Times They Are A-Changin [Original recording remastered]

As early as his third album Dylan started showing signs of the changeling artist that we know today. And we all know that he kept on changing and changing throughout the years. In fact, for Dylan the times never stopped changing. It remains true today.

Dylan's previous album from 1963, "The Freewheelin' Bob Dylan", was funny and rollicking in places. The lighthearted struck a good balance with the morose. 1964 saw a new album with a totally new mood. "The Times They Are A-Changin'" shot wildly to the morose side of the spectrum. It contains mostly down and out stories of tragedy and "world gone wrong" tales. Nothing here inspires laughter or joy. The still very young Dylan weaves lyrics and tunes with the sensibility of one who has "seen it all and is sick of it". Regardless, this album remains one of Dylan's greatest albums, though its darkness may not appeal to everyone.

Dylan does his best Woody Guthrie impersonation on the cover (the photo almost completely mimics an early photo of Guthrie). To get a sense of just how much Dylan looked up to Guthrie, read Dylan's own "Chronicles, Vol. 1". There he speaks about the first time he heard Guthrie's music. He may as well be speaking about the rapture. The experience changed Dylan forever, and had a lasting influence on his music. "The Times Are A-Changin'" represents the pinnacle of that influence. One could almost call it a tribute to Guthrie's legacy (though admittedly Guthrie also had a well developed lighthearted side). Guthrie's own "Dust Bowl Ballads" evokes a similar mood to this album. Both albums take themselves very seriously and succeed incredibly.

This album put Dylan right in the spotlight of the then burgeoning folk-protest music movement. It's not hard to see why with calls to social revolution such as the title song. Many since have appropriated this song to their own ends. But it still remains Dylan's own. He continues to play it on tour in many forms and arrangements. "With God on Our Side" explores the history of the United States and the killing it did under the banner of "God". "One Too Many Mornings" seeps with weariness of life. "Only A Pawn in Their Game" explores power and class: the exploiters and the exploited and those who use people as a mere means to selfish ends. "Boots of Spanish Leather" uses the melody of "Girl From the North Country" to a different end. "The Lonesome Death of Hattie Carol" revisits class and exploitation. A rich man gets off with a paltry penalty for killing one of his maids. The closing song, "Restless Farewell", mournfully expresses retribution and acceptance of the world as it is. It's an appropriate close to an album filled with stories about some of the worst life and civilization have to offer.

Following the dismal themes and yearning music of "The Times Are A-Changin'" Dylan turned slighty toward the humorously ridiculous on his next album. He never again made an album as seriously world weary as this one (though some defintely come close). Not only that, this album stands as his folk/protest swan song. In just one more year Dylan would appear with an electric band and get booed for his adventurousness. And then his lyrics started to take on more abstract, opaque, and poetic themes. In short, he soon began to move away and alienate himself from the folk scene. According to "Chronicles, Vol. 1" he had succeeded a little too well with the protest crowd. Some people started referring to him as "saviour". They demanded that he lead them. Dylan simply (and understandably) didn't want the job. So he left his main fan base and a few incredible albums behind him (and soon found a new fan base who listened to his new incredible albums).

"The Times They Are A-Changin'" remains one of the high points of Dylan's early acoustic "phase" that stretched from the beginning of his career to roughly 1965. It's constructed solidly and a theme with an unmistakable undertone runs through it. Whether people agree or disagree with its message in the end it inspires thought about some of the issues that affect all of us even to the present day.

Dylan's third album finds him writing songs with a heavily political bent, taking ideas from newspapers and setting them to old and new folk melodies. Though it lacks some of "Freewheeling"s light-hearted moments, "Times" comes across as more mature, often more emotionally moving, and darker. The title track became a Dylan anthem and concert staple. "Ballad Of Hollis Brown" is one of my personal favorites--the folk guitar and brooding story are perfect, with a clever ending. "One Too Many Mornings" is a bit darker on this disc than on Nashville Skyline, but is also folkier. "Boots Of Spanish Leather" is an excellent and touching love song. "Hattie Carrol" is one of Dylan's most famous newspaper songs, and stirs feelings of racism and the fallibility of the justice system. The closer is somber and characteristic of the whole album, but I like the whole thing. Dylan's voice is good (better than on Another Side of Bob Dylan) and the songs fit well together in the album's scheme. This is Dylan's last protest album, and sees Dylan at the top of his protest period. Recommended if you like acoustic folk, and suggested that you take a few listens to let it really sink in!

The audio quality of this CD easily beats the previous champ, the vinyl Mobile Fidelity Sound Labs 1/2 speed master. It mops up the floor with the standard CD issue and discards the filth in the wastebasket. It has nothing to do with being "louder" as one hapless reviewer states. The original CD was pinched, colored, and distressed.

"The Times They Are A-Changin'" is classic Dylan of course and little need be said about the superb quality of the performances and the songs.

This CD also contains a few previously unpublished photos from the recording sessions.

Although the booklet doesn't say so, I believe this was DSD mastered. Steve Berkowitz, also uncredited on this remaster, is in charge of the overall remastering of Dylan's catalog. He deserves a lot of thanks.

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