"Does the guy really need the money that bad?"
Well, the partial (at least) answer is: "yes". Dylan should be looked at in an historical perspective when it comes to this. While I don't really appreciate his Victoria's Secret moments or the recent "commercialization" (yes, it is to make money), one needs to understand that Bob was truly ripped off by his manager and record company in his prolific years of the early to late 60's. He does not, in fact, own the rights to most of his great songs. Ironically, (someone correct me if I'm wrong, I don't have the new CD or record) I believe he is now taking writing credits for rehashed versions of old blues songs on his most recent Modern Times (the song I'm referring to is "Someday Baby" which Bob is really stretching to say he wrote-he may have re-jigged a new verse or two but this is a very heavily recorded and performed blues tune-if he does not take a writing credit on the new album I apologise for my mistake but that was what was implied when the song was played on the radio last week-by the way, I love his interpretation of the song.) cashing in on artists from the past who were just as exploited as he was early in his career. But Bob has always been a "medium", if you will, in which big chunks of historical Americana (both musically and lyrically) have been cranked into what has ultimately become popular music. That is what he is all about. That he is now trying to benefit somewhat monetarily is, I suppose, somewhat crass, but, personally, I can forgive him for that in that his recent work, although maybe not up to the high standards of his early career, is certainly not artistic drivel and is heads and shoulders above most of the crap we are subjected to today on FM radio. Yes, he tours relentlessly, but his ticket prices are reasonable by today's standards and Bob toured just as much, or more, in the very lean years of the 80's and early 90's. Any guy that plays small baseball parks and has kids under 12 admitted free to the shows can't be all that bad. The Stones, whose early stuff I also really admire, avoided being ripped off and have proceeded to become the ultimate commercial machine. In my view, Bob is really not like that. He is more of a troubador, much like the old blues players like Muddy Waters, Howlin Wolf, Junior Wells and others who have now left us, but played right up until their deaths. And Bob may be checking out soon, too, so I plan to see him while I can. From what I can see of popular music, there probably won't be another on like him for a long time.
