Features /// The Philosophy of Nashville Skyline

Here’s a new piece I wrote for Lockeland Springsteen, my favorite Nashville blog.

Lockeland Springsteen

bob-dylan-nashville-skylineBy Grant Maxwell, author ofHow Does It Feel?: Elvis Presley, The Beatles, Bob Dylan, and the Philosophy of Rock and Roll

 When Bob Dylan recorded Nashville Skyline in February 1969, the world was exploding. The Vietnam War raged on and the psychedelic counterculture was nearing its peak, with the Woodstock festival just six months away. But Dylan, always ahead of his time, had already been where the culture was headed in his three mid-sixties records, Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde. Nashville Skyline, with its country sound and rural imagery, pointed the way that a lot of music would go in the early seventies, from CSNY, Neil Young, and The Grateful Dead to Gram Parsons, Willie Nelson, and Waylon Jennings.

What made Nashville Skyline so different from Dylan’s mid-sixties work, and even from The Basement Tapes and John Wesley…

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One response to “Features /// The Philosophy of Nashville Skyline

  1. Dylan made in NYC where he was embraced by intelligencia but he was a country boy. Every country boy knows Nashville is where the best pickers, songwriters and artists play. In the face of the Alan Jackson attitude toward “yankee” artists Dylan’s talent won out and Nashville embraced him. North County and Lay Lady Lay were juke joint regulars for a long time.

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