9. Nashville Skyline

"Coming back I quickly recorded what apeared to be a country-western record and made sure it sounded pretty bridled and house-broken. The music press didn't know what to make of it. I used a different voice, too. People scratched their heads. [...] Journalists began asking in print, "Whatever happened to the old him?" They could go to hell, too."

That's what Dylan writes about this album. Of course, one notices the changed voice and the flatness of the material on this album immediately. Nevertheless, after some listening I just had set myself a New Project: keep listening to this album until it becomes meaningful to you.

Then I read the above, from Dylan's "Chronicles Volume I", his autobiography. I realized that this album cries out: "'This is not Bob Dylan." As Dylan explained, he did not want to live up to his audience's expectations anymore, who saw him as the Big Rebel, if not the Saviour of the World ("All code words for Outlaw", writes Dylan). And then I became not interested anymore - why listen to albums which were made with the purpose not to show the singer?

But I relistened to it, and I guess in time I will, in spite of myself, build up a relationship with this album or some of its material, in spite of the flatness of it all. Because I guess one builds up relationships by listening in spite of oneself, and because listening is so contextual. For example, I listen to the first song, Girl of the North Country. A duet with Johnny Cash. And through the messy rendering (on purpose?) I hear the greatness of the earlier version Dylan sang, and when Cash starts to sing I hear the absolute greatness of his voice and his possible - unrealized - interpretation of the song. In Country Pie, I am remembered of the Beatles' Honey Pie, and of their Savoy Truffle. Peggy Day reminds me of Ringo Starr's Step Lightly. In To Be Alone With You I hear the excellency of the accompanying band, referring to earlier Dylan albums. Et cetera.

I am now listening to Beatles albums again. Every song is great to me. I know, Across the Universe and The Long and Winding Road could have done without the orchestras and the choirs. But I got attached to them, because I have lived with them most of my life.

And so it will go with Nashville Skyline.

And so I am looking forward to hearing Dylan's next album, which is an album of covers, ironically named Self Portrait.

Is this the album about which Dylan says: "I released one album (a double one) where I just threw everything I could think of at the wall and whatever stuck, released it, and then went back and scooped up everything that didn't stick and released that, too."?

8. John Wesley Harding

It took me lots of time to start writing this entry. Not because listening to and getting acquainted with John Wesley Harding has been a huge task; but because I kept also listening to Blonde on Blonde, and to Highway 61 Revisited, and to Bringing It All Back Home.

I like John Wesley Harding, though. Dylan's voice starts to change, it is sometimes less gruff, more polished. Musically he leans more towards a country-sound. The funny thing is that when I listen to Blonde on Blonde I am so impressed with the musicians - and those same musicians produce on this album to me an adequate but hardly ever a remarkable sound. If I listen concentrated, I hear great things - but it is not the shere awe of Blonde on Blonde to me.

Many great songs, though, and many sentences I love. A turn towards country (John Wesley Harding) and folk (As I Went Out One Morning) idiom. The great All Along the Watchtower and Dear Landlord. The Beatles' Rocky Raccoon in the shape of The Ballad of Frankie Lee and Judas Priest (and a sleeve text that reminds one of Lennon's writings - or maybe vice versa?). And that strangely mellow last song, "I'll Be Your Baby Tonight".

I am looking forward to the next album. And I wonder how my taste for this album will develop in the times to come.