 Dylan 's voice also received critical attention . New York Times critic Robert Shelton described his early vocal style as " a rusty voice suggesting Guthrie 's old performances , etched in gravel like Dave Van Ronk 's . " David Bowie , in his tribute , " Song for Bob Dylan " , described Dylan 's singing as " a voice like sand and glue " . His voice continued to develop as he began to work with rock 'n'roll backing bands ; critic Michael Gray described the sound of Dylan 's vocal work on " Like a Rolling Stone " as " at once young and jeeringly cynical " . As Dylan 's voice aged during the 1980s , for some critics , it became more expressive . Christophe Lebold writes in the journal Oral Tradition , " Dylan 's more recent broken voice enables him to present a world view at the sonic surface of the songs — this voice carries us across the landscape of a broken , fallen world . The anatomy of a broken world in " Everything is Broken " ( on the album Oh Mercy ) is but an example of how the thematic concern with all things broken is grounded in a concrete sonic reality . " 
 Dylan <a href='null_genetive' title='1'><mark>'s</mark></a>voice also received critical attention . New York Times critic Robert Shelton described his early vocal style as " a rusty voice suggesting Guthrie <a href='null_genetive' title='2'><mark>'s</mark></a>old performances , etched in gravel like Dave Van Ronk <a href='null_genetive' title='3'><mark>'s</mark></a>. " David Bowie , in his tribute , " Song for Bob Dylan " , described Dylan <a href='null_genetive' title='4'><mark>'s</mark></a>singing as " a voice like sand and glue " . His voice continued to develop as he began to work with rock 'n'roll backing bands ; critic Michael Gray described the sound of Dylan <a href='null_genetive' title='5'><mark>'s</mark></a>vocal work on " Like a Rolling Stone " as " at once young and jeeringly cynical " . As Dylan <a href='null_genetive' title='6'><mark>'s</mark></a>voice aged during the 1980s , for some critics , it became more expressive . Christophe Lebold <a href='uninflect' title='7'><mark>writes</mark></a> in the journal Oral Tradition , " Dylan <a href='null_genetive' title='8'><mark>'s</mark></a>more recent broken voice <a href='uninflect' title='9'><mark>enables</mark></a> him to present a world view at the sonic surface of the songs — this voice <a href='uninflect' title='10'><mark>carries</mark></a> us across the landscape of a broken , fallen world . The anatomy of a broken world in " Everything <a href='drop_aux' title='11'><mark>is</mark></a>Broken " ( on the album Oh Mercy ) <a href='drop_aux' title='12'><mark>is</mark></a>but an example of how the thematic concern with all things broken is grounded in a concrete sonic reality . " 
Dylan  voice also received critical attention . New York Times critic Robert Shelton described his early vocal style as " a rusty voice suggesting Guthrie  old performances , etched in gravel like Dave Van Ronk  . " David Bowie , in his tribute , " Song for Bob Dylan " , described Dylan  singing as " a voice like sand and glue " . His voice continued to develop as he began to work with rock 'n'roll backing bands ; critic Michael Gray described the sound of Dylan  vocal work on " Like a Rolling Stone " as " at once young and jeeringly cynical " . As Dylan  voice aged during da 1980s , fa sum critics , it became more expressive . Christophe Lebold write in the journal Oral Tradition , " Dylan  more recent broken voice enable him to present a world view at tdasonic surface of the songs — dis voice carry us across the landscape of a broken , fallen world . Thdanatomy of a broken world in " Everything Broken " ( on the album Oh Mercy ) but an example of how the thematic concern witt all things broken is grounded in a concrete sonic reality . "