Lexington Books
Pages: 316
•
Trim: 6¼ x 9¼
978-1-4985-8263-6 • Hardback • April 2019 • $136.00 • (£105.00)
978-1-4985-8265-0 • Paperback • November 2020 • $51.99 • (£40.00)
978-1-4985-8264-3 • eBook • April 2019 • $49.00 • (£38.00)
Keith Nainby is professor of communication studies at California State University, Stanislaus.
John M. Radosta teaches English and creative writing at Milton High School.
Part One: Formations
Chapter One: Eternal Circle: Dylan and Performance
Chapter Two: ABOUT THE SONGS (what they’re about): Dylan and the Popular Song Tradition
Chapter Three: Like a Rolling Stone: Dylan and the Rock Tradition
Chapter Four: Hero Blues: Dylan and the Bardic Tradition
Chapter Five: The Wicked Messenger: Dylan’s Vocal Resources
Part Two: Transformations
Chapter Six: Simple Twist of Fate: Dylan (re)working songs live
Chapter Seven: Bob Dylan’s Dream: Reworking Songs in the Studio
Chapter Eight: Tempest: Bob Dylan’s Personae Spanning Two Centuries
Chapter Nine: Masked & Anonymous: Bob Dylan and Cinema
Chapter Ten: Gonna Change My Way of Thinking: Bob Dylan and the Evangelical Tradition
Coda: An Idiosyncratic Guide to a Bob Dylan Concert
Bibliography, Discography, and Videography
About the Authors
This is a worthy addition to the ever-growing mountain of research on Dylan. Nainby (communication, California State Univ., Stanislaus) and Radosta (English, Milton High School) have drawn on a wide range of primary and secondary sources, including song lyrics (which they quote extensively), offering a nuanced, scholarly exploration of Dylan’s performance styles. Chapter 2, “Dylan and the Popular Song Tradition,” explores the amazing range of folk and popular songs with which Dylan is familiar. Chapter 3 jumps to the rock tradition with an analysis of his vocal gymnastics and complex lyrics. In chapter 4 the authors switch to the bardic tradition, observing that "as a performer, Bob Dylan often dons the mantle of the bard, the keeper of civilization’s stories and wisdom.” The authors often contrast Dylan's live performances and his recorded legacy, as songs and styles have come and gone in his repertoire over 60 years. In chapter 6 they observe that "a hallmark for fans of Dylan’s live performances is the knowledge that they are likely to hear an entirely different rendition of a song—likely all of them.” The discussion of Dylan’s films is particularly insightful. Including a lengthy bibliography and discography, this book is intended for academic readers rather than fans.
Summing Up: Recommended. Upper-division undergraduates through faculty.
— Choice Reviews
The historical and cultural connections drawn in this work are vital for a complete understanding of Dylan, while the insightful interpretations of the performances remind us that we can always revisit great artists. The scholarship is impeccable; the authors are familiar with the vast Dylan literature as well as with the equally overwhelming amount of albums, concerts, outtakes, etc, that form the Dylan oeuvre. As a long-time Dylan fan, it did open my eyes, or rather my ears, up to new ways to appreciating Dylan. After 40 years of listening to him, that is no small accomplishment.
— Peter Vernezze, Weber State University