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SECRETLY CANADIAN INSIDE AMERICA’S COOLEST LABEL ESSENTIAL 40 CLASSIC YOU NEED TO OWN DYLAN 197O –79 A DECADE OF REINVENTION EIGHT ALBUMS THAT REDEFINED A GENIUS 50 COVER STORY DYLAN IN THE 70s the next 10 years, Dylan embarked on a reinvigorati After exiting the 60s with one of his finest albums, Dylan entered the 70s with one of his worst. Yet ov journey through some troubled times, wearing many many wearing times, troubled some through journey DanielWray Dylan helped him make eight very different albums, talk Dylan 1970-79 A Decade Reinvention Of masks. Here, some of the key musicians who Don’t Look Back through a remarkable decade Bob ng er

ALVAN MEYEROWITZ/MICHAEL OCHS ARCHIVES/GETTY 51 COVER STORY DYLAN IN THE 70s 52 COVER STORY DYLAN IN THE 70s DISCOGS Skyline the brillianceAfter of CBS 66250 19708 JUNE SELF PORTRAIT of of originals thrown in. His version Dylan’s own songs with a handful of revisits sub-par and versions of studio leftovers, messy cover parody, in reality it’s a collection self- of act contrary it’s atypically entirely nonplussed. Some suggest Dylan watchers either confused or essentially an official bootleg, it left A sprawling double that’s Copper the take on Alfred Frank Beddoe’s Album #1 Album Blue Moon ended the 60s… this. £10 is not a highlight, but most certainly is. Nashville I a words of the magazine’s review of of review magazine’s the of words his greatly over time. world of , perceptions change in his career. However, like many things in the actuality it represented just a 12-month period artists may experience over decades, but in the words: “What is this shit?”. to shake o the album was a joke or an intentional misstep sub-standard, it was debated for years whether a handful of originals that many deemed an album featuring a bunch of covers and seminal album a of a bootleg record – an odds and sods le Later on, Dylan himself referred to it as more rea he kicked o kicked he grated on him hugely. So much so that when the voice of a generation. It was a label that thinks thinks it is: his best album.” part of Dylan’spart long-standing by which point the response had warmed f h It marked the kind of artistic decline most air. In 2013, it got expanded and became i i rst album of the next decade, began with roughout the 1960s, Dylan knocked out rming his status as an icon of the era and f f the shackles of pressure. the next decade with with decade next the t er seminal album, with each of of n 1969, the closing words of Bob Dylan’s Dylan’s Bob of could well be what Dylan about being happy. It interesting statement and humane, a deep, artistically impossible: Skyline ways, many “In album of the decade read: Rolling achieves the h Bootleg Series e opening Self Portrait Self Portrait i ’s review Nashville nal nal t overs , , , from one of its tracks, of a somewhat, with it taking on a new degree of the most beloved and hip when the recent time around, people lambasted Wes Anderson’s Anderson’s Wes sessions feature just him and Dylan. “ the album – and many of those bootleg says , who was a key player on original songs, and that’s what they wanted. h on themaligned David Bromberg was a key player “People were not as critical and demanding ey were very critical because of the lack of f ection for some fans. It also bene Self Portrait Self Bootleg Series h e Royal Tenenbaums Wigwam i lms of the 2000s: stu , being in one one in , being Self Portrait f came out,” h i ted . e i rst .

MICHAEL OCHS ARCHIVES/GETTY RICHARD E. AARON/REDFERNS/GETTY BETTMANN ARCHIVE/GETTY 1960s with. with. 1960s country-laced rock that he had wrapped up the was an extension of some of the smoother, Morning New other.” doing my job. I just put one foot in front of the was on a mission or not, my focus was on Bromberg recalls: “I didn’t try to analyse if he express about his intentions for the album, as seem to enjoy it more.” Dylan had very little to around it when people approach it, and they So that material now has less preconceptions to go but up? At least in theory. me very much at all,” he recalls. he all,” at much very me follow where the went. “He didn’t direct feels that’s why he was brought in; to simply resembling verbal direction that Bromberg soon deemed his worst, then where is there le he’d begun the year with an album that was sabotage, then to some degree it worked. If their entire lifetime. surprises than most artists go through in cover it. buoyancy that Olivia Newton John would later You musical styles, bands, albums, shi buckle up for a decade-long ride across more comfortable and was aboutreassuring to they had Dylan back in a mode that felt safe,got Dylan back”. However, anyone thinking came loaded with sentiments such as “we’ve Dylan’s foray into KNOCK, KNOCK, KNOCKIN’ New the decade, and the 1973 follow-up to If Dylan’s attempt on possessed such an accessible pop-kissed h h e session was so lacking in anything e album was received glowingly and h was the soundtrack to the , released just months later, e opening love song love opening e i lm grew throughout Self Portrait h t e following If Not For s and was self

t

him again,” said . again,”Al him said album I never wanted to speak to harmonious. “When I finished that better. The sessions weren’t entirely fore; familiar nasal vocal back to the Not For You that record. The joyful shuffling of much – as though Dylan, from riposte mark to suggest it’s an immediate back with us again”. It’s wide of the this time declared “Bob Dylan is DISCOGS Self Portrait After the savaging dished out to CBS 69001 1970 OCTOBER 19 MORNING NEW Album #2 Album Sign On The Sign On Window New Morning £7 , is sublime, Dylan’s is sublime, Rolling Stone Rolling pre-dates ’s review is even If DAVID BROMBERG DAVID job” my was focus a mission or not, my analyse if he was on “I didn’t totry Sam Peckinpah with, be it lovingly or to much chagrin. something Dylan is now utterly synonymous in increasingly experimental and altered ways, that saw him reapproaching older material and it also began a new era in Dylan’s career coincided the releasewith of motorcycle accident that same year. an activity he had given up since his severe produced a song for inclusion in the Kid he soon announced his his announced soon he so he found onhimself Asylum in the US, and interest waned from his Columbia, and soured had Relations so. or year following moves could never be anticipated. sole intention was seemingly making sure his this trait continued as the years went on. His magic from the most unlikely of sources, and Door will hum away gently to. or your auntie who doesn’t really like music, kind of song that even people who hateof his most Dylan, enduring and beloved hits. It’s the would go on to be a worldwide smash and one h More changes were afoot for Dylan in the . Not only did Dylan star, but he also e Bob Dylan and was proof of Dylan’s ability to pluck i lm Pat Garrett & Billy h i Knockin’ On Heaven’s rst tour since 1966, 1966, since tour rst e Band 1974 tour Garrett & Billy The Kid The Billy & Garrett Planet for1973’s Dylan in silver screen i lm that

h e

Pat Pat

53 COVER STORY DYLAN IN THE 70s s

Dylan onstage with in 1974

his was captured on the 1974 live album It’s a period caught recently in Martin h

DYLAN IN THE 70 Before e Flood, a record bursting with gusto, Scorsese’s non-documentary documentary Album #3 energy and big raucous performances, with Rolling hunder Revue: A Bob Dylan Story, 54 both Dylan and he Band stretching the life that wilfully merges iction and non-iction out of songs in performances that felt as if they along with tour footage in which Dylan had were making up for lost time on stage. If Dylan decided to play smaller venues and with a had begun the era by tentatively testing the ragtag collective including everyone from water with some letover cover songs, by this to featuring along stage he was back in full swing, bolstered by a charging sense of momentum. For his 1975 follow-up, the majestic Blood On he Tracks, Dylan ditched he Band and

COVER STORY COVER returned to to release an album that remains one of the pinnacles of his career. Unsurprisingly, it centred around change and forward momentum but was also PAT GARRETT rooted in pain and leaving things behind. & BILLY THE KID As Dylan’s marriage was entering diiculty, 13 JULY 1973 he churned out an album of intense, potent CBS 69042 and overwhelming honesty that for many Dylan’s first soundtrack LP, for Sam remains the template for confessional Peckinpah’s film of the same name, singer- albums. Although of course yielded one of his biggest hits, Dylan, being Dylan, has gone on record at Knockin’ On Heaven’s Door. At the times to suggest it’s not a personal record. time critically under-appreciated, it’s Sessions for the ensuing 1976 album Desire a beautiful, airy, rough-hewn record started in July 1975 and concluded in October, was an that ended a three-year period of just as Dylan embarked on one of his most important figure during the Desire sessions silence from Dylan. Two-minute notorious tours: he Rolling hunder Revue. instrumental Bunkhouse Theme is a beatific highlight. While an initial session took place in Mexico City, Why I Love… where Bob was living while filming, PAT GARRETT & BILLY THE KID the bulk of the album was recorded “Seen as a slight upon its release, the music fits the Sam Peckinpah film of the same name to at Burbank Studios in California. perfection, a cycle of simple, dusty, looping, down-home borderland tunes, tracking the story DISCOGS £8 of a man who doesn’t want to run being pursued by his old friend who doesn’t want to catch him. Highlight: the classic Knockin’ On Heaven’s Door.”

LEE RANALDO, SONIC YOUTH NATKIN/GETTY PAUL BRONOWSKI TOM Dylan plays Kezar Stadium in , 1975 Album #5

BLOOD ON THE TRACKS 17 JANUARY 1975

CBS 69097 s A strong contender for the best album Dylan has made and almost certainly the best break-up album of all time, ’ remorseful self examination doesn’t let up from the opening acoustic guitar chord of . the way. “I was just a kid as he was leading Originally recorded in just four days, the album was pulled from this whole wild circus,” remembers David DYLAN IN THE 70 Album #4 Mansield, who Dylan had brought into his the release schedule by Dylan band when he was just 18. and re-recorded in Minneapolis 55 in the first days of 1975. It was GYPSY MUSIC released a fortnight later, taking its It marked a period in which Dylan seemed place alongside 60s masterpieces to be plucking new people to work with almost and Highway out of thin air. Violinist Scarlet Rivera was one 61 Revisited. such person. “One summer day, I was walking is a song of jaw-dropping romantic down 13th St on the Lower East Side of New reflection, while You’re A Big Girl York City with my violin case when an Now and the vengeful

ordinary car pulled up alongside me,” she are potent reminders of Dylan’s STORY COVER recalls. “he man driving was very curious ability to both deliver devotional about me as a musician and asked if I could tributes of heart-splitting fondness play that thing. I said, ‘Yes, I can play’. He and rain down righteous fury, often PLANET WAVES went on to talk about how he liked gypsy in the space of the same couplet. 17 JANUARY 1974 music that he heard when traveling. I told You’re Gonna Make Me Lonesome ISLAND ILPS 9261 him I liked gypsy music, too. I was going to When You Go, too, is “right on Newly signed to a rehearsal across the street, but he said to target, so direct” an affectionate in the US and Island in the forget that because he had to hear me play.” farewell shot through with painful UK, Dylan’s 14th studio LP was Soon enough, Rivera was in a studio with regret. If You See Her Say Hello characterised by the return of The Dylan, following his lead on a bunch of songs. bursts with the pain of pining for Band. Dylan so agonised over the “Ater playing for about an hour, he moved to a loved one departed for foreign for Forever Young the and tried a few more songs,” she shores, while closing pair Shelter that it’s included twice – the slow remembers. “He never said a word about my From The Storm and Buckets Of version is wonderful. Recorded playing the entire time, but I observed a small Rain are simplistic perfection. hastily, it’s a strong set, although smile before he shut the lid and said, ‘I have to DISCOGS £25 (ORANGE LABEL) few predicted the sheer brilliance go see a friend of mine play, do you want to that was to follow over the next come along? Back in the car, we went to see the two years as Dylan unleashed first Blood On The Tracks then Desire. The moral of the story: don’t try to second guess Bob Dylan. “I was going to a rehearsal across the DISCOGS £15 (PINK RIM) street, but he said to forget that because he had to hear me play” SCARLET RIVERA s

The saw Dylan cutting loose live on stage with his hand-picked band

DYLAN IN THE 70 Muddy Waters Band. He got up to thunderous potential sidemen. When he hung out with me applause and at the end of the irst song with jamming, I later realised he was testing me.” 56 Album #6 Muddy, he went to the mic and announced, Musical gut instinct is what Dylan was ‘Now I want to bring up my violinist to play’.” looking for in players around this time. “I’m It’s an emblematic story of where Dylan was a player, and in the jazz scene we never at during this time: wide open, following verbalise stuf, we just go ahead and play,” says instinct, intuition and spontaneity. Rob Stoner Stoner. “Usually, you can let the music do the would be in his band for three years from 1975- talking and Dylan was a guy who expected 1978 and became something of a right-hand that level of . Anybody who would man. “It was a surreal time but a real thrill,” ask a lot of questions would not be on his list. he says. He recalls what on the surface He would just do things and expect you to

COVER STORY COVER appeared to be a harmless jam session as Dylan follow.” He remembers bandmate Howie eyeing him up. “I’ve come to realise that what Wyeth initially not catching this. “Howie he was doing was auditioning me for future asked a perfectly reasonable question during reference. He was trying to build up a dossier of one of the irst sessions about how we were DESIRE 5 JANUARY 1976 CBS 86003 Sandwiched between two Rolling Thunder Revues, Desire features many of the musicians from that touring circus. Despite the huge cast and chaotic recording sessions, it’s a worthy follow-up to Blood On The Tracks that sees Dylan continue his rebirth. The sprawling character stories – Hurricane, inspired by the murder case against boxer , and Joey, about gangster Joey Gallo, are majestic – while Rivera’s sweeping violin work is an evocative counterpart. DISCOGS £15 Dylan and Joan Baez share a mic during the Night Of The Hurricane show at Album #7

STREET-LEGAL 15 JUNE 1978 CBS 86067

Following Blood On The Tracks and s Desire while dealing with the fallout from a divorce and the Rolling Thunder Revue was always going to be a tough ask, and Street-Legal is a record that divides opinion. Hampered by stodgy production, it never catches light, but it still possesses some fine songs, such as opener DYLAN IN THE 70 (listen out for the Animal Hospital theme tune in the solo). Despite 57 the mixed reaction from critics, it remains one of Dylan’s biggest- selling albums in the UK. DISCOGS £15

going to end a song and Bob just gave him the STORY COVER most fucking evil eye and I knew right away “Follow him and you can’t go wrong. the way to play it was to keep your mouth shut. He was always looking for reinvention. I took him aside and told him he was going to blow the gig and to shut the fuck up.” You have to be ready for anything” ROB STONER his led to very few people ever really getting a sense of Dylan as a person, the man behind the myth and persona. Stoner would oten act auditioning with him. I like it when somebody hunder Revue tour,” says Rivera.“To this day, as intermediary, relaying messages and the does that, though, because it keeps the band on I meet people who saw the show and say it was like. However, he felt this slightly distanced their toes. If you just do the same thing over one of the most unforgettable shows they have approach was conducive to getting the best out and over again, you just get a thousand-yard ever seen.” It’s all come rushing back to the of the band when playing together. “Follow stare ater a while.” surface via the Scorsese ilm, too. “he him and you can’t go wrong,” Stoner says. “You With nobody ever knowing what was concert footage was brilliant and riveting, shouldn’t have to verbalise anything. He was coming next, both musically and personally, it and I was very moved to see from the audience always looking for reinvention. You have to be captured a thrilling and potent time. “It would perspective the electric iery chemistry that ready for anything, any kind of curveball. take a couple of chapters to fully express my was evident onstage between Bob and myself.” hat’s part of the test. You never really stop inner and outer experiences during the Rolling However, the casualness towards truth in the ilm has brought up a few issues for band members. “I was more than a little surprised Why I Love… when it was revealed that I was dating the STREET-LEGAL leader of the band Kiss,” says Rivera. “here “Street-Legal is the 70s Dylan for me. Bob spewing at the top of his singing and writing powers. were several other spicy things said about me Almost as good as Mark E Smith. The big production could have sounded overdone, but it is perfect. that I suppose added some intrigue or illusion It doesn’t have other 70s hits, like Hurricane or Tangled Up In Blue, but it’s a more solid album.” that also were not true. I did carry a dagger,

GIJSBERT HANEKROOT/REDFERNS/GETTY HANEKROOT/REDFERNS/GETTY GIJSBERT NIRZARDP JEFFREY LEWIS but no, I didn’t carry live snakes on tour.” 1978’s Street-Legal, and had once again plucked “We got a lot of nasty press during the out a new band to work with. Mansield was Street-Legal tour that the retained, however, and remembers the diference between the Rolling hunder Revue were too polished” era and this period as being “black and white”. It marked a tough time for Dylan, slap bang in the middle of a divorce, but Mansield For Stoner, Dylan’s approach to having his down band was brought in that things were remembers him being in good form. band work around him and ready to shit “clicking” according to Stoner. “hey were “During the Street-Legal tour I felt I got direction at any point was also mirrored in the getting nowhere with all these musicians a better sense of him. He was chatty and afable studio for Desire. “It was a total extension of there. It was too hectic and chaotic.” Rivera and would hang with the band in the bar ater our jam sessions,” he says. “His studio remembers the shit, too: “I returned and was the show. He seemed to be feeling great despite approach was way more of a snapshot than shocked that the bustling room was quiet. personal problems. I’m projecting here, but a workmanlike and detailed approach. Bob’s I knew something extraordinary had maybe with the divorce going as far as it did… studio approach goes back to pre-multitrack happened, but it would take quite some time to performing just lited his spirits.” era, before people did loads of overdubbing process the fact that I replaced as he folky swing of Desire was replaced by and layering and meticulous crat. A lot of the lead soloist. Bob allowed me complete a more polished, slicker record. Something people who end up recording Bob’s albums just freedom to follow my intuition without people reacted to negatively at the time. “We think they are doing demos because the restraints. One More Cup Of Cofee was got a lot of nasty press during that tour that the

s amount of time he spends recording in the recorded in one take. He listened carefully but arrangements were too polished,” recalls studio is nothing but an immortalisation of didn’t try to control what I might come up Mansield. “Although he never fell into a black how he felt about the tune on the day he was with. Looking back, if I failed and he wasn’t mood over things like press. I’d seen him get recording. If he gets a recording that doesn’t impressed with my playing, he already had into those kind of moods on the second Rolling have any major technical laws, then that’s the Eric Clapton’s lines recorded and I could have hunder tour, so I know what that looks like.” take and that’s what goes on the record because been replaced. But my contribution prevailed here’s a playfulness apparent with Dylan he’s interested in spontaneity and he’s a very and was featured on every song on the album.” here once again. Just when the hardcore fans mercurial individual. hat’s part of the charm and press had him where they wanted him, of his recordings, they are so of-the-cuf.” A SLICKER RECORD Desire was a success and the Rolling hunder

DYLAN IN THE 70 Initially, the album-making process was More touring and another live album, tour was deemed an electrifying spectacle to a studio stufed full of people, including Eric Hard Rain, was released. By 1977, Dylan was begin with, he switched things up and sent 58 Clapton. It wasn’t until a much more stripped- in the studio again to make what would be people falling. … 5 BOOTLEG SERIES HIGHLIGHTS THAT CHART BOB’S JOURNEY THROUGH THE 70S COVER STORY COVER

THE BOOTLEG THE BOOTLEG THE BOOTLEG THE BOOTLEG THE BOOTLEG SERIES VOL. 5: SERIES VOL. 10: SERIES VOL. 11: SERIES VOL. 13: SERIES VOL. 14: BOB DYLAN ANOTHER SELF THE BASEMENT TROUBLE NO MORE BLOOD, LIVE 1975, PORTRAIT TAPES COMPLETE MORE 1979–1981 MORE TRACKS THE ROLLING (1969–1971) THUNDER REVUE Originally recorded in A collection of music More music collected Loathed, lambasted 1967, released from slap bang from the sessions of one A live album taken from and derided at the time (a collaboration with The in the middle of Dylan’s of Dylan’s greatest albums. the first stretch of Dylan’s of release, 1970’s Self Band) wasn’t released until born-again Christian A fascinating insight into ragtag collective 1975 Portrait grew on many 1975. This collection is the phase. Much like Self his songwriting process tour (the second half of over the years and this ultimate putting together of Portrait, albums from and how he played so said tour was originally expanded edition goes music from these sessions. this period (Slow Train seamlessly with melody, released on the live deeper into some of the Bootlegged and the Coming, Saved and Shot with songs overlapping album Hard Rain). It sessions and versions subject of myths for years, Of Love) were seen as in similarity in demo form captures Dylan relatively from the album that many it collates much of the low points at the time, but only to go on to be distinct fresh from a near decade- saw as Dylan’s disastrous work from one of Dylan’s over time have gained a and unforgettable on the long live absence. start to the 1970s. most beloved periods. stronger cult following. finished album. DISCOGS £60 DISCOGS £69 DISCOGS £48 DISCOGS £33 DISCOGS £25 In the moment on the Still On The Road tour in Rotterdam, 1978 Album #8

SLOW TRAIN COMING 20 AUGUST 1979 CBS 86095

More carefully constructed than s Dylan’s other 70s albums, saw take the producer’s chair. Dylan evokes the forces of good and evil throughout an album deeply tied up with his embracing of . The album was recorded at Muscle Shoals, with guitarist Mark Knopfler and drummer Pick DYLAN IN THE 70 Withers brought into the fold. While both Wexler and Knopfler 59 However, the inancial losses of the Rolling cleared house,” says Stoner of Dylan’s decision had doubts about the Biblical hunder tour, as well as from his derided ilm to once again work with a series of fresh content, the results are among (of which Scorsese’s ilm musicians. “He was going through a lot of Dylan’s strongest of the decade. is essentially a re-edit) saw Dylan set of on personal stuf in his life. I could see he was at DISCOGS £4 a huge tour of the Far East, playing huge his wits’ end with iguring out what life was all venues as a slick professional touring operation about. He was looking for some kind of deeper – the antithesis of the chaotic Rolling hunder meaning. I was not surprised at all that he days. he result was another live album, Live turned to religion for self-fulilment.”

At Budokan, that captured this new slickness Mansield, however, who was also let go, too went through it – he relects back on this STORY COVER and sleekness, combined with radically altered didn’t see it coming. “Being let go was a total era and his burning through so many bands versions of songs that would oten lead towards surprise when he went through his whole and musicians as being something rooted pop-heavy interpretations. It contains some of religious conversion. He just let everyone go deeper in Dylan’s psyche. “When Bob has a Dylan’s most interesting tweaks of his own and cancelled all touring commitments. band that he’s not satisied with, I don’t think work, but people hated it and it saw some of the He gave his manager a heart attack. When he he knows how to ix things,” he says. “He most savage reviews not only of the decade but was then ready to work again, he just didn’t might say, ‘You guys are playing like shit’ or of his entire career. want to work with anybody from the old days.” have a temper tantrum, but he won’t know how Stoner says he saw a change in him on that What followed was Slow Train Coming, an to be speciic and go about changing things. tour that might explain Dylan’s most radical album that opens with the religious anthem I saw him play with his band around Slow shit of the entire decade. “He seemed to be a that repulsed atheist Train Coming era and he had some of the best soul adrit in a world of confusion,” he recalls. John Lennon to such a degree that it warranted players in the world, and I think he had them Soon, Dylan would convert to Christianity and a response track that parodied Dylan: Gotta kind of intimidated into barely playing. hey it would feature prominently on his next Serve Yourself. While Mansield understands were all playing the safest most boring stuf, albums. “I think that’s one of the reasons he Dylan’s religious change during this era – he and then not long ater that there was another new band.” BERTRAND When asked for his insight into the way Why I Love… Dylan operated and moved in the 1970s, LIVE AT BUDOKAN and how he would sum up a decade of such profound change, unpredictability and highs “I can think of nothing more punk rock than Dylan taking all his songs, adored by myopic music snobs, and turning them into shiny pop songs. He totally smashes it, too. This album has the and lows, Stoner’s immediate response is best recorded version of I Want You on it and when the saxophone comes in on Simple Twist Of a simple but perfectly apt one. “May I cite Fate it gets me every time. He inhabits the role of the lounge singer brilliantly as well, with all the title of his movie, Don’t Look Back,” his perfectly placed asides. I love this album so much that I burst with joy every time I put it on.” he ofers. “his espouses his life philosophy

GIJSBERT HANEKROOT/REDFERNS/GETTY HANEKROOT/REDFERNS/GETTY GIJSBERT EDDIE ARGOS (ART BRUT) quite neatly.” ●