Just wanna see where you guys stand on stuff.

I haven't been exposed to much of his material - but I sure appreciate what you've described there.... and the impact he's had on you.

I know it sounds odd, man.

The "haunted frightened trees", are you familiar with Southern Live Oak? I'll post an example photo. Being right there on the bay, no telling how many hurricanes they have seen, before they were cut down to build a blacktop parking lot. What a sin.

The "circus sands", what the hell does that even mean. But you know it when you see it, especially at night standing under the "diamond skies", that's what it looks like, the sand, like little circus tents all along the beach.

The clincher, "to dance beneath the diamond skies with one hand waving free". Although I didn't Fly Fish there, that is how I have often described Fly Fishing, an art, a dance. But casting a spinrod it's the same motion. A dance, with one hand waving free.

The song literally coincides with my memory of the place, and I being there. Its as if, if I had the gift that Dylan has with words, that is how I would describe it. It's very strange, and beautiful. He often has that sly little grin, a shrug of the shoulders, like he knows something. He's got a secret, it's up to you to figure it out. Throughout his career, everytime someone would try to peg him into a slot such as "the voice of a generation", "you got the wrong guy" he would say.

Mr Tambourine Man he is playing tuned down open D on the 6th string, the top string. When he plays the "G" chord he lets that D ring. He leaves the 1st string open E. He fingers the 2nd string 3rd fret, D. I'm not sure what you would call that chord, but it's beautiful, particularly in context. You could play the song just substituting G maj. You could, it just wouldn't be the same.

Southern Live Oak

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Personally, I like Dylan's vocals. It is what it is. He is who he is
Granted, I haven't listened to anything of his past "Infidels", but I really dig his vocals. Many vocalists are sort of in the ear of the beholder and I can understand why one may not like Dylan's vocals, but I liked 'em up 1983.

The thing with Dylan though, is that he absolutely revolutionized the art of the lyric in popular music. If you listen to any lyrics from say, 1946 through to 1964, there are the odd examples here and there of a lyric that didn't fit into the popularly accepted realm of pop song lyrics. "Strange Fruit" for example, is a mega lyric and encapsulates the experience of an entire group of people over decades. But for the most part, most controversial things said in songs were sanitized or disguised. And hardly anyone wrote what appeared to be stream-of-consciousness lyrics.
Then came Dylan with songs like "Mr Tambourine Man" and Subterranean Homesick Blues" and "Queen Jane Approximately" and "Desolation Row"....and even breakout lyrics like "Satisfaction", "Get off of my cloud", "A well-respected man" and "My Generation", which in themselves were groundbreaking from a UK point of view, or "Eve of Destruction", were trailing in his wake because almost every Dylan song was tearing up the rule book on lyrics in popular music {Bob Dylan's 115th dream !}. That actually gave the English guys like Pete Townshend, Mick Jagger, Keith Richards, George Harrison, Ray Davies and John Lennon the courage to go further with their lyrics and depart the boy-girl nature of their early output.
It's not even a matter of whether one even likes Dylan or not ~ the chronological fact is that popular music can be divided into lyrics prior to Dylan and lyrics after Dylan. It's no coincidence that "Bringing it all back home" and "Highway 61 revisited" both preceded the Beatles' "Rubber Soul." It's also quite interesting that Lennon said he stopped listening to Dylan with both ears after "Highway 61."
Naw, Bob Dylan took the chances and did the heavy lifting from which every lyricist since benefitted. They don't even have to know it.
 
couldn't stick 'Mr Tambourine Man'.
The first version of it that I heard and liked was the Byrds' version. Then about 5 years later, I fell in love with Melanie's version. It was 15 years after that that I heard Dylan's original and it bowled me over. It's one of the few songs I've ever heard, where I loved other versions for years, then heard the original and fell in love with it. Usually, I go for the first version of a song that I like.
 
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