Publishers Weekly
★ 01/09/2023
Nobel-winning songwriter Dylan (Chronicles: Volume One) offers a marvelous survey of the recordings he loves. Across 66 chapters—each delving into a song recorded between 1924 and 2004—Dylan considers what a particular number might mean to listeners of many stripes: “Knowing a singer’s life story doesn’t particularly help your understanding of a song,” he writes. “It’s what a song makes you feel about your own life that’s important.” The passage on Carl Perkins’s “Blue Suede Shoes” pulls this off brilliantly, drawing a line from 1950s rockabilly through the past four decades of hip-hop and giving voice to the aggression required to protect one’s “point of pride”: “If you want to live and know how to live, you’ll stay off my shoes.” Chronicles: Volume Two this is not, but there’s plenty of unfiltered Dylan; his entry on Johnnie Taylor’s “Cheaper to Keep Her” swerves into a riotous screed on the divorce litigation industry, while his ode to the Grateful Dead’s “Truckin’ ” praises Bob Weir’s performance in a way that fans might describe Dylan himself: “The guy singing the song acts and talks like who he is, and not the way others would want him to talk and act.” There’s no end to the joy of joining this elusive and voracious artist in musical appreciation. Agent: Andrew Wylie, Wiley Agency. (Nov.)
From the Publisher
"This is absolutely one of the best books about popular music ever written." —Chris Willman, Variety
“[The Philosophy of Modern Song] is less a rigorous study of craft than a series of rhapsodic observations on what gives great songs their power to fascinate us. Dylan, who was awarded the Nobel Prize in Literature in 2016, worked on these for more than a decade, though they flow more like extemporaneous sermons.”—Ben Sisario, The New York Times
“[A] rich, riffy, funny, and completely engaging book of essays.” —David Remnick, The New Yorker
“An homage to songwriting by the master of the art”—AARP
"THE great book of 2022....utterly extraordinary....not only one of the great books of the year, but of the past decade...It is unexpected in every way...a magnificent book of music criticism disguised as a memoir and a set of off-the-cuff fantasies and confidences...That's its genius. It is not framed as a work of music criticism; it is a lifelong performer's attempt to get deeply into a pop song panorama and a lifelong consumer of other singers' takes as a member of their audiences. He is talking to the reader in a way that is unique and immediate and familiar to us. He is saying things that are fresh—even wild and radical—on every other page of the book...The book has gobsmacked me...In these pieces of unique music criticism, he's doing something with his voice few of us ever imagined he would do...If the Swedes want to go ahead and give him still another Nobel Prize for Literature, I for one, will applaud vigorously. Let any possible objector read this book first."—Jeff Simon, The Buffalo News
Library Journal
★ 11/18/2022
Dylan (Chronicles, Vol. 1) won the 2016 Nobel Prize in Literature for creating new poetic expressions within the American song tradition, and he extends these expressions into this new collection of 60 essays on the nature of popular music. One origin for this project may be World Gone Wrong, Dylan's 1993 album of folk song covers with self-penned liner notes that described each song in great detail. Then, as now, the writing is authoritative and from a lifetime of memories and experiences that have informed his perspective and opinions, not as a professional historian or reporter. It is this unique outlook that colors every opinion and fact throughout the book. Consequently, the reader's interest in Dylan's music is likely to match their attraction to Dylan's opinions on music. VERDICT This is a fascinating and personalized journey through 20th-century popular music that's guided by one of its luminaries.—Gregory Stall
OCTOBER 2022 - AudioFile
This momentous work takes listeners deep inside the emotional narratives and cultural ethos behind 60 pop songs created over the past seven decades. Dylan’s narration is quick and occasionally indistinct—a by-product of his intensity and in-the-moment engagement. It’s a moving experience to hear this musical and literary giant deliver his takes on these iconic songs. His artistic and social sensibilities are in high gear, and the other remarkable cast members all narrate with equal engagement and charisma. They capture what Dylan says about each song, its cultural context, and the life of the writer(s) and artist(s) who wrote and/or performed it. Almost as one voice, the narrators create a flow of energy that adds immeasurably to the impact of Dylan’s poetic writing. T.W. Winner of AudioFile Earphones Award, 2022 Best Audiobook © AudioFile 2022, Portland, Maine
Kirkus Reviews
★ 2022-10-31
The iconic singer/songwriter reflects on a lifetime of listening to music.
Nostalgia abounds in Bob Dylan’s eclectic and eccentric collection of impressive musical appreciations. Examining 66 songs across numerous genres, going back to Stephen Foster’s “Nelly Was a Lady” (1849), the author offers an extensive hodgepodge of illustrations and photographs alongside rich, image-laden, impressionistic prose. There is no introduction or foreword. Instead, Dylan dives right in with “Detroit City,” Bobby Blare’s 1963 single: “What is it about lapsing into narration in a song that makes you think the singer is suddenly revealing the truth?” Throughout the text, the author is consistently engaging and often provocative in his explorations. Regarding “Witchy Woman” by the Eagles, he writes, “The lips of her cunt are a steel trap, and she covers you with cow shit—a real killer-diller and you regard her with suspicion and fear, rightly so. Homely enough to stop a clock, she’s no pussycat.” Deconstructing Willie Nelson and Merle Haggard’s “Pancho and Lefty,” Dylan describes songwriting as “editing—distilling thought down to essentials.” We can see the author’s mind working, reminiscing, but there’s little autobiography here. Where needed, he tosses in some prodigious music history and biography, and some appreciations read like short stories. Often, Dylan straightforwardly recounts what a specific song is about: “By the time you get to Phoenix it will be morning where she is, and she’ll be just getting out of bed.” Pete Seeger’s “Waist Deep in the Big Muddy” is a “remembrance of things past,” and Dion and the Belmonts’ version of the Rodgers and Hart song “Where or When” is about “reincarnation.” Also making appearances are Carl Perkins, Perry Como, The Clash, Roy Orbison, Cher, Rosemary Clooney, Johnny Cash, Judy Garland, Nina Simone, Frank Sinatra, Elvis Presley, the Allman Brothers, and the Grateful Dead. Bobby Darin and Willie Nelson appear twice.
“A record is so much better when you can believe it.” Dylan is clearly a believer, and he will convince readers to follow.
