Bob Dylan


 * Bob Dylan has exercised a greater influence on subsequent generations than any other singer or musician who emerged in the 1960s. He has also gained a loyal, worldwide fan following and, as the first pop singer to appeal to an educated, "intellectual" audience, has been the subject of a vast amount of literature - all of this in spite of the mixed critical response to his work following his heyday in the 1960s and 1970s. Wikipedia's article on Dylan contains a full account of his career, which, as of 2012, is still ongoing.

Links to Peel

 * In Margrave of the Marshes, Peel relates that he was introduced to Dylan's work during his early years in the US by his Texan girlfriend Nancy, but admitted he did not share the uncritical reverence much of his generation expressed for Dylan and his work. His DJ career in the US coincided with Dylan's rise to fame and switch from folk to pop, which produced a series of chart hits which were on the playlists of the Top 40 stations where John Ravencroft (as he was then known) worked. He contiued to play Dylan's work on his return to England, at first on the Perfumed Garden, where songs from Dylan's 1965-66 albums, such as "Gates Of Eden", "Tombstone Blues" (with "guitaring" by Mike Bloomfield), "Desolation Row" and his favourite, "It Takes A Lot To Laugh, It Takes A Train To Cry", which was later featured in the Peelenium.

tbc....
 * Peel was never entirely dismissive of Dylan; his attitude to the singer resembled that of the historian (and jazz lover) Eric Hobsbawm, who in his autobiography Interesting Times: A Twentieth Century Life (London, 2003) acknowledged Dylan's "fragments of genius" but ultimately found him "a potential major poet too idle or self-absorbed to keep the muse's attention for more than two or three lines at a time" (p.252)
 * Peel was never entirely dismissive of Dylan; his attitude to the singer resembled that of the historian (and jazz lover) Eric Hobsbawm, who in his autobiography Interesting Times: A Twentieth Century Life (London, 2003) acknowledged Dylan's "fragments of genius" but ultimately found him "a potential major poet too idle or self-absorbed to keep the muse's attention for more than two or three lines at a time" (p.252)

Sessions

 * Number of sessions? Any commercial release of sessions?

1. Recorded: YYYY-MM-DD. First broadcast: DD Month YYYY. Repeated: DD Month YYY 2. Recorded: YYYY-MM-DD. First broadcast: DD Month YYYY. Repeated: DD Month YYY etc
 * Song title / Song Title / Song Title / Song Title
 * Song title / Song Title / Song Title / Song Title

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Other Shows Played
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 * DD Month YYYY: Song (single/album) Label