
In honor of his new Nobel, this hard-core Dylanophile wants to share with you a song or two from each of his many incarnations. Because you deserve to know.
In the meantime [1963-65], [Bob] Dylan was writing some of the best love songs in the genre, like "Girl From the North Country," "Don't Think Twice, It's Alright," and "It Ain't Me, Babe."
Weirdly, by the way,[Bob] Dylan also managed to write several beautiful love songs, like "To Make You Feel My Love" (covered by Adele, Garth Brooks, Billy Joel, and who knows who else) and "Most of the Time." Go figure.
There has been a ton of excellent music in this period (along with a few misses), evoking scenes like a bar-room brawl at a border-town dive, a washed-up singer in a smoky lounge, and the scenes of violence in Bob Dylan latter-day music videos.I think the ethos of this period is best summed up in the 2001 song "Summer Days".
[Bob] Dylan's many quotations from classic American roots music (that song is from an album aptly titled Love and Theft) join the aging poet to a tradition that preceded him and hopefully will outlive him as well.
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