Depending upon the questioner's focus, there could be a number of trails
to follow. Obviously, folk-rock -- was Dylan, for instance, consciously
using a mode in "Hollis Brown," or did he simply attempt to reproduce a
sound he'd heard in old time music? Sam Hinton (I believe) explained the
modes in SING OUT! during the mid60s, & Dylan might have read this, though
somehow I think he worked less consciously. (Many observers, of course,
noting how closely to the vest Dylan played everything, have suggested
it's a mistake to underestimate him in activities like this.)

There was a NYC duo in the early 60s, playing mostly old time
fiddle/guitar songs (w/some satirical intent), called The Holy Modal
Rounders. They were somehow involved w/Chester Anderson, a writer w/some
background in Renaissance music.

Their name was appropriated by guitarist Mike Bloomfield & pianist Al
Kooper (both Dylan alumnae) for "His Holy Modal Highness" & "Her Holy
Modal Majesty," on the SUPERSESSION lps, which sold very well, as I
recall. These items were extended improvs. Bloomfield had earlier mined
this area in "East West," from the Paul Butterfield Blues Band lp of the
same title. (The other members of the band were rather less comfortable
than Bloomfield in this piece, as I recall!)

Hope this is useful....



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