![]() ![]() The commentary text is almost always accurate and sophisticated (except when the section on Joan Baez undercuts her importance to Dylan by calling her his “momentary lover” - they were a couple, duet partners and mutual influences for more than two years).Ī piece of promotional writing sent to radio stations with Dylan’s song “Blowin’ in the Wind,” headlined “Rebel With A Cause,” shows how shrewdly Columbia Records packaged its seemingly noncommercial new talent. Instead, this show was carefully curated to fit its theme. The Dylan show, organized by Experience Music Project, the Rock Hall’s Seattle rival, is superior to some previous Rock Hall exhibits that presented interesting memorabilia randomly, as if they were the most exciting finds from the rocker’s attic. Across the room, next to a photo of Guthrie holding up a guitar, smoking a cigarette and wearing a buttoned-down work shirt over a striped T-shirt, there’s a photo of Dylan smoking, posing with his guitar and wearing the same outfit: work shirt, striped T. ![]() Most Dylan biographies note the singer’s early hero-worship of Guthrie, but they don’t show it as vividly as a young Dylan’s copy of a Woody Guthrie songbook in which he underlined a warning that singers shouldn’t imitate Guthrie’s Okie accent. We hadn’t known Dylan, as a teenage rock-and-roll fan, saw one of Buddy Holly’s last concerts until we read the caption to a photo of Holly performing at the show, in Duluth, Minn., two days before his plane-crash death in 1959. The exhibition’s smart cultural-history approach deepens a casual fan’s appreciation of the singer, and it holds surprises even for Dylan freaks, such as me and my father. ![]() Then he combined them to shock and transform folk music by 22 and rock music by 25. Dylan, a restless prodigy, fled his isolated Minnesota hometown to soak up Depression-era balladry, Beat and symbolist poetry, civil-rights righteousness, Cold War nightmares and rock-’n’-roll electricity. The curators explain his epic creativity by showing the links between his songwriting and his times. What they all have in common: The Rock and Roll Hall of Fame and Museum exhibit “Bob Dylan's American Journey: 1956-1966,” which is as much about Dylan’s influences as the man himself. A large map of Greenwich Village in the early ’60s. ![]() Performances by Hank Williams and Woody Guthrie. His sights, sounds and symbolism star in Rock Hall exhibit.ġ,500-pound wall of iron ore mined from northern Minnesota. Business Hall of Fame and Community Leader of the Year Awards.You identify something in another artist, and while your music might sound different, you’re coming from the same place at the core. “Really expansive musicians relate to one another we don’t look for people who play the same music as us. “ have a really great take on something that you’re familiar with, and I do the same thing,” Dylan reflects. Homme, too, is a one-man-band who manages to channel vintage sounds from blues, punk and prog-rock into his Queens Of The Stone Age and Desert Sessions albums, averting nostalgia to remain fresh and modern. In 2019, he released an album of duets inspired by the documentary, featuring Fiona Apple, Beck, Cat Power, and Josh Homme. “Once the songs start showing up, I try to figure out which it is, solo or Wallflowers, but to be honest there’s not a lot of difference.”Īrtists such as The Byrds, The Beach Boys and Neil Young were the focus of the documentary, pioneering artists who fused folk music with electric guitar, creating a hive of creativity in Laurel Canyon, California. “I spent time doing Echo In The Canyon, which had a lot of guitars and bands, and I hadn’t made a record with a band and electric guitars for some time, and I wanted to hear that sound after working on it for 30 years,” he explains. ![]()
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