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Bob Dylan Gives ‘Blood on the Tracks’ the Expanded Treatment – Variety
Please fill out this field with valid email address. Advertise About Tips Contact Us. And his poetry, his troubadour's traveling art, seems to me to be more meaningful than ever.
- Blood On The Tracks.
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- Blood On The Tracks | The Official Bob Dylan Site;
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I thought, listening to these songs, of the words of Yeats, walker of the roads of Ireland: Dylan is now looking at the quarrel of the self. The crowds have moved back off the stage of history; we are left with the solitary human, a single hair on the skin of the earth. Dylan speaks now for that single hair. So begins one of these poems, as light as a slide on ice, and as dangerous. Dylan doesn't fall in. Instead, he tells us the essentials; a woman once lived, gone off, vanished into the wild places of the earth, still loved.
If you're makin' love to her, Kiss her for the kid. Who always has respected her, for doin' what she did It is a simple love song, of course, which is the proper territory of poets, but is about love filled with honor, and a kind of dignity, the generosity that so few people can summon when another has become a parenthesis in a life. That song, and some of the other love poems in this collection, seem to me absolutely right, in this moment at the end of wars, as all of us, old, young, middle-aged, men and women, are searching for some simple things to believe in.
Dylan here tips his hat to Rimbaud and Verlaine, knowing all about the seasons in hell, but he insists on his right to speak of love, that human emotion that still exists, in Faulkner's phrase, in spite of, not because. And yes, there is humor here too, a small grin pasted over the hurt, delivered almost casually, as if the poet could control the chaos of feeling with a few simply chosen words:.
Life is sad Life is a bust. All ya can do. Is do what you must. You do what you must do, And ya do it will. I'll do it for you, Ah, honey baby, can't ya tell?
Not Dante's Inferno, and not intended to be. But a song which conjures up the American road, all the busted dreams of open places, boxcars, the Big Dipper pricking the velvet night. And it made me think of Ginsberg and Corso and Ferlinghetti, and most of all, Kerouac, racing Deam Mariarty across the country in the Fifties, embracing wind and night, passing Huck Finn on the riverbanks, bouncing against the Coast, and heading back again, with Kerouac dreaming his songs of the railroad earth. Music drove them; they always knew they were near New York when they picked up Symphony Sid on the radio.
In San Francisco they declared a Renaissance and read poetry to jazz, trying to make Mallarme's dream flourish in the soil of America. They failed, as artist generally do, but in some ways Dylan has kept their promise. Now he has moved past them, driving harder into self. Listen to "Idiot Wind. And yet is can also stand as the anthem for all who feel invaded, handled, bottled, packaged; all who spent themselves in combat with the plague; all who ever walked into the knives of humiliation or hatred.
The idiot wind trivialized lives into gossip, celebrates fad and fashion, glorifies the dismal glitter of celebrity. Its products live on the covers of magazines, in all of television, if the poisoned air and dead grey lakes. Please allow up to ten 10 business days for changes to your email preferences to take effect.
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Blood On The Tracks (1975)
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Next Bob Dylan 'Bootleg Series' set will take a deep dive into 'Blood on the Tracks'
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