Dylan's vision of American popular music was transformative. No one set the bar higher, or had greater impact. "You want to write songs that are bigger than life," he wrote in his memoir, Chronicles. "You want to say something about strange things that have happened to you, strange things you have seen." Dylan himself saw no difference between modern times and the storied past – reading about the Civil War helped him understand the Sixties –which allowed him to rewire folk ballads passed down through generations into songs that both electrified the current moment and became lasting standards. Early songs like "Blowin' in the Wind" became hits for others –Peter, Paul & Mary took it Number Two on the Billboard Hot 100 in 1963; Stevie Wonder brought it Number Nine two years later – and reshaped the ambitions of everyone from the Beatles to Johnny Cash.
Then Dylan began to climb the charts on his own with music that
turned pop into prophecy: "Subterranean Homesick Blues,"
"Like a Rolling Stone," "Positively Fourth Street,"
"Rainy Day Women #12 & 35." His personas shifted, but
songs like "Tangled Up in Blue," "Knockin' on Heaven's
Door" and "Forever Young" continued to define their
eras in lasting ways. And alone among his peers Dylan's creativity
was ceaseless –2000's Love and Theft returned him
to a snarling sound that rivaled his electric youth, marking a
renaissance that continues unabated. "A song is like a dream,
and you try to make it come true," Dylan wrote. "They're
like strange countries that you have to enter." And so we do,
marveling at the sights, over and over again.
A
song is like a dream, and you try to make it come true. They're like
strange countries that you have to enter.
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