![]() ![]() Mixing the modes of popular verse with his own telling twists of imagery and narrative, “ Murder Most Foul” was at once a widescreen, mythological retelling of the Kennedy assassination, enveloped by a bird’s-eye, camera-obscura view of its impact on the day and in history, all wrapped up in a majestic, seemingly unending ‘king list’ of players, songs and singers, the list of names extending way before and after Kennedy’s death as if to suggest some kind of immortal flow through 20th-century popular music’s Elysium Fields. That it was a 16-minute epic that took Dylan’s writing into new areas (including No1 on Billboard) – and this on the verge of his eightieth year – is also astonishing. When “Murder Most Foul” was dropped into an unsuspecting world under lockdown, the surprise among Dylan fans was palpable, given that eight years had passed since Tempest, filled by all those Sinatra covers and seasonal tours. Now read on – this is the longer version of my review for The Arts Desk Rough and Rowdy Ways is a masterpiece, a grand reinvention of his art for Dylan, and packed with sublime moments, great wit, savage violence, unbearable feeling. ![]() ![]() I received digital files of Bob Dylan’s new album on Monday. Soundbites: Boomslan… on Gospel Bob: guitarist Fred Tac… ![]()
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