“HOW MANY BOB DYLAN studies must one man read before you call him a hopeless Dylan obsessive?” was not a line considered for inclusion in Dylan’s totemic “Blowin’ in the Wind” of 1962. But as the latest volume dedicated to the great man hoves into view, the question is worth asking.
is the latest rumination by Greil Marcus on the phenomenon born Robert Allen Zimmerman in Duluth, Minnesota, in 1941. In the very crowded field of chroniclers of the 1960s prodigy of American song, Marcus is the pre-eminent voice, his authority cemented by (1997), a commentary on the Basement Tapes (1967-68, spruced up and released in 1975) and a significant event in the restoration of Dylan’s critical reputation, then at
