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From the archives

Football Fables

The beautiful game bestrides the world like a colossus

But Blind They Were

The fallacy of an empty continent

Alberta and Me

From a land of oil, true enough

Liner Notes

Inside Canada’s tortured poets department

David Wilson

You Get Bigger As You Go: Bruce Cockburn’s Influence and Evolution

M. D. Dunn

Fermata Press

248 pages, softcover

Songbook: The Lyrics and Music of Steven Heighton

Steven Heighton, with Ginger Pharand

ECW Press

104 pages, softcover and ebook

Bob Dylan was just shy of his twenty-first birthday in the spring of 1962 when he strode into the Columbia Records studios in New York City to begin recording his second album. His first, released a month earlier to lukewarm reviews and sluggish sales, consisted mostly of adaptations of well-worn folk songs. The new album, eventually titled The Freewheelin’ Bob Dylan, would be different: Dylan wrote eleven of the thirteen tracks chosen for the record; all but one feature no accompaniment other than the artist himself on guitar and harmonica.

The album was a critical and commercial success, selling upwards of a million copies. Tracks such as “Blowin’ in the Wind” and “Don’t Think Twice, It’s All Right” became classics of American songwriting. The Freewheelin’ Bob Dylan heralded a major talent and inspired untold legions of spinoffs: aspiring musicians who figured if Dylan could write and perform his own songs, they could too. By the end of the...

David Wilson edited The United Church Observer from 2006 to 2017.

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