Customer Reviews

Nashville Skyline (Hybr)

5 star:		(17)
4 star:		(11)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

Although I certainly don't think this is by any means Dylan's best album (that honor probably falls on BLONDE ON BLONDE or maybe even JOHN WESLEY HARDIN), NASHVILLE SKYLINE remains my favorite Dylan work.

If for no other reason than for the utterly gorgeous, reckless (by the end of the song, it becomes obvious that the two singers are plowed as they can't remember the lyrics!), haunting (they sound like ghosts lamenting a lost love in an ancient boothill graveyard), cinematic and romantic duet Dylan sings with Johnny Cash, the remake of "Girl From the North Country", SKYLINE is a must own.

"Girl From the North Country" is a fine example of sound and instruments painting a vibrant picture. Cash's resonant bass and Dylan's rolling tenor/baritone work miracles together to tell a story that I describe as William Faulkner meets John Ford and Bret Hart as remade by Billy Bob Thorton. That someone hasn't adapted or used "GFNC" as source material for a film is beyond me. Well, to be honest, it has inspired two works in my catalouge.

"Lay Lady Lay" arguably finds Dylan singing at his most "normal" and romantic. Granted it sounds the least like a Dylan song, but its hazy eroticism coupled with simple imagery works to create a direct and hearfelt love song, free from any flowery baloney.

Originally written to be used on the soundtrack of MIDNIGHT COWBOY, "Lay Lady Lay" is as equally cinematic as "GFNC" and certainly more libidinously driven.

There are many other small gems on this, perhaps Dylan's least pretentious alblum. Much of NASHVILLE SKYLINE sounds like a series of bootlegged outtakes capturing a group of fine musicians sitting around and jamming a summer night away.

I suppose that this why the album ultimately works for me.
That and I grew up with NASHVILLE SKYLINE playing constantly in the backgroud. This along with THE BAND, THE VELVET GENTLEMAN featuring the music of Eric Satie, the soundtrack to EASY RIDER and watching "Butch Cassidy and the Sundance Kid" framed, defined and formulated my childhood.

Enjoy!

Most Dylan albums are so long that in the days of the 33 1/3 LP, the needle on my record player would often swing back to its resting place without making it to the final groove. That wasn't a problem with "Nashville Skyline." With a total running time of 27 minutes, Dylan's landmark retreat from rock and roll into the world of country music is one of his most compact works. It's not his most ambitious album, but it is one of his most charming.

The opening track, a revival of 1963's "Girl From the North Country," is a beaut, an intimate duet with the legendary Johnny Cash. It's slightly offkey, and the two singers are not always in synch (with Cash reciting one lyric while Dylan recites another) but there's a warmth to the performance that might not have survived a more studied interpretation.

"Warmth" may be the key word in describing this collection. Having exorcised quite a few demons on his previous albums, Dylan is relaxed here, expressing almost no anger, although there is room for regret in the classic "I Threw It All Away" and suspicion in the lushly produced "Tell Me That It Isn't True." The best tracks are probably "Lay, Lady, Lay" and "Tonight, I'll Be Staying Here With You," but even such simple ditties as "Country Pie" and "Peggy Day" offer their share of fun. This may not be "Blonde on Blonde," but it wasn't meant to be either. Listen to it on its own terms and you're not likely to be disappointed.

When NASVHILLE SKYLINE came out in 1969, it was a shocking album to a large portion of Dylan's fan base. Never one to be backed into labels and corners, Dylan largely turned his back on the growing political and cultural turmoils of the day, and instead made a simple country album. Another surprising element, not expected at all the public, was how different Dylan's actual voice sounds from the rest of his 1960s output. He is singing in a soft, country croon, in a voice as smooth as good whiskey, and a total departure from his earlier, more nasal singing style. The album was popular and sold well, but Dylan was taken to task over the slight nature of some of the material.

This is the first album in what is known as Dylan's domestic period, which lasted from 1969 to 1975. The subject matter and musical direction Dylan primarily explored during this era was one of domestic and family matters, which makes sense as that was his primary priorities at the time. Ultimately, this period would culminate in the 1975 masterpiece, BLOOD ON THE TRACKS.

The songs themselves are simple and direct. Eschewing the complex poetics of his electric trilogy and the socially aware lyrics of his earlier protest music, Dylan instead wrote simple love songs and lyrics much more in line with the country music of the day.

The album itself is very brief, only a mere twenty seven minutes long. This album offers several strong compositions, including the major hits "Lay, Lady, Lay," "Tell Me It Isn't True," and "Tonight I'll Be Staying here with You." "Lay, Lady, Lay" was originally written in 1968 (one of the few Dylan songs written during that year) for inclusion in the rated X film "Midnight Cowboy", but was not completed in time. Several of the songs are brief and rather slight, including an instrumental "Nashville Skyline Rag" (Dylan's first instrumental), "Peggy Day", and "Country Pie", the last song only being a mere 1:35 long. Due to these rather slight songs, NASHVILLE SKYLINE appeared to indicate that Dylan was having trouble coming up with original material, due to the brevity of the album (it is still Dylan's shortest studio album to date), and that the opening cut, a duet with Johnny Cash, is a song recycled from the 1963 album, FREEWHEELIN' BOB DYLAN.

Of the three hit singles, "Lay, Lady, Lay" proved to be his most well known. "Lay, Lady, Lay" was Dylan's last top twenty single of his career.

Though this is all descriptive of the album itself, it does not fully explain the history and context of the album. Too better appreciate and understand people's reaction and Dylan's motivation, and to get a more complete perspective on this period of Dylan's career, you should know some additional facts.

In the late 1960s, America was going through revolutionary times, both culturally and socially. Music, drugs, and wild lifestyles were brushing up against more conservative types. Racial riots occurred in several major cities. Martin Luther King and Robert Kennedy were both assassinated within months of each other. President Nixon began his administration. Viet Nam was still an extremely hot political topic. The United States was very divided.

Rock music played a large part in this 1960s cultural changes, and Bob Dylan was a large part of those changes. Lots of people, both the press and the youth culture, looked at Bob Dylan as a "spokesman of a generation," a statement that Dylan firmly rejected. While Dylan by this time had been fairly inactive since 1966, he was still highly regarded as one of the major cultural figures of the 1960s youth culture.

By 1969, the year NASHVILLE SKYLINE came out, Dylan had relocated to Woodstock, New York, trying to live with his family. He had three children, and fatherhood had changed his priorities. He largely been missing in action during most of the late 1960s. He had not toured since 1966. After his motorcycle crash, his musical direction radically changed directions, going from the wild, eclectic surrealism of his electric trilogy to the muted, rustic feel of the late 1967 album, JOHN WESLEY HARDING. Listening to JWH as a followup to BLONDE ON BLONDE, there is a huge disconnect. The missing link, naturally, is the Basement Tapes, which would not be released at all in the 1960s.

While JWH was as different from his electric output as his electric output was different from his acoustic and protest output, the album was a roots-rock music. JWH, just like The Band's BIG PINK album and The Byrds' SWEETHEARTS OF THE RODEO, was definitely in the rock genre but closely tied to country music. It was a hybrid. It was closer to rock than to straight country.

JWH sold well, and is now regarded as a seminal 1960s album that helped influence rock. JWH helped birth the whole country-rock that would become, along with psychedelic music, one of the major rock genres of the late 1960s. However, the public still did not have the Dylan they wanted, a leading figurehead for the counterculture. Dylan was feeling pressured to live up to this role, and his family lost much of their privacy.

When Dylan decided to record a followup to JWH, he decided to pull up the whole notion of his being a spokesman for the generation by "its roots". Returning to Nashville, where BLONDE ON BLONDE was recorded three years previous, Dylan decided to record a straight country album, with steel guitars, brief, simple songs which were all lyrically straight-forward and in some cases rather slight. While JWH flirted with modern country but was still primarily rooted in traditional folk music but played in a rock and roll context, NASHVILLE SKYLINE is a pure country album, through and through. Not only that, Dylan teamed up with Johnny Cash on one number! (Johnny Cash and Dylan recorded a large number of songs during the NS sessions. These recordings are widely available via bootleg, and are of more interest to Cash fans than Dylan fans, as Cash dominates the recordings).

While JWH still helped maintain Dylan's position as a counter cultural hero, NASHVILLE SKYLINE is a deliberate attempt to shed off the idea he was a spokesman for a generation. As Clinton Heylien noted, "if Dylan was concerned about retaining a hold on the rock constituency, making albums with Johnny Cash in Nashville was tantamount to abdication in many eyes."

Due to the described circumstances above, NASHVILLE SKYLINE also marks the first time the critical establishment was rather wary at supporting their favorite nasal-singing troubadour. Though the album was overall positively received, there were diffinite seeds of dischord among various factions of the rock community and the music critics. In a very short time, this critical discontent would explode into a full scale assault with the release of SELF PORTRAIT, although a few (just a few) could have gotten onto this release and sounded right at home

Overall, NASHVILLE SKYLINE is a brief, enjoyable album, and Dylan's only pure country release. Though some of the songs are slight and there's not a lot of material, the album has a nice, direct sound not often heard on a Dylan album. Though his other records from the 1960s are more esteemed, NASHVILLE SKYLINE stands as a proud last addition to his sixties songbook as that era drew to a close, both culturally and in Dylan's own career.

Having enjoyed Bob Dylan's first nine albums (recorded in the span of little less than six years) and his evolutions as an artist in the same timespan, I grew up to love Dylan's folk/rock style and upfront lyrics. So it's no surprise that "Nashville Skyline" struck me as a bit of a step back for him, though it involved a firm step into country territory and away from what had become his signature sound up to that point.

Maybe it was the combination of his voice sounding so different, the songs not being as "outspoken" and the fact that I just don't enjoy Dylan doing country as much as I love him as a folk rock singer, but the result is that I didn't enjoy "Nashville Skyline" as much as his earlier material.

Having said that, though, it may strike you that I am stil giving the album four stars. I wouldn't penalize it with less, because in spite of my personal preferences in terms of Dylan, it's still a solid album with production values that have withstood the test of time.

This album took FOR EVER to grow on me. I HATED this cd for years. Actually, I only ever had the vinyl but you get the drift.

I love it now, its one of my favorite "feel good" albums around. Just look at Bobby smiling on the cover!

He completley changed everything here though, and was (as usual) not looking back. If I didn't see his name on the record I wouldn't have believed it was him.

Its a great album for a crappy day. Its very country sounding (even has Johnny Cash sittin' in on the opening track) and bitter sweet for the most part. The songs (even the sadder ones ) all have a sense of joy to them, something GOOD.

Every once in a while you just need something WHOLESOME.

I think thats what Bob Dylan was trying to convey on this album, and thats the vibe that I picked up. (At least after like five years.)

I still like to think of COUNTRY PIE as a dirty song though, and for that reason is one of my favorites.

Check this out ONLY if you have EVERY other Dylan disc from the sixties, Blood on the tracks, and Desire, and Love and Theft.

OR

If you don't know who Bob Dylan is and are just having a bad day, this album may be the cure.

Sometimes, all I want to listen to is Nashville Skyline. Addmittedly, I tend to pull out B.O.B. and B.I.A.B.H. more often, but this album is just quirky enough (for Dylan) to suit certain moods. Lay Lady Lay is great, and so is Girl From the North Country w/ Johnny Cash. It just makes you feel good!

I am thrilled with the SACD version of this classic. It's given me a chance to get to experience one of Dylan's greatest albums all over again. It's hard to express how fine the SACD sound is. Maybe the best way I can explain it is this: think about how much new detail you hear when you listen to a favorite album for the first time through headphones. The ambience, the pick on the guitar strings, the voice in breathy detail. SACD gives you that through regular speakers. Plus, the sound is definitely warm and atmospheric, no harsh highs like on the regular CDs. I can't wait to see the whole Dylan catalog released on SACD.

Bob Dylan does sing in a different way on this "album," and at first it may make you jump. But once accustomed to it, you'll find this recording one of the gentlest and the sweetest you could find anywhere: a real marriage of good music, fine playing and beautiful renderings of love songs "to die for," as they say nowadays. Including a love song to food: "Oh me oh my / Love that country pie!"

Of all Dylan's recordings this is the one that gives me the most pleasure to listening to. His smooth vocals are far superior to anything he has done before or since. The pedal steel work of the late Pete Drake is outstanding. My three favorite songs are Lay Lady Lay, I Threw It All Away, and Tell Me That It Isn't True. This is great music to play on your front porch on a rainy day while just relaxing.

Man, I always thought the guys who complained about the CD remastering of Dylan's albums were full of themselves. However, I was quite surprised that nobody sees the problems with this remastering.

I borrowed the remastered "Nashville Skyline" CD from a friend a few years ago when he found out I had never heard the album before. I listened to it a few times and promptly returned it, stating that it was really disappointing. It sounded like a short, poorly-recorded album of Dylan with a weird voice. When I tracked down a good turntable, I picked up a bunch of Dylan vinyl to see how other albums fared in comparison to the CDs. I finally got around to "Nashville Skyline" last month, and discovered that the album was pretty good. The sound quality was much better than I remembered, even though my vinyl copy is pretty scratchy. Then, I ordered the remastered CD last week, thinking that I didn't give it a good chance the first time...............

Oh boy! What a tragedy. The remastered CD is truly as awful as I remember. I could not believe that the CD could have been worse, so I did a track by track analysis. Turns out the entire CD suffers from problems not found on the vinyl. The CD has noticeable tape hiss, with attenuation of the higher frequencies, and a complete lack of punch. The real travesty is that some tracks sound like they have been remixed, as some instruments have been relocated and brought up or down in level. A real travesty considering the vinyl mix is pretty good. The remastering problems really "cheapen" the album overall.

If you have this album on vinyl, just listen to the first few acoustic guitar chords and how they have a "bite" to them on the record that is gone on the CD. It only gets worse from there. This is the only remastered Dylan CD I have been disappointed with. I regret buying the CD and will wind up making a CD copy of my record.