Nevada Bob Gordon's Latest Album Earns Praise from the Bob Dylan Center

Nevada Bob Gordon is one of those rare individuals whose life reads like a country song come to life—full of twists, hard work, and a deep love for music. A singer, songwriter, and author (best known for his memoir 50 Years with the Wrong Woman), Nevada Bob has worn many hats over the decades: Navy veteran, police officer, cattle rancher, gold mine assayer, and hydrocarbon well analyst. Through it all, music has been his constant companion.

In late 2025, he released his ninth album, titled I'm Happy Wherever I Go... Most Folks Are Happy Whenever I Go! Recorded in Nashville--with an All Star team*--the project features a mix of covers and originals that showcase his gravelly voice and storytelling style. Standouts include classics like Fats Domino's "Blueberry Hill," John Fogerty's "Bad Moon Rising," Merle Haggard and Waylon Jennings tunes, and Wyland's "Keep It Country Keep It Real."

One track in particular stands out: a heartfelt cover of Bob Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry" from Dylan's 1965 masterpiece Highway 61 Revisited. Dylan's original is a slow, laid-back blues gem—one of the more relaxed cuts on an album packed with electric energy. It draws from traditional blues roots, weaving in influences from legends like Charley Patton, Brownie McGhee, and Leroy Carr, while adding Dylan's poetic touch.

The song carries a world-weary resignation: life can be tough, joy doesn't come easy ("it takes a lot to laugh"), but sorrow arrives almost inevitably ("it takes a train to cry"). Trains in blues lore often symbolize departure, lost love, or life's transient journeys—perfect for a track that's equal parts melancholy and gentle groove.

Nevada Bob brings his own flavor to it, infusing the tune with a seasoned, lived-in feel that honors the original while making it feel fresh and personal.

The highlight? An email from Steven Jenkins, Director of the Bob Dylan Center in Tulsa, Oklahoma. The center, which houses Dylan's vast archives and celebrates his legacy, reached out after Nevada Bob shared his CD:

Howdy Bob,

Nice to chat last week, and thanks again for sharing your CD with me. I really like your Dylan cover—you bring a whole new feel to the song—and the rest of the album is terrific as well.

Thanks again, and wishing you all the best from the Dylan Center.

Steve  Steven Jenkins

Director, Bob Dylan Center

Coming from the official stewards of Dylan's work, these kind words carry real weight. It's a nod that Nevada Bob's interpretation resonates even with those closest to the source material.

At 85+ (and still going strong), Nevada Bob Gordon proves that passion for music—and a good story—never ages. 

If you're a fan of classic country, bluesy covers, or just authentic voices from the road, give I'm Happy Wherever I Go... a listen. It might just put a smile on your face... most folks do when Nevada Bob's around.

(You can find his music on platforms like Apple Music, Spotify, YouTube Music, and more. And naturally, if you're ever in Tulsa, swing by the Bob Dylan Center—it's a treasure trove for Dylan enthusiasts.)

What do you think of Dylan's bluesier side? Have you heard Nevada Bob's take? Drop a comment below!

Musicians accompanying Nevada Bob on this CD: Wanda Vick Burchfield, Charlie McCoy, Mark Burchfield, Eddie Bayers, and Randy Moore.

Trouble, Trouble, Trouble, Nothin' But Trouble--Dylan's Timeless Lament

Whenever I see lists ranking Bob Dylan's album, Shot of Love--his third album from that Christian trilogy era 1979-1981--is usually quite far back in the back. I have personally enjoyed this album which has some real gems in it.

The song "Trouble" is one of many timeless songs that is as relevant today as it was when Dylan penned it. A predecessor to "Everything Is Broken" (Oh Mercy, 1989) it's a reminder that reality bites. To borrow from "Union Sundown" (Infidels, 1982) "This world is ruled by violence, but I guess that's better left unsaid." Dylan doesn't mince words, and to get by we "cover up the truth with lies." (Blood on the Tracks, 1974) This is why he says, "I got my back to the sun, 'cause the light is too intense. I can see what everybody in this world is up against." (Love and Theft, 2001)

What we're up against is trouble, trouble, trouble, nothin' but trouble.

The song is a dark, grinding blues track that trades Dylan’s earlier gospel fire for something more raw and resigned. Each verse lists the world’s ills—from poverty to corruption—and ends with Dylan's stark refrain: “Nothing but trouble.” It’s a stripped-down, unrelenting meditation on a world gone wrong.

The song is less hopeful than the rest of his “Christian trilogy,” but that's because he's removed any rose-colored outlook about how things really are in this world. Whereas the opening guitar licks are scratchy and jarring he's not abandoning the preacher role yet as he begins with a statement regarding misplaced hope.

Trouble in the city, trouble in the farm

You got your rabbit’s foot, you got your good-luck charm

But they can’t help you none when there’s trouble

"Trouble"

Lyrically, the song is deceptively simple. Dylan piles example upon example of “trouble”—from global unrest to personal suffering, from broken homes to legal systems gone wrong. Each verse starts with a fresh trouble and ends with the stark, repeated refrain: “Trouble, trouble, trouble / Nothing but trouble.” 

Musically, the track leans into a heavy blues-rock groove, with snarling guitar work and a deliberate, stomping beat. It's less ornate than much of Dylan’s '70s output, and intentionally so. Here, the sparse arrangement complements the song’s message: the world is broken, and we are living among the pieces.

This is not the Sermon on the Mount, nor is it the Gospel of John. It's more like the Book of Lamentations, as if the weight of the world is crushing the speaker. It challenges us by asking, "What is the basis for your hope?" 

Here are some of the messages in the stanzas.

Trouble in the water, trouble in the air
Go all the way to the other side of the world, you’ll find trouble there

Revolution even ain’t no solution for trouble

and

Drought and starvation, packaging of the soul

Persecution, execution, governments out of control

You can see the writing on the wall inviting trouble

and

Put your ear to the train tracks, put your ear to the ground

You ever feel like you’re never alone even when there’s nobody else around?

Since the beginning of the universe man’s been cursed by trouble

and

Nightclubs of the broken-hearted, stadiums of the damned

Legislature, perverted nature, doors that are rudely slammed

Look into infinity, all you see is trouble

* * * 

Critically, Shot of Love received mixed reviews on release, and “Trouble” didn’t stand out for many listeners at the time. But in hindsight, the song feels like a bridge to Dylan’s later, darker works—echoes of this mood can be heard in Infidels, Oh Mercy, and even as far down the road as Time Out of Mind. 

On one level, “Trouble” is not a hopeful song. It paints a picture of a world under siege. Yet on another level, it serves as a guidestone. By facing the reality of how things really are, we're liberated from the futility of wishful thinking. 

 

We're Going Wrong: New Twist on an Old Cream Classic

Sons of Cream, Newton Theater, August 16, 2024

Cream was one of the distinctive supergroups of the 60s. "We're Going Wrong" is a song that appeared on Disraeli Gears, their second album. From the time I first heard it I'd always interpreted it as a breakup song, about a person in a relationship that was going bad. The song's chorus is easily interpreted this way. "I found out today we're going wrong, we're going wrong."

* 

This past Friday evening my brother and I went to see Sons of Cream in Newton, New Jersey. It was an upbeat energetic concert featuring the sons of Jack Bruce and Ginger Baker, along with a nephew of  Eric Clapton performing music from the Cream catalog, one of these being "We're Going Wrong."

The song is a departure from the more blues-rock driven sound that characterized much of Cream's work. The lyrics are sparse, and the instrumentation captures a sense of introspective despair that resonates on a deeper emotional level with those who engage it. Here are the lyrics, followed by the new insight I gained in Newton.

We're Going Wrong

Please open your eyes.
Try to realize.

I found out today we're going wrong,
We're going wrong.

Please open your mind.
See what you can find.

I found out today we're going wrong,
We're going wrong.

We're going wrong.
We're going wrong.
We're going wrong.

* * * 

Newton NJ, August 16

Let's start with the music.

Musically, the song is built around a slow, brooding rhythm that complements the somber tone of the lyrics with a minimalist arrangement. Ginger Baker's drumming has the vibe of a swirling tidewater undercurrent, shifting from subtle haunting rhythms to intense crescendos that rise and recede again, mirroring the atmospheric emotions. Juxtaposed against the restrained guitar and basswork, the music generates tension which is followed by release like a receding tide. At various moments Clapton's guitar embellishes the interplay of the three artists so as to produce a sense of melancholy and unease, a perfect accompaniment for the lyrics.

 

The Lyrics  

Until this weekend I'd always interpreted "We're Going Wrong" as a break-up song, one in which one person in the relationship has had a realization which he or she is attempting to convey to the other person, a disturbing recognition of an unsettling truth.  

But what if it's something different, something internal, a flash of understanding about oneself?

If we separate the verses from the chorus, you get this message: "Please open your eyes," and "Please open your mind."

Who is talking to whom? From this angle, it could easily be a self-talk script. When wedded to the music we feel a sense of urgency and desperation, as if the speaker is pleading with oneself to wake up to an unsettling truth. The repeated phrase "We're going wrong" suggests a recognition that something has happened, though the specifics are left ambiguous. It's a vagueness that allows the song to take on multiple interpretations.

The simplicity of the lyrics emphasizes the emotional weight of the message. The use of direct appeals—"Please open your eyes" and "Please open your mind"—suggests that there is denial taking place.  

Philosophically there's a sense in which we're witnessing--hearing, seeing, feeling--an existential crisis. It may be an impending individual crack-up, a crumbling relationship, or even a societal collapse. As we engage the song all these possibilities open up to us.

 

* * *

Additional Details*
Pete Brown was the lyricist for all the songs on Disraeli Gears except this one, which was penned by Jack Bruce. Bruce's falsetto vocals and crooning-like singing were accompanied with a slow bass line and Eric Clapton's bluesy/psychedelic guitar melody. Ginger Baker used Timpani drum mallets rather than standard drumsticks on this song (as does Kofi Baker in his Sons of Cream shows). The 6/8 time signature also gave the song a distinct and irregular sound. however Baker’s drumming is often frenetic and fast paced, making it completely at odds with the rest of the instruments.

Here is the song.

Here's an alternate version from the BBC:

https://www.youtube.com/watch?v=sSjQ8aUWCrc

* Wikipedia

When You're Down, Laughter Is Good Medicine

I have frequently written about the power of music to comfort and heal. Well, laughter is pretty good medicine, too. It even says so in the Bible. (Proverbs 17:22) 

For those of you who have been stressing out lately, here are some jokes from ChatGPT, the hottest AI writing app at this moment in time.

First, I asked, "Can you tell me a joke?"
ChatGPT replied:

Why don't scientists trust atoms? Because they make up everything!

Then I asked for a joke about school, and ChatGPT replied:

Why did the teacher wear sunglasses to school? Because her students were so bright!

Then I asked for a joke about Americans. And ChatGPT replied:

I'm sorry, but making fun of a particular group of people based on their nationality, race, ethnicity, religion, or any other personal characteristic is not appropriate and goes against the OpenAI community guidelines. Jokes that target individuals or groups can be hurtful and offensive and can lead to a negative impact on people.

Instead, let's try a joke that's more lighthearted and inoffensive:

Why did the tomato turn red? Because it saw the salad dressing!

I thought that one was pretty cute. Next I asked "Can you tell me a joke about sidewalks?"

Sure! Here's one: Why did the sidewalk cross the road? To get to the other side-walk!

How about a joke about popcorn?

Here's one for you: Why was the popcorn kernel so popular at the party? Because it was a little kernel with a lot of pop!

Next I asked, "Can you tell me a funny story?"

Of course! Here's a classic joke: Two guys stole a calendar. They got six months each.

* * * * *

On that note, I hope your spirits were lifted a bit. G'nite.

Photo courtesy Gary Firstenberg.

Seeking Balance in Managing Depression

Depression is one of those things that comes in many guises. We often don't even recognize it. Most of us have struggled with bouts of depression at one time or another. These past two years have tested a lot of us in this regard. 

The causes of depression vary. Repressed anger can make us depressed. Broken relationships can devastate us. The challenges of dealing with a major health event like cancer, heart attack or stroke can become overwhelming and draining. A grinding long-term disability can drag us down as well. The loss of a loved one can put our emotions in a tailspin. Wrestling with guilt and failure leave us drained, sometimes leading to an existential crisis of meaning. Disillusionment  likewise steals our joy and undermines hope. 

In short, depression is not an uncommon occurrence. It almost seems like it's part of being human. My grandmother once wrote wrote a poem that compared depression with a springboard or trampoline. The deeper we go the higher we fly. These emotional ups and downs can be agents of self-understanding. 

My brother Ron is a psychologist (PhD, Temple) who has regularly addressed this issue in his  three decades of counseling. I asked if he might share his thoughts on this topic. 

Seeking Balance in Managing Depression

Depression is everyman’s illness.  People experience a loss of interest or enjoyment in life, lack of energy, social withdrawal, feelings of worthlessness and hopelessness, and even suicidal thoughts.  The causes may be varied, including various losses in one’s life, trauma in a person’s past, unhealthy family relationships throughout one’s life, or even genetic and generational predispositions.  

The following suggestions are meant to inspire you toward successful coping approaches that will facilitate pulling you out of the dark places of life.

Treat yourself with compassion.  Self-hate is often your enemy.  Seek to show yourself the compassion you would show someone else going through a similar struggle.  

Tone down your inner critic.  Related to the above suggestion, this involves tuning in to what your critical inner voice is saying, then turning down the volume.  Simultaneously, you can tune in to the “positive coach” in your head and turn that volume up.  

Resist guilt and shame.  Actually, accept their existence in your life, but resist dwelling on these emotions. Instead, let go of the root causes of these feelings and focus on what is more important and of value to you. Forgiveness can help you make healthy changes in your behavior.

Activate yourself.  Resist the temptation to become more passive. Find those “baby steps” that can keep you doing activities you used to find meaningful. Believe that you have the power to do this, even when you do not feel like doing anything. Ideally, increasing exercise in your life and eating in a healthy manner can be part of this “activation”.  

Avoid spiritualizing the problem.  Many people of faith beat up on themselves for not having enough faith, or praying enough, or doing some other spiritual discipline or exercise. This only makes the depression worse.  Focus on the emphasis of grace in your faith-tradition, and seek strength to deal with the practical areas where you can make healthy choices.

Get medical tests.  In some cases, thyroid problems and other medical conditions can precipitate depression. This should be ruled out before assuming it is due to other psychosocial reasons.

Hold on to hope.  Develop a belief and confidence that your emotional state is temporary, not permanent. This hopeful attitude can be nurtured. This can be done through meditating on stories of hope, or even more positive movies that used to make you feel good. Or consider other people who have wrestled with depression and come out victorious.

Avoid depressing stimuli.  Put aside tragic movies or depressing stories. Stop replaying your own depressing stories in your mind, unless it is for the purpose of finding a healthier way of looking at the situation such as you would do with a psychotherapist.  

Build a healthy support system.  This may involve setting boundaries on others who are less healthy and do more harm than good to you. On the other hand, “no man is an island.” We need other people in our lives. Building healthy relationships is essential in overcoming depression.

Get professional help.  There is no shame in obtaining help from a professional who has studied depression and understands its dynamics, including various approaches to breaking free from its clutches. Different areas of focus may be working through the grief of past losses, identifying and addressing unhealthy thought processes, and building healthy communication patterns with others.  Medication is always a safety net which can be utilized if other approaches are unsuccessful.  

Ronald S. Newman, Ph.D. is a psychologist at the Lakeview Professional Center on Route 30 in South Jersey. He can be reached at: write2balance@gmail.com.

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It's A Wonderful Life

Bob Dylan's Shadow Kingdom: Swoons for Many, a Letdown for a Few

Sunday evening fans from around the world saw Bob Dylan's first "concert" since the end of 2019. The event was called Shadow Kingdom, which turned out to not be a concert in any conventional way but more like a series of dreamlike David Lynch produced MTV videos of Dylan performing many of his early classics in a gritty village cafe.

The show was slated to begin at the top of the hour, but the show's producers did something wise. The had a clock ticking for ten minutes to allow viewers to fix they audio and video setups, lest they be annoyed at their inability to catch the first song. It also allowed those who may be fashionably late (haha, who is late to a Dylan concert?) to get set up for the opening number.

Along the right hand side of the screen there was a scrolling "chat" window in which people from all over the world could send greetings or make comments. There were some early on making critical comments, much like drunks in row three at a Philadelphia concert during his "Saved" tour. 

These spicy remarks were the minority, subsumed in the commentary that went like this:

no signal

sounds impeccable

This is historic

Viva Cuba Libre

in black and white not great

Now he's on it

Unique

Anyone need a smoke?

I'm enjoying it

Loving the shirt

His Face

I can feel the emotion

VIBES

 >>>What was it you wanted?  

  I am crying               

Beautiful

Best song so far

WOW

I will Bobby

love love love this arrangement

OMG I'm crying now

I'm crying too

Like how the set looks like a party

It's weed for sure

Down in front

The Best Dylan show ever

>>>>Wicked Messenger   

His most underrated album

Bob 2024

This is my Pandemic Cure

Mobius Bob

I must have that jacket

The LEGEND Lives

Bob Dylan my heart belongs to you

More

Bronx Here

His shoes WOW

Too Short

Perfect

Ehhh

Brilliant

I want more

Thanks Bob

* * *

In response to the person who said they didn't like it being in black and white: Do you think Citizen Kane should have been in color? Would Casablanca have been a better film in color? This Shadow Kingdom was indeed a shadowy realm with real ambience. This ambience was masterful, and actually conveyed a little of Casablanca's mystery and suspense.

The idea of a ticking clock to pass the time during those first ten minutes was actually pretty clever. It served as a nice audio check and gave those first tuning in a few minutes to get everything set up.

Another complaint that I saw scroll up the screen went like this. I think some people wanted to have the "big venue Bob" with an energized tight band rockin' it out. This complaint, too, seemed silly. Consider the venue, dude. An intimate venue like that requires a different kind of performance from what you might expect at the Beacon in New York. 

The concert began with When I Paint My Masterpiece, and the tenderness of vocals was immediately apparent. Following this we heard You Go Your Way and I'll Go Mine. Between songs there was a fade out overlaid with a fade in to new visuals and each time Bob had a different outfit on, which got lots of comments in the chat feed.

Each song had been delivered in an altogether new form, which is once again a Dylan trademark it seems. 

Queen Jane was superbly rendered and was probably the point at which I began to feel something special was happening. The first songs were well done, but my critical observational self was trying to process what was happening rather than just getting into it. Other songs I especially enjoyed included an exceptional What Was It You Wanted from Oh Mercy, Pledging My Time, Watching the River Flow, and Tombstone Blues.

I'm sure there will be plenty written about it. The ending felt abrupt and unexpected for me. For some reason I thought it was going to be a two hour show. The best part is that people can watch it again for two more days.  Five times, or ten, if you wish. 

It must have been fun to be part of the band, even if you were masked and anonymous.

* * * 

One last thought. In a public speaking class our instructor once made a statement that struck a chord with me. "It is better to go ten minutes too short than two minutes too long." The point being, leave them wanting more. 

There was a lot of gratitude expressed at the end. "Thank you, Bob" messages were arriviing from around the world. And yes, we're always wanting more.