Bob Dylan: Mixing Up the Medicine, Vol. 6 : 1979–1987: Surviving in a Ruthless World

Mark Davidson, Parker Fishel, Michael Ondaatje...(+more)

10-24-23

Abridgement

Unabridged

Genre

Nonfiction/Biography & Autobiography

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10-24-23

Abridgement

Unabridged

Genre

Nonfiction/Biography & Autobiography

Description

Book 6 reframes a misunderstood period of Bob Dylan’s career, including his conversion to Christianity, studio experimentation, and various collaborations.

In late 1979, Dylan began assembling a band for his upcoming concert and album Slow Train Coming. Over fourteen shows in sixteen days, Dylan and his new band debuted his new gospel sound. His backing singers opened the show, setting the tone, and although fans were aware of his new musical direction, it still came as a surprise when Dylan only performed his new gospel songs at each concert. Most controversially, Dylan preached from the stage.

The following year, Dylan composed songs for his next album, Saved, which continued Dylan’s exploration of gospel-infused music with lyrics exploring religious themes. “Solid Rock” and the title track “Saved” were gospel rave-ups, whereas “Pressing On” and “What Can I Do for You?” were soulful ballads.

Dylan’s 1983 album Infidels occupies a particular place in his discography, seen by many fans and critics as both a return to form and a missed opportunity, with outtakes that are as beloved as the album itself. Critics’ reviews were mixed upon its release: Writing for The New York Times, Stephen Holden called Infidels “a disturbing artistic semirecovery by a rock legend who seemed in recent years to have lost his ability to engage the Zeitgeist,’‘ though he admitted that it “may be the best-sounding album Mr. Dylan has ever made.” On the other hand, Christopher Connelly of Rolling Stone said it was the “best album since the searing Blood on the Tracks nine years ago.” Coming at the tail end of Dylan’s engagement with gospel music, Infidels continued his investigations of morality, albeit through less of a black-and-white lens. Here the focus is not just on the human condition, but on more personal themes of love and loss, as well as external ones, especially politics. On a handwritten draft for the album’s credits, Dylan wrote a working title for his new album: “Surviving in a Ruthless World.”

The 1980s marked a period of several collaborations between Dylan and other artists like Tom Petty and the Heartbreakers, and the Grateful Dead. 

Details
More Information
Language English
Release Day Oct 23, 2023
Release Date October 24, 2023
Release Date Machine 1698105600
Imprint Callaway Arts & Entertainment
Provider Callaway Arts & Entertainment
Categories Arts & Entertainment, Biographies & Memoirs, Art & Literature, Music, Entertainment & Celebrities
Author Bio
Mark Davidson

Mark Davidson is the Curator of the Bob Dylan Archive and Senior Director of Archives and Exhibitions for the Bob Dylan and Woody Guthrie Centers in Tulsa, Oklahoma. He holds a PhD in musicology from the University of California–Santa Cruz with an emphasis on folk music collecting, and an MSIS in archiving and library science from the University of Texas at Austin. He has written widely on music and archives, including his dissertation, “Recording the Nation: Folk Music and the Government in Roosevelt’s New Deal, 1936–1941,” and the essay “Blood in the Stacks: On the Nature of Archives in the Twenty-First Century,” published in The World of Bob Dylan (2021). 

Parker Fishel

Parker Fishel is an archivist who served as co-curator of the inaugural exhibitions at the Bob Dylan Center. His company, Americana Music Productions, provides consulting, research, and production work for artists and estates, record labels, and other entities looking to preserve archives and share the important stories found in them. His selected credits include Ann Arbor Blues Festival 1969 (Third Man Records), the Chelsea Hotel–inspired Chelsea Doors box set (Vinyl Me, Please), and several volumes of Bob Dylan’s GRAMMY Award–winning Bootleg Series (Sony/Legacy). Fishel is also a board member of the Hot Club Foundation and a co-founder of the nonprofit improvised music archive Crossing Tones. 

Michael Ondaatje

Michael Ondaatje is the New York Times bestselling author of several novels, a memoir, a nonfiction book on film, and eleven books of poetry. The English Patient won the Booker Prize and Anil’s Ghost won the Irish Times International Fiction Prize, the Giller Prize, and the Prix Médicis.

Alex Ross

Alex Ross, music critic for the New Yorker, is the recipient of numerous awards for his work, including two ASCAP Deems Taylor Awards for music criticism. In 2008 he was a recipient of a MacArthur Foundation fellowship, given for achievements in creativity and potential for making important future cultural contributions.

Jeff Slate

Jeff Slate is a songwriter and music journalist who regularly contributes to Esquire, Rolling Stone, and other publications. A lifelong fan of Roy Orbison, he recently contributed liner notes to The Ultimate Roy Orbison and the fiftieth anniversary reissue of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. He and his partner, Lynn, reside in New York City with their children.

Overview

Book 6 reframes a misunderstood period of Bob Dylan’s career, including his conversion to Christianity, studio experimentation, and various collaborations.

In late 1979, Dylan began assembling a band for his upcoming concert and album Slow Train Coming. Over fourteen shows in sixteen days, Dylan and his new band debuted his new gospel sound. His backing singers opened the show, setting the tone, and although fans were aware of his new musical direction, it still came as a surprise when Dylan only performed his new gospel songs at each concert. Most controversially, Dylan preached from the stage.

The following year, Dylan composed songs for his next album, Saved, which continued Dylan’s exploration of gospel-infused music with lyrics exploring religious themes. “Solid Rock” and the title track “Saved” were gospel rave-ups, whereas “Pressing On” and “What Can I Do for You?” were soulful ballads.

Dylan’s 1983 album Infidels occupies a particular place in his discography, seen by many fans and critics as both a return to form and a missed opportunity, with outtakes that are as beloved as the album itself. Critics’ reviews were mixed upon its release: Writing for The New York Times, Stephen Holden called Infidels “a disturbing artistic semirecovery by a rock legend who seemed in recent years to have lost his ability to engage the Zeitgeist,’‘ though he admitted that it “may be the best-sounding album Mr. Dylan has ever made.” On the other hand, Christopher Connelly of Rolling Stone said it was the “best album since the searing Blood on the Tracks nine years ago.” Coming at the tail end of Dylan’s engagement with gospel music, Infidels continued his investigations of morality, albeit through less of a black-and-white lens. Here the focus is not just on the human condition, but on more personal themes of love and loss, as well as external ones, especially politics. On a handwritten draft for the album’s credits, Dylan wrote a working title for his new album: “Surviving in a Ruthless World.”

The 1980s marked a period of several collaborations between Dylan and other artists like Tom Petty and the Heartbreakers, and the Grateful Dead.