Cropped image by Rowland Scherman, via Wikimedia Commons
Shakespeare may have come up with the seven ages of man (see: As You Like It for more info), but Bob Dylan has had more than seven ages in his five decades of making music. There’s the young Woody Guthrie fan, the protest singer, the poet of a generation, the recluse, the Christian convert, the man who made Greil Marcus ask “What is this shit?” about his 1970 Self-Portrait album, the Mystic who channeled “old weird America” as Marcus would also define it, the endless touring workhorse, the Traveling Wilbury, the pencil-mustache dapper standards interpreter, and on and on.
You get the point, so this Spotify collection (gathered together by Samuel Huxley Cohen) sets out to take on this monumental career with a 55 hour playlist of Dylan’s music, 763 songs in total, in chronological order, from 1962’s “You’re No Good” to “Melancholy Mood” from 2016’s Fallen Angels. (His current album from this year, the three-disc Triplicate is not represented, though it’s separately on Spotify here.)
Not only can one chart the artistic progression from earnest folkie to living enigma, one can chart the changes in Dylan’s voice over time, which has long been the subject of criticism. His young voice was once compared to a “cow stuck in an electric fence,” and now in his 70s, “ Dylan’s voice has been in ruins during many of his recent concerts, somewhere between Howlin’ Wolf’s growl and a tubercular wheeze,” as the Chicago Tribune’s Greg Kot wrote recently. But in between, there were softer moments. As a younger Dylan fan I was exposed at first only to his classic 1960s trilogy—Bringing It All Back Home through Blonde on Blonde—and his nasal, accusatory tone, only to be befuddled by the voice on Nashville Skyline. It didn’t even sound like the same person.
Yes, there are bones to pick with this playlist, mostly in its strict adherence to release date chronology and not so much recording chronology, which would make more sense (but would be way more time consuming). The Basement Tapes make more fascinating listening coming as they really did after Blonde on Blonde in 1967, after Dylan’s motorcycle accident and before John Wesley Harding, the album highly informed by those sessions. Not so much placed here right after the astounding but intimate and bleak Blood on the Tracks. And a lot of the live and rare recordings found on the ever increasing Bootleg Series are just a jumble.
But put it this way, the man himself could care less in what order you listen to them, or if at all. A really thorough chronology might reveal the “real Dylan,” but then again…maybe not. Enter at your own risk.
Click here to access the playlist on Spotify. Or stream it above.
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Ted Mills is a freelance writer on the arts who currently hosts the FunkZone Podcast. You can also follow him on Twitter at @tedmills, read his other arts writing at tedmills.com and/or watch his films here.
I really loved this article. I recently revisited some old Dylan albums on spotify and I thought the same thing, like, man This does not sound like the same person. Did he have a backup singer on this song?! Haha. So, I don’t feel too bad about missing some of his albums completely. I have my favorites and that’s good enough.
I recently revisited Dylan’s music. I had Street Lagal on vinly and 3 cassette tapes. Noe I have access to 55 hours via this playlist on Spotify.
All I can say is I understand why Dylan received the Nobel Prise for Literature in 2016. He’s with our three Irish Poets Shaw, Yeats and Heaney.
He facilitates great enjoyment and thinking through his music.
It doesn’t matter about much else.
I’ve been a fan since ’75, when my sister got me “Before The Flood” for my birthday. I own a good deal of his albums. My opinion now is exactly what it was then: some people get it, and some don’t. The voice is exactly as it should be, all the time. He wasn’t awarded a Nobel for smooth pipes.
I did this a while back, though my playlist, though very expansive, is curated. I did, though, attempt to put it in rough chronological order by recording date.