Dylan's 'Nashville Skyline' breezy and pleasant...but mysterious

Bob looks happy.

Bob Dylan's Nashville Skyline has always fascinated me because of the context in which it was released in 1969. From 1965-67, Dylan released four albums that are undeniably great. Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde are unlike anything ever created in music history. Full of impressionistic poetry and raucous rock and roll, the three broke new ground in unfathomable ways.

After that came John Wesley Harding and it was a departure. Coming after his much-chronicled motorcycle wreck and an extended break, the record was acoustic and quieter. It still contained strong poetry, but it hinted at new directions. This was especially true on the album's final two songs, 'Down Along the Cove' and 'I'll Be Your Baby Tonight.' Dripping with Pete Drake's sweet steel guitar, both songs are warm and seem light years away from 1965.

Then came Nashville Skyline. If the final two songs of John Wesley Harding hinted at a departure then Nashville Skyline took it further. It was a mainstream country album, and the song's lyrics reflected a simpler and more straightforward approach. There were no magic swirling ships to be found. Dylan had re-invented himself again.

The album has three indisputably great songs. 'Lay Lady Lay' may be the greatest love song in pop music history. Incredibly, Dylan's vocals are warm and seductive and Kenny Buttrey's drum work is fantastic.'Tonight, I'll Be Staying Here With You' is equally penetrating and Drake's steel guitar playing during the instrumental break is shimmering. It is one of many great songs in Dylan's catalogue that does not get the attention it deserves. 'Girl from the North Country' is his famous duet with Johnny Cash and is as charming as a summer day is long.

The rest of the album is far less meaty. This does not mean the songs are bad. In fact, there is not a bad song on the album. However, some are so lightweight they might float away with a gentle wind.

As stated earlier, my primary fascination with this album has to do with the context in which it was released.It came on the heels of four profound efforts. As the release date for Nashville Skyline approached, it had to have produced intense anticipation. After getting through the Dylan/Cash duet that opens the album, I can only guess at the reaction of the pseudo-intellectuals who love nothing more than to imagine interpretations of Dylan songs that aren't there.

After that opening song, there is the instrumental 'Nashville Skyline Rag.' It is a breezy and well-performed song, but after listening to a minute or two of it, I am sure many thought: What is this doing on a Bob Dylan album? With many of Nashville's best playing on it, the level of musicianship cannot be denied. However, it appears more suited for a soundtrack of a film about jaunting through the back roads of Tennessee than a Dylan album.

Based on what I understand about the country music scene in 1969, the songs 'I Threw It All Away,' 'One More Night,' and 'Tell Me That It Isn't True' are all songs that could have been played on country radio. The songs are all about the ups and downs of love.

The song 'Country Pie' appears to be about pie. Who doesn't like pie?

As with most actions taken by Dylan, a person cannot help but wonder why he released the album when he did. Surely, he understood the impact it would have on those riding on his bandwagon.

After all the triumphs of the previous years, had he simply developed writer's block? Or did he finally become fed up with all those trying to anoint him as the ‘spokesman’ of his generation? His next album, Self Portrait, might cause one to decide that the answer to both those questions is 'yes.' It was weaker and even more of a departure than Nashville Skyline.

We can speculate endlessly about these questions and others, but the bottom line is we do not know. And it really does not matter. Because of this, we should accept Nashville Skyline for what it is. It really has a happy vibe to it, and because of this, it deserves a spot in your collection.

Johnny Cash TV show a real hidden treasure

A great feeling we all experience is when we stumble across something wonderful without expecting it. It seems we spend a lot of time trying to find things that provide enjoyment or fulfillment, but often we find the best treasures when we are not even trying.

I love music. I love many different genres, and we are all fortunate we live in an area that is so musically diverse. You name it; we pretty much have it here. If a person does not believe this, then he should open his eyes. The MusicTree and Bonnaroo festivals in the coming weeks should provide ample evidence of this.

As for my own recent experience, it began by accident at Cracker Barrel. Like most people who eat there, I was going through the restaurant’s gift shop after eating a meal. I was looking through their DVD section, which is usually a mixed bag. Their selections to choose from are usually pretty random. For example, if a person is looking for Season Three of ‘The Sonny and Cher Show’ then this would be a good place to visit.

However, after looking through their selections, I found a real gem. ‘The Best of the Johnny Cash TV Show (1969-71)’ includes some remarkable music. Even though Cash’s television show aired for only a couple of seasons, he crammed many remarkable performances into the show’s history.

If the DVD included only Cash performances, it would be a superior disc. And it definitely provides plenty of those. Well-known hits such as ‘I Walk the Line’ and ‘A Boy Named Sue’ are presented as well as lesser known performances of ‘Hey Porter’ and ‘Man in Black.’

Cash’s impact on country and pop music cannot be overstated, I won’t try to summarize this here. Last month, the Manchester Art Center hosted a tribute to his legacy and his impact is felt on communities like ours all over the world.

What causes this DVD to transcend from being ‘good’ to ‘great’ is the inclusion of guest musicians from all parts of the music scene back then.

From country music, there are performances by legends still at the top of their game. Merle Haggard sings a duet of ‘Sing Me Back Home’ with Cash. Loretta Lynn delivers a lovely version of ‘I Know How.’ Tammy Wynette performs her classic ‘Stand By Your Man.’ George Jones sings a medley of his hits that includes ‘The Race Is On’ and ‘She Thinks I Still Care.’

This is all overwhelming when taking it in one dose. But the greatness does not stop there.

From rock and roll, Creedence Clearwater Revival sings ‘Bad Moon Rising.’ At this point in 1969, CCR was well on its way to claiming the title of top rock band in the world as the Beatles were breaking up.

Cash’s friendship with Bob Dylan brought the legendary singer-songwriter to his show. On the DVD, Dylan sings ‘I Threw It All Away,’ and though it is not one of his major songs, any performance of his at the Ryman Auditorium (where the show was filmed) is of important historical significance.

Neil Young earned a standing ovation for his delivery of ‘The Needle and the Damage Done.’ Cash and Joni Mitchell collaborated on a wonderful version of ‘The Long Black Veil.’

Additionally, the DVD includes Ray Charles singing a version of ‘Ring of Fire’ that brings the house down.

I know this column has sounded like a commercial for this DVD, but it includes music that must be heard. The fact that I stumbled upon it by accident at a Cracker Barrel just adds to the good fortune that I feel for owning it.

Bob Dylan on songwriting and more

When musician Bob Dylan turned 70 last year, he received accolades befitting a living legend. While his popularity has ebbed and flowed during the last 50 years, his impact on popular music cannot be denied.

He has made notable contributions to folk, rock, country and even Christian music during his career. How many artists have a resume like that?

When I write that he has made notable contributions, I mean that he has written and performed songs that likely will be played 100 years from now. The scope of his achievements is breathtaking.

During his early folk phase he wrote songs like 'Blowin' in the Wind' that became an anthem of the civil rights movement, and 'A Hard Rain's A-Gonna Fall' perfectly reflected the anxiety surrounding the Cold War. 'Like A Rolling Stone' is a rock and roll song so forceful that it influenced a generation of songwriters, and the country-flavored 'Lay Lady Lay' is one of the most beautiful love songs ever written.

For insight into Dylan I suggest reading the January/February issue of 'American Songwriter' magazine. The issue is a tribute of sorts to Dylan and includes an interesting interview with him originally done back in 1991. It touches on many songs he wrote as well as other topics.

Though long known for his love of folk singer Woody Guthrie, Dylan said he considers Hank Williams the best songwriter. Dylan said: “Hank Williams never wrote 'This Land Is Your Land.' But it’s not that shocking to me to think of Hank Williams singing 'Pastures of Plenty' or Woody Guthrie singing 'Your Cheatin' Heart.' So in a lot of ways those two writers are similar.”

Other songwriters on his radar include Randy Newman.

"To me, someone who writes really good songs is Randy Newman. Now Randy might not go out on stage and knock you out, or knock your socks off. And he’s not going to get people thrilled in the front row. But he’s gonna write a better song than most people who can do it. You know, he’s got that down to an art."

Additionally, while he feels that turmoil is not always necessary when producing memorable work, it does help in some respects. This lends support to the belief that the greatest art is often produced during difficult circumstances.

"Your life doesn’t have to be in turmoil to write a song like that but you need to be outside of it. That’s why a lot of people, myself included, write songs when one form or another of society has rejected you. So that you can truly write about it from the outside. Someone who’s never been out there can only imagine it as anything, really."

Additionally, Dylan advises that being a poet is not all fun though some of his comments were tongue-in-cheek.

"It's within me to put up myself and be a poet. But it’s a dedication. It’s a big dedication. Poets don’t drive cars. [Laughs] Poets don’t go to the supermarket. Poets don’t empty the garbage...They behave in a gentlemanly way. And live by their own gentlemanly code. And die broke. Or drown in lakes. Poets usually have very unhappy endings."

Then again, this may all be a moot point for new musical poets because he feels the world may have enough songs unless there are special circumstances.

"The world don't need any more songs. No. They've got enough. As a matter of fact, if nobody wrote any songs from this day on, the world ain't gonna suffer for it...There's enough songs. Unless someone’s gonna come along with a pure heart and has something to say. That's a different story."

Dylan is fantastic, and this interview is worth finding for those interested.

Bob Dylan to play Ryman in Nashville on Aug. 1

Bob Dylan will return to Nashville and play at the Ryman Auditorium on Aug. 1. A great artist will be playing at a great venue. I do not know if my schedule will allow me to attend. However, if you have never seen him in concert before, I recommend that you go. It will be well worth it.

Bob Dylan definitely influenced Bonnaroo

Though he is not performing this year at Bonnaroo, the long shadow of Bob Dylan definitely has influenced many of the acts playing there. Bonnaroo is the annual music and arts festival that attracts 80,000 each year to the small town of Manchester, Tenn, in mid-June.

The simple truth is that Bob Dylan is the most influential musician of the last 50 years. I am sure many would disagree with this assertion, but when looking at his body of work and who he influenced, this fact becomes clear.

Late last month, Dylan turned 70 years old with little fanfare. Last year, the late John Lennon's 70th birthday was observed in multiple ways ranging from television specials to re-issues of his music.

However, Dylan remained largely silent. This really should not come as a surprise. Dylan has played out his career on his own terms, and for better or worse, his birthday did not get the recognition it deserved.

Dylan's influence on popular music cannot be overstated. When comparing him to major acts like the Beatles, it is clear that he influenced them far more than they influenced him.

Exhibit A in this debate is the music produced by the Beatles after they became acquainted with Dylan. If nothing else, Dylan showed musicians that just about any topic was fair game when it came to developing subject matter for songs.

In the Beatles' case, they rapidly changed from a band that almost exclusively focused on love songs to a band that would try anything. Particularly Lennon and George Harrison picked up on what Dylan was doing.

Beatles' masterpieces like 'I Am the Walrus' simply could not have been composed without exposure to Dylan's brand of imagery and surrealism in the mid-1960s.

Was Dylan equally influenced by the Beatles? Probably not, but it must be acknowledged that the Fab Four had an impact on him. After all, he was making his transition from folk music to rock and roll just after Beatlemania hit America.

Likely, there was some inspiration there, but Dylan's musical vision was definitely his own.

Last month, the Nashville Scene magazine had a fascinating article about Dylan's album Blonde on Blonde, which was recorded in Nashville in 1966. The album is one of the greatest in rock and roll history. However, the article made a compelling case that it not only helped revolutionize rock and roll but also how music was made in that city.

Article writer Daryl Sanders interviewed several of the surviving musicians who played on those sessions. They stated they had never experienced anything quite like it before or since.

Making their living as musicians in Nashville, these men were fantastic artists. However, Dylan's approach was new and refreshing.

Instead of simply arriving for a session and working on a three-minute song, they found themselves playing on songs that lasted as long as 11 minutes. By today's standards, this does not appear too revolutionary, but it was at that time.

Because Dylan was able to break down these boundaries of conventional record making, many of the artists performing at Bonnaroo grew up in a musical environment that showed them anything was possible.

When reviewing Dylan's 50 years of work, it is quite eclectic. Folk, rock and roll, country, and Biblical music all have significant places within his work.

However, when re-reading his autobiography Chronicles: Volume 1 recently, I could not help but feel that his career had taken a tremendous toll on him. Many thrusted the title 'Spokesman for a Generation' on him, but he really did not like it.

I got the feeling that he really craved a simple life, but all the fame he had achieved would not allow it. That is a shame, but maybe that is why his recent birthday occurred so quietly.

Bob Dylan's 'Highway 61 Revisited' as timeless today as in 1965

Bob Dylan's career has been unconventional and wide ranging. Beginning in the early 1960s, Dylan began a journey that has taken him to a port in just about every genre of modern music. Folk, rock and roll, country, and spiritual music all make up significant portions of his album catalogue.

He began as a celebrated folk artist. On the strength of songs like "A Hard Rain's A-Gonna Fall," "The Times They Are A-Changin'" and "Blowin' in the Wind," he built a large following among folk music fans. However, his fans soon learned that he followed his own heart and rarely cared about doing what was expected.

Dylan shocked folk purists by releasing an album in early 1965 that contained some rock and roll music on it. Side one of Bringing It All Back Home featured rockers like "Subterranean Homesick Blues" and "Maggie's Farm," but he kept side two totally acoustic. Despite being booed at the Newport Folk Festival when he tried to play an electric set, Dylan was going electric and not looking back.

Within 18 months in 1965-66, Dylan released three of the most critically acclaimed rock albums of all time. Bringing It All Back Home was followed by Highway 61 Revisited and the double album Blonde on Blonde. Of the three, Highway 61 Revisited is the best.

The centerpiece of the album is "Like A Rolling Stone." It is undeniably one of the most influential songs in rock and roll history. Despite being released in 1965, it ranked at number one on Rolling Stone magazine's list of the top 500 songs of all time in 2004.

The magazine summed the song up this way: "To this day, the most stunning thing about "Like A Rolling Stone" is the abundance of precedent: the impressionist voltage of Dylan's language, the intensely personal accusation in his voice, the apocalyptic charge of (Al) Kooper's garage-gospel organ and Mike Bloomfield's stiletto-sharp spirals of Telecaster guitar, the defiant six-minute length of the June 16th master take. No other pop song has so thoroughly challenged and transformed the commercial laws and artistic conventions of its time, for all time."

That about says it all. Among the interesting inspirations for the song was Hank Williams' "Lost Highway." The first verse of that song is: "I'm a rolling stone, all alone and lost/For a life of sin I have paid the cost."

As the album's first track, "Like A Rolling Stone" begins the record with breathtaking intensity. The song's power increases with each passing verse. The song is the musical equivalent of a boulder rolling down a hill with nothing to stop it.

The song was also a commercial breakthrough for Dylan. Along with "Rainy Day Women # 12 & 35" (which is on Blonde on Blonde), it is his highest charting single. Both songs hit number two on the singles charts.

Another standout track is the 11-minute "Desolation Row." If somebody wanted to pick one song that best illustrated his surrealist approach during this period, this would be a good song to study. Containing imagery so strong that it rivals any Salvador Dali painting, the singer visits a melancholy place full of sad people. Cinderella, Cain and Abel, Albert Einstein, Robin Hood, Romeo and Juliet, T.S. Eliot, Noah, and the Hunchback of Notre Dame are some of the people who make guest appearances here.

Just as surrealistic but happier is "Tombstone Blues." It is the album's second track, and it is a seven-minute ramrod of energy that does not let the listener catch his breath after "Like A Rolling Stone." Containing examples of Dylan's wit, the song has verses such as: "Gypsy Davey with a blowtorch he burns down their camps/With his faithful slave Pedro behind him he tramps/With a fantastic collection of stamps/To win friends and influence his uncle."

Dylan is an artist that polarizes people. People who like his music tend to love it. Those who dislike it tend to hate it. For example, his singing voice. Those who like him generally have no problem with it. Those who dislike him often think his voice sounds like Curley Howard when he sits on a bear trap.

Regardless of how an individual views him, there is no denying his impact on popular music. In reading volume one of his autobiography a few years ago, it appears that being such an important artist has taken a toll on him. Many times, people want him to be all things to them. That is too much to ask of anybody. He is who he is.

Is 'Blood on the Tracks' Bob Dylan's greatest album?

There is no disputing that Blood on the Tracks deserves to be in the discussion regarding what Bob Dylan's best album is. The big question is whether or not it is the best.

Answering this question is a tricky proposition. Dylan has gone through so many stylistic changes in his career that it seems almost unfair to compare certain albums. For example, The Freewheelin' Bob Dylan is a whole lot different album than Blonde on Blonde. Both are undeniably great, but it is difficult to compare the two because of their differences.

To reduce this to a cliché, comparing Dylan's music in 1962 to his music in 1966 is like comparing apples to oranges. Each phase of his career represents his development as an artist to the point that he was not the same artist when each phase ended. Dylan is unique in this respect because his career has been so long. As he has grown as a man and an artist, we have seen him change into a 'new Bob Dylan' in each phase.

Therefore, it really is a waste of time and effort when trying to determine which of his albums is the greatest. When it comes to Blood on the Tracks, all we have to do is accept that it is great as we absorb ourselves in it.

When it was released in 1975, it arrived at a time when the leaders of the great musical era of the Sixties were withering on the vine. Dylan had begun the Seventies with a thud with Self-Portrait. In the years that followed, he made excellent but sometimes erratic music (the fragmented New Morning comes to mind). When Blood on the Tracks arrived, it arrived with a jolt.

The album deals with love on lots of different levels. Many believe the inspiration and passion that comes through on the album was because of problems in his marriage. I have always been a little hesitant when people try to pin intimate songs like these to specific events in an artist's life. However, there is no denying that there is both joy and weariness in these songs. Both are common traits when studying what love is and what it is not.

The album begins with the remarkable 'Tangled Up in Blue.' The universal appeal of this song is that it deals with the past, present, and future of love. We all reach a point in our lives where we reflect on past relationships. When we do this, we look at where love has taken us and how it helped bring us to our current point in life. In Dylan's presentation of this, he walks us through the singer's experiences, which had taken him all over the world. Dylan closes the song simply by singing that he is going down the road 'heading for another joint.' In one form or another, we all do the same.

The volcanic 'Idiot Wind' is about romantic failure that borders on the apocalyptic when it comes to its imagery. It is similar to 'Like a Rolling Stone' in that the listener can revel somewhat in the attack on the other party. The venom in which Dylan delivers his vocals drags the listener through the song with uncommon passion. It is hard for the listener not to think of times in their own lives when events were out of control and emotions have been reduced to a howl or scream. The song is great but not for the faint of heart.

'You're Gonna Make Me Lonesome When You Go' follows 'Idiot Wind,' and it is an excellent example of sequencing songs. As full of rage as 'Idiot Wind' is, 'You're Gonna Make Me Lonesome When You Go' is light and breezy like a pleasant afternoon during springtime. It presents love at its most naïve and playful. It represents the honeymoon phase that most relationships go through and provides a much needed breath of fresh air after the intensity of 'Idiot Wind.'

'Lily, Rosemary, and the Jack of Hearts' is a long love story drenched in imagery from the Wild West. 'Simple Twist of Fate' is a song of regret. 'You're a Big Girl Now' offers more of the same.

However, one of the most interesting songs considered for Blood on the Tracks is one that did not make the final cut. 'Up to Me' is a remarkable ballad that was eventually released on Biograph in 1985. According to Cameron Crowe's liner notes for Biograph, it was written as a companion piece for 'Shelter from the Storm' that appeared on Blood on the Tracks.

Crowe wrote: "The song also toys with his (Dylan's) own inscrutable persona. 'If we never meet again, baby, remember me,' he sings in the final verse, 'How my lone guitar played sweet for you, that old time melody. And the harmonica around my neck, I blew it for you free. No one else could play that tune. You know it was up to me.'"

Commented Dylan: "I don't think of myself as Bob Dylan. It's like Rimbaud said, 'I is another.'"

As good as Blood on the Tracks is, the inclusion of 'Up to Me' would have taken it to another level. It cried out to be the closing track on the album but turned out to be a lost opportunity. Then again, 'Up to Me' was one of the major reasons Biograph was such a fantastic boxed set.

If nothing else, Blood on the Tracks is a mature record. The songs deal with love in a three-dimensional way. Dylan was in his mid-30s when it was released, and by this age, most of us have seen the pros and cons of what love can bring.

Dylan brought this home in perhaps the most literate way ever presented in rock and roll. The album can best be described as an eruption of emotion and talent. He has not produced another album quite like it, but given the subject matter, it would be tough for any artist to repeat this twice.

'John Wesley Harding' Dylan's most overlooked masterpiece

To understand the impact of Bob Dylan's John Wesley Harding album, it is important to look at it within the context of its release. In 1965 and '66, Dylan released three of rock and rolls masterpieces: Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde. Calling these three albums 'rock and roll' may not be accurate because the aura surrounding them has not been matched by anyone since then (including by Dylan).

The lyrics were influenced by French poet Arthur Rimbaud, and the combining of these lyrics with the new 'electric Dylan' revolutionized music. Dylan's writing challenged other musicians, such as The Beatles, to quick focusing so much on love songs. From this point, the musical landscape of rock and roll would be much broader and deeper.

However, Dylan would make another dramatic turn just as his contemporaries were beginning to catch up with him. In July or August of 1966, he suffered a motorcycle wreck, and the extent of his injuries has never been fully explained. Whatever his injuries were, this event gave him the ability to rest.

During his absence, the rock scene explored its outer limits. This culminated with The Beatles' Sgt. Pepper's Lonely Hearts Club Band album. For the moment, it seemed like anything was possible in rock and roll.

While this was happening, Dylan quietly began crafting the next stage of his career. During this time, he worked with the musicians that would become The Band, and they recorded dozens of songs that steered Dylan down a completely new path. These new recordings were not officially released until 1975. Therefore, when word got out that Dylan's next album would appear in late 1967, the world was expecting the Dylan of his previous three albums. What would he do to answer The Beatles and the age of psychedelia?

His answer was the simple and understated John Wesley Harding. Featuring only Dylan and three other musicians, he stripped his approach to the core. The songs were acoustic with a little steel guitar on some of them.

The most famous song from this album is 'All Along the Watchtower' though most people probably got their introduction to it through Jimi Hendrix's cover of it. There were no singles released from the album. There were no psychedelic pretensions, and the album came as quite a jolt to those still tripping through Pepperland.

Lyrically, the songs told straightforward stories, so much so that none of the songs included choruses. Plus, there was a lot of Biblical imagery though pinpointing the exact passages being applied can be elusive. Critics often cite 'All Along the Watchtower' as being inspired by sections of Isaiah from the Old Testament. Other songs like 'I Dreamed I Saw St. Augustine,' 'Dear Landlord,' and 'The Ballad of Frankie Lee and Judas Priest' also feature a Biblical feel.

The final two songs, 'Down Along the Cove' and 'I'll Be Your Baby Tonight' are straight country songs and definitely foreshadow his next album Nashville Skyline.

Songs from John Wesley Harding never appear on the radio. Sometimes when looking at an artist like Dylan who has such a vast catalogue of albums, digging deep into his work can be especially satisfying. This album is an example of that.

Bob Dylan circa 1966

Reporter: "What is the most important thing in your life these days?"

Dylan: "Well, I've got a monkey wrench collection, and I'm very interested in that."

'Blind Willie McTell' likely the best Bob Dylan song that remains unknown to many

Even a casual Bob Dylan fan knows that he often leaves excellent songs off his albums. This was proven when the box set Biograph was released in the mid-1980s. Many songs left on the cutting-room floor finally got some well-deserved attention. These included the remarkable "Up to Me" (left off Blood on the Tracks) and "Caribbean Wind" (left off Shot of Love).

However, the greatest of these lost classics is "Blind Willie McTell." Originally recorded during the sessions for the Infidels album, it is amazing that it did not make the album's final version. Luckily, it was released in the early 90s on The Bootleg Series: Volumes 1-3.

Howard Sounes, author of Down the Highway: The Life of Bob Dylan, had this to say about the song:

""Blind Willie McTell" was simply one of the greatest songs he (Dylan) had ever written. Born sometime around 1901, '"Blind" Willie McTell was a blues singer and twelve-string guitarist who lived most of his life in Atlanta, Georgia, making recordings that had the easy sound of an artist utterly assured of his music. Although not a name to mainstream audiences, the blues player was legendary among musicians. In lamenting the passing of McTell, who died in semiobscurity in 1959, Bob conjured up a vivid dreamscape of the South: magnolia flowers in bloom, plantations, and ghostly slave ships. The narrator stepped back from the tableau in the last verse -- a Brechtian shift in perspective, as in the last verse of "Black Diamond Bay" -- and stared out of a hotel window, contemplating the fact that nobody could sing the blues as well as "Blind" Willie McTell. The modesty of these lyrics -- though "Blind Willie McTell" illustrated clearly that Bob himself was a mighty blues singer -- added to the power of the song, completing a great tribute to the heritage of African-American music."

Pretty strong stuff. Get this song if you don't already have it.

Tullahoma becoming Manchester's suburb

I have lived in Manchester for almost all my life, and during this time, I have seen the town grow. Before the recession, there was a boom in housing, plus Manchester is an international player on the music scene with the Bonnaroo festival. Strategically located along Interstate 24, it is only a half-hour drive from Murfreesboro, which has been a city of enormous growth during the last decade or so.

Toss in quality of life perks like a blossoming park system, and Manchester is a town with a strong heartbeat.

Because of all this, I can't help but think of the role reversal Manchester and Tullahoma have seen. When growing up, the towns were opposites in many ways. Manchester is the county seat of Coffee County, but Tullahoma has the bigger population. Because of this, a natural rivalry exists between the towns.

However, the moods of the towns are different now. While Manchester has grown, Tullahoma really has not. When I was a teenager, it was very common to go to Tullahoma to see a movie or cruise around Northgate Mall. Today, Northgate Mall appears virtually empty and the movie theater is second rate. Why go see a movie there when just a little longer drive to Murfreesboro lets a person see a film in the comfort of stadium seating?

Bobby Dylan wrote: "The times, they are a-changin.'" He was right, but I don't think he had Coffee County in mind when he wrote it.

What is real?

We live in a world that is increasingly fake. There are a lot of reasons for this, but one of the primary reasons is that technology has made it easier for people to pull the wool over our eyes.

For example, law enforcement personnel spend millions of dollars each year to stay ahead of counterfeiters. Technological advances have allowed crooks to produce fake money that looks like the real thing.

The recent redesigning of some of our paper currency was not done on a whim. It was done to make the job of counterfeiters more difficult.

However, the fight between those who enforce the law and those who break it is a lot like a boxing match. Every time one side gets the upper hand, the other side throws a counter punch that causes both sides to change strategies.

Guaranteeing authenticity to people is a big challenge to merchants in some industries. After all, if they can not convince customers what they are selling is authentic, then they will not make a sale.

I do not watch home shopping channels on television that much, but this is a big emphasis for them. Whether it is a piece of clothing or an expensive coin, they often state that the purchase of an item will include a certificate of authenticity.

I do not know what that means. Who does the certifying in circumstances like this? I would assume it is an expert in the field of whatever is being purchased. Still, this does not mean that it is a flawless process.

Recently, the auction house Christie's announced its intention to auction off a poem supposedly written by singer Bob Dylan when he was a teenager.

Nobody doubted that the poem was in Dylan's handwriting. It was not a forgery, but it turned out that the poem was actually the words to a song by Hank Snow that was recorded back in the 1940s.

Red-faced representatives of Christie's conceded the mistake, but still plans to auction the manuscript as part of its Pop Culture auction on June 23, according to the Reuters news agency.

Originally, it had been expected that the manuscript would fetch between $10,000 and $15,000. Now, I can not imagine anyone paying more than a buck and a quarter for it.

Guaranteeing authenticity is also a big challenge for the sports memorabilia business. The selling of merchandise autographed by athletes is big business, and why not? For men who follow sports, nothing bonds them quicker to athletes than something autographed by them.

Of course, access to athletes is restricted so many people buy this memorabilia from merchants who specialize in this field.

The dangers here are obvious. If counterfeiters have the technology to print fake money, then forging a signature is relatively simple. And that can be big trouble for athletes.

In order to avoid forgery, athletes are often told to sign their name sloppily so crooks do not have access to their real signature. This may protect athletes, but it can dampen the excitement of getting an autograph.

A few years ago, Sports Illustrated magazine was selling old covers that included autographs of those on the cover. A friend of mine decided to buy one that was autographed by basketball legend Larry Bird.

However, he was disappointed when he received it. Bird had written his name so illegibly it was tough to make out the words.

He showed it to me. I could make out the 'L' and the 'B' but the rest was a scribble.

It looked more like a doodle than a signature.

Bob Dylan kicks Miley Cyrus' butt

Last week, Bob Dylan became the oldest artist to have an album debut at #1 on the Billboard 200 album chart.

Dylan is 67, and Together Through Life is his second consecutive album to debut at #1. In 2006, his Modern Times also debuted in the top spot.

Miley Cyrus' Hannah Montana: The Movie soundtrack is parked at second.

This has to rank as one of the strangest pairings to hold the top two spots.

Dylan is a legend who continues to produce music as vital as he did 40 years ago. Miss Cyrus is the latest teen sensation, and her music will likely not be remembered in the year 2049.

I do not mean that as an insult to her, but her flavor of bubblegum music usually does not last long. Then again, I could be wrong. She may become one of the leading artists of her generation.

When it comes to these things, I am rarely a good judge of future events.

'Dylan on Dylan' set for release on March 10

I received an e-mail from Amazon.com recently announcing it would have the new book Dylan on Dylan for sale on March 10. The book is a collection of 29 interviews Bob Dylan gave between 1962 and 2004. Included in the book will be his famous 1966 interview with Playboy magazine in which he was at his surrealistic best. Additionally, the book includes several of the lengthy interviews he has given to Rolling Stone magazine over the years.

For his fans, the book should be great.

The era of third grade hit squads has begun

I am a serious news junkie, and because of this, it takes a lot to really shake me up when it comes to studying the events that shape our society.

However, one of those events happened recently when the news of a plot by third graders to stab their teacher hit the headlines.

Police in Waycross, Ga., recently stated that a group of students brought a crystal paperweight, a steak knife with a broken handle, steel handcuffs and other items as part of a conspiracy to allegedly harm their teacher.

Police said the plot was organized to the point that some of the children had been assigned specific duties such as cleaning up any mess and covering classroom windows, according to multiple news reports.

Since then, reaction to this has been wide ranging. Parents of students who attend that school were understandably horrified that this could take place. However, many psychiatry experts believe the children never would have followed through on their plans.

All the students implicated have received suspensions and at this point, law enforcement officials plan to pursue charges against three of the children.

There are a lot of thoughts that spring to mind when reflecting on this situation. The first thought is that this is another example of the challenges teachers face in the classroom.

This plot was allegedly hatched because the teacher had punished one of the children for standing on a chair.

All children need discipline, but this teacher got more than he or she bargained for when delivering this punishment. Unfortunately, violence is a real issue when it comes to our educational system, and teachers deserve our respect for being willing to serve our communities in this way.

As I stated earlier in this column, it takes something pretty extreme to shake me up as I read the news every day. However, after giving it a lot more thought, this event really should not have come as a surprise.

After all, children these days are bombarded with images that people my age never had to deal with growing up.

Kids get drenched with violent images especially as it relates to television, movies, video games and other aspects of the media. When taking this into consideration, why should it surprise us when kids decide to put into action the things they see every day?

Times have changed remarkably in the last 30 years. As a boy growing up in the 1970s, the most provocative aspect of afternoon television was how tight Mary Ann's shorts were on Gilligan's Island.

Today, when kids come home from school and turn on the television, they get exposed to violence and sex in doses that couldn't have been imagined just a few years ago.

Media technology has exploded over the last 30 years. While that has helped our country in many important ways, there has been a downside. Some folks keep pushing the envelope in terms of what they can get away with and not get burned.

Because of this, I wonder if many parents truly understand what their children are being exposed to.

Many of the parents of the children involved in this plot are likely about my age. If they are still viewing television and other aspects of the media like it was when we were growing up, then they are being extremely naïve.

To paraphrase Bob Dylan, the times have changed, and if parents are not monitoring what their children are being exposed to, then they will pay for it.

They may not pay for it now, but at some point, they will.

'Johnny Cash at San Quentin' is a great concert album

I have a pretty long commute to work each day, and about the only good thing regarding this is that it allows me to listen to a lot of music. Lately, I have been wearing out Johnny Cash at San Quentin.

It is impossible to overstate Johnny Cash's contribution to country music. From his earliest recordings for Sun Records in the 1950s to the Rick Rubin produced music of his final years, Cash was a true original. Through his career, he held the titles of rebel, leader, preacher, crooner, outlaw, and more. All of these personality traits are apparent on this extraordinary concert album.

Johnny Cash at San Quentin appeared only one year after his landmark and classic live album Johnny Cash at Folsom Prison. Because of that, the San Quentin album is many times lost in the shuffle when discussing his body of work. Though the San Quentin album may lack the sense of breakthrough of the Folsom concert, it nevertheless is an excellent concert recording.

Originally recorded at the prison for a British broadcast, the album transcends what live albums usually are. Many times, live albums are simply an opportunity for an artist to make easy money by running through the hits and then releasing it to the public with little personal investment. This recording, however, is a true living document.

When the album was originally released back in 1969, it only included 10 songs from the show. However, in 1999, the entire performance was restored and that is the version of the album that I have been wearing out lately.

Because Cash had problems with the law during his wilder years, it is obvious that he strongly related to the audience for which he was performing. At one point in the concert, he rebuked the British producers who wanted him to only play the hits for their broadcast. He then asked the audience for requests, and they responded passionately. For a brief moment, Cash allowed the prisoners to have input into what entered their lives, which is exactly the type of thing prison takes away. In addition, his story of how he spent a night in the Starkville, Miss., jail is priceless.

The only hit from this set was Cash's version of Shel Silverstein’s 'A Boy Named Sue.' Also, Cash dueted with his wife June Carter on two songs: the spiritual standard 'Peace in the Valley' and John Sebastian's 'Darling Companion.' He also performed my favorite song of his 'I Walk the Line' and delivered a strong version of Bob Dylan's 'Wanted Man.'

Though there are many strong songs here, it is the give and take between Cash and his audience that made this recording truly memorable. In an age in which music has truly gone corporate, it is highly unlikely that CDs of this type will ever be made again.

Bob Dylan circa 1966

Interviewer: ...what made you decide to go the rock-and-roll route?

Dylan: Carelessness. I lost my one true love. I started drinking. I wind up in Phoenix. I get a job as a Chinaman. I start working in a dime store, and move in with a 13-year-old girl. Then this big Mexican lady from Philadelphia comes in and burns the house down. I go down to Dallas. I get a job as a "before" in a Charles Atlas "before and after" ad. I move in with a delivery boy who can cook fantastic chili and hot dogs. Then this 13-year-old girl from Phoenix comes and burns the house down. The next thing I know I'm in Omaha. It's so cold there, by this time I'm robbing my own bicycles and frying my own fish. I move in with a high school teacher who also does a little plumbing on the side, who ain't much to look at, but who's built a special kind of refrigerator that can turn newspaper into lettuce. Everything's going good until that delivery boy shows up and tries to knife me. Needless to say, he burned the house down, and I hit the road. The first guy that picked me up asked me if I wanted to be a star. What could I say?

Interviewer: And that’s how you became a rock-and-roll singer?

Dylan: No, that's how I got tuberculosis.