Bob Dylan – The Ghost of Woody Guthrie Review

Influential figures in the early years of Bob Dylan are easier to chart than the contemporary impact. He was an open book in those early years, still plagued by a mystery which would evolve his sound but his roots are simple to trace. The Ghost of Woody Guthrie, an unofficial compilation of tracks predating the self-titled debut, look to shine a light on those rewarding days of easily influenced sound. Where cover tracks and scribbles which would form some of the best years for Dylan as an artist were put together. A compilation built from a few pieces of The Gleason Tape and spilling out into a few other recordings of varying quality, these are the best ways to experience the earliest years of Dylan. There is no rhyme or reason to this but the rarity of the tracks speak for themselves. 

Opener Handsome Molly in this context is a lush working, the sailing of the sea and the early portions of Dylan’s wandering characters are already established with such a bold clarity. Recognisable acoustic flourishes can be found within and much of it is reliant on the Guthrie covers within. Pastures of Plenty is nothing shy of tremendous. Considering how monumental the noise made by Guthrie was during his time as a touring and recording artist, it is magnificent how Dylan captured the grooves of his heartfelt lyrical styles, and at such an early point in his career. Guthrie covers are a real joy to listen to regardless of the quality – though a few standouts on The Ghost of Woody Guthrie are certainly those of a better sound. This Train is Bound for Glory has a crackly and echoed sound thanks to decades of wear and tear, but it adds a fascinating layer to the listening opportunity.  

Replicate the radio with some noise-cancelling headphones and The Ghost of Woody Guthrie feels like stumbling across an old country radio station while on a late drive. There is an emptiness to some of these tracks – a real positive when it is of the one man and his guitar variety. Take How’d You Do as an example of this. A crackle and quiet sound which feels more like hearing some twang of country noise in the background of another, everyday task. The Ghost of Woody Guthrie has a shocking presence to it – yet at the same time serves as an intricate display of Dylan adapting the words of a great influence. His understanding and eventual toying of these tones is remarkable, spinning new meanings and emotive styles in fundamentally unchanged songs. They had been passed from artist to artist, before and after Guthrie, but Dylan found a new avenue of quality for them. 

Omise Wise benefits from this best of all. A loved-up track of yonder plans and far-off countries where dreams are made. For Dylan, it is a matter of seeking out opportunities in those areas, in becoming the wanderer at the core of these trail-like songs. Dylan and his relationship to the words and work of Guthrie is no secret, but finding examples of the covers which had the Mr. Tambourine Man songwriter consider the impact feels like a rarity. The Ghost of Woody Guthrie is a valuable asset in piecing together those early years, the lead-up to a self-titled debut which would build confidence in the craft Dylan would later provide.