Rocking toward 70

Going deep on an icon's birthday: The Bob Dylan songs you haven't heard butshould

In honor of Bob Dylan turning 69 years old today while showing no signs of slowing down (a European tour starts at the end of the week), here is a list of hidden gems from Dylan’s studio albums. This mix in the making will warm the hearts of Dylanologists everywhere and is guaranteed to make the casual fan appreciate the depth of his catalog.

“Ballad In Plain D” (1964)

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Dylan rarely writes directly about his life, but this song recounts a physical dustup he had with the sister of ex-girlfriend Suze Rotolo. Bob himself later dismissed the song as a misfire, but it achieves a dolorous beauty, mesmerizing despite its slow-motion pace. The final lines are gorgeously graceful as a young Bob speculates that this failed relationship may just be a harbinger of things to come in his life.

“4th Time Around” (1966)

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The Beatles were heavily influenced by Dylan’s songwriting in the mid-60’s, and their own songs began to gain depth and gravitas because of it. But Bob had a laugh at the boys’ expense on this track off "Blonde On Blonde." It’s a cheeky, through-the-looking-glass rewrite of “Norwegian Wood,” and the hilarious non-sequiturs unnerved John Lennon, who originally heard it as less playful parody and more biting satire.

“Tell Me That It Isn’t True” (1969)

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Many scoffed at Bob’s country turn on Nashville Skyline but while those songs may have lacked lyrical wizardry, they made up for it with their attention to classic structure and succinct emotion. This forgotten gem hits the heart bone with striking efficiency thanks to a memorable melody and Dylan’s endearing mewl of a singing voice.

“Sign On The Window” (1970)

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Domesticity calls on this gentle track from "New Morning" as Dylan fantasizes about taking his whole brood out to Utah, singing “That must be what it’s all about.” The music is as sweetly subdued as the lyrics, and it’s a clear indication that Bob can be brilliant without trying too hard.

“Going, Going, Gone” (1974)

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The wounds are raw on this scorching number found on "Planet Waves," with Dylan alternately “livin’ on the edge,” “hangin’ on threads” and generally strung-out and hung-up over a lost love. His points are seconded by the stinging guitar licks of Robbie Robertson, the ideal accompaniment for this anguished cry in the dark.

“Black Diamond Bay” (1976)

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The narrative gifts on display here are staggering, as Bob creates (along with co-writer Jacques Levy), a bunch of fascinating characters on a doomed island, then pulls the rug out from under us with a trick ending. Hollywood screenwriters fail nine times out of 10 at creating such well-rounded worlds given two hours. Dylan does it in a few minutes.

“Where Are You Tonight (Journey Through Dark Heat)” (1978)

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Buoyed along by saxophone, organ, and female backing vocals, Dylan trolls through the nightlife in a dusky haze searching for the salvation provided by his love. Needless to say, he doesn’t find her, but the powerful descriptions are transporting. Once again he’s at the top of his game here on an overlooked song from an overlooked album ("Street Legal").

“When He Returns” (1979)

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There is a tendency to view Dylan’s Christian period as misguided, but evidence like this lovely, restrained track off "Slow Train Coming," shoots that theory full of holes. The tenderness on display on this piano ballad is undeniable, and Dylan leavens the message by keeping as much reproach for himself as for any other nonbeliever.

“Property Of Jesus” (1981)

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Once again, this is a case where you have the prerogative to disagree with the message, but it’s nearly impossible to quibble with the skill with which it’s delivered. Forcefully and relentlessly, Dylan excoriates anyone who would dare to doubt a true believer. "Shot Of Love" found Bob subtly transitioning back into secular music; this song is like a vengeful parting shot to critics of his Christian music.

“License To Kill” (1983)

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One of the more inscrutable entries in Dylan’s canon (and that’s saying something), this song still provides plenty of food for thought. The warmongering machinery that turns young boys into hardened killers is contrasted with female wisdom that goes unheeded. And what can we make of the couplet: “Oh, man has invented his doom/First step was touching the moon”? Buzz Aldrin can’t be happy about that.

“Dark Eyes” (1985)

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Dylan often saves his best songs for last. On an album (Empire Burlesque) full of slick production that often serve the songs poorly, this closing track pulls back everything else to reveal just Bob, his guitar, and his harmonica. The results are entrancing, as they accentuate the solitude prevalent in the haunting lyrics. A positively chill-inducing performance.

“Man In The Long Black Coat” (1989)

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Bob and producer Daniel Lanois didn’t always see eye to eye on their two collaborations together, but no can deny the alchemy that was at hand on this spooky track. Dylan’s tale of a mysterious stranger who sweeps into town and steals away a fair maiden is as old as time, but the murk of Lanois’ production and Bob’s ancient croak take it to another level.

“Tweedle Dee & Tweedle Dum” (2001)

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Kicking off the sublime "Love And Theft" with a jolt of electric bluegrass energy, this song mines Dylan’s mischievous sense of humor for all it's worth. Whoever the title pair may indeed represent, there is no doubt that they’re torn to shreds by the time Bob is done with his withering attack.

“This Dream Of You” (2009)

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For my money, the best song on last year’s Together Through Life was this lilting, Tex-Mex flavored ballad, the lone song on the album that Bob wrote without the help of lyricist Robert Hunter. Dylan’s craggy vocals make him a bizarre crooner, yet he shows himself to be extremely light on his feet with the breezy melody. “There’s a moment when all old things/Become new again/But that moment might have come,” he sings, the burden of regret palpable and touching.

So there you have it, 14 lesser-known triumphs in a career lousy with them. Happy Birthday, Bob. Rock on.

Movie Review

Meta-comedy remake Anaconda coils itself into an unfunny mess

Jack Black and Paul Rudd in Anaconda

Photo by Matt Grace

Jack Black and Paul Rudd in Anaconda.

In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

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Anaconda is now playing in theaters.

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