Langbahn Team – Weltmeisterschaft

Wikipedia:Featured article candidates/Blonde on Blonde/archive1

The following is an archived discussion of a featured article nomination. Please do not modify it. Subsequent comments should be made on the article's talk page or in Wikipedia talk:Featured article candidates. No further edits should be made to this page.

The article was promoted by Ucucha 11:38, 1 January 2012 [1].

Blonde on Blonde

Blonde on Blonde (edit | talk | history | protect | delete | links | watch | logs | views)

Toolbox
Nominator(s): Mick gold (talk), I.M.S. (talk), Allreet (talk), Moisejp (talk) 05:43, 25 October 2011 (UTC)[reply]

We are nominating this for featured article because we believe it is of FA quality. We are looking forward to the review process and to hearing any feedback reviewers may have. Thank you. Mick gold (talk), I.M.S. (talk), Allreet (talk), Moisejp (talk) 05:43, 25 October 2011 (UTC)[reply]

  • Quick Comments Fantastic album, but it needs some MOS editings. For example it fails WP:NUMBERSIGN. Also a little bit curious is the "easter-egg" linking of "US Top Twenty" to "Billboard Hot 100". They might charted there, but the name of the chart is different. Can you explain what "faddism" means, maybe link it to Wiktionary or explain it in brackets. "Side Four" doesn't need to be written in capitals. --♫GoP♫TCN 11:33, 25 October 2011 (UTC)[reply]
Great Orange Pumpkin, thank you for your comments. I have changed all of the #s to No., removed the capitals from Side Four, and removed the "easter-egg" wiki-link that you mentioned. I will see what I can do about "faddism" in the next day or two. Moisejp (talk) 00:50, 26 October 2011 (UTC)[reply]
"Faddism" has been wiki-linked to fad to explain term. Mick gold (talk) 18:08, 27 October 2011 (UTC)[reply]
ok nice.--♫GoP♫TCN 15:39, 28 October 2011 (UTC)[reply]

Source review - spotchecks not done. Nikkimaria (talk) 13:56, 25 October 2011 (UTC)[reply]

Copyscape check - No issues were revealed by Copyscape searches. Graham Colm (talk) 21:06, 25 October 2011 (UTC)[reply]

Thanks for your comments, Nikkimaria. MBL is Marine Biological Laboratory, a research center for biology and ecology in Massachussetts. MBL hosts academic lectures known as the Falmouth Forum Series. It was at this Forum that noted literary critic Christopher Ricks gave a lecture on the accusation of misogyny in the work of Bob Dylan, John Donne and T.S.Eliot. A point from Ricks's talk regarding "Just Like A Woman" is footnoted to the Famouth Forum Series, MBL.
Of the reliable sources you query, I thought the Pop Matters review read more like a self-indulgent blog than a professional review, so I removed it. The point made by about.com is made by 2 other reputable books, so it is unnecessary, and has been removed. The Michael Gray blog is a ref because Michael Gray is among the leading authorities on Dylan and author of The Bob Dylan Encyclopedia. Al Kooper, who played keyboards on every track on Blonde on Blonde, posted an attack on Gray's website, stating that Gray's account of the recording dates of Blonde on Blonde in his Encyclopedia was inaccurate. It seems important to acknowledge this disagreement about recording dates, through a reference to Kooper's attack. Mick gold (talk) 22:35, 25 October 2011 (UTC)[reply]
Nikkimaria, I have now added a page for Note 3. In the actual document all four pages seem to be mistakenly labeled 19 (?? Or does the 19 refer to the document number?). In any case, it's the third page, so I labeled it page 3. I have removed Buckley 2003 and Janovitz from the References section, and made the mentions of "Faber and Faber" consistent. I still have to look into adding catalog or album numbers for the cited album notes. Thank you for pointing these things out. Moisejp (talk) 00:47, 26 October 2011 (UTC)[reply]
I have now added publisher id numbers for the four albums whose notes we cite. Moisejp (talk) 01:21, 26 October 2011 (UTC)[reply]
Comment

I've only read the intro, but already, a few prose issues jump out at me.

    • This may be personal taste, but avoid awkward "future-past tense" expressions (that's my weird way of describing them) such as "only one track that would make it onto the final album", " a song that would later evolve into 'Temporary Like Achilles'", "Dylan would not attempt the song again, but one of the outtakes from the January 21 session would ultimately appear 25 years later on". I think you should shoot straight for the past tense: "only one track made it onto the final album", "a song that evolved into 'Temporary Like Achilles'", "Dylan did not attempt the song again" etc etc etc.
    • "Successfully completed" is redundant. "Complete" is an absolute term, and it can't be "unsuccessfully completed".
    • Review your use of "that vs which", and which one requires a comma in front of it, based on its part of speech.
    • You have a number of noun+ing expressions.
    • Is the Billboard's Pop Albums chart the same as the Billboard 200? If yes, can you just say so? Billboard has many genre charts, and using Pop Album chart may give the impression that you're referring to one of these charts.
    • I'm not sure "Top Twenty" is supposed to be capitalized. Ditto for "Just Like A Woman".
    • If you're going to use a quotation, you have to cite it...even in the intro
    • What exactly is a "a New York literary sensibility"?

Will review the body in a bit. I've read bits and pieces, and it appears well-written. Orane (talk) 03:36, 27 October 2011 (UTC)[reply]

Skimmed a bit more. Singles do not chart on the Billboard 200. Orane (talk) 03:46, 27 October 2011 (UTC)[reply]
Orane/Journalist, thanks for your comments.
I've tried to fix the dodgy future tenses you pinpointed. Ditto "successfully completed". Ditto citing quotation in lead.
Bob Dylan: Lyrics 1962 - 2001 has "Just Like a Woman", so do critical works Wicked Messenger, Marqusee, and Revolution In The Air, Heylin. So I've tried to make this consistent.
What is a New York literary sensibility? Good question! This point is made most fully by Marqusee, who is quoted in Legacy section: Dylan "took inherited idioms and boosted them into a modernist stratosphere." Wicked Messenger, p.208. Marqusee writes of Dylan combining the musical language of Nashville and the blues with modernist themes, such as the "radical destabilization of the singer's consciousness". So I've changed lead to: "Combining the expertise of Nashville session musicians with a modernist literary sensibility" I hope this is clearer. Mick gold (talk) 09:08, 27 October 2011 (UTC)[reply]
  • Thanks for your response. Not to sound too hasty, but just wondering about my other concerns. Also, in the singles section, you're using contractions, which is usually discouraged in formal writing. Instead of "didn't chart", how about "—" or "N/A" or something similar? Orane (talk) 21:54, 27 October 2011 (UTC)[reply]
Orane, we will try to look at your other concerns within the next day. Thank you. Moisejp (talk) 22:56, 27 October 2011 (UTC)[reply]

Orane, regarding your other concerns. I have changed "Top Twenty" to "top twenty". GrahamColm has changed a number of whichs to that, and one case of "with (noun) -ing" (thank you, GrahamColm). I will scan through to see if I can find any others, but please let us know if you notice any more that I miss. Thank you. Moisejp (talk) 15:12, 28 October 2011 (UTC)[reply]

I believe Great Orange Pumpkin dealt with the Billboard 200 issue. [2] In my scanning, which will be later today, I will see if I notice any other cases of that. Moisejp (talk) 15:17, 28 October 2011 (UTC)[reply]
"The album peaked at No. 9 on Billboard's Pop Albums chart in the USA, eventually going double-platinum, while it reached No. 3 in the UK". I was referring to this sentence in the intro. Is the Billboard Pop Albums chart the Billboard 200? Also, as a suggestion how about rewriting the sentence "The album peaked at No. 9 on Billboard's 200 Chart in the USA and eventually went double-platinum, and reached No. 3 in the UK." Other than that, you have my support. Orane (talk) 03:29, 29 October 2011 (UTC)[reply]
OK, I have changed that sentence to almost exactly the way you proposed. I also went through the article to see if I could spot any more bad cases of "which" or "with noun -ing", but didn't find any. Thanks again for pointing those things out. Moisejp (talk) 07:27, 29 October 2011 (UTC)[reply]
  • Support. Good job Moisejp. My concerns have been addressed. Article is amazing. Orane (talk) 10:23, 29 October 2011 (UTC)[reply]
  • More comments
    • "a song recorded during the Highway 61 sessions that was rejected." – why was it rejected? would still now why :/
    • What is "half-ideas"?
    • I think "box-set" without the hyphen
    • As per WP:DECADE, "1985's" is incorrect
    • "sitting in on drums" – is that some kind of typo?
    • "A Studio" or "A studio"?
    • Ref 39 doesn't work correctly.--♫GoP♫TCN 15:16, 27 October 2011 (UTC)[reply]
      • Thanks, Great Orange Pumpkin. We don't know why it was rejected. We know it was recorded during the Highway 61 sessions, but not included on that album. This has been re-written.
      • Half-idea, box-set, 1985's, sitting in, all re-written.
      • Studio is capitalized when it is a proper name. Thus: "Blonde on Blonde was Bob Dylan’s seventh studio album. Recording commenced at Studio A, Columbia Recording Studios, New York City. Frustrated by the lack of progress in the studio, the musicians re-located to Columbia Music Row Studios, Nashville, Tennessee". Mick gold (talk) 17:11, 27 October 2011 (UTC)[reply]
      • GreatOrangePumpkin, hi. About Ref 39, it is now fixed but you may or may not be happy with my solution. If you have a better solution, let me know. I believe it was you who italicized Billboard throughout the article, which is great. But in the ref links (39, 105 and 122—and now also 106, which I have added Billboard to for consistency) italics seem not to work. In the |ref=CITEREF}} part of the References, I tried to add italics and the links weren't working. (I also added italics to Blonde on Blonde to the ref links, reasoning that if Billboard should be italicized, so should Blonde on Blonde.) But when I removed all the italics, everything worked fine again. Well, my reasoning has always been that in the actual text, of course, italics are necessary. But ref links seem to me to be kind of a special category which is almost just an arbitrary name that we're calling this link, and so for me, not having the italics in them seems acceptable. If you don't agree, fair enough, but if not, do you have another solution? Thank you. Moisejp (talk) 17:28, 27 October 2011 (UTC)[reply]
      • Clarification: When I say "arbitrary name" of course I don't mean the ones that are an author's name and a year, I meant the ones for web pages without an author's name. But even then, I use the word "arbitrary" very loosely because I actually do like to consistently use the title of the web page as both the title= in the References section entries and the ref link name in the Footnotes section. I guess I used the word "arbitrary" to suggest that it could be more flexible, i.e. just as record review titles in magazines often don't italicize the album name, the ref link name is not an actual piece of text in a body of regular writing, but could be considered more like "meta-data" or something. Anyway, again, you may completely disagree with me, and if so I'm all ears for other solutions. Thanks. Moisejp (talk) 22:52, 27 October 2011 (UTC)[reply]
  • Comment This is a remarkably well done article, I have a few nitpicks and one fairly major objection:
  • I feel like it would make more sense for "Mixing and album title" to be a subsection of "Recording sessions", and for "Release" to be its own section.
  • The "Songs" section is superb; excellent work.
  • "Blonde on Blonde's cover photo is printed sideways to unfold to form a color 12-by-26-inch portrait of Dylan." -- I feel like this could be reworded, right now it's a bit unclear.
  • I really feel that "Critical reception and legacy" needs more about the album's reception at the time of its release. What's there is great but the absence of almost anything other than retrospective acclaim hurts the article's comprehensiveness. This is the only glaring omission. --Brandt Luke Zorn (talk) 07:18, 31 October 2011 (UTC)[reply]
  • Brandt Luke Zorn, Thanks for your comments, particularly your praise of the "Songs" section.
  • Your suggestion to make "Mixing and album title" another section of "Recording sessions" makes sense and I've done this.
  • To make "Release" its own section would create a very short section - 147 words. I'll wait until we hear whether other editors agree with your suggestion.
  • This is understandable, but it doesn't seem like a logical subheader of "Album cover and packaging"... perhaps it could be merged with "Critical reception and legacy"? Again, if there were some contemporary reviews that would all flow much better imo.
  • I've re-titled the section "Album cover and release". "Album cover and packaging" sounds like a tautology. For some reason, I still think these two topics, the format of the double album cover and the controversial release date, sit happily together. If others disagree, we can change it. Mick gold (talk) 10:26, 1 November 2011 (UTC)[reply]
  • Description of the gatefold sleeve has been re-written, to try to make it clearer.
  • Your query about the response to BoB at time of release is interesting, but I can't supply it yet. In all the research for this article, in Heylin, Gray, Scaduto, Sounes, Gill and other well-known Dylan studies, I have not come across a contemporary review. Strangely, even Sean Wilentz in his very detailed account of the making of BoB, does not mention one contemporary review. Perhaps my co-editors can help—Moisejp, Allreet and I.M.S.? I'll email some Dylan scholars I'm in touch with, including Gray and Heylin, to see if they can supply something. It would be interesting to find out. Mick gold (talk) 13:19, 31 October 2011 (UTC)[reply]
Hmm, Mick gold: Shelton mentions a few contemporary reviews. I know your edition is different from mine, but it's right near the end of the Blonde on Blonde section, a page before "Hard Traveling in to Future Shock". There's not too much we can use there, but it could be a start. Moisejp (talk) 15:36, 31 October 2011 (UTC)[reply]
  • Michael Gray has sent me a review that appeared in the Los Angeles Times on July 3, 1966, which I have added. From Shelton’s book, I’ve taken extracts from reviews by Richard Goldstein and Jon Landau. (Thanks Moisejp!) Craig McGregor’s 1972 anthology of Dylan criticism reprints an interesting essay on Blonde on Blonde which Paul Nelson wrote as the introduction to the songbook in 1966. I haven’t found any negative reviews from 1966. I hope these contemporary comments add depth to the critical reception section, and provide a platform for Dylan’s 1978 recollection of the album’s achievement. Mick gold (talk) 10:16, 1 November 2011 (UTC)[reply]
Nice work, Mick gold! BTW, the Los Angeles Times review have a title and/or a page number? It'd be all the more ideal with those, but if not the reviewers will hopefully not mind under the circumstances. Also, did the Goldstein review say anything that suggested it was "favorable"? Moisejp (talk) 14:27, 1 November 2011 (UTC)[reply]
I don't have a title or page number for the LA Times. Michael Gray just sent me the text and the date, I'll ask Gray. I wrote that BoB received "generally favorable reviews". The Johnson and Landau reviews quoted are clearly favorable. The Goldstein review argues against the album being viewed as mysterious or forbidding, and calls it (according to Shelton) "Dylan's least esoteric work". I thought "generally favorable" was a fair summary of those three reviews. Mick gold (talk) 15:47, 1 November 2011 (UTC)[reply]
OK, sounds good about Goldstein. Thanks a lot for contacting Gray. I hope it's no hassle! Moisejp (talk) 16:06, 1 November 2011 (UTC)[reply]
  • Further correspondence with Dylan scholars has brought me a review of BoB which Paul Williams published in July 1966 in Crawdaddy!, the journal he edited. Our article had a quote from a Jon Landau piece published in Crawdaddy! (which Shelton quoted in his book.) But I’ve learnt that the Landau piece was published later, certainly after 1968. Therefore I’m cutting the Landau quote and adding a Williams quote, an interesting comment by one of the most influential rock critics of the mid 1960s. I found the Goldstein quote the least satisfactory contemporary review, so I’ve cut it. Mick gold (talk) 13:38, 4 November 2011 (UTC)[reply]
Comments

The prose is good. I just have a few concerns:

Agreed, removed. Mick gold (talk) 14:34, 4 November 2011 (UTC)[reply]
  • Stray punctuations marks. For example: The session began to "get giddy" around midnight, when Dylan roughed out "Rainy Day Women #12 & 35" on the piano." --Efe (talk) 13:57, 4 November 2011 (UTC)[reply]
I changed the wording to "the session's atmosphere began to get giddy around midnight" (no quotation marks). Moisejp (talk) 04:52, 5 November 2011 (UTC)[reply]
I'm happy with Moisejp's re-write. Just to explain: Wilentz wrote that "around midnight the mood on the session began to get giddy" on p.123 as per cite at end of sentence. I thought it was a nice turn of phrase, but worried that "get giddy" may be considered too colloquial for a WP article, so I put it in quotes to indicate the phrase was Wilentz's. If it works without "quotes", that's fine for me. Mick gold (talk) 15:48, 5 November 2011 (UTC)[reply]
I also have the same feeling toward the use of giddy, but as long as its a quotation. Anyway, looking at the sentence, I think there's a missing punctuation: The session atmosphere began to get giddy around midnight, when Dylan roughed out "Rainy Day Women #12 & 35" on the piano." There supposed to be an opening quotation mark. --Efe (talk) 11:46, 6 November 2011 (UTC)[reply]
OK, I removed the closing quotation marks before piano that didn't have any opening ones. So, about "get giddy", is the consensus then that they should or shouldn't be in quotation marks? Moisejp (talk) 17:51, 6 November 2011 (UTC)[reply]
I think it would be better. Seems informal IMO if left without the quotation marks. --Efe (talk) 12:29, 7 November 2011 (UTC)[reply]
OK, I have reinstated these. Moisejp (talk) 16:01, 7 November 2011 (UTC)[reply]
Ditto on leaving the quotation marks in. - I.M.S. (talk) 16:33, 8 November 2011 (UTC)[reply]
  • Per WP:V, all directions quotations must have direct inline citation: "Johnston recalled commenting, 'That sounds like the damn Salvation Army band'." or "'it's not hard rock, The only thing in it that's hard is Robbie.'" --Efe (talk) 13:57, 4 November 2011 (UTC)[reply]
OK, quotes cited. Mick gold (talk) 14:39, 4 November 2011 (UTC)[reply]
OK, linked. Mick gold (talk) 14:34, 4 November 2011 (UTC)[reply]
OK, re-written Mick gold (talk) 14:34, 4 November 2011 (UTC)[reply]
Sorry, Efe, I wasn't sure what you meant with this comment. Moisejp (talk) 04:52, 5 November 2011 (UTC)[reply]
Re-wrote this in an attempt to clarify date. Mick gold (talk) 23:27, 5 November 2011 (UTC)[reply]
I removed "licks". Moisejp (talk) 04:52, 5 November 2011 (UTC)[reply]
Thanks for the prompt response Mick. Kindly review the entire article. Those are just examples. Thanks again. --Efe (talk) 14:59, 4 November 2011 (UTC)[reply]
Efe, thank you very much for your comments. I will try to address the remaining ones in the next day or so, as well as looking through the article one more time for other instances, as you suggest. Moisejp (talk) 01:47, 5 November 2011 (UTC)[reply]
Efe, as I wrote right above, I will look through the article one more time soon to see if I can catch any other cases of issues you mention. BTW, I noticed that in the lead you changed "1965–66" to "1965 to 66". Are you sure that that's best? It looks a little bit unusual to me, but if you have seen it recommended in MOS, I guess it's OK. In MOS I found the example "the 1939–45 war", which may support what we had before. Or, if you really don't like the en dash there, how would "1965 to 1966" be? Thanks. Moisejp (talk) 05:02, 5 November 2011 (UTC)[reply]
Ah, I see GrahamColm has changed that to "in 1965 and 1966". That works best of all for me. Thanks, GrahamColm. Moisejp (talk) 16:24, 5 November 2011 (UTC)[reply]
Thanks for the fix GC. That's the problem actually comes from. From the reader's perspective, it reads like it was recorded in that period. I'm also worried about the glaring use of em dashes. --Efe (talk) 11:16, 6 November 2011 (UTC)[reply]
  • Still spotted inconsistencies:
  • "On February 15, the session began at six in the evening, but Dylan simply sat in the studio working on his lyrics, while the musicians played cards, napped, and chatted. Finally, at 4 a.m., " --Efe (talk) 11:42, 6 November 2011 (UTC)[reply]
Changed "six in the evening" to "6 p.m." Moisejp (talk) 17:59, 6 November 2011 (UTC)[reply]
  • Saw two or more successful in one paragraph. --Efe (talk)
In the next day I will do that read-through I've been promising, and I will look out for any excessive use of "successful". Moisejp (talk) 16:04, 7 November 2011 (UTC)[reply]
I have cut two instances of "successful". Moisejp (talk) 06:00, 8 November 2011 (UTC)[reply]
Removed "acrimonious". Moisejp (talk) 17:59, 6 November 2011 (UTC)[reply]
  • "After several musical revisions and false starts, the 'fourteenth take was the version selected for the album." abd "It was not until the 18th take that a full version was recorded. The next take, the 19th," Should be either. --Efe (talk) 11:52, 6 November 2011 (UTC)[reply]
I have now spelled out "eighteenth" and "nineteenth". Moisejp (talk) 17:59, 6 November 2011 (UTC)[reply]
  • "Released as a single in April 1966, "Rainy Day Women" reached No. 2 on the Billboard singles chart, and No. 7 in the UK." and "became the fifth single released from Blonde on Blonde, making it to No. 81 on Billboard Hot 100" The first one is general. The second one is specific. Aside from that, can you possibly identify what chart specifically was used in the UK (in stances where you use Billboard Hot 100, or simply Billboard with reference to the singles chart)? Just to achieve parallelism. --Efe (talk) 11:58, 6 November 2011 (UTC)[reply]
I will contact our source for the UK chart positions [4] to see if they can give me the official name of the album and single charts. Moisejp (talk) 18:19, 6 November 2011 (UTC)[reply]
Efe, I found two more cases where an apostrophe s was improperly in a wiki-link and one case where an apostrophe was improperly in italics. I have changed these. I'm waiting for a reply from The Official Charts website about the name of the UK chart lists. Moisejp (talk) 06:32, 8 November 2011 (UTC)[reply]
Efe, I haven't heard back from the people at the Officials Charts website yet. Although I agree that ideally it'd be nice to have a parallel structure with official names for both the US and UK charts, I don't know where to get the info about the UK chart's official name. Would you settle for what we have now? Moisejp (talk) 16:51, 13 November 2011 (UTC)[reply]
Yes. I think its fine, but its better if that would be fixed at some later date. Thanks. --Efe (talk) 15:42, 18 November 2011 (UTC)[reply]

Has the article undergone an image review and a spotcheck of the sources? Ucucha (talk) 15:11, 6 November 2011 (UTC)[reply]

Isn't the latter Nikkimaria's specialty? --Efe (talk) 12:27, 7 November 2011 (UTC)[reply]
No, Nikkimaria generally checks for things like reliability of sources, formatting, missing info, but does not always check for accurate representation of sources or copyvio. SandyGeorgia (Talk) 19:54, 9 November 2011 (UTC)[reply]
I have improved the FUR for the album cover in anticipation of an image review. - I.M.S. (talk) 16:33, 8 November 2011 (UTC)[reply]
It looks like we're still waiting for both. Ucucha (talk) 13:08, 23 November 2011 (UTC)[reply]


On the whole, amazing! An article that does justice to a major album, and remains readable and controlled. Some quick comments on the content:

  • The lead refers to rankings on the 500 Greatest Songs list, but this doesn't appear again in the article - it probably needs mentioning in the legacy section (where the Rolling Stone list is mentioned) or in the sections on the two relevant songs.
Thanks for your comments, Shimgray. Before changing this, I'm now slightly confused as I've found a new Rolling Stone "500 Greatest Songs Of All Time" list (from 2011 I think) which lists JLAW at #232 [5], and VoJ at #413 [6]. I'll consult Moisejp et al before editing this. Mick gold (talk) 13:10, 11 November 2011 (UTC)[reply]
Maybe the best thing to do is in the lead simply say that the two songs were ranked in the Top 500 without specific numbers (that could be an idea anyway), and then down below spell out that there have been two versions of this list and give numbers from both lists? It'd be a bit awkward but it would be thorough. Or another idea is to just assume that the 2011 list is the most official and up-to-date and use it. Moisejp (talk) 16:02, 11 November 2011 (UTC)[reply]
Ah, maybe the second idea is better. If you have evidence that the "2011" list is indeed the most recent one—but logically it should be, since the other one we use is from an archived version of the website—maybe we should just use that. It is annoying, though, that Rolling Stone would change its numbers after such a relatively short time. Maybe they wanted to include the best of the most recent songs that have come out. Moisejp (talk) 16:06, 11 November 2011 (UTC)[reply]
I'm sure the 2011 version is the most recent. Let's go with that one. Can you make the ref/cite work, Moisejp? you're more adept at that. Mick gold (talk) 16:56, 11 November 2011 (UTC)[reply]
OK. I may be pretty busy in the next day or two but I'll try to find some time to do that and to help address some more of Shimgray's issues. Moisejp (talk) 23:23, 11 November 2011 (UTC)[reply]

Well, it's not exactly what we decided, but what do you think? I think it works well. I kind of feel funny about dropping any mention of the 2004 list, because that is when the list became famous. But if anyone feels strongly the 2004 list should be dropped, I could do so. Moisejp (talk) 06:18, 12 November 2011 (UTC)[reply]

Thanks for making the edits, Moisejp. I think your solution of putting the 2010 Greatest Songs in brackets works well. Footnotes to 2010 work. Unfortunately, there's a problem with the link to 2004 poll. The RS link produces "404 Page Cannot Be Found". But archive link works [7]. One more idea: why not link to specific song JLAW [8] and VoJ [9]. I've tried to fix ref, to avoid Page 404 problem, but please alter if you can see a better way to link ref. Mick gold (talk) 14:45, 13 November 2011 (UTC)[reply]
I fixed the links. I went back to the 201-300 and 401-500 lists because the song's individual pages don't actually show the rankings. Moisejp (talk) 16:47, 13 November 2011 (UTC)[reply]
  • The "ninth greatest album" is attributed to VH1 and Rolling Stone, but the legacy section only refers to a Rolling Stone list. Given the various results (#2, #16, #9, & presumably others not mentioned), perhaps it might be best to simply say something like "Often ranked as one of the greatest albums of all time..." in the lead?
I've tried to follow your suggestion in the lead. Mick gold (talk) 12:58, 11 November 2011 (UTC)[reply]
  • Would it be possible to extend (or shift) the Rainy Day Woman clip by a couple of seconds? It currently fades out on "Everybody must ...", which seems odd, as it's probably the most recognisable phrase.
The "Rainy Day Women" sound clip is the maximum length possible, which is 10% of the song's length. I remember when I was editing it I was really struggling to get as much as possible in without going over the allowed length and adjusting the start and end point by fractions of seconds to get the most of the verse in. That said, if we extended the ending we'd have to cut from the beginning and I think it'd sound strange not to include all of the "They'll stone you when you're trying to be so good" line. I'd either have to cut the whole line or leave it all in as it is now. And without that line, then the next line, "They'll stone you just like they said they would" would be less satisfying to hear. For me, the sound clip's present state is the best possible solution under the circumstances. It's true we don't hear the very very end of the "Everybody must get stoned" line, but the line is mentioned in the text, and I think people can imagine the ending. If you or other people really feel strongly it should be changed, I could, but unless someone has a brilliant other solution, my personal preference would be to keep it as it is. Moisejp (talk) 05:27, 12 November 2011 (UTC)[reply]
Ah - I hadn't realised the limits were quite so firm. Fair enough... Shimgray | talk | 22:24, 13 November 2011 (UTC)[reply]
  • Pledging My Time has a citation to the 1986 ed. of Shelton; it might be tidier to refer to the current edition, which is used in all other cases.
The 2011 edition of Shelton isn't a straight re-print of the 1986 edition. Some new material has been added, and some material has been cut. One of the things cut was a detailed discography, so the 1986 edition is the only place I've seen that point. Mick gold (talk) 12:35, 11 November 2011 (UTC)[reply]
  • The sentence "The song draws on Tampa Red's..." is uncited - is this covered by the footnotes in the following sentence?
Done - added source for the mention of "It Hurts Me Too", switching it to Elmore James' version as that is the one that Wilentz compares to "PMT" in his book. Sadly I had to remove the part on "Sitting On Top Of The World", as I couldn't find a source for it. Google books showed a mention of it and "Pledging My Time" in Michael Gray's encyclopedia, but I couldn't see the whole thing and I don't have access to a physical copy. Mick gold or Moisejp, can you help? - I.M.S. (talk) 02:31, 12 November 2011 (UTC)[reply]
I've added Michael Gray's comments on PMT which connect the song to Robert Johnson's "Come on in My Kitchen", Skip James, and the Mississippi Sheiks' "Sitting on Top of the World". Mick gold (talk) 16:33, 13 November 2011 (UTC)[reply]
  • I've moved the Visions of Johanna file up a paragraph as the box was floating a bit strangely otherwise. Unfortunately, this looks quite cramped - I'm not sure there's a good solution here. (Unless you want to add more quotes from the article! There's certainly scope for them - Motion's praise, perhaps.)
  • I Want You seems to be missing a sentence at the beginning - we go straight into a critical quote without any description of the song itself.
I see what you mean, so I've moved a more general sentence to the top of the article. Mick gold (talk) 12:35, 11 November 2011 (UTC)[reply]
I think I preferred the Kooper sentence to the Gill, but your call... Shimgray | talk | 00:15, 12 November 2011 (UTC)[reply]
  • Sad Eyed Lady - would it be worth mentioning (from the article) that it was recorded in four takes? It's a minor detail, but given the length, it seems quite interesting.
Not sure what you mean. According to Olof Bjorner's website [10], there were four takes, but the fourth and final take was the one released. Mick gold (talk) 12:46, 11 November 2011 (UTC)[reply]
Sorry, yes, that's what I mean - it only needed three attempts before the final take. It seems surprising for something of that length, written only a few hours before! Shimgray | talk | 00:07, 12 November 2011 (UTC)[reply]
  • Release date -you might want to add something about the LA Times review here, since it predates the first review date quoted. In addition, I presume these are the US release dates - do we know when it was released outside the US, or is this particular morass best avoided?
Both LA Times and Crawdaddy! reviews are from July 1966, so they are given as contemporary reactions to album. Not sure what more to say. I have no data on overseas release dates, but question of US release date is already complicated enough! Mick gold (talk) 13:20, 11 November 2011 (UTC)[reply]
Fair enough :-) Shimgray | talk | 00:07, 12 November 2011 (UTC)[reply]
  • I've removed some ASIN codes from the references, which were in the publisherid field - these are only valid in Amazon's database, and aren't really much use for tracing the item. Unfortunately, while I own the CDs in question, they're in a box a few hundred miles away and so I can't check for the actual codes - there should hopefully be a serial on the item, or failing that you could use the barcode EAN from the back.
Mick gold, I.M.S. or Allreet, do any of you have copy of these CDs handy? I don't have mine with me right now. Moisejp (talk) 16:09, 11 November 2011 (UTC)[reply]
I've added numbers from my CDs. Mick gold (talk) 17:27, 11 November 2011 (UTC)[reply]
Thanks for doing that, Mick. Moisejp (talk) 23:23, 11 November 2011 (UTC)[reply]

I think that's it... Shimgray | talk | 22:19, 10 November 2011 (UTC)[reply]

Thanks for the response! I've struck some clearly resolved points - I'm afraid I'm going to be called away for a day or two, but I'll have a run through again on Sunday evening. Shimgray | talk | 00:10, 12 November 2011 (UTC)[reply]
Are there any outstanding issues left from reviewers so far that we still have to address? Moisejp (talk) 16:52, 13 November 2011 (UTC)[reply]
Everything I've mentioned above has been addressed, I think. Shimgray | talk | 22:24, 13 November 2011 (UTC)[reply]
  • Question - So far the article looks great, I would like to know about the original album photographs; the cover, and the black and whites that are inside the double album. Who, where, and why? As I remember the album was re-released with different pictures, why was it changed?...Modernist (talk) 15:54, 16 November 2011 (UTC)[reply]
Hi, Modernist. We do talk about that some already. Basically, the picture of Claudia Cardinale was removed and replaced with another pic because Dylan didn't have permission to use it. I believe that was the extent of any picture changing. We also mention that one of the nine photos was of Jerry Schatzberg. Are you saying you'd like info about more of the photos? Who else was in them and where they were shot? Moisejp (talk) 16:37, 16 November 2011 (UTC)[reply]
Agree with Moisejp. We already quote Schatzberg's account of how he came to take the blurred cover photo. All inside B&W photos taken by Schatzberg and selected for sleeve by Dylan, according to Schatzberg's account. We state that the photo of Cardinale was withdrawn because they did not have authorization for its use on album cover. This was only change. As stated, Dylan included a self-portrait by Schatzberg as an acknowledgement of his work. Gill's description of the contribution the photos made to the atmosphere of the album is best critical comment I could find. I've tweaked prose to try to make it all clearer. What more would you like to know? Mick gold (talk) 08:41, 17 November 2011 (UTC)[reply]
  • Support Thanks, it's all good, I have the original album and I never realized why that photo came out, and I am curious if there are any other issues with them, thanks for the clarification...Modernist (talk) 22:30, 18 November 2011 (UTC)[reply]
Not sure I understand. There are currently 4 footnotes to "RS 500 Greatest Songs of All Time": #126 (JLAW, 2004, #230), #127 (VoJ, 2004, #404), #128 (JLAW, 2010, #232), #129 (VoJ, 2010, #413). These 4 refs link through to web sites which seem to work. I removed ref to "The RS 500 Greatest Songs of All Time" (after Tim Riley) which seems to be redundant. Mick gold (talk) 23:25, 28 November 2011 (UTC)[reply]
GreatOrangePumpkin, I was also confused by what you meant. All the links seem to be working fine. But if there's something we missed, please let us know. Thanks! Moisejp (talk) 16:48, 29 November 2011 (UTC)[reply]
Mick gold already corrected it ;). I think the reference was just redundant because it was not cited anywhere in the article (as pointed out by Mick gold above).--♫GoP♫TCN 15:12, 1 December 2011 (UTC)[reply]
Mick gold, do you have a good source for the Personnel section? About the Track Listing, I wouldn't think we would need a citation for it. I just looked at four random FA album articles: Achtung Baby, Loveless (album), One Hot Minute, and Rumours, and none of them had a citation for Track Listing. If you absolutely wanted one, it would be easy to provide, but... Moisejp (talk) 04:39, 10 December 2011 (UTC)[reply]
The booklet notes to The Original Mono Recordings (Marcus, 2010) do a good job of listing musicians' credits for each track, but they omit two credits: Wayne Butler on trombone on "Rainy Day Women", and Rick Danko on bass on "One Of Us Must Know". So the combination of Marcus (2010) and the entirety of Sean Wilentz's chapter on Blonde on Blonde (Wilentz, 2009) give the full credits between them. I wasn't sure where to add these 2 refs. I put them next to the section heading "Personnel" and they looked odd, so I put them next to Bob Dylan's credit at the head of the Personnel list. They can be moved if anyone has a better solution. Mick gold (talk) 11:16, 10 December 2011 (UTC)[reply]
Thanks for that, Mick. I added the sentence "The personnel involved in making Blonde on Blonde is as follows:" and put the two refs there. I'm not sure if that's the perfect solution, either, but I am also open to any better suggestions. Moisejp (talk) 15:28, 10 December 2011 (UTC)[reply]
Thanks, Moisejp. I've added Bill Lee to the Personnel. I think Note #1, which explains that both Lee and Danko have been credited as the New York bass player, should also refer to these names in the Personnel section, but I don't know how to make the Note refer to two different places. Mick gold (talk) 00:03, 11 December 2011 (UTC)[reply]
Unfortunately, I don't know how to do that either. Moisejp (talk) 06:13, 11 December 2011 (UTC)[reply]
  • Spotcheck: clear not pleased with the use of the one book I could consult, please respond regarding standards of quotation and broad synthesis. I'm a labour historian, not a music critic. Fifelfoo (talk) 00:15, 12 December 2011 (UTC) Fifelfoo (talk) 05:49, 20 December 2011 (UTC)[reply]
    • The editors of this obviously have a great offline collection of monographs regarding Dylan. Disappointingly most of the books used in this were not available online in any form that allowed spotchecking (I do not believe that "snippet" view allows for verification, and therefore do not spot check by snippet in Google). Noting that neither Wilentz 2009, nor any Heylin sources, are available to me.
Here are a few online sources available in preview form on Google Books. All, of course, are incomplete, but sometimes you can find what you're looking for using Search or by page number. There may be others, but this is what I found that offered more than snippet view in a quick search. A pdf of Michael Gray's Bob Dylan Encyclopedia is also available as a download (use "pdf" as keyword). Also note that Bob Shelton's No Direction Home has been updated so the page numbering differs from the original edition below.
Behind the Shades by Clinton Heylin
Your copyright law and google zone varies from my own, which I noted above. Fifelfoo (talk) 04:48, 12 December 2011 (UTC)[reply]
Bob Dylan: The Recording Sessions, 1960-1994 by Clinton Heylin
Your copyright law and google zone varies from my own, which I noted above. Fifelfoo (talk) 04:48, 12 December 2011 (UTC)[reply]
Bob Dylan in America by Sean Wilentz
Your copyright law and google zone varies from my own, which I noted above. Fifelfoo (talk) 04:48, 12 December 2011 (UTC)[reply]
Wicked messenger: Bob Dylan and the 1960s by Mike Marqusee
Already consulted. Fifelfoo (talk) 04:48, 12 December 2011 (UTC)[reply]
No direction home: the life and music of Bob Dylan by Robert Shelton
Your copyright law and google zone varies from my own, which I noted above. Fifelfoo (talk) 04:48, 12 December 2011 (UTC)[reply]
Down the Highway: The Life of Bob Dylan by Howard Sounes
Your copyright law and google zone varies from my own, which I noted above. Fifelfoo (talk) 04:48, 12 December 2011 (UTC)[reply]
Hope this helps. Allreet (talk) 04:46, 12 December 2011 (UTC)[reply]
    • Footnote 40 a stats/charts source was used correctly without plagiarism, though it was used as a negative proof in two instances, I find that this use is acceptable given the source's comprehensiveness and the simplicity of the negative proof. As such, I have not spot checked other stats/charts sources and believe them to be correctly used.
    • Björner 2000, a web compendium was used correctly without plagiarism. As such I am not checking further such sources believing them to be correctly used.
    • Black 2005, a newspaper source with primary elements, was used correctly without plagiarism (though I prefer a different style of handling quotes within other texts, the use is acceptable), as such I'm not checking further such sources as I believe them to be correctly used.
    • Kooper 2006, a blog by an EXPERT, and slightly primary, is appropriately used, and as such I believe all such sources to be appropriately used.
    • Album notes are cited, which are unavailable to me, but given the quality of citations above, I am not concerned.
    • BOOK: Marqusee 2005, p. 222 is used perfectly.
    • BOOK: Marqusee 2005, p. 138 is not used correctly, Wiki: "Oliver Trager and Mike Marqusee have described this trilogy as perhaps Dylan's greatest achievement.[122]" Marqusee does not describe this as the greatest achievement, nor use similarly superlative language indicating acme. Text: "a body of work that remains unique in popular music." Perhaps Marqusee's evaluation needs finessing? "described this trilogy as "unique in popular music" and as perhaps..." or, as below, it could be due to an inappropriately broad citation of pages?
    • BOOK: Marqusee 2005, p. 208 is used problematically, the quote lacks an elision indicator […] where a parenthetical phrase is elided, in addition I'm not able to find the claim "Dylan had succeeded in reconciling traditional blues material with avant-garde, literary techniques". This seems to be a problem where only the quote is indicated in the footnote, but the encyclopaedically synthetic evaluation of Marqusee's judgement isn't properly cited to the page range this is drawn from?
    • Please respond to my concerns regarding Marqusee 2005 and its implications for your uses of books I was not able to consult during spot checking. This could be resolved by an explanation of the approach used to citation, quotation, and citing broad analytical syntheses? Fifelfoo (talk) 00:15, 12 December 2011 (UTC)[reply]
Fifelfoo, thank you very much for doing the source checking and for pointing out our apparent error in quoting Marqusee. I would like to hold back right now from responding to the wider questions you bring up until I can confer with Mick gold, who is more familiar with some of our sources, including Marqusee, than I am. In the meantime, to help you with your overall evaluation of our citations, can I offer to type out any relevant passages from books I have? I have Heylin (1995), Heylin (2009), Shelton (1986), Sounes (2001), and Cott (2006). If there are any citations from these books that you would like to compare with the actual text the authors wrote, just let me know, and I'll be happy to type them out for you. Moisejp (talk) 03:59, 12 December 2011 (UTC)[reply]
Ideally if you could transcribe (for the purposes of copyright protection, and avoidance of plagiarism only) Heylin 2009, pp. 285–286 as it covers 5 uses in one go, and is two pages. This would be an effective use of your time and mine, as it would provide an equivalent use case to Marqusee 2005 and help balance the spot checks there. You could also scan them, put them on a temporary location, and email me the address via the user email system (if that pleases you). The other sources you name have dispersed uses and it would be asking too much for too many page impressions. If there is a major plagiarism/supports-the-content issue we may need the further elements for spot-checking; but, I'm sure that someone simply didn't include a large enough page range ie: "pp. 286 for the quote, 280–290." when supporting the statements in Marqusee. Fifelfoo (talk) 04:10, 12 December 2011 (UTC)[reply]
OK, I'll try to type out those two pages tomorrow if possible. Actually, the pagination in my edition is different from the one we use in the article. Mick gold, I imagine page 285 starts with the title "One of Us Must Know (Sooner or Later)" and then "Published Lyrics", etc.? Where does the end of 286 end? Thanks, Moisejp (talk) 06:04, 12 December 2011 (UTC)[reply]
The last complete sentence on 286 ends with "b***job. The rest, on 287, is about the song's performance during Rolling Thunder and other tours. Allreet (talk) 06:12, 12 December 2011 (UTC)[reply]

Fifelfoo, thanks for your detailed comments. Re Marqusee p.139, I don't have the Trager book, so I've changed the sentence to accurately reflect Marqusee: "Mike Marqusee has described Dylan's output between late 1964 and the summer of 1966, when he recorded these three albums, as "a body of work that remains unique in popular music." (Marqusee. p.139) Mick gold (talk) 10:06, 12 December 2011 (UTC)[reply]

I've also added this comment from Shelton: Shelton wrote, Blonde on Blonde was a "hallmark collection that completes [Dylan's] first major rock cycle, which began with Back Home."(Shelton p.224) - to justify the plural "critics" in the sentence: "Several critics have described Blonde on Blonde as a satisfying conclusion to the mid-1960s trilogy of albums that Dylan had initiated with Bringing It All Back Home and Highway 61 Revisited." Mick gold (talk) 10:06, 12 December 2011 (UTC) Whoops. I then realized this quote from Shelton was already in this section of BoB article. So I've replaced it with a quote from Janet Maslin on Dylan's mid-1960s rock trilogy. Quote from Patrick Humphries' Dylan book also added, to consolidate sense that some critics have seen the mid-1960s trilogy of rock albums as a high point of Dylan's career. Mick gold (talk) 15:42, 12 December 2011 (UTC)[reply]

Re Marqusee p.208, the text was an imperfect paraphrase of Marqusee's critical points. I've changed it to read:

For Mike Marqusee, Dylan had succeeded in combining traditional blues material with modernist literary techniques: "[Dylan] took inherited idioms and boosted them into a modernist stratosphere. 'Pledging My Time' and 'Obviously 5 Believers' adhered to blues patterns that were venerable when Dylan first encountered them in the mid-fifties (both begin with the ritual Delta invocation of "early in the mornin"). Yet like 'Visions of Johanna' or 'Memphis Blues Again', these songs are beyond category. They are allusive, repetitive, jaggedly abstract compositions that defy reduction." (Marqusee. p.208)

I believe the first sentence now accurately reflect the quote from Marqusee's text. I also restored the phrase about the "ritual Delta invocation" which had been omitted from the quote. Please let me know if this answers your query re Marqusee, p.208. Mick gold (talk) 10:30, 12 December 2011 (UTC)[reply]

Fifelfoo, you ask for "an explanation of the approach used to citation, quotation, and citing broad analytical syntheses". I can't say anything beyond my intention was always to cite accurately from critical works, and, where necessary, to paraphrase accurately. I'm grateful you've pointed out problems with our use of Marqusee, and I would be happy to join with other editors in resolving any other issues concerning our citing of biographical and critical works. Mick gold (talk) 10:40, 12 December 2011 (UTC)[reply]

I've just noticed and changed another ref that was incorrect. Dylan's comment to Shelton about his failure to record a successful album with the Hawks: "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song...It was the band. But you see, I didn't know that. I didn't want to think that." This was cited to Heylin, 2009, p.286. But Heylin only quotes part of Dylan's statement. The full quote is in Shelton's book, 2011 edition, p.248. Mick gold (talk) 11:21, 12 December 2011 (UTC)[reply]

Fifelfoo, I have started typing up the two pages in question and am happy to continue to do so, but can I ask, does your geographic location also prevent you from seeing the Look Inside feature of Amazon? I believe (but could be wrong) it's not affected by geographic location. I am able to see page 285 on Amazon.com [11] and page 286 on Amazon.co.uk [12]. If you can't see these, just let me know and I'll continue typing up the pages. Thanks. Moisejp (talk) 01:21, 13 December 2011 (UTC)[reply]
Oh, just now I tried again and it let me see both pages on Amazon.co.uk. In the Search Inside This Book box, type in "Nineteen years" and it should come up. Moisejp (talk) 01:25, 13 December 2011 (UTC)[reply]
I'm not sure if all pages are available, but Sean Wilentz's Bob Dylan in America also has the Look Inside feature through both Amazon.com [13] and Amazon.co.uk [14]. Hopefully at least some of the pages you want to check will be available. Moisejp (talk) 01:30, 13 December 2011 (UTC)[reply]
Hmm... I thought that this blocked me, but it seems like they want me to be logged in. Thank you for doing this research, I will see if I'm able to make use of it when I'm somewhere I can use my Amazon account. Maybe you can hold off on transcribing in the hopes that Amazon will let me view results when logged in! Fifelfoo (talk) 01:34, 13 December 2011 (UTC)[reply]
Using Wilentz 2009 at footnote 30d: "picked up a trumpet"? this isn't the standard verb, in fact, Wilentz uses an unusual verb here. Strangely wikipedia's editors use the same verb.
So then I checked Wilentz 2007 p117 and it is loose enough paraphrase
The bits of fn 25 and 27 I could confirm are also clear.
Fix your pickup trumpet, learn looser paraphrasing in future, recombinant writing is better than sentence order & verb change paraphrase, which is better than same order same verb with different adjectives. I hope we see more album FAs, but work on your editorial voices! The couple of problems identified seem to be related to problems with note taking or first stage writing, writing too closely to source material, and in particular writing out anecdotes from the sources. Now I agree when discussing the inner process of a musician/"poet" these anecdotes are useful—all the rock historians I read tell their story through such anecdotes and so they're essential to the narrative. But do watch out for not only retelling the anecdote, but retelling it using the language of the rock historian. The generous use of direct quotes (as contained in the secondary source) is an excellent habit to avoid overly closely following the source's own text, you're following quotes arising from the text. Fifelfoo (talk) 05:49, 20 December 2011 (UTC)[reply]
I've gone through BoB text again, scrutinising every ref which I can access, and amending anything that looked sloppy. Mick gold (talk) 00:52, 20 December 2011 (UTC)[reply]
Sentence with "Pick up" trumpet re-written, and we will endeavor to learn looser phrasing, thanks Fifelfoo. Mick gold (talk) 10:43, 20 December 2011 (UTC)[reply]
Thanks very much, Fifelfoo! Moisejp (talk) 17:09, 20 December 2011 (UTC)[reply]

Comment - Is it standard for the FUR for non-free images to say that it is "believed" who the copyright holder is? The FUR seems unclear to me, is it the graphic artist, or Columbia records? Seems like this should be answered definitely in the FUR. AstroCog (talk) 21:31, 12 December 2011 (UTC)[reply]

Astrocog, thanks for your comment. It would appear that it is standard. I just checked several other FUR for FA albums, and they all had the same phrasing. If you look at Edit for the FUR template box, it appears that that phrasing is part of the template, and the editor just has to plug in the record label name. Cheers, Moisejp (talk) 15:16, 13 December 2011 (UTC)[reply]

Support with comments:

  • The first paragraph in the lead ends with "the album was completed in ... " and the second starts with "The album completed ... ", which seems a tad repetitive.
  • In the "Background" section Highway 61 Revisited isn't linked for its first appearance in the main body.
Thanks Kitchen Roll. Lead re-written to eliminate repetition of 'completed' which you spotted. H61R wiki linked in main body. Mick gold (talk) 18:20, 20 December 2011 (UTC)[reply]
  • In the "Second recording sessions in Nashville" section shouldn't sixteenth notes be reffered to as "(semi quavers)" as well for UK readers?
This article is written in US English. Sixteenth notes is the musical term employed by Wilentz who is cited; this term wiki-links to sixteenth notes article which mentions in lead that "semi quaver" is UK English. Mick gold (talk) 18:20, 20 December 2011 (UTC)[reply]
I suppose, as it's been linked.  Kitchen Roll  (Exchange words) 13:12, 21 December 2011 (UTC)[reply]
  • In the "Pledging My Time" subsection "snare rolls" sounds like rock critic talk. Would it not be clearer for it to be reffered to as "snare drum rolls"?
Changed. Thanks, Kitchen Roll. Moisejp (talk) 19:36, 20 December 2011 (UTC)[reply]
  • Is there a reliable source that credits Robertson as playing slide guitar on "Leopard-Skin Pill-Box Hat"? This could help the reader distinguish between Dylan and Robertson's playing on the song. eg "Robertson handles the solos with a "searing" performance on slide guitar"
To my knowledge, no critic who has written about LSPBH has credited Robertson with slide guitar, so I'm reluctant to set a precedent. Gill notes that Dylan's lead guitar leads the song off on the center-right stereo channel, whereas Robertson's "searing" guitar solos come in on the left stereo channel. So I've added this to help clarify who plays what. Mick gold (talk) 23:14, 20 December 2011 (UTC)[reply]
I think that adresses the point.  Kitchen Roll  (Exchange words) 13:12, 21 December 2011 (UTC)[reply]
  • The mention of "lead" twice in the "Leopard-Skin Pill-Box Hat" section seems slightly repetitive and wordy, maybe just cutting "on lead" would do.
Hmm, personally for clarity I would keep both cases of "lead": the point isn't that he is just opening the song playing some back-up guitar, but that at the beginning he is playing the lead guitar part, although Robertson is doing some "leading" by playing solos. But if anyone disagrees, I would be flexible on this point. Moisejp (talk) 19:36, 20 December 2011 (UTC)[reply]
The sentence seems clearer after Mick Gold reworded it.  Kitchen Roll  (Exchange words) 13:12, 21 December 2011 (UTC)[reply]

Fantastic article. Well done  Kitchen Roll  (Exchange words) 17:41, 20 December 2011 (UTC)[reply]

Media review, as I couldn't see one. The music samples are probably justified, but I'm not really happy with the generic rationales; it'd be great if they tied into the text a little better. What is clearly contrary to the NFCC (10c, specifically) is the fact that two of them are used on "group" rationales. Each usage requires a separate, specific rationale, explaining what the media adds to that article in particular (again, preferably tying in with the text). J Milburn (talk) 01:30, 23 December 2011 (UTC)[reply]

Thanks, J. Milburn. I have tried to make the rationale much more specific to the particular songs, by showing how audio samples illustrate specific critical comments in the accompanying text. Please inform us if this answers your concerns. Mick gold (talk) 09:21, 23 December 2011 (UTC)[reply]
Thanks for your comment, J Milburn, and thanks for taking care of that, Mick. J Milburn, for the "Visions of Johanna" and "Obviously Five Believers" files, later today I will split them into separate rationales for their use in the song articles and the album article. Moisejp (talk) 15:44, 23 December 2011 (UTC)[reply]
I have added a separate rationale for the "Visions of Johanna" article. In the case of "Obviously Five Believers", the song's article is a stub, and there isn't much to work with for writing a specific rationale. So I took the sound clip out of the article for now. If we ever beef up the article later, and there is more text to work with for the rationale, we can add the sound file back to the article later. J Milburn, is everything OK with the rationales now? Moisejp (talk) 02:18, 24 December 2011 (UTC)[reply]
Much better- I like the use of the quotations in the rationales, explicitly tying them to the text. It's a shame that a lot of the analysis appears in the captions to the samples, rather than in the prose- the media should really be there to supplement/illustrate the prose, not "in its own right", as it were. Further, it may be worth adding why you have chosen those particular pieces, above and beyond the others- there is discussion of all the songs, but I'm sure we can all agree that having samples from many more would be excessive. Regardless, I'm confident that the use of the samples meets the NFCC. J Milburn (talk) 01:22, 28 December 2011 (UTC)[reply]
Rationale of RDW12&35 does refer to Gill's point in the text. I've re-written rationale for VoJ so it relates to Gill's point in the text, rather than to Mellers' point in the caption. I've moved Shelton's description of O5B as "the best R&B song on the album" from caption into text, as it is a useful critical judgement, and our rationale for this song is again tied to the text. Mick gold (talk) 16:01, 30 December 2011 (UTC)[reply]


The above discussion is preserved as an archive. Please do not modify it. No further edits should be made to this page.
Quelle: Https://en.wikipedia.org/wiki/Wikipedia:Featured_article_candidates/Blonde_on_Blonde/archive1