Spotify playlist: https://spoti.fi/3w5Bpgk

NATHAN LA FRANEER

This is my favorite track on Joni’s debut LP “Song to a Seagull,” I never heard it until I downloaded it via Napster, it’s the story of Joni’s ride to the airport and the driver is named Nathan La Franeer. It’s a personal, intimate tale we can all relate to, the personal connects more than the general, remember that. Music today is made to gain an audience as opposed to creating something internal that resonates to such a degree it succeeds.

NIGHT IN THE CITY

It’s upbeat whereas so much of the material on “Song to a Seagull” is downbeat, never forget that Joni loved to kick off her heels and dance, have a good time.

MICHAEL FROM MOUNTAINS

The most well-known song on Joni’s debut as a result of its cover on Judy Collins’s album “Wildflower” released the year before. “Michael From Mountains” opened side one of Judy’s LP, “Both Sides Now” side two.

CACTUS TREE

Better known as the opening cut of side two of the double live album “Miles of Aisles.”

“She will love them when she sees them

They will lose her if they follow

And she only means to please them

And her heart is full and hollow

Like a cactus tree

While she’s so busy being free”

All the men want her, but she needs to go her own way, she needs to be free.

BOTH SIDES NOW

Turned into a hit by Judy Collins, Joni was now on her way. It’s the harpsichord in Judy’s version that puts it over the top.

CHELSEA MORNING

Written before the first album, once again the song was made famous by Judy Collins, and subsequently Joni recorded it, and yes, this is the inspiration for the name of…Chelsea Clinton.

SONGS TO AGING CHILDREN COME

Dramatically used in the funeral scene in the movie “Alice’s Restaurant.” Watch the clip, it will resonate, no matter if it’s a sunny day at the beach or you’re home alone depressed: https://bit.ly/3hv4sEV

I DON’T KNOW WHERE I STAND

My favorite song on the second album “Clouds,” it’s the best song I’ve ever heard about wondering if the other person feels the same way you do. You’re living in your head, afraid of alienating them, being too serious too soon, yet you can’t stop thinking about them.

“Telephone, even the sound of your voice is still new

All alone in California and talking to you

And feeling too foolish and strange

To say the words that I had planned

I guess it’s too early, ’cause I don’t know where I stand”

THAT SONG ABOUT THE MIDWAY

Joni’s breakup song to David Crosby, originally sung live to him and twenty others in a living room.

FOR FREE

And now we move on to the third LP, “Ladies of the Canyon.”

I first heard this song performed live by James Taylor just when “Ladies of the Canyon” was released. This was just when “Sweet Baby James” was breaking, Taylor was touring alone, just him and his guitar. I was visiting my now-deceased friend Ronnie in Boston, we got tickets to see James at the Sanders Theatre on the Harvard campus. Some songs, very few of them, are so good you catch them the first time through. I never forgot James singing “For Free” that evening, and stunningly, through the power of Napster, I found that exact concert, I’m listening to it right now, it took place on April 25, 1970, there were two shows, we went to the first.

“Now me I play for fortunes

And those velvet curtain calls

I’ve got a black limousine

And two gentlemen

Escorting me to the halls

And I play if you have the money

Or if you’re a friend to me

But the one man band

By the quick lunch stand

He was playing real good, for free”

This is how Hollywood works, how life works. You charge a fortune to the public, but if it’s a friend, you’ll do it, and you won’t ask for remuneration.

CONVERSATION

This is my favorite cut on “Ladies of the Canyon.” They have a personal relationship, they can talk, they connect, but he’s married to somebody else.

“Tomorrow he will come to me

And he’ll speak his sorrow endlessly and he’ll ask me, ‘Why?’

‘Why can’t I leave her?'”

THE ARRANGEMENT

“You could have been more

Than a name on the door

On the thirty-third floor in the air

More than a credit card

Swimming pool in the backyard”

This was the question in the sixties and early seventies, whether to sell out or not. Today everybody is looking to sell out, whether it’s the educated classes going to work at the bank or the lower classes going on reality TV or making records and doing whatever the suits tell them for the exposure and potential riches.

RAINY NIGHT HOUSE

“It was a rainy night

We took a taxi to your mother’s home

She went to Florida and left you

With your father’s gun, alone

Upon her small white bed

I fell into a dream

You sat up all the night and watched me

To see, who in the world I might be”

It’s about Leonard Cohen. He came from a wealthy family, although only Canadians seem to know this.

THE PRIEST

It’s the sound of the record, the changes, the relatively fast tempo that hooks you, but then the lyrics start to sink in. “The Arrangement,” “Rainy Night House” and “The Priest” all come in a row on “Ladies of the Canyon,” they’re almost a mini-album within the album, they’re so intimate and personal, you really feel like you’re in that rainy night house…

WOODSTOCK

Written by Joni, but initially cut and made a hit by Crosby, Stills, Nash & Young. Joni famously didn’t go to Woodstock because she had a TV gig that David Geffen thought she might miss. Joni’s take is all about the meaning, introspective, whereas the CSNY take is in-your-face with stinging guitar, they’re the same song yet completely different. Matthews Southern Comfort ultimately released a soft rock version that sat in the middle of the two previous recordings artistically and had a huge hit, it went to #1 in the U.K.

THE CIRCLE GAME

It was already a youth group standard by time Joni cut it, everybody knew it, to be honest I never have to hear it again.

BIG YELLOW TAXI

An upbeat ditty with legendary lyrics that have become part of the fabric of the culture:

“They paved paradise and put up a parking lot”

And:

“Don’t it always seem to go

That you don’t know what you’ve got ’til it’s gone”

As a result of Counting Crows’ (with Vanessa Carlton) 2002 cover everybody seems to know the song today, but prior to this I think most people had no idea the above lines came from a Joni Mitchell song.

And even Bob Dylan covered “Big Yellow Taxi,” not that he planned to release it, but when Dylan jumped to Asylum Records in 1973 Columbia released an album of outtakes in retaliation.

CALIFORNIA

It’s my favorite track on “Blue,” from before I lived here and still now. It’s a story, it’s a state of mind, a freedom.

“California I’m coming home

I’m going to see the folks I dig

I’ll even kiss a Sunset pig

California I’m coming home”

That “Sunset pig”? She’s referring to the police. Boy have times changed. Then again, they’ve recently changed back. The pigs were the enemy in the sixties and the seventies, and you called the police that, the youngsters were against them, if for no other reason than the kids were unjustly hassled. But then during the Iran hostage crisis public sentiment flipped, it became all rah-rah. And then there was the economic run-up but people were left behind, especially those of color, and last year they revolted against the police and now…there are two sides, you’re either for the pigs or against them. And no one truly wants to abolish the police, they just want to reform the system, add in some justice.

ALL I WANT

I sang it to myself on the drive home from my second date with Felice.

“I want to talk to you, I want to shampoo you”

“All I Want opens “Blue” with a roar, at least compared to Joni’s previous albums. It’s a story. It sends a signal that this is not a conventional LP, but something personal, something different, commerciality be damned.

“I am on a lonely road and I am traveling

Traveling, traveling, traveling

Looking for something what can it be”

We were seekers, we wanted something more.

“Oh I hate you some, I hate you some, I love you some

Oh I love you when I forget about me”

Priorities. You can choose from two lives, one of tradition, of structure, or one of art. Too often people want to combine the two, but you can’t. Which is why when you complain you can’t make any money as an artist you don’t get it. And if you’re an artist, you’re number one, always, chances are you can’t have kids, it’s so hard to make it, to sustain, total dedication is required…and you’ve got to want it really really bad.

“I want to be strong I want to laugh along

I want to belong to the living”

You can be alive, yet dead. I’d spent fifteen years in the wilderness, sixteen to be exact, believing if I just held on long enough I could meet someone, my life would work. Credit a ton of psychotherapy. Credit a strong constitution, but as I walked to my car from the restaurant that evening I knew my life was changing, FOR THE BETTER!

“I want to have fun, I want to shine like the sun

I want to be the one that you want to see

I want to knit you a sweater

Want to write you a love letter

I want to make you feel better

I want to make you feel free”

Oh, biology. You’re depressed and then you’re positively elated, you’re only upbeat, IT’S WHAT WE LIVE FOR!

“I want to be strong I want to laugh along

I want to belong to the living

Alive, alive, I want to get up and jive

I want to wreck my stockings in some jukebox dive

Do you want, do you want, do you want to dance with me baby

Do you want to take a chance

On maybe finding some sweet romance with me baby

Well, come on”

A CASE OF YOU

“Oh I could drink a case of you darling

And I would still be on my feet

I would still be on my feet”

WHAT A METAPHOR! Whew! Especially if you know Canada, with its beer stores, it all resonates.

“A Case of You” is like the Beach Boys’ “Til I Die,” an exquisite song no one ever talks about and then decades later you find out it’s everybody’s favorite.

“Just before our love got lost you said

I am as constant as a northern star

And I said, ‘Constantly in the darkness

Where’s that at?

If you want me I’ll be in the bar'”

Humor. It was unexpected, yet so real. Happens all the time, someone says something ridiculous and you want to turn to the camera and blow the whistle on them.

“On the back of a cartoon coaster

In the blue TV screen light

I drew a map of Canada

Oh, Canada

With your face sketched on it twice”

Coaster? BLUE TV screen light? Sketching a map of Canada? These are words/images you never encounter in a song, yet they set the scene, you can SEE IT!

“I remember that time you told me

You said, ‘Love is touching souls’

Surely you touched mine

‘Cause part of you pours out of me

In these lines from time to time”

Love is touching souls…THAT’S IT! You cannot hear these words and forget them. And when you’re in a relationship, you’re both the influencer and the influenced.

THE LAST TIME I SAW RICHARD

“The last time I saw Richard was Detroit in ’68

And he told me all romantics meet the same fate someday

Cynical and drunk and boring someone in some dark cafe”

Do you have to stand up and fly straight or…can you take the road less traveled, if you’re a romantic are you ultimately doomed? And then there are those who are anything but romantic, and I don’t mean flowers and kisses, but dreams, they’re so wedded to facts, reality, that I can’t relate to them.

WOMAN OF HEART AND MIND

It’s the best track on “For the Roses.”

“I am a woman of heart and mind

With time on her hands

No child to raise

You come to me like a little boy

And I give you my scorn and my praise

You think I’m like your mother

Or another lover or your sister

Or the queen of your dreams

Or just another silly girl

When love makes a fool of me”

She’s game, she’s ready, he’s living in fantasyland and he wants her to support him, as if she were his mother, talk to women, nothing turns them off more than when they think they’re your mother.

“After the rush when you come back down

You’re always disappointed

Nothing seems to keep you high

Drive your bargains

Push your papers

Win your medals

F___ your strangers

Don’t it leave you on the empty side”

Ain’t that life, you’re all excited, a ball of energy and then you crash. Life rewards those who persevere, who don’t go off half-cocked but find a proper path and stick with it. As for his actions, in the sixties and seventies we were worried about being left on the empty side, now America is all about the empty side all the time, it’s culturally bankrupt. As for printing the F-word… If I did that this e-mail would not get through spam filters, you can speak truth in art, but not business.

“I’m looking for affection and respect

A little passion

And you want stimulation, nothing more

That’s what I think

But you know I’ll try to be there for you

When your spirits start to sink”

She knows what she wants, she’s laying it out, but she won’t abandon him, not yet anyway.

“You know the times you impress me most

Are the times when you don’t try

When you don’t even try”

Ultimately it’s these lines that stick out, that are most memorable. I have always lived by this, maybe because I’ve known people with assets, status and fame…and the truth is there’s always someone richer, better-looking and more prominent and famous than you, always! I mean if you don’t like me for who I am… Or as Prince put it in “Baby I’m A Star”:

“Hey, look me over

Tell me do you like what you see

Hey, I ain’t got no money

But honey I’m rich on personality”

But these aren’t the only Joni Mitchell lyrics I live by:

“We don’t need no piece of paper from the city hall

Keeping us tied and true no…”

That’s from “My Old Man,” off “Blue,” that’s my philosophy, I broke it once…to my detriment. Either you’re committed or your not, and a piece of paper doesn’t change that.

BLONDE IN THE BLEACHERS

People point to the tracks on Jackson Browne’s” songs from “Running on Empty” as the most accurate depiction of being on the road as rock stars, but…there’s more truth in “Blonde in the Bleachers.”

“The bands and the roadies

Lovin’ ’em and leavin’ ’em

It’s pleasure to try ’em

It’s trouble to keep ’em”

YOU TURN ME ON, I’M A RADIO

Yes, it was a mild hit, Joni was delivering what she thought the masses wanted but…it’s a delicious listen nonetheless.

BARANGRILL

It would be great with any lyrics, but Joni sets the scene:

“Three waitresses all wearing

Black diamond earrings

Talking about zombies

And Singapore Slings”

ELECTRICITY

Magic, as are “Cold Blue Steel and Sweet Fire” and “Lesson in Survival,” they seem like they were composed and recorded in the environment from the album cover…Canada, the country, introspective, meaningful, a place where the trappings are irrelevant.

PEOPLE’S PARTIES/THE SAME SITUATION

You’ve got to take them together, they run together on the LP.

“All the people at this party

They’ve got a lot of style

They’ve got stamps of many countries

They’ve got passport smiles

Some are friendly

Some are cutting

Some are watching it from the wings

Some are standing in the center

Giving to get something”

Hollywood is not the suburbs. They come to Los Angeles to make it, and some do, very few, and then you’re invited to parties and you’re thrilled to be included, it shows you’ve made it, but once you’re actually there, what are you going to do?

Giving to get something is the rule of business, the trading of favors, forget the patina of personal relationships, it’s called “show business,” not “friends business.”

“Photo beauty gets attention

Then her eye paint’s running down

She’s got a rose in her teeth

And a lampshade crown

One minute she’s so happy

Then she’s crying on someone’s knee

Saying laughing and crying

You know it’s the same release”

Break through and you’ll be privy to those from the magazines, those willowy models, ten feet tall and geeky…they were not the popular girls in high school and they’re frequently not that good-looking in real life and in truth they’re just girls, they’ve been in the spotlight, yet they don’t know how to act. Then again, it’s no different from male models…but there are many more 5’10” men than women. As for laughing and crying being the same released…I’ve never heard this said anywhere else, it’s “People’s Parties” that I attribute it to, and when I’m somewhere and someone quotes it to me, I smile.

“I told you when I met you

I was crazy

Cry for us all, beauty

Cry for Eddie in the corner

Thinking he’s nobody

And Jack behind his joker

And stone cold Grace behind her fan

And me in my frightened silence

Thinking I don’t understand”

The truth is so many feel uncomfortable, and the life of the party, like those models, they’re just acting out to overcome their anxiety. Joni’s admitting she’s crazy, and she is, as are most people, certainly artists. You want to be included, but once you are you want to run. Business people seem to be able to do this party hang so much better than artists.

“Send me someone

Who’s strong and somewhat sincere”

Especially in Hollywood, everybody’s on a journey, and oftentimes you’re just a waystation, they’ll use you and move on to someone more powerful, someone who can move their career forward, or embellish it.

“Caught in my struggle for higher achievements

And my search for love

That don’t seem to cease”

This is the essence of Joni Mitchell, of everybody trying to make it. Your career is primary, but still…you need the love, which is why all these playboy musicians get married, going on the road and screwing someone different every night doesn’t fulfill you, see “Blonde in the Bleachers” for instruction.

HELP ME

The breakthrough track, the one that made Joni Mitchell number one in the hearts of young women, then and forever.

FREE MAN IN PARIS

I always preferred this to “Help Me.” Yes, it’s about David Geffen, but everybody knows that now.

“The way I see it he said

You just can’t win it

Everybody’s in it for their own gain

You can’t please ’em all

There’s always somebody calling you down

I do my best

And I do good business

There’s a lot of people asking for my time

They’re trying to get ahead

They’re trying to be a good friend of mine”

There’s so much truth here, it’s astounding. No good deed goes unpunished. People are just using you to their own ends, no matter how friendly they act. And no matter what you do, people will be pissed, they think they’re entitled to leverage your power, your fame.

“There was nobody calling me up for favors

And no one’s future to decide

You know I’d go back there tomorrow

But for the work I’ve taken on

Stoking the star maker machinery

Behind the popular song”

The favors, they’re endless, that’s how business works. If you ask for one, however small, be prepared to be asked for one back, and you’ll have to do what you don’t want to, this is the essence of not only Hollywood, but straight business and politics. As for someone’s future…a manager has a responsibility, to the artist first and foremost, but many don’t act like that. As for the star maker machinery behind the popular song…”Free Man in Paris” is where these constantly quoted words come from.

“I deal in dreamers

And telephone screamers”

Yes, they yell on the phone and the next time they see you they’re cool as a cucumber, then again this behavior has been tamped down somewhat as a result of #MeToo. As for dreamers…that’s Hollywood to a “t,” and if you have any power at all, any status, you’ll be inundated with people selling you the solution to all the problems that will be instantly successful and don’t you want to help them and get rich in the process? No.

CAR ON A HILL

She’s waiting for him to show, will he or won’t he?

“He makes friends easy

He’s not like me

I watch for judgment anxiously”

Musicians, they make friends easily, that’s how they survive, that’s how they get gigs, talk about using people… But the front person, the solo artist, they’re oftentimes internalized and gun-shy, they’ve got social anxiety, they want friends so much, but if they reveal themselves will they be judged and rejected?

DOWN TO YOU

Never talked about, but a key track, an album track, that if you play the LP over and over again you’ll get.

“Everything comes and goes

Marked by lovers and styles of clothes”

You learn this as you age, and you can never accept it. People leave, people die, you get sick, trends change…

“Everything comes and goes

Pleasure moves on too early

And trouble leaves too slow

Just when you’re thinking

You’ve finally got it made

Bad news comes knocking

At your garden gate”

Do you see the glass as half-full and set yourself up for disappointment or see it as half-empty and are never disappointed…then again it’s harder to embrace and believe in the good stuff if you’re a pessimist, for fear it will soon disappear.

COURT AND SPARK

Words I hadn’t heard since I was in grade school, learning about the past, strange how Joni Mitchell resurrected them.

And this opening track is introspective and personal in a way that its follow-up on the album, “Help Me,” is not. It’s a risk, but Joni took it.

“He was playing on the sidewalk

For passing change

When something strange happened

Glory train passed through him

So he buried the coins he made

In People’s Park

And went looking for a woman

To court and spark”

It’s an analog to “For Free,” just a busker making a living, not a star.

“It seemed like he read my mind

He saw me mistrusting him

And still acting kind

He saw how I worried sometimes

I worry sometimes”

Famous women are gun-shy, mistrusting, don’t hit on them, don’t even approach them unless you too are famous or you’re introduced. And if you speak try to be friends first, after all the times you’ll impress them most are when you don’t even try, when you don’t even try.

Judy Collins was so upfront and honest she blew my mind. Judy talked in-depth about Joni Mitchell, Leonard Cohen and Bob Dylan and also spoke about her alcoholism and her son’s suicide. I can see why Stephen Stills wrote “Suite: Judy Blue Eyes”…and we cover that too! What a refreshing alternative to those who are snooty or reticent, you talk to Judy and you’re immediately her friend, you could see hanging out for hours, revealing each other’s truth. Judy’s already back to doing live gigs and is as vibrant as someone many decades her junior. I LOVED TALKING TO HER!

https://podcasts.apple.com/us/podcast/judy-collins/id1316200737?i=1000527489216

https://www.stitcher.com/show/the-bob-lefsetz-podcast

https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/The-Bob-Lefsetz-Podcast

Spotify playlist: https://spoti.fi/3hqGWc3

Many people only know Bob Dylan as that guy with the whiny voice who inspires them to push the button on the radio every time his music is played. Furthermore, Dylan’s iconic status has transcended the actual music. So, here’s an entry point to his music. For those who think they know him and don’t, for those who think they hate him but might be enlightened.

BLOWIN’ IN THE WIND

The initial, eponymous Bob Dylan album was released in 1962. It was mostly covers, it was not a big smash, it got most of its attention after the fact, in retrospect. “Freewheelin’,” the second LP was the breakthrough.

Would Bob Dylan have made it if he wasn’t managed by Albert Grossman? That’s a good question, and I’m leaning towards Bob not being that big. Grossman got his other client Peter, Paul & Mary to cover Bob’s songs, make them standards, and people started to know who he was. Peter, Paul & Mary’s cover of “Blowin’ in the Wind” was sweeter, but hewed to the Bob Dylan original, which was not the case with so many covers thereafter.

MASTERS OF WAR

It was 1963. The folk scene was still dominant, this was a year before the Beatles hit America. It was also an era of hopes and dreams and protest for even more. Kennedy had not been shot, but there was a fight for equal rights and… It was the exact opposite of today. The oldsters were asleep, and the youngsters were pushing the envelope to the left. Today, the oldsters are awake, and they’re pushing the envelope to the right. Sure, the youngsters are agitating on the left, but unlike in ’63, all young people are not Democrats, and identity issues oftentimes outweigh political issues. Then again, the personal is political. “Masters of War” was not a hit single, bit it resonated with the audience. And Dylan played it in 1991 at the Grammys, many people might not have recognized it, but believers certainly did.

A HARD RAIN’S A-GONNA FALL

Maybe more famous via its covers, from everyone from Pete Seeger to Leon Russell to my favorite, Bryan Ferry.

DON’T THINK TWICE, IT’S ALL RIGHT

Made famous by Peter, Paul & Mary, this was a personal song sandwiched in amongst the political ones, written in reference to Suze Rotolo, Dylan’s girlfriend, who is on the cover of “Freewheelin’,” who unfortunately is no longer with us.

THE TIMES THEY ARE A-CHANGIN’

The title cut which opened Dylan’s third album, it’s become a standard, a rallying cry, repurposed for change in subsequent times, but always by the left, the right don’t want times to change.

This is the key verse:

“Come mothers and fathers

Throughout the land

And don’t criticize

What you can’t understand

Your sons and your daughters

Are beyond your command

Your old road is rapidly agin’

Please get out of the new one if you can’t lend your hand

For the times they are a-changin'”

This was the generation gap, before most Americans realized there was one. It wasn’t until maybe ’66 that most people in the country woke up to the youthquake. Too many people today are stuck in the old decaying road and the new one is not being built.

ALL I REALLY WANT TO DO

“Another Side of Bob Dylan,” Dylan’s fourth album was his second of 1964. It’s the blueprint for the covers breakthrough. Although one could argue strongly it began with the Byrds’ cover of “Mr. Tambourine Man” from the subsequent LP, but it was “Another Side” which was mined for hit singles thereafter. There are two legendary covers of “All I Really Want to Do.” Most think of the Byrds’, which is very palatable, but I always preferred Cher’s, the follow up to “I Got You Babe.” I vividly remember her singing it to Sonny on one of those black and white lip-synch shows that soon started to appear all over the TV, and “Hullabaloo” was in color!

MY BACK PAGES

Dylan yodeled in “All I Really Want to Do,” this was a dirge on “Another Side,” but the Byrds’ version was mellifluous and unlike Dylan’s was a hit single. The Byrds’ take worked irrelevant of the lyrics, but the key lines burst through speakers loud and clear:

“Ah, but I was so much older then

I’m younger than that now”

As a teenager, I didn’t understand these words, but they started to ring true a couple of decades back. When I was young I thought I knew everything, the older I get the less I know…oh, I know more, but I know what I don’t know. The elders have wisdom, but they’re ignored. Then again, too many elders are stuck in their ways.

IT AIN’T ME BABE

It broke the Turtles, most people had no idea it was written by Bob Dylan. Youngsters cannot comprehend the breadth of the impact of this track, it was a gigantic hit when we all listened to the same radio stations and knew the same songs…the Turtles version, of course, most people never heard Dylan’s original, in fact no one even talks about “Another Side” anymore, it’s never mentioned.

SUBTERRANEAN HOMESICK BLUES

Conventional wisdom is “Blonde on Blonde” is Dylan’s best album. And if not that, its predecessor, “Highway 61 Revisited,” but 1965’s “Bringing It All Back Home” is my absolute favorite, and most people did not know “Subterranean Homesick Blues” back then, but today seemingly everyone does, which is contrary to the usual arc. It’s due to the video, from the D.A. Pennabaker documentary, which was rarely seen back then, but is legendary today. The clip has been imitated/ripped-off multiple times in the music video era, if you’ve got no idea what I’m talking about, check it out here: https://bit.ly/364m05e “Subterranean Homesick Blues” has permeated the culture to the point many people who quote its lyrics have never even heard it. Here are a few:

“You don’t need a weatherman

To know which way the wind blows”

The inspiration for the name of the Weather Underground.

“Don’t follow leaders

Watch the parking meters”

“Twenty years of schoolin’

And they put you on the day shift

“The pump don’t work

‘Cause the vandals took the handles”

MAGGIE’S FARM

Working for the oppressive man, that’s what working on Maggie’s Farm represents today, once again people use the term and have never even heard the song.

MR. TAMBOURINE MAN

The Byrds’ cover was so ubiquitous that the original ultimately surfaced, people needed more, they sought it out when music was scarce, when you had to make an effort, before the history of recorded music was at your fingertips.

IT’S ALRIGHT, MA (I’M ONLY BLEEDING)

To this day most people know this song via Jim/Roger McGuinn’s cover for the “Easy Rider” soundtrack, but the original has more gravitas, and is a fount of wisdom that has not been superseded by Dylan, or any other contemporary songwriter.

“That he not busy being born

Is busy dying”

It’s part of the culture now, the vernacular, but here’s where it originated and most people have no idea Dylan wrote the words, never mind that they’re in this song.

“While others say don’t hate nothing at all

Except hatred”

A conundrum, the people who want peace, no dissension, no argument, are the enemy, you can’t have progress if everybody’s a cheery buddy holding back their truth for fear of alienating someone.

“While preachers preach of evil fates

Teachers teach that knowledge waits

Can lead to hundred-dollar plates

Goodness hides behind its gates

But even the president of the United States

Sometimes must have to stand naked”

Here Dylan takes down religion and education but the reason this verse is so famous is because of the last two lines, which became so poignant after Watergate, when Dylan sang these words at his 1974 comeback concerts with the Band, people stood up and cheered, you can hear it on the live album.

“Advertising signs they con

You into thinking you’re the one

That can do what’s never been done

That can win what’s never been won

Meantime life outside goes on

All around you”

Ain’t that America. That’s why advertisers don’t want to appeal to older demos, they’ve seen the trick, they won’t be fooled again. America is a string of endless falsehoods trying to entice you to part with your money or go down the path in pursuit of fulfillment that they can never deliver. And today’s musicians are…con artists, they’re the brand, they’re the enemy, they’re the ones trying to sell you stuff, they emulate the dreaded corporations and their advertising.

“For them that must obey authority

That they do not respect in any degree

Who despise their jobs, their destinies

Speak jealously of them that are free

Do what they do just to be

Nothing more than something they invest in”

This is the sixties. You played the game to get good grades to get into good a college only to end up as a cog in the system, probably not waking up until it’s too late. Today there is no lifetime employment. But authority is on the rise everywhere, not only in your high school, and people don’t only despise their white collar jobs, but seemingly every service job out there. Then again, back then you yearned to be free, today everybody yearns to sell out.

“While one who sings with his tongue on fire

Gargles in the rat race choir

Bent out of shape from society’s pliers

Cares not to come up any higher

But rather get you down in the hole

That he’s in”

This is the essence of internet hate, I may use these lyrics more than any other in this modern age. Everybody’s got a voice, and if they didn’t rise above, they’re going to tear down those who did, irrelevant of the validity of the success of a person, today everyone’s on guard for fear of being pulled down. And this is different from cancellation, which is another problem.

“For them that think death’s honesty

Won’t fall upon them naturally

Life sometimes must get lonely”

Summer Redstone thought he would live forever, but he didn’t. Everybody is human, everybody is susceptible to cancer and disease but many don’t acknowledge it until they’re on their deathbed, if they acknowledge it at all. They think they’re different, immune, but they’re not.

IT’S ALL OVER NOW BABY BLUE

Most people know this via covers, whether it be Them, the Byrds, Joan Baez… Have they heard the original? I would think not.

LIKE A ROLLING STONE

Do I think it’s the best rock single ever? No, off the top of my head I’d say “Satisfaction,” then again…this was Dylan’s first radio hit, six minutes long and played incessantly on AM radio. Never underestimate the power of Al Kooper’s organ, adding a new texture to the sound, it’s iconic, you’ve heard it, I like it, but not as much as its follow-up…

IT TAKES A LOT TO LAUGH, IT TAKES A TRAIN TO CRY

Seemingly a minor cut, but the covers are legendary! First and foremost the opening cut on the second side of “Super Session,” totally reworked, with Stephen Stills wailing, Mike Bloomfield gets all the credit for his first side contribution, but I always preferred the second, after all it contains the most legendary cut, the eleven minute reworking of Donovan’s “Season of the Witch.” Second, Leon Russell’s from his first solo album, the one with “Delta Lady”…

BALLAD OF A THIN MAN

“Because something is happening here

But you don’t know what it is

Do you Mr. Jones”

HIGHWAY 61 REVISITED

The title cut of the album, which starts with “Like a Rolling Stone” above. The thing is when you go to Minnesota…it won’t be long before you’re going somewhere on Highway 61. This was Johnny Winter’s signature song. But I believe the definitive cover is by Bruce Springsteen with Bonnie Raitt and Jackson Browne, it was a Napster favorite but now it is available legally, it’s fantastic, you need to listen to it.

POSITIVELY 4TH STREET

I always preferred it to “Like a Rolling Stone,” it was made legendary by the following lyrics:

“Yes I wish for just one time

You could stand inside my shoes

You’d know what a drag it is

To see you”

The ultimate put-down song. Only artists seem to be able to speak the truth, at least out in the open instead of behind closed doors. “Positively 4th Street” was a single release only, between “Highway 61 Revisited” and “Blonde on Blonde.”

RAINY DAY WOMEN NO. 12 & 35

Was he singing about getting stoned as in marijuana or metaphorically, that was the debate back then, when cannabis was still underground. It never would have been a hit if Dylan wasn’t on a streak of hits, then again the carny sound added to its appeal.

VISIONS OF JOHANNA

It was the dawn of the album era, as in people bought them, not just the single, so songs that were not radio hits could be cultural hits, like this.

I WANT YOU

A mild radio hit. If you were paying attention you knew it.

STUCK INSIDE OF MOBILE WITH THE MEMPHIS BLUES AGAIN

Dylan was now part of the firmament, he did not need covers to make his bones, people bought his albums just to listen to him. And the title of this song is quoted constantly by boomers…

JUST LIKE A WOMAN

Now a standard, but not via Dylan’s original take, but the covers. First in the U.K. by Manfred Mann and ultimately, ubiquitously by Joe Cocker, and…

SAD-EYED LAD OF THE LOWLANDS

Important for no other reason than it took up the entire fourth side. It’s well-known that it’s about Sara…Dylan’s first wife.

ALL ALONG THE WATCHTOWER

From the “John Wesley Harding” LP, after the motorcycle accident. More famous in its Hendrix iteration, but the original, quieter version is actually superior. All of “John Wesley Harding” sounds like it was performed on a midnight ride through the countryside, the feel is palpable.

DEAR LANDLORD

The most famous version is the cover on the second side of Joe Cocker’s second album, but that’s fast and the words go by so quickly and…the original is almost a waltz, the words resonate, and there are these lines that didn’t penetrate me until I was well into my life:

“Now each of us has his own special gift

And you know that was meant to be true

And if you don’t underestimate me

I won’t underestimate you”

Everybody’s equal. Everybody shines. Everybody’s a star. You might think you’re better because of your highfalutin’ degree or your bank account, but the people you denigrate are superior to you in certain areas, I guarantee it. Think about it.

THE WICKED MESSENGER

Most people don’t know the definitive cover that has so much power it trumps Dylan’s excellent original. I’m speaking of the Small Faces’ cover on their first album with Rod Stewart, which was ultimately re-released under the moniker “Faces.” This was when Rod was still in ascension, before he lost so much of his credibility.

GIRL FROM THE NORTH COUNTRY

Dylan goes country, when country was not hip, long before the cowboy hats and guitars, when country was earthy and authentic. Here Bob duets on a song from “Freewheelin’.”

LAY, LADY, LAY

All over the radio in the summer of ’69 when nothing else on the AM band sounded anything like it. People were used to the edgy Dylan, “Nashville Skyline” was accepted by more people than any of his work previously. Dylan had reinvented himself.

I THREW IT ALL AWAY

A revered album cut.

TONIGHT I’LL BE STAYING HERE WITH YOU

Yes, Bob Dylan could be warm and cuddly. He was not just an edgy spewer of a slew of words, he was human. And ultimately, relationships are all that count:

“Throw my ticket out the window

Throw my suitcase out there too

Throw my troubles out the door

I don’t need them anymore

‘Cause tonight I’ll be staying here with you”

im not sure i will be free to call in today, but just wanted to say… cause i love this kinda shit…

dylan and joni really are two completely different types of artist.

except for the occasional reveal, bob hides himself. his songs are mostly guarded and removed… and from a songwriting standpoint… he is always derivative… i don’t mean that in the shitty way… his songs just always harkened back to other songs. they are rooted in history.

that said, for me, he is fucking magic. and there is no better lyricist. ever.

joni, on the other hand, is all reveal. and all revolution, in terms of her songwriting. she wrote like no one else before her. her melodies, her chords, her phrasing.. her words.. and she was NEVER guarded. she pulled no punches in her art.

two fucking alien geniuses, for sure… MASTERS!

but, in my eyes, incomparable in terms of their work.

not like, say, mellencamp and petty… who i think SHOULD be compared more. and mellencamp always gets the short end of that stick, which is a shame… but that’s for another discussion…

Matt Nathanson

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No question, Dylan! Joni has no Blowing in the Wind. No Times They Are A-Changing. No Masters of War. I could go on…

Toby Byron

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Dylan… prolific catalogue.  More anthems.  More longevity in different periods.  Influenced more people.  Not Canadian.  Weirder.

Just my opinion.  I love Joni but it is not a serious question.

Michael Becker

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Beatniks = Dylan

Hippies = Joni Mitchell

Note : I don’t think Dylan put together an album / body of work comparable to Joni’s

” Blue ” …. guaranteed in almost every ” boomers ” Top 20 !!

Joseph Carvello

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Dylan

John Hughes

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Joni.  Both my teenage kids agree.  Not even close for my family.

John Boyle

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Both are giants, and both have totally distinctive impacts. I really see no need to rank one over the other. I love both dearly.

Michael Tearson

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Joni is. 🙂

lu lancton

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Really Bob – is that even a ? that has to be asked ?

I know its summer and content is always king – and you’ll no doubt get some milage out of the subject. However, if we’re talking about the music – as opposed to the evocation of a particular place and time within which certain music was created – one would have to put their money on Bob.

Andrew Krents

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Oh stop.  There’s no one that comes close to Joni.

With peace and love,

Colleen Wares

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you know better than that bob. 🙂
which is greater, the sun or the moon?
pffffff.

Amanda Palmer

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HA HA HA!!!!!

Nancy Wilson