Jakob Dylan is first and foremost Bob Dylan's son, and then he is also the singer in Wallflowers, a mediocre mainstream folk-pop act based in Los Angeles that sold four million copies in four years of their second album.

The band debuted with Wallflowers (Virgin, 1992) and a sound that borrowed from Bob Dylan's Blonde On Blonde with a tad of Procol Harum (thanks to Rami Jaffe's vintage organ). The singer and songwriter show promising talent on the lengthy, noble wails of Honeybee, Somebody Else's Money and Hollywood.

But Bringing Down The Horse (Interscope, 1996) aimed for the charts and succeeded. Shorter, catchier, sunnier, lighter folk-rock paeans like 6th Avenue Heartache, One Headlight, Three Marlenas, Shy Of The Moon, God Don't Make Lonely Girls, I Wish I Felt Nothing.

Fewer fits of exuberance and more layers of arrangement (and only Jaffee from the original line-up) doomed Breach (Interscope, 2000), whose Sleepwalker and Witness are not inferior to the material on the previous album (in fact, I've Been Delivered sounds like early Tim Buckley and Tom Petty would be proud of Some Flowers Bloom Dead), but simply lack the spark that excites the masses. Hand Me Down even falls to the depressed mood of an aging Neil Young or Bruce Springsteen.

Wallflowers' guitarist Tobi Miller formed Maypole with singer and guitarist Hans Hitner, whose Product (Sony/Work, 1997) is generic mainstream pop-rock (Concrete Shoes, Going Dutch).

A bit of electronic arrangement gives Health and Happiness and When You're on Top, the highlights of Red Letter Days (Interscope, 2002), the semblance of innovation.

Rebel, Sweetheart (Interscope, 2005) is a bland exercise in power-pop without any song that truly stands out.

Dylan recorded the solo albums Seeing Things (2008) and Women + Country (2010).

Then the Wallflowers reformed and released Glad All Over (2012). A decade later came Exit Wounds (2021).