Lay Lady Lay

This is my favorite Dylan cover (though truthfully I haven’t indulged in many Dylan covers.) The lyrics of “Lay Lady Lay” are so dreamy and ethereal and I think that Magnet and Gemma Hayes here do a better job, vocally, than Dylan of conveying so.

Judas: The Last Supper

Judas: The Last Supper

So many people don’t know about Judas. Judas was one of the 12 disciples of Jesus. Jesus gave his disciples the authority to heal the sick, raise the dead, cast out demons and etc. Judas I guess was jealous so he betrayed Jesus for some silver. So if you are called Judas it sucks alot. So could we call Dylan a betrayer or a Judas I don’t know but it could lend to some very heavy debates!!

Leonard and Bob= BF4 LIFE

Leonard and Bob= BF4 LIFE

So it was an interesting reading to read about Leonard Cohen. I didn’t know about him until last week but he is a very interesting character. He was sorta like Dylan they both are dark and twisted!!! So I believe that Dylan and Cohen are BF’S 4 Life (Best friends 4 life’s) because they are SOOOO similar!

Greil Marcus Parody

Bob Dylan grew up in Minnesota where he then traveled by train to New York looking for singers. He stumbles upon the “Village” where underground artists play at bars, cafe’s, and coffee shops hoping that one day they can play on the big stage. Dylan was a kid who looked like he came out of a cornfield, where the corn is really yellow and the birds fly. Wow! look at that bird is it blue or gray? The civil rights movement was a extraordinary  moment filled with heartache and pain but the people believed in Sam Cooke’s song “A change is going to come” so they held on. Despite the dogs and the water they kept marching on. Dylan voice doesn’t sound like he was from a cornfield. It wasn’t the best but I tried

Book for Song Portfolio

My book for my book report is Revolution in the Air: The Songs of Bob Dylan 1957-1973. I wanted to share it with everyone because it marches its reader through every song ever written by Bob Dylan from 1957 to 1973, even some that don’t exist in the studio or on paper. Not only do the entires for the song explain the song’s meaning and/or history, but they also feature author commentary/analysis by one of the “best” Dylanologists ever and feature interesting song information, like published lyrics, known studio recordings and first known performance.


Pretty soon it’ll be back at the Fine Arts library to check out 😉





Heylin, Clinton.  Revolution in the Air: The Songs of Bob Dylan 1957-1973.  (2009).

Rolling Stone’s 50 greatest live acts right now.


Leonard Cohen came in at 26. 

That Lonnie Johnson sound

The chapter of “Chronicles” we have assigned for Monday is blissfully short. A delightful Sunday read. But you must look at the page count of chapter four. It is Griel Marcus long. Start now.

In this chapter he describes a technique of writing and singing taught to him by Lonnie Johnson and he mentions that Link Wray uses this technique on his song Rumble. Here’s a glorious video of him performing that song in the ’70s.

I think I have outlined here what Dylan was exactly describing, someone help me out if they know better. Rumble appears to be in the key of E minor even though the chords all have a major quality, (major quality being a bright happy sound, think of the first chord you hear in the Smashing Pumpkins’ Tonight, Tonight; minor quality can be described as dark, brooding and foreboding, see the last chord in the Smashing Pumpkins’ Tonight, Tonight). Here are the changes, each chord is strummed big so this shouldn’t be too hard to follow:

DM – DM – EM

DM – DM – EM

DM – DM – A9

DM – DM – EM

DM – DM – B7

E minor pentatonic starting on G

EM – DM – DM – EM

On page 158 Dylan describes how scales are put together.

The first scale he mentions is the seven note scale, the diatonic scale. Here is the E minor scale:

E F# G A B C D

Which you can express numerically like this:

1 2 3 4 5 6 7

The second kind he mentions is the pentatonic, the five-note scale which is like this:


Numerically like this:

1 – 3 – 4 – 5 – 7 – 1

So Rumble adheres to Dylan’s description of the technique. If you map the numbers to the chords:

7 – 7 – 1

7 – 7 – 1

7 – 7 – 4

7 – 7 – 1

7 – 7 – 5

Lick (which is exactly five notes from the pentatonic scale descending)

1 – 7 – 7 – 1

So the system is there in a rudimentary form,  a majority of odd numbers, in threes. Here’s the album version of the song without all the glam of the version above if you want to read along:

Finally, here’s a guy who runs through how to play the song pretty well. You can watch this if you are having trouble following along: