Posts Tagged Bob Dylan

Counter Culture Song List Special — Peace

Across the world, conflicts grind on — Ukraine, Gaza, the West Bank, Yemen, Sudan, the Caucasus, and the quieter wars that never make headlines but still take lives. Every generation inherits a fresh set of battlefields, as if violence were a tradition rather than a failure. What’s striking, and desperately sad, is how little we seem to learn. We have prophets and poets — not in robes or temples, but in studios, rehearsal rooms and cramped flats with battered guitars — who keep trying to tell us the same thing: force doesn’t liberate, it isn’t the answer it only repeats itself bringing more misery.

Songwriters have become the spiritual messengers of our age. They don’t preach; they remind. They warn. They plead. They hold up a mirror to the madness and ask why we keep choosing the same path. And when you look at the peace songs we’ve gathered, the message is remarkably consistent.

Cat Stevens’ Peace Train carries the optimism of a generation that believed humanity could redirect its own future . Buffy Sainte‑Marie’s Universal Soldier strips war down to its most uncomfortable truth: conflict survives because ordinary people agree to fight it . Lennon’s Give Peace a Chance turns protest into communal ritual — a chant meant to drown out the drums of war . Edwin Starr’s War refuses subtlety; it names militarism for what it is and demands we stop pretending otherwise . Kate Bush’s Army Dreamers shows the cost not in geopolitics but in a mother’s grief — the smallest unit of tragedy in any conflict . Marley’s Redemption Song reminds us that liberation begins in the mind, long before it reaches the streets or the borders .

These artists aren’t offering policy. They’re offering clarity. They’re trying to break the spell — the ancient lie that violence is a tool for change rather than a guarantee of more suffering. And yet here we are, still repeating the same cycles, still ignoring the people who’ve been singing the escape route for decades.

This week’s selection isn’t just a playlist. It’s a reminder that a belief in peace isn’t naïve — it’s necessary. And that the voices urging us toward it have been right all along.

1. Peace Train — Cat Stevens (1971)

Cat Stevens (now Yusuf Islam) wrote Peace Train at the height of the Vietnam War and during a period of global protest movements. The song channels the optimism of early‑70s counterculture — a belief that collective human will could redirect history. Its gentle folk melody and spiritual tone made it an anthem for peace rallies, and Stevens’ later conversion to Islam gave the song an added layer of interfaith resonance. It remains one of the most recognisable calls for unity in popular music.

2. Universal Soldier — Buffy Sainte‑Marie (1964) / Donovan (1965)

Buffy Sainte‑Marie’s original is the true genesis of this song — a stark, minimalist indictment of the individual’s role in perpetuating war. Donovan’s cover brought it into the mainstream, turning it into a global anti‑war anthem. The song’s argument is radical: war is not only the fault of governments but of ordinary people who agree to fight. Its relevance has endured through Vietnam, Iraq, Afghanistan and today’s conflicts, where conscription, fake nationalism and propaganda continue to shape human choices.

3. Give Peace a Chance — John Lennon & Yoko Ono (1969)

Recorded during Lennon and Ono’s famous “Bed‑In for Peace” in Montreal, this became the unofficial soundtrack of the anti‑Vietnam movement. Its chant‑like simplicity was deliberate — Lennon wanted a phrase that could be sung by crowds, not just fans. It was adopted by demonstrators worldwide, including the 1971 Washington DC rally of 250,000 people. The song’s power lies in its communal repetition: a slogan turned into a cultural force.

4. War — Edwin Starr (1970)

Few songs express anti‑war sentiment with such blunt force. Originally recorded by The Temptations, Motown reassigned it to Edwin Starr, whose raw, urgent vocal transformed it into a protest classic. Released during the Vietnam War, it became a number‑one hit and a defining moment in soul music’s political awakening. Starr’s delivery — fierce, uncompromising — made the song an enduring critique of militarism and political hypocrisy.

5. Army Dreamers — Kate Bush (1980)

Bush’s anti‑war song is deceptively soft: a waltz about a young soldier killed before adulthood. Rather than polemic, Bush uses domestic detail — a mother’s grief, wasted potential — to expose the human cost of military recruitment. Released during rising tensions in Northern Ireland and Cold War anxieties, it stands out for its emotional precision. Bush’s ability to communicate a political message through intimate storytelling makes Army Dreamers one of the most quietly devastating anti‑war songs ever written.

6. Peace, Love and Understanding — Nick Lowe / Elvis Costello (1974 / 1979)

Nick Lowe’s original was a pub‑rock curiosity, but Elvis Costello’s cover turned it into a modern classic. Released at the end of the 1970s — a decade marked by political violence, recession and cultural fragmentation — the song asks a simple question: “Where are the strong, who are the trusted?” It’s not naïve; it’s a plea for sanity in a world losing its bearings. Costello’s version remains one of the great British contributions to peace‑themed music.

7. Redemption Song — Bob Marley & The Wailers (1980)

Marley wrote this near the end of his life, distilling Rastafarian philosophy, anti‑colonial politics and human liberation into a stark acoustic performance. While not a “peace song” in the protest‑chant sense, it is fundamentally about freeing the mind from oppression — the root cause of conflict. Its line about “emancipating yourself from mental slavery” has become one of the most quoted in modern music. A global hymn for dignity and non‑violent resistance.

8. Imagine — John Lennon (1971)

Perhaps the most famous peace song ever written. Lennon’s utopian vision — a world without borders, religion or possessions — was shaped by Ono’s conceptual art and the pacifist movements of the era. Critics have called it naïve, but its cultural impact is undeniable: it is sung at vigils, protests, memorials and global events. The song’s simplicity is its strength, offering a blueprint for peace that is both idealistic and provocative.

9. Blowin’ in the Wind — Bob Dylan (1962)

Written during the Civil Rights era, Dylan’s song became a universal anthem for justice and peace. Its rhetorical questions — “How many times…?” — frame war, racism and inequality as moral failures that society refuses to confront. The song’s folk roots connect it to earlier protest traditions, while its adoption by activists cemented Dylan’s role as the voice of a generation. It remains one of the most important songs ever written about human responsibility.

10. Peacekeeper — Fleetwood Mac (2003)

A later entry in the peace‑song canon, released during the Iraq War. Lindsey Buckingham’s lyrics critique the language of modern conflict — the way governments sanitise war through euphemism. The song’s polished production contrasts with its message: peace cannot be achieved through force, and “keeping the peace” often means sustaining violence. It’s a sharp, contemporary take on the politics of war in the 21st century.

Selections and writing by Pat Harrington
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Fringe Special Playlist ’26 – Inspired by Rockbeth

Today’s Fringe Special Playlist takes its cue from Rockbeth, the gloriously energetic rock musical that’s been shaking the rafters all week. After last year’s sold‑out, head‑banging debut, the show returns louder, darker and even more deliciously chaotic. It’s Macbeth reimagined as a front‑man teetering between prophecy and self‑destruction, backed by a great band.

What makes Rockbeth such a riot is the way it threads Shakespeare’s tragedy through the spine of classic rock. These songs aren’t just background noise — they’re part of the storytelling. Every riff, every drum break, every howl into the mic pushes Macbeth further down his blood‑red path. So we’ve pulled together the tracks that fuel the show’s energy: the anthems, the warnings, the spells, the swagger.

If you’re heading to the Fringe, we strongly recommend catching Rockbeth in person. It’s part live gig, part Shakespearean breakdown, and all killer. Book quickly as it finishes on the 15th! Tickets here

AC/DC – Thunderstruck

If Rockbeth has a spiritual home, it’s right here. Thunderstruck isn’t just a song — it’s an adrenaline shot. Released in 1990, it became one of AC/DC’s defining stadium anthems, built around Angus Young’s machine‑gun opening riff. The band have said the riff came from Angus “messing around” during rehearsal, but it turned into a track that now signals chaos, triumph, and pure rock theatre. No wonder Rockbeth opens with it: the moment those notes hit, the room belongs to them.

Fleetwood Mac – Black Magic Woman

Before Santana made it famous, Peter Green wrote Black Magic Woman as a blues lament wrapped in superstition and desire. Fleetwood Mac’s original has a smoky, prowling quality — perfect for a show steeped in prophecy and temptation. It’s a song about being drawn to something dangerous and irresistible, which fits Macbeth’s arc a little too well.

Blue Öyster Cult – Don’t Fear the Reaper

A track that has lived several lives: a 1976 soft‑rock hit, a cult classic, and later a pop‑culture icon thanks to Saturday Night Live’s “more cowbell” sketch. Beneath the humour, the song is about accepting fate — stepping toward the inevitable with calm defiance. In Rockbeth, that sentiment lands hard. Macbeth doesn’t fear the reaper; he walks straight into him.

Creedence Clearwater Revival – I Put a Spell on You

Originally written by Screamin’ Jay Hawkins, CCR’s version turns the song into a swampy, hypnotic growl. It’s obsession set to music — the kind of fixation that blinds a man to consequence. For a story driven by prophecy, manipulation and ambition, this track feels like it was waiting for a Fringe rock musical to claim it.

Stevie Wonder – Superstition

One of the most recognisable riffs in music history. Stevie Wonder wrote it after hearing Jeff Beck experiment with a drum pattern, and the rest fell into place with that unmistakable clavinet groove. The opening line — “Very superstitious, writing’s on the wall” — might as well be Macbeth’s personal warning label. It’s funk, prophecy and doom rolled into one.

Guns N’ Roses – Knockin’ on Heaven’s Door

Dylan wrote it; Guns N’ Roses turned it into a soaring, arena‑ready lament. Their version is all wailing guitars and emotional sprawl — a song that feels like someone realising too late that the consequences have arrived. In Rockbeth, it’s the sound of a man who’s run out of road.

The Rolling Stones – Paint It Black

A sitar‑driven descent into grief and madness. Released in 1966, it captured a darker edge of the Stones’ sound, and over the decades it’s become shorthand for spiralling despair. Macbeth’s world turns black long before he realises it — this song simply says the quiet part out loud.

Sex Pistols – God Save the Queen (or King)

A snarling, anti‑establishment anthem that shook Britain in 1977. Banned by the BBC, embraced by the punk movement, and still capable of raising eyebrows. Its inclusion in Rockbeth is a cheeky nod to monarchy, rebellion and the collapse of order — themes Shakespeare mined long before Johnny Rotten spat them into a microphone.

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Jazz‑Infused Dylan Reimagined: Bob Dylan On Piano Finds Fresh Possibilities in Classic Songs

The small stage was crammed at the end as more musicians joined in!

★★★★★There are probably few songwriters whose work has been rearranged, reinterpreted and generally pulled apart quite as often as Bob Dylan’s. That presents anyone attempting another Dylan show with an obvious problem. Simply reproducing the records isn’t particularly interesting, while radically rearranging the songs risks losing what made them work in the first place.

Bob Dylan On Piano  finds an attractive way through that problem. Taking familiar Dylan material and filtering it through a jazz-influenced piano style gives songs we may have heard hundreds of times a different texture without treating the originals with undue reverence.

That is important. Dylan himself was never particularly respectful of his own arrangements. Many who have seen him live report the experience of spending the opening bars of a song wondering what on earth it is, only for a familiar lyric suddenly to reveal its identity. His songs have always been things to be worked on rather than museum pieces to be preserved behind glass.

That spirit is very much present here.

The selection ranges across some of the best-known material, including “It’s All Over Now, Baby Blue” and the unavoidable “Blowin’ in the Wind”, but the pleasure lies less in ticking off the hits than in hearing what happens when the songs are moved into a different musical setting. Piano changes their character. Add elements of jazz — changes of rhythm, phrasing and room for improvisation — and songs rooted in the folk tradition begin to reveal other possibilities.

One moment particularly caught my attention: “With God on Our Side”. I recognised something familiar in the melody which sent me off afterwards on one of those musical historical trails that are almost as enjoyable as the performance itself.

There is quite a story behind it.

Dylan’s melody is very close to that used by Irish writer Dominic Behan for “The Patriot Game”, a song about Fergal O’Hanlon, the young IRA volunteer killed during an attack on Brookeborough RUC barracks in County Fermanagh on New Year’s Day 1957. Behan, in turn, had used an older traditional melody generally traced to “The Merry Month of May”, also known in variants as “One Morning in May”.

Dylan wasn’t entirely coy about the connection either. At the Newport Folk Festival in 1963, he acknowledged that hearing Liam Clancy sing “The Patriot Game” had inspired “With God on Our Side”. Behan was considerably less relaxed about the borrowing and publicly criticised Dylan over it.

It’s a fascinating example of how songs travel. A traditional melody becomes an Irish political ballad; Dylan hears that ballad and reshapes it into an American anti-war song; decades later the song turns up at the Edinburgh Fringe transformed once again through jazz piano.

In a way, that accidental history lesson sums up why

Bob Dylan On Piano  works. Dylan himself borrowed constantly from the musical traditions around him. Folk music, blues, gospel, country and old ballads all went into the mixture. Taking his songs and allowing jazz to have a conversation with them therefore feels less like tampering with Dylan than continuing the process from which much of his music emerged.

The show doesn’t need to lecture us about any of this. Indeed, the connection with “The Patriot Game” wasn’t explained during the performance. I enjoyed discovering it for myself afterwards, after recognising the tune. A good show can sometimes send you away wanting to know more, and this one did.

There is also a pleasing looseness to proceedings. This isn’t Dylan embalmed as a Nobel Prize-winning cultural monument. The songs are allowed to breathe, shift and occasionally surprise us. Familiar lyrics arrive from unfamiliar musical directions.

And then came a bonus.

The appearance of the Tenement Jazz Band for the finale lifted the performance into something more spontaneous. Their contribution brought another layer of energy to proceedings, and the improvised quality of the closing section suited the whole idea beautifully. What could have been simply a recital became, for a while, a musical encounter.

That distinction matters. There are plenty of tribute shows at the Fringe and elsewhere, and many of them are very good at recreating a particular sound. Bob Dylan On Piano is doing something  different. It isn’t asking, “How accurately can we reproduce Bob Dylan?” It is asking what else can be found inside these songs.

For Dylan enthusiasts, there is the pleasure of recognition coupled with the occasional jolt of hearing something familiar take an unexpected turn. For jazz listeners, there is the enjoyment of musicians taking well-established material and finding space within it to play. And for those of us interested in the strange routes by which songs and melodies travel across countries, generations and political movements, “With God on Our Side” provides an intriguing little rabbit hole to disappear down afterwards.

Dylan’s songs have survived because they can take this sort of treatment. They don’t have to remain fixed to the arrangements in which we first encountered them.

Bob Dylan on Piano understands that. It respects Dylan not by preserving his music unchanged, but by doing what Dylan has spent much of his career doing himself: taking songs apart, putting them back together and seeing what happens.

The result is affectionate, inventive and, with the Tenement Jazz Band joining the fun at the end, satisfyingly unpredictable. Dylan fans should find plenty to enjoy here, but you certainly don’t need to be a Dylan obsessive to appreciate it. An interest in jazz, songwriting and the sheer pleasure of musicians discovering new possibilities in old songs will do just as well.

Reviewed by Pat Harrington

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Bob Dylan Under Cover (Night Owl Shows) – Edinburgh Fringe Review

★★★★★ This is a smart, heartfelt hour that does more than run through the hits. It asks what we hear when we really listen to Dylan, and why those songs still matter. The show is not about nostalgia — the big issues Dylan sang about are still tragically with us. Racism, war, and social injustice remain as urgent as ever, and the performance never lets you forget that. A clever use of a video screen mixes images from the past and present, reinforcing how the struggles of the 1960s and 1970s continue to echo in our own time. 

A young female performer playing guitar and singing on stage, with an attentive audience seated in front of her, illuminated by stage lights.

What surprised me first was the front-person: Kiah, just 18, walking on alone with a guitar and two compact openers. Not a gimmick — a statement of intent. The voice is the draw: clear, expressive, with a warm grain that can swell into power without ever turning harsh. She has presence, too: relaxed, alert to the room, and unafraid to sit in the quiet. Then the Night Owl band join her and the show blooms — rhythm kicks in, the arrangements breathe, and we move from fireside intimacy to rolling folk-rock with purpose. It’s a neat dramatic arc that mirrors Dylan’s own journey from solo troubadour to electric icon.Night Owl’s concept is part concert, part guided tour. The set pivots through eras and influences, giving you context without drowning the songs. Familiar titles land with fresh edges — “Blowin’ in the Wind,” “Don’t Think Twice,” “Like a Rolling Stone” — but the point isn’t museum-piece reverence. The band’s reimagined approach keeps faith with the spirit while letting new colours in; it’s storytelling through arrangement, and it works because Kiah sings like she believes every line. Dylan himself once said, when asked why he didn’t do his own songs more back in the day, that he liked to think he made them his own. Kiah certainly makes Dylan’s songs her own.

Kiah’s age becomes an asset rather than an obstacle. There’s a lightness in how she frames the material — a wink here, a plain-spoken aside there — that sidesteps piety and finds the thread between 1960s protest, later self-invention, and now. Opening alone, then inviting the band in, makes the history legible without a lecture. By the time the fuller sound is roaring, you feel the continuity: how one voice with a guitar grew into a catalogue that could arm a whole room. The result is a show that’s accessible to casual listeners and rewarding for die-hards — the kind that leaves you humming the chorus but also thinking about the words.

As for the practicalities: this is the Night Owl machine in full swing — tight band, clean transitions, and a house style that’s won them loyal audiences across their Fringe slate. If you’ve seen their Carole King/James Taylor or Elton John offerings, you’ll recognise the craft; if not, this is a fine place to start. And yes, it really is Kiah Spurle leading the charge — she looks set to be one of the quiet success stories of this year’s music strand.

Bottom line: a genuinely thoughtful Dylan show with heart and muscle. Kiah’s voice is beautiful — bright, powerful, and emotionally tuned — and the band lift her without ever crowding her. I went in curious; I left convinced.

Reviewed by Pat Harrington

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A Complete Unknown: The Untold Story of Bob Dylan’s Rise By Patrick Harrington

A Complete Unknown is a compelling, layered biopic that delves into the early years of Bob Dylan’s rise in the folk music scene, capturing the raw essence of his artistic transformation. The film follows Dylan from his arrival in New York in the early 1960s, his immersion into the Greenwich Village folk scene, and his ascent as a cultural icon. It meticulously chronicles his relationships with key figures such as Joan Baez, Pete Seeger, Woody Guthrie, and Johnny Cash, while exploring his evolution from folk acoustic performer to the electric trailblazer who shattered conventions at the Newport Folk Festival. I like others appreciated the film’s focus on a formative chapter in Dylan’s life, rather than following the typical cradle-to-the-grave biopic format

Plot Summary

The film opens with Dylan (played with uncanny authenticity by Timothée Chalamet) stepping off a Greyhound bus into the cold, chaotic streets of New York. Drawn by the myth of Woody Guthrie, Dylan quickly becomes a fixture in folk clubs, soaking up influences and developing his distinct voice. His rapid ascent is marked by pivotal encounters: his artistic and romantic entanglement with Joan Baez, his deep admiration for Guthrie, and his friendships with legends like Pete Seeger and Johnny Cash.

The narrative builds towards the infamous 1965 Newport Folk Festival, where Dylan, armed with an electric guitar, defies purists and sparks outrage among the folk establishment. His performance was nothing short of seismic. Opening with an electrified, blistering rendition of Maggie’s Farm, followed by Like a Rolling Stone, Dylan’s transition into amplified rock shocked the audience. While some fans embraced the bold shift, others jeered and booed, feeling betrayed by his departure from traditional folk. Folk purists saw it as sacrilege, and critical reactions ranged from awe to anger. Pete Seeger himself was rumored to have been so upset that he wanted to cut the power, though accounts vary on whether this is legend or reality. Regardless, the performance was a watershed moment that redefined the boundaries of folk music and cemented Dylan’s reputation as an artist who refused to be confined by expectations.

This event also marked a turning point for Newport itself, accelerating its evolution from a folk purist haven into a more expansive musical showcase, embracing broader influences in the years that followed.

Acting and Performances

The cast is phenomenal, breathing life into their real-life counterparts. Timothée Chalamet embodies Dylan’s elusive charisma, delivering a performance that captures his enigmatic blend of arrogance, vulnerability, and genius. His ability to channel Dylan’s mannerisms and speech patterns makes for an uncannily convincing portrayal.

Joan Baez, played by Monica Barbaro is a standout. She conveys both the deep affection and lingering frustration that defined her relationship with Dylan. Baez herself has remarked that Dylan is “kind of an asshole,” and the film does not shy away from this aspect of his personality. Their tumultuous relationship is depicted with nuance, culminating in Baez’s heartbreak and her subsequent writing of Diamonds and Rust, a song laced with both admiration and regret. Baez sang of Dylan —“You, who are so good with words / And at keeping things vague” and that feels particularly poignant and true.

Pete Seeger, played by Edward Norton, and Woody Guthrie (portrayed by Scoot McNairy) serve as Dylan’s ideological compass, while Johnny Cash (played by Boyd Holbrook), his pen pal and confidant, provides warmth and camaraderie in a world where Dylan often seems isolated. The interactions between these titans of music are electric, giving the film its heartbeat.

Themes and Cultural Impact

The film does an excellent job of positioning Dylan not just as a musician but as a poet and cultural force. The central theme of artistic evolution is explored through Dylan’s constant pushing of boundaries, challenging the status quo, and redefining himself. His songs—woven throughout the film—underscore his genius as a lyricist.

The film also delves into themes of authenticity, rebellion, and the price of fame. Dylan’s journey is not just about his music but also about his struggle to stay true to himself amidst external pressures and expectations.

Historical Context

The 1960s was a tumultuous decade marked by significant cultural and political upheaval. The folk music revival, which sought to revive traditional American music, became intertwined with social and political movements, particularly the civil rights movement. Dylan’s involvement in these causes, including his performances at civil rights rallies and participation in the 1963 March on Washington, is highlighted in the film, reinforcing his status as more than just a musician.

Dylan’s evolution from folk purist to rock pioneer mirrored broader changes in the musical landscape of the 1960s. His controversial shift to electric music at the 1965 Newport Folk Festival symbolized the broader generational and cultural shifts taking place.

Final Thoughts

A Complete Unknown is a rich, evocative portrait of an artist who refused to be boxed in. It does justice to the complexity of Dylan’s character—his brilliance, his contradictions, and his relentless pursuit of something beyond labels. One character describes him as a contrarian and another as an “arsehole”. He certainly was portrayed as sometimes selfish to the point of cruelty. The film also serves as a love letter to the folk revival era, bringing to life not just Dylan, but Baez, Seeger, Guthrie, and Cash in all their glory. To give just one example, Joan Baez’s House of the Rising Sun – simply spellbinding.

I absolutely loved the music in this film which were weaved seamlessly into the narrative. Every song was a reminder of why Dylan remains one of the greatest songwriters of all time. The electrified Newport performance was a thrill to watch, and the tension it caused within the folk community only added to its historical weight. As the credits rolled, the audience stayed in their seats, completely absorbed in his words and melodies. It was a testament to the enduring power of his music.

By Pat Harrington

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When Judas Met John – Songs of Dylan and Lennon

⭐⭐⭐⭐ I recently attended the mesmerizing musical show, “When Judas Met John: Songs of Dylan and Lennon,” and I must say, it was an evening that transported the audience on a captivating journey through the timeless works of two musical legends. As a politically aware individual, the performance not only introduced me to some lesser-known gems from Bob Dylan’s repertoire but also shed light on the profound relevance of his songs and those of Lennon, especially in the context of current events like the conflict in Ukraine.

The show’s opening chords set the stage for an unforgettable experience that promised to explore the depths of human emotions and societal reflection through the songs of Bob Dylan and John Lennon. What struck me profoundly was the performance of “Masters of War,” a song whose poignant message felt eerily appropriate given the ongoing conflict. The raw emotion and powerful imagery in the lyrics left an indelible mark, reminding me of the potency that music carries in conveying messages of peace and protest.

One of the many highlights of the evening was Dylan’s touching tribute to John Lennon, Roll On, John. The incorporation of Lennon’s own lyrics into the song created a deeply moving homage that celebrated their artistic kinship and the lasting impact they had on each other’s lives. It was a moment that bridged the gap between two musical giants, reminding us of the interconnectedness of their creative journeys.

The interweaving of songs from both Dylan and Lennon was a stroke of genius. It allowed for intriguing juxtapositions, such as the comparison between Lennon’s “Norwegian Wood” and Dylan’s witty parody, “4th Time Around.” This clever intertwining showcased the distinctiveness of each artist’s approach while highlighting their shared themes of love, introspection, and social commentary.

I was impressed by what the Brothers Broke were able to achieve with just their voices, guitars and the harmonica.

Equally engaging were the interludes between songs, during which the Brothers provided insightful commentary and humorous anecdotes. Their banter added a personal touch to the performance, creating an atmosphere of camaraderie that resonated with the audience. These moments of connection between the performers and the spectators made the experience all the more intimate and enjoyable.

“When Judas Met John: Songs of Dylan and Lennon” is a must-see for anyone who appreciates the power of music to evoke emotions, inspire reflection, and shed light on the socio-political landscape. The performance adeptly showcases the synergy between Bob Dylan and John Lennon’s artistic expressions, leaving the audience with a renewed appreciation for their enduring legacies. Prepare to be moved, enlightened, and entertained as you embark on this musical journey that celebrates the profound impact of two extraordinary artists while highlighting the interconnectedness of their lives and work.

Reviewed by Pat Harrington

This article was first published in 2023.

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California Sun – Morrissey

CALIFORNIA SON, Morrissey’s twelfth studio album, is a collection of covers including a few familiar old classics and some maybe lesser known American protest and social

morrissey-california-son

justice songs from the 60s and 70s.  Morrissey and his band never shy away from imaginative musical arrangements, often seeking out unusual instruments, and there are influences here from New Orleans, the old time crooners and a touch of Broadway.  No doubt this is a nod 

 

to his recent sell out residency at the Lunt-Fontanne Theatre in New York City (NYC).  

The album opens with Morning Starship, the 1973 song by Jobriath.  Morrissey has talked about covering this song for many years, and his version does not disappoint.  He strips back the glam rock just enough to emphasise his wide range of vocals.  It is an uplifting track and was well received when he sang it live on Broadway.

Next up is his version of Joni Mitchell’s Don’t interrupt the Sorrow, a song about Women standing up to male dominance from her 1975 The Hissing of Summer Lawns album.  Originally a folky song with lots of hand drums it is given the full Morrissey crooner treatment. Now in his 60th yeapeats on several tracks throughout this album, not least on the very good Wedding Bell Blues on which Green Day’s Billy Joe Armstrong adds backing vocals.

Morrissey is never one to shy away from a song with a powerful message, and chose to include the 1964 Bob Dylan song Only A Pawn in their Game, written following the assassination of civil rights activist Medgar Evers.  The message in this song is that the killer was as much a victim or “pawn” of the elites in power as was his victim.  The song was sung at the rally where Martin Luther King gave his“I have a dream” speech.  It’s an interesting choice, as is his excellent cover of Days of Decision.  This is taken from the 1965 Phil Ochs album Ain’t Marching Anymore, with its lyrics: “you can do what’s right or you can do what you are told.”  Maybe in these choices Morrissey is encouraging the listener to look at the lessons of history and to question things a little more?

Buffy Sainte Marie’s Suffer the Little Children is given the full Broadway treatment with big instrumentals and hand clapping.  Buffy, in an interview, said she loved it.

There are very good versions of Carly Simon’s When you close your eyes and Dione Warwick’s Loneliness Remembers what Happiness Forgets.  Gary Puckett’s Lady Willpower is also very well done.  Tim Hardin’s eulogy to his friend Lenny Bruce, Lenny’sTune is perfect for the melancholic signature sound of Morrissey, and whilst this version is not as haunting as the Nico cover it does justice to the original.

Roy Orbison’s It’s Over stays true to the original and is one of the best tracks on the album.  He closes with Melanie Safka’s 1971 Some Say (I got Devil).  The vocals here are excellent and the addition of instrumentals on what was originally an acoustic guitar ballad gives the song new depth.

There really is not a bad track here but the real gift of this album is that it brings to a new generation a selection of protest songs about freedom, social justice and liberty that have a message relevant to today.  It encourages you to seek out the original recordings and the stories behind them.  Morrissey is not afraid to try new genres, or of working with material that others might now find too controversial.  It is why his music endures despite the controversy, the bad press, the lack of radio coverage and the constant personal attacks.  He has already recorded an album of new material for release later in the year.  Retirement does not appear to be on the horizon just yet.

Reviewed by Jacqui Cosgree

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Lyrics to Live By Keys to self-help – notes for a better life

IT’S often said that the best ideas are the simplest. And this is certainly the case with the idea behind Lyrics to Live By. Indeed, I’d go as far as saying that the idea behind the book is so simple it’s absolutely brilliant.

So what’s the idea, what makes it so simple and why is it literally a stroke of pure genius?

The idea’s so simple because it relates to something that we probably do every time we hear a song – and that’s to sing along to it and wonder what some of the lyrics actually mean.

This basic query about the meaning of the lyrics can also generate many other questions. For instance, how did the song come about, how long did it take to write, what is the writing process and what’s the idea behind the song? Why use the particular set of lyrics that appear? How personal is the song – and does it contain any hidden or subliminal messages?

With this in mind, the publisher of Lyrics to Live By has asked Tim Bragg to interpret the lyrics of a dozen songs. Ten songs were provided by the publisher whilst Tim chose Paul Simon’s Slip Slidin’ Away and one of his own compositions, Some Answers.

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For those who don’t know, Tim Bragg is a multi-instrumentalist and a writer of songs, novels and short stories. Indeed, he has several albums and books to his name. He also has a deep interest in English and green politics and is the founder of English Green – https://www.facebook.com/groups/167522623276444/?ref=br_rs – which describes itself as ‘a group interested in ecology and its relationship with all aspects of human activity. How we co-exist with the flora and fauna and how we conduct ourselves in an ecologically healthy manner and how we achieve a spiritual and material well-being are of particular interest’.

Tim is also a really deep thinker – he describes himself as “the eternal outsider” and has been described as “a provocative intellectual renegade”. He is also interested in issues relating to free speech and English culture, previously describing Stratford-upon-Avon as his “spiritual home”.

In his Foreword, Bragg sets the scene by highlighting the importance of music:

‘But we are drawn to particular songs and musicians who seem to speak to us. They really do help guide us through life and come to our aid when most needed. At our lowest, a song can be played over and over, and this repetition seems to heal. When we are blue a blues song seems to do the trick. And the very personal nature of a song makes it effective for our own personal situation – bad/good or otherwise. I am thankful to the musicians who wrote songs that helped me through difficult times: the end of a love affair … for instance’.

I’m sure we’ve all wondered, why certain lyrics have the ability to strike a chord deep inside us. Indeed, every reader could probably suggest the lyrics of several songs which have really touched them – almost in a spiritual way. To me, it simply illustrates the beauty and power of song. However, has it always been like this – and will it be like this forever?

The lyrics Tim comments on are really varied – they include those from Hey Jude, Stairway to Heaven, Wicked Game and Big Yellow Taxi. The musical genres covered are also fairly broad. Writers include Mick Jagger and Keith Richards of the Rolling Stones, John Lennon and Paul McCartney of the Beatles, David Bowie, Bob Dylan and Joni Mitchell.

I’m not going to give you any details of what he makes of any of the lyrics (and I know that this is extremely strange for a review!) as I want to encourage readers of Lyrics to Live by to really think for themselves. That’s because we live in a world where all sorts of information is readily accessible and Wikipedia is king. Such easy access to information is very much a double-edged sword. On the positive side it enables folks to learn about more-or-less anything under the sun. On the negative side, I fear that many folks are – or have – lost the ability to question information and think for themselves.

Earlier I mentioned that Tim is a very deep thinker, and this is certainly borne out in how he interprets the lyrics. I must admit that I’d often sing along to a song and spend a few minutes contemplating what the lyrics mean. But to actually sit down and to probably spend hours really analysing the lyrics is probably an art form in itself!

This is the first time I’ve read an examination of lyrics to such a high level. Indeed, Tim noted that the process was ‘almost as if meditating’. I really do think that most people will be in awe of (or even shocked at) the depth of thinking employed here. Whether you agree with Tim is open to debate. However, it would really be interesting to know what readers think of his in-depth interpretations.

Lyrics to Live by also poses many questions in itself. I’m not too sure if this was the original intention or simply a by-product of the subject matter?

For instance, I’d particularly like to know how and why the particular songs – and more importantly, the individual lyrics – were chosen by the publisher? I also wondered if there was any sort of thread linking the artists? I presume they must mean something to the publisher, but what? Are they in some way personal, or do they contain any hidden or subliminal messages? Indeed, does Tim’s interpretation of the lyrics match those of the publisher, or are they wildly different? Furthermore, I found it interesting that Tim looked at the lyrics of one of his own songs – I wonder if this was therapeutic in any way?

The Foreword mentions Tim’s admiration for Phil Lynott and Van Morrison, who ‘have certainly helped me through my life’s journey’. Yet neither of them feature in the book. This got me wondering what artists would any of us choose to analyse– and why?

A couple of other things also came to mind whilst reviewing the book:

Firstly, Tim Bragg is a multi-instrumentalist and is comfortable with different genres of music. With this in mind, I presume that a Heavy Metal singer would be more at home looking at the lyrics of a Heavy Metal song. The same would presumably go for a Folk musician with Folk lyrics. However, what would happen if you gave the Heavy Metal and Folk singer the lyrics to a Country and Western song? Would the change of genre completely throw them – or would they both apply the same thought process, successfully analyse the lyrics and manage to overcome the change in musical style?

Secondly, this review has thrown up many unique and interesting ideas and questions. They all lend themselves to a series of books looking at various lyrics and their meanings. I’d love to read the thoughts of other artists – and, in particular, independent artists – in the very near future. Here’s hoping that the first follow-up book is at the planning stage already.

Reviewed by John Field

Lyrics to Live By is available as a Paperback or E-book from all Amazon stores

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This Land

EDINBURGH FRINGE 2012

This Land
The Story of Woody Guthrie

Interplay

Zoo Southside

Woody Guthrie, the legendary American folk singer, was one of the principal musical figures of the early to middle part of the last century. His folk songs caught the mood of his generation with his tales of the great depression, the Oklahoma dustbowls, the war on Hitler’s Germany and the plight of workers and the downtrodden sectors of American society. He went on to influence Bob Dylan, Pete Seeger Phil Ochs and Bruce Springstein. Billy Bragg has recorded a British version of This Land, his best known song.

Punctuated with rumbustious renditions of some of Guthrie’s best known songs, This Land journeys through the highs and lows of his life; from his early days in the dustbowls of Oklahoma to his hospital bed where, by the time he met the young Bob Dylan, he was laid up with the final stages of Huntingdon’s Chorea.

Based on Guthrie’s own memoirs, the story is told by seven different Woodies, each one representing a different phase of his life. This inspirational play demonstrates the man’s dedication in the face of personal tragedy and debilitating life-limiting illness. It’s a perfect play from a perfect cast.

***** Five Stars

David Kerr

http://www.interplayleeds.co.uk/thisland/

Some of the Woodies serenade the audience leaving the theatre; So long, it’s been good to know you…

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