#Bob dylan discography greatest hits blogspot full
Then again, Larry Herndon wasn't a particularly great hitter, but he had a role to play on the 1984 Detroit Tigers*, and that's one of the greatest baseball teams ever, so there's absolutely nothing wrong with being part of the aesthetic of something great.Īnother thing worth mentioning is that this song has the honor, if you want to call it that, of being the only song on Blood on the Tracks to feature a full backing band, led by Eric Weissberg of "Dueling Banjos" fame (it is an embarrassment to reveal that it is just now, while typing up this post, that I get why the backing band was called Deliverance then again, I haven't seen that movie, so there you go). I also think that some songs work well to establish the album's aesthetic, and some songs rise above the album's aesthetic to become beloved standards, and this song leans towards the former description. This is not me saying that the song is bad, of course I happen to enjoy the song a good deal, especially the fuzz-tone solo that crops up in the latter half and the way Dylan sings "ship" kind of like he's singing "sheep".
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That being said, there are songs on the album that people would consider highlights, as with any album both classic and dreck, and I would suggest that this song falls on the lower end of the "album highlight" spectrum.
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One thing that I think most everyone would agree on is that there are no weak spots on Blood on the Tracks - every song fits into the mood Dylan wanted to create, within the musical palette he wanted to use, and with the same general lyrical conceits (in this particular case, a crawling twelve-bar blues where the narrator bemoans a woman that "treats so unkind" and has left him begging for a rendezvous that clearly isn't going to happen - so the subject matter of just about every blues song ever, then), so that it feels like not a single second of the album's 51 minutes and 42 seconds are wasted.