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Hard Rain: A Dylan Commentary, by Tim Riley
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Hard Rain ranges over thirty years of Bob Dylan's recordings, films, and concerts to deliver astute insights into—and sometimes heretical judgements of—his prodigious corpus of work. This updated edition includes a new epilogue that examines Dylan's thirtieth anniversary celebration in 1992; his albums Good As I Been to You, World Gone Wrong, and Time Out of Mind; his 1997 performance before the Pope; and his 1998 Grammy Award comeback. The result is unparalleled rock criticism.
- Sales Rank: #5666702 in Books
- Published on: 1999-06-02
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .86" w x 5.50" l, .93 pounds
- Binding: Paperback
- 378 pages
- ISBN13: 9780306809071
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
From Publishers Weekly
Riley eloquently but incompletely examines rock legend Bob Dylan's three decades of inconsistent work, bootleg recordings and continuous concerts.
Copyright 1993 Reed Business Information, Inc.
From Library Journal
Unlike most Dylan books--which are either biographies like Clinton Heylin's Bob Dylan: Behind the Shades ( LJ 6/1/91) or lists of some sort--Riley ( Tell Me Why: A Beatles Commentary , Knopf, 1988) here provides a critical examination of this thorniest of modern musicians. Riley goes beyond the obvious; for example, Woody Guthrie's influence on Dylan is well documented, but Riley examines not only how Guthrie inspired Dylan but what Dylan does differently from Guthrie and who else falls into his inspirational canon (Robert Johnson, Leadbelly, Hank Williams). Riley knows music, and his descriptions are marvelous, especially of the 1966-75 era ( Blonde on Blonde , The Basement Tapes , Planet Waves , Blood on the Tracks , and the 1966 and 1974 tours). He also is thankfully unafraid to be disparaging; unlike Heylin, he has very little that is nice to say about Dylan's post-1975 work. Riley's flaws are mainly stylistic; he tends to repeat himself and has an unfortunate fondness for the word bromide. Still, this is an incisive work. Essential for most music collections.
- Keith R.A. DeCandido, "Library Journal"
Copyright 1992 Reed Business Information, Inc.
From Kirkus Reviews
Riley, author of the best study by far of the Beatles' song catalogue (Tell Me Why, 1988), turns now to Bob Dylan--``the most important American rock 'n' roller since Presley''--with impressive, but less consistently persuasive, results. As before, Riley steers clear of biography and simply goes chronologically, album-by-album, song-by-song, through the Dylan oeuvre--including unreleased tracks, bootleg recordings, live concert tapes, and concert films. In fact, unlike most Dylan critics, Riley declines to link the songs to the life, contending (not always convincingly) that Dylan turns his ``intimate trials'' into ``public metaphors''--in contrast to ``self-serving,'' Me- decade types like James Taylor. Throughout, Riley stresses Dylan's humor, the satire implicit in his ``bad'' singing, his manipulations of his persona, and his eclectic roots. There's sharp criticism as well as enthusiasm here: The Times They Are A-Changin' succumbs to ``folkie social preening and black-and-white moralism''; Blonde on Blonde is a ``tour de force of obscurantist rock poetics''; ``I Shall Be Released'' is an ``overpraised and overplayed potboiler.'' Riley applauds Dylan's return to ``roots'' in his work with The Band and his country-ish albums but is pretty much appalled by the ``stringent and pious'' born-again albums. And, in contrast to many hard-core Dylan-ites, Riley finds little evidence of a revitalized Dylan once his ``slide'' begins circa 1978. Not everyone will buy Riley's attempt to view Dylan's weaknesses--the clich‚s, the slurred diction, etc.--as ``postmodernist.'' His dense, imagistic evocations of the songs occasionally become precious or strained. (`` `Idiot Wind' is an emotional soapbox as fearsome and cutting as any of the cutlery that flies in Edward Albee's Who's Afraid of Virginia Woolf?'') But, with full attention given to Dylan as performer and writer, to cover versions and disciples (Springsteen, Neil Young), and even to other Dylan-commentators, this is an essential book for Dylanologists: comprehensive, knowing, challenging. -- Copyright ©1992, Kirkus Associates, LP. All rights reserved.
Most helpful customer reviews
9 of 10 people found the following review helpful.
Dear Mr. Riley, the Sixties Are Over
By Brent Wittmeier
I am glad to see other reviewers found this book as dissatisfying as I did.
Dylan is an enigmatic figure whose appeal lies in lyrical ambiguity, lack of polish, unorthodox phrasing of his vocals, and his constant reinventions of himself. His output has been prodigious. Riley captures this well, at least for the first half of the book.
I have two major problems with this book:
1) Riley makes statements about authorial intent which simply can't be justified. When I listen to Blood on the Tracks, I don't contemplate it as a commentary on the end of the sixties. Riley makes these obtuse statements about what Dylan is 'really saying' with such fervour that you'd think he knew Dylan personally (and if he did, so what?). That other review about Visions of Johanna is right on on this point.
2) With only a few exceptions, Riley hates anything Dylan has done since Desire. Now this is not an uncommon opinion. Dylan's voice does go through a serious decline. Many of his albums since Desire have been uneven and lyrically weak. Riley, however, kicks poor Bob when he's down and is downright huffy about some of Dylan's better efforts. He pans Oh Mercy in favour of Under the Red Sky and the Traveling Wilburies recordings (has he actually listened to Red Sky? It's flimsy at best, especially in comparison to Oh Mercy). In his updated chapter, he chides Dylan for playing for John Paul II, for not being Sinead O'Connor, and for being 'grumpy' on Time Out of Mind (which despite Riley's objections, is a solid album full of humour and great vocal phrasing). Riley's sermonizing gets progressively weak and unrestrained...
I just get the impression that Mr. Riley loved the sixties so much he lives in paranoid denial that they're over. The Republicans may be in office, and Dylan may not be the trend-setting anti-hero that he once was, but please don't blame Dylan for the loss of your adolescent dreams, Mr. Riley.
0 of 0 people found the following review helpful.
Tim Riley Took Dylan's Lyrics Seriously Long Before the Nobel Prize
By Erik Fish
Did I read the same book as the other reviewers? Since when is "opinionated" a pejorative term in music or any other kind of criticism? I read books like Tim Riley's highly readable and insight-filled Hard Rain (and Tell Me Why, his Beatles book) precisely for the author's opinions. That I may not agree with every statement of opinion makes the book more, not less valuable because it gets me to come out of my comfort zone and engage in a dialogue with the author, and not merely dismiss him because his views don't match mine. What I loved most about this book was Riley's willingness to become tangled up in Dylan's Nobel Prize-winning lyrics and parse the many layers of possible meanings. So many Dylan critics are quick to condemn the opacity of the 65-66 period as drug-induced logorrhea, but Riley dares to take Dylan at his word(s). I recommend that anyone who cares about Dylan's songs - words and lyrics both - read Hard Rain. You'll be informed, inspired and so amused by the language that he uses.
6 of 8 people found the following review helpful.
Rubbish
By A Customer
There are so many things wrong with this book that it is not worth my time listing them all. I could rant on and on about the inaccuracies in information, especially in the second half of this piece of rubbish that just falls apart when it comes to covering Dylans eighties and nineties work. Notable albums like Infidels are boiled down to a few sentances (whereas albums like Planet Waves recieve whole chapters). Riley uses a large portion of this increadibly opinionated commentary to discuss "notable" non-Dylan albums that are examples of Dylans influence (ranging from albums by Neil Young to albums by Prince) with a "why couldn't Dylan do this in the eighties" attitude. It is very difficult connecting with Riley's understanding of Dylan because it seems as though he is simply talking to himself, pointing out "good songs" and "bad songs" and offering up cute little explanations and analyses, making this a very boring read. Does Dylan really have to be dissected in such a way? In a nutshell, the "commentary" in this book, like that of a similar waste of paper called "Behind the Shades" by Clinton Heylin, is that Dylan was once a genious and is now a hasbeen with little to offer. Why do all these very dated books end the same? Because,they were premature and, as a result very pointless, considering how much has been added to the Dylan legacy in the seven years since this book was puplished. Wait till he'd dead and then make assesments of his career.
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