{"id":149077,"date":"2022-11-07T22:00:44","date_gmt":"2022-11-07T20:00:44","guid":{"rendered":"https:\/\/ngradio.gr\/?p=149077"},"modified":"2022-11-09T01:47:27","modified_gmt":"2022-11-08T23:47:27","slug":"the-philosophy-of-modern-song-by-bob-dylan","status":"publish","type":"post","link":"https:\/\/ngradio.gr\/en\/news-el\/music-en\/the-philosophy-of-modern-song-by-bob-dylan\/","title":{"rendered":"The Philosophy of Modern Song by Bob Dylan"},"content":{"rendered":"\n

In 1993, Bob Dylan released World Gone Wrong, an album of cover versions of what might be called pre-modern songs by some of the early blues and folk performers that he revered. Dylan\u2019s sleeve notes for the album are a thing of wonder in themselves: short, sometimes surreal riffs on the timeless quality of stark and mysterious songs that sound old as the hills but, as his writing pointed out, possessed a deep contemporary resonance.<\/p>\n\n\n\n

Despite its high-flown and somewhat misleading title,\u00a0The Philosophy of Modern Song<\/a><\/em>\u00a0is a kind of strange companion to those sleeve notes rather than a philosophical treatise on the art and craft of songwriting. Illustrated with a wealth of sometimes tangentially linked photographs (publicity stills, snapshots, landscapes and classic documentary images by the likes of Dorothea Lange and William Klein), it comprises 66 deeply subjective essays on songs Dylan holds dear, from standards and groundbreakers to obscurities and oddities.<\/p>\n\n\n\n

Often, the juxtapositions are extreme: Bing Crosby\u2019s charming but very odd ditty Whiffenpoof Song rubs shoulders with the Clash\u2019s punk rock anthem London Calling. The formal brilliance of Jimmy Webb\u2019s By the Time I Get to Phoenix is celebrated alongside the wild, untrammelled energy of rockabilly pioneers such as Sonny Burgess. The sophisticated soul of Harold Melvin and the Blue Notes gives way to the gothic thrust of Johnny Paycheck, whom Dylan describes as \u201cthe outlaw all the other country singers claimed to be\u201d. (One of his songs is called (Pardon Me) I\u2019ve Got Someone to Kill.)<\/p>\n\n\n\n

There are surprises aplenty, not least the almost sacrilegious absence of a single song by the Beatles \u2013 are there any songwriters more \u201cmodern\u201d than Lennon and McCartney? Dylan, though, has never been an anglophile, or an artist much impressed by elaborate studio techniques or groundbreaking sonic invention \u2013 Brian Wilson does not appear either. No Carole King or Joni Mitchell songs, but Nina Simone is rightly hymned for her \u201cmeasured defiant delivery\u201d of Don\u2019t Let Me Be Misunderstood.<\/p>\n\n\n\n

Judy Garland is also here alongside Rosemary Clooney and Cher \u2013 good to see Gypsys, Tramps and Thieves receiving its due, with Dylan quipping that it \u201ccould easily be the answer to the question, \u2018Name three types of people you\u2019d like to have dinner with\u2019\u201d.<\/p>\n\n\n\n

His selections are mostly American (the exceptions being the Who, the Clash and Elvis Costello) and tend towards the unapologetically old fashioned, whether that be the rough and rowdy roots music that he has always been drawn to \u2013 blues, rockabilly, bluegrass, early folk \u2013 or the pre-pop standards he has homaged on his recent trio of cover albums. There are quite a few crooners featured here: Perry Como, Vic Damone, Dean Martin and, inevitably, Frank Sinatra, though Strangers in the Night seems an oddly lightweight choice \u2013 Sinatra himself hated it. It does however give Dylan a chance to trace the song\u2019s \u201cmurky\u201d history: the authorship of both the melody and the lyrics are contested. It\u2019s that kind of book: discursive, unpredictable, but always illuminating. Characteristically Dylan, in fact.<\/p>\n\n\n\n

Intriguingly, several of the essays are also accompanied by more imaginative \u201criffs\u201d in which Dylan evokes the atmosphere or emotional resonance of a lyric by stepping inside the mind of the narrator and, by extension, the songwriter. Of the Who\u2019s My Generation, he writes: \u201cIn this song people are trying to slap you around, slap you in the face, vilify you. They\u2019re rude and slam you down, take cheap shots. They don\u2019t like you because you pull out all the stops and go for broke.\u201d From there, though, he goes on to uncover several layers of emotional complexity \u2013 defensiveness, grievance, insecurity \u2013 that are all but masked by the song\u2019s arrogant amphetamine attitude.<\/p>\n\n\n\n

Most of the time, this iconoclastic approach makes for heady and exhilarating stuff, though his reading of Hank Williams\u2019s classic country ballad Your Cheatin\u2019 Heart strikes me as wilfully perverse. Williams wrote it as a bruised response to his ex-wife\u2019s infidelities, but Dylan sees it as \u201cthe song of a con artist\u2026 the swindler who sold me a faulty bill of goods\u201d, a crook whose cheatin\u2019 heart \u201cbrought poison and pestilence into the home of millions\u201d. Even as a metaphor for romantic betrayal, that\u2019s quite a leap of interpretation.<\/p>\n\n\n\n

His selections are mostly American (the exceptions being the Who, the Clash and Elvis Costello) and tend towards the unapologetically old fashioned, whether that be the rough and rowdy roots music that he has always been drawn to \u2013 blues, rockabilly, bluegrass, early folk \u2013 or the pre-pop standards he has homaged on his recent trio of cover albums. There are quite a few crooners featured here: Perry Como, Vic Damone, Dean Martin and, inevitably, Frank Sinatra, though Strangers in the Night seems an oddly lightweight choice \u2013 Sinatra himself hated it. It does however give Dylan a chance to trace the song\u2019s \u201cmurky\u201d history: the authorship of both the melody and the lyrics are contested. It\u2019s that kind of book: discursive, unpredictable, but always illuminating. Characteristically Dylan, in fact.<\/p>\n\n\n\n

Intriguingly, several of the essays are also accompanied by more imaginative \u201criffs\u201d in which Dylan evokes the atmosphere or emotional resonance of a lyric by stepping inside the mind of the narrator and, by extension, the songwriter. Of the Who\u2019s My Generation, he writes: \u201cIn this song people are trying to slap you around, slap you in the face, vilify you. They\u2019re rude and slam you down, take cheap shots. They don\u2019t like you because you pull out all the stops and go for broke.\u201d From there, though, he goes on to uncover several layers of emotional complexity \u2013 defensiveness, grievance, insecurity \u2013 that are all but masked by the song\u2019s arrogant amphetamine attitude.<\/p>\n\n\n\n

Most of the time, this iconoclastic approach makes for heady and exhilarating stuff, though his reading of Hank Williams\u2019s classic country ballad Your Cheatin\u2019 Heart strikes me as wilfully perverse. Williams wrote it as a bruised response to his ex-wife\u2019s infidelities, but Dylan sees it as \u201cthe song of a con artist\u2026 the swindler who sold me a faulty bill of goods\u201d, a crook whose cheatin\u2019 heart \u201cbrought poison and pestilence into the home of millions\u201d. Even as a metaphor for romantic betrayal, that\u2019s quite a leap of interpretation.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Spurce: theguardian.com <\/a><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

In 1993, Bob Dylan released World Gone Wrong, an album of cover versions of what might be called pre-modern songs by some of the early blues and folk performers that he revered. Dylan\u2019s sleeve notes for the album are a thing of wonder in themselves: short, sometimes surreal riffs on ...<\/p>\n","protected":false},"author":6,"featured_media":149079,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4547],"tags":[5066],"class_list":["post-149077","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music-en","tag-bob-dylan-en"],"acf":false,"yoast_head":"\nThe Philosophy of Modern Song by Bob Dylan NGradio.gr<\/title>\n<meta name=\"description\" content=\"In 1993, Bob Dylan released World Gone Wrong, an album of cover versions of what might be called pre-modern songs.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ngradio.gr\/en\/news-el\/music-en\/the-philosophy-of-modern-song-by-bob-dylan\/\" 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