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By the middle of the 1970s, Bob Dylan’s position as the pre-eminent artist of his generation was assured. The 1975 album Blood on the Tracks seemed to prove, finally, that an uncertain age had found its poet. Then Dylan faltered. His instincts, formerly unerring, deserted him. in the 1980s, what had once appeared unthinkable came to pass: the “voice of a generation” beganBy the middle of the 1970s, Bob Dylan’s position as the pre-eminent artist of his generation was assured. The 1975 album Blood on the Tracks seemed to prove, finally, that an uncertain age had found its poet. Then Dylan faltered. His instincts, formerly unerring, deserted him. in the 1980s, what had once appeared unthinkable came to pass: the “voice of a generation” began to sound irrelevant, a tale told to grandchildren.Yet in the autumn of 1997, something remarkable happened. Having failed to release a single new song in seven long years, Dylan put out the equivalent of two albums in a single package. In the concluding volume of his ground- breaking study, Ian Bell explores the unparalleled second act in a quintessentially american career. It is a tale of redemption, of an act of creative will against the odds, and of a writer who refused to fade away.Time Out of Mind is the story of the latest, perhaps the last, of the many Bob Dylans....

Title : Time Out of Mind: The Lives of Bob Dylan
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ISBN : 9781605986289
Format Type : Hardcover
Number of Pages : 574 Pages
Status : Available For Download
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Time Out of Mind: The Lives of Bob Dylan Reviews

  • Paul Bryant
    2018-12-25 02:45

    Old Man Dylan – as good as Young Man Dylan and better than Middle Man Dylan. Here’s a quick trip through the last 16 years.1997 : Time Out of Mind – first album of new songs for 7 years, half of them great.A whole new style to go with them , a massive pessimism, a steady gazing upon death, betrayal, futility, you know. Dylan was back, and this time he stayed back.1998 : 1966 .live concerts released in all their glory2001 : Love and Theft – a really brilliant, peculiar, unique album2003: Masked and Anonymous – never saw it, but there it was2004 : Chronicles – This book kicked the debate about plagiarism up a whole gear – from some accounts it seems that the entire book is a mosaic of previous texts.2005 : No Direction HomeFor fans this was a real treat, but of course hellishly annoying too, we wanted the whole uncut performances as well as everything else, we ain’t never satisfied2006 : Modern TimesThis made Dylan the oldest performer ever to have a No 1 album in America, but in Britain, he only got to No 3. The oldest No 1 album artist here is Vera Lynn who is currently 96; she hit No 1 four years ago, aged 92, with an album which featured “The White Cliffs of Dover”. That famous song includes the greatest ornithological error in the history of modern pop music. It was written by a couple of Americans, and they had no idea that there are no bluebirds in Dover or anywhere in England.2006 – 9 : Theme Time Radio.A whole new style to go with them . A hilarious series of one hour internet radio shows2007 : I’m Not There.Well, I thought the whole thing was really wonderful, especially the genius idea of getting Cate Blanchett to play mid-60s thin androgynous amphetamine Dylan, which she did as if to the manor born2008 : Tell Tale SignsAlthough composed of outtakes and random songs composed for obscure movies no one saw it can’t be a surprise to anyone that this was Bob’s second late masterpiece, after Love & Theft.2009 : Together Through Life.Great title – these artists, who last so long, like Dylan, Neil Young, Leonard Cohen, they really are with you through your life if you been listening as long as me.2009 : Christmas in the Heart.A surprise career move, but don’t dismiss it until you see this video2012 : Tempest. I stick my neck out and say I believe this will probably turn out to be the last original Dylan album. But it’s a mug’s game, making Dylan predictions.2013 : Another Self Portrait.A fabulous example of why Dylan never fails to be interesting. Extracted from some of the apparently worst years, musically, of Dylan’s career, we find many gorgeous versions of old folk songs. Have we seen the last of these remarkable exhumations from the Dylan mines? I don’t think so. THIS BOOKI was only interested in the last 250 pages, the account of this latter golden autumnal Dylan period; I already read about Dylan’s earlier years too many times to count. This book is an excellent meditation on all the curious (singing for the Pope, already?), aggravating (too many bad concerts), depressing (Victoria’s Secret advert?), delightful and serendipitous aspects of the whole story; and particularly he takes many pages to debate the major charges of plagiarism which certain critics (called “wussies and pussies” by Dylan himself) have made much of since Love & Theft and Chronicles. It’s the debate I’ve been needing to read for a long time. Recommended to diehard Dylan fans – I know there are way too many Dylan biographies, but this one is much more an affectionate journey through the music itself with a serious guy who knows his stuff and covers pretty much everything in detail, right up to about June this year.

  • Sarah Paolantonio
    2019-01-02 04:33

    I now know more about Bob Dylan than I ever thought I would. Where do I even begin when talking about this, part two of a biography, 535 pages of Dylan, starting in 1975? I ended my last review of part one, 'Once Upon A Time: The Lives Of Bob Dylan', with the realization that Bob Dylan is indeed a life-as-performance-artist. And here I am to say, it's the most realistic realization about Dylan. It helps me grasp what he's doing in his music, even when it's the records of his I don't want to listen to. It helps rationalize his stupid, weird, behavior. It helps me understand the game he's playing. I wrote more in this book and dog-eared more pages. I had no idea "Visions of Joanna" was about Dylan's heroin addiction. I didn't realize how awful he was to women, specifically to his first wife, Sara. The breaking point in their marriage was when Dylan's mistresses would show up at the breakfast table without him, while his kids and Sara were there. I find that disturbing on so many levels. He slept around, cheated, and was never there for his kids, simply because the road called (calls) to him. At first, The Never Ending Tour was explained because he owed Sara alimony but really I think it's because he doesn't know how to exist in any other way. He doesn't need the money (there's Victoria Secret commercials for that, his no-longer Bob Dylan's Theme Time Radio Hour, his art, and the etched-signed harmonicas for sale online) he's a performer and nothing else. Also, another astounding fact about his divorce from Sara: in addition to custody of their five children, houses, and money, she won half the royalties to the song written during their marriage (1965-1977). Part two helped me discover 'Blood On The Tracks' and 'Desire.' Throughout the book the trilogy theory of Dylan's albums is discussed--that they always appear in threes. Dylan is famous for the three that came out in succession: 'Bringin' It All Back Home' ('65), 'Highway 61 Revisited' ('65) and 'Blonde On Blonde' ('66). For the most part, these are the only Dylan records you need. 'Blood On The Tracks' ('75) and a few latter ones are inspiring and just as encouraging to listeners, reminding us that yes Dylan is a wonderful songwriter and knows how to mold melodies. He gets it. But I believe that because of that trilogy from the '60s, he was able to do anything he wanted. There is a cult following that allowed him to paint his face, wear masks, and spend millions on The Rolling Thunder Revue, '75-'76, (my GOD the face painting--someone yesterday told me they think it's Dylan's answer to glam, a genius theory); that gave Dylan four more records with Columbia after his born-again trilogy; that Dylan got a book deal for more volumes of 'Chronicles' on his 65th birthday. Those three records from 1965 and 1966 are proof that if you have one really good idea, if you're given enough money and freedom, you might just have another. The middle of this book dragged for me. The aftermath of the Presidential election got to me and I found it harder to read anything but the news for a week or two. That's on me. But there's the middle phase of Dylan's work where the music loses interest, even it itself. Once I found my footing in the pages again, the 1980s and 1990s had flown by. A majority of the prose was spent discussing Dylan's relationship to politics, Reagan, Clinton, and Dylan's inability to address the fact that even though for decades he says he's not a protest song writer, that he actually is one. I think he just doesn't like labels. Again, as in part one, a lot of time is spent on the continuing Bootleg series and the Basement Tapes. Dylan knows what he's doing, Bell writers, allowing a constant flow of music to be released for purchase. Bell spends a hundred or so pages discussing Dylan's plagiarism of Ovid, Shakespeare, and multiple photographer and sketch artists--even Dylan's physical art was based on someone else's ideas. Bell writes back to back stanzas of poetry that Dylan took lines and overarching themes from. He follows them up with interview clips of Dylan saying 'that that's just what folk music is. We're all taking from one another.' It's maddening. But that's what Dylan does. Ian Bell passed away before he got to see Dylan win the Nobel. This is a major bummer considering how much time Bell devotes, in both books, to the complicated history of Dylan and the Nobel. Dylan was nominated every year since 1997 and Bell dives right into all the hullabaloo about how Dylan doesn't deserve it: he's only a songwriter, not a poet or novelist, and his lines look like shit on the page. Playwrights were awarded the Nobel, so why is it different for Dylan who's art *also* needs to be performed to be understood, Bell asks? I wish Bell was around to write an updated afterword, but maybe Bell's great life work needed to be incomplete, the same way nothing is ever finished. If anyone were to understand Wabi-Sabi, it would be Dylan. The day after I finished this book it was announced that Bob Dylan's Nobel speech wouldn't be delivered by him. Instead, Patti Smith would show up in his honor and sing 'A Hard Rain's A-Gonna Fall.' Some people have told me they think it's Dylan spitting in the face of the Nobel committee, that it's a waste of time. But I think it's an idiot savant move. It's a great song choice, it's a great performer choice, it's a woman in his place (Patti Smith is one lucky girl from NJ), and he is technically allowed to do whatever he wants. I think it's genius and I honestly wouldn't expect anything else from him. I was looking forward to hearing what he'd have to say during his Nobel speech, that is if we could understand him, but this is another kind of mystery-legacy-tale that Dylan is telling. Bob Dylan is such a fake, always asking in interviews "Who Am I?" "Am I You?" When he took off his mask during The Rolling Thunder Revue to reveal Bob Dylan, a white painted face and all, he's telling us something there (mask>face paint>c'mon people). He plays with time, it helps that he has had so much of it, but he is truly committed to the being "Bob Dylan." It's a persona he is often not sure of and it is a fascinating piece of art. I never thought I'd read more than a thousand pages on one person, but here we are. I joked that it would've been better if he was dead in the end, but it only lead me to something else: perhaps when he dies, the answer to a question no one knew to ask will come out. Perhaps there's something behind him that he's hiding? Maybe there's something there no one knows to look for because we can't see its borders. I will be very sad when he passes away. Until then, his antics and songs entertain me and make me always question what art can be. I truly think he understands it better than anyone else. Just take a look at his weird, genius, idiot life. Bob Dylan: I love you, I hate you. Thank you for making art.

  • Sam Johnson
    2019-01-07 01:20

    This second volume of Ian Bell’s treatment (“biography” is the wrong word) of Dylan is as good as the first. As in Once Upon a Time, Bell’s writing is muscular and energetic: every sentence is written by someone who has spent his life reading about and listening to Dylan—but who never sounds like a fanboy or longing-to-be-hip academic. Also as in the first volume, Bell sometimes editorializes too long about American politics or the electorate, but the writing is good enough that the reader can bear it for a few pages at a time. (He is as wrong about Reagan as he is about the Grateful Dead.) But if Bell is sometimes off-base with politics, he is dead-on with poetics. Beginning with 1975’s Blood on the Tracks and ending with 2013’s Tempest, Bell examines the career of Dylan (or “Dylan”) as American troubadour, artist, and icon. “His life,” Bell states, “had become a mixture of high art and low commerce, of thoughtful statements one the state of man and the modern world interspersed with textbook examples of the kind of behavior that gives stardom its disreputable name.”Bell spends a hundred pages or so on the inaccurately-named “Gospel trilogy” and Dylan’s conversion—which Bell argues was never really so much a “conversion” as another of Dylan’s identities—that he had since Greenwich Village and which runs throughout his work. To his credit, Bell lets Dylan do the talking here and never tries to explain away or undermine his subject’s faith in Revelations or doubt his sincerity, even when his music suffered. Bell takes Slow Train Comingas seriously as Dylan might wish, and his seriousness is illuminating for the reader, who wonders what Dylan was thinking in the literal, as opposed to the ironic, sense. That Slow Train Coming sold more copies than Blood on the Tracks is another revelation.The book is also a terrific study of the relationship between art and money. In Moby-Dick, Ishmael states the obvious regarding the difference between paying and being paid: “What will compare with it? The urbane activity with which a man receives money is really marvelous, considering that we so earnestly believe money to be the root of all earthly ills, and that on no account can a moneyed man enter heaven.” One of Bell’s themes is the shocking notion that Dylan likes being paid as much as anyone else. His Victoria’s Secret commercial, the Rolling Thunder Review, the Never-Ending Tour, the Bootleg Series—even the selling of limited edition harmonicas—are all examined in light of Dylan’s urge to capitalism. Bell’s book ends before the Superbowl Chrysler ad, but the effect is the same thing: anyone who groused that Dylan was somehow “betraying” his art in making a car ad seeks to speak from a position of innocence and cast the first stone. One interesting minor note: neither of the two volumes feature a single photograph, pointed out here to reflect the strength of Bell’s writing. Who needs pictures?Bell often treats Dylan’s incomprehensible choices—of producers, material, touring bands, and, most of all, songs left off of albums. He (as in the first volume) offers long examinations of songs that strike him as worthy of comment—but not always positive. Thus, the reader gets long analyses of “Blind Willie McTell” and “Jokerman” as emblematic Dylan achievements, and one just as long on “Isis,” in which Bell states that the listener has to “muster a certain tolerance for a laboring melody” and lyrics filled with “New Age bric-a-brac.” Bell examines the plagiarism issue (which, for him, is ridiculous), the reception of Chronicles: Volume One, and Dylan’s voice, which he calls a “magnificent ruin.” Nothing is left unsaid or unexamined: Bell treats each album, each phase, and each incarnation of Dylan with similarly impeccable judgment. For the Dylan fan, this is required reading.

  • Jena
    2019-01-18 01:32

    Creo que el que está "Out of his Mind" es el autor Ian Bell, pues se toma más de 500 páginas para decir que Bob Dylan es un plagiario de los poemas de Henry Timrod, Herman Melville, Whitman y Longfellow entre muchos, y que no merece los premios que ha recibido, a la fecha en que escribe, 2013; tampoco merece ser el posible recipendario del Premio Nobel.Con exceso de detalles disecciona los albumes que grabó en 1975 en adelante, así como su "Never Ending Tour" que empezó en 1974, y, ¡que a la fecha no ha terminado! Destroza canciones de estos discos que por lo menos yo jamás he oido y, por lo tanto, fueron conocidas localmente; menciona, también, sus fracasos en Irlanda por presentarse borracho o abandonar el concierto a la mitad, dejando a sus músicos sin dirección alguna. Critica el éxito de su exposición pictórica "Drawn Blank" que se vino abajo cuando se descubrió que los dibujos los copió de fotos tomadas por Henri Cartier-Bresson y Dimitri Kassel. Es una biografía muy larga, detallada y aburrida. ¡Qué bueno que le dieron el Nobel a pesar de los pesares!

  • Rob
    2019-01-06 02:20

    Starting at Blood on the Tracks, Ian Bell was faced with a daunting task. How to discuss so many years of career without falling into repeating what he was saying in the first part about Dylan? What could really change? And the simple answer is not much, and everything. Dylan's guitar playing never improved, nor did his voice find a new timbre (unless we count the death's door croak). His songwriting, so instinctive and possibly chemically-aided in the 1960s, went through some stunning reversals of fortune. He had moments of being tabloid fodder. His pronouncements on politics were almost calculated to create a furore among his followers, dovetailing with Reagan's America and the rise of evangelicals and their influence. Just 4 years after Blood on the Tracks, Dylan was transmuting the Simple Twist of Fate into the omnipresent hand of God (see the Saved cover and say no more).In fact, I consciously faded in on Dylan's journey in 1983, with the release of Infidels, which I heard concurrently with Masterpieces, a 3 album greatest hits set with a couple of odd choices (Like a Rolling Stone in the Self Portrait live version, Lay Lady Lay and Idiot Wind from live album Hard Rain). The two routes then had to coexist for me: as I delved more into what he'd done in the past, I had to somehow reconcile that figure with the man who went on to release Empire Burlesque, Knocked Out Loaded and Down In The Groove. I already instinctively saw and felt the multiplicity of Dylans that there were. I loved some and hated others. However, underneath it all, there was a quest within him, a perpetual search for a writer's identity and it was palpable. He turned back towards history and his own ante-Dylanian past (in particular on Time Out of Mind). He used "found words", whether from books he was reading or lines he remembered, as the basis for stories.In some ways, one of the key tracks in this particular strand is Black Diamond Bay, on Desire, a number he has possibly never played live (it is suggested he played it once in Denver, but this has yet to be satisfactorily corroborated). It's a bit of a shaggy dog story, but it's a story. A sung story. On the same album, Hurricane is also a story, a story lent importance by its topicality and its musical attack. In the 1990s and the early part of the 21st century, he would find literary sources for the songs and put them to old time music styles. Back there in 1975, he was still in the game, putting on a communal live show (the often-thrilling Rolling Thunder Revue), making an arty film (Renaldo and Clara) and even experimenting with confessional singer-songwriting (see Blood on the Tracks and, in particular, Sara). But he was empty, so the story goes, and he was visited in a motel room by the Lord. Which led to preachy Dylan on Slow Train Coming and Saved. Musically there are plenty of things to like on both these albums. Lyrically the first is tedious (you're all doomed unless you repent and see the light) and the second is shallow (don't know about you but I was saved). In any case, this was not what Dylan's secular followers wanted at all. Shot of Love was more of the same, but with half a head out of the window, while Infidels was trumpeted as the "return" to secular life. It is not. But it was a decent album, which, if it had included Blind Willie McTell and Foot of Pride, would have been hailed as a comeback classic and possibly changed the way the next few years played out.But then that has become the head-scratching obsession of Dylan observers: why does he leave certain songs off his albums and leave other, obviously weaker ones on? And one of the answers is that he is saving these famous outtakes for his parallel career with the Bootleg Series. And while that would an absurd way to do things, the truth is that the Bootleg Series is something unheard of in music: on the one hand the artist remains active, and on the other, his past is anthologised and reassembled and reconceived. In some ways he gets to have his cake and eat it too. He says he only looks forward, but then he sanctions a reimagining of Self Portrait which is essentially a blanket "case for the artist", putting all of the recorded work from the period into a box set and bypassing the responsibility for the choices made in 1970. And he gets away with it.Then there are all the live shows. Dylan plays around 100 shows a year. He has trashed his voice with them. Some of the shows are great, others are shambolic. He doesn't need to do this, but he does it anyway. Or maybe he really does "need" to do them, the same way that Bruce Springsteen only really feels safe from his depressive attacks when he is on a stage somewhere.Ian Bell, who sadly died at 59 not long after this second volume was published, is an erudite observer. He is a passionate believer in Dylan's gift, a tireless observer of the man's untruths and fictions, a campaigner for Dylan's case for the Nobel Prize (which Bell did not live to see), a fairly astute critic of the albums and a rather gobsmacked disentangler of all the contradictions has managed to wind around himself and us over all these years. And that's effectively it: we're witnessing a time-elastic, postmodern, semi-fictional, glorious/shambolic, lyric poetic, bower bird-like, primal but sophisticated, overindulged and ultimately compelling career. And this book captures all of that better than pretty well any other of the many many many Dylan biographies around.

  • Allan Heron
    2019-01-04 21:20

    The second and concluding part of Ian Bell's biography maintains the quality of the first.These are essential books for any serious Dylan follower to read. Bell grapples with the many contradictions surrounding Dylan in robust fashion without suggesting that his artistic achievements are other than immense.Sadly, Bell died not too long after this book was published. I'd have been seriously interested in his thoughts on the more recent Bootleg Series releases (not least given his comments about the periods in both books) as well as Dylan's most recent trilogy..........dang, there's another one. 😉

  • Bill Keithler
    2019-01-23 00:49

    This volume, along with its companion edition Once Upon A Time, is one of the best Dylan biographies to emerge in recent years. The books (Once Upon A Time covers Dylan's early life and career up to the release of Blood On The Tracks, Time Out Of Mind continues through the release of 2012's Tempest) combine biography and critical analysis in equal parts, and provide social and historical context not unlike the recent Beatles biography Can't Buy Me Love by Jonathan Gould (2008, Three Rivers Press). Bell does an excellent job on all three of these aspects adding color and insight into the subject's life and work, in addition to bringing fresh interpretations into well known events of Dylan's life. He clearly has great respect for Dylan as an artist and songwriter, but does not shy away from pointing out weak offerings in his oeuvre as well as his personal character flaws. He also brings new and positive commentary and points of view on frequently disparaged works such as Tarantula, Self-Portrait and the film Renaldo and Clara) that put those efforts in a new light. (The books were published prior to the recent release of Another Self-Portrait in the Official Bootleg Series--a release which has given rise to a re-evaluation of the original Self-Portrait).The two volumes are indispensable contributions to the critical and biographical library on Bob Dylan, and should find an audience even among the less obsessed Dylan fan who is interested in enhancing his appreciation of the artist's work.The books have only recently become published in the U.S. having previously been available in the UK.

  • Steve
    2019-01-05 02:25

    I didn't read Bell's first book on Dylan, though I may. I started this sone, not really expecting to finish it, as I've read most every book on Dylan. It was a mixed bag; where Bell really got serious about discussing the albums and songs, it was for the most part fascinating. His discussion of the songs on Desire, especially Hurricane, was great, as was the discussion of the Christian songs, especially their disastrous theology. But between those discussions were a lot of not biography, but discussion of the times. Maybe this historical stuff would be more interesting to younger readers who don't remember it, but I got impatient with it a lot. I also very much enjoyed the discussion of the late period renaissance albums, Time out of Mind, "Love and Theft," and Modern Times. I will use his discussion of Tempest as a template for a revisit of that album, as I don't like it much. I like Modern Times, but not a lot, and Blair gave me more respect for it. He did a great job of defending Chronicles and the late period lyrics against the "plagiarism" charges, and considered things more seriously than a lot of writers do. I did get tired of his frequent references to the "inner circle" or whatever he called it, of Dylan fans; yes there's a bubble and it feeds off itself, and is frequently too apologetic, but it felt to me like he didn't take it seriously enough. Still, maybe with the first book, this one would be a good first book on Dylan for the newbie.

  • Reid
    2019-01-04 22:46

    Ian Bell's Time Out Of Mind is the second part of his two-book Dylan 'biography', though it certainly isn't that in the traditional sense, which was refreshing. Bell combines biography with critical evaluation as well as artistic interpretation and critique.I did not identify with this one as much as his first part, Once Upon A Time. Not as a result of disagreeing with his opinions on certain albums and songs (though I did at times), but found the writing a little dense and over-wrought in places. I appreciated the long portions dedicated to things like the 'Gospel trilogy', but would have enjoyed more time spent on the recent albums and years. There are more and more books coming out on Dylan's 2000+ period, but still gets a 'footnote' take in alot of books. Being that it's the period in which I've joined the Dylan fray (2006 on), and the fact that the early years have been covered ad nauseum, I'd like to see more in depth impressions there. That said, in the brief time Bell covered the period, he did a solid job, hitting on the plagiarism claims and other 'controversial' highlights.A good Dylan book and a nice change from the traditional biography.

  • Amanda Rose
    2019-01-12 22:22

    Sometimes snotty, sometimes insightful (usually both at once), much of it totally banal but in the worst kind of smartarse way - it's chief virtue is being a close study of the much neglected 80s/90s/00s decades (didn't bother with Volume I on the 60s, the next book on Dylan in the 60s I'll read hasn't been written yet.) As I listened to it on audiobook I'm obliged to knock off stars because the narrator (who is otherwise fine) does a Dylan "impression" every time he reads a Bobby quote or lyric which makes it sound less like a critical biography and more like a Saturday Night Live skit. Painful. Just don't.

  • John
    2018-12-25 02:47

    A good read, taking reader through the recent phases of Dylans work. Shed light on some details for me. Found some of his critique objectionable or dismissive but Bell mananged to keep it real enough to maintain my interest. Read the first one first if you can or have time, I didn't and probably won't. However will track down and watch " Masked and Anonymous " after having read this. Feel now that I've let go of previously delusional obssessions about his poetic 'genius', hopefully . That remains to be seen ? Chucking Tempest back in the satchell.

  • Charles
    2019-01-24 22:42

    Just as with volume I, Ian Bell loves the sound of his own prose and drags out each chapter needlessly. Fortunately he does succeed in explaining Dylan's rises and falls up to 2013 in a far more compelling way than in volume I. Or maybe I just learned how to read his writing and get past the inevitable frustrations due to his geeky self-involvement and/or geeky involvement in the Dylan-absorbed community. In any case, Bell gets enough right so as to make it a useful, if tedious read on many occasions.

  • Sherry
    2019-01-08 05:25

    I have not read this book to be honest. However, I was very excited to win it from a goodreads giveaway. I have many happy memories of pouring of Bob Dylan's lyrics in a book with my father. My father is deceased now but this book made me smile, thinking how much he would enjoy it.

  • Juan
    2019-01-06 03:26

    This is a compelling account of the ways in which the musician, and popular taste, and the world itself have changed –Wonderful reading.I received the book for free through Goodreads First Reads. Thank you !

  • Peter Pinkney
    2018-12-27 00:28

    Like the first book, absolutely brilliant. Ian Bell was a very clever man. Insightful, mischievous and a real fan of Dylan. A critical fan, but a big fan. I can't praise this book highly enough

  • Bob Peru
    2019-01-09 01:50

    one of the best most trenchant books about dylan i've read. and i've read a lot.

  • Rick
    2018-12-29 04:36

    Excellent analysis of Dylan's career from about 1970 to the present. Very detailed and highly interesting.

  • Steve
    2019-01-20 03:47

    The second part of this massive bio/cultural studies-- intriguing, despite the harsh opinions/judgments. One of the better Bob books out there.