"Blonde On Blonde" by Bob Dylan (May, 1966)

Brad's Take:

As you probably know by now, Bob Dylan and I don't have the best relationship together. We've listened to a small handful of his albums so far, and I have only liked one of them. Highway 61 Revisited. Since listening to and reviewing that album, I have become a little bit more welcoming to his style of music.

In our book that we're taking all of these albums out of, I read that this was the first rock and roll double-album. I believe it was also the first album to have only one song on the D-side of the record, because the song was so long. In fact, the whole album is long! It's only 14 songs, but it clocks in at just under 73 minutes. It didn't really feel like that long though, in retrospect.

I really enjoyed "One Of Us Must Know." The way it builds up into the choruses reminded me a little bit of Mr. Dylan's hit "Like A Rolling Stone." The upbeat poppy rhythm of "I Want You" was a nice surprise. What I liked most about that song though was the organ's catchy lead melody that plays during the choruses. It fits the song's subject really well. I really like the use of organ on this album.

Maybe I just hate the instrument itself, but Bob Dylan makes the harmonica even worse somehow by using it as a weapon against my ears. "Pledging My Time" had a harmonica solo that almost killed me with its overly drawn out high pitched notes. Maybe it's his way of getting back at me for disliking most of his music.

"Stuck Inside Of Mobile With The Memphis Blues Again" is a perfect example of what I don't like about Bob Dylan's vocal style. It's unique, and it's not that hard to get used to, but this song sort of made it bother me a little bit extra.

As a whole, I liked Highway 61 Revisited a bit more, but this album comes in close second. There are a couple songs that were hard to get through because they were so long, but I liked enough of this record that I can say that I'll listen to it again soon.

Dad's Take:

When anybody asks me about my three favorite albums of all time, I always mention this as one of them. In fact, it's one of the two that are most solidly in place. I usually say Blonde on Blonde is my number two, but it's a pretty close second.

The difference between first and second place is that my first choice, which we'll be reviewing very soon, is a much more personal record. For Blonde on Blonde, it's purely artistic. I love most of the songs. This is Dylan at his poetic best, the lost clown struggling to make sense of a world that defies logic.

There are classic hits here, namely "Rainy Day Women #12 & 35," "I Want You," and "Just Like A Woman." There's also one of Dylan's best-realized compositions, "Visions of Johanna." And, there's the song that turned me from a Dylan's-greatest-hits fan to a full-album fan, "Stuck Inside of Mobile With the Memphis Blues Again," easily one of my top five or six Dylan tunes. (I've never actually made such a list, but if I did, I'm sure this would be up there. Funny that Brad chose this particular song as an example of what he doesn't like about Dylan, when it's a prime example of what I love--playful lyrics full of allusions and humor, a song where you're never quite sure what he's trying to say but you know that, whatever it is, you like it. And I love how it always seems like the song has finally reached its end, only to keep on a-goin'.

There's also the fun, bluesy "Leopard-Skin Pillbox Hat," the thoroughly enjoyable "Most Likely You Go Your Way (And I'll Go Mine)," "Absolutely Sweet Marie, the brilliant Chicago Blues of "Pledging My Time" with its classic blues harmonica--I can list almost every song on this lengthy album as a highlight.

The closest thing to a downside is the epic "Sad Eyed Lady of the Lowlands." I like this song a lot too, but it's a little too dirge-like for a 14 minute song. I don't mind the length, but, for me, a song this long needs changes and other effects to hold up. There are a few times where Dylan himself seems to be yawning the words. But if you really listen, it's a pretty amazing piece of work--just hard to listen to if you're not in the mood to put in the effort. Put in the effort, though, and the song is among Dylan's best poetry.

This has been my number two favorite album for a long time. Records move in and out of the number three spot (although it always comes back to another album we're reviewing soon), but one and two are firmly entrenched.

I should also mention another record here. I'm not usually wowed by tribute albums (although I buy them now and then), but Blues on Blonde on Blonde is a terrific little collection, containing all but two songs from the original album. It does what a good tribute album does: provide an enjoyable listening experience in its own right while giving you new insights into the songs that help you enjoy the original even more. It also has what may be my favorite cover song ever, the gorgeously heart-breaking rendition of "Just Like A Woman" by Eric Bibb. If you enjoy Blonde on Blonde or feel like the songs are great but you find Dylan himself difficult, seek out this collection. I'm betting that it will make you a bigger fan of Dylan's original work, and renew your confidence in tribute albums at the same time.

"Sounds of Silence" by Simon & Garfunkel (January, 1966)

Dad's Take:

This is a good way to ease into my favorite three-year period in the history of popular music.

Paul Simon & Art Garfunkel found a magical formula when they combined the sounds of Dylan's electrified folk and the mellow harmonies of the Everly Brothers. With smart, poetic lyrics and a cool pop sound, they appealed to the Greenwich Village intellectual college folkies as well as the kids, blending the coffee shop with the burger joint jukebox. The rock and roll folkie Simon and the beautiful-voiced Garfunkel were a combination that could not be beat.

The commercial highlights here are the title track, which went to #1 in the U.S., and the smash "I Am A Rock," a song that worked as a personal theme song for much of my adolescence, an anthem for introverts everywhere. The gorgeous "Kathy's Song" is among my favorite songs by this duo. But don't let those hits lead you into believing the rest is filter. This album is full of smart songwriting wrapped in melodic harmonies and excellent instrumentation. I think this record also introduces the word "groovy" to our list in the fun, upbeat "We've Got A Groovy Thing." Our version of the album ends perfectly with bonus track "Blues Run the Game."

A little side note: There's a line in "A Most Peculiar Man" that might make Brad chuckle a bit because of a family inside joke. Laughing might not be appropriate during a song about a suicide, but I suspect Brad won't be able to help himself.

This is a wonderful album. Put it on on a rainy day or a mellow morning, and it'll fit the day perfectly.

Brad's Take:


This is actually my first time listening to a full Simon & Garfunkel record straight through. In fact, I don't think I've ever heard more than 5 of their songs before this. Now I'm kind of kicking myself though because I like this a lot.

It's folk rock, but it rocks a little more than Bob Dylan's similar style. I also definitely hear the Everly Brothers reference that my dad mentioned in Simon & Garfunkel's vocal harmonies. The vocals are my favorite part about these songs. Both of these fine young men have awesome tenor voices that (most of the time) blend perfectly together, like vanilla ice cream and root beer.

The only song that I recognized off of this album was "I Am A Rock," but some of the songs that I liked a lot from first listen were "The Sound of Silence" and "Blessed." I liked those two songs a lot, but the whole album was awesome. It was folky at times, it was rockin' at times, but it was awesome all of the time.

Side note to my dad's side note: Maybe I'm just tired, or forgetful, but I didn't catch any inside jokery in the song "The Most Peculiar Man."

"Highway 61 Revisited" by Bob Dylan (August, 1965)

Dad's Take:

Poor widdo Bwadley has to listen to another Dylan album already. Poor guy. This one is listed at number 4 on Rolling Stone's 500 Greatest Albums list, and its big single, "Like A Rolling Stone," is number one on their list of greatest songs. In other words, This will be pure torture for Brad. He's really going to be thrilled that the songs are so long on this record. But this album is a classic with a capital C. Even outtakes from this record like "Can You Please Crawl Out Your Window?" are great.

OK, so for Rolling Stone to pick a song called "Like A Rolling Stone" seems like it could have more behind it than simply liking the song, but seriously, it's hard to argue that choice. This song is a tour de force, unlike anything by anyone else (except maybe a few other Dylan tunes). It's spectacular. If it were the only decent song on this album, the album would be a classic.

But it's not.

Song after song is a gem. After "Like A Rolling Stone," we're treated to "Tombstone Blues," with its brilliant fast blues groove and its tribute to Woody Guthrie in the chorus. The lyrics are playful and poetic. This is a song that takes multiple listens before it all sinks in, but it's better with ever listen, and not so bad on the first one. Six minutes of near perfection, from the lyrics to the crunchy guitar. Next comes the piano-based blues of "It Takes A Lot To Laugh, It Takes A Train To Cry," with its train-whistle harmonica (oh, Brad's gonna love that!) and easy, shuffling blues rhythm.

This album is song after song of highlights. More favorites for me include "From a Buick 6," and "Ballad of a Thin Man" and and "Queen Jane Approximately," and the title track, and "Just Like Tom Thumb's Blues" (again, incredible lyrics, set to a cool song), and "Desolation Row," and --wait, I just mentioned every song on the album.

Perfection on vinyl. Or whatever CDs are made of. This is Dylan at his bluesy best, showing that there's more to Zimmy than a folk star. He's reinvented himself so many times, but this is the Dylan phase I like best. People Who Don't Know won't expect these words, but they're true: Dylan rawks! My favorite Dylan album is yet to come on our list, but this is awfully close.

Have fun, Braddio. Me, I'm spinning this one again, a little louder this time.

(Just a note about influence: watch what happened to rock and roll after these last couple Dylan albums. Dylan's direct influence is clear: the popular music of the day moved from typical songs about love to deeper songs with a more poetic and personal lyrical content. Thanks to Dylan, the Beatles (for one) moved from "I want to hold your hand yeah yeah" to "Doesn't have a point of view, knows not where he's going to, isn't he a bit like you and me?" And where Dylan took the Beatles, the rest of the serious music scene followed. Sure, there was still plenty of moon/June/hand/understand on the radio, but most of the more substantial artists moved beyond that, and the music world changed. Thank you, Mr. Dylan!)

Brad's Take:


Here we go...

On Bob Dylan's previous album, Bringing It All Back Home, he made Side A the electric/bluesy side, and Side B consisted of acoustic driven songs. Ol' Bobby decided to take it even a step further on Highway 61 Revisited though, and decided to make almost the entire album electric, much to the dismay of his long time fans; the ones who began to love him when he was just playing acoustically. I, personally, much prefer his electric stuff. It's easier for me to listen to because there's a lot more going on. (Dad, are you proud yet?)

The album opens with the lead single "Like A Rolling Stone." I, of course, have heard this song a few times before, but I never actually listened to it until now. It's definitely a song I can listen to many more times. I was surprised with how much I actually liked it. (How 'bout now, Dad?)

A few songs later, and I found myself really digging this album. It's upbeat and bluesy, and Bob's voice isn't as irritating on this album. (Or maybe I'm just used to it now.) But then about halfway into "Ballad Of A Thin Man," I started to feel the urge to skip to the next track, in hopes that the album wasn't actually starting to go downhill, like it felt like it was. I got through the whole song though, and then regained some faith as "Queen Jane Approximately" played, although not completely. (Sorry, Dad.)

It's safe to say that I really enjoyed the first half of Highway 61 Revisited the most, while the second half felt like just another Bob Dylan album to me, for whatever reason. "Just Like Tom Thumb's Blues" was enjoyable though. It should have been in the first half, as Side B feels to be the mellower side.

In the end, I did not dislike this album. In fact, I enjoyed the majority of it. "Like A Rolling Stone" was definitely my favorite song off of it. I got a bit bored with the second half of the album, but that might be mainly because the entire 9 song album is 51 minutes long. It was a struggle to get through it, but I did it without really suffering. It was a good album. (Now are you proud, Dad??)

"Bringing It All Back Home" by Bob Dylan (March, 1965)

Dad's Take:

"Bringing It All Back Home" didn't make Dylan many friends in the folk world, with its full side of electric music, but it further cemented his place as one of the greatest influences of sixties music.

It's hard to find three better songs to open a record than "Subterranean Homesick Blues" (Dylan's first single to chart in the U.S.), "She Belongs To Me," and "Maggie's Farm." With a start like that, you'd expect it to be all downhill from there, but it's not. As much I like the acoustic Dylan, the first side of this album, with its electric rock and roll sound, is one of my favorite sides ever recorded.

Side two is just as good. It might be acoustic, but it's not typical folk music. Dylan moved beyond the folky protest songs and wrote lyrics that are more personal and poetic, and often abstract. The obvious highlights on side two are "Mr. Tambourine Man" and "It's All Over Now, Baby Blue," but the other songs on the side are just as good. The side includes one of his most ambitious compositions, "It's Alright Ma (I'm Only Bleeding)," interestingly a scathing critique of commercialism (and other things, especially hypocrisy) on his most commercial album so far. It's a song full of grim images and brilliant wordplay, set to a classic blues guitar.

Dylan's gamble paid off. This album hit number 6 on the Billboard albums chart, his biggest seller up to that time. It was also highly influential with important rock and roll bands like the Beatles and the Byrds, and other bands that were not misspelled animals. It was during the sessions for this record when Dylan met the Beatles and reportedly turned them on to marijuana.

47 years later, this still one of Dylan's best, and one of my favorite albums of all time.

Brad's Take:


This is the second Bob Dylan album out of the few on our list. It's also the second album on our list that I went into borderline dreading... Although I didn't hate the first one we reviewed, I have a hard time getting used to the fact that I will be listening to another entire Bob Dylan album, almost forcibly, and then a few more later on down the list. But here we go!

Once again, we have another album full of stories and politically charged lyrics put to some (mostly acoustic) folk music. Sometimes fast, sometimes slow, but always Dylan.

This album feels a lot more free and fun than the mega political The Freewheelin' Bob Dylan. Kind of ironic. The hysterical laughter at the beginning of "Bob Dylan's 115th Dream" even got me laughing along.

Overall, I think I enjoyed Freewheelin' more. It was more interesting because it felt like it was a snapshot and a good representation of the civil rights movement, as a whole. This album didn't hold my attention at all really. Sorry Daddy-o!

"In The Wind" by Peter, Paul, and Mary (October, 1963)

Dad's Take:

This one brings back memories. My mom has this record, and I heard it a lot growing up. When I got a bit older, I used to play it myself. This and her Kingston Trio albums helped me develop my inner folkie at an early age.

I remember as a small child really liking "Hush-A-Bye." "Stewball" has always been a favorite, probably my favorite on the record. Brad might have fun imaging Little Dad singing along. "Rocky Road" is another favorite. Later, I appreciated their "Go Tell It On The Mountain" (this is the version I hear in my head when I think of this song, even though they changed it from a Christian spiritual to a civil rights anthem). Of course, the album features their classic "Blowin' In The Wind," which probably helped as much as anything to cement Dylan's place in the cultural mind.

So, for me, this is truly a classic album, one that has always been there, as long as I can remember. I haven't listened to it for many years, but it holds up to my grown-up ears as well. Songs like "Long Chain On" and their gorgeous cover of Dylan's "Don't Think Twice, It's All Right" still hold up well.

"In The Wind" is a feel-good record for me. It's like a bridge between the fifties folk of the Kingston Trio and the heavier folk of the Bob Dylan and Joan Baez. The harmonies are impeccable, with a perfect blend that inspired later groups like the Mamas & the Papas.

Brad's Take:


Folk music was in full force by the time In The Wind was released so it's no surprised that this album shot up to #1 on the Billboard charts. It might have helped that they cashed in on Bob Dylan's success by releasing their own versions of "Blowin' In The Wind" and "Don't Think Twice, It's All Right" as their singles for this album.

It's a shame that they didn't release a single of an original song because they were great songwriters. "Rocky Road" would have been a good choice for a single, in my opinion. "Very Last Day" could have been a good one, as well. In that song, you can definitely hear where the Mamas & the Papas got their harmonies for "California Dreamin'."

Before listening to this, "Puff The Magic Dragon" was the only Peter, Paul, and Mary song I could have named off the top of my head. I liked that little ditty and the movie when I was younger, but it's not on this album. I was kind of bummed about that.

I kind of liked the album. The 60s folk music/hippy scene isn't something I can relate to at all so it's hard to get into these folky albums. It was fun listening to it though, imagining watching a young version of my dad swaying back and forth to "Stewball."

"The Freewheelin' Bob Dylan" by Bob Dylan (May, 1963)

Dad's Take:

I've been looking forward to this one probably about as much as Brad hasn't been, but I'm hoping Brad might see the light.

Bob Dylan's first album didn't get much attention, but this second disc introduced him as the major new force in folk music. Innovative lyrics, social relevancy, solid playing, revolution, and that voice that some people have trouble getting used to but that delivers the songs so perfectly--all of this helped define the music of the sixties. Dylan is to folk music what the Beatles are to rock and roll: a redefining iconoclast that changed everything that came after.

Of course, there was no way to know that when this album first surfaced. There was no way to predict how much Dylan would affect all genres of popular music. There was just a collection of great songs. "Blowin' in the Wind," "Masters of War," "Don't Think Twice, It's All Right," "A Hard Rain's A-Gonna Fall." There's anger, frustration, acidic wit, and beauty in these songs and in most of this album.

Sure, Dylan is not always easy to listen to, but that's true of so many great artists. He challenges you to listen and to think, to look below the surface and see the world. Not since Woody Guthrie had the folk music scene been forced to really see like this. Not since Woody Guthrie had folk music sounded this fresh and bitter at the same time.

We'll hear more Dylan in our list, but few of those albums will have exciting vibe of Dylan's breakout effort. I can't listen to this record enough.

Brad's Take:

My dad was right. I was not looking forward to this album. I've never been a real fan of Bob Dylan. Off the top of my head, the only Bob Dylan song I could name is "Blowin' In The Wind" but I have listened to a punk rock cover of it hundreds of times more than I have listened to the original. I won't ever disagree that he's a classic musician, but I just personally haven't been able to get into his music at all before so I went into this very pessimistically. Since that isn't very fair though, I will try to give this an unbiased review...

Bob Dylan's known mainly for his voice and his lyrics. Robert's voice is hard to get used to at first, but I got used to it on this album. Whether you get used to his unique voice or not, there's no denying that his lyrics are great. His lyrics are very politically charged, like every folk album that came out in the 60s.

As a guitar player myself, I was slightly annoyed that Ol' Bobby's guitar was noticeably out of tune on "Down The Highway" and a couple of others. Also, some of the really high harmonica notes he plays almost killed me, like the final drawn out note in "Girl From North Country." I've never been a real fan of the harmonica...

To me, this album sounds like a guy sitting on his front porch, imperfectly playing his slightly out of tune guitar but singing songs from his heart. But Freewheelin' launched Bob Dylan's career instantly, and it was well earned.

Although I was not excited to listen to an entire Bob Dylan album, I found myself to accept it about halfway through. There weren't any songs I loved, or any that I like-liked, but there weren't any songs I hated either. It's not my typical cup of tea, but for what it is, it's great. It's a perfect snapshot of the 60s folk music scene.

"String Along" by The Kingston Trio (July, 1960)

Dad's Take:

We've covered just about every genre in popular music so far, so it's about time we move into folk music, one of my favorite genres. What better place to start than The Kingston Trio.

The Kingston Trio peaked commercially with "Tom Dooley" in 1958, but this album, their fifth studio record, captures everything I like about the trio. It has impeccable harmonies, humor, social awareness, and catchy melodies. By 1960, folk had been popular for a few years among the college crowd who where a little too old for rock and roll's dance beat, but it was only on the verge of becoming the force it would be with the ascent of Dylan, Baez, and the rest of the sixties folk icons.

The Kingston Trio were among the pioneers of modern folk music, and "String Along" makes it clear why. Great songs like "Leave My Woman Alone" are accessible to the aging first generation of rock and rollers (and, indeed, were influenced by people like the Everly Brothers), but with a maturity and social awareness that had not yet broken into rock and roll music. Those things would become part of rock and roll soon, thanks to people like The Kingston Trio and their influence on a folk scene that would soon give birth to Dylan and his cult of followers in all popular genres.

But back to the Trio. Not long after this album was recorded, Dave Guard left the Kingston Trio, putting an end to the first major era of the Trio. He was replaced by John Stewart, who I always liked as a member of the Trio and as a solo act. They weren't quite the same after that. They continued to have chart success for a couple more years, but "String Along" was their last album to top the charts. Six of their next seven albums hit the Top Ten, though, so Guard's departure definitely didn't kill the group.

I'm not sure why this is the album the authors of our list chose to represent the Kingston Trio, but I'm not complaining. I've never hear this whole album before, and I'm happy to have it now. "String Along" is a good, solid album, with strong songs and very little obvious filler. Like other Kingston Trio albums, it was criticized by some folk fanatics because of its political neutrality in a left-leaning genre, but record buyers ate it up and found it highly satisfying. It's a very good record.

Brad's Take:


Like a lot of the albums we've reviewed so far, I've heard of the band, but never actually listened to any of their music, until now. Although folk music isn't typically my cup of tea, this was a nice little surprise.

"Bad Man's Blunder" is an up-tempo silly little song that I thought was okay, but the next couple of tracks were a bit slower, and full of perfect harmonies. I liked all of the slow songs the most on this album.

They have great voices that sound great when they're harmonizing together. On songs like "When I Was Young," they harmonize the entire song together. It reminds me a lot of a band I occasionally listen to called Kings Of Convenience, who must have at least some Kingston Trio influence in their vocals.

 As a whole, this album is good. It's not my favorite, but there's some songs that I really liked a lot, and some that I sort of struggled to get through. Fortunately though, the entire album is only 30 minutes long so the songs are short and sweet, getting to the point from the get go.

Memorial Album by Hank Williams (September 1956 UK)

Dad's Take:

I don't care who thinks we're silly
You be daffy and I'll be dilly
We'll order two bowls of chili
Settin' the woods on fire

This album was assembled and released a couple years after Williams died too young in the back seat of a Cadillac. I couldn't find a US release date, other than "1955" (with two more songs), but our book lists a September, 1956 UK release date, so we're going with that release.

I'm not a country music fan, but I like Hank Williams and some of the other old-school country artists. Williams might not have invented western music, but he brought a new emotion and heart to the genre. This is back when there wasn't a lot of difference between country & western and folk. It's American roots music, and it lies at the bottom of nearly everything that came after in rock 'n' roll, whether it's Buddy Holly (and by extension, The Beatles), Bob Dylan, CCR, or the Eagles. Without Hank Williams, today's popular music, whether country, rock, or whatever else, would be a very different place.

This is a fine collection of eight Hank Williams classics. It might have been a mistake to follow "Your Cheatin' Heart" with the nearly identical "You Win Again," to open the album, but other than that, I have no complaints.

Every drawn-out word is a hillbilly cry, every bit as sad as Sinatra was in the wee small hours. Sinatra cried in a city bar, where Williams sat alone by the fire out on the ranch, but both lamented their plight. When Williams is cheerful, as in "Settin' The Woods On Fire," "Hey, Good Lookin'," or "Jambalaya" (which was apparently on the 1955 release but not on the only one we could find, and which is very much missed on this record), the joy fills his voice just like the cries of the sad stuff.

Bottom line for me is, whether you like country music or not, no American popular music education is complete without a good strong dose of Hank Williams. This album is as good a place as any to start.

Brad's Take:


This isn't a style that I usually listen to on my own, but I enjoyed this memorial album. The tempo and guitar style to some of the songs aren't much different than the Chet Atkins album we reviewed before this, but with vocals and a band, it makes it different enough.

If you have this on as background music, you'll think it's all upbeat and cheesy fun country songs, but when you pay attention to the lyrics, you hear that Hank had his ups and downs in relationships:

If you missed me half as much as I miss you
You wouldn't stay away half as much as you do
I know that I would never be this blue
If you only loved me half as much as I love you

Like my dad said, whether you're a fan of country music or not, Hank Williams would definitely have to fit into the curriculum of The History Of American Music. Artists like Bob Dylan and Johnny Cash might have never gotten as popular as they did without Hank Williams' success.