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Credit: Alamy<\/p>\n
Mon 8 June 2026 20:30, UK <\/p>\n
For most rock stars of a certain age, Bob Dylan is considered the almighty god of songwriting. No matter how often people try to rewrite the book on how to deliver lyrics, masterworks like Blonde on Blonde and Highway 61 Revisited are still treated like gospel for rock bands for just how much ground can be covered across a few slabs of vinyl. <\/p>\n
If it weren\u2019t for Dylan, Roger Waters<\/a> probably would have never started writing music, but he knew his idol was slipping on Triplicate.<\/p>\n For Roger Waters, Dylan was never just another songwriter. Like countless musicians who came of age during the 1960s, he viewed the American icon as someone who had fundamentally changed the possibilities of popular music, proving that rock songs could tackle weighty themes without sacrificing their artistic edge.<\/p>\n However, Dylan was not someone who could be reasoned with in terms of what he would do. The whole reason he worked in the first place was how willing he was to go against the grain and make something that no one had heard of, so it was almost customary for fans not to like his records on first listen.<\/p>\n By the time he emerged again in the late 1990s, his usual approach started to go through yet another shift. After going through being a born-again Christian making gospel records and working with the Traveling Wilburys, hearing projects like Time Out of Mind and Love and Theft saw him rediscovering his knack for writing complex lyrics like \u2018Make You Feel My Love\u2019.<\/p>\n That didn\u2019t mean that he didn\u2019t have a few curveballs in his arsenal, and Triplicate was just one of a few left turns he made throughout his career. Since he had been known to have his signature breathy delivery in his later years, hearing him take a swing at some of the biggest hits that Frank Sinatra had was a bit of a strange choice.<\/p>\n It\u2019s not like he can\u2019t do them justice, but this feels like the antithesis of Bob Dylan. Drawing back on traditional sounds worked for lovers of nostalgia like Paul McCartney and Rod Stewart, but for Waters, this felt like a betrayal of the artist he came to love who was always looking forward.<\/p>\n Since Waters had gone through his modern metamorphosis on the album Is This The Life We Really Want, he said that Triplicate was the exact opposite of what he wanted from Dylan, telling Billboard<\/a>, \u201cI haven\u2019t got time to do an album of Frank Sinatra covers. Bob Dylan, for instance, which is weird. You go, \u2018F**k me, Bob, what is wrong with you? Why would you do that?\u2019 I guess it\u2019s because he can\u2019t bear the thought of not being on the road, and he couldn\u2019t think of anything else to do. I can\u2019t believe he really has an affinity for all that schlock.\u201d<\/p>\n At the same time, Dylan didn\u2019t mean to stomp on anyone\u2019s fantasies of what he was supposed to be. He was just being himself in the same way Self Portrait<\/a> was decades before, and hearing him inhabit songs like \u2018Sentimental Journey\u2019 and \u2018Stardust\u2019 makes the listener appreciate their writing rather than the cornier aspects.<\/p>\n If anything, giving Dylan time to work on his own vision for a few records might be the key to what makes him endure. And considering Waters has spent more time in recent years putting a steaming pile of musical manure on classics like Dark Side of the Moon, perhaps he could benefit from loosening up like Dylan did to see if he has a \u2018Murder Most Foul\u2019 in him.\u00a0<\/p>\n Ultimately, the disagreement says as much about Waters as it does about Dylan. One artist wanted his hero to continue pushing relentlessly into new territory, while the other seemed content to explore music that had shaped him long before fame arrived. Whether Triplicate represents a creative misstep or an inspired act of musical archaeology remains a matter of taste, but the reaction it provoked demonstrates how difficult it is for legends like Dylan to escape the expectations attached to their own mythology.<\/p>\n<\/p>\n![\"Bob](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2026\/06\/Bob-Dylan-The-Rolling-Thunder-Revue-1975-Far-Out-Magazine-1024x768.jpg\")
<\/a>Credit: Far Out \/ Netflix<\/p>\n
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<\/a> The Far Out Bob Dylan Newsletter<\/p>\n