The proverbial "Year of Bob Dylan" began without the man himself having to do anything at all. The mighty Odetta, whom Dr. Martin Luther King himself had proclaimed "the queen of American folk music" started things off by releasing an entire album of his songs. This act in itself should serve as ample demonstration of just how important Bob Dylan had become, not only to the folk music scene, but to the civil rights movement, and the progressive left in general. It is impossible to fully grasp the significance of Dylan’s actions and art throughout 1965 without realizing the depth and extent to which this segment of America had come to embrace the young songwriter as an icon, an embodiment of political and social struggle. The radical change in Dylan’s music, perspective and style can only be appreciated in the context of the position he had so rapidly attained.
Bob Dylan would later maintain that he in no way felt that he himself actually was this heralded "spokesman" - that all of his great reputation and fame was not only misguided and unwarranted, but it also began to act as a prison for him, both as an artist and as an individual. His recordings and performances of 1965 must be seen against this remarkable backdrop not only to be able to understand the rage and sense of betrayal that his idealistic fan base felt, but to grasp the extraordinary courage and audacity that Dylan himself displayed by his actions this year. Only by rebelling against what was becoming an enforced deification of himself, by risking everything in his career, by turning his back on the false image that his reputation had made of him, could Bob Dylan become free to become not only the greatest musical artist of his era, but to reclaim ownership of his own soul. The depth of meaning of this act would not be clear to most people in 1965 (or in 1966, for that matter). But his affect upon so many fellow artists - on the Beatles, the Byrds, the Rolling Stones, the Kinks, the Lovin’ Spoonful - and countless others that would follow in the years to come - was both as immediately palpable as it was incalculable.
These future facts do not invalidate the quality and meaning of his songs up until this period, and they certainly do not challenge the glory and beauty of Odetta’s extraordinary interpretations of them. In a day and time when much of the great music of this period has been lost in the commercial shuffle of time, it is an awe-inspiring experience to return to such a monument as this extraordinary album to revisit the power, the glory and the idealism of this long-past time in American cultural history.
Odetta sings and plays guitar with a small combo featuring a beautiful stand-up bass. Her arrangements and interpretations often differ drastically from Dylan’s originals, but the power is retained, often enhanced. (There is even a little bit of electric guitar here, but it features a country sound rather than rock.) Aside from the more political leanings ("Masters of War," "The Times They Are a-Changin’," "With God on Our Side,"), Odetta includes several love songs that help round out the picture. She even concludes the set with the as-yet-unrecorded "Mr. Tambourine Man," adding her own powerful vision to these sturdy songs, half of which Dylan hadn’t released on record. This isn’t just a curio, then - it remains a vital and stirring testimony to both songwriter and performer that needs to be heard.
Track listing All songs composed by Bob Dylan. 1. "Baby, I’m in the Mood for You" 2. "Long Ago, Far Away" 3. "Don’t Think Twice, It’s Alright"
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