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Hard Rain: A Dylan Commentary
 
 
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Hard Rain: A Dylan Commentary [Paperback]

Gwendoline Riley (Author)
1.9 out of 5 stars  See all reviews (8 customer reviews)

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Book Description

June 2, 1999
Hard Rain ranges over thirty years of Bob Dylan's recordings, films, and concerts to deliver astute insights into—and sometimes heretical judgements of—his prodigious corpus of work. This updated edition includes a new epilogue that examines Dylan's thirtieth anniversary celebration in 1992; his albums Good As I Been to You, World Gone Wrong, and Time Out of Mind; his 1997 performance before the Pope; and his 1998 Grammy Award comeback. The result is unparalleled rock criticism.


Editorial Reviews

From Publishers Weekly

In Tell Me Why: A Beatles Commentary , Riley covered fewer than 10 years of diverse but demarcated music. His comprehensive examination here of rock legend Bob Dylan's three decades of inconsistent work, bootleg recordings and continuous concerts is somewhat less successful. Delving into Dylan's first albums, Riley explores such traditional influences as Woody Guthrie and notes Dylan's disregard for his fans' musical preferences, as established in his use of both acoustic and electric music on Bringing It All Back Home. Describing Dylan's distinctive voice as a "barbed yawp" or a "yelping yodel," he explains the enigmatic troubador's early transformation "from aspiring blues acolyte to creative iconoclast to facile cynic" and beyond, and considers the frequent lyrical ambiguity of his songs. He also describes Dylan's post-1966 leanings toward country music and born-again Christianity, looking briefly at Blood on the Tracks . Glossing over numerous songs of the '70s and '80s, Riley concludes by mentioning Dylan's influence on such stars as David Bowie and Bruce Springsteen. Although written with eloquence, fervor and thoroughness, this treatise won't entirely satisfy Dylan fans, a notably ardent group.
Copyright 1992 Reed Business Information, Inc. --This text refers to the Hardcover edition.

From Library Journal

Unlike most Dylan books--which are either biographies like Clinton Heylin's Bob Dylan: Behind the Shades ( LJ 6/1/91) or lists of some sort--Riley ( Tell Me Why: A Beatles Commentary , Knopf, 1988) here provides a critical examination of this thorniest of modern musicians. Riley goes beyond the obvious; for example, Woody Guthrie's influence on Dylan is well documented, but Riley examines not only how Guthrie inspired Dylan but what Dylan does differently from Guthrie and who else falls into his inspirational canon (Robert Johnson, Leadbelly, Hank Williams). Riley knows music, and his descriptions are marvelous, especially of the 1966-75 era ( Blonde on Blonde , The Basement Tapes , Planet Waves , Blood on the Tracks , and the 1966 and 1974 tours). He also is thankfully unafraid to be disparaging; unlike Heylin, he has very little that is nice to say about Dylan's post-1975 work. Riley's flaws are mainly stylistic; he tends to repeat himself and has an unfortunate fondness for the word bromide. Still, this is an incisive work. Essential for most music collections.
- Keith R.A. DeCandido, "Library Journal"
Copyright 1992 Reed Business Information, Inc. --This text refers to the Hardcover edition.

Product Details

  • Paperback: 378 pages
  • Publisher: Da Capo Press; Updated edition (June 2, 1999)
  • Language: English
  • ISBN-10: 0306809079
  • ISBN-13: 978-0306809071
  • Product Dimensions: 8.3 x 5.5 x 0.8 inches
  • Shipping Weight: 1 pounds (View shipping rates and policies)
  • Average Customer Review: 1.9 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Best Sellers Rank: #427,283 in Books (See Top 100 in Books)

More About the Author

NPR CRITIC, AUTHOR, PIANIST, and SPEAKER TIM RILEY reviews pop and classical music for NPR's HERE AND NOW, and has written for the HUFFINGTON POST, THE WASHINGTON POST, SLATE.COM and SALON.COM. He was trained as a classical pianist at Oberlin and Eastman.

In 2009, Emerson College appointed Riley Journalist-In-Residence, where he teaches Music Journalism and supervises the department's social media strategy.

Brown University sponsored Riley as Critic-In Residence in 2008, and his first book, Tell Me Why: A Beatles Commentary (Knopf/Vintage 1988), was hailed by the New York Times as bringing "new insight to the act we've known for all these years..."

A staple author in college courses on rock culture, he gave a keynote address at BEATLES 2000, the first international academic conference in Jyvaskyla, Finland. Since then, he's given lively multi-media lectures at colleges and cultural centers like the Chautauqua Festival on "Censorship in the Arts," and "Rock History."

His current projects include the music metaportal, the RILEY ROCK INDEX.com, and a major new biography of John Ono Lennon (2011).

 

Customer Reviews

8 Reviews
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4 star:
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Average Customer Review
1.9 out of 5 stars (8 customer reviews)
 
 
 
 
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5 of 5 people found the following review helpful:
2.0 out of 5 stars I Shall Be Released....From This Book!, January 2, 2001
By 
A. Wolverton (Crofton, MD United States) - See all my reviews
(VINE VOICE)    (REAL NAME)   
This review is from: Hard Rain: A Dylan Commentary (Paperback)
Tim Riley's commentary on Dylan focuses on the music rather than the man. This focus starts fairly well, aside from Riley trying to impress us with his vocabulary. Dylan's early work (from his debut until about Highway 61 Revisited) receives a fairly thorough treatment as Riley tries to "get inside" the mind of Dylan (which is probably not a very wise thing to do in the first place). Even if you don't agree with Riley, his ideas are interesting...at least for awhile. After reading the book, it seems that Riley believes that Dylan hasn't written anything worth listening to since "Blood on the Tracks." Unfortunately the author all but ignores some of Dylan's most significant contributions past 1975. (Riley spends nearly 250 pages on the period from Dylan's debut until 1975. From 1975 on only gets 50 pages.) This book was a super disappointment by an author who seems to have an axe to grind. The work is saved by giving a good bibliography and an even better discography.
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5 of 5 people found the following review helpful:
2.0 out of 5 stars Hard Read, November 12, 1997
I found Mr. Riley's "Tell Me Why" a very entertinaing romp through the Beatle song catalog. Big an equally big Dylan fan, I expected the same joi de vivre to inhabit "Hard Rain," but throughout the book I got the sense that Riley didn't have the same passion for or understanding of Dylan's music and muse as he did with the Beatles. I suspect that he wrote it because it seemed like a natural thematic sequel to the Beatle book. You don't need a weatherman to know which way the wind blows.
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5 of 5 people found the following review helpful:
2.0 out of 5 stars Dear Mr. Riley, the Sixties Are Over, June 19, 2005
This review is from: Hard Rain: A Dylan Commentary (Paperback)
I am glad to see other reviewers found this book as dissatisfying as I did.

Dylan is an enigmatic figure whose appeal lies in lyrical ambiguity, lack of polish, unorthodox phrasing of his vocals, and his constant reinventions of himself. His output has been prodigious. Riley captures this well, at least for the first half of the book.

I have two major problems with this book:
1) Riley makes statements about authorial intent which simply can't be justified. When I listen to Blood on the Tracks, I don't contemplate it as a commentary on the end of the sixties. Riley makes these obtuse statements about what Dylan is 'really saying' with such fervour that you'd think he knew Dylan personally (and if he did, so what?). That other review about Visions of Johanna is right on on this point.

2) With only a few exceptions, Riley hates anything Dylan has done since Desire. Now this is not an uncommon opinion. Dylan's voice does go through a serious decline. Many of his albums since Desire have been uneven and lyrically weak. Riley, however, kicks poor Bob when he's down and is downright huffy about some of Dylan's better efforts. He pans Oh Mercy in favour of Under the Red Sky and the Traveling Wilburies recordings (has he actually listened to Red Sky? It's flimsy at best, especially in comparison to Oh Mercy). In his updated chapter, he chides Dylan for playing for John Paul II, for not being Sinead O'Connor, and for being 'grumpy' on Time Out of Mind (which despite Riley's objections, is a solid album full of humour and great vocal phrasing). Riley's sermonizing gets progressively weak and unrestrained...

I just get the impression that Mr. Riley loved the sixties so much he lives in paranoid denial that they're over. The Republicans may be in office, and Dylan may not be the trend-setting anti-hero that he once was, but please don't blame Dylan for the loss of your adolescent dreams, Mr. Riley.

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Inside This Book (learn more)
First Sentence:
At the close of the 1963 Newport Folk Festival, everybody joined together onstage to sing Woody Guthrie's "This Land Is Your Land" This sing-along gathered folk's elite-Pete Seeger, Joan Baez, Theodore Bikel, Peter, Paul and Mary, and the Free Singers-for a harmonious picture of how this performing community saw itself. Read the first page
Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
idiot wind, too many mornings
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Bob Dylan, Rolling Stone, John Wesley Harding, The Times They Are, Woody Guthrie, Don't Think Twice, Joan Baez, Nashville Skyline, Tambourine Man, Baby Blue, Bringing It All Back Home, Rolling Thunder, Elvis Presley, New Morning, Maggie's Farm, World War, Desolation Row, Masters of War, North Country, Thin Man, Don't Look Back, Jack of Hearts, Love Minus Zero, Pete Seeger, Robert Shelton
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