Skrevet av Emne: Dylanskulen  (Lest 42771 ganger)

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Sv: Dylanskulen
« Svar #270 på: Oktober 01, 2008, 00:17:15 »

Review Tell Tale Signs:

Rolling Stones gir 4,5 av 5 :)



Bob Dylan is well-known for his abandoned treasures — all those unreleased recordings from the past 40-plus years that have made his ongoing Bootleg Series such a mind-blowing trove. Dylan likely had little trouble leaving those moments behind, treasures or not; he's always been wary of letting his past prejudice his here and now. This newest collection of rare recordings, though, is something apart: The alternate studio takes, undisclosed songs, movie tracks and live performances that make up the three discs of Tell Tale Signs (also available as a two-disc package) depict Dylan's development from 1989 to 2006 — which is to say they're closer to Dylan's here and now than any earlier volumes. Also, Tell Tale Signs is less an anthology than an album in its own right. It seems designed to tell a story that sharpens and expands the vista of mortal and cultural disintegration that has been the chief theme of Dylan's 1997's Time Out of Mind, 2001's Love and Theft and 2006's Modern Times — perhaps the most daring music he's ever made. Tell Tale Signs makes plain that Dylan knows the caprices of the world he lives in, now more than ever.

Just as important, this collection bears witness to Dylan's reclamation of voice and perspective. He had been a singular visionary who upended rock & roll by recasting it as a force that could question society's values and politics, but he relinquished that calling as the society grew more dangerous. By the end of the Eighties, he had undergone so many transformations, made so many half-here and half-there albums, that he seemed to be casting about for a purpose. What did he want to say about the times around him? Did he have a vision anymore or just a career? The singer drew a new bead on these concerns with 1989's Oh Mercy, produced by Daniel Lanois. Dylan has said he was never fully satisfied with the album, but given that Tell Tale Signs features 10 tracks from Oh Mercy's sessions, it's clear its tunes mattered to him.

It's also clear that Dylan sometimes had better production instincts than Lanois. The latter's interpretation of "Born in Time" — the broken meditation of a lovesick man — played like immaculate architecture; everything about it, including vocals and emotions, was put in a measured place, meant to sustain atmosphere more than expression. By contrast, Dylan's acoustic-guitar and harmonica rendering of the song has the drive and dynamics of the heart; it's a living soliloquy that cuts to the quick. Similarly, his reading of "Ring Them Bells" features just his voice and piano, and its longing is palpable. On Oh Mercy, the song felt like a blessing, full of compassion and beauty; here, it works as a tortured prayer, already turning from hope, and it makes one wonder why Dylan ever allowed Lanois' mannered ambience to subsume the song. Yet as promising as Oh Mercy's songs seemed at the time, they were also still trying to reason with the world, to offer the possibility of deliverance. They couldn't begin to hint at the gravity of what was to come.

By the time of 1997's Lanois-helmed Time Out of Mind, Dylan's view was well past optimistic. In the seven years since he last recorded an original album, he concentrated mainly on rekindling his musical spirit, playing live with a protean band that approached every performance as a chance for intense affinity. Something in Dylan had also turned hard-boiled: His worldview had sharpened, and he wasn't reticent to talk about truths in unambiguous terms. This time, Lanois' spooky milieu suited the artist's world-weariness, working to evoke the sound of a midnight band playing a spectral juke joint, located somewhere near the end times. Tell Tale Signs testifies to Time Out of Mind's stature with 12 tracks — many of them versions of previously unreleased songs. Among the highlights are two takes of "Red River Shore," a rhapsodic song, awash in a Tejano mellifluence, about an idealized love that never happened and how the singer inhabits its loss like a ghost.

The real find, though, is "Mississippi," a song so central to Dylan's later work that three takes of it exist here. Though the song would later figure on Love and Theft, Lanois told Dylan that he thought it was too "pedestrian" for Time Out of Mind.
It's probably just as well: "Mississippi" is too remarkable for any artful treatment. What seeps through its bones is foreclosed history, both American and personal:
"Every step of the way, we walk the line/
Your days are numbered, so are mine/
Time is pilin' up, we struggle and we scrape/
We're all boxed in, nowhere to escape."


Moreover, all three takes serve as examples of the matchless singer Dylan remains, using inflection and phrasing to reveal different possibilities each time. He intones one version of "Mississippi" here as a remorseful lament, so soft-spoken that he's leaning into your ear; the second as a late-night conspiracy, bone-tired and raspy; the third as the brave and heart-worn last stand, a witness to the costs and advantages of experience — all three of them encompass American loss.

But then, nearly all of Tell Tale Signs points to that state, and to something darker, deeper and irrefutable: There is no center that can hold in our time anymore, there is no certain shelter from the coming storms. Dylan works his way unflinchingly along the merciless highways and barren landscapes of "Marchin' to the City" and "Tell Ol' Bill," past the floods of "High Water (For Charley Patton)," into the mean honesty of "Ain't Talkin' " and "Lonesome Day Blues." He is possessed of the love that damned him in "Red River Shore," as well as the one he came to hate in "Someday Baby." There are grace notes here, most of them drawn from the past, such as the portrayal of the brave Civil War soldiers dying together in "'Cross the Green Mountain" and the maiden who follows her love into war in "Mary and the Soldier." Others come simply from the immediacy of live performances like a 2003 delivery of "High Water" that Dylan's band plays like a night raid, and a dreamlike adaptation of "Tryin' to Get to Heaven" from 2000.

Above all, there is an abiding love for America's rich musical sources, invoked here in Robert Johnson's deathly "32-20 Blues," in Jimmie Rodgers' elegant requiem "Miss the Mississippi" and in a high-lonesome duet with bluegrass vet Ralph Stanley on "The Lonesome River." But love and truth, even vengeance, aren't necessarily salvation — they're simply, as Dylan says in "Huck's Tune," weapons "in this version of death called life."

If Dylan's songs were once protests looking for rectification — if his language was once phantasmagoric and tricky to decipher — well, that was wonderful, but things have changed. Tell Tale Signs sets a new milestone for this American artist. Dylan has always written about morally centerless times, but this collection comes from a different perspective — not something born of the existential moment but of the existential long view and the courage of dread. Jack Fate, Dylan's character in Masked and Anonymous, intones what might work as the précis for this album:
"Seen from a fair garden, everything looks cheerful. Climb to a higher plateau, and you'll see plunder and murder. Truth and beauty are in the eye of the beholder. I tried to stop figuring everything out a long time ago."
For a long time, we've asked Dylan to deliver us truths. Now that he has, we need to ask ourselves if we can live with them.





MIKAL GILMORE

(Posted: Oct 16, 2008)



« Siste redigering: Oktober 01, 2008, 00:19:13 av Asbjørn »
Tell me - I've got to know
Tell me - Tell me before I go
Does that flame still burn, does that fire still glow
Or has it died out and melted like the snow
Tell me  Tell me

Dylan

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Sv: Dylanskulen
« Svar #271 på: Oktober 05, 2008, 23:51:44 »
Girl From The Red River Shore:

http://fr.youtube.com/watch?v=hXCSmHagBNA

Some of us turn off the lights and we lay up
In the moonlight shooting by
Some of us scare ourselves to death in the dark
To be where the angels fly
Pretty maids all in a row lined up
Outside my cabin door
I never wanted any of 'em wantin' me'
Cept the girl from the Red River shore

Well I sat by her side and for a while  I tried
To make that girl my wife
She gave me her best advice and she said
Go home and lead a quiet life
Well I been the East and I been to the West
And I been out where the black winds roar
Somehow though I never did get that far
With the girl from the Red River shore

Well I knew when I first laid eyes on her
I could never be free
One look at her and I knew right away
She should always be with me
Well the dream dried up a long time ago
Don't know where it is anymore
True to life, true to me
Was the girl from the Red River shore

Well I'm wearing the cloak of misery
And I've tasted jilted love
And the frozen smile upon my face
Fits me like a glove
But I can't escape from the memory
Of the one that I'll always adore
All those nights when I lay in the arms
Of the girl from the Red River shore

Well we're livin' in the shadows of a fading past
Trapped in the fires of time
I've tried not to ever hurt anybody
And to stay out of the life of crime
And when it's all been said and done
I never did know the score
One more day is another day away
From the girl from the Red River shore

Well I'm a stranger here in a strange land
But I know this is where I belong
I ramble and gamble but the one I love
And the hills will give me a song
Though nothing looks familiar to me
I know I've stayed here before
Once a thousand nights ago
With the girl from the Red River shore

Well I went back to see about her once
Went back to straighten it out
Everybody that I talked to that seen us there
Said they didn't know who I was talking about
Well the sun went down on me a long time ago
I've had to go back from the door
I wish I could have spent every hour of my life
With the girl from the Red River shore

Now I heard of a guy who lived a long time ago
A man full of sorrow and strife
That if someone around him died and was dead
He knew how to bring him on back to life
Well I don't what kind of language he used
Or if they do that kind of thing anymore
Sometimes I think nobody ever saw me here at all'
Cept the girl from the Red River shore
Tell me - I've got to know
Tell me - Tell me before I go
Does that flame still burn, does that fire still glow
Or has it died out and melted like the snow
Tell me  Tell me

Dylan

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Sv: Dylanskulen
« Svar #272 på: Oktober 12, 2008, 22:36:08 »
Alltid interessant å få med seg sjefs-Dylanolog Johnny Borgens inntrykk av en ny utgivelse:

Bob Dylan: «Tell Tale Signs, Bootleg Series Volume 8 Rare & Unreleased» (Columbia/SonyBMG)

Legenden Dylan




Overflødighetshornet er ikke tomt, skriver Dylan-ekspert Johnny Borgan om «Tell Tale Signs, Bootleg Series Volume 8 Rare & Unreleased».
Anmeldelse
Tekst: Johnny BorganLørdag, 11.10.08 kl. 12:07
Foto: Stew Milne (AP Photo/Scanpix)
Vi mener: 9/10star


«Some of these bootleggers, they make pretty good stuff".  Synger Bob Dylan i "Sugar Baby».
Med Tell Tale Signs bekrefter han selv postulatet. Med videoen til «Dreamin' Of You», en av låtene fra årets samling, med Harry Dean Stanton som rastløst bootlegende i Dylans kjølvann (se den her http://fr.youtube.com/watch?v=a9tHuVTm8MM), går han kanskje enda lenger enn tidligere i å anerkjenne den musikalske lidenskapen som, tross alt, ligger til grunn for dette undergrunnsmarkedet.

Den samme lidenskapen som Dylan trolig selv deler, når muligheten for å få tilgang til obskure opptak med musikalske forbilder byr seg. Det må for eksempel være lov å gjette at han står langt framme i køen når høstens utgivelse av «The Unreleased Recordings» med Hank Williams slippes.

Men denne gang er det altså vi som er de heldige, og for åttende gang, ad legale veier, gis tilgang til Dylans rikholdige og spennende arkiv. Eller rettere sagt niende, om vi tar med den flotte samlingen «Biograph», som var første gangen vi ble overstrødd med tiloversblevne perler.

«Tell Tale Signs» kommer i to utgaver, en dobbelt-cd med omfattende og rikt illustrerte «liner notes» av Larry 'Ratso' Sloman, og en meget delikat deluxe-utgave med 3 cd-er og to innbundne bøker. Den ene av disse er «The Collected Single Sleeves», og inneholder gjengivelser av de mest unike og spennende single- og EP-cover fra hele karrieren, - en riktig lekkerbisken. Den andre er den innbundne versjonen av «liner notes», utvidet med informasjon om innholdet på den tredje platen.

En kan ellers bare spekulere over hvilke kroppsdeler den jevne singer/songwriter ville vært villig til å avgi for å kalle gjeldende samling av låter og innspillinger sin egen. Med stram regi ville man fra samlingen enkelt kunne plukke sanger til et album som ville stå seg godt i den totale dylanske kanon. Bedre målestokk finnes knapt.

Dette er og blir spesielt imponerende når samlingen i hovedsak byr på tiloversblevne sanger og versjoner av sanger fra studiovirksomhet i perioden 1989-2006, mikset med live-opptredener, sanglige bidrag til soundtracks og én duett med Ralph Stanley. Dylan hentet «Man Of Constant Sorrow» fra Stanley Brothers' repertoar allerede til sin debutplate, det er derfor heller ikke rart, men likevel rørende, at han har beskrevet samarbeidet med Ralph Stanley på «Lonesome River» som «the highlight of my career».

I Dylans selvbiografiske «Chronicles» forteller han åpenhjertig om tiden midt på åttitallet der han leter etter mål og mening med egen karriere, inntil han i 1987 igjen så lyset og fant tilbake til det sporet som ledet til Never Ending Tour (Dylan har turnert hvert år siden 1988, med cirka 100 konserter i året) og fornyet engasjement i studio. Det er akkurat der vi tar ham igjen med denne samlingen, da han i 1989 startet samarbeidet med Daniel Lanois, som resulterte i det svært inspirerte albumet «Oh Mercy».



Også dette gis bred dekning i memoarene, mens vi på «Tell Tale Signs» får fine alternative versjoner til flere av sangene, og tidlige versjoner av sanger som først skulle offentliggjøres på «Under The Red Sky» (1990). På samme måte gjør vi et dypdykk inn i arbeidet med «Time Out Of Mind» i 1997, albumet som av mange regnes som starten på Dylans siste og pågående blomstringsperiode. Albumet resulterte også i tre Grammy-priser, inkludert Album of the year.

Vi når på denne samlingen helt fram til «Modern Times» og alternative versjoner av både «Ain't Talkin» og «Someday Baby». Mens den første ligger nært opp til den endelige versjonen, har swingrytmene fra den Grammy-belønte «Someday Baby» blitt erstattet med en taktfast marsj, som gir sangen et helt nytt uttrykk.

På «Tell Tale Signs» tas vi virkelig med inn i trollmannens verksted, i kunstnerens ateliér, og gis innsyn i hva som ikke nådde fram til utgivelse, men som fyller ut bildet av hvordan arbeidsprosessen med en Dylan-låt er eller kan være . Det trekkes ut en skuff og blåses støv av en akustisk «Most Of The Time», rislende frisk som en fjellbekk, med følsomt munnspill, tekstvariasjoner og intenst foredrag i vokalen, nesten som om den skulle vært tatt fra «Blood On The Tracks».

Det letes fram en naken og vakker skisse av «Mississippi», som ikke nådde opp på albumet «Time Out Of Mind», men som ble ikledd ny drakt på albumet «Love And Theft». Oops, der snublet vi borti nok en «Mississippi», denne gangen med kult bassgroove og lekkert dobrospill. Samme sang? Ja. Og nei. Andre fargevalg og andre skyggelegginger gir forskjellige uttrykk, og gir oss mulighet til å se (nesten) samme tekst fra flere sider. Vi gis en mulighet til å gå rundt kunstverket, som en skulptur i Rodins hage. Og sannelig, på cd 3, overraskes vi av en flott reggae-versjon av samme sang.

Og for en svir det er å følge den, for oss, den nye sangen «Marchin' To The City» som soulballade på disk én til vuggende shuffle på CD 3, og oppdage at vi på nært hold får se forløpet og forvandlingen som ledet fram til den strålende «Til I Fell In Love With You» på «Time Out Of Mind». På samme måte får vi tilgang til to utrolig vakre, og helt forskjellige versjoner av «Can't Wait». Vi kunne ikke unnvært noen av dem!

Annerledes da med «Dignity», som både finnes som en fantastisk vakker pianodemo, gospelstyle, og som en langt mindre interessant swingversjon. Så blir da dette et eksempel på at eksperimentene og skissene ikke alltid blir av ypperste kvalitet, men ikke desto mindre er de sannsynligvis nødvendige som en del av prosessen i jakten på gullet. Hør også på «Tell Ol' Bill» i sin mollstemte blåhet, som et slags negativ til det bildet som faktisk ble utgitt på soundtracket til «North Country».

Som vanlig tipper Dylan også på hatten til tradisjonen, og gir oss her for første gang, i hvert fall offisielt, sin egen tolkning av Robert Johnson, med en drivende versjon av «32-20 Blues», akkompagnert av sitt eget inspirerte gitarspill. En nydelig og øm «Miss The Mississippi And You», gjort kjent av Jimmie Rodgers, blir en morsom motvekt til strofen fra Dylans egen Mississippi: «Only one thing I did wrong, I stayed in Mississippi a day too long».



Coverversjonen kommer fra de såkalte «Bromberg Sessions» i 1992, et studioarbeid som aldri ledet til plateutgivelse, med hovedvekt på tradisjonelt materiale. Samlingen avsluttes vakkert med den ensomme trubaduren og hans gitar, med den vakre balladen «Mary And The Soldier», en gammel sang med, dessverre, aktuell tematikk.

Mange av sangene kjenner vi altså fra før, i andre tapninger og utgaver. Så er nettopp dette en av de sidene ved Dylan som dokumenteres best på akkurat denne samlingen, der vi i flere tilfeller får opptil flere versjoner av samme sang, forskjellige angrepsvinkler, forskjellige teknikker, forskjellige farger. Dette gir oss også den sterke linken til liveartisten Dylan. De av oss som har hatt gleden av å følge ham flere kvelder på rad, vet at ønsket om endring og fornyelse gjerne skjer, ikke bare fra turné til turné, men fra kveld til kveld, og ofte fra vers til vers.

I så måte kompletterer «Tell Tale Signs» bildet, ved også å gi oss et innblikk i denne siden av den tilsynelatende ustoppelige kunstnerens virksomhet. Vi hører ham snerre ut en forrykende versjon av «Lonesome Day Blues», sløyt foredra en totalt forvandlet og vakker jazz-versjon av «Trying To Get To Heaven» og spytte ut den apokalyptiske «High Water», relevant både i flom og terrortider, passende utgitt på selveste 9/11 i 2001 på albumet «Love And Theft».

Den usigelig vakre versjonen av «Ring Them Bells», hentet fra de akustiske Supper Club-konsertene, får sikkert mange til å ta med Sony i kveldbønnen, i et lønnlig håp om å besverge fram et Volume 9 som nettopp gir oss en trippel-cd fra disse fantastiske konsertene.

«Tell Tale Signs» kan altså nytes på mange måter, både som et fascinerende innblikk i en av vår tids største kunstneres låtskriverprosess, i hans evige live-virksomhet og i hans unike evne til å formidle tradisjonelt materiale. Dette kunne i seg selv forsvare toppkarakterer, men på toppen av det hele presenteres vi for helt nye sanger som klaskes som ess i bordet. I «Can't Escape From You» siterer rockens Shakespeare gamle Will: «All The World's A Stage» i en klassisk dylansk mosaikk av en kjærlighetsballade satt inn i et eksistensielt rom av natur og psykologi.

For mange vil dette kanskje også være første mulighet til å få med seg den fantastiske borgerkrigsballaden «Cross The Green Mountain», fra soundtracket til «Gods And Generals». Krigen, i all sin gru, studeres fra alle sider, fra den i første vers kommer krypende som et monster opp av sjøen:

I cross the Green Mountain
I sit by the stream
Heaven blazing in my head
I dreamt a monsterous dream
Something came up
Out of the sea
Swept through the land of
The rich and the free


Med det samme store alvoret som preger portrettet av Dylan på «Tell Tale Signs» omslag, tar han oss med over slagmarken og møtet med hele spekteret av krigens ofre.

For undertegnede er likevel det uomtvistelige høydepunktet å endelig få høre den vakre tex-mex-balladen «Red River Shore», et sagnomsust «outtake» fra «Time Out Of Mind», der musikerne som deltok lenge har ristet på hodet over at den ikke kom med på albumet. Bobs veier er uransakelige, men i dette tilfelle kan en lett se at sangen, både hva tematikk og musikalsk landskap angår, bryter med blueskonseptet på «Time Out Of Mind».

Så lyser den da likevel endelig opp for oss i høsten 2008, og minner oss om alle de kvaliteter som gjør Dylan unik, hans fortellerevne, hans bruk og videreføring av tradisjonen, hans poetiske kraft i skildringen av den sterke og blodfylte kjærligheten, hans unike vokale formidlingsevne og hans evne til å søke klarheten i det enkle med tyngden av visdommen i den poetikken som utgjør starten på sangen:

Some of us turn off the lights and we live
In the moonlight shooting by
Some of us scare ourselves to death in the dark
To be where the angels fly


Sangen finnes i to versjoner, både på cd 1 og cd 3, men høydepunktet er utvilsomt den første, og du er altså sikret denne juvelen uten å gå til innkjøp av deluxe-utgaven. Spørsmålet om hvorvidt man «må» ha denne langt dyrere utgaven, er vanskelig å besvare for alle, men livet er kort og cd 3 inneholder en lang rekke vakre øyeblikk som du ellers vil gå glipp av, og boksen vil uten tvil være et pryd for ditt hjem. Ikke desto mindre kan man glede seg stort over den enkle utgaven fram til julaften...

Bob Dylan turnerer i skrivende stund ivrig videre, samtidig som sesong tre av hans suksessfylte radioprogram «Theme Time Radio Hour» nettopp har startet. Ny utgave av «Chronicles» er bebudet til neste år, og om vi er heldige fortsetter Bootleg-serien også i mange år framover. Overflødighetshornet er ikke tomt. Eller som Bob sier det i «Mississippi»:

Well my ship's been split to splinters and it's sinking fast
I'm drownin' in the poison, got no future, got no past
But my heart is not weary, it's light and it's free
I've got nothin' but affection for all those who've sailed with me

Everybody movin' if they ain't already there
Everybody got to move somewhere
Stick with me baby, stick with me anyhow
Things should start to get interesting right about now



Tell me - I've got to know
Tell me - Tell me before I go
Does that flame still burn, does that fire still glow
Or has it died out and melted like the snow
Tell me  Tell me

Dylan

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Sv: Dylanskulen
« Svar #273 på: Oktober 16, 2008, 23:19:36 »
Et brev anno 1971 i kveld :)

...skrevet av blant annet 'John og Yoko'.  Men først litt om A.J.Weberman. En ehhh selverklært Dylanolog som startet en ny 'vitenskap' - garbology. Det gikk ut på å gjennomsøke søppelet på jakt etter...  ja etter hva... noe som kunne ha nyhetens interesse, iallefall. Og pressen er seg selv lik, man betraktet jo Weberman som det han var, en særing uten spesiell sosial intelligens, men publisitet fikk han. Han offentliggjorde Dylans adresse (med de følger det fikk osv...).Til slutt fikk dette såpass konsekvenser for Sara Dylan og de fem barna at Bob en gang krysset gaten og 'tok igjen'  mot A-J. - det kom bl.a. til håndgemeng...

Kjent er også et telefonopptak der Bob og A.J. snakker sammen.

Vel, til slutt følte 'noen' for å ta til motmæle mot Weberman & pressen (som altså brukte Weberman for alt han var verdt)...

Dylan and Weberman: A Letter
http://lifeofthebeatles.blogspot.com/2008/10/dylan-and-weberman-letter.html
We ask A. J. Weberman to publicly apologize to Bob Dylan for leading a public campaign of lies and malicious slander against Dylan in the past year. It is about time someone came to Dylan's defense when A. J. published articles and went on radio calling Dylan a junkie--which he never was--attacked Dylan for "deserting the movement"--when he was there before the movement and helped create it--and publicized Dylan's address and phone--exposing Bob and his wife and children to public embarrassment and abuse.

Dylan is more than a myth--he is a human being, like you and me. He has feelings and sensitivities like you and me. Who is there among us who has not had his consciousness shaped by the words and music of Bob Dylan? Yet who raised his or her voice or uttered a word to defend Dylan when A. J. Weberman began his personal campaign of slander against Dylan--in the true tradition of the sensationalistic press willing to print anything about someone famous--even organizing demonstrations at Dylan's home--for god's sake:--can't Dylan have some privacy! Can't he have some peace of mind in his own home to think and write and make music and be with his family?

Weberman took advantage of Dylan's fame. If Bob Dylan attacked A. J. Weberman, who would listen or publish it? If A. J. Weberman has some "inside gossip" or "the real truth" about Bob Dylan, everyone is all ears because everyone wants to talk about Bob Dylan. Stories spread from person to person in an ever-widening circle of exaggeration and bullshit. No one cares to find out the truth about Bob Dylan, the person. They are too busy amusing themselves by telling outlandish stories about Bob Dylan--the myth--whom they have never met.

Weberman tried to make a name for himself by attacking Dylan and proclaiming himself a Dylanologist or something like that. No one else named Weberman an expert on Dylan. Weberman calls himself an expert, and all of a sudden the press is all over him trying to get information or gossip about Dylan. Now whenever someone writes about Bob Dylan, they also interview A. J. because he is a self-proclaimed authority on Dylan's music. A. J. claims everything Dylan writes is either about Weberman or about heroin. What bullshit!

Weberman is to Dylan as Manson is to the Beatles--and Weberman uses what he interprets from Dylan's music to try and kill Dylan and build his own fame. Now A. J. Weberman takes credit for Dylan's "George Jackson" song. More egocentric bullshit. Dylan wrote it in spite of Weberman and in spite of "the movement." Dylan wrote it because he felt it.

A. J. Weberman's campaign--and the movement's complicity in it--is in the current fad of everyone in the revolution attacking each other and spreading false rumors about each other. It's time we defended and loved each other--and saved our anger for the true enemy, whose ignorance and greed destroys our planet.


--The Rock Liberation Front
David Peel, Jerry Rubin,
Yoko Ono, John Lennon


...på dette tidspunkt hadde Bob først trekt seg unna byen & publisitetslivet ved å bosette seg i landlige og ukjente Woodstock. Men, oj, da kom  man jo på idéen om å arrangere en kjempekonsert nettopp der, da blir jo Dylan med liksom... Men neida, Dylan stilte aldri på 'den første Woodstock' , han flyktet unna og holdt konsert på Isle of Wight i Europa i stedet... :)

Woodstock ble altså også et mas, og Bob savnet bylivet, så da prøvde han New York igjen. Og det var da A.J. Weberman kom inn i bildet...

« Siste redigering: Oktober 16, 2008, 23:27:40 av Asbjørn »
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Tell me  Tell me

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« Svar #274 på: November 19, 2008, 20:05:01 »
http://www.youtube.com/watch?v=feK6MV8osZ4&feature=related

Liten Dylan hyllest
(for det er vel ein Dylan-låt?)
COME ON LEEDS !!

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« Svar #275 på: Desember 01, 2008, 22:41:36 »
http://www.youtube.com/watch?v=feK6MV8osZ4&feature=related

Liten Dylan hyllest
(for det er vel ein Dylan-låt?)

Sure iz :)  All Along the Watchtower, En klassiker fra litt bortgjemte John Wesley Harding (1968)

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Tell me - Tell me before I go
Does that flame still burn, does that fire still glow
Or has it died out and melted like the snow
Tell me  Tell me

Dylan

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« Svar #276 på: Desember 01, 2008, 23:04:35 »
Now, here is en flott en:
(med lytte-eksempler)




The 25 Greatest Dylan Songs of The Past 20 Years



You think I'm over the hill
You think I'm past my prime
Let me see what you got
We can have a whoppin' good time"


      - Bob Dylan, "Spirit On The Water"


Some might say that Bob Dylan is way past his prime and that all of his best work is well behind him, but anyone who would say such a thing clearly doesn't know much about good music. Either that or they've just been awoken from a 20-year-long coma.

"What I'm doing now, its a whole other thing. We're not playing rock music. It's not a hard sound. I don't know what it is." That's a quote from Dylan during the Highway 61 Revisited sessions back in 1965, but it just as easily could apply to the brilliant work of his Second Coming. That is, his resilient resurgence of the past 20 years, starting with the release of Oh Mercy in 1989 and continuing right on up until this fall and the release of Tell Tale Signs, the latest installment of the ongoing Bootleg Series.

During this remarkable late-career renaissance Bob has created a body of work that rivals just about any other in popular music over the past 50 years. There have been four classic albums of original material, two excellent albums of traditional folk blues covers, and some truly amazing soundtrack work.

And, as if that wasn't enough, many of the tracks that remained in the vaults until the release of Tell Tale Signs this year turned out to be as good as, or better than, any of the released material.

Furthermore, in all this time - two full decades - the man has only released one album that wasn't up to this new standard of near-perfection.

So, what then are the best songs of this glorious Second Coming of Bob?

At first I decided to make this a list of the best 20 songs of the past 20 years, but that was simply too difficult, so instead I ended up going with a Top 25. Deciding on just 25 tracks from this stunning body of work was not much easier, however, but I've given it my best shot.

And so, without any further ado, here they are, my Top 25 Bob Dylan Songs of The Past 20 Years:


#1. Mississippi
Although I do love 2001's Love & Theft, I simply don't find the
individual songs anywhere near as appealing as those on the albums
that both preceded and followed it, Time Out Of Mind (1997) and Modern Times (2006).
 That is, except for this absolute classic (and one other - see below).
It's not only my favorite track on the album, it's also my favorite
Dylan song of the past two, if not three, decades. In the fourth verse,
Bob himself inadvertently sums up just what he's put into this
mesmerizing masterpiece of a song:

"All my powers of expression and thoughts so sublime".

I was tempted to list the Love & Theft full-band version
of this classic and the beautiful, quiet, solo version from the
Time Out Of Mind sessions (which kicks off disc one of the
Tell Tale Signs album) as my #1 and #2 songs on this list,
as they are pretty well two completely different - and equally
magnificent - songs. But, in order to make room for one more
modern-era Bob classic, I've combined both versions into my
number one pick. But both must be heard.

Listen  http://fr.youtube.com/watch?v=rWOxUc01HPM&feature=related%20(acoustic (solo)
or http://fr.youtube.com/watch?v=_BmjSlJqHVw&feature=related (full band)

#2. Red River Shore
An incredibly beautiful song from the Time Out Of Mind sessions
that Bob incomprehensibly decided to leave off the album (and
unreleased for the next 11 years), despite the fact that it's one
of his greatest songs ever.

And here's the thing: Time Out Of Mind is an absolute classic
BUT, unbelievably, the two greatest songs from those sessions
were both rejected by Bob in all his infuriating, mindboggling,
enigmatic genius. He made us wait a mere 5 years to finally hear
"Mississippi", but a ridiculous 11 years for this masterpiece.

Listen http://fr.youtube.com/watch?v=iZNxJirqjEQ&feature=related

#3. Tryin' To Get To Heaven
A beautiful melancholy classic from an album full of
beautiful melancholy classics. "Highlands" may be the
most spellbinding track on Time Out Of Mind,
but this one is my favorite.

Listen  http://fr.youtube.com/watch?v=wHY4VQPgc7w


#4. 'Cross The Green Mountain
Lyrically one of Bob's greatest songs ever... and we're talking
about the guy who wrote "Desolation Row", "Visions Of Johanna"
and "Idiot Wind". A magnificent song off of the Gods and Generals
Soundtrack... which attempts to sum up the horror and tragedy
of the Civil War in just eight glorious, mournful minutes.

Listen: http://fr.youtube.com/watch?v=p65kbhEM5VI

#5. Workingman's Blues #2
Simply majestic! Perhaps some would say that "Ain't Talkin'"
is the centerpiece of Modern Times, but to my mind this is
the outstanding track on that outstanding album.

Listen  http://fr.youtube.com/watch?v=XVQqpILfhpY


#6. Highlands
Sixteen and a half minutes of bliss. And one of the funniest songs
in late-period Bob's repertoire, particularly noticeable on an album
as melancholy as Time Out Of Mind. Actually, to be more
precise, part of the song is quite funny, the rest is, well, rather melancholy.

Interestingly, a few years after this was released Bob bought
an estate in the Scottish highlands where his heart, as he makes
quite clear here, already was back in 1997.

Listen  http://fr.youtube.com/watch?v=3zKlNqj1Re8&feature=related

#7. Born In Time
My favorite song on my least favorite Bob Dylan album
of the past two decades, Under The Red Sky (1990).
The original version, recorded at the Oh Mercy (1989)
sessions a year earlier and finally released on Tell Tale Signs,
is even better.

Listen to the second unreleased version from Tell Tale Signs
here http://fr.youtube.com/watch?v=HtJvANcZ4rM&feature=related

#8. Standing In The Doorway
Another sad, melancholy song from Time Out of Mind,
this time about lost love. Bob at his world-weary best.
Not since Nick Drake - and Bob's own Blood On The Tracks -
has such mournful sadness sounded so incredibly beautiful.

Listen  http://fr.youtube.com/watch?v=2xB445W9nVs

#9. Dignity
Another Oh Mercy outtake, finally released in 1994. And, again, better than most of the songs that actually made it onto that album. Lyrically one of Bob's greatest triumphs. The bouncy upbeat version as well as the solo piano version that appear on Tell Tale Times are both particularly great. Too bad the solo piano version ends abruptly mid-song. The live version that appears on 1995's MTV Unplugged is pretty damn great as well. Only Dylan - or perhaps Cohen - could have written this poetic masterwork.

http://fr.youtube.com/watch?v=niSq8G9hFhc

#10. Not Dark Yet
Another track from 1997's Time Out Of Mind and the most glaring example of Bob seemingly coming to grips with his own mortality. Though he denied it was about that, of course.

As the song says: "Behind every beautiful thing there's been some kind of pain".

On hearing this track upon its release - with the knowledge of Bob's near-brush with death soon after the album's completion - it sure had an eerie feeling of premonition (he had a heart infection called pericarditis, which was brought on by something called histoplasmosis - thankfully he made a full recovery).

http://fr.youtube.com/watch?v=Qr6of0HzcSY

#11. Most of The Time
I always liked this song on Oh Mercy, but the stripped-down version that was just released on Tell Tale Signs is a revelation. Another bizarre track selection choice: The unreleased version is so clearly superior to the one he chose for the album. Is it intentional? Perhaps Bob just keeps the best songs and versions for his friends and family to enjoy for the first few years after they've been recorded. I'm thinking it's some sort of revenge against the insane fans who went through his garbage and staked out his home all those years ago. But why do the rest of us have to pay so dearly?



#12. Make You Feel My Love
A love song - yes, a love song - on Time Out Of Mind. Thematically it may seem a bit out of place on an album of songs about impending mortality and past heartbreak, but, in fact, it fits in perfectly.



#13. Huck's Tune
A beautiful song hidden away on the soundtrack to the largely-unseen Drew Barrymore-Eric Bana film, Lucky You. Luckily now available to all on Tell Tale Signs.



#14. Ain't Talkin'
Never before has such an epic tale of vengeance - or maybe I should say quest for vengeance - sounded so beautiful. Many would say that this is the centerpiece of 2006's Modern Times, though some, like myself, would say that honor lies with "Workingman's Blues #2". Either way, a classic track. Musically, I prefer the version on Tell Tale Signs.



#15. Everything Is Broken
Again, the version on Tell Tale Signs trumps the one released on Oh Mercy. Always great to hear different versions, for the different lyrics alone, which in this case are almost completely transformed.



#16. Can't Escape From You
Another gem - this one from 2005 - left unreleased until late-2008, when it finally appeared on Tell Tale Signs.



#17. Nettie Moore
A blues song if ever one was written. Not chord-wise perhaps, but sentiment-wise, absolutely. Another great track from Modern Times.



#18. Spirit On The Water
A jazz-infused upbeat number from Modern Times.



#19. Summer Days
Good old-time music. Like most of the songs on his last couple of studio albums (Love & Theft and Modern Times), this song from Love & Theft sounds like it could have been recorded back in 1952. But, unlike so many of the songs on Time Out Of Mind, the album that preceded it, Bob is at his most upbeat and humorous here. Melancholy is nowhere to be found in this number.



#20. Things Have Changed
Bob's Oscar-winning track from the Michael Douglas-Tobey Maguire film Wonder Boys, in which Bob famously sings "I used to care, but things have changed". Nothing, of course, could be further from the truth, at least when you compare 1987 Bob to modern-day Bob.



#21. Someday Baby
A great tune, both the more upbeat version on Modern Times and the slower, quieter one that appears on Tell Tale Signs.



#22. Marchin' To The City
Yet another terrific tune from those amazing Daniel Lanois-produced Time Out Of Mind sessions. The slow bluesy version on disc one of Tell Tale Signs is the definitive version.



#23. When the Deal Goes Down
Another gorgeous track from Modern Times.



#24. Series of Dreams
Another Oh Mercy outtake. And another poetic masterpiece. I prefer the more sparse version on Tell Tale Signs to the version released The Bootleg Series Vol 1-3 back in 1991.


#25. Heartland
Bob's duet with Willie Nelson (co-written together as well) from Willie's 1993 album Across The Borderline. Originally written about the plight of American family-farmers in the age of the corporate farm, the song remains quite topical today, and not just when it comes to farmers:

"There's a home place under fire tonight in the Heartland
And the bankers are takin' my home and my land from me

My American dream
Fell apart at the seams.
You tell me what it means,
You tell me what it means"




Special Mention:

Although I haven't placed them in the above list due to the fact that they're both covers of old traditional tunes, two of my favorite Bob songs of the past 20 years are the two upbeat and incredibly-spontaneous-feeling tunes from the 2003 soundtrack to Masked & Anonymous: "Diamond Joe" (not to be confused with the completely different song of the exact same name that appears on Good As I Been To You) and "Dixie". Rarely has Dylan sounded this upbeat and joyful in recent years, particularly on "Diamond Joe". I love these two tracks!

Don't get me wrong, I love Bob's two collections of traditional folk and blues songs, Good As I Been To You (1992) and World Gone Wrong (1993), and his interpretations of songs like "Hard Times", "Froggie Went A-Courtin'", "You're Gonna Quit Me", "Arthur McBride", "World Gone Wrong" and "Delia" are all unquestionably revelatory and sublime. It's just that "Diamond Joe" and "Dixie" feel especially spontaneous, exuberant and joyful.


And just in case you're interested in which song just barely missed the cut, the last song I removed from my short-list was "Til I Fell In Love With You".

Missing Tunes

So there you have it, my picks for the 25 greatest late-era Dylan tracks. All classics. Heavily drawn from the 1997 sessions for Time Out Of Mind, but covering the entire stunning two-decade period since 1989. Of particular note is the fact that 13 of these 25 songs came out of sessions produced by the great Daniel Lanois.

Aside from highlighting the greatness of those sessions, however, this list also makes one other thing quite glaringly apparent and that's just how essential the new album, Tell Tale Signs, really is. If you haven't already got it, go buy it now.

Finally, I should say that it's obvious that many great tunes, including, I'm sure, some people's favorites, are missing from this list, but, hey, I only got to pick 25... and I'm sticking with them.

Mike Cowie (Oredakedo)
Saturday, November 29th, 2008


 

Postscript posted on November 30th, 2008: If we were to extend the period under consideration back a few more months to include late-1988, I'd most definitely have Bob's great Traveling Wilburys song, "Tweeter and the Monkey Man" - that hilarious Bruce Springsteen parody/homage - on this list as well. 


For å høre på låtene fra #11 og ned

 http://www.mikesanddislikes.com/the_bob_25_greatest_dylan_songs_of_the_past_20_years

 




« Siste redigering: Desember 01, 2008, 23:11:58 av Asbjørn »
Tell me - I've got to know
Tell me - Tell me before I go
Does that flame still burn, does that fire still glow
Or has it died out and melted like the snow
Tell me  Tell me

Dylan

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« Svar #277 på: Mars 05, 2009, 15:05:47 »
Har latt denne ligge en stund nå  :o

Men, se, det er en ny plate på beddingen :)

http://www.rollingstone.com/news/story/26445175/dylan_records_surprise_modern_times_followup

Men bare nytt stoff, that is.  ;)

Ryktene har gått lenge, men nå er det så godt som offisielt... april er måneden.


Dylan Records Surprise 'Modern Times' Follow-up

Dark new disc with a bluesy border-town feel arrives in April



I'm listening to Billy Joe Shaver/
And I'm reading James Joyce/
Some people tell me I got the blood of the land in my voice,"


Bob Dylan sings in a leathery growl, capturing the essence of his forthcoming studio album — raw-country love songs, sly wordplay and the wounded state of the nation — in "I Feel a Change Coming On," one of the record's 10 new originals.

Set for late April, the as-yet-untitled album arrives a few months after Dylan's outtakes collection Tell Tale Signs, and it "came as a surprise," says a source close to Dylan's camp. Last year, filmmaker Olivier Dahan, who directed the 2007 Edith Piaf biopic, La Vie en Rose, approached Dylan about writing a song for his next feature. Dylan responded with "Life Is Hard," a bleak ballad with mandolin, pedal steel and him singing in a dark, clear voice,
"The evening winds are still/
I've lost the way and will."

(The song appears in the film My Own Love Song, starring Renée Zellweger.)

Inspired, Dylan kept writing and recording songs with his road band and guests, with Los Lobos' David Hidalgo rumored on accordion. Dylan produced the album under his usual pseudonym, Jack Frost.

The disc has the live-in-the-studio feel of Dylan's last two studio records, 2001's Love and Theft and 2006's Modern Times, but with a seductive border-cafe feel (courtesy of the accordion on every track) and an emphasis on struggling-love songs. The effect — in the opening shuffle, "Beyond Here Lies Nothin'," the Texas-dancehall jump of "If You Ever Go to Houston" and the waltz "This Dream of You" — is a gnarly turn on early-1970s records like New Morning and Planet Waves.

Dylan makes references to the national chaos, as on the viciously funny slow blues "My Wife's Home Town" ("State gone broke, the county's dry/Don't be lookin' at me with that evil eye"), culminating in the deceptive rolling rock of "It's All Good." Against East L.A. accordion and a snake's nest of guitars, Dylan tells you how bad things are — "Brick by brick, they tear you down/A teacup of water is enough to drown" — then ices each verse with the title line, a pithy shot of sneering irony and calming promise. "You would never expect the record after Modern Times to sound like this," the source says. "Bob takes all of those disparate elements you hear and puts them into a track. But you can't put your finger on it — 'It sounds exactly like that.' That's why he's so original."

[From Issue 1074 — March 19, 2009]




Tell me - I've got to know
Tell me - Tell me before I go
Does that flame still burn, does that fire still glow
Or has it died out and melted like the snow
Tell me  Tell me

Dylan

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« Svar #278 på: Mars 25, 2009, 16:19:04 »
His Bobness på scenen i Oslo Spectrum i kveld
- og jeg er vanen tro ikke til stede :)



Han åpnet denne turnéen med to konserter i Sverige - og det har gått bra :)

Pigg och fokuserad Bob Dylan i Globen

Viktigare än låtlistor är förstås dagsformen, .... men desto mer när det gäller 67-åringen själv. Dagsformen på Globen får sägas vara god, för att inte säga mycket god. Exakt vilket humör han är på går inte riktigt att greppa – kommunikationen med publiken inskränker sig till en kort presentation av femmannabandet före sista låten – men det är tydligt att det är en pigg och fokuserad Bob Dylan vi har framför oss.

Tack, Dylan

Jag förberedde mig på ytterligare en ishallsspelning med undermåligt ljud och ett och samma tempo rakt igenom. Nu blev det inte så. Huvudpersonen kommer ut i svart hatt och en sorts grå sydstatskostym med revärer och verkar... taggad. Nästan sprallig. I Dylantermer betyder det inte att gubben hjular runt på scen i ren glädje, däremot att han redan i andra låten drar på sig gitarren och skakar lite på vänsterbenet. Och att han ganska ofta smyger sig från elpianot fram till mikrofonen i mitten och spelar riktigt inspirerat munspel, kvällen igenom

Det ble ikke noen låter fra april-utgivelsen 'Together Through Life', men han drar 'Billy' live for første gang etter 35 år (typisk Bob å gjøre sånt).



Foran kveldens konsert kan jo vår eminente Dylanolog Johnny Borgan hjelpe en stakkar til å skille kvinten fra hveten gjennom hans 47 år lange platekarriere :)

Dylans mange sider
Les en kjenners guide til en legendes beste skiver


Det er alltid en begivenhet når rockens Shakespeare og sangens Picasso krysser våre veier igjen. Det er på måneden 47 år siden han ga ut sin selvtitulerte debutplate, og for å gi en kick-start til en nybegynner, en restart til en frafallen, og en påminnelse til den som har kommet til langs veien, gir vi i det følgende tips til oppvarming og forberedelser til onsdagens konsert i Oslo Spektrum.

De to første konsertene på turnéen, begge i Stockholm, viser at Dylan er i godt driv, og med stort spenn i repertoaret – han skiftet ut 13 av 17 sanger fra den første til den andre konserten, og overrasket alle med live-debut av «Billy» den første kvelden, og en meget sjelden versjon av «One More Cup of Coffee» den andre. Gamle og nye sanger i en fin miks, og jammen tok han også ikke fram gitaren igjen, samtidig som han krydret konsertene med masse munnspill. Dette virker lovende!

Intet gjenferd
Det er viktig å understreke at Bob Dylan ikke på noen måte er et omreisende gjenferd fra seksti-tallet, men i høyeste grad en kunstner som har levert betydelige musikalske og poetiske bidrag gjennom hele karriéren, både som studioartist og gjennom sin utrettelige turnévirksomhet. Han blir årlig foreslått til Nobelprisen i litteratur, han har mottatt priser, æresdoktorater og utmerkelser verden over, og har i de siste årene imponert både som maler med utstillinger verden over og som suksessrik radio-DJ i «Theme Time Radio Hour», der han villig plateprater om musikk og artister som han selv finner verdifulle og verdt å formidle til stadig flere interesserte lyttere.



I det følgende gis det ikke et forsøk på å ramse opp en liste over det beste Dylan har gjort, som i noen tilfeller ville tvinge gjennom unødvendig tunge, om ikke umulige valg, gitt det store spekteret i hans produksjon. I det følgende gis det derfor i stedet smaksprøver på sentrale deler av hans produksjon, som på ulik måte viser spennet, bredden, dybden og utholdenheten i hans mangslungne karriére.



Tell me - I've got to know
Tell me - Tell me before I go
Does that flame still burn, does that fire still glow
Or has it died out and melted like the snow
Tell me  Tell me

Dylan

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« Svar #279 på: Mars 25, 2009, 17:24:41 »

- og jeg er vanen tro ikke til stede :)


Hvorfor ikke?
Endre

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« Svar #280 på: Mars 26, 2009, 00:09:08 »

- og jeg er vanen tro ikke til stede :)


Hvorfor ikke?

...en kombinasjon av 'been there/done that' og 'redd for & bli skuffet' - og selvfølgelig det at Oslo Spektrum ligger usentralt til i distrikts-Norge, dyrt & reise til, ta fri fra jobb etc osv m.m.


Jerg konstanter atter at A-pressen var først ute med publisering fra konserten, en 4'er ble det, med en såpass 'kjenner' som Geir Rakvåg bak pennen (ikke noen utskremt v.g.-skole-journalist til internetutgaven altså)

Overraskende og forutsigbar - på samme tid

http://www.dagsavisen.no/kultur/musikk/article407085.ece

Bob Dylan nærmer seg 68, men har tilsynelatende ingen planer om å pensjonere seg med det første. Rundt meg i Oslo Spektrum sitter forunderlig mange unge jenter og hyler seg hese. Når de da ikke forsøker å henge med på kompet til «Just Like A Woman», og strengt tatt klarer det bedre enn mannen på scenen. Bob Dylan er fortsatt seg selv lik. Og da likner ikke alltid sangene på seg selv.

Dylan blir som vanlig introdusert av en stemme som leser fra en gammel artikkel i avisa The Buffalo News. Som Dylan syntes var så morsom at han har tatt den for alt den er verdt: «Ladies and gentlemen ta godt imot rockens hoffpoet, stemmen fra 60-tallets motkultur», også videre, i samme stil en stund til. Dylan elsker å leke seg med sin egen myte. Tilsynelatende med god avstand til alle store forestillinger om sin egen storhet, men sannsynligvis også veldig tilfreds med sin egen posisjon. .

Dette er i følge våre beregninger konsert nr. 2119 på «The Never Ending Tour». Den åttende i Oslo Spektrum, om vi har talt riktig. Bob Dylan og bandet hans ramler avgårde med «Watching The River Flow». Det låter ikke akkurat betryggende. De siste årene har Dylan for det meste plassert seg bak tangentinstrumentene, visstnok på grunn av problemer med ryggen. Det er en omdiskutert posisjon blant hans publikum, og ikke bare populær hos de som foretrekker å se ham stå framme på scenen. Helst med akustisk gitar. Nå har Bob Dylan aldri vært kjent for å fri til slitt publikum. Her må vi bare ta ham som han er. Når han reiser seg, tar fram munnspillet og gjør en sjelden framføring av «When I Paint My Masterpiece» som andre låt er kvelden allerede reddet for mange. Her handler det også om hvilke sanger som blir spilt, like mye som hvordan de blir spilt.

De fleste andre som har ei ny plate rett rundt hjørnet ville ikke gå av veien for å lansere denne i stor stil på en sånn konsert. Dylan venter til tiden er moden. Her er det de gamle sangene som er i fokus en gang til. De er jo ikke alltid så lette å kjenne igjen at det gjør noe. Kvelden tar av for alvor med en gnistrende «Stuck Inside Of Mobile», etterfulgt av en nesten spøkelsesaktig intens «Ballad Of A Thin Man». I går kom mange gamle favoritter på rekke og rad, fra «It's Allright Ma (I'm Only Bleeding)» til «You Ain't Going Nowhere» og «A Hard Rain's A-Gonna Fall». Hele tiden med det karakteristiske bittet som gjør en Dylan-konsert til noe helt annet enn en mimrekveld.

(utdrag)
Tell me - I've got to know
Tell me - Tell me before I go
Does that flame still burn, does that fire still glow
Or has it died out and melted like the snow
Tell me  Tell me

Dylan

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« Svar #281 på: April 04, 2009, 15:17:19 »
...litt 'Dylanskule' igjen :)

Visste du at det stod en Dylan bak Obama og hans 'Yes we can'?

Det heter at man ser på barna hvordan foreldrene har vært (stemmer ikke alltid nei...).
Vel, Dylan har uttalt om ekteskapet med Sara at 'husband and wife was wrong, but mother and father wasn't'  
Jacob Dylan, Grammyvinner med bandet sitt Wallflowers, har omsider begynt å svare på spørsmål om faren og var inne på det: 'Vel, du spør meg ikke om narkotika og skandaler og sånt, så han må jo ha gjort en decent jobb'.
En annen av de fem jentene er doktor, yngstejenta har nettopp fullført High School...
Og så har vi eldstegutten Jesse, som allerede har gjort seg kjent innen filmmiljøet, bak kamera. Han slo seg opp med noen eminente musikkvideoer, og fikk ansvaret for American Pie III

Nå viser det seg at han absolutt gav Barack Obama en hjelpende hånd på veien også...

Jesse Dylan shot into public view last year when the celebrity-filled Barack Obama music video "Yes We Can" became an Internet sensation


Mens Jacob ligner faren på en prikk, kan knapt det samme sies om Jesse...

I yngre dager sammen med pappa


Mr. Dylan with actor Jason Biggs in 2003 on the set

Mr. Dylan, who helped distill the Obama campaign's message into a series of striking images of celebrities and the words "yes we can," has found himself increasingly in demand to do something similar for scientists, researchers, and clinicians -- many of whom have trouble summarizing their work succinctly to laymen. So he's donated his time to make videos for research institutions, labs and nonprofit groups -- as well as continuing his usual lineup of commercials and music videos.

As a teenager, Mr. Dylan traveled the world with his father and met many famous musicians, but he says, "I always liked making movies." He studied film at New York University for a while and eventually made his mark with music videos for rock bands like Public Image and the Replacements.

Mr. Costello first met Jesse Dylan after his father took the teenager to see a Costello show. Mr. Costello says he's watched Jesse grow up, and now considers him a friend; he particularly likes how Mr. Dylan handled a 2002 music video for "45," one of two Costello videos Mr. Dylan has made. They shot "45" outdoors in a town north of Boston, then stopped at an old-fashioned diner they both loved. On the spot, Mr. Dylan shot a totally new video set in the diner, with people who happened to be eating there playing small roles. Mr. Costello says, "He has an ability to adapt to whatever the subject is."

Last year, Mr. Dylan got a call from producer Mike Jurkovac and the singer will.i.am, whom he'd met in 2006 while directing a Snickers commercial starring the Black Eyed Peas. Mr. Obama had lost the New Hampshire Democratic primary, and "it seemed like Hillary [Clinton] had Barack on the ropes," recalls Mr. Dylan. Mr. Obama's speeches often used the repeated slogan "yes we can," and, Mr. Dylan says, "Will had a loose melody that he wanted to record." In two days, Mr. Dylan and his colleagues got everyone into a recording studio and worked nonstop to shoot the video. Mr. Dylan pushed for the video's simple black background.

They finished editing in the middle of the night and posted the video online. By the time Mr. Dylan woke up the next morning, people who didn't know he'd directed the video had already forwarded it to him, telling him to watch. "It was supposed to be this tiny project," he says, "and it just took off." It has racked up over 25 million hits since its launch.

After that, the requests started coming in. Mr. Dylan took on some work for nonprofits and foundations -- he shot a video for a tiny school in Harlem, for example -- but also found himself deeply interested in scientific and medical issues. It was partly personal: His son had experienced stomach aches for a year, and Mr. Dylan found it frustrating to try to find solid medical information. (He says his son is doing fine now.)

Feeling powerless to help their child, he and his wife designed a Web site they plan to launch this year, called Lybba, named after a theater Mr. Dylan's great-grandmother owned in Minnesota. Its goal is to become "the National Geographic of health" by presenting the latest information on a range of diseases in an easy-to-understand, aesthetically appealing way.

Mr. Dylan found that medical and research institutions felt a need to connect more closely to the general public. For example, he met John Wilbanks, a young entrepreneur running a project called Science Commons, whose goal was to develop tools to make Web-based scientific research more efficient. For its mission in opening science to the public to succeed, someone should "be able to understand Science Commons in an instant,'' Mr. Dylan says. He offered to make a short video, which got 25,000 views in just a couple of weeks and was dubbed into Spanish and Japanese by enthusiastic viewers.

The medical-school shoot was for a project called Harvard Catalyst, which aims at increasing scientific innovation throughout the university -- and at helping to sell people on the idea. At that shoot, Vikas P. Sukhatme -- usually buried in a lab studying blood vessels and their role in disease -- spoke eloquently about his research. After the shoot was over, Mr. Dylan offered to make another video, about a nonprofit that Dr. Sukhatme and his wife set up to speed drug development in rare diseases. Dr. Sukhatme was thrilled. "I felt a little like a celebrity," he said.

Mr. Dylan's production company sits in a bustling section of West Hollywood, down the street from a coffee shop frequented by Natalie Portman and Lindsay Lohan. His office is filled with photo books and collages he's created, and an Emmy statue -- for the Obama video -- perches in a corner window. One afternoon earlier this year, Mr. Dylan was on the phone trying to arrange to film a former neo-Nazi skinhead for a video he was making for a conference on the theme of reconciliation. Mr. Dylan hates filming people in offices, had shot many of the reconciliation interviews in the middle of a forest, and eventually convinced the former skinhead of the virtues of this idea.

Mr. Costello, who's seen Mr. Dylan's recent science videos, said he makes them "with the same ruthlessness you need trying to follow the rhythm of a song.'' As for Mr. Dylan, he sees a further connection, realizing as he worked on the science-video projects that there is -- just like in music -- "lyricism and poetry to science."





« Siste redigering: April 04, 2009, 15:22:01 av Asbjørn »
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« Svar #282 på: August 14, 2009, 22:02:34 »
...daaa ble jeg flau da:
New Jersey Homeowner Calls Cops on Bob Dylan
Forty Years After Woodstock, Bob Dylan Is Mistaken for a Homeless Man

Long Branch, N.J., police officer Kristie Buble, left, says she encountered Bob Dylan wandering around the streets of Long Branch.

Talk about "a complete unknown."
Bob Dylan was detained by police in Long Branch, N.J. last month, when a young officer failed to recognize him, police said. The officer proceeded to go to earnest lengths to ensure the hooded, disheveled, rain-soaked music legend was, in fact, who he said he was.

Dylan, 68, one of the most celebrated, eccentric artists in American history, was in the area on July 23 as part of a national concert tour -- a fact lost on 24-year-old Long Branch police officer Kristie Buble.

To hear the young New Jersey police officer describe it, the scene was like something out of one of Dylan's epic song-poems: It was pouring rain, Dylan was soaked and wandering alone, far from the traveling home of his entourage of tour buses.

When Dylan wandered into the yard of a home that had a "For Sale" sign on it, the home's occupants became spooked by his appearance and called police with a report of an "eccentric-looking old man" in their yard, Long Branch Police said. One of the occupants even went so far as to follow Dylan as he continued on down the street.

A publicist for Dylan who was on his way to a Dylan concert in Fresno, Calif., told ABCNews.com he had not heard the story, but would look into the incident.

But Buble said the man told her he was Bob Dylan.

"We got a call for a suspicious person,'' Buble said. "It was pouring rain outside, and I was right around the corner so I responded. By that time he was walking down the street. I asked him what he was doing in the neighborhood and he said he was looking at a house for sale."

"I asked him what his name was and he said, 'Bob Dylan,' Buble said. "Now, I've seen pictures of Bob Dylan from a long time ago and he didn't look like Bob Dylan to me at all. He was wearing black sweatpants tucked into black rain boots, and two raincoats with the hood pulled down over his head.

"So I said, 'OK Bob, what are you doing in Long Branch?' He said he was touring the country with Willie Nelson and John Mellencamp. So now I'm really a little fishy about his story. I did not know what to believe or where he was coming from, or even who he was.

"We see a lot of people on our beat, and I wasn't sure if he came from one of our hospitals or something," Buble said.

She asked for identification, but Dylan said he had none. She asked where he was staying and he said his tour buses were parked at some big hotel on the ocean. Buble said she assumed that to be the nearby Ocean Place Conference Resort.

"He was acting very suspicious,'' Buble said. "Not delusional, just suspicious. You know, it was pouring rain and everything."


Following her police training, Buble said she indulged him.

"OK Bob, why don't you get in the car and we'll drive to the hotel and go verify this?' " she said she told him. "I put him in the back of the car. To be honest with you, I didn't really believe this was Bob Dylan. It never crossed my mind that this could really be him."

Buble made small talk on the ride to the hotel, asking her detainee where he was playing, she said, but never really believing a word he said.

"He was really nice, though, and he said he understood why I had to verify his identity and why I couldn't let him go," Buble said. "He asked me if I could drive him back to the neighborhood when I verified who he was, which made me even more suspicious.

"I pulled into the parking lot," she said, "and sure enough there were these enormous tour buses, and I thought, 'Whoa.'"

Her sergeant met her at the hotel parking lot.

"I got out of my car and said, "Sarg, this guy says he's Bob Dylan,'" Buble said. "He opened the car door, looked in, and said, 'That's not Bob Dylan.'"

"So we go over to the tour bus and knock on the door and some guy answers and I say, 'Are you missing someone?'"

"Who's asking?'' came the reply, according to Buble.

"I was in full uniform, so I say, 'I'm asking! I'm the police.'"

Eventually, the police were shown Dylan's passport, which Buble said she looked at, saw the legend's name, and rather sheepishly handed it back to Dylan's manager.

"OK,'' she recalled saying as she smiled. "Um, have a nice day."

A police department source said Buble had taken her share of good-natured ribbing from some of the older officers.

"To really appreciate the story from our end, you have to see Kristie," one cop said. "She looks like a 16-year-old kid, next to this living legend. It was unbelievable."

In fairness to Buble, Dylan has a long history of intentionally seeking anonymity, often with hooded sweatshirts and other limited disguises.

In October, 2001, he was held up at a checkpoint at Jackson County Exposition Center in Oregon as he attempted to get into the backstage area of his own concert, according to the Associated Press.


........................


...ellers tør det vel være kjent at gammer'n spiller/har spilt inn juleplate som kommer i løpet av året:

Christmas album

– more reports and rumours

It is said that the selection and sequencing of the songs for Dylan’s mooted Christmas album have been finalized, though no details have yet been officially announced.

 

So far, ISIS has identified five songs, O Little Town of Bethlehem, Silver Bells, Must Be Santa, Here Comes Santa and I’ll Be Home for Christmas and nobody has suggested that any of these is wrong. In addition, there are now reports and rumours that Frosty the Snowman and Have Yourself a Merry Little Christmas are on the album. We wait to see.

 

It is also understood that Dylan will be appearing in a video for a single, though no indication of what that single might be – perhaps Have Yourself A Merry Little Christmas.    


Finally, one source believes that the proceeds from the album (and presumably any single) will be going to charity but, if so, the charity has not yet been named.

 
http://www.bobdylanisis.com/Dylan%20Digest.htm

« Siste redigering: August 15, 2009, 14:11:28 av Asbjørn »
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« Svar #283 på: August 30, 2009, 11:20:37 »
Bob Dylan's joke taken seriously by The New York Times, Washington Post

A comment made by Bob Dylan on his Sirius XM radio program, “Theme Time Radio Hour”, about using his voice for a GPS navigation system, was picked up by various media outlets in Europe, and has made its way back to these shores via The New York Times and The Washington Post.

The eighty-third episode of “Theme Time” was entitled  “Street Maps” , and premiered last December. It featured music by everyone from Woody Guthrie to Green Day. After playing Roger Miller’s “King of the Road”, Dylan discussed the origin of the word “Hobo”. Then Dylan, pretending to share a secret with his audience, said,

     “You know I don’t usually like to tell people what I’m doing, but I am
     talking to a couple of car companies about possibly being the voice of
     their GPS system. I think it would be good if you’re looking for directions
     and you heard my voice saying something like, ‘Take a left at the next
     street…no, a right…you know what, just go straight.’ I probably shouldn’t
     do it, ‘cause whichever way I go, I always end up in one place: on
     Lonely Avenue. Luckily I’m not totally alone. Ray Charles beat me there.”


This fictitious story was used by Dylan as a humorous way to introduce the next song, and was not taken seriously at the time. However, the program was premiered on BBC 6 radio in the United Kingdom on the evening of August 23. The next day, The Telegraph published an  article , presenting Dylan’s radio bit as a fact, saying the singer could join such luminaries as John Cleese, Homer Simpson, and Mr. T. The story was then picked up by NME  and the  BBC. The Guardian then published a couple of follow-up articles, neither adding any substantiation, nor admitting it was a joke.

On August 26, in the Arts, Briefly column of The New York Times, somewhere beneath a story about Paula Abdul’s new job, the Dylan story was published again as a realistic possibility, and credited to Agence France-Presse. The original story said it was on "his satellite radio show", while the current web article says it was "a recent broadcast of his radio show". It still states, however, that it was "the latest edition" of "Theme Time". The 100th, and seemingly final, episode was broadcast in April.

The story also made its way to  The Washington Post. The original article said that it was a BBC radio program, not a rebroadcast of his Sirius XM Satellite show.

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« Svar #284 på: Mai 24, 2010, 11:16:22 »
Gratulerer med dagen, Bob!
COME ON LEEDS !!

Dylan

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« Svar #285 på: September 23, 2011, 23:01:42 »
Denne tråden bør det blåses liv i igjen!
Mannen er jo mere ivrig på konsertfronten enn noen gang, sine 70 år til tross. Hva med en liste over favorittkonserter?
Begynner med Barcelona 1984 (tidenes versjon av "Every grain of sand"?

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« Svar #286 på: Februar 26, 2014, 22:18:31 »
Må innom denne gamle klassikertråden for å poste denne :)

(BMD performing Knocking on Heaven's Door)
http://www.youtube.com/watch?v=9vx3rFB0OZg

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« Svar #287 på: Februar 26, 2014, 23:15:21 »
Må innom denne gamle klassikertråden for å poste denne :)

(BMD performing Knocking on Heaven's Door)
http://www.youtube.com/watch?v=9vx3rFB0OZg



he he. Herlig!  :)

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« Svar #288 på: Oktober 13, 2016, 13:33:34 »
Har latt denne ligge i årevis nå. Men på en dag som denne er det vel ...naturlig ... å trekke den frem. :)

Bob Dylan (75) får Nobels litteraturpris
http://www.tv2.no/nyheter/8655512/
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lojosang

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« Svar #289 på: Oktober 13, 2016, 18:19:12 »
Og artikkelen er ført i pennen av en ung kvinne som gikk i klassen under meg på barneskolen, ser jeg.
- Leif Olav

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« Svar #290 på: Oktober 13, 2016, 18:41:14 »
Og artikkelen er ført i pennen av en ung kvinne som gikk i klassen under meg på barneskolen, ser jeg.

Se der ja, poesiens veier er uransaklige, som det står i skriften (på LUSCOS i alle fall)
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« Svar #291 på: Juni 25, 2019, 23:50:37 »
Tidenes Dylanopplevelse i Bergen på fredag, toppes muligens i Stockholm i morgen. Veldig bra forspiel med konsert med Mavis Staples i kveld, som Bob faktisk fridde til i sin ungdom.

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« Svar #292 på: Juni 26, 2019, 00:00:53 »
Tidenes Dylanopplevelse i Bergen på fredag, toppes muligens i Stockholm i morgen. Veldig bra forspiel med konsert med Mavis Staples i kveld, som Bob faktisk fridde til i sin ungdom.
Hun sa vel på en konsert for få år siden at hu aldri skulle ha sagt nei... :o
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« Svar #293 på: Juni 27, 2019, 14:28:21 »
Toppet nesten Bergen, fantastisk versjon av Girl from the north country. Det nærmeste en kommer akustisk nå tror jeg. Ser fram til fortsettelsen i Gøteborg og Oslo, 7 timer på buss fra Stockholm til Gøteborg går som en lek med Bob på øret.