Dylanskulen

[HåvardK]

Sounes´ får vel bedre omtale enn det din "grei nok for uprøvde" skulle tilsi. Bare så det er sagt.[]
Men at han er et mangfoldig menneske, kan ingen komme fra.

[lojosang]

Har selv en Dylan-samleplate gjallende på øret en gang i blant, når mp3spellerns randomfunksjon bestemmer at jeg skal ha det.
Nå kjøpte jeg den plata før jeg registrerte meg her.
Enkelte ting bør man jo ha i platesamlingen, fordi det er av grunnsteinene i moderne musikk.


Jokke for LUSCOS!

[Asbjørn]

Se her ja, de kommer ut av skapet én etter en... []

Og Håvard, Øyvinds anmeldelse av Sounes' bok er snarere unntaket enn regelen, men OK, boka er grei den.




Men nå, over til rangeringen...  []


Nr 20...

quote:
Nummer 20 i kåringen av Bob Dylan største innspillinger.

Fra ”Bob Dylan´s Greatest Hits Vol. 3”, 1995. Også utgitt på singel. Originalversjonen, produsert av Daniel Lanois, finnes blant annet på ”The Genuine Bootleg Series Vol. 2".

Dignity Bob Dylan



Teksten

Vismannen Bob Dylan søker svar.

Noe har gått fryktelig galt. Vi lever i en ”World Gone Wrong”, en ny, mørk middelalder. Hva skal til for å finne litt verdighet i verden?

Ganske mye, viser det seg.

”Somebody got murdered on New Year´s Eve.
Somebody said dignity was the first to leave.
I went into the city, went into the town,
* went into the land of the midnight sun”

Bob Dylan leter høyt og lavt, i politikken, litteraturen, ”The home of the blues” og dalen av tørre bein. Han møter mørkets sønner. Han møter lysets sønner. Han går inn i rødt og svart. Han spør Mary-Lou, hushjelpen, prins Phillip og hver politimann han treffer.
Han var tilogmed innom Norge på leiting *  []

”Got no place to fade, got no coat,
I´m on the rollin´ river in a jerkin´ boat,
tryin´ to read a note somebody wrote
about dignity”

Bob Dylan er ikke heller så lett å lese alltid. Han har bestandig vært en dårlig kritiker av sitt eget materiale. Tidlig på åttitallet klarte han å utelate storslåtte, episke ”Blind Willie McTell” fra ”Infidels”. Noen år seinere vraket han både ”Series of Dreams” og ”Dignity” fra ”Oh Mercy”. I stedet tok han med middelmådigheter som ”Where Teardrops Fall” og ”Everything is Broken”, og lot mindre interessante ”Political World” åpne albumet.

Da ”Oh Mercy” ble sluppet i 1989, hadde ikke Bob Dylan gitt ut en bedre plate siden ”Street Legal”, elleve år tidligere. Men jeg klarer ikke la være å tenke på hva albumet kunne ha vært, dersom det hadde vært gjennomsyret av ”Dignity” fra første sekund.

Sangen har ikke noe tradisjonelt refreng. Hvert vers slutter på ordet i tittelen. Bob Dylan elsker å lande på ”dignity”. Han holder ordet inne, ruller det rundt i munnen, kjenner på konturene, smaker på hver stavelse. Så han slipper dem ut, én etter én, noen fort, andre forsiktig.

”Have you seen dig-niii-teee?”.

Jeg har stor sans for produksjonen til Daniel Lanois, den tette, seige stemningen av sump og tåke som preget ”Oh Mercy”. Men jeg foretrekker faktisk den bearbeidede versjonen av ”Dignity”, den Bob Dylan gjorde med Brendan O’Brien noen år seinere. Liveutgaven fra ”MTV Unplugged” er heller ikke å forakte.

”Dignity” er en stor sang, samme hvordan Dylan framfører den. Den er hardkokt og vittig, som Raymond Chandlers kriminalromaner. Den er mørk og mystisk, som klassisk ”film noir”. Dessuten inneholder den en av mine favorittlinjer fra Bob Dylans diktning:

”Heard the tongues of angels,
heard the tongues of men,
wasn´t any difference to me”

Han har sittet til bords med konger.
Han er blitt tilbudt vinger.
Men han har aldri vært særlig imponert.

”Har du sett verdigheten”, spør Bob Dylan, i rollen som privatdetektiv.

Jeg må nok svare nei på det spørsmålet.

Men jeg har hørt den.

Ingve Aalbu
19.03.2003



Hey hey, Woody Guthrie, I wrote you a song
'bout a funny ol' world that's a-comin' along
Seems sick and it's hungry, it's tired an' it's torn
It looks like it's dyin' and it's hardly been born
B.  Dylan (19)

[Asbjørn]

Number 19...  []

Seven Days (live)
Bob Dylan

quote:Nummer 19 i kåringen av Bob Dylans største øyeblikk.

Fra ”The Bootleg Series Vol. 1-3: Rare and Unrelased 1961-1991”, utgitt i 1991. Bob Dylan fant fram igjen ”Seven Days” i 1996 og framførte den blant annet i Portland, Maine.

”Seven days, seven more days she´ll be comin´,
I´ll be waiting at the station for her to arrive,
Seven more days, all I gotta do is survive.”

Slik Bob Dylan synger disse ordene, er det ikke noen selvfølgelighet at han skal overleve i sju dager til. Det høres ut som han er innesperret. Det høres ut som han slåss for livet.

Sju dager kan bli i lengste laget.

”Seven Days” er vill, vanvittig skranglerock på vei utenfor stupet. Dylan rir sangen som om den var en gal hingst uten sal. Fiolinen flagrer og flyr. Bassen humper avgårde. Tempoet skifter. Sangen stopper, starter og sparker fra med begge bakbeina. Fem gitarer flerrer opp melodien og gjør den farlig og frådende. Det er et rabalder uten like. Det er rock på sitt mest betente, medrivende og svimlende.

Bob Dylan nekter å slippe taket.
Han kjemper seg videre.

”There´s kissing in the valley,
Thieving in the alley,
Fighting every inch of the way.”

Bob Dylan presenterte bare to nye låter i 1976. Den ene var ”Sign Language”, som Eric Clapton gjorde en versjon av. Den andre var ”Seven Days”.

I slutten av mars 1976 bodde Bob Dylan i et telt av lakener i hagen utenfor studioet Shangri-La i Malibu, Los Angeles. Eric Clapton var i gang med å spille inn ”No Reason to Cry”. Dylan stakk innom med jevne mellomrom for å se om noe skjedde, og for å spille litt, alt for å slippe å gå hjem til Sara og barna. En kveld framførte han ”Seven Days” for Eric Clapton og Ronnie Wood. Begge fikk tilbud om å overta sangen. Kun sistnevnte takket ja.

Jeg har ikke hørt Ronnie Woods versjon av ”Seven Days”. Jeg føler heller ikke særlig behov for å gjøre det. Den kan umulig måle seg med dette liveopptaket fra Bob Dylans konsert i Tampa, Florida, 21. april 1976. Det er jeg helt, helt sikker på.

Bob Dylan framførte ”Seven Days” bare fire ganger mellom 18. og 23. april 1976, før han forlot den et sted i Florida. En studioversjon har aldri blitt funnet.

Jeg skulle ha likt å vite hvorfor.

Ingve Aalbu
28.03.2003







"There must be some way out of here," said the joker to the thief
"There's too much confusion, I can't get no relief
Businessmen, they drink my wine, plowmen dig my earth
None of them along the line know what any of it is worth"
B.  Dylan

[Asbjørn]

Lørdag er det klart for ny Dylan-turné, 21 konserter i løpet av april. Og foreløpig er fire datoer kjent fra mai...



Da skal der igjen konkurreres i Dylan-Poolen []
Også New York Times har oppdaget dette nå:

Dylan Plays, They Score
By DOUGLAS WOLK

When Bob Dylan begins his spring tour in Reno on Saturday, several thousand fans will be rooting for him to play one or another song. They won't be at the show. And they may not even like the song. But they are competitors in the Dylan Pool (pool.dylantree.com), an online game that awards points to players who correctly predict the lineup of the mercurial singer's concerts.

Arthur Louie, a 28-year-old software developer in Vancouver, British Columbia, organized the game in 2001 as an excuse to experiment with database programming. "It seemed like a natural way to merge my interest in computers and my love of Dylan," he said recently by phone. He got several hundred fans to sign up for the first round. By the most recent Dylan tour, in Europe last fall, more than 2,000 people were competing.

Before a Dylan tour begins, a player picks a group of songs, each worth up to 18 points per performance, depending on how much Mr. Dylan has favored it recently. He has recorded or performed more than 400 tunes, including covers, and he keeps many in his repertory. Over the course of his 31-date fall tour, for instance, he played more than 80 different songs. On that tour, "All Along the Watchtower" would have been worth an easy 1 point per show: he played the tune every night.

The smartest pick would have been the 15-point rarity "I Don't Believe You (She Acts Like We Never Have Met)," which Mr. Dylan played six times, for a total of 90 points. The game isn't exactly a betting pool: no money is involved and prizes are only incidental. Instead, as Mr. Louie had hoped when he started the site, the Dylan Pool has evolved into a community, with get-togethers at concerts and humming discussion boards.

Even Dylanologists who have carefully studied song-frequency statistics don't necessarily do well in the pool, though. Success is a matter of anticipating one famously contrary man's whims.

Might Mr. Dylan alter his set lists just to mess with the pool? "You know, I wouldn't put it past him," Mr. Louie said, even though there is no evidence that his idol is tuning in. "He's a pretty sneaky guy."



Oh God said to Abraham, "Kill me a son"
Abe says, "Man, you must be puttin' me on"
God say, "No." Abe say, "What?"
God say, "You can do what you want Abe, but
The next time you see me comin' you better run"
Well Abe says, "Where do you want this killin' done?"
God says, "Out on Highway 61."
B.Dylan

[Asbjørn]

Dylan Pool  http://pool.dylantree.com/  er åpen frem til natt til søndag ca kl 05... []

Og jeg har allerede laget meg en liste (som jeg gladelig offentliggjør siden jeg sikkert skal redigere den likavel) []

quote:Here are the songs and albums that you selected:

Song Group 1: Tomorrow is a Long Time (17 points)
Song Group 2: Knockin' on Heaven's Door (14 points)
Song Group 3: It's Alright, Ma (I'm Only Bleeding) (3 points)
Song Group 4: Mr. Tambourine Man (7 points)
Song Group 5: Things Have Changed (12 points)
Song Group 6: Tears of Rage (16 points)
Song Group 7: Down Along the Cove (4 points)
Song Group 8: Po' Boy (18 points)
Song Group 9: She Belongs to Me (14 points)
Song Group 10: Every Grain of Sand (9 points)
Song Group 11: Tell Me That it Isn't True (6 points)
Song Group 12: A Hard Rain's A-Gonna Fall (7 points)
Song Group 13: Tonight I'll Be Staying Here with You (4 points)
Song Group 14: Man in the Long Black Coat (10 points)
Song Group 15: Most Likely You Go Your Way and I'll Go Mine (4 points)
Song Group 16: Rainy Day Women #12 & 35 (13 points)
Song Group 17: Blind Willie McTell (7 points)
Song Group 18: Blowin' in the Wind (14 points)
Song Group 19: It Ain't Me, Babe (10 points)
Song Group 20: It's All Over Now, Baby Blue (14 points)
Song Group 21: Forever Young (12 points)
Song Group 22: Baby, Stop Crying (18 points)
Album Group 1: Bringing It All Back Home (1 point per song)
Album Group 2: The Times They Are A-Changin' (2 points per song)
Album Group 3: Oh Mercy (4 points per song)

You may change your selections before the tour begins by going to:

Oh God said to Abraham, "Kill me a son"
Abe says, "Man, you must be puttin' me on"
God say, "No." Abe say, "What?"
God say, "You can do what you want Abe, but
The next time you see me comin' you better run"
Well Abe says, "Where do you want this killin' done?"
God says, "Out on Highway 61."
B.Dylan

[Asbjørn]

Nr 18...

Girl From the North Country (m/Johnny Cash)
Bob Dylan

quote:
Nummer 18 i kåringen av Bob Dylans største sanger.

Fra "Nashville Skyline", utgitt i 1969. Originalversjonen finner du på "The Freewheelin´ Bob Dylan".

Enkelte historier er vanskelige å glemme.

Jeg tenker for eksempel på da Bob Dylan, under sitt første besøk i London i 1962, blir funnet sovende under en tilfeldig bil, helt utslått, etter å ha søkt ly for regnet. Jeg skulle ha likt å ha sett ham der, i rennesteinen, med sigaretten i munnviken.

Men aller best liker jeg å høre om hans første møte med brevvennen Johnny Cash. Bob Dylan hadde satt pris på sanger som ”I Walk the Line” og ”Train Of Love” helt siden han var en ung gutt i Hibbing, Minnesota, på slutten av femtitallet. Men respekten var gjensidig. Johnny Cash hørte tidlig Bob Dylans storhet.

På Newport-festivalen i 1964, like etter utgivelsen av ”Another Side of Bob Dylan”, møttes de for første gang. Johnny og Bob var så glade for å se hverandre at de hoppet opp og ned i senga på motellrommet, nesten som små barn.

Litt av den samme følelsen preger låtene de spilte inn sammen i februar 1969. Bob Dylan og Johnny Cash leker seg gjennom fornøyelige låter som ”Careless Love” og ”Matchbox”. Klart best er likevel duetten på nydelige ”Girl Of the North Country”. Sangen ble først utgitt i 1962, på ”The Freewheelin’ Bob Dylan”. Nyinnspillingen med Johnny Cash er øm og vakker, en enkel, nostalgisk sang om den store kjærligheten fra ungdommen, framført med ro og verdighet.

”Well, if you're travelin' in the north country fair,
Where the winds hit heavy on the borderline,
Remember me to one who lives there.
She once was a true love of mine.”

Bob Dylan hadde sluttet å røyke, og har den myke, glatte, klare stemmen fra slutten av sekstitallet. Han viser seg fra enda en ny side. Det virker nesten som han kan forandre vokalen, endre stil, avhengig av hvilken type sanger han skriver. Johnny Cash, derimot, er den samme gamle, den han alltid vil være. Han er tryggheten selv, den dypeste, sanneste stemmen i rocken.

"Girl Of the North Country” ble plassert først på ”Nashville Skyline”, Bob Dylans lettfattelige, underholdende countryalbum fra 1969. Johnny Cash skrev teksten som fulgte med heftet, en uforbeholden hyllest til sin nye kamerat. Han avsluttet diktet slik:

”I'm proud to say that I know it,
Here-in is a hell of a poet.
And lots of other things
And lots of other things.”

Johnny Cash og Bob Dylan er lyden av vennskap, stolthet og samhold.

"And lots of other things."

Ingve Aalbu
11.04.2003




Is it some kind of game that you're playin' with me
Am I imagining something that never can be
Do you have any morals, do you have any point of view
Is that a smile that I see on your face
Will it take you to glory or lead you to disgrace
Tell me. Tell me!
B.Dylan

[Asbjørn]

...apropo Bob og Johnny...

quote:JOHNNY CASH ON 'THE FREEWHEELIN' BOB DYLAN'
"I didn't know him back then... but I liked the album so much I wrote him a letter... and I congratulated him on a fine country record. I could hear Jimmie Rodgers in his record, and Vernon Dalhart from back in the twenties, the whole talking blues genre. I said, 'You're about the best country singer I've heard in years'... He wrote back and seemed kind of flabbergasted..."

quote:JOHNNY CASH ON MEETING BOB DYLAN
"He and I were writing each other letters before we'd ever met. I got a letter from him saying that... something like he was from Hibbing, Minnesota, and there was nobody out there but me and Hank Williams, and he was glad to hear about that part of the world that was out there, you know -- he kinda said that in his own words. The first time I met him was at the Newport Folk Festival in 1963. I was on the show with Joan Baez, Bob, and Ramblin' Jack Elliott. Then one night Bob Johnston brought Dylan down to Nashville to do the 'Skyline' album..."

quote:Christopher Wren on Johnny Cash meeting Bob Dylan
In 1963, Cash was in New York, and went down to Greenwich Village to listen to Peter LaFarge sing his first Indian protest songs at the Gaslight café. Backstage Johnny Cash ran into Bob Dylan. "I'd gotten some letters from John about my work, which knocked me out," says Dylan who had followed Cash since his early records. "He came down to the Gaslight and that's where I first saw him. I was struck by how tall he was. I didn't imagine him being that tall, by his album covers. He was dressed in black, with a white shirt. I saw him again at Newport. He gave me his guitar, and (sic) old Martin. I still got it."
They became friends when they both sang at the Newport Folk Festival in the summer of 1964. When Dylan later walked on-stage with an electric guitar and swung into rock, the staid festival went up for grabs. Foul, cried the purists, and Dylan was for months afterwards subjected to condemnation. To Cash, who moved easily from country to pop to folk and back again, the criticism seemed silly. It was what Dylan said, not how he said it, that mattered. Cash sat down and dashed off a note to the folk song magazine 'Broadside ,' in which the controversy of Dylan's electrification continued to rage. "Shut up and let him sing!" Cash suggested.

Christopher Wren, Winners Got Scars Too: The Life of Johnny Cash, New York, 1971, pp. 160-161

quote:DYLAN'S NASHVILLE SESSIONS
JOHNNY CASH: "Bob and Sara and the children stayed at my house while he was doin' that album, and he asked me to be guest on it -- well, as it turned out we were in the studio and just... they turned on the recorders for about two hours...

BOB JOHNSTON: "We set up some microphones and stools and they came in there and met each other [CHUCKLES], and went out there and started playing!"
JOHNNY CASH: "One that came out of that session was 'Girl from the North Country' -- was a guest song on Bob Dylan's album. Bob Dylan's appearance brought a great deal of attention to Nashville, a lot of attention that a lot of my peers did not give him credit for, but still he brought a lot of attention on Nashville -- people like him and people to follow who recorded songs in Nashville because Bob Dylan had..."

BOB JOHNSTON: " And when he came to Nashville, he came -- and it was history coming. Why the hell was Dylan in Nashville? Blonde on Blonde combined Memphis and combined the Southern boys and combined a whole lot of things that... roots of the actual people, that's what was happening! John Wesley Harding, in the middle of Rock'n'Roll,was *three* people -- that's insane for business people or whatever...supposedly. It wasn't insane evidently; I think that Dylan is the one that broke the door down to Tin Pan Alley and I think he's the one that opened it up for Nashville. I think he should be given credit. I think for what he did with John Wesley Harding and Nashville Skyline that he should be in the Country Music Hall of Fame."

CHARLIE McCOY: "It's probably the one biggest thing that ever happened to Nashville -- as a recording center of all kinds of music. Because after he came here it was like people... people in the rock music business all of a sudden said 'Oh, wait a minute. Dylan went to Nashville, so it must be okay to go there.'"

JOHNNY CASH: I think Bob Dylan was scared or even a little embarrassed. He's a very shy person. I can really appreciate that. When we went out to rehearse they had an old shack hanging from wires behind him to try to give it a backwoods look. He came offstage upset. He said, 'I'm gonna be the laughing stock of the business! My fans are gonna laugh in my face over that thing!' I said, 'What would you like?' He said, 'Have 'em get that out of the way. Just put me out there myself.' I said, alright, you got it.

LET'S HAVE A PARTY AT JOHNNY CASH'S HOUSE

After the show, a relieved Dylan returns to Johnny Cash's house with famed bluegrass banjo player Earl Scruggs, Bob Johnston, and country songwriter Boudleaux Bryant for dinner. After dinner, they each perform a song, Dylan at his turn singing the old standard "These Working Hands." According to Graham Nash, who also recalls a dinner at Cash's, attended by, among others, himself, his then-girlfriend Joni Mitchell, Kris Kristofferson, and Eddy Arnold, Dylan sang four or five songs. Presumably it was the very same dinner. Nash recalls Sara sitting there crying at the drama of the moment.

Bob on Johnnys death:  
"In plain terms, Johnny was and is the North Star; you could guide your ship by him â€" the greatest of the greats then and now."




Is it some kind of game that you're playin' with me
Am I imagining something that never can be
Do you have any morals, do you have any point of view
Is that a smile that I see on your face
Will it take you to glory or lead you to disgrace
Tell me. Tell me!
B.Dylan

[Jon R]

Flakes

Flakes! Flakes!
Flakes! Flakes!

They don't do no good
They never be workin'
When they oughta should
They waste your time
They're wastin' mine
California's got the most of them
Boy, they got a host of them
Swear t'God they got the most
At every business on the coast
Swear t'God they got the most
At every business on the coast
They got the Flakes

Flakes! Flakes!

They can't fix yer brakes
You ask 'em, "Where's my motor?"
"Well it was eaten by snakes . . ."
You can stab 'n' shoot 'n' spit
But they won't be fixin' it
They're lyin' an' lazy
They can be drivin' you crazy
Swear t'God they got the most
At every business on the coast
Swear t'God they got the most
At every business on the coast

[Take it away, Bob. . .]

I asked as nice as I could
If my job would
Somehow be finished by Friday
Well, the whole damn weekend
Came 'n' went, Frankie
[Wanna buy some mandies, Bob?]
'N'they didn't do nothin'
But they charged me double for Sunday
You know, no matter what you do
They gonna cheat 'n' rob you
Then they'll send you a bill
That'll get your senses reelin'
And if you do not pay
They got computer collectors
That'll get you so crazy
Til your head'll go through th' ceilin'
Yes it will!

I'm a moron 'n' this is my wife
She's frosting a cake
With a paper knife
All what we got here's
American made
It's a little bit cheesey,
But it's nicely displayed
Well we don't get excited when it
Crumbles 'n' breaks
We just get on the phone
And call up some Flakes
They rush on over
'N' wreck it some more
'N' we are so dumb
They're linin' up at our door
Well, the toilet went crazy
Yesterday afternoon
The plumber he says
"Never flush a lampoon!"
This great information
Cost me half a week's pay
And the toilet blew up
Later on the next day ay-eee-ay
Blew up the next day WOO-OOO

We are millions 'n' millions
We're coming to get you
We're protected by unions
So don't let it upset you
Can't escape the conclusion
It's probably God's Will
That civilization
Will grind to a standstill
And we are the people
Who will make it all happen
While yer children is sleepin',
Yer puppy is crappin'
You might call us Flakes
Or something else you might coin us
But we know you're so greedy
That you'll probably join us
We're comin' to get you, we're comin' to get you
We're comin' to get you, we're comin' to get you
We're comin' to get you, we're comin' to get you
We're comin' to get you, we're comin' to get you



Jon R.  []

[Asbjørn]

Trodde du skulle "ta" meg der, tenker jeg...  []

Men neida... :

"Flakes", a song on Frank Zappa's Sheik Yerbouti album, contains a Dylan parody, with guitarist Adrian Belew doing the Dylan "voice".
Zappa asks in the background, "Wanna buy some Mandys, Bob?"

Kan fortsette litt til, jeg... []

The history of this part of the song was that Frank had written the lyrics and then Adrian recognized that they were rather Dylanesque. The last 6 lines are especially well-sung (that is, they are a great over-the-top parody of Bob's singing style).

Also, Zappa sampled some of Dylan's acoustic guitar (at least, it sounds like it) for his '88 tour. A track containing such samples is on Best Band You Never Heard In Your Life.

Bob's visit to Zappa was on December 22, 1982. Bob's "NEXT" album was what turned out to be "Infidels". According to Zappa, Bob wore only a shirt in the freezing cold. Dylan & Zappa, it would have been great if it had happened, but Dylan did not get in touch with Zappa after that. "Infidels" was produced by Bob Dylan & Mark Knopfler and released in 1983.
I like the "Bob" and Frank conversation in 'Flakes'. Adian Belew did it. A few weeks ago, a friend of mine interviewed Belew in Tokyo. When he asked Belew if he liked Dylan, Belew said yes and mimed Bob again. He even played harmonica right in front of the interviewer.

The imitation on Sheik Yerbouti was Adrian Belew's idea (who also performed it), but there is a similar kind of thing on The Best Band You Never Heard in Your Life (1991), in the song The Torture Never Stops, Part One.
I guess that's all there is, but Zappa has talked about Dylan in a couple of interviews:


Dylan's 'Subterranean Homesick Blues' was a monster record. I heard that thing and I was jumping all over the car. And then when I heard the one after that, 'Like a Rolling Stone', I wanted to quit the music business, because I felt: 'If this wins and it does what it's supposed to do, I don't need to do anything else', but it didn't do anything. It sold; but nobody responded to it the way that they should have. (...) It didn't happen right away, and I was a little disappointed. I figured, 'Well, shit, maybe it needs a little reinforcing.

(Kofsky, Frank: Frank Zappa: The Mothers of Invention. In Rivelli, P. & R. Levin (eds.) Giants of Rock Music. 1970. The interview was conducted in 1967)
In his Playboy-interview (1993) he said:


As for Dylan, Highway 61 Revisited was really good. Then we got Blonde on Blonde and it started to sound like cowboy music, and you know what I think of cowboy music.




I ain't sayin' you treated me unkind
You could have done better but I don't mind
You just kinda wasted my precious time
But don't think twice, it's all right
B.Dylan

[Jon R]

Den tok du (selvfølgelig) på hælen, din luring. Men har du hørt låta? []

Jon R.

[Asbjørn]

Sjekket mailen for ca 10 minutter siden, så nå har den surret og gått siden da...
Ajtig sak []

Takker



I ain't sayin' you treated me unkind
You could have done better but I don't mind
You just kinda wasted my precious time
But don't think twice, it's all right
B.Dylan

[Asbjørn]

Så er det klart for nr 17  []

quote:
Nummer 17 i kåringen av Bob Dylans største øyeblikk.

Originalene av ”Jokerman" og "License to kill" er å finne på ”Infidels”. ”Don’t start me to talkin´” er skrevet av Sonny Boy Williamson. Versjonene som omtales her, ble framført live på ”Late night with David Letterman” i 1984. Opptredenen er blant annet inkludert på bootlegen ”If my thought dreams could be seen”.

Jeg smiler like bredt hver gang.



I mars 1984 gjorde Bob Dylan en svært eksentrisk opptreden på ”Late Night with David Letterman”. Etter å ha framført en stormende punkversjon av ”Don’t Start Me to Talkin’”, der han blant annet gjør et sprang ned på huk, får Dylan selskap av den allerede da kjente programlederen. David Letterman applauderer høflig, skryter av gjesten sin og annonserer at publikum skal få høre to låter til, litt seinere på kvelden.

Ansiktsuttrykket til Dylan er uforlignelig. Han ser ut som han nettopp har stått opp og ikke vet hvor han befinner seg. Tilsynelatende har han ingen anelse om at han skal på scenen én gang til.

- O-kaaay, stotrer Bob Dylan, på en måte man må høre for å tro. David Letterman virker forfjamset, nesten litt flau.
- Jeg er nesten sikker på at det kommer til å skje, sier programlederen.

Det er et er et stort øyeblikk.
Og det er typisk Bob Dylan.

For seinere kommer han inn og gjør knusende versjoner av ”Jokerman” og ”License to Kill”. Originalene på ”Infidels” virker plutselig usedvanlig bleke og blodfattige. Bob Dylan prøver å rive ned hele studioet. Ordene spruter ut av strupehodet hans. Bandet spiller som om det har sin første og siste sjanse. Det var heller ikke så langt unna sannheten.

Bob Dylan hadde noen måneder tidligere gitt ut ”Infidels”, sin mest vellykkede plate siden ”Slow Train Coming” i 1979. David Letterman hadde lenge prøvd å få ham til å opptre i sitt populære kveldsshow. Til slutt fikk han positivt svar, og Bob Dylan ga trommeslageren Charlie Quintana i oppdrag å sette sammen et band for anledningen.

Sistnevnte rekrutterte to kamerater fra den oppegående post-punkscenen (hva nå det er - red. anm.) i Los Angeles. Sammen med gitaristen Justin Jesting og bassisten Tony Marisco satte Charlie Quintana seg på flyet til New York. Dagen før den store, nasjonale tv-opptredenen møtte bandet Bob Dylan for første gang.

Øvingen ble ikke helt som ventet. Dylan kjørte gjennom 50 låter, uten å gi en eneste instruksjon. Han begynte bare å klimpre på gitaren, i kjent stil. Fem minutter før sendetid hadde gruppa fortsatt ikke peiling på hva den skulle spille. Charlie Quintana tok da kontakt med promotoren Bill Graham.

- Herregud, vi driter murstein her! Kan du være så grei å spørre Bob hvilke sanger vi skal gjøre? spurte trommeslageren.

Bill Graham kom tilbake noen minutter seinere.

- Han er ikke sikker ennå, var svaret.

Bob Dylan hadde planer om å åpne showet med ”Treat Her Right”, en sang av Roy Head. I siste sekund skiftet han til Sonny Boy Williamsons ”Don’t Start Me to Talkin’”. Den kan ikke Charlie Quintana en gang huske at bandet hadde øvd på. Heldigvis kjente gruppa til en coverversjon New York Dolls hadde gjort tidlig på syttitallet. Resultatet ble ren, kompakt bluespunk. Vokalen er vill og ustyrlig, en helvetshund som glefser og river. Munnspillsoloen rensker ørene for alt som måtte ligne på rusk og voks.

Bob Dylan flyr likevel høyest på ”Jokerman”. Han står på vannet mens øynene gløder. Bak ham raser en storm. Den siste tonen fra munnspillet legger seg som røyk ved daggry.

”Late Night with David Letterman” har aldri vært det samme, verken før eller seinere.

Bob Dylan hadde levert en definitiv tv-opptreden. Men Charlie Quintana, Justin Jesting og Tony Marisco fikk aldri en ny sjanse. Bandet fra Los Angeles ble igjen hjemme da Dylan dro på stadionturne samme år.

Det var en tabbe, det.
”Oh, oh, oh, Jokerman”.

29.04.2003
Ingve Aalbu

PS! Se det her




I ain't sayin' you treated me unkind
You could have done better but I don't mind
You just kinda wasted my precious time
But don't think twice, it's all right
B.Dylan

[Asbjørn]

Bare så det er sagt med en gang... His Bobness fyller 65 den 24.mai.

Som det slås fast litt lenger nede her, da er tiden (igjen) inne for pundits å pundit []


Denne karen gjør det på en kjapp opg god måte (...noen her som liker dét) []

Music
Diving deep into Dylan
American original Bob Dylan is turning 65. His music is a taste we all should acquire.
By WILLIAM McKEEN
Published May 7, 2006



Everyone should see Bob Dylan in concert at least once - for the same reason we should all see the Grand Canyon or Mount Rushmore before we die.

Dylan's a national treasure too, but unlike those monuments of stone, he's a flesh-and-blood work of American art.
He turns 65 this month, and so the media will be full of tributes. He got tagged with that "voice of his generation" thing about 40 years ago and it has stuck, whether he likes it or not. For some reason, he was the symbol of youth rebellion, or whatever you want to call what happened in the 1960s. When someone who earned a place in history so young hits retirement age, it's time for pundits to pundit.

But let's think about this. Dylan wrote "protest" songs back then, but he hated that term. He said they were finger-pointing songs, the way the national anthem is a finger-pointing song. The Star-Spangled Banner asks us to question ourselves each time we sing it: Is this still the land of the free and the home of the brave? Dylan also asks questions:

How many deaths will it take till he knows that too many people have died?

He wasn't trying to destroy anything. He was an embodiment of that American tradition of change. The country is, and always has been, a work in progress, always in the process of rebirth. Dylan knew that change was necessary for survival:

He not busy being born is busy dying.

So many other singers of that time, the ones who did embrace the "protest singer" thing, spoke the "lies that life is black and white" that Dylan denounced. He knew that the self-righteousness of youth is blind to life's shades of gray, and that the world does not sit still.

I was so much older then; I'm younger than that now.

That was the Dylan of 40 years ago, wise beyond his years. The Dylan of today has endured and remained a vital and active artist. His recent work may be his grandest; it affirms that, like Walt Whitman, Mark Twain and Carl Sandberg, he is a pure product of America.

Dylan's life has been a great window on his times, from his early acoustic years as the writer of America's new anthems to his brief, chaotic reign as the king of rock 'n' roll. He withdrew from the public to raise a family and embraced country music. In middle age, he turned his eye to searing examinations of the complexity of modern love and shared with us the doubt and faith that infused his revolutionary spiritual music. Finally, he recognized that his art finds its fullest expression not in the recording studio, but on the stage.

He is the most accessible artist of his stature. His performance schedule would exhaust a singer one-third his age. His epiphany as a performer apparently came in the 1980s when Jerry Garcia of the Grateful Dead told the sometimes-reclusive Dylan that his songs needed an audience in order to come to life. Garcia taught Dylan to embrace that audience, and so his concerts of the last 20 years have been nightly reinventions of his work. He experiments with melodies and lyrics, sometimes rendering his classic songs unrecognizable. But in the process, the songs are made new, for both artist and audience.

It's important to note that Dylan is an acquired taste. When I was a teenager, my father stuck his head in my room while Blonde on Blonde dripped from my speakers. "That guy can't sing," he said after a couple of moments. "You're right, Dad," I said. "He can't sing. But he's a great singer." Whenever someone presses me with that he-can't-sing stuff, I quote that little exchange.

Dylan inspires fierce loyalty from his audience. There are those who follow him on tour, seeing maybe 10 shows in two weeks. I'm not one of those. I've seen him a dozen times, dating back to 1974, and I've never been disappointed. The dude rocks. His concerts the last few years have been stunning. His magnificent voice - one critic said it sounded like a broken speaker - still finds unexplored corners in his songs. He remains a fearless detective of the heart, discovering moments lost or put away because they were too honest or too true. A Bob Dylan song, whether written in 1966 or 2006, is a mirror in which we can see what we have the courage to see.

But the "acquired taste" thing - it can test relationships. Over the years, I've taken doubting girlfriends, suspicious hip-hop-raised children and disco-bred wives to see Dylan in concert. Usually, about three songs into his set, it hits them, and they learn to love that Bob. Once, my date grabbed my arm and said, "Oh my God - I'm in the same room with Bob Dylan!" It's like waking up and finding a sequoia in your back yard.

Dylan - with another genius of American music, Merle Haggard - will play the University of South Florida Sun Dome on Wednesday. Don't miss your chance.






"What kind of house is this", he said
"Where I have come to roam?"
"It's not a house," said Judas Priest
"It's not a house, it's a home"
B.Dylan

[Asbjørn]

Samme forfatter har laget en glimrende interaktiv guide om Bob'ern, med lydopptak fra de fleste utgivelser, kritikeromtale, bilder, sanger osv osv...

Check it out []

http://www.sptimes.com/2006/webspecials06/bob-dylan/

"What kind of house is this", he said
"Where I have come to roam?"
"It's not a house," said Judas Priest
"It's not a house, it's a home"
B.Dylan

[Jon R]

quote:
Nr 20...

quote:
Nummer 20 i kåringen av Bob Dylan største innspillinger.

Fra ”Bob Dylan´s Greatest Hits Vol. 3”, 1995. Også utgitt på singel. Originalversjonen, produsert av Daniel Lanois, finnes blant annet på ”The Genuine Bootleg Series Vol. 2".

Dignity Bob Dylan



Teksten

Vismannen Bob Dylan søker svar.

”Dignity” er en stor sang, samme hvordan Dylan framfører den.
--------------------------------------------------------------------
Da ”Oh Mercy” ble sluppet i 1989, hadde ikke Bob Dylan gitt ut en bedre plate siden ”Street Legal”, elleve år tidligere. Men jeg klarer ikke la være å tenke på hva albumet kunne ha vært, dersom det hadde vært gjennomsyret av ”Dignity” fra første sekund.
------------------------------------------------------------------
Bob Dylan er ikke heller så lett å lese alltid. Han har bestandig vært en dårlig kritiker av sitt eget materiale.  

Jeg ble grepet av historien om "Dignity". Jeg har derfor hørt gjentatte ganger på denne sangen de siste ukene, i et helhjertet  å forstå greia ved denne "hypen." Gripende tekst, stor poesi, stor vokal. Men hva med selve musikken? Taffelmusikk. Slapp boogie uten progresjon. Bass og perkusjon på repeat. Hvorfor i himmelens navn valgte han å pakke en slik tekst og en slik følelsesladet vokal inn i slike trøstesløse lydkulisser? Kan det være selve innpakningen som gjorde at Dylan vraket låta fra LPen? Er det virkelig ikke mulig for "menigheten" å høre at denne innspillingen suger? Jeg er fristet til å si: Les heller boka. [B)]

Jon R.

[Asbjørn]

quote:Originally posted by Jon R


Jeg ble grepet av historien om "Dignity". Jeg har derfor hørt gjentatte ganger på denne sangen de siste ukene, i et helhjertet  å forstå greia ved denne "hypen." Gripende tekst, stor poesi, stor vokal. Men hva med selve musikken? Taffelmusikk. Slapp boogie uten progresjon. Bass og perkusjon på repeat. Hvorfor i himmelens navn valgte han å pakke en slik tekst og en slik følelsesladet vokal inn i slike trøstesløse lydkulisser? Kan det være selve innpakningen som gjorde at Dylan vraket låta fra LPen? Er det virkelig ikke mulig for "menigheten" å høre at denne låta suger? Jeg er fristet til å si: Les heller boka. [B)]

Jon R.

Dignity er nok heller ikke min låt... [:I]

Og, ja, Bob'ern var nok ikke helt fornøyd med den selv heller, han nektet å ha den med på Oh Mercy, og han måtte overtales for å ha den med på den neste utgivelsen...

Men den har sine øyeblikk, den har det. Som du sier, han "lever" inne i teksten, den duver (passer sikkert best sammen med den "over gjennomsnittet-videoen" - spenner Bob'erns karriere fra ungfole til eldermann mens han sitter på toget og sangstrofer svever over skjermen, Bra!)
Men herr Zimmermann har én dél større låter!

PS! Du har nok (som jeg) bare hørt Oh Mercy-versjonen av sangen, og ikke den anmeldte innspillingen fra noe senere. (Jojo, har hørt mange konsertopptak av sangen, men ingen som "sitter" på minnet...).


"What kind of house is this", he said
"Where I have come to roam?"
"It's not a house," said Judas Priest
"It's not a house, it's a home"
B.Dylan

[Asbjørn]

No. 16 for the road...

quote:
Nummer 16 i kåringen av Bob Dylans største innspillinger.

Liveopptak fra Seattle, 4. oktober 2002. Bandet består av Tony Garnier (bass), Charlie Sexton (gitar), Larry Campbell (gitar) og George Receli (trommer). På setlista sto blant annet "Tombstone Blues", "It´s Alright Ma(I´m Only Bleeding)", "Honest With Me", "Love Minus Zero/No Limit", "Highwater (for Charlie Patton)" og Warren Zevons "Accidentally Like a Martyr", "Boom Boom Mancini" og "Mutineer".

Anbefalt opptak fra høsten 2002: Red Bluff, 7. oktober.

Solid rock (live)





Knoklene knirker.
Kjøttet rister på hvert bein i kroppen.

Jeg hadde tenkt å skrive om et av de store underne under gospelturneen i 1979. Valget sto i utgangspunktet mellom ”Slow Train”, ”What Can I Do For You?”, ”Pressing On”, ”Gotta Serve Somebody” eller kanskje ”I Believe In You”.

Jeg hadde tenkt å skrive om da Bob Dylan krøp til korset og la seg ned ved sin Herres føtter, ikke som en tigger som ber om nåde, men som ei hissig, bjeffende bikkje som ikke lar noen være i fred.

Jeg hadde planer om å ta for meg en av de sjelevrengende konsertene i San Fransisco i desember 1979, da Bob Dylan prekte til forsamlingen mens gospeltonene fra pianoet til Terry Young gnistret som diamanter fra scenen. Jeg ville skrive om da Jim Keltner gråt bak trommene hver kveld, lamslått av kraften og troen og gløden fra den lille mannen på scenen.

Men slik ble det ikke.

Jeg valgte i stedet en sang fra oktober 2002, fra den første konserten på høstens turné over det amerikanske kontinentet. Denne kvelden i Seattle overrasker Bob Dylan med å spille piano på hele 11 låter, noe han ikke hadde gjort på mange, mange år. Han sjokkerer fansen med å gjøre tre sanger av kreftsjuke Warren Zevon, samt "Brown Sugar" av The Rolling Stones.

Denne kvelden i Seattle begynner han ikke med en akustisk, tradisjonell låt, slik han har gjort helt siden begynnelsen av 1999. Bob Dylan åpner med en lysende elektrisk "Solid Rock", først utgitt på "Saved" fra 1980, den mest svovel av alle plater.

Knoklene knirker.
Kjøttet rister på hvert bein i kroppen.

"Solid Rock" var en av låtene som ble framført hver kveld i 1979. Mer enn 20 år seinere er klippen fortsatt like ruvende og fast.

"I'm hanging on to a solid raaaaaaaaaaacccckkk!!!!"

Jeg vet ikke hvor bra dette opptaket fra Seattle er. Jeg er ikke en gang sikker på om "Solid Rock" er en spesielt stor låt. Men for meg har denne liveversjonen blitt stående som symbol for en av de beste, mest inspirerte turnéene til Bob Dylan.

"Solid Rock" gjorde meg sterkere i troen enn noen gang.

"Solid Rock" representerer en høst der Bob Dylan blant annet tolket Neil Youngs "Old Man", Don Henleys "The End Of the Innocence", George Harrisons "Something" og Van Morrisons "Carrying a Torch". Han hentet fram sjeldne storheter som "You're a Big Girl Now" og "In the Summertime". Han lot obskure "Yeah! Heavy and a Bottle of Bread" få sin livedebut, 35 år etter at sangen ble spilt inn.

"Yeah! Heavy and a Bottle of Bread!"

Bob Dylan kan finne på hva som helst. Han er aldri redd for å prøve noe nytt og annerledes. Han har alltid levd etter de legendariske linjene fra "It's alright ma (I'm only bleeding)": "He not busy being born is busy dying."

Det er derfor jeg elsker Bob Dylan.

Det er derfor Bob Dylan er størst.

Ingve Aalbu
14.05.2003





Sometimes you gotta do like Elvis did and shoot the damn thing out
T.V. Talkin' Song
B.Dylan

[Asbjørn]

I går kveld endte forresten den 29 konserter lange vårturnéen (siden 1.april). I poolen endte jeg såvidt blant de 1000  etter en god avslutningskonsert (37 poeng og 71.plass). Nevnes må det vel at jeg ble nr 8 i verden i konserten i Atlanta 5.mai [].

Ellers er det som DJ Bob'ern er mest i siget for tiden. På betalingsradioen XM Satellite Radio har han Theme Time Radio Hour. I første program forrige uke var vær tema for de utvalgte sangene fra hans "skattekiste..."
Sangutvalget:

quote:Blow Wind Blow - Muddy Waters
You Are my Sunshine - Jimmy Davis
California Sun - Joe Jones
I Don't Care if the Sun Don't Shine - Dean Martin
Just Walking in the Rain - The Prisonaires
After the Clouds Roll Away - The Consolers
The Wind Cries Mary - Jimi Hendrix
Come Rain or Come Shine - Judy Garland
It's Raining - Irma Thomas
Didn't It Rain - Sister Rosetta Tharpe
Raining in my Heart - Slim Harpo
Jamaica Hurricane - Lord Beginner
Let the four Winds Blow - Fats Domino
Stormy Weather - The Spaniels
A Place in the Sun - Stevie Wonder
Summer Wind - Frank Sinatra
Uncloudy Day - The Staple Singers
Keep on the Sunny Side - The Carter Family

Denne uka var det "Moms.:"

quote:Mama Don't Allow It â€" Julia Lee
Daddy Loves Mommyo â€" Tommy Duncan
Mama Didn't Lie â€" Jan Bradley
I'll Go to the Church Again With Momma â€" Buck Owens
Mama Told Me Not to Come â€" Randy Newman
Mama Get the Hammer â€" Bobby Peterson Quintet
Mama Talk To Your Daughter â€" J. B. Lenoir
A Mother's Love â€" Earl King
Mama He Treats Your Daughter Mean â€" Ruth Brown
Let Old Mother Nature Have Her Way â€" Carl Smith
Mother Earth â€" Memphis Slim
Mother in Law â€" Ernie K Doe
Mother in Law Blues â€" Little Junior Parker
Mama Tried â€" Merle Haggard
Gonna Tell Your Mother â€" Jimmy McCracklin
Have You Seen Your Mother, Baby Standing in the Shadows â€" Rolling Stones
Mother Fuyer â€" Dirty Red
Mama Said Knock You Out â€" LL Cool J

Neste uke skal temaet være Cars... []

Om disse "gamle sangene" har Bob'ern sagt (1997):

"Those old songs are my lexicon and my prayer book. All my beliefs come out of those old songs, literally, anything from 'Let Me Rest on That Peaceful Mountain' to 'Keep on the Sunny Side.' You can find all my philosophy in those old songs. I believe in a God of time and space, but if people ask me about that, my impulse is to point them back toward those songs. I believe in Hank Williams singing 'I Saw the Light.'
I've seen the light, too."


Sometimes you gotta do like Elvis did and shoot the damn thing out
T.V. Talkin' Song
B.Dylan

[Asbjørn]

quote:
Nummer 15 i kåringen av Bob Dylans beste innspillinger.

"Changing Of The Guards" ligger først på "Street Legal", utgitt i 1978.

Changing Of The Guards


”Changing Of The Guards” er en reise gjennom mørk hete.

Bob Dylan blir revet mellom Jupiter og Apollo. Han trer fram fra skyggene, ut på markedsplassen, mens Eden brenner og englene hvisker.

”Sixteen years, sixteen banners united over the field
where the good shepherd grieves.
Desperate men, desperate women divided,
spreading their wings 'neath the falling leaves.”

Bob Dylan har vært plateartist i 16 år. Ekteskapet med Sara er over. Nå trenger han en ny gjeter, en ny vaktstyrke. Han lengter etter trygghet i tilværelsen. I det fjerne hører han et tog komme rullende gjennom regnet.

”Street Legal” er kanskje Bob Dylans mest undervurderte album. Det ble gjort ferdig i løpet av to hektiske uker i april 1978. Lyset er dempet. Stemningen er fuktig, innestengt. Det lukter soul og blues. Det smaker av rødvin og sigar.

Bob Dylan synger som en svart nattergal. Han har selskap av sitt største, sterkeste band. Sangene er rike på religiøse koder og bibelsk symbolikk. Mest spennende er ”Changing Of The Guards”, det grublende, gåtefulle åpningskuttet. Låten som blir fadet både inn og ut, som hverken har begynnelse eller slutt...

Gardinene blir trukket fra.
Støvet stekes i sola.

Bob Dylan har tenkt og tenkt. Nå kan han endelig se klart. Han vil spre vingene under det fallende løvet. Han gjør seg klar til å stige ombord i det saktegående toget, det som seinere, når dette livet er over, skal ta ham til himmelriket. Ã...ret etter, i 1979, gir han ut ”Slow Train Coming”, sitt første kristne album.

Men det er på ”Street Legal” at omvendelsen starter.

Det er her Bob Dylan blir slitt mellom kvinnen og Kristus.
Det er her han blir frelst og født på ny.

”Changing Of The Guards” lar oss følge ham et stykke på veien.

Ingve Aalbu
16.05.2003



Well the desert is hot, the mountain is cursed
Pray that I don't die of thirst, baby
Two feet from the well
B.Dylan

[Asbjørn]

Som allerede stated i mars her på forumet, Bob'ern kommer med nytt studioalbum (29.august).

Nå har en del herrer fått lyttet på produktet (og skrevet under taushetsløfter til en viss dato), men det lekkes, det lekkes... []




En kilde røper likevel at albumet inneholder «minst tre mesterverk», mens en annen sier at musikken minner om Dylans album «Love & Theft» fra 2001, melder ANB.

Det som spesielt vekker min interesse, er likevel sistesangen...

His Bobness' albumcloser er alltid noe for seg selv. Desolation Row, Sad Eyed Lady of the Lowlands, Sara, Every Grain of Sand... og fra det siste Highlands er eksempler på dette...  

Men det sies at kommende “Ain’t Talkin’" kanskje er hans "most powerful albumclosing epic ever"...

Det spenner jo forventningene til bristepunktet [][][]

Dette sies i det ikke helt urennomerte musikkmagasinet Rolling Stone...  

Andre spennende titler er “Thunder on the Mountain,” “Spirit on the Water,” “Workingman’s Blues,” “When the Deal Goes Down” and “Neddy Moore.”

Og albumet heter altså Modern Times... []

Også Dagbladet har fått med seg dette. []

Well the desert is hot, the mountain is cursed
Pray that I don't die of thirst, baby
Two feet from the well
B.Dylan

[Asbjørn]

Da kan man allerede høre 30-sek utdrag fra samtlige låter på nye-albumet Modern Times (som er i salg fra 29.august).

På WM100-linken går låtene på repeat så da er det lettere å få et inntrykk av melodien...

Har lyttet en del på dette i dag jau...

http://www.sonymusicstore.com/store/catalog/MerchandiseDetails.jsp?merchId=111172&skuId=111188

Edith: Jeg må le... nå er soundklippene borte... har nok blitt linket hit av litt for mange i dag ja []

You don't need a weatherman to know which way the wind blows
B.Dylan

[Asbjørn]

Bob Dylan's New Album Leaked Online
By his own label!...

Tracks from Bob Dylan’s forthcoming new album ‘Modern Times’ have accidentally been leaked by his label.
Thirty seconds clips of several songs were put on Sony’s music store by someone who has no doubt since been fired. []
The tracks have since been removed but news of the leaks spread so fast through fan sites that they are now all over the internet.

Get them while you can!

Og det kan du f.eks. her. []

Og da diskuteres jo tekstene flyktig. Artig da at denne tyskeren kommenterer...

quote:Ha! It's truly nice to see all you native speakers trying to cope with the lyrics. Before I joined the pool I always thought that 98% of any lyric was comprehensible for you right from the start ...

...for slik er det maange som har det.

For noen uker siden ble det rapportert om at Alicia Keys var spent på det kommende albumet, hun hadde nemlig hørt rykter om at hun var nevnt i teksten på en av sangene... (hun er født i bydelen Hells Kitchen - noe Bob tydeligvis hadde fått med seg... []

Det skal forresten også sies at Bobs avslutningssang alltid er spesiell... Som regel med noe religiøst som "Look up, look up, seek your Maker, 'fore Gabriel blows his horn" Denne gangen er som det skrives selveste "the end of the world" - uten at selve avslutningsteksten har kommet ut enda..

Her er det vi har så langt:
...stort sett basert på de 30-sek.soundklippene som kom ut

updated but still not there yet... this is only the snippets, ha, we'll figure him out, we usually do!  

Thunder on the Mountain
(First line from the article) I was thinking about Alicia Keys, couldn't help from crying/When she was born in Hell's Kitchen, I was living ---- down the line. I’m wondering where in the world Alicia Keys could be I been looking for her even clear through Tennessee. Feel like my soul is beginning to expand look into my heart and you will sort of understand You brought me here now you’re trying to run me away The writing on the wall come read it come see what it say

Spirit on the Water
I can’t trust anyway… I’d forgotten 'bout you and you turned up again, I always knew, we were meant to be more than friends. when you’re near it’s just as plain as it can be

Rollin’ and Tumblin’
I got trouble so hard I just can’t stand the strain some young lady slut (!?!) has charmed away my brains The landscape is glowing gleaming in the golden light of day

When the Deal Goes Down
The world keeps turning around we live and we die we know not why but I’ll be with you when the deal goes down. we eat and we drink we feel and we think

Someday Baby
When I was young, driving was my craving. ya drive me so hard almost to the grave. someday baby you ain’t gonna worry for me anymore

Workingman’s Blues #2
Come sit down on my knees you are dearer to me than myself as you yourself can see. while I’m listening to steel rails that hum got both eyes tight shut just sitting here trying to keep the hunger from creeping its way into my gut meet me at the bottom gonna lag behind (me high?) bring me

Beyond the Horizon
Through flame and through fire I’ll build my world around you beyond the horizon in the springtime or fall love waits forever for one and for all. beyond the horizon

Nettie Moore
… see you. All I ever do is struggle and strive. If i don’t do anybody any harm I might make it back home alive. I’m the oldest son of a crazy man I’m in a cowboy band got a pile of sins to pay for and I ain’t got time to hide
...måten han synger "I'm in a cowboy band - strålende []

The Levee’s Gonna Break
I’ve paid my time and now I’m as good as new, I’ve paid my time and now I’m as good as new they can’t take me back unless I want ‘em to If it keep on rainin levee gonna break if it keep on rainin the levee gonna break some of these people gonna strip you of all of your…

Ain’t talkin’
…from behind Ain’t talkin just walking through this weary world of woe, I’m burning, still yearning, no one on earth would ever know. they say prayer has the power to heal so (praise the lord or pray for me?)]





You don't need a weatherman to know which way the wind blows
B.Dylan

[Asbjørn]

[SPECIAL REPORT]
An early listen to Bob Dylan's new album
7.21.06

REPORT ON MODERN TIMES
by SETH ROGOVOY, music critic, author, and editor-in-chief of BERKSHIRE LIVING Magazine.

[N.B. THIS IS NOT A REVIEW of MODERN TIMES]


I had the great pleasure and privilege of being invited by Columbia Records to sit and listen to Bob Dylan's forthcoming long-playing recording, MODERN TIMES, recently in a studio in New York City.

Given that I only was able to listen to the album all the way through without stopping only once and in one sitting, AND given that I can't be certain that what I heard that day was the absolute final mix (or even track order?) of the album that is due to be released on August 29, 2006, What follows is NOT intended to be a review, but rather just a few, general impressions, based on my one listen, and being somewhat familiar with how what I heard that day will relate to what the world will only begin to hear and appreciate to its fullest extent starting on August 29 and continuing then on for days, weeks, months, and years to come.

As has already been correctly reported, the album's overall sound and the music contained therein will be somewhat familiar to those who have heard Bob Dylan's previous album, Love and Theft. Dylan continues his exploration of many of the musical styles and forms (e.g., modal blues, blues-rock, country swing, country balladry, country waltzes, pre-rock pop and vaudeville) that were present on that album on the forthcoming album, which was apparently recorded with his current road band and which for the most part has a very live feel to it, even more so than on Love and Theft. The addition of the violin to the ensemble is one of the most prominent departure points, instrumentally speaking, and one that colors the album in small but significant ways.

Unlike Love and Theft's tightly restricted format of conventional ballads and blues, MODERN TIMES features more variety on some numbers, particularly a few extended numbers which are cousins to some of his more exploratory, epic style songs (think "Visions of Johanna," "Highlands," and other more folk-oriented material), both musically and in their lyrical scope and intent.

This is a very exciting development, and I for one look forward to spending more time with numbers including "Nettie Moore," which in some way could be the single-song version of Dylan's film, Masked and Anonymous (not in any literal way, but in feeling and tone), and "Ain't Talkin' Just Walkin'," which put me in mind of "Senor" musically and structurally, or maybe some of the darker ballads from Oh Mercy. "Working Man's Blues #2" is also one of the more interesting songs, musically; it put me in mind of "Is Your Love In Vain" (a LOT on this album reminded me of STREET-LEGAL, which of course is now commonly regarded as one of Bob Dylan's most overlooked albums of his entire career), and, fittingly, is one of the few songs on the album which is in no way, musically or lyrically, a blues.

From the sound of Dylan's voice, which seems to vary from track to track, the vocals were probably not all recorded at the same time, but over a longer period of time, as his voice ranges from cranky and road-weary to impassioned to crooning. He remains an incredibly expressive singer with phrasing that cannot be duplicated or explained.

I need not get too detailed here -- as I noted, this is NOT a review, but a report. Nor should I empty my copious notebook of the detailed notes I took on all the songs. And I hesitate to quote any of the lyrics.

Suffice it to say that when the album ended, the handful of us gathered in the room to hear the new album were stunned into silence by the impact and import of this work shot through with familiar but heightened apocalyptic imagery.

There are very specific references to the events of 9/11 on this album; there are poetic references to prophecy; there is much talk of religion and the moral (or immoral) state of humankind; blindness haunts the album and in some ways functions as the connecting thread, a running motif; and more than perhaps ever before, there are references to violence, vengeance, and murder, including many phrased in the first person. Perhaps this is just a tip of the hat to Johnny Cash, but perhaps not -- perhaps Dylan has vengeance and murder on his mind at a time when the world is seemingly obsessed with both.

I'm not sure if MODERN TIMES is a pessimistic album, but there are a fair amount of "women done me wrong" songs, and Dylan doesn't mince words about those, women and others, who done him wrong on this album. There is not a lot about transcendence here, but there is a lot about the disappointment of not finding transcendence. There is some humor, but not the abundance of funny jokes found previously on Love and Theft.

Perhaps what is most surprising is that the Bob Dylan who we have been introduced to these past few months on THEME TIME RADIO, the funny, quirky, amiable old coot, and the Bob Dylan of MODERN TIMES seem like two entirely different people. Personally, I find that refreshing and invigorating; it's the enigma of Bob Dylan that keeps me going back for more.

MODERN TIMES is raw, and it stings.


And at the very end of the album, the world, literally and perhaps fittingly, and most chillingly, ends.

--by SETH ROGOVOY, music critic, author, and editor-in-chief of BERKSHIRE LIVING Magazine.




You don't need a weatherman to know which way the wind blows
B.Dylan

[Asbjørn]

...skal la Bob'ern ligge litt nå.

Denne er så nydelig:

My grandma is 84 years old and plays guitar in a band with a fiddle player and a harmonica player. They usually play old folks homes and senior events, but recently in hometown (population 6,000) they played for the "sidewalk sales" event on the four corners while everyone walked the streets. They play all kinds of old time music - bluegrass, country, folk, rags, etc etc.

So they were playing (my grandma sings in the band) and these two boys rode up on their bicycles, aged 12 and 10 and were listening to them play. After a few songs ("Hector Brown", "Tennesse Stud", "Rolling In My Sweet Baby's Arms"), they came up to my grandma and requested "anything by Johnny Cash!"

My grandma replied that one of them would have to come up on stage and help her sing it - which, to her surprise, they both did, singing "Folsom Prison Blues".

Quite something to see two young boys who just earned their two digit age numbers singing a song written nearly a half a decade before they were even born about shooting a man for no reason and rotting in a jail cell with a trio band of 80-somethings. Couldn't help me bring a smile to my face.

Thought I'd share that one with you all.




I shot a man i Reno, just to see him die

[HåvardK]

Du har selvsagt sett "Walk the line", Asbjørn? En glimrende film om en ekstremt fascinerende artist. Sist sett på "Colombo" i forrige uke.

[Asbjørn]

quote:Originally posted by HåvardK

Du har selvsagt sett "Walk the line", Asbjørn? En glimrende film om en ekstremt fascinerende artist. Sist sett på "Colombo" i forrige uke.

Selvfølgelig, Håvard []

Faktisk ganske bra...

Du har vel lest biografien, som f.eks. den til Steve Turner (2004).



The glamour and the bright lights and the politics of sin
The ghetto that you build for me is the one you end up in
B.Dylan

[Asbjørn]

Does Bob Dylan like Britpop?

Playlist is a-changin'
By Guardian Unlimited / Music 10.8.2006 10:17am


Tuning in to indie? Bob Dylan has been playing Blur (right) on his radio show.

Does Bob Dylan like Britpop? It seems so, after the folk-rock legend featured a song by Blur on a recent radio show, writes Paul Owen.

Dylan has been presenting Theme Time Radio Hour on America's XM satellite radio channel, and played Coffee and TV - from Blur's 1999 album 13 - as part of an episode featuring songs about coffee.

Introducing the song, Dylan drawled: "Y'know, one time coffee was believed to be the drink of the devil. When Pope Vincent III heard about this, he decided to taste the drink before banning it. In fact, he enjoyed coffee so much, he wound up baptising it, stating 'coffee is so delicious, it would be a pity to let the infidels have exclusive use of it'." As Blur's song began in the background, Dylan revealed: "I also feel that way about coffee. And about TV. And ... about Blur."


The shows - each of which covers a theme like jail, drink, marriage and divorce - have been as interesting for Dylan's between-song banter as for his playlists, which typically feature pre-1960s artists such as Ruth Brown, Lefty Frizzell and Billy "The Kid" Emerson.

"I know it seems like we play a lot of old songs," he told one listener who wrote in to request some modern music, "but the truth is, there's a lot more old songs than there are new songs."

Even so, however, it seems that Dylan is also something of a Prince fan, featuring 1983's Little Red Corvette during an episode themed around cars. "Prince is from the same sort of area in the country [Minnesota] I'm from," Dylan noted. "So we have plenty in common."

Fans may be relieved to note, however, that Dylan has not lost his esoteric approach to subject matter. In the middle of a show themed around fathers, Dylan read out an email purporting to be from "Johnny Depp from Paris, France, who wants to know: 'Who was the father of modern communism?'"

Dylan replied: "Well, Johnny, Karl Marx was the father of modern communism. He also fathered seven children, four of whom survived to adulthood. His only son, Frederick Demuth, was illegitimate. I wonder if he calls his daddy on Father's Day."




He saw an animal up on a hill. Chewing up so much grass untill she was filled
He saw milk comin' out but he didn't know how. "Ah, think I'll call it a cow"
B.Dylan

[HåvardK]

quote:Originally posted by Asbjørn

quote:Originally posted by HåvardK

Du har selvsagt sett "Walk the line", Asbjørn? En glimrende film om en ekstremt fascinerende artist. Sist sett på "Colombo" i forrige uke.

Selvfølgelig, Håvard []

Faktisk ganske bra...

Du har vel lest biografien, som f.eks. den til Steve Turner (2004).



The glamour and the bright lights and the politics of sin
The ghetto that you build for me is the one you end up in
B.Dylan

Har lest én biografi, ja - som fulgte med et abonnement på Mojo i 2005. En gripende historie, kan man si.

[Asbjørn]

Her er én av sangene fra kommende Modern Times... (inntil den er lastet ned "nok" ganger, da må der legges ut på ny link...)

Thunder On The Mountain


Thunder on the mountain, fires on the moon
There's a ruckus in the alley and the sun will be here soon
Today's the day, gonna grab my trombone and blow
Well, there's hot stuff here and it's everywhere I go

I was thinkin' 'bout Alicia Keys, couldn't keep from crying
When she was born in Hell's Kitchen, I was living down the line
I'm wondering where in the world Alicia Keys could be
I been looking for her even clear through Tennessee

Feel like my soul is beginning to expand
Look into my heart and you will sort of understand
You brought me here, now you're trying to run me away
The writing's on the wall, come read it, come see what it say

Thunder on the mountain, rolling like a drum
Gonna sleep over there, that's where the music coming from
I don't need any guide, I already know the way
Remember this, I'm your servant both night and day

The pistols are poppin' and the power is down
I'd like to try somethin' but I'm so far from town
The sun keeps shinin' and the North Wind keeps picking up speed
Gonna forget about myself for a while, gonna go out and see what others need

I've been sitting down studying the art of love
I think it will fit me like a glove
I want some real good woman to do just what I say
Everybody got to wonder what's the matter with this cruel world today

Thunder on the mountain rolling to the ground
Gonna get up in the morning walk the hard road down
Some sweet day I'll stand beside my king
I wouldn't betray your love or any other thing

Gonna raise me an army, some tough sons of bitches
I'll recruit my army from the orphanages
I been to St. Herman's church and I've said my religious vows
I've sucked the milk out of a thousand cows

I got the porkchops, she got the pie
She ain't no angel and neither am I
Shame on your greed, shame on your wicked schemes
I'll say this, I don't give a damn about your dreams

Thunder on the mountain heavy as can be
Mean old twister bearing down on me
All the ladies of Washington scrambling to get out of town
Looks like something bad gonna happen, better roll your airplane down

Everybody's going and I want to go too
Don't wanna take a chance with somebody new
I did all I could and I did it right there and then
I've already confessed - no need to confess again

Gonna make a lot of money, gonna go up north
I'll plant and I'll harvest what the earth brings forth
The hammer's on the table, the pitchfork's on the shelf
For the love of God, you ought to take pity on yourself


He saw an animal that liked to snort. Horns on his head and they weren't too short
It looked like there wasn't nothin' that he couldn't pull "Ah, think I'll call it a bull"
B.Dylan