The albums blend rock, blues, gospel and folk with the American experience of white supremacy and the resilience of slavery – a forever troubled chapter in the combined psyche of the USA since the Civil War of the 1860s. The "religious" albums are a measure of the rich history that shaped Dylan's own sounds, creativity and belief. Dylan explored them in his own way with honesty. Prophecy, mysticism, love, and judgement are founding features of all religions. Slow Train Coming, Saved, Shot of Love and Infidels are albums of the born-again Christian in Dylan.
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The next series of albums marked his Christian phase. Dylan picked the cross up and gently put it into his pocket. In November 1978, a fan tossed a silver cross on stage. The closing track of Desire was aptly named "Sara", who was "easy to look at, hard to define". Devastated, he showered all his grief in the albums Blood on the Tracks and Desire. Back on the road with Pat Garrett & Billy the Kid, Dylan, and Planet Waves, he was exploring and experimenting with something new all the time. The 70s was an interesting decade for Dylan. The Liberation War of Bangladesh in 1971 got him back on stage at the Concert for Bangladesh. Each one of these albums was subtly different from the other.ĭylan had become comfortable with his confinement at home to such an extent that he was afraid to go back on stage. Dylan's confinement days also saw the release of John Wesley Harding, Nashville Skyline, Self Portrait and New Morning. These were released as The Basement Tapes in 1975. With "The Band" Dylan recorded numerous numbers. He had time to see his kids grow up, being away from the "rat race".ĭylan wasn't idle during this time. Not being able to tour, Dylan was confined at home. This was a wonderful opportunity for Dylan to take a break, and re-discover and re-invent himself, again. Columbia was quick to issue a Greatest Hits in 1967. It could well have been the end of a shooting star. On July 29, 1966, Dylan suffered a motorcycle accident. He needed a break and he got one, but in an unpleasant way. The last song of that album, "Sad Eyed Lady of the Lowlands", an 11-minute masterpiece, was for his future wife Sara Lownds who would later re-surface in another phase of Dylan's transformations.Īfter the release of Blonde on Blonde, Dylan had recorded seven studio albums between 19. It's said to be an encrypted version of Bob. The last of the three is the first double LP album in Rock.
It was by his own confession year's later, "honest".Īnd why not? 1965-66 revealed a different Dylan with artistry in the trilogy albums: Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde. Dylan was taking his poems and the art of storytelling in American folk to a new dimension. The audience went crazy that night, but Dylan signalled a transformation like Miles Davis did in his illustrious career more than once. That generation thought he had sold out from the purity of American folk. Dylan was different he had become a "Voice of a Generation". Muddy Waters had done it the previous year. Next came "Like a Rolling Stone".ĭylan wasn't the first to go electric at the Newport Folk Festival. Dylan didn't hear them, or maybe he ignored. To the 100,000 or so waiting for Dylan, this was heresy. Michael Bloomfield, the Chicago blues guitarist, and Dylan went electric. He wore a black leather jacket in place of a denim shirt. Dylan went on stage with a Fender Stratocaster in place of an acoustic guitar. The Newport Folk Festival on Jis a night that remains a myth and a milestone in the history of Western popular music. Dylan was to go back to his electric guitar as he was Bringing It All Back Home. Whether either of them liked it or not, Baez and Dylan soon became the "Voices of a Generation".Ī change was to come in 1965. The albums between 19 ( Bob Dylan, The Freewheelin' Bob Dylan, The Times They Are a-Changin', and Another Side of Bob Dylan) cemented Dylan in American folk music and protest songs of the times.
Baez and Dylan were present at Martin Luther King Jr's March on Washington in August 1963. "Blowing in the Wind" and "A Hard Rain's a-Gonna Fall" became anthems. Joan Baez and Bob Dylan became synonymous with protest songs. The second album also contained "A Hard Rain's a-Gonna Fall".
Dylan wrote the lyrics, but the tune was based on a 19th century anti-slavery song, "No More Auction Block", which had been covered by Paul Robeson and others. The song asked open ended questions followed by an uncertain response of blowing in the wind. The opening track of The Freewheelin' was "Blowing in the Wind".
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