We are a commune of inquiring, skeptical, politically centrist, capitalist, anglophile, traditionalist New England Yankee humans, humanoids, and animals with many interests beyond and above politics. Each of us has had a high-school education (or GED), but all had ADD so didn't pay attention very well, especially the dogs. Each one of us does "try my best to be just like I am," and none of us enjoys working for others, including for Maggie, from whom we receive neither a nickel nor a dime. Freedom from nags, cranks, government, do-gooders, control-freaks and idiots is all that we ask for.
Somehow I completely missed Dylan's 2012 album Tempest.
From one review:
Tempest is certainly his strongest and most distinctive album in a decade. The sound is a distillation of the jump blues, railroad boogie, archaic country and lush folk that Dylan has been honing since 2001's Love and Theft, played with swagger and character by his live ensemble and snappily produced by the man himself. A notoriously impatient recording artist, Dylan seems to have found a style that suits his working methods. Drawing on the early 20th-century Americana that first grabbed his attention as a young man (and that he celebrated in his Theme Time Radio Hour shows) and surrounding himself with slick, intuitive musicians capable of charging these nostalgic grooves with contemporary energy, his late-period albums seem a continuation of his tours, as if he rolls right off the stage and into the studio and just keeps rocking.
I'm a bit confused. When Pete Seeger died everyone jumped on the bandwagon to diss his middle-class origins and his ersatz folk music and his association with the communist party. Woody Guthrie's name was also brought into the mostly critical comments.
Robert Bob Dylan Zimmerman gets a pass even though he associated closely with both these guys and admired them for their courage, stand up for the working guy, and the assumption is easily drawn that Bob shared their political beliefs.