First Listen - "The ballad of Frankie Lee and Judas Priest" by Bob Dylan
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- Опубликовано: 11 май 2023
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When asked what one of his songs really meant, Dylan said something like, "If I had better words to express it, I would have put them in the song."
I think one of the most important things that you must recognize is that this album, "John Wesley Harding," is the album following the double album "Blonde on Blonde," and also followed his agonizing 1965-1966 world tour, at which Dylan was booed at practically every venue, from Hawaii, to Australia, to Scandinavia, to the United Kingdom. In the span of about 1 1/2 years, he had recorded three albums, culminating with "Blonde on Blonde," and was carrying out this grueling, exhaustive, confrontational tour that was taking its toll on him. He was, apparently, taking drugs to get him through it. The motorcycle accident after the tour put a sudden stop to a living style that may have killed him otherwise. "John Wesley Harding" needs to be looked at through this backdrop.
Exactly
Personally, I came to this album - in the mid 80s - with no knowledge of the history of why he retreated to Woodstock after the 1966 tour and I think music should be listened to in whatever context a person finds themselves in. If someone wants to do the research, they're welcome to but I don't think it's essential in order to appreciate the music. Also, JWH was recorded almost 18 months after the 1966 tour, with most of The Basement Tapes having been written and recorded already. If you're looking for historical perspective, The Basement Tapes is surely his recovery and reinvention period; JWH being the next stage, when he - as the scholars probably say - 'invented country-rock', which I'd argue Gene Clark had already done but anyway!
@@MartinFGayford The person above, filthyphillyboy, doesn't seem to agree with you. Anyway, the personality (in a psychological sense), makes the music; a different part of his personality seemed to emerge into the ego field after the motorcycle accident; and his music changed as evidenced by "The Basement Tapes" and this album. Interestingly enough much of the band experienced the change first-hand, as those members accompanied him on the world tours and performed with him on "The Basement Tapes" (but not on "John Wesley Harding," I think). I guess, for me, a fan of his, I guess, first, starting with the release of "Like a Rolling Stone" in 1965, and after I saw him in Seattle in 1966, before I went into the Air Force--his music, especially during the "trilogy" period, has been important to me. My wife is almost as much of a fan of his as I am, leaving the nightshift at the post office, ostensibly sick, and standing in line for hours before the ticket office opened so that we would be sure to get a ticket so that we could see him in Seattle during the period of "Street Legal (1978, I guess)". My daughter is also a big Bob Dylan fan, ranking him along side of David Bowie as her favorite singer. That's why, again, to me, his personal life is important. If you're only interested in reacting to his music, then I guess you're right; but I think it's clear from the reactor's previous reactions that he seems to be interested in more than just the music when it comes to Bob Dylan (and The Beatles).
@@gdmyers47 Absolutely - Syed looks like he does his research but I think part of the point of these reaction videos is seeing a person's first take, on a song that you're likely to be very familiar with, without too much prior knowledge. And people seem to love looking at artists through timeframes and stereotypes - that's when he went electric, that's when he found Jesus etc, which I think only serve to pigeonhole the artist. I think there's more freedom to interpret and connect on a personal level if you don't have someone telling you about context and historical perspective all the time.
@@gdmyers47 All due respect, but I think you may be conflating understanding context with deconstructing process. There are any number of allusions in his work, literary and poetic, musical and cinematic, along with deeply personal references. By no means am I a Dylan scholar, I never wanted to be. I randomly come to new realizations is his lyrics all the time, I wouldn't want it to be a chore. His process is his, but the works of art no longer are. I know more about his wives, lovers, etc. than I ever cared to know. It gives some songs context, but does it require a scalpel to decipher "a scorpio sphinx in a calico dress"? The essence of the sentiment is universal and supremely relatable, I don't need specifics of the family wardrobe.
The house with the women's faces can be a reference to a brothel... A place where he did not belong... was too much for him in the end.
It was enjoyable watching you try to piece the story together while knowing its a classic Dylan shaggydog story. The journey rather than the destination and all that.
According to my parents as a 3 year old, John Wesley Harding was my number one requested album😂
I had great taste what can I say.
Jon Wesley Harding is one of the best country rock records,incredible songwriting found throughout.
This was the first Syed Rewind I watched. One of the first Dylan songs that flipped the switch on for me. Loved your take and the fact you checked this one out.
Bob added a G to the name of a ruthless outlaw, John Wesley Hardin, which may be inspired by Godot in the play Waiting For Godot. Bob saw the play around this time. This can be borne out further by the album picture, which could show Godot and his two companions under the tree where they meet each day..
Such a great record. It's probably my favorite of Dylan's. Cryptic, gnomic lyrics, very inspired by the Bible, sparse instrumentation. His harmonica playing is GREAT on this record. You should do "As I Went Out One Morning" too, which is my favorite.
Personal responsibility (Frankie) and societal responsibility (Judas). Frankie falls prey to his bad choices, but Judas takes advantage of him. The word "quickly" shows us there's no charity in the gesture of pulling the roll of tens. John Wesley Harding is an outlier in Dylan's work. He focused on economy of language, trying not to waste any words. With its collection of outlaws, saints, and sinners combined with the sparse music (especially jarring after the excesses of Blonde on Blonde), the whole album is a rare combination of simple and enigmatic. My favorite track is Drifter's Escape.
Don't stop. This is Dylan's most beautiful album, and also the home of what is arguably his best song - "I Dreamed i Saw St Augustine" THANK YOU YOU ARE ALMOST THERE.
Interesting - never heard that claim before but the next two songs are absolutely beautiful.
Always loved this LP. The music is very tight. Great writing. I love the stories Bob comes up with.
i think i listened to it 20 or 30 times in a single sitting, it brings yo to the point where you feel he is going to reveal a deeper truth, that somehow alludes you at the end. The music and delivery are kind of perfect, as you said it is gentle yet demands your attention. Accept what you have, a bird in the hand, Judan Priest in some way represents temptation, and Frankie Lee is you and me, mortal man, vulnerable and foolish. that's what I got anyway!
The first time I played this album was on a cd Walkman on a train from Oslo to Bergen. I played it several times sitting by the window and the beautiful view from the window as fjords and farms and mountains passed by my window in a beautiful autumn day around ten years ago. Whenever I here a song from this album I think of that wonderful 7 hour train trip.
beautiful
Dylan loved these dual character songs. Great pick from a great album. Thanks
Excellent breakdown for your first listen!
I've sometimes understood the meaning of certain Dylan tracks by what experiences I happen to be going through at the moment....or in the past.
Like he's said when asked the meaning of his music "It means whatever the person listening takes from it,.."
John Wesley Hardin was an Old West gunfighter and folk icon.
John Wesley started the Methodist Church in England and was literally 'a friend to the poor' as Dylan sings in the song JWH.
Maybe the album is a combination of the two characters?
Nah..
John Wesley's brother Charles wrote about 800 hymns.
Just some remarks of what I thought and read about the song: Personally I never thought that Judas Priest judged Frankie Lee for the taking of the money, but with, as he himself says, his pride projects a little. Also when Judas says he goes to eternity/paradise and Frankie says „I dont call it anything“, I took it as him not believing in anything/the afterlife. The house with the women in the windows could also mean a brothel, and may be a allusion to the song „the house of the rising sun“ which Dylan covered in his very first album (as far as I know there the house is either a brothel or a womens prison).
For me, both charackters here are kind of ambivalent; but I hope this helps you to understand the song a bit better and come to your own conclusion or interpretation.
Keep going :)
Very insightful! I can't believe you picked up on all that on your first listen! This song always reminds me of an animation by Richard Condie called "The Apprentice".
The John Wesley Harding songs are like parables. Most of them are just three verses and then it's over, and most of the time, you still might not understand what the heck he's talking about. It just makes me want to listen to the album all over again.
IMO Judas Priest is the villain of the piece: he seems to me to by cynically feeding Frankie's addictions and literally leading him into temptation. Nowhere in the narrative does he show any sympathy or concern for Frankie's discomfort or neediness. Judas is a godlike creature whose home is paradise, and he seems to relish toying with human frailties like a cat toying with a mouse. Give a listen to Randy Newman's "God's Song -That's Why I Love Mankind" for another portrait of a careless deity!
You might consider watching "I'm Not There" from 2007. Interesting movie about some of the different periods of Dylan's life. They had 5 or 6 different people play the various aspects of Dylan, and if memory serves I think Richard Gere played Dylan from this era.
Ain't Bobby so cool! Tremendous album. Bob Dylan, The Image Maker. The Life Positioner. I've been there too! That's Dylan.
I think it's easy to get lost in Dylan albums and this one especially. I'm never surprised if someone refers to JWH as their favourite as in some ways, it's his most perfect album. I love the way he uses a story song to present a story that offers more questions than answers. I also love how the sparseness of the band mirrors the economy of the songs, which seem almost perfectly written.
Technical note: by the way, Syed - can I recommend you listen to the mono mix of the album rather than the standard stereo, which I'm assuming is what you get when you google it. The mono mix is from a box set of the first 8 albums in their mono versions and is the best digital mastering of the album IMO. You may have a turntable setup with an early stereo pressing for all I know but just to say that the standard stereo CD mix is quite harsh on the ears. If you want a CD of the mono mix, I'm happy to send you a copy.
I think Dylan expert Clinton Heylin also said that John Wesley Harding might be his most perfect album, and I'm inclined to agree sometimes.
always loved this one
"John Wesley Harding" is my favourite Dylan album I can sing along with every song. It is up there in my all time top 10 albums.
Dylan sure likes the mysterious strangers popping in - including a boy with guilt. Maybe it's all Frankie.
Fantastic album ! In my opinion, his best.(had to buy it twice ) Love quite a few of his songs over the years , but this the only album of his I have ever owned.
Great album
One of my favourite Dylan albums too.
When I first got a CD player (I'm old) the first CD I bought was John Wesley Harding.
I was reciting along with Bob..
without reading the posted lyrics. It's a great album.
Dylan's best album. cheers
I love this song. It captures Dylan's weird, wry sense of humor (but also has shades of eternal truth/mystery). There are some great live versions of this from more recent live concerts (only bootleg version afaik). It's a fun, weird song. Totally fits the tone of John Wesley Harding to a tee. I always felt like this was the mirror opposite of All Along the Watchtower. Same kind of weird, cryptic apocalyptic feels, but with a more upbeat and humorous undertone.
Well suddenly this benefactor (Bob Grossman?) comes out of nowhere offering cash. Dylan--er--Franky is torn as to the wisdom of this transactiom but apparently he accepts some of the payment. The "big house" could be a house of gambling but I think it signifies the temptation of "sex drugs and rock n roll". (Dylan had recently finished a tour that had almost finished him if you delve biograghically into this segment of his carreer; he had been heading for a nervous breakdown from too much and too intense touring.) The little neighbor boy could be someone in Bob's inner circle who never had the moral stamina (or the effrontery) to get Bob to cool his heels.
Syed,
Yes, I also see John Wesley Harding as his best work. Listen to All Along The Watchtower, and then hear Hendrix’s version. After Dylan heard his version, he said that then Jimi owned it and that’s how it should always be played. An incredible variation on a great song.
I think Bob was writing about his own inner struggles....as well as commenting on the general human condition. He does that all through this superb album. Some see Frankie Lee as Bob and Judas Priest as Albert Grossman, his manager. That could be. On the other hand, both Frankie Lee and Judas Priest could also be different aspects of Bob himself, as could the little neighbor boy who carries Frankie Lee to rest. It looks to me like Frankie Lee moved from gambling addiction to sex addiction, because the house "with four and twenty windows, and a woman's face in every one" sounds like a house of prostitution. So, it was the temptation of involvement with many women that finally tipped Frankie Lee over the edge and led to his demise. Now, if you look at the crazy pressures Bob was under in "the electric years" of 1965 and '66, that was a time of excess in everything and it probably came close to killing him, and might have killed him, had not the motorcycle accident in '66 given him a way out. Frankie Lee "died" at that point, and the little neighbor boy (Bob) carried him to rest. Bob, fortunately, lived on, and he gave us the magnificent album "John Wesley Harding" in the following year, which was a pensive look back at how he had, for awhile, mistaken "paradise for that home across the road".
You've asked for interpretations. 🙂 That's mine. But I'm sure there are many others.
Judas Priest is a polite way of saying "Jesus Christ!". After all, Judas's priest was JC.
Sometimes, you have to accept that even Dylan might not know the message of one of his songs...or if there is one. In my opinion, the phrasing displays what he was into at the time. Now, if you want to listen to a Dylan song with a message, you don't have to go very far in time...2020 to be exact. To the 17-minute release "Murder Most Foul". It relives a dark time in our country's modern history while conveying a message of things are going just fine... as long as you don't look behind the curtain.
Remember...."there's a woman's face in every one"......"one should never be where one does not belong".........making the right choices...help your neighbor.........and watch the parking meters.
Dylan is immersed in the Bible at this time apparently , a lot of these songs off this album are based on biblical parables. Check out “ I dreamed I saw St Augustine” “ As I went out one morning” and “ Wicked Messenger “. Of course the original “ All Along the Watchtower “ is from this album as well.
I swear, he's just making it up and hoping it will rhyme!
This album is after his exhausting world tour, Blonde on Blonde and his motorcycle accident. He was like the icon of his generation, and he just wanted to make music while everyone wanted him to be a social movement leader, etc, and he was sick of everyone thinking he was saying something deep all the time, and needing to be a "social conscience" for everyone.. Given the backdrop to the album, and I think Dylan is actually just telling a surrealistic, nonsense story thinking people were going to try to find a deeper meaning in it. Finding strange and funny ways to rhyme words.
I'm on listen close 200+ times , and I get a new perspective each time i think .... lol
The addiction of sin. We all need a saviour ,rather than follow the “ruler of the world”.
Interesting trying to see you make sense of the lyrics! Though I think the house is a brothel? And Frankie Lee dies of thirst because he forgets to drink from all the shagging! ;)
dit is storytelling, naar mijn mening van grote klasse. Je kunt je met het verhaal lang bezig houden en het nog niet door en door snappen.
When Dylan was recuperating from his motorcycle accident in Woodstock he had a bible on a podium in his living room which he supposedly read all the time. Hence the parables and morals that make up the John Wesley Hardin album. I always thought Judas Priest was the Devil and "the house with forty windows with a woman in every one" was a brothel. Frankie Lee is tricked by Judas Priest and can't resist the temptations the brothel has to offer. A metaphor for Dylan's behavior pre motorcycle accident? He married Sara in November 1965 in the midst of his infamous 1965-66 World Tour that almost drove him mad.
Judas Priest was a turn of the century euphemism used instead of swearing, 'Jesus Christ!'. Not all Americans were as obscene as the Deadwood crowd.
This is a song about “Temptation”
The intro is very similar to A Day in the Life
I’m a Dylan fanatic. I have always thought it was a story about infidelity. Another song about a mistress Just Like a Woman also references dying of thirst. But it’s cast in the form of an addict who is constantly manipulated by a devious god he trusts.
People’s lives have been taken over by trying to understand what Dylan really meant … they assume he always knew. I think here he’s letting one line write the next one, just to see like the rest of us where it goes. Don’t miss out on the other stuff he was doing with the Band in a home in the woods during this time, first released as a bootleg album ~ The Basement Tapes
Dylan wrote a lot of these 'surreal' story-songs early on in his career .. don't over-think it, just go along for the ride .. I'm sure even Dylan didn't know where it was going when he wrote it :)
#theMaster
on his last album, he sings, "i never sung a song i didn't understand"
@@gratefulkm Wiggle Wiggle :)
The liner notes from the album John Wesley Harding:
LINER NOTES:
There were three kings and a jolly three too. The first one had a broken nose, the second, a broken arm and the third was broke. "Faith is the key!" said the first king. "No, froth is the key!" said the second. "You're both wrong," said the third, "the key is Frank!"
It was late in the evening and Frank was sweeping up, preparing the meat and dishing himself out when there came a knock upon the door. "Who is it?" he mused. "It's us, Frank," said the three kings in unison, "and we'd like to have a word with you!" Frank opened the door and the three kings crawled in.
Terry Shute was in the midst of prying open a hairdresser when Frank's wife came in and caught him. "They're here!" she gasped. Terry dropped his drawer and rubbed the eye. "What do they appear to be like?" "One's got a broken vessel and that's the truth, the other two I'm not so sure about." "Fine, thank you, that'll be all." "Good" she turned and puffed. Terry tightened his belt and in an afterthought, stated: "Wait!" "Yes?" "How many of them would you say there were?" Vera smiled, she tapped her toe three times. Terry watched her foot closely. "Three?" he asked, hesitating. Vera nodded.
"Get up off my floor!" shouted Frank. The second king, who was first to rise, mumbled, "Where's the better half, Frank?" Frank, who was in no mood for jokes, took it lightly, replied, "She's in the back of the house, flaming it up with an arrogant man, now come on, out with it, what's on our minds today?" Nobody answered.
Terry Shute then entered the room with a bang, looking the three kings over and fondling his mop. Getting down to the source of things, he proudly boasted: "There is a creeping consumption in the land. It begins with these three fellas and it travels outward. Never in my life have I seen such a motley crew. They ask nothing and they receive nothing. Forgiveness is not in them. The wilderness is rotten all over their foreheads. They scorn the widow and abuse the child but I am afraid that they shall not prevail over the young man's destiny, not even them!" Frank turned with a blast, "Get out of here, you ragged man! Come ye no more!" Terry left the room willingly.
"What seems to be the problem?" Frank turned back to the three kings who were astonished. The first king cleared his throat. His shoes were too big and his crown was wet and lopsided but nevertheless, he began to speak in the most meaningful way, "Frank," he began, "Mr. Dylan has come out with a new record. This record of course features none but his own songs and we understand that you're the key." "That's right," said Frank, "I am." "Well then," said the king in a bit of excitement, "could you please open it up for us?" Frank, who all this time had been reclining with his eyes closed, suddenly opened them both up as wide as a tiger. "And just how far would you like to go in?" he asked and the three kings all looked at each other. "Not too far but just far enough so's we can say that we've been there," said the first chief. "All right," said Frank, "I'll see what I can do," and he commenced to doing it. First of all, he sat down and crossed his legs, then he sprung up, ripped off his shirt and began waving it in the air. A lightbulb fell from one of his pockets and he stamped it out with his foot. Then he took a deep breath, moaned and punched his fist through the plate-glass window. Settling back in his chair, he pulled out a knife, "Far enough?" he asked. "Yeah, sure, Frank," said the second king. The third king just shook his head and said he didn't know. The first king remained silent. The door opened and Vera stepped in. "Terry Shute will be leaving us soon and he desires to know if you kings got any gifts you wanna lay on him." Nobody answered.
It was just before the break of day and the three kings were tumbling along the road. The first one's nose had been mysteriously fixed, the second one's arm had healed and the third one was rich. All three of them were blowing horns. "I've never been so happy in all my life!" sang the one with all the money.
"Oh mighty thing!" said Vera to Frank, "Why didn't you just tell them you were a moderate man and leave it at that instead of goosing yourself all over the room?" "Patience, Vera," said Frank. Terry Shute, who was sitting over by the curtain cleaning an ax, climbed to his feet, walked over to Vera's husband and placed his hand on his shoulder. "Yuh didn't hurt yer hand, didja Frank?" Frank just sat there watching the workmen replace the window. "I don't believe so," he said.
Bob Dylan -- Vocal, Guitar, Harmonica and Piano
Charles McCoy -- Bass
Kenny Buttreyo -- Drums
Pete Drake -- Steel Guitar on "I'll Be Your Baby Tonight" and "Down Along The Cove"
Engineering -- Charlie Bragg
Produced by Bob Johnston
I must add that his first album from the 1970s. New morning is almost as good as John Wesley Harding. Another album that many overlook despite having no flaws at all. It was a strange period in his career having had all that success from 65-67.
From the same album, another good song is "All Along the Watchtower."
He's done the Hendrix and Dylan versions
@@michele-33 Oh, well, good, then.
Yes his music requires listening. It ain’t wallpaper
The key line = "Nothing is revealed" ?
This was recorded soon after Dylan moved from the city to Woodstock, cutting his old ties.
I’m assuming it was from this song that the band Judas Priest took its name….
Is the house with 4 and 20 windows with a woman's face in everyone, would that be some kind of "whorehouse" where Frankie Lee is trapped by Judas Priest i.e. the devil?
React to stuck inside of mobile with the Memphis Blues again Hotel rainy day woman number 12 and 35
What did Jesus Christ say about the footstool?
Just my take, but I don't think that this song has anything to do with the relationship between the Church and its people, such that it is some commentary on the evils of the Church. Rather, I think it has more to do with how many people, especially those looking for easy answers or the quick score, see what they want to see in others. For example, I don't believe that Judas Priest is judging Frankie Lee so much as Frankie Lee feels guilty all by himself. Why? He's only being told to select how much money he wants to take from Judas Priest - money being freely offered. Also, I don't believe that Judas Priest is calling for Frankie Lee as if he were in need of help, nor do I believe that Frankie Lee would be capable of providing it even if he wanted to - he's not that guy. I think Frankie is looking for more. Distracted again by the home of the 24 women, which he only sees as a house, he spends his time there overindulging - using them as he has "used" Judas Priest, who is there to hold him as he dies. No matter what is given him, it is never enough for Frankie Lee.
"With four and twenty windows, and a woman's face in every one" - has Judas Priest set up a brothel? Kind of sounds like it ...
I asked OpenAI what the lyrics mean. Here's what it told me: "
"The Ballad of Frankie Lee and Judas Priest" is a complex and enigmatic song that has been interpreted in many different ways. At its heart, the song tells the story of two men, Frankie Lee and Judas Priest, who are friends but whose relationship is complicated by a series of betrayals and misunderstandings.
Some interpretations of the song suggest that it is a cautionary tale about the dangers of greed and ambition, and the ways in which they can lead people astray. Frankie Lee is portrayed as a young man who is desperate to get rich quick, while Judas Priest is the older, wiser friend who warns him against the dangers of gambling and other vices. However, despite Judas's advice, Frankie continues to gamble and eventually loses everything.
Other interpretations of the song suggest that it is a parable about the human condition, and the ways in which people struggle to find meaning and purpose in their lives. Frankie Lee and Judas Priest can be seen as archetypes of different aspects of the human experience, with Frankie representing the restless, ambitious side of humanity, and Judas representing the wiser, more contemplative side. The song suggests that both of these aspects are necessary for a fulfilling life, but that finding a balance between them is difficult.
Overall, "The Ballad of Frankie Lee and Judas Priest" is a complex and multilayered song that can be interpreted in many different ways. At its core, however, it is a meditation on the human condition, and the ways in which people struggle to find meaning, purpose, and fulfillment in their lives."
"nothing was revieled"
The house as big as any "sun" with a woman's face in every window and the midnight romp is in common parlance a" whore house ". As for the extra "g" in the name of John Wesley Hardin, the outlaw, he said at the time he was tired of the criticism over his dropping "g" s in his songs so he added a "g". As for the meaning of his songs go to the album liner notes, something missing these days where he writes a parable about the meaning of his songs naming three characters, one with the name of Frank, and in the end he calls Frank the key. All of this set in historical nonsense. As for an added postscript, he called the song John Wesley Harding a throw away song and why not make it the title. It all casts a pall on how seriously Dylan takes himself.
As long as we know that this is Dylan playing what is essentially a prank, right? It's about a guy who has sex for 16 days without reaching climax until the 17th day when he dies. To know it's a joke is "they carried him out in jest." He writes this long meandering song and "nothing is revealed." And of course a joke about the climax is in "help him with his LOAD." This song is very funny. Listen to the tone of his voice. It's very funny. Listen to the smirking tone through the whole song. Playful and ornery.
Another poster said it right. Shaggy dog story.
Eternity,paradise is the false promise of the Devil!
You like this?
I love this album but have always hated this song. You are going to hear a lot of people talk about "All Along the Watch Tower," though Jimi Hendrix utterly transformed this song into something far superior to the original. The greatest song on this album, however, is "I Dreamed I Saw St. Augustine." IMO, Dylan's greatest song is "A Hard Rain's a-going to Fall," which is really a collection of a bunch of fragments written during the Cuban Missile Crisis, when the threat of nuclear annihilation was urgent in Dylan's mind.
Frankie Lee the lost man,Judas Priest the devil.
It’s about sex…. Lol…
Some unsolicited advice. Give yourself a break and avoid trying to decipher hidden meanings and identities within Dylan's songs. If these exist, what's the added value in knowing them? He's not writing messages in a bottle but telling a story.
Four and twenty windows, and a woman's face in every one. His addiction was his adicksion, obviously. Come on Syed. Hard to get a grip on Dylan if you're analyzing stanza by stanza as you go along. Need to absorb the whole thing in one sitting without interrupting.
It's like all of the range Dylan has vocally and musically has been flattened out. The whole delivery is boring. Even the outro harmonica is hard on the ears. I love Bob but not everything he does.