Published on Dec 13, 1999
Artists who are predominantly political get unfairly pegged by
apathetic couch potatoes and activists as well. The couch potato
just wants the artist to shut their piehole(s) and stick to rocking
out. And activists get all bent out of shape when their favorite
artist looks inward instead of outward.
U2 are prime examples of this. And I’m sure Rage Against The
Machine fans are going to get plenty pissed when the band writes a
song addressing domestic relationships. Bob Dylan caught flack for
going electric and he also caught flack for looking inward in some
of his late ’60s and early ’70s material.
Dylan had plenty to vent by the time
Blood On The Tracks was ready to be recorded. Years after
his motorcycle accident, Dylan released a couple of albums that
didn’t register with critics or fans. In 1975, his best years were
looking to be far behind him.
That lack of confidence turned into what is arguably his
strongest, most listenable album,
Blood On The Tracks. The album opens up with one of the most
touching songs Dylan ever wrote: “Tangled Up In Blue.” With Dylan’s
lyrics, there cannot be one true analysis of any song, but at the
same time, everyone’s entitled to their opinion. The story, to me,
sounds like three characters who were full into the hippie
movements of the ’60s facing some harsh realities of the ’70s.
The main character in the song is a loveable drifter, still
hoping to recapture what made him feel alive some time ago. “All
the people I used to know, they’re an illusion to me now,” Dylan
sings. The other two characters are a couple. The female is
somewhat torn between her former life and what’s in the now. Her
guy realized that in order to pay the bills and have some shelter,
someone would have to sell out and “deal with slaves.”
Dylan isn’t morose all of the time. “Lily, Rosemary And The Jack
Of Hearts” is a playful song that sounds way shorter than the
eight-minute plus register on your CD player implies. And the
entire album has a very listenable quality to it. Dylan has usually
been a “lyrics first” kind of musician, but particular care was
made on memorable choruses and ear-friendly guitar work.
“Meet Me In The Morning” is a great example of Dylan’s attention
to the sound of a song as well as the lyrics. Both the percussion
and the guitar work follow a simple, folksy pattern. But they do
not distract you from hearing Dylan’s lyrics.
Perhaps the most recognized track on
Blood On The Tracks is the pensive “Shelter From The Storm.”
In an age where arena rock, punk and disco were about to fight
their epic battle for chart supremacy, Dylan’s stubbornly prickly
track showed that Dylan would probably still be standing once those
three fads faded away.
Not many artists today would have been able to make
Blood On The Tracks. After three so-so efforts, may artists
would have been shopping around for a new label and booking
reservations for state fair performances. Fortunately, Dylan was
able to hold out until his creative muse returned. The world looked
a lot different for Dylan in 1975, but fortunately,
Blood On The Tracks is a timeless response to any rebel who
is not content with becoming a cultural relic.