Bob Dylan has long been something of a mystery to me. I’ve found it a challenge to connect with the poet/troubadour’s records, particularly the early, earnest folk records. Those sparse canvases scrawled on by the whiny voice and caterwauling harmonica leave plenty of space to notice the imperfections. Yet when offered the chance to pick some books from my fiend Steven’s legacy, I found myself drawn to Clinton Heylin’s doorstopper biography, Behind The Shades. At 900 pages, it’s an epic; a teeming city of highways and alleyways, gardens and rubbish dumps, slums and high rise castles. I will never read this, I thought, but I took it anyway. Why not own the definitive tome about an artist whose career measures over a linear foot of shelf space in the Vinyl Connection collection? It seemed more than likely that I’d spend no more time with the book than with those albums, only a couple of which I’d claim to really ‘know’. That is the thing with a big collection; the larger it gets, the more thinly spread your knowledge, the sketchier your appreciation.
Steven had lots of Dylan too. Most of the records went to new homes as I worked my way through the redistribution of his collection. But some I kept. I was drawn to add vinyl versions of the first three Dylan LPs to upgrade CDs acquired cheaply over the years. Threadbare, discoloured vinyl LPs seemed more authentic than shiny discs in neat plastic boxes. More folky, more smokey. I remember Steven standing in the doorway while he lit a cigarette, one Friday night. It was his concession to not polluting the air for his guest, which was thoughtful but kind of pointless as the whole house stank of stale smoke. We were talking about what we’d recently bought, music-wise, chuckling as each disclosed the purchase of ‘even more Dylan’ from a local chain store’s mark-down bins. I don’t even like him that much, I said. No, agreed Steven, but you have to buy them, don’t you? I mean, it’s Dylan.
Maybe dipping into the Heylin book was a way to honour my friend, but the rediscovery of a pleasure I’ve enjoyed over the years: reading a rock bio while listening to the music being discussed on the page. Clinton Heylin writes well, and his research on Dylan is exemplary. I found myself drawn into the story, learning things I’d never known, like how Dylan loved early rock and roll, or his burning desire to become a successful singer/performer. Voracious in his consumption of folk music, sponge-like in his incorporation of others’ work, attentive to who was doing what and thus what he could appropriate, Dylan was a small lightning-flecked weather system that rolled into New York in January 1961 determined to succeed. That is all captured on the debut LP, which I heard through new ears, as if for the first time. Now I felt the intensity of the young man’s ambition, the rage that demanded movement, the gauntlet thrown down at the world. Listen to me! Infused with self-belief, bubbling with passion, entirely rough around the edges, frustrated with everything including his own limitations, Dylan’s first album is no musical triumph but an essential document in understanding his journey. It’s a photo, a snapshot, a glass container packed with acoustic explosives, a portrait of a young man full of piss and vinegar and demanding to be heard. A voice coming to life. A life demanding to be lived.
I’d love to talk about it all with Steven but that’s not an option. We all get remaindered eventually.

