Free Download Still on the Road: The Songs of Bob Dylan, 1974-2006, by Clinton Heylin
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Still on the Road: The Songs of Bob Dylan, 1974-2006, by Clinton Heylin
Free Download Still on the Road: The Songs of Bob Dylan, 1974-2006, by Clinton Heylin
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Review
"Clinton Heylin, master explicator of the Dylan canon, has however improbably, sorted it all out for us through the tangled '80's and beyond, completing what he started in Revolution In The Air. The book is essential." —Jonathan Lethem"Heylin is at once a researcher, explicator and archivist . . . Taking Dylan's songs in sequential order of composition might seem to be an improbable project, but Heylin documents it with such attention to detail that one marvels at his provable and entirely correct timeline." —Shepherd Express
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About the Author
Clinton Heylin is the author of several books, including Bob Dylan: Behind the Shades, Bob Dylan: The Recording Sessions, Can You Feel the Silence: Van Morrison, and Revolution in the Air: The Songs of Bob Dylan, 1957–1973.
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Product details
Paperback: 552 pages
Publisher: Chicago Review Press; Reprint edition (September 1, 2016)
Language: English
ISBN-10: 1613736762
ISBN-13: 978-1613736760
Product Dimensions:
6 x 1.2 x 9 inches
Shipping Weight: 1.6 pounds (View shipping rates and policies)
Average Customer Review:
4.0 out of 5 stars
13 customer reviews
Amazon Best Sellers Rank:
#928,764 in Books (See Top 100 in Books)
If you're reading reviews about "Still on the Road" it probably means you're pretty serious about Dylan's work. I am, and that's why I read Clinton Heylin's books. He does the kind of research I can't do, so I appreciate the light he throws on Dylan's work. His books are so rich that I usually read them twice to find the things I missed the first time 'round, and "Still on the Road" is no exception. There's a whole lot to value in Dylan's later work, often dismissed as inferior to his work from the mid 60's, and Clinton Heylin illuminates the gems of this period: songs like "Changing of the Guards," "Jokerman," "Blind Willie McTell," "Most of the Time," "Series of Dreams," and "Brownsville Girl." These songs, along with a big handful of others, hold their own with Dylan's greatest work on "Bringing It All Back Home," "Highway 61 Revisited," and "Blonde on Blonde." For us folks who are convinced that Dylan is one of the great writers and performers of the last half of the 20th century to the present, this book is a must.So, why only 3 stars?- Heylin's habit of second guessing Dylan about lyric changes, best versions of songs, and so on, is hubris. Dylan is the writer and performer, and though it is reasonable to question choices he makes, Clinton Heylin crosses over into making definitive pronouncements thereby placing himself in a superior position to Dylan. Uh ... really?- Heylin's condescending dismissal of other writers about Dylan is irritating. For some reason he seems to feel he needs to put down these writers. What I mean is that he doesn't just disagree and present a different point of view, he insults them. What is gained by this?- Heylin, like so many writers on Dylan, seems to think it's cool, or a mark of superior knowledge, to incorporate allusions to lines and phrases from Dylan's songs in his prose. Give it a rest. It's a bore (not to mention that it's very easy to do), and given that advertisers, editorialists, journalists and the like drop Dylan references like jelly babies at Beatles' concerts, this stylistic habit is tedious. English Composition 101 - put it in your own words.- Why on earth Heylin spends a good portion of his discussion of "Brownsville Girl" discussing the earlier studio take "Dansville Girl" is beyond me. I assume it's because, according to Heylin, Dylan has a habit of rewriting his songs in ways that make the released versions inferior to the earlier studio takes. But most people will likely only have access to the released song, so it would seem sensible to discuss that version. This is a case where Heylin "decides" that Dylan was wrong and so takes it upon himself to substitute his preference for Dylan's. Come again? I'm familiar with both versions and I think, after maybe a hundred listens, that Dylan made the right choice by releasing "Brownsville Girl."- The "Christian Period" ~ Heylin does an excellent job of showing, from "Street Legal" to "Modern Times," that the so called Christian Period was not a period at all. Dylan's work is soaked in Biblical imagery and reference, his sensibility has been Apocalyptic from as early as "Freewheelin'" and Dylan has always been a moralist of the prophetic type. The problem I had with Heylin's discussion of songs from "Slow Train," "Saved," and "Shot of Love" is that he goes on and on about the Biblical references in these songs. Sure, a certain amount is appropriate, but Heylin goes on at such length it seemed more like he was displaying his endless "rabbinical" knowledge of The Gospels and The Prophets. If I felt his long discursions on Biblical passages actually helped to understand the songs it would be okay, but to me it came off more as an opportunity for Heylin to display his knowledge of the Bible (I have a Ph.D. in Religious Studies). It might be worth noting that there are websites like Oremus that can search and find Biblical references quite easily. Heylin could have written all those pages with no Bible in sight. Of course I don't know if Heylin is well versed in the Bible, but the main point is that this whole section of his book was filled with long discussions that focus far more on Biblical passages than on Dylan's song. I skipped or scanned lots of this section.Clinton Heylin's books are always a mixed bag, but at his best his work is full of valuable research and quite interesting commentary on Dylan and his work. If you are seriously into Dylan then you seriously ought to consider getting "Still on the Road," along with the earlier companion volume "Revolution in the Air."
Lots of detail here and many good insights, but he could have made the book much more useful if he had listed the songs' appearances, if any, on officially released albums (or unofficially, for that matter, altho that might be asking for too much).
What was in Bob's mind...this will help.....What is Bilnd Willie McTell all about....look up any song from 74-06 an you will find out......
Just a great compendium of information about Dylan songs. A must for any Dylan fan
This could be a very good book if the writer would keep his opinions and sarcasm to himself. It's self-serving for a lesser talent to spend his time second-guessing Bob Dylan with snide comments and personal opinions. Considering the amount of bias the writer displays, how much of what he writes is accurate?
I base my highest praise for the Bob Dylan songs that give me an emotional release in opposition to the professional roles that seem to fail to offer me a popularity contest I can win. As a deep thinker of dark eldritch directions, I can appreciate lines of License To Kill that Heylin calls "Not only is this one of the corniest couplets the man ever wrote, it is hardly an astute analysis." (p. 256). Pulling this leg for having an iron knee, the two lines in the song:Man has invented his doomFirst step was touching the moonreminds me of July 1969, when the US Army had me participating in ground combat operations in Vietnam. Global prestige was part of Nietzsche's Latin phrase circulus vitiosus deus. It is a rolling indemnity hoop snake thing. I am hearing no going back, when the foot of pride comes down there's no going back on an official bootleg CD, and Blind Willie McTell. It sings the blues.
If you're not a serious Dylan fan, you can live without this in-depth study (more or less) of every song Dylan wrote between 1974 - 2006. Dylan has been a public figure for almost 50 years and my interest in him is casual at best. We lived in Minneapolis around the same time and, interestingly, shared a good friend in common. I generally like his music, but have never viewed him as a great poet, prophet or anything else other than as a talented entertainer. Thus, this book - the second volume on Dylan's music by Clinton Heylin - is not intended for me. It is interesting, fun to read and filled chock full of anecdotes, explanations (the veracity of which I cannot judge) of the origins of Dylan's songs, recording session dates and locations, supposed inspirations for the songs and so on. True Dylan fans will probably love it, although some have been critical of Heylin. I found it interesting, but containing far more than I wanted to know.Jerry
I'm serious when I ask if Heylin even likes Bob's music, as he seems to do nothing but second guess and put down his output. There is a lot of great research here, bringing to my attention songs that were just rumors, or snippets, and bringing forth as much information on them as anyone could find. That's what's great about this book; however, it gets docked multiple stars due to the constant second guessing on lyric changes, song selections on albums, and vocals performances. "Love & Theft" was a "disappointment"? Come on Clinton, you're so critical at this point and so Tangled up in Bob that I don't think you get much enjoyment from his music.It's too bad, it could have been great, and it's a valuable reference work, but it's utterly frustrating.
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