In his 2004 memoir Chronicles, Dylan writes, convincingly, of reading deeply in history books once he’d reached Greenwich Village, and of how figures such as the antislavery and civil rights congressman Thaddeus Stevens, who had “a clubfoot like Byron,” made a deep and lasting impression on him.ĭylan has also often seemed to depart from the mental clatter of the present, by living according to a time-warped calendar, in which the Galveston flood or the great Mississippi flood or the sinking of the Titanic have only just happened. Do so and we might better understand how his art works.īut what difference does history-and more specifically, American history-make to Dylan’s work? Dylan has long populated his songs with historical characters, as well as characters from the territory where history shades into legend, and his work is never too far from the larger American mythos emanating from its rough and rowdy past, with its gamblers, prophets, false prophets, and outlaws, from Billy the Kid to Lenny Bruce. As the critic Greil Marcus recently noted, it’s helpful to think of Dylan as a scholar, as well as craftsman. In Dylan’s case, though, history is only one branch of knowledge and creativity that absorbs him: whether it’s a Juvenal satire or a picture at an exhibition or a recording of Robert Johnson, Dylan responds by breaking things down, trying to understand how they work and what makes them different from everything else.

This in itself is highly unusual, as few songwriters if any have exhibited Dylan’s historical knowledge, let alone his historical consciousness. Once you get to the Mystery, it seems, you’ll find History dwelling there. Mystery Street doesn’t actually exist-it’s the one spot in the Key West song that’s imagined-but it is at the center of everything in that liminal paradise, just on Dylan’s horizon line. This is not the same phenomenon as the appearance of Ma Rainey and Beethoven, emblems as much as people, in “Tombstone Blues” on his 1965 album Highway 61 Revisited: Bob Dylan brings a different kind of history to bear on this album, though hardly for the first time in his writing. Elsewhere on the album, we cross the Rubicon with Julius Caesar and on the beautiful song “Mother of Muses,” three Union senior officers from the Civil War as well as two great commanders from World War II (one American, one Soviet), clear the way for Elvis Presley and Martin Luther King Jr. Truman, pops up on the next-to-last track, on Mystery Street off Mallory Square in Key West, where Truman had his winter White House. Kennedy, bite the dust on Rough and Rowdy Ways, Bob Dylan’s latest record (his thirty-ninth studio album, released last year), and a third, Harry S. Two American presidents, William McKinley and John F.

Bob dylan discography with pictures