Vital Information wrote:I read a lot of mixed reviews of Martin Scoreses Dylan bio, so I was not sure what to expect. And from a sense of a coherent documentary it was rather jumbled. As a chance to see Dylan rock, wow. Or the Band (then known as the Hawks). The Royal Albert Hall footage was as good as always presented, especially when Dylan sits down at the piano and starts banging away at Ballad of a Thin Man. I look forward to part two.
I noticed an interesting textural variation in the opening lines of the Albert Hall Thin Man: "You walk into the room, with your pencil in your hand" (rather than, "pants on your head," as in the "standard" version). I feel this may have been a slam at the reporters who dogged him in England to an incredible degree.
Overall, I was shocked at the wave of negativity that followed the London performances (I now have a better grasp of the meaning of "Rainy Day Women").
Vital Information wrote: What was left totally unexplained is how or why he went electric. We learn that he was a rock and roll listener as a kid (with a nice raw clip of Gene Vincent), but as of last night, the jump is a mystery.
Everyone is always ticked at Dylan for changing. Folkies, as we all know, hated the electrification; after the accident, we were all set back by "John Wesley Hardy"; later, a brief flirtation with Christianity spawned the wierdness that was "Planet Waves," -- most recently, my jaw dropped when he furnished the vocals for a Victoria's Secret commercial.
There may be no clear reason "why" he made any of these changes -- as he told Baez, he had no idea "what the fu*k" his songs meant...but we know they're important.
David Hammond, Approximately
"Don't you ever underestimate the power of a female." Bootsy Collins