Six Listen Dylan

  Stripped-down and basic.  This album is baffling and mysterious: what is that house in The Ballad of Frankie Lee and Judas Priest?  Is it St Augustine of Hippo? Canterbury? or some weird fever-dream angel/demon? It's such a total turn away from Blonde on Blonde: as if that was as far out as he could go, and he needed to come nearer to shore or he'd be swept away. Dylan truly is an artist who does exactly what he wants to, regardless of what others will think.  It's a cliché, but only because it's true.  In the same way Bowie completely sidestepped punk and emerged unscathed, Dylan dodges 1967 psychedelia for what would later be known as Americana: rootsy folk/blues/country/rock.   I'm really enjoying him now we're past the Mt. Rushmore of Blonde on Blonde.  As is always the case, the albums either side of "classics" tend to be just as interesting, or for me even better.

  I get the impression that this is seen as being the greatest of all Dylan albums: the first double album in rock (I believe), the greatest artistic statement Bob ever made. I mean, I like it  But I think I like Highway 61 Revisited more. Rainy Day Women #12 & #35 used to be an irritation to me.  Now it seems more like a beleaguered pop star trying to make light of his predicament.   Leopard-Skin Pill-Box Hat - ridiculous, makes me laugh every time.  We all know Dylan is funny, right? Sad-Eyed Lady of the Lowlands is a sustained, late-night meditation on love.  My favourite song on the album. As for the rest?  I like them, but not as much as those three. However, I've got the measure of this Dylan cove now. These albums change as the listener changes, and will mean different things as the years go by.  I'm looking forward to it, because I'm pretty sure I haven't really grokked Blonde on Blonde yet.  Perhaps never will.  And tha...