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Most Helpful Customer Reviews
5 of 5 people found the following review helpful:
2.0 out of 5 stars
I Shall Be Released....From This Book!,
By
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.
5 of 5 people found the following review helpful:
2.0 out of 5 stars
Hard Read,
By tcbwalsh@greydirect.com (New York, NY) - See all my reviews
This review is from: Hard Rain: A Dylan Commentary (Paperback)
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.
5 of 5 people found the following review helpful:
2.0 out of 5 stars
Dear Mr. Riley, the Sixties Are Over,
By
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: 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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