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By Sharyn Johnson There seems to be a new Dy lan. Or is it a reoriented old Dylan? The questions confront ing all of us is: has the real Dylan finally emerged or is he still melting? The present controversy over Bob Dylan, the king of folksong to many, concerns his attach ment to and development of Folk Rock, that conglomeration of the best parts of folk music and rock ’n roll. Dylan’s new style fuses his uniquely metaphoric lyrics with the thumping, hyp notice rock beat. Something, how ever, is out of wack, and what emerges is a jumbled, some what repetitive mass of sounds Dylan's change of technique can not be fully appreciated in his latest release, Highway 61 Re visited, for on the L.P. his sup porting, Beatlesque ensemble is toned down. One hears for the most part only Dylan, his guitar and harmonica. To get the full impact of the new Dylan sound one must hear him in person. At the Baltimore Civic Center last Sunday evening, Dylan spit phrases into the crowd at the dull scream level. Granted, he had to raise his voice in order to be heard above the electric guitars, drums, bass, piano and organ in his combo, but unfortu nately, the lyric purity of Dy lan’s earlier style disintegrates when confronted with this poly phonic noise. Dylan tants will argue that (1) by singing against a back ground of rock ’n roll, Dylan can reach not just the intellectually oriented folk ilk but everyone who can hear; or (2) Bobby D. doesn’t really feel rock ’n roll, he's actually mocking out those blind fools who idolize anything he does; or (3) he’s experiment ing in order to create a totally “new” sound, or (4) he hasn't found himself yet. Dylan’s fans* (Continued on Page 3)
Newspaper Details
Gettysburg Weekly Gettysburgian
Gettysburg, Pennsylvania, US
Fri, Oct 22, 1965
Page 2
Full Page
Clipped by
Chris H.
GB 02 Jun 2026
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