Blood On My Tracks Disc 1 Song 10

Track 10. Dark Eyes

We knew you had it in you Empire Burlesque. So disc one begins with Jokerman and ends with Dark Eyes. Take that Bob in the 80’s critics! I have to admit that Empire Burlesque would be way down low on my Bob Dylan Album rankings (this could be my next list no one reads). That’s the thing about Dark Eyes though, it is separate from the rest of the record in sound, depth, and tone. This is also the quality that allowed it to follow Desolation Row. If Bob can stick this bad rascal on the end of Empire Burlesque, then I can do the same for disc 1 of Blood On My Tracks.

I would say Dark Eyes is the best (maybe one or two other songs) unheard song off an original Dylan album by sort of hip into Dylan, quasi casual yet appreciative of his Bobness, folks out there. It is my go to when many times I’ve been asked (sort of):

“Hey man, Time Out of Mind blew my brains out and I love all those albums from the 60’s and Blood on the Tracks, what song that I haven’t heard yet would kick my ass like that?”

“Have you ever heard Dark Eyes?”

“Dark what?”

“There you go, Dark Eyes all the way.”

Here is what Disc One looks like:

Disc 1

1. Jokerman - Infidels
2. Day of the Locusts – New Morning
3. Visions of Johanna – Blonde on Blonde
4. Blood In My Eyes – World Gone Wrong
5. Red River Shore – Tell Tale Signs
6. A Hard Rain’s A Gonna Fall – The Freewheelin’ Bob Dylan
7. True Love Tends To Forget – Street Legal
8. Mr. Tambourine Man – Bringing It All Back Home
9. Desolation Row – Highway 61 Revisited
10. Dark Eyes – Empire Burlesque

Hot damn that looks fine to me.

Pretty wild that I have the “big three” all on disc one – Bringing It All, Highway 61, and Blonde on Blonde. What could possibly be in store for Disc two, which could only pale in comparison (or maybe not).

Empire Burlesque is off the board (no tears to be found).

Blood On My Tracks Disc 2 Song 1

Track 1. Tangled Up In Blue

We all knew this was coming right? Right. My brother Brian and I have discussed on many separate occasions the importance of an opening track for an album. Sometimes I think I hide like a scared little baby from this album. It did not make my top ten list, and it could very well be better than all of them. The previously mentioned Eyolf Østrem who runs the dylanchords (click on Self Ordained Tab on the left and scroll down to Blood on the Tracks) site certainly thinks so.

I caught Springsteen a couple of times on the solo Ghost of Tom Joad tour. One show was in Birmingham and he started out with a preposterous version of The River. Bossman set the bar wayyyyy up there for that show like a challenge to himself and the intensity never waned from there. That’s exactly what Tangled Up In Blue does for Blood on the Tracks. It stands alone as probably my favorite first track (yet another future list…) and opens the doors to this classic album.

If I go with someone to see Bob Dylan live and they have never seen him this is the one I hope he plays. It never fails to ignite an audience and there has been many different lyrical incarnations of the song live. It’s a line of demarcation song for me, a black and white, which side are you on song. If you don’t like, hell if you don’t really like Tangled Up In Blue I simply will be unable to communicate with you about music nor would I want to. Right or wrong Tangled Up In Blue means that much to me.

Blood on the Tracks is off the board (slow tear falls as I go out of my mind with a pain that stops and starts like a corkscrew to my heart for If You See Her Say Hello, Idiot Wind, Simple Twist of Fate, Lily –Rosemary - and the Jack of Hearts, Shelter From the Storm, You’re a Big Girl Now).

Man I am so scared of Blood on the Tracks, I need a pacifier.

Bullying the Jukebox Volume 1 The Mayhaws - Lonely Places

Bullying the Jukebox Volume 1 The Mayhaws Lonely Places

I decided to take a little break from my by the numbers Dylan mix to start a new series entitled Bullying the Jukebox. This term comes from a song of the same name by The Bouncing Souls off of their CD Hopeless Romantic. I am beginning to see that I am becoming a prisoner of my time. I am hopelessly tied to the Compact Disc. I-Pods etc. be damned.

From time to time a bully comes around in the old CD case I carry in my car and is downright hateful towards its well respected brethren. When this fortunate for me, unfortunate to the other abandoned discs event happens I’m going to try to chronicle it here. For the last two weeks Mr. Bully has been in the surprising form of Lonely Places by Tallahassee locals The Mayhaws (bumping the former tough guy Together Through Life by Bob Dylan).

As chronicled I am knee deep in learning acoustic guitar, lots of calluses on fingers and blank stares from my Daughter Ireland and Hound Dog Cooper. As part of this I made up my mind to go out of the way to see if there were folks around Tallahassee playing the kind of stuff I eventually wanted to learn. In the newspaper (yeah newspaper – CD’s…old…) I saw a listing for an open bluegrass / folk session held at a local Irish themed joint called Finnegan’s Wake on the first Sunday of the month.

I went and I liked what I heard. Actually I really liked what I heard. There was a good mix of players; some near beginner, some midland, some hot. They all seemed to know each other pretty well and there was an open friendly vibe with the whole thing. Sitting and watching I wasn’t made to feel like an intruder or eavesdropper, which was nice.

Flexing my Google skills and simply asking folks “Hey who is that person?” I discovered The Mayhaws. A couple of the members had been there – Carrie Hamby and Dave Leporati. I liked the way Carrie sang and I liked the way Dave played mandolin. But mostly I dug their energy, it was all over them that they really loved the music.

I made it to a couple of Mayhaws shows (too infrequent!) the most recent being the CD release party for Lonely Places at Bird’s Aphrodisiac Oyster Shack. Don’t worry ma’ it’s a pretty friendly place. The show was real good and the place was stuffed. There was even an accordion fest during the break.

Despite another real good show I wasn’t too inclined to pick up a CD. Then I heard that distant whispering voice of my bride Tracy.

“Bet it’s good you cheap bastard.”

I’ve learned to listen to the inner wife voice (sometimes) so I picked up a copy for a fair price of ten dollars. My inner wife voice knew what it was talking about.

I do my fair share to support local music but on the same front if I don’t like it, I don’t like it. There is something in me incapable of tolerating music I don’t care for. It’s a character flaw and one I fear will show it’s ugly face as my daughter grows into her Hanna Montana years. When I’ve gone out locally most of the stuff is uninspiring, a rare surprise here and there but most of the time not so much when it comes to local bands, especially the records. The older I’ve got in my musification the more I appreciate the importance of record production. May be a good band or singer or whatever but the low budget record just doesn’t have the sound.

Then we have Lonely Places a big old 14-song collection of really enjoyable tunes. Of the 14 songs only 4 are covers leaving us ten possible insights into the collective spirit of the Mayhaws.

Some initial thoughts: Cheer up you guys. On second thought cheer down the title track really is a whopper, on third thought stop all medication, increase all drinking quotas and listen only to Townes Van Zandt or Johnny Paycheck records, Ride the Pine is great. The songs on the album written by Dave Leporati rejoice in the wonderful mystery that is head hung low honky tonk that makes one ask that eternal question: “Why do I love listening to songs that are so damn depressing? And are they depressing if they bring joy to my ears?”

A few highlights –

Track 1. Bite the Bitter – The info out there on Sharla June, who wrote and sings on this one, mention phrases like weird, quirky, strange but infectious. Well shit, I hear what they’re saying. First time around on Bite the Bitter I thought “that’s cute” second time around “this ain’t so cute.” third time around and after “that’s just a real good song.”

Track 2. Lonely Places – Yes! Unashamed to deliver a shameful, lonely, pathetic, Haggardy like song about drinking and misery. Carrie Hamby sings her you know what off on this.

“To make the only lonely face in this place fade awaaaaayheyyyyyyyyyyyyyy.”

Pop, fizz, gulp, ahhhhhhhhhhhhhhhhhhhh.

Track 3. Drivin’ on 9 - I just love the way Sharla June sings this, holding on to some words just long enough to keep them alive. Cool cover of a song I’ve never heard before.

Track 10. Ride the Pine – I played basketball in High School, well I didn’t play much I sat the bench which they called riding the pine. This song has nothing to do with High School Basketball folks. Iris Dement wrote “I live just the way I want to and that’s the way I should.” This is a eulogy for someone who lives that creed. Unapologetic and raw and really well played by the band here.

Track 11. Hard Times – No not that Hard Times, the ones lingering around this cabin door are of the self inflicted variety. This song is a good lesson for the kiddies and a truckload of fun. I played it for my Dad over in Lynn Haven and he busted out the infamous Jerry shuffle. When the old man breaks into “the most embarrassing aspect of being me” you have the official O’Dell stamp of approval.

Yeah, I know you’re probably a little wishy washy but go ahead and buy Lonely Places and you can thank me later, just buy me a couple of beers at the next Tallahassee Mayhaws show (whenever that is – hint hint). Make sure you apologize to your other CD’s, they will probably get a little bit jealous.

Blood On My Tracks Disc 2 Song 2

Track 2. Mississippi

The home of Jimmie Rodgers and Robert Johnson on that Highway 61 that leads right up to Hibbing Minnesota. I've got to say that Bob Dylan has written a grand statement for anyone in love with American Roots music.

“Only one thing I did wrong. I stayed in Mississippi a day too long.”

There is so much in that line, it really does say it all if you too are in love with those old songs. Like a Rolling Stone had the fire of someone on the way. Mississippi is just as alive with the fire of someone who has been there.

“My clothes are wet, tight on my skin
Not as tight as the corner that I painted myself in
I know that fortune is waitin' to be kind
So give me your hand and say you'll be mine”

The melody is one of his best, Mississippi is just a great song.

Love and Theft is off the board. Slow tear falls for High Water, Summer Days, Cry a While, Po Boy, Moonlight.

Blood On My Tracks Disc 2 Song 3

Track 3. I Dreamed I Saw St. Augustine

Oh man do I love this one. It is my favorite song to sing along to. From the first time I heard this off of John Wesley Harding it was pure magic. I’ve been to a number of Dylan shows (somewhere in the neighborhood of 25-30) and I always do a list of five songs I would like to hear. I Dreamed I Saw St. Augustine has been on each one. This was last played on 11/26/05 in Dublin (per the great last time Bob played a song blog).

Never did get a chance to see it live, but there’s always next show.

John Wesley Harding is off the board. Slow tear falls for I Pity the Poor Immigrant and The Wicked Messenger.

Blood On My Tracks Disc 2 Song 4

Track 4. Chimes of Freedom

Recently Murray Lerner released a time capsule bombshell documentary film entitled The Other Side of the Mirror: Bob Dylan at the Newport Folk Festival. It chronicles the performances by Bob Dylan from 1963-64-65 at the festival. It is hard to fathom the change from the first performance, a sit down version of North Country Blues (where he looks like what he was, a very young kid engrossed in the folk idiom) to the final performance including the infamous going electric set with Maggie’s Farm, Like a Rolling Stone rattling the cages.

Bob jokes on the Scorcese Documentary No Direction Home that he went to the crossroads. That old Robert Johnson blues legend of selling your soul to the devil to be able to play “it”. When you watch this documentary the concept doesn’t seem so ridiculous.

The apex for me was not the electric set but instead the earth moving, hollering version of Chimes of Freedom that closes out the 1964 session.

After seeing this on film in that setting I now believe that Chimes of Freedom is the best song he has ever recorded which would mean it is possibly the greatest song in recorded history. How is that for over the top hyperbole!

Here it is…

Chimes Of Freedom

Far between sundown's finish an' midnight's broken toll
We ducked inside the doorway, thunder crashing
As majestic bells of bolts struck shadows in the sounds
Seeming to be the chimes of freedom flashing
Flashing for the warriors whose strength is not to fight
Flashing for the refugees on the unarmed road of flight
An' for each an' ev'ry underdog soldier in the night
An' we gazed upon the chimes of freedom flashing.

In the city's melted furnace, unexpectedly we watched
With faces hidden while the walls were tightening
As the echo of the wedding bells before the blowin' rain
Dissolved into the bells of the lightning
Tolling for the rebel, tolling for the rake
Tolling for the luckless, the abandoned an' forsaked
Tolling for the outcast, burnin' constantly at stake
An' we gazed upon the chimes of freedom flashing.

Through the mad mystic hammering of the wild ripping hail
The sky cracked its poems in naked wonder
That the clinging of the church bells blew far into the breeze
Leaving only bells of lightning and its thunder
Striking for the gentle, striking for the kind
Striking for the guardians and protectors of the mind
An' the unpawned painter behind beyond his rightful time
An' we gazed upon the chimes of freedom flashing.

Through the wild cathedral evening the rain unraveled tales
For the disrobed faceless forms of no position
Tolling for the tongues with no place to bring their thoughts
All down in taken-for-granted situations
Tolling for the deaf an' blind, tolling for the mute
Tolling for the mistreated, mateless mother, the mistitled prostitute
For the misdemeanor outlaw, chased an' cheated by pursuit
An' we gazed upon the chimes of freedom flashing.

Even though a cloud's white curtain in a far-off corner flashed
An' the hypnotic splattered mist was slowly lifting
Electric light still struck like arrows, fired but for the ones
Condemned to drift or else be kept from drifting
Tolling for the searching ones, on their speechless, seeking trail
For the lonesome-hearted lovers with too personal a tale
An' for each unharmful, gentle soul misplaced inside a jail
An' we gazed upon the chimes of freedom flashing.

Starry-eyed an' laughing as I recall when we were caught
Trapped by no track of hours for they hanged suspended
As we listened one last time an' we watched with one last look
Spellbound an' swallowed 'til the tolling ended
Tolling for the aching ones whose wounds cannot be nursed
For the countless confused, accused, misused, strung-out ones an' worse
An' for every hung-up person in the whole wide universe
An' we gazed upon the chimes of freedom flashing.


If you haven’t seen the documentary the performance actually DOES THIS SONG JUSTICE.

Another Side of Bob Dylan is off the board. Slow tear falls for Ramona, Bob Dylan’s Dream, My Back Pages, I Don’t Believe You

Blood On My Tracks Disc 2 Song 5

Track 5. Oh Sister

This is consistently an outstanding live song. In the Rolling Thunder Review “Bootleg Series” release version Dylan really belts it out. He even lays it on heavier on the release Hard Rain. That Scarlet Rivera violin that is peppered throughout Desire really is the focal point musically. Along with the vocals of Emmylou Harris it drives home the desperate longing of the lyric.

Oh Sister is a beautiful song.

Desire is off the board. Slow tear falls for Hurricane, One More Cup of Coffee, Romance in Durango, Black Diamond Bay, Joey

Blood On My Tracks Disc 2 Song 6

Track 6. Most of the Time

Oh Mercy man, Oh Mercy is one hell of an album. It set the Dylan parameter for me when I was in the initial phases of getting hooked. Bob Dylan was the 60’s icon, world changer, but he was also the guy who did Man in the Long Black Coat, Ring Them Bells and Most of the Time. Same guy, different universes. One of my favorite writers / bloggers is a guy named James Howard Kunstler, his main thing is architectural aesthetics and peak oil. His book The Geography of Nowhere is an insightful read about the development of American Suburbia focusing on the power plays of the automobile industry. He can be a grump ass about things (his weekly update is called Clusterfuck Nation) but I buy what he is selling usually.

On his website he reviews Chronicles Volume I (Bob’s self penned sort of autobiography) and in it he states the following:

“And by that, I include the possibility that he saw the danger of becoming a fraud, of slipping across a frontier into self-parody and baroque pretentiousness, which was almost the case with his 1966 magnum opus Blonde on Blonde. And after that Bob Dylan kind of flamed out.


It was one of the longest swan songs in the history of any art. He continued to produce an impressive stream of recordings for nearly forty years after that. The first of these, John Wesley Harding, was in its own right a perfect statement of Dylan's predicament and an appropriate announcement of his resignation from the post of generational bard. "Dear Landlord, please don't put a price on my soul. . . ." It contained one great song ("All Along theWatchtower"), and some pretty good songs ("I Dreamed I Saw Saint Augustine"), but the mystical language now seemed forced (e.g. "The Ballad of Frankie Lee and Judas Priest"). The kernal of Dylan's genius, his supernatural conviction in his own doings, had cracked for good. Perhaps that conviction had been part of the act, too, but if it was, he had pulled it off masterfully for a decade. The many albums that followed were not devoid of interesting and sometimes even moving songs. Here and there the ghost of the old spark flashed. But after 1970, something essential was missing.”



It is this type of perspective that really makes me glad that I was born and got into Dylan long after that 60’s explosion. This is a common viewpoint, a pigeonhole, that you can understand if you lived when this stuff was hitting the shelves. It is that “back in my day (insert anything) was better”. I came from a place where in the same six months I took in Just Like a Woman, I Believe In You, Song to Woody, and Most of the Time all together. My evaluation of Dylan was on the whole, not based on my opinion of the previous. And for this review Kunstler is just wrong. Oh Mercy, not just a song but the whole record, should never on any planet be lumped into the category of a swan song. It is different, for sure, BUT JUST AS HEAVY, VITAL and MIND BLOWING.

When Springsteen inducted Dylan into the Rock and Roll Hall of Fame he mentions that Dylan was unjustly placed in his own shadow and that if anyone out there was writing Every Grain of Sand or Sweetheart Like You they would be calling him the next Dylan. I nod my head in agreement Springsteen.

Kunstler concludes his review by stating with certainty that history will judge Dylan as the most important artist of his generation. What I have issue with is that “my generation” ownership label. I believe that Dylan is America’s Shakespeare and that history will prove him to be the most important artist since the formation of our country and this is due in large part to the entirety of his work. To go back to a previous thought he is the same guy who wrote Visions of Johanna AND Most of the Time (Not to mention the ridiculous roll he has been on since World Gone Wrong).

Oh Mercy is off the board. Slow tear falls for Ring Them Bells, Political World, Disease of Conceit, Man in the Long Black Coat, Shooting Star, What Good Am I?, Where Teardrops Fall.

Blood On My Tracks Disc 2 Song 7

Track 7. Not Dark Yet

This lighthearted little ditty is the centerpiece of the atmospheric and hypnotic album Time Out of Mind. At the execution houses in the U.S.A. there is the publicized shout of “dead man walking” when a member of death row is being escorted. You could take out the shout and insert “Not Dark Yet.” A lot of speculation about Time Out of Mind in general focused on a near fatal condition Dylan had but as the timeline played out these songs were recorded before that; but nonetheless Not Dark Yet emphasizes the impending, unavoidable ending of something.

Personally I see Not Dark Yet as a testament to the idea of holding on to something you should let go but simply can’t. The tune has an anthemic military march feel. The vocals are perfect here, a great rebuttal to the ever-present “Dylan can’t sing” argument.

“I was born here and I'll die here against my will
I know it looks like I'm moving, but I'm standing still
Every nerve in my body is so vacant and numb
I can't even remember what it was I came here to get away from
Don't even hear a murmur of a prayer
It's not dark yet, but it's getting there.”

Gulp. Talk about growing and evolving in your art. Dylan has stated that he couldn’t write songs like the ones on Highway 61 Revisited or Bringing it All Back Home again. Well, just as true is that the prodigy Dylan who wrote It’s All Over Now Baby Blue couldn’t have written Not Dark Yet. He could sound like he had been there but he couldn’t write it, no way.

Time Out of Mind is off the board. Slow tear falls for Love Sick, Standing in the Doorway, Cold Irons Bound, Highlands, Trying To Get To Heaven.

Blood On My Tracks Disc 2 Song 8

Track 8. Nettie Moore

Dylan has received a torrent of criticism for Modern Times in the arena of plagiarism for the musical and lyrical content. Give me a break. I too have my discovery and analysis, in the song Nettie Moore he uses what sounds like an E chord. Thief! I will nudge a little and say Bob could have put some basic acknowledgements on the liner notes but the fervent angry ones out there simply were looking for vulnerabilities in the armor. Many of the arguments are well based and argued with intelligence and foresight but in the end it all adds up to a big so what.

Nettie Moore takes its title, and some of its chorus, from an 1857 composition "Gentle Nettie Moore" by Marshall Pike and James Lord Pierpont. (I stole that line from Wikipedia). This is a gorgeous song and a testament to Dylan’s own production and understanding of how he wants his stuff to sound. On the first few listens Nettie Moore kind of slipped by my ears, being pinned between Working Man’s Blues # 2 and Ain’t Talkin’, but soon it grew a life of its own and is currently my favorite song on Modern Times.

Modern Times is off the board. Slow tear falls for Working Man’s Blues # 2 and Ain’t Talkin’.

Blood On My Tracks Disc 2 Song 9

Track 9. The Lonesome Death of Hattie Carroll

In my previous top ten albums of all time I have The Times They Are A Changin’ at number 4. As part of the write up I stated

The Times They Are A-Changin' is a fierce piece of American history and for my taste is the best representation of the power of one person with a guitar and a song.

On no track is this power more evident than The Lonesome Death of Hattie Carroll. The kind of stuff in it that changes hearts instead of minds. The topical song of all topical songs, a bellringer, a knuckle sandwich, a venomous stab at haves and have nots and the systems that perpetuate their positions. Bob’s best closing verse. He shines a light on Bourgeois William Zanzinger and we sit and shake our head with self assurance at his self importance and abuse of poor Hattie Carroll then with a blinding shift Dylan puts on the high beam and turns the light on all of us, himself included.

"In the courtroom of honor, the judge pounded his gavel
To show that all's equal and that the courts are on the level
And that the strings in the books ain't pulled and persuaded
And that even the nobles get properly handled
Once that the cops have chased after and caught 'em
And that the ladder of law has no top and no bottom,
Stared at the person who killed for no reason
Who just happened to be feelin' that way without warnin'.
And he spoke through his cloak, most deep and distinguished,
And handed out strongly, for penalty and repentance,
William Zanzinger with a six-month sentence."

"Oh, but you who philosophize disgrace and criticize all fears,
Bury the rag deep in your face
For now's the time for your tears."

That word bury explodes through speakers. Leaving in it’s path pure American enlightenment.

The Times They Are A Changin’ is off the board. Slow tear falls for Restless Farewell, One Too Many Mornings, With God On Our Side, Only a Pawn In Their Game, When the Ship Comes In.

Blood On My Tracks Disc 2 Song 10

Track 10. Every Grain of Sand

This song was going to anchor Blood On My Tracks and I knew it from the beginning of the concept. Every Grain of Sand is such a dear sweet friend to me, a relentless comforter. It stays with me on my journey - together through life. It touches my heart, the best parts of me and recalibrates my perspective. The harmonica solo within is the paradigm of beauty for me, it was the music I heard when I first held my daughter.

Like it always has been it was right there with me, just like it is in “my hour of deepest need.” Every Grain of Sand opened up a world of spiritual birth and beauty for me. Through it, this song, I came to an appreciation of awe in something more that what I can simply see or touch and it wasn’t under anyone else’s definition or terms but my own as I reflected on Every Grain of Sand.

Every Grain of Sand connected me with something I believed all along, deep down in there, that there is more to life than meets the eye. It was my initiator for a sense of wonder and I will always be indebted to it for that. I can say with conviction that this song fundamentally changed me, and the way the world looks through my eyes.

I believe a song can do that because Every Grain of Sand did it for me.

Shot of Love is off the board. Slow tear falls for In the Summertime, Property of Jesus, The Groom’s Still Waiting at the Altar.

Blood On My Tracks Summary

Well here it is if you dare to mix this:

Blood On My Tracks


Disc 1

1. Jokerman - Infidels
2. Day of the Locusts – New Morning
3. Visions of Johanna – Blonde on Blonde
4. Blood In My Eyes – World Gone Wrong
5. Red River Shore – Tell Tale Signs
6. A Hard Rain’s A Gonna Fall – The Freewheelin’ Bob Dylan
7. True Love Tends To Forget – Street Legal
8. Mr. Tambourine Man – Bringing It All Back Home
9. Desolation Row – Highway 61 Revisited
10. Dark Eyes – Empire Burlesque

Disc 2

1. Tangled Up in Blue – Blood On The Tracks
2. Mississippi – Love and Theft
3. I Dreamed I Saw St. Augustine – John Wesley Harding
4. Chimes of Freedom – Another Side of Bob Dylan
5. Oh Sister - Desire
6. Most of the Time – Oh Mercy
7. Not Dark Yet – Time Out of Mind
8. Nettie Moore – Modern Times
9. The Lonesome Death of Hattie Carroll – The Times They Are a Changin’
10. Every Grain of Sand – Shot of Love

Available albums not used:

Bob Dylan, Nashville Skyline, Self Portrait, Pat Garrett and Billy the Kid, Dylan, Planet Waves, The Basement Tapes, Slow Train Coming, Saved, Knocked Out Loaded, Down in the Groove, Under the Red Sky, The Bootleg Series Vol 1,2,3, Good As I Been to You.

Thoughts:

I was surprised that nothing from the Bootleg series Vol 1,2, and 3 nudged in. This was due to many of my favorite tracks from this collection being above # 10. In that lies the big flaw of this mix, which is that all the songs with track listings 11 and higher are left out. I actually am pretty excited about putting this together to see how it sounds.

Bob’s power 60’s period did flex muscle with Freewheelin, The Times, Another Side, Bringing It All, Highway 61, Blonde on B, and JW Harding making a stretch of 7 straight eligible releases to have a song in the mix. The latter day revival had a four-fer with WG Wrong, Time Out, Love and T, and Modern Times included – remember I did not include Together Through Life as it hasn’t aged enough for fair consideration.

The longest eligible stretch with no songs was only three – Pat Garrett, Dylan, Planet Waves.

So what would your mix look like? I’d love to see it.