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Ebook About Bob Dylan: Performing Artist 1986-1990 And Beyond is the third volume of US critic Paul Williams' widely acclaimed writings on the music and performances of Bob Dylan.In this final edition, Williams assess the influence of Dylan upon the later generations, the artist's self-proclaimed Never Ending Tour, as well as dissected two classic Dylan albums, Time Out Of Mind and Love And Theft. No stone is left unturned as the author charts the shifts in musical style and the response of this remarkable and unpredictable artist to the ever-changing musical landscape. A candid portrait of the independent and controversial singer/songwriter in an increasingly chaotic industry.Book Bob Dylan: Performance Artist 1986-1990 And Beyond (Mind Out Of Time): Mind Out of Time - The Accidental Art of a Performing Artist, 1986-1990 and Beyond Review :
Rock critics are a dime a dozen and none so sublime as Paul Williams who wrote three volumes of his series "Bob Dylan Performing Artist."In "Bob Dylan: Performing Artist Volume 3: Mind Out Of Time 1986 And Beyond", Williams, the founder of Crawdaddy magazine, takes the reader on a musical journey through most of Bob Dylan¡¯s concerts from his low in 1986 with The Grateful Dead to the Never Ending Tour rebound.If you follow the book with real listening you will be able to appreciate what Williams writes and add your own opinion on whether Dylan is a brilliant performer, William's claim, or not on a song by song basis. Williams is no fawning admiring. He knows a good Dylan performance from the bad one's and says so, but always with respect for the artist.You can read this book quickly although I think the commentary runs together after a while. This is not a book to be read in a sitting. It' best to follow his expert and entertaining critique by listening to the concerts.Casual Dylan fans will roll their eyes at the thorough read but for diehard Dylanologists and fans, Williams hits the right note.I have to admit I bought the book and lost it. My wife dug it out of her closet and put it on my desk. Oh yeah, another Dylan book to read I thought. But something encouraged me to start and now I can' put the book down. It quickly dawned on me "Mnd out of Time"could be as interesting as Christopher Ricks' "Dylan's Visions of Sin"Paul Williams just died on March 27, 2013 from brain injuries and from Alzheimer's disease. He and his family were devastated by the medical bills. So if you feel generous buy the book, read and enjoy it. You will be helping them cope with 15 years of punishing medical expenses. In Canada, the medical bill crisis would not have happened. Yeah for universal Medicare.If you just want to find out how Dylan got out the dumps in 1986, you can speed read it. Fans read on.Dylan fans only read and listenTo follow the book, you need the complete set of Bob Dylan studio, concert and bootleg releases from 1986 on. That's the easy part.Most of the concerts were never released and the book is about Dylan as a performing artist. A bit of detective work helps.That Bob Dylan fans have collected his bootlegs for 5 decades is a fact. The honest collector follows the Dylan bootleggers pledge to never copy or share commercially available discs.I find it annoying when a no-talent writer decides he knows more about Dylan and his work than Dylan. Williams is critical but gives homage to one of the greatest songwriters and performers of our time.Does that sound like a lot of work? No, it's fun and will while away many a dark hour before the dawn.Each chapter is rich in audio, video and print resources. The first chapter lists the following audio and video resources.Performing Artist Video sources1.Hearts of Fire - movie2.Getting to Dylan" - (BBC documentary)Performing Artist- Audio sources1."Knocked Out Loaded" (Sony)2."Down in the Groove" (Sony)3."Genuine Bootleg Series Take 2" (Sony)Performing Artist - Print sources1.Esquire Magazine "True Dylan" by Sam ShepherdYou're lucky in Chapter 1 since there are no concerts. By the time Chapter 3 is underway, you will be searching for "Dylan and the Dead" and the rehearsal tapes. In Chapter 4, the search will be on for those great "Temple in Flames" appearances backed by Tom Petty and the Heartbreakers.It will be a fun journey made easier by all the fans who have gone the road before and made these concerts available. Avoid at all costs those who package the concerts into CDs sold online. They are not in the true spirit of Dylan fan bootlegs.Hint - skip the Kindle versions of this book and get a bookmark or two.Paul Williams was the founder of "Crawdaddy" magazine, the first of its kind dedicated to rock music. Crawdaddy was eclipsed by "Rolling Stone Magazine" and Williams wrote for it as well.Williams was a big fan of science fiction writer Philip K. Dick wrote about him and managed the Philip K. Dick society. Dick of course was one of the greatest science fiction writers. Most people haven't read his books but have seen Dick's movies like "Blade Runner" "Total Recall" "Minority Report" and "Screamers"Paul Williams's other books on Bob Dylan include: Bob Dylan Watching the River Flow Bob Dylan Performing Artist I: The Early Years 1960-1973 Bob Dylan: Performing Artist, Vol 2: The Middle Years 1974-1986 Dylan's Visions of Sin Paul Williams demonstrated years ago that there is at least one well-known Dylan commentator who is wholly focussed on what the artist does, rather than on theories of his alleged role as mystic, guru or cultural revolutionary. In other words, he understands what Dylan's art form actually is: the writing and performing of classic songs. So an incidental pleasure in reading this book alongside Dylan's recently-released memoirs, `Chronicles' volume 1, is the confirmation that Williams was always closer to understanding what Dylan was up to than the many pretentious, more arty Dylanologists.This third volume of an already-superb series maintains that focus and meets the high standards set by its two predecessors. Here he takes up the pen again as if he finished the last volume only yesterday, instead of a decade ago. The continuity he achieves is a considerable achievement, and all the more so since the period covered [1986-1990] was almost certainly Dylan's most fallow. These are the days when Bob was struggling - for inspiration, for relevance and for audience. Williams captures that struggle admirably and, as always, he does not shirk the task. When something was awful he says so bluntly. Some of Dylan's low-ebb 1987 shows, for example, are described, as `a painful listening experience'. This type of candour is unusual among his fellow Dylan scribes, always excepting Michael Gray. But when the opposite assessment is made, it means we can have confidence that the enthusiasm is real and follows real assessment of the work. Listening again to the recordings, it is quickly clear that Williams' ratings are a far more reliable pointer to the quality of Dylan's performances than all those routine whoops and shouts that some find so irritating at many concerts.Ultimately that is the greatest attribute of all Paul Williams writings on Bob Dylan. He inevitably takes the reader back to the recordings - to the music and its performance. And given his mastery over four decades as a `performing artist' isn't that what Bob Dylan is all about? 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