Trouble In Mind
Bob Dylan’s Gospel Years – What Really Happened.
By Clinton Heylin
Route – £16.99
Gospel music is about the love of God. And commercial music is about the love of sex.
When people don’t get threatened and challenged…in some kind of way, they don’t get confronted, never have to make decisions, they never take a stand, they never grow. [Instead they] live their lives in a fish-tank, stay in the same old scene forever, die and never get a break or a chance to say goodbye. I have views contrary to all that. I think that this world is just a passing-through place and that the dead have eyes and that even the unborn can see, and I don’t care who knows it. [You] know, I can go off on tangents.
Regardless of wherever Bob Dylan happens to be; or wherever he’s been throughout his packed, fraught, colourful, inspired, confrontational, mesmerising and sometimes fractious career, there have always, always been interesting and highly compelling words bouncing around. Whether bouncing around his head, the vicinity, his latest recording(s) or within the all-round, general ether of Bob Dylan.
The above two quotes alone, are surely enough to trigger much debate amid part-time listeners as well as acute aficionados of the artist.
After all, is gospel music really about the love of God? Some would contest that gospel music is more about the love of life, as seen through the prism of God. And while a lot of (today’s) commercial music may indeed hinge upon the love of sex, such isn’t necessarily, always the case. The second quote meanwhile, is more dense than a book on the history of Chinese algebra. Just the last line (”[You] know, I can go off on tangents.”), is capable of triggering a trajectory of colossal, cryptic thought – from the hilarious to the understated to satirical confrontation.
And hey, up until now, this is just two quotes I have been writing about!
The particular period of Trouble In Mind: Bob Dylan’s Gospel Years – What Really Happened (the absolutely full-on religious stage of the late seventies and early eighties) is no exception to any other Dylan- whether past or present, in love or in pain; whether acoustic or electric, social or political.
To be sure, the songs Dylan wrote during his ”conversion to Evangelical Christianity,” are, as the author of this terrific book, Clinton Heylin, has since substantiated : ”[…] in person and in print, the consummate songwriter composed a body of work in the period 1979-81 which more than matches any commensurate era in his long and distinguished career – or, indeed, that of any other twentieth century popular artist.”
There again, the material in question, along with this truly exceptional publication, are about Dylan doing what he essentially does best: being himself; and who else to better assimilate and write about it, than Heylin? A fan, as well as perhaps the most knowledgable of writers on Dylan, who, according to The New York Times, is ”the only Dylanologist worth reading.”
Divided into three prime sections (‘Ain’t Gonna Go To Hell For Anybody,’ Watered-Down Love’ and ‘Outro’) these fourteen chapters make for more than compelling reading, which, as the author makes clear: ”There is more new information in this book than there is in any book published about Bob Dylan, ever, mine included.”
This is not only inspiring to know, but something almost every Dylan fan (or fanatic) will want to clearly, as well as fully investigate.
After all: ”Everything passes, everything changes.”