Life Bookazines - Bob Dylan - 2020

68 LIFE BOB DYLAN

Wilson, Bob Dylan—were at work in vastly different ways in

studios in London, L.A. and a pink-painted house in upstate

New York. They were making music that would endure,

and which of it proves most enduring will be interesting to

investigate a hundred years further on.

A

t the time, of course, the Big Pink sessions meant

little to Dylan besides the fact that they were fun

and fruitful, and he was able to bond with the guys

and with the dog. The daily jamming represented a distinct

break from what he had been up to just before the motorcy-

cle accident. No one was booing. Those sessions were good

in and of themselves, just for these little mercies. They were

revivifying.

In retrospect, it seems that, following the making of

Blonde on Blonde and now the quieter life in laid-back

Woodstock, it was natural for Dylan to return to Nashville—

that place, that pace, that sound. He did so, and produced

back-to-back country albums, John Wesley Harding and

Nashville Skyline. But they were different from each other,

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