Masked and Anonymous: Bob Dylan in the 21st Century
Published September 27, 2006
The trouble, though, is that those glimpses we see are only glimpses. Without the participation of Bob Dylan himself, which was really what made No Direction Home such a big deal, After the Crash is the sum of its talking heads' testimonies. More to the point, these talking heads, aside from having researched him extensively (who hasn't?), have very little more authority on their subject than you or I; aside from a handful of former collaborators, some more significant than others, about the closest thing we have to an actual friend of Dylan's here is the late Beat journalist Al Aronowitz. The rest are all journalists, glorified fans really, whose opinions and speculation can sometimes be interesting, but is just as often incredibly patronizing ("I don't think people play it that often," is Patrick Humphries' snooty appraisal of Nashville Skyline).
Granted, in the rare occasions when a direct participant in the Dylan story is secured for an interview, the film can be a fascinating watch. One major highlight is the interview with A.J. Weberman himself, including his story about the end of their relationship, when Dylan actually beat him up on the street and Weberman, after dusting himself off, considered coming after the musician with a wine bottle. If nothing else, this anecdote proves once and for all just how much of a nutcase Weberman was (and still is). A little less juicy, but ultimately more satisfying, is the segment devoted to Desire and the brief flourish of the Rolling Thunder Revue. Indeed, it's this final act when After the Crash comes most alive, because it's here when the most principle players - songwriting partner Jacques Levy, "gypsy violinist" Scarlet Rivera, bass player Rob Stoner - contribute. This segment is so good that it makes one want to see a full-length documentary devoted to the Rolling Thunder era; maybe even attached to a home video release of the notorious but historically vital Renaldo and Clara film (are you listening, Columbia?).
But needless to say, a full-length Rolling Thunder Revue doc was not the purpose here, and despite the back cover's promise of "rare Dylan footage," neither was a substantial look at the music. Almost certainly due to licensing and budgetary issues, we get only a teasing glimpse at performances from The Johnny Cash Show, the Isle of Wight Festival and "Simple Twist of Fate" with Rivera and Stoner at the John Hammond TV Special; a shame, because these would be high points of the film had they been included in their entirety. As for Dylan's music, there simply isn't any - the soundtrack, a competent and non-intrusive soundalike score by "Dylanesque," is content to just strum a chord sequence suggestive of "The Ballad of Frankie Lee and Judas Priest," which admittedly is probably a hell of a lot easier on the pocketbook. But budget issues can't explain away After the Crash's perplexing decision to end its story a few years after the mid-career peak of Blood on the Tracks and Desire, with Street Legal, an album which is generally considered a missed opportunity, and Dylan's much misunderstood late '70s conversion to born-again Christianity. To say the least, it's difficult to wrap one's head around just why a movie that purports to delve into the vagaries of Bob Dylan's first period in the wilderness would leave us on such an uncertain, deeply unsatisfying note.
- Masked and Anonymous: Bob Dylan in the 21st Century
- Published: September 27, 2006
- Type: Opinion
- Section: Music
- Filed Under: Music: Country and Americana, Music: Folk, Music: Rock
- Writer: Modern Pea Pod
- Modern Pea Pod's BC Writer page
- Modern Pea Pod's personal site
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Wait, wait, wait. I LIKED the freaking album. Am I understanding correctly that I have to write a total sycophantic BJ of a review in order to be credible? Modern Times is good, but come on, on a Dylan curve? From the guy who gave us Blonde on Fucking Blonde? Not a five-star album or a "masterpiece," by any stretch of the imagination.
As for your taking issue with the Weberman "relationship" remark, that's just semantics. Dylan and Weberman had a much more personal "relationship" than most celebrities and their stalkers; they talked on the phone, remember? And yes, I'm aware that Weberman would have been prosecuted these days. I CALLED him a nutcase. Or were you just skimming for anything you could remotely call me out on? About the only thing I'll concede to you is that, fine, Dylan played a Clash cover. In Brixton. Last November. On two nights. Guess I've got better things to do than scour the dude's setlists.
Is it just me, or did my disparaging comments about "Dylanology" strike a nerve? Eh, "Mighty Quinn?"
dude, i really enjoyed reading yr article. it was well written,insightful, and honest. i wish more reviews were as fair, not sycophantic and not totally critical either. you just laid it out like ya saw it, after all it's just one persons perception. well done
dude, i really enjoyed reading yr article. it was well written,insightful, and honest. i wish more reviews were as fair, not sycophantic and not totally critical either. you just laid it out like ya saw it, after all it's just one persons perception. well done
It was a good article, as a long time Dylan-freak- thats what we were called in the 60s and 70s- that's a compliment.But Dylan does know that times are still a-changing. He just does not think they are changin' for the better. Older people rarely do. He has acknowledged punk though.Have a listen to the 1984 TV SHOWS- I think it was David Lieberman Show. He plays punk style and he loves the Ramones.Also he likes Rap music as he says in Chronicles. By the way when is rap going out of date- can't see myself how it can still come on like the latest thing.The biggest problem with today's music is they don't really talent scout around anymore. The first thing they look at is the physical attractiveness of the artist.The good thing about Bob is that he is an oldman and like Van the man is putting out music- not modelling. When will music executives realise the audience is not looking for a sexual partner- they are looking for music? Dylan is proving that people want good music- not just the latest plastic diva. This is an important contibution that this very nice man- something not generally noted- is making. He is a great man and a kind manand a quality that he has that is not noticed is his exceptional modesty. Thanks for not pumping out the commonly stated nonsense that he is plagiarising Timrod. Do we want a poet laureate of rock music who does not r=bother to read other poets? All great poets are influenced by other poets and adopt and rearrange images and ideas. None of Shakespeare's stories are original and nobody accuses him of plagiarism. Borrowing a few of Timrod's ideas and phrases will promote Timrod and inspire his rediscovery. Nobody has noticed the phrases lifted from Robert Johnson and Walt Whitman in Modern Times. Thank God that Dylan isn't writing in a void like most pop writers these days- the last book those people have read was a raffle book! Overall a thought ful article and you did avoid being a sycophant. You were right not to suspend your right to be critical. In these days of sacred celebrity we need to look at others who may write good songs- no not Sprinsteen or other low quality Dylan imitators!
In our admiration of Bob Dylan we have given up looking for other good writers, instead they manufacture stars out of good-looking people without regard to musical ability.
Crikey, I was given a copy of his new album just recently from a Dylan fan in Tampa Bay-it was the nicest cd I'd listened to in ages and I may not be a real BD follower, but you have to respect and appreciate the man's natural ability to stay true to himself!
I will always treasure his song, 'Lay lady Lay'
Cheers from the land down under!
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"... He can't keep up with the musical or even cultural trends of the last 30 years - the guy hasn't even acknowledged punk, after all"
obviously you can't even keep up with the facts. when dylan played brixton last november, he did the clash's "london calling" - two nights in a row.
"... One major highlight is the interview with A.J. Weberman himself, including his story about the end of their relationship"
RELATIONSHIP?!?! Weberman was a STALKER. these days he would have been arrested and put in a mental health facility for observation.
"... I'm embarrassed to admit, it actually took that iPod commercial for me to notice the rollicking "Someday Baby""
me too - i'm embarrassed to admit i read this all the way through. what a sad little article about a masterpiece record. too bad you can't hear it.