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Bob Dylan: Performance Artist 1986-1990 And Beyond (Mind Out Of Time): Mind Out of Time - The Accidental Art of a Performing Artist, 1986-1990 and Beyond
 
 
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Bob Dylan: Performance Artist 1986-1990 And Beyond (Mind Out Of Time): Mind Out of Time - The Accidental Art of a Performing Artist, 1986-1990 and Beyond [Kindle Edition]

Paul Williams (Author)
5.0 out of 5 stars  See all reviews (1 customer review) |
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Product Description

Product Description

Bob Dylan: Performing Artist 1986-1990 And Beyond is the third volume of US critic Paul Williams' widely acclaimed writings on the music and performances of Bob Dylan. In this final edition, Williams assess the influence of Dylan upon the later generations, the artist's self-proclaimed Never Ending Tour, as well as dissected two classic Dylan albums, Time Out Of Mind and Love And Theft.

No stone is left unturned as the author charts the shifts in musical style and the response of this remarkable and unpredictable artist to the ever-changing musical landscape. A candid portrait of the independent and controversial singer/songwriter in an increasingly chaotic industry.


Synopsis

The third book in the acclaimed series of critical studies of Bob Dylan by Paul Williams once again turns the microscope on the continuing evolution of rock's master singer and songwriter. After focuding on the start and roots of the Never Ending Tour, Williams surveys work in 1990 and the 1997 TIme Out Of Mind and 2001 Love & Theft albums. There's also an essay on a fine example of a Never Ending Tour Show in 1998. Paul Williams's writing about Bob Dylan has been praised by such distinguished Dylan fans as Sam Shepard, Jerry Garcia and Allen Ginsberg. One member of Dylan's band says he found reading William's books on Dylan helpful when he first joined the band and needed to become more familiar with his boss's huge output of work.

Product details

  • Format: Kindle Edition
  • File Size: 1647 KB
  • Print Length: 344 pages
  • Publisher: Omnibus Press (15 Dec 2009)
  • Sold by: Amazon Media EU S.à r.l.
  • Language English
  • ASIN: B003151JLA
  • Text-to-Speech: Enabled
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: #389,864 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

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Paul Williams
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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:Hardcover
Paul Williams demonstrated years ago that there is at least one well-known Dylan commentator who is wholly focussed on what the artist does, rather than on theories of his alleged role as mystic, guru or cultural revolutionary. In other words, he understands what Dylan's art form actually is: the writing and performing of classic songs. So an incidental pleasure in reading this book alongside Dylan's recently-released memoirs, `Chronicles' volume 1, is the confirmation that Williams was always closer to understanding what Dylan was up to than the many pretentious, more arty Dylanologists.
This third volume of an already-superb series maintains that focus and meets the high standards set by its two predecessors. Here he takes up the pen again as if he finished the last volume only yesterday, instead of a decade ago. The continuity he achieves is a considerable achievement, and all the more so since the period covered [1986-1990] was almost certainly Dylan's most fallow. These are the days when Bob was struggling - for inspiration, for relevance and for audience. Williams captures that struggle admirably and, as always, he does not shirk the task. When something was awful he says so bluntly. Some of Dylan's low-ebb 1987 shows, for example, are described, as `a painful listening experience'. This type of candour is unusual among his fellow Dylan scribes, always excepting Michael Gray. But when the opposite assessment is made, it means we can have confidence that the enthusiasm is real and follows real assessment of the work. Listening again to the recordings, it is quickly clear that Williams' ratings are a far more reliable pointer to the quality of Dylan's performances than all those routine whoops and shouts that some find so irritating at many concerts.
Ultimately that is the greatest attribute of all Paul Williams writings on Bob Dylan. He inevitably takes the reader back to the recordings - to the music and its performance. And given his mastery over four decades as a `performing artist' isn't that what Bob Dylan is all about?
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:  1 review
46 of 50 people found the following review helpful
The real stuff...again 23 Nov 2004
By P. Teece - Published on Amazon.com
Format:Hardcover
Paul Williams demonstrated years ago that there is at least one well-known Dylan commentator who is wholly focussed on what the artist does, rather than on theories of his alleged role as mystic, guru or cultural revolutionary. In other words, he understands what Dylan's art form actually is: the writing and performing of classic songs. So an incidental pleasure in reading this book alongside Dylan's recently-released memoirs, `Chronicles' volume 1, is the confirmation that Williams was always closer to understanding what Dylan was up to than the many pretentious, more arty Dylanologists.

This third volume of an already-superb series maintains that focus and meets the high standards set by its two predecessors. Here he takes up the pen again as if he finished the last volume only yesterday, instead of a decade ago. The continuity he achieves is a considerable achievement, and all the more so since the period covered [1986-1990] was almost certainly Dylan's most fallow. These are the days when Bob was struggling - for inspiration, for relevance and for audience. Williams captures that struggle admirably and, as always, he does not shirk the task. When something was awful he says so bluntly. Some of Dylan's low-ebb 1987 shows, for example, are described, as `a painful listening experience'. This type of candour is unusual among his fellow Dylan scribes, always excepting Michael Gray. But when the opposite assessment is made, it means we can have confidence that the enthusiasm is real and follows real assessment of the work. Listening again to the recordings, it is quickly clear that Williams' ratings are a far more reliable pointer to the quality of Dylan's performances than all those routine whoops and shouts that some find so irritating at many concerts.

Ultimately that is the greatest attribute of all Paul Williams writings on Bob Dylan. He inevitably takes the reader back to the recordings - to the music and its performance. And given his mastery over four decades as a `performing artist' isn't that what Bob Dylan is all about?
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