#>.> This is how you learn Franky can play harmonica

[quinloki]

Okay, but which one of your blorbos does this to prove they'd be good at going down on you?

[bobdylanrevisited]

John Wesley Harding

Released: 27 December 1967

Rating: 9/10

Following a very severe motorcycle accident in 1966, Dylan disappeared for the public eye and settled down with his new family in Woodstock. By vanishing at the height of his fame, some newspapers even questioned if he had died. Whilst in his self-imposed exile, he once again reinvented himself into a much more mellow and americana artist, recording basement tapes with The Band (not to be released for 8 more years) and this strange, stripped down album that comes completely out of left field and had very little fanfare surrounding it’s release. His voice has once again transformed, no longer is it the nasal, youthful angst of the previous records, but a combination of touring fatigue and quitting smoking meant it was turning into a much more countrified crooner style. His writing also evolved yet again, he was now focused on saying less and meaning more, each lyric steeped in mythology and, as a theme for the whole album, the presence and influence of scripture.

1) John Wesley Harding - Unfortunately, the title track is not only a misspelling of the outlaws name, it is the worst song on the album and even Dylan acknowledged that it isn’t very good. That being said, it is a nice introduction to how his style and voice have changed, gone are the electric guitar solos and loud drum kits which caused such controversy, this is a return to his roots with all the musicians being much more restrained and ‘folky’. However, it is still a simple throwaway song that I usually skip when I often revisit the album. 

2) As I Went Out One Morning - The bass on this song is brilliant, as are the haunting lyrics, which talk of Tom Paine, saving a damsel, and heading south. It is a difficult song to make sense of, some have suggested it is referring to the history of America, but to be honest I don’t care what the meaning is, I’m happy to just get swept up in the track. The vocals are very understated and effortless, and the music creates an atmosphere of uncertainty that is very different from anything that Dylan has done before. 

3) I Dreamed I Saw St. Augustine - From the titles it’s obvious this is full of religious imagery, and putting the saint to death with whom Bob now identifies. Augustine was killed when Rome was overrun and Bob imagines himself both listening and learning from him, but also joining in with the mob as they execute him. Although the song has much fewer words than anything on Blonde On Blonde, it is full of incredibly provocative and intelligent language, showing just how much his penmanship had altered to be more concise. Every live version of this song is brilliant also, as it gives Dylan a chance to show off his incredible pipes. 

4) All Along The Watchtower - I may be alone in this, and even Dylan disagrees with me, but I prefer this version to Hendrix’s. Don’t get me wrong, Jimi’s version is fantastic, but I think the original is more fitting with the subject matter. Another biblically influenced song, the harmonica and wistful singing are perfect, and it’s no wonder this track garnered so much attention upon the albums release. This is, unsurprisingly, one of Bob’s best songs, and is also the one he has played live the most, although he does play Jimi’s version which is fair enough for the stadiums. The album version is very intimate, and feels as though he is sat next to you telling you a story, and the whole arrangement provokes a reaction within you of wonder, and it’s just Dylan doing what he does best.  

5) The Ballad Of Frankie Lee & Judas Priest - The only other song I don’t like, a 5:35 fable about morals. It feels a bit preachy, and although it may be tongue in cheek, the track is actually fairly boring with the words being spoken rather than sung. Whilst there are some brilliantly written lyrics within, this is another song I skip as it feels like a complete misstep compared to the 3 songs proceeding it. 

6) Drifter’s Escape - Following the last track’s slowing down of the album, this brilliant tune helps you quickly forget it, as Bob weaves another fascinating story about a drifter in court for charges he does not understand, and being freed by a lightning bolt hitting the court house and those inside praying as he slips out. The drifter may have been saved by god or the devil, but it makes much more sense that the drifter is actually Dylan. He was on trial for going electric, and his saved by his motorcycle accident allowing him to disappear. Regardless of the protagonists identity, this is a great song which again has much more stripped back instrumentation and some fantastic singing. 

7) Dear Landlord - The main thing about this track is the haunting piano, and Bob pleading for equal rights. It may be that this track is about Bob’s manager Albert Grossman, the two had fallen out and there were arguments surrounding money. It could also be once again about god and religion, though this would make the song much less interesting. I feel like a broken record saying this again, but how anyone can say that Bob can’t sing only need listen to this track to be proven very wrong. 

8) I Am A Lonesome Hobo - Another song regarding morals, though this one is more gripping, as the hobo advises the listener to live by their own code and not make the same mistakes he has. A big part of this album is the high pitched harmonica, which can be grating to begin with, but I found that it really adds to the overall feel of the record and the best example of that is on this song. The mellow instruments are punctuated by Bob’s mouth organ, creating a unique sound that is both exciting and alerts you to the importance of the words. 

9) I Pity The Poor Immigrant - In all honesty, I have no idea what this song is about. I doubt the literal interpretation of Bob hating on immigrants is correct, considering his political views and his protest years, so there must be a deeper layer I’m missing. However, this is a slow number, which is relaxing and almost dreamlike. I like the song, and the Isle of Wight 1969 live version is very good, but I’ll just assume that the immigrant in question is a metaphor for something I don’t believe in, luckily it doesn’t change my enjoyment of the song. 

10) The Wicked Messenger - It’s clear that Bob was obsessed with scripture during this period, though he would not be ‘born again’ for another 12 years, as this is another biblical tale told in Bob’s unique style. I think his interest in the bible comes from seeing himself in many of the stories, this being a key one where he views himself as a ‘wicked messenger’, someone who speaks the truth and is chastised for it. Once again, the bass, vocals, harmonica, and storytelling ability are perfect here, and it’s a quicker number which is wholly enjoyable even if, like me, you don’t understand all the bible references.

11) Down Along The Cove - This is a very minimalist love song, with some lovely piano, and some brilliant singing. No hidden meaning, just a lovely little track that’s sure to put a smile on your face. 

12) I’ll Be Your Baby Tonight - The closing track is a huge clue as to what Dylan’s next venture would sound like. This country tune seems almost out of place compared to the rest of the album, but it is a great song, with Dylan’s Nashville-style crooning in full force. Again, the Isle of Wight 1969 live version is fantastic, and it is a nice closing number which is more uplifting and fun than many of the more ‘spiritual’ tracks. 

Verdict: I really wish I could give this album a 10, it pains me that I can’t, but with two songs I actively dislike and some difficult themes for my atheist brain to respond to, I have to knock a point off the score. That being said, this is one of my most listened to Dylan albums, it’s so relaxing and interesting as a body of work, and I thoroughly recommend it to anyone with working ears. The ability to reinvent himself is once again astonishing, this sounds like a completely different human following on from three intense electric albums, and this was only released the following year. Leaving the sex, drugs, and rock ‘n’ roll behind was good for Dylan, family life suited him and he was already sounding a little less jaded. He seemed to be able to deal with the anger that plagued his last few albums in a more spiritual and emotional manner. His next record would show his maturity and, oddly enough, that he was capable of genuine happiness, as his voice, guitar, and songwriting would delve even deeper into the country style. 

[thevalorieclark]

The Deuce E4 Recap: “You Like Movies?”

Last week, our motley crew began coming together, rubbing shoulders at Vince’s new bar The Hi-Hat. In this week’s episode “I See Money,” they begin to get to know each other better, bonding over their shared experiences and miseries. We see some patterns from last week’s episode continue, and yet more new characters are added to the large cast we’ve already got. Obviously, spoilers for E4 follow. 

As usual, Maggie Gyllenhaal is screaming volumes with her character Candy, but hardly saying a word out loud. This woman has the power to simply look at someone and convey a million emotions. Her performance in this episode is no less nuanced and talented. Candy meets a potential love interest in a music shop when she tries out a harmonica too loudly. He tells her about himself--he’s divorced, one kid. She lies to him, introducing herself as Eileen. He calls her later, leaving a sweet message on her answering machine about taking her out.

She struggles with calling him back throughout the episode, at one point drinking heavily and replaying his message over and over. Eventually she does, but lies to him the whole way through--she tells him she doesn’t have a kid, for one. At the end of dinner he says something about how she must not go out on dates much and she smirks. There may be some truth though when she tells him it’s been a while since she kissed someone--I think we can expect to see Candy start to get more emotional with people soon. 

After dinner, Candy changes and goes out to work, and her struggle to get out of the game continues and gets more urgent when a man dies while she’s blowing him. She is shaken up, and goes to Thunder Thighs for some sympathy. Thunder Thighs seems to have a good independent set up--she’s got a room with a light where people come to her. There, they talk about a jacket, and it’s implied that a girl named Nikki died the summer before while out working. She was a friend of both of them. At the Greasy Spoon at the end of the episode, Frankie and all the pimps give her a standing ovation after word’s gotten around a guy died. Only the girls started seated, seeming to understand how awful that must have been for her. We’ll probably see more repercussions from this next week as Candy tries more ways to get out and start making movies and more money.

Speaking out of getting out, Abby tries to help Darlene leave after she finds out Darlene has an aunt in Charlotte. She buys Darlene a book titled Travels with Aunt and tucks a bus ticket down to Charlotte in it after they have a heart to heart in the bathroom at the bar. The feeling that she’s looking down on Darlene and the other girls lessen--she’s still trying to understand them from an academic perspective, but she’s also trying to help, even if she does it in a very white savior kind of way. Her intentions are good, but the way she goes about treating them is not ideal.

Abby and Vince sleep together at the bar after a night of flirting on shift. She tells him at the beginning that she’s in control--the line is really A+ and delivered in a really empowering way. “You’re not in control, I am.” You can see it in the clip above, the teaser for this week’s episode. Nevertheless, she cedes control anyway, and when they fuck on the pool table she’s completely naked and he barely unbuckles his jeans. Whatever she says, it very much looks like he’s in control. 

At the bar, a major fight starts when a cop tries to take something off a client. Tables and merchandise get broken and when the cops come, they lay down the law with Vincent--he’s got to pay them $250 a week or they’ll come shake down his clients and make his bar unsafe. It’s the same problem Paul told Vince about in episode 1, but instead of other clients blackmailing the closeted men coming to the bar, it’s the police doing it this time. After the fight, Vince hires a Vietnam vet named Black Frankie to help Big Mike keep the peace at the bar. 

Vince and Paul have a chat about LGBT identity nuances--Paul insists Vince use a customer’s preferred pronoun, she instead of he. This is the part of James Franco’s performance I wish we’d drop--he is not good at playing stupid, and doesn’t suit the role as an ignorant bartender. Plus, I struggle to believe he could have street smarts but not remember the Stonewall Riots. In the end, it feels like a heavy-handed way to send a message to the viewer to use people’s preferred pronouns.  

We find out Paul was working at Stonewall during the riots. His boyfriend is emotionally distant when they’re together and is trying to keep his coworkers from finding out he’s gay. Paul is clearly looking for me--he feels the distance in the relationship, and he also wants to leave Vince’s bar behind and open his own downtown. I think we can expect Paul to start pushing against the box he’s confined in soon. 

We learn more about Vince and Andrea’s relationship--she has acted irrationally (at best) in the past, burning his clothes at least twice because he came back smelling like alcohol and fish. He works in a bar and restaurant. Reconciliation is not on the horizon for them.

Meanwhile the pimps are starting to lose control over their girls. Two of them are sleeping together, and one of them lying about where she’s going and who she’s with. When the girls have a long chat about their periods, their pimp gets disgusted and walks away. Clearly none of them can handle the realities of women’s existences beyond sex. The focus is mostly off them this episode--less emotional manipulation than last week. 

Sandra the reporter gets arrested after trying to walk the streets to talk to the other girls, but Officer Alston realizes she’s not a prostitute immediately (apparently by her shoes) and lets her go. She asks for his number and he thinks she’s interested--turns out she just wants someone to watch the girls in a car with. But at least she buys him a burger to thank him.