
I backed into Bob Dylan, the way you might bump into an interesting character at someone else’s party.
“Mr. Tambourine Man?” The Byrds sang me that one. “Blowin’ in the Wind?” Peter, Paul and Mary. “All Along the Watchtower?” Heard it first from Jimi Hendrix. I don’t think I really got into the guy that Chazbo Pierce calls “The Master” until “John Wesley Harding” came out in 1967, shortly after my family moved from San Antone to Bibleburg.
My friends and I played the shit out of that one, and then I started rooting around through his back catalog.
I lost interest after Bob found the Lord, though I dug “Gotta Serve Somebody” and “Everything Is Broken.” These days I only have the old stuff — “Blonde On Blonde,” “Blood On the Tracks,” “Bringing it All Back Home,” “The Freewheeling Bob Dylan,” and “Highway 61 Revisited.” You’ll find more killer tracks on those five albums than most singer-songwriters could produce in five lifetimes.
As Thomas McGuane put it in “Nothing But Blue Skies”:
No one compares with this guy, thought Frank. I feel sorry for the young people of today with their stupid fucking tuneless horseshit; that may be a generational judgment but I seriously doubt it.
Extra-Credit Dylan:
• At Esquire, Charles P. Pierce discusses the old soul of The Master.
• At The New York Times, Jason Zinoman calls Dylan our most underrated comic, arguing that he belongs “in the pantheon of great Jewish funnymen.”



