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Bob Dylan’s “The Philosophy of Modern Song” is a love letter to music and polygamy
Bob Dylan Come Rain Or Come Shine
Bob Dylan’s new book, “The Philosophy of Modern Song,” will be released on Tuesday. The camera shy legend is seen here during a performance in Los Angeles November 1, 2012.
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In his new book, the Nobel Prize in Literature and legendary troubadour argues for and against adaptations of his favorite music.
Bob Dylan doesn’t think about songwriting or the current state of contemporary pop music, as his sometimes giddy, sometimes confusing colons underscore, but a new book, “The Philosophy of Modern Song,” just can’t cover it. . But he thinks polygamous marriages are rare, more on that in a bit.
Twelve years later, Dylan’s book, released Tuesday by Simon & Schuster, is a passionate Valentine’s Day for dozens of great songwriters and singers, most revered by a legendary songwriter.
These include Hank Williams, Little Richard, Alan Toussaint to Uncle Dave Macon, Roy Orbison, The Clash’s Joe Strummer and Mick Jones, but almost none are female. They include perennial songwriting teams such as Richard Rodgers, Lawrence Hart, Norman Whitfield, Barrett Strong, Doc Pomes and Mort Schumann.
Bob Dylan / Tryin To Get To Salzburg 2018 / 2cdr
“Being a writer is not something you choose. It’s something that sometimes makes people stop and take notice, notes Dylan in his first book of new writing since “History: Volume One,” released in 2004.
In a later chapter, he emphasizes the function of the text: “It is important to remember that these words are written for the ear, not the eye. As in comedy, a seemingly simple sentence becomes a Joke can be made, and when the words they are set to music, something incomprehensible happens, the wonder lies in their unity.
Dylan being Dylan, he cuts to a paragraph about the Swiss inventor of Velcro before moving on to the vital importance of “the fine art of making something truly permanent”.
However, while he mostly devotes his experience to reflecting on and examining the art of music production – what makes a perfect song or singer – Dylan doesn’t stop there.
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Bob Weir and Jerry Garcia of the Grateful Dead, right, perform with Bob Dylan at a 1987 concert at Sullivan Stadium in Foxborough, MA. Dylan sings the praises of the dead in his new book, “The Philosophy of Modern Song.”
He makes interesting comparisons, comparing the Grateful Dead to Artie Shaw’s big bands of the 30s and 40s. He makes connections between Mos Ellison’s “Everybody’s Crying Mercy” and the Temptations’ “Ball of Confusion,” as well as Domenico Modugno’s “Volare” (a Dylan favorite) and Jefferson Airplane’s “White Rabbit” (apparently not).
Comparing the audience at a Grateful Dead concert to a Rolling Stones concert, Dylan — who has performed with both bands — writes:
“There’s a huge difference between the types of women seen from the stage with stones versus the dead. With the Stones it’s like being at a porn convention. With the dead, it’s like the women you see by the river in O Brother Were You. Floating freely, meandering, gliding like a normal daydream…”
The Philosophy Of Modern Song By Bob Dylan
Dylan joined hip-hop giants Jay-Z and The Notorious B.I.G. When writing about Elvis Costello’s “Pump It Up”. Writing about bluegrass and country music, he reveals his acquaintance with electric guitar virtuosos Joe Satriani and Yngwie Malstein.
Attentive readers will also appreciate Dylan’s dry comments that appear frequently on various chapters of contemporary culture and the world. How much you despise the present and the past is easy to understand.
Cover photo of Bob Dylan’s new book, ‘The Philosophy of Modern Song’, 1950 (from left): Little Richard, Alice Leslie and Eddie Cochran.
Of the more than 60 songs Dylan wrote, only two are from this century – two! – Both are by deceased artists (“Dirty Life and Times” by Warren Zevon and “No More Hurt” by John Trudel).
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Then again, Dylan recounts four songs from the 80s here, none from the 90s. Many date from the 1920s and the rest between the 1930s and 1970s. Born Robert Zimmerman, teenager Dylan heard many songs on the radio while growing up in rural Minnesota in the 1940s and early 1950s.
Dylan’s decade-long reflections in “The Philosophy of Modern Song” speak volumes about what he does and appreciates in music and in life.
“Now everything is full; We’re all spoon-fed,” he laments in his four-page chapter on Hank Williams’ “Your Cheatin’ Heart.
“Every song (now) is about one thing, one thing in particular, no nuance, no subtlety, no mystery,” Dylan continues. “Maybe that’s why music is no longer where people put their dreams; Dreams suffocate in these airless environments.
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“It’s not just songs: movies, TV shows, clothes, even food, everything is marketed and promoted. There is no menu item without a half dozen adjectives, everything you need to know about your social- Picked to hit the human- snob-food place. Enjoy getting rid of your free-range hair, full of cumin and powder. Sometimes it’s better to have a BLT and be done with it.
The first song Dylan devotes a chapter to is Stephen Foster’s “Nellie Was a Lady”, written in 1849. More recently, Zevon’s “Dirty Life and Times”, in 2003.
After praising Foster as a rival to Edgar Allan Poe, Dylan praised Alvin Youngblood Hart’s groundbreaking 2004 recording of “Nelly,” calling it “the best version you’ve ever heard.” This tune will stick in your head long after the story is forgotten and a tear will roll down your cheek every time you hum it.
Dylan’s essays on singers, songwriters, and instrumentalists and their talents demonstrate the insight of a music scholar and enthusiastic fan. He balances his encyclopedic knowledge with an infectious enthusiasm. He writes with a winning combination of wit and sensitivity, wit and humour, praising tradition and breaking the rules alike.
Bob Dylan’s ‘the Philosophy Of Modern Song’ Book Is A Love Letter To Music — And, Um, Polygamy
He praised Uncle Dave McCann’s banjo-driven 1924 rave-up, “Keep My Skillet Good and Gracious,” calling it “a blast furnace of a song” that “follows its own rules, whether you think it or not.” it has to do with Aristotle’s logic…. CHUCK BERRY This is Chuck Berry years before he walked a duck… It’s like Walt Whitman was a musician. Song Many people are involved in…”
Dylan’s groundbreaking 2020 album, ‘Rough and Rowdy Ways’ opens with ‘I Contain Multitudes’. Which came first? His song, the title of which is taken from Whitman’s poem? Or the “many” line in his chapter about Uncle Dave McCann? That’s what Dylan devotees are likely to think from a book that he invites to contemplation.
The distinction between inspiration and imitation is Dylan’s recurring theme in “The Philosophy of Modern Song”. Likewise, an artist’s ability to put their own stamp on a song written by someone else. As a result, some of the vocal giants Dylan so passionately celebrated, including Perry Como, Frank Sinatra, Dean Martin and Elvis Presley, didn’t write their own songs.
At 81, Dylan can still be proudly unrecognizable. He devotes five pages to country music maverick Johnny Paycheck—whose rough-and-tumble manners fascinate Dylan enormously—and just six paragraphs to Jimmy Webb’s “By the Time I Get to Phoenix.”
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Includes a chapter on an Eagles song, but singles out the group’s seminal work, “Vichy Woman.” Dylan dedicated only three short sentences to the song: “five paragraphs of his thoughts on a woman who destroys cultures, traditions, identities and divinities”.
Of Roy Orbison’s “Blue Bayou,” Dylan writes knowingly, “It’s a great song and a great record. They’re not always the same. Sometimes songs slip in the studio, slip through your fingers. Go. Some of our favorite records they’re mediocre songs that somehow came to life as the tape played.
But the next song he writes about, the Allman Brothers’ “Midnight Rider,” Dylan doesn’t spend a word playing or recording. Instead, he elaborates on what a Midnight Knight might represent, as he thinks of women in Eagle’s “Vichy Woman.”
Dylan’s ideas are interesting and his writing is as brilliant as you’d expect. But one gets the feeling that he likes the conceptual possibilities of “Midnight Rider” and “Vichy Woman” more than his own lyrics. She was once “a nice row maid” of Eagles-he said he.
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