Dylanskulen

[Asbjørn]

Dylan Searches for New Soul Mate


Denne Guardian-artikkelen skal handle litt om Alicia Keys og litt om Bob og hans hang til smekre afroditer... []

En som ikke gadd å lese det hele ønsket et short summary... Det fikk han:

quote:The bloke likes some nice looking women who happen to be black. He has always loved blues, gospel and R&B anyway, so the women and the music go well together. He is sounding a bit like a dirty old man now, though.

quote:Summary? The darker the berry, the sweeter the juice.[]

Looking for Alicia on his new album... Bob Dylan. Photograph: AP/CBS


Bob Dylan's 44th album, Modern Times, isn't coming out until Aug. 29, but it's already planting stories in the press. The album's title alludes to Chaplin and possibly Sartre, but a shout out to an R&B diva born in 1980, the year of Dylan's Saved, has already generated advance buzz. "Dylan Searches for New Soul Mate," blared a headline from the Guardian, offering as evidence the following lines from "Thunder on the Mountain," the album's opening track:

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 clean through Tennessee.


Alicia Keys


Maybe Dylan looked at Keys' Wikipedia site. Keys was indeed born in Manhattan's Hell's Kitchen (when Dylan was "living down the line" in his born-again phase). Keys was asked for a sound bite about the reference, and she gushed that she was "crazy excited about it" and "honored to be on his mind." Some Dylan watchers, still reeling from his creepy 2004 appearance in a Victoria's Secret ad, may be a little less crazy excited. Does Keys inspire Dylan's tears merely because, at 26, she's way too young for him?


In fact, Keys is just the latest in a long line of black female singers who have besotted Dylan since his youth. (OK, Keys is half black, and maybe Dylan learned that from Wikipedia, too.) Dylan has long worshiped at the shrine of the black female voice, a source of musical inspiration, erotic obsession, and even religious conversion.

In the beginning, there was the mighty Mavis Staples, whose vocal on a Staples Singers record inspired the teenage Dylan to "stay up for about a week, and who, in turn, made a gospel anthem out of "Blowin' in the Wind" after she learned that this white boy had been her fan since childhood. (The white boy had also blown harmonica on a Victoria Spivey record in 1962 and said that he was first inspired to play folk music after hearing an Odetta record.) But despite Dylan's efforts, they were not to be the next Johnny Cash and June Carter. A couple of years ago, Staples revealed that Dylan had been the lost love of her life. "We courted for about seven years, and it was my fault that we didn't go on and get married," recalled Staples, who would later regret turning down his marriage proposal because she thought Dr. King wanted her to "stay black."


Mavis anno 1962

Dylan stayed black anyway. In the '60s, his attempted crossover found its way into lyrics. "Spanish Harlem Incident" : "The night is pitch black, come an' make my/ Pale face fit into place, ah, please!"; "Outlaw Blues" : I got a woman in Jackson,/ I ain't gonna say her name/ She's a brown-skin woman, but I love her just the same"; and, in a lamentable image, "I Want You" : "Well, I return to the Queen of Spades. … "

By 1978, when Dylan embarked on what was cynically called his "alimony tour," he provided spectacle by adding, along with disco arrangements and Neil Diamond-style jumpsuits, a group of African-American backup singers, who the Village Voice's Robert Christgau, in a reference to Ray Charles' Raelettes, dubbed "The Dylanettes." Dylan would often wryly introduce these singers as "my ex-wife, my next wife, my girlfriend, and my fiancee." []
In fact, one of the singers, Helena Springs, was not only his girlfriend but cowrote more songs with himâ€"most of them unrecordedâ€"than anyone else and helped inspire him to write "New Pony" and to find Jesus. Another, Carolyn Dennis (the daughter of an original Raelette, who eventually brought her mom into the lineup), became his secret wife in 1986 and gave birth to Dylan's fifth child.


Carol Dennis Dylan

Dylan called the singers the Queens of Rhythm, and would later admit that he hid behind them to compensate for his own musical uncertainty. "I had them up there so I wouldn't feel so bad," he said. His born-again Christian phase lasted only a few years, but his ethnic conversion was just beginning. One foggy night in Switzerland in 1987, Dylan had a mystical experience and realized that he could deliver what the Queens of Rhythm had been giving him. "It's almost like I heard a voice. It wasn't even like it was me thinking it," he recalled. "I noticed that all the people out thereâ€"I was used to them looking at the girl singers, they were good-looking girls, you know? ... But when that happened, they weren't looking at the girls anymore. They were looking at the main mic." When Dylan found his inner soul sister, the Queens of Rhythm lost a gig.

Dylan and Staples had a musical reunion in 2002 to record his gospel number "Gonna Change My Way of Thinking," and, compared to the 1979 version, Dylan sounds not like a white Negro but a soul survivor. When he rasps about sitting at the "welcome table," he sounds like he's earned his right to sing the blues. Dylan and Staples' intonation and phrasing wouldn't have sounded so uncannily alike back when she was rebuffing his proposal. This is the millennial Dylan who shouts out to Keys on his latest record, a Dylan who is curious about Keys because he has already made himself more like herâ€"the kind of affinity not lost on Todd Haynes when he considered casting Beyoncé as one of the six actors playing Dylan in his upcoming biopic I'm Not There. Dylan's earlier lyrics alluded to his interracial eroticism, but a more recent lyric could apply to his transformation. He's not dark yet, but he's getting there.[]

quote:"He's not dark yet." He he.

quote:interesting piece

quote:I think he just wanted to use that last line

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

[Asbjørn]

Carol Dennis: "Who is Bob Dylan?"

Hans andre (kjente) kone, Carolyn Dennis, gav dette intervjuet i '92 der hun bl.a. kommer inn på dette med å synge i Bob-koret.

Noget morsomt er hennes første kontakt med His Bobness... [:I]

(På dette tidspunkt var det to år siden hun hadde skilt seg fra Bob etter eksteskapet som varte fra 86-90, og fortsatt 12 år før ekteskapet (og barnet) ble kjent for allmennheten...)



This is a brief interview with Carol Dennis published on "Follow That Dream international" December 1992, a Bruce Springsteen's fanzine. I've cut the other parts leaving only the Bob related piece.

Q. After getting involved with theatre and working with Stevie Wonder and Burt Bacharach you started your long collaboration with Bob Dylan...

A. Yeah, I went on the road for a couple of weeks with Burt Bacharach doing a tour in South America, and I came back to a surprising phone call from a girl who was dating Mr. Dylan at the time, for him. I have say - as embarrassing as it might be - I didn't know who he was, because my young life had been so reclusive and so sheltered. So I called and I asked "Who is Bob Dylan? I got a call, they want me to come and audition for this guy named Bob Dylan. Who is he?". And the Union went "What? Oh My God! In the sixties there was nobody but Bob Dylan and the Beatles!". It was May 1978 when I first met him and started working for him, did the United States, started recording with him.

Q. After your first tour with him, you had a kind of special role in helping with the vocal parts...

A. Well, I mean, I would call background singers and then, you know, he'd hear them of course, the final decision was his, you know. But he knew that I'd basically bring in what he was after, people that could go after a feeling, that it wasn't so much standing there with the music and trying to prove how perfectly you could sing, but people who had a story in their voices, when they'd sing there was a feeling there. That feeling comes from life experiences, and that's what he was after. He wanted his show to have that kind of spontaneous spiritual type of feeling to it, a lot similar to what Bruce is requesting


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

[Asbjørn]

Nå som Modern Times-utgivelsesdatoen nærmer seg kan vi jo ta et knippa fra noen norske anmeldelser...

Dagbladet:

Selve anmeldelsen er noe svakt levert spør du meg.

VG gir "bare" en firer, men du verden for en anmeldelse:

quote:Verdens største låtskrivergeni på én låt - en 65 år gammel legende på de ni andre.

 Selve anmeldelsen  består stort sett av lovprising av selve avslutningslåten "Ain't Talkin'" (omtalt noen tråder lengre oppe [:I])
Anmeldelsen avsluttes slik:

quote:Selv er His Bobness udødelig. Ikke med denne platen - selv om det bekreftes. Men som Bob Dylan.

...og dette er anmeldt av Stein Østbø (se en av de første sidene av denne tråden som forklaring...)


Aftenposten:

quote:Bob Dylans nye album er et av hans beste.

Arbeiderbladet:

quote:Karakter: 6

quote:Dylan har tydeligvis vært i lyrisk storform i det siste, og sparer ikke på de store bildene. «Thunder in the mountain/Fires on the moon/there's a ruckus in the alley/and the sun will be here soon» er åpningslinjer som setter standarden for et sett sanger som kommer til å bli tolket herfra til evigheten.

..."the sun will be here soon" kan like gjerne være "the Son will be here soon" - som passer bedre inn i dommedagsteksten...



Adresseavisen:

quote:CD: Rock-historiens største og viktigste artist er fortsatt kreativ.

quote:Albumet åpner med den streite, svingende bluesrockeren «Thunder On The Mountain», der han blant annet synger om Alicia Keys. Allerede første tekstlinje viser at her er en poetisk mester i aksjon: «Thunder on the mountain, fire's on the moon. There's a ruckus in the alley and the sun will be here soon.» Senere i sangen forteller Dylan at han trenger ingen guide, han vet allerede veien.

quote:Når jeg går gjennom utgivelsene hans siden debuten i 1962, finner jeg ca. 15 album som fortjener terningkast fem eller seks. Dette er ett av dem. Det er ingen over, ingen på siden av denne mannen.

Andre tidlige  anmeldelser av Modern Times finnes her.

He saw an animal as smooth as glass  Slithering through the grass
Saw him disappear by a tree near a lake  "Ah think I'll call 'im. a..
B.Dylan

[Asbjørn]

Forresten: [][][]

quote:Bob Dylan tells Rolling Stone that he understands why kids today are illegally downloading songs instead of buying records. He says he understands because modern records aren't "worth nothing anyway."

The legendary troubadour went even further, "You listen to these modern records, they're atrocious, they have sound all over them," he added. "There's no definition of nothing, no vocal, no nothing, just like ... static."

Dylan isn't even happy with the sound of his own cd, preferring the big sound you hear in the studio. His Modern Times hits stores next week.

...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

B.Dylan

[Asbjørn]

Man jobber overtime i disse Bob-tider... []

...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

B.Dylan

[Asbjørn]

The Genius of Bob Dylan
The legend comes to grips with his iconic status; an intimate conversation prior to the release of the new ''Modern Times''

JONATHAN LETHEM

Page 1 2
"I don't really have a herd of astrologers telling me what's going to happen. I just make one move after the other, this leads to that." Is the voice familiar? I'm sitting in a Santa Monica seaside hotel suite, ignoring a tray of sliced pineapple and sugar-dusty cookies, while Bob Dylan sits across from my tape recorder, giving his best to my questions. The man before me is fitful in his chair, not impatient, but keenly alive to the moment, and ready on a dime to make me laugh and to laugh himself. The expressions on Dylan's face, in person, seem to compress and encompass versions of his persona across time, a sixty-five-year-old with a nineteen-year-old cavorting somewhere inside. Above all, though, it is the tones of his speaking voice that seem to kaleidoscope through time: here the yelp of the folk pup or the sarcastic rimshot timing of the hounded hipster-idol, there the beguilement of the Seventies sex symbol, then again -- and always -- the gravel of the elder statesman, that antediluvian bluesman's voice the young aspirant so legendarily invoked at the very outset of his work and then ever so gradually aged into.

It's that voice, the voice of a rogue ageless in decrepitude, that grounds the paradox of the achievement of Modern Times, his thirty-first studio album. Are these our "modern times," or some ancient, silent-movie dream, a fugue in black-and-white? Modern Times, like Love & Theft and Time Out of Mind before it, seems to survey a broken world through the prism of a heart that's worn and worldly, yet decidedly unbroken itself. "I been sitting down studying the art of love/I think it will fit me like a glove," he states in "Thunder on the Mountain," the opening song, a rollicking blues you've heard a million times before and yet which magically seems to announce yet another "new" Dylan. "I feel like my soul is beginning to expand," the song declares. "Look into my heart and you will sort of understand."

What we do understand, if we're listening, is that we're three albums into a Dylan renaissance that's sounding more and more like a period to put beside any in his work. If, beginning with Bringing It All Back Home, Dylan garbed his amphetamine visions in the gloriously grungy clothes of the electric blues and early rock & roll, the musical glories of these three records are grounded in a knowledge of the blues built from the inside out -- a knowledge that includes the fact that the early blues and its players were stranger than any purist would have you know, hardly restricting themselves to twelve-bar laments but featuring narrative recitations, spirituals, X-rated ditties, popular ballads and more. Dylan offers us nourishment from the root cellar of American cultural life. For an amnesiac society, that's arguably as mind-expanding an offering as anything in his Sixties work. And with each succeeding record, Dylan's convergence with his muses grows more effortlessly natural.

How does he summon such an eternal authority? "I'd make this record no matter what was going on in the world," Dylan tells me. "I wrote these songs in not a meditative state at all, but more like in a trancelike, hypnotic state. This is how I feel? Why do I feel like that? And who's the me that feels this way? I couldn't tell you that, either. But I know that those songs are just in my genes and I couldn't stop them comin' out." This isn't to say Modern Times, or Dylan, seems oblivious to the present moment. The record is littered -- or should I say baited? -- with glinting references to world events like 9/11 and Hurricane Katrina, though anyone seeking a moral, to paraphrase Mark Twain, should be shot. And, as if to startle the contemporary listener out of any delusion that Dylan's musical drift into pre-rock forms -- blues, ragtime, rockabilly -- is the mark of a nostalgist, "Thunder on the Mountain" also name-checks a certain contemporary singer: "I was thinking 'bout Alicia Keys, I couldn't keep from crying/While she was born in Hell's Kitchen, I was livin' down the line." When I ask Dylan what Keys did "to get into your pantheon," he only chuckles at my precious question. "I remember seeing her on the Grammys. I think I was on the show with her, I didn't meet her or anything. But I said to myself, 'There's nothing about that girl I don't like.' "

Rather than analyzing lyrics, Dylan prefers to linger over the songs as artifacts of music and describes the process of their making. As in other instances, stretching back to 1974's Planet Waves, 1978's Street Legal and 2001's Love & Theft, the singer and performer known for his love-hate affair with the recording studio -- "I don't like to make records," he tells me simply. "I do it reluctantly" -- has cut his new album with his touring band. And Dylan himself is the record's producer, credited under the nom-de-studio Jack Frost. "I didn't feel like I wanted to be overproduced any more," he tells me. "I felt like I've always produced my own records anyway, except I just had someone there in the way. I feel like nobody's gonna know how I should sound except me anyway, nobody knows what they want out of players except me, nobody can tell a player what he's doing wrong, nobody can find a player who can play but he's not playing, like I can. I can do that in my sleep."

As ever, Dylan is circling, defining what he is first by what he isn't, by what he doesn't want, doesn't like, doesn't need, locating meaning by a process of elimination. This rhetorical strategy goes back at least as far as "It Ain't Me, Babe" and "All I Really Want to Do" ("I ain't looking to compete with you," etc.), and it still has plenty of real juice in it. When Dylan arrives at a positive assertion out of the wilderness of so much doubt, it takes on the force of a jubilant boast. "This is the best band I've ever been in, I've ever had, man for man. When you play with guys a hundred times a year, you know what you can and can't do, what they're good at, whether you want 'em there. It takes a long time to find a band of individual players. Most bands are gangs. Whether it's a metal group or pop rock, whatever, you get that gang mentality. But for those of us who went back further, gangs were the mob. The gang was not what anybody aspired to. On this record I didn't have anybody to teach. I got guys now in my band, they can whip up anything, they surprise even me." Dylan's cadences take on the quality of an impromptu recitation, replete with internal rhyme schemes, such that when I later transcribe this tape I'll find myself tempted to set the words on the page in the form of a lyric. "I knew this time it wouldn't be futile writing something I really love and thought dearly of, and then gettin' in the studio and having it be beaten up and whacked around and come out with some kind of incoherent thing which didn't have any resonance. With that, I was awake. I felt freed up to do just about anything I pleased."

But getting the band of his dreams into the studio was only half the battle. "The records I used to listen to and still love, you can't make a record that sounds that way," he explains. It is as if having taken his new material down to the crossroads of the recording studio Dylan isn't wholly sure the deal struck with the devil there was worth it. "Brian Wilson, he made all his records with four tracks, but you couldn't make his records if you had a hundred tracks today. We all like records that are played on record players, but let's face it, those days are gon-n-n-e. You do the best you can, you fight that technology in all kinds of ways, but I don't know anybody who's made a record that sounds decent in the past twenty years, really. You listen to these modern records, they're atrocious, they have sound all over them. There's no definition of nothing, no vocal, no nothing, just like -- static. Even these songs probably sounded ten times better in the studio when we recorded 'em. CDs are small. There's no stature to it. I remember when that Napster guy came up across, it was like, 'Everybody's gettin' music for free.' I was like, 'Well, why not? It ain't worth nothing anyway.' ". . .

>> Get the full article in the current Rolling Stone, on newsstands until September 7th, 2006



...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

B.Dylan

[Asbjørn]

Må si jeg ble smått imponert av dette bildet


...som altså er av Cate Blanchett...[:I]




Hun er en av 7 skuespillere som skal spille Dylan i en av hans "faser" (sikkert 65-66 ut fra bildene) i filmen I'm not there som er under innspilling...

Andre "Dylan"'er er visstnok Richard Gere, Heath Ledger, Julianne Moore, David Cross, Michelle Williams and Christian Bale.




I ain't lookin' to compete with you, beat or cheat or mistreat you
Simplify you, classify you, deny, defy or crucify you
All I really want to do, is baby, be friends with you
B.Dylan

[Asbjørn]

Mens Modern Times debuterer på førsteplass på listene i USA (Billboard) og også i Australia, Canada, Denmark, Ireland, New Zealand, Norway and Switzerland to name a few... [:I]

Selv syns jeg den er sånn passe bra. Fantastisk åpningslåt, grei resten (småkoselig, "flinkt" men griper meg ikke slik han ofte gjør ellers...).




Da passer det heller å gå for "song of the day" Changing of the Guards... som var åpningslåten på Street-Legal den ofte undervurderte 1978-plata.

Kom over denne svenske "diskusjonsguppa" i går.

quote:Med en ny skiva så gott som varje år i 40 år är det inga som helst problem att hitta texter att analysera.

Bob Dylans produktion innehåller det mesta, från de tidiga folksångerna, via genombrottet som protestsångare till religiösa grubblerier, personliga kärlekssånger och surrealistiska utsvävningar.

- Nu är vi elva deltagare som analyserar Bob Dylans texter i en studiecirkel, säger Elmer Eliasson, som tog initiativ till cirkeln och som leder den en kväll i veckan.

Studiecirkeln finns hos SV i Göteborg.

Og må smile...

quote:Elmer Eliasson rundar av kvällen med kanske en av de mest sönderanalyserade av Dylans låtar â€" Changing of the Guards. Ingen kan direkt lista ut vad den handlar om. De är i gott sällskap för det har ingen kunnat före dem heller.

- Det är i alla fall ett mästerverk, säger Elmer Eliasson.

Ganske talende egentlig...

Lytt til et halvminutt av låten her.


Noe av teksten er grei å forstå...

quote:Det dreier seg om et vaktskifte, om en ny orden. Teksten starter med å summere opp 16 år, sannsynligvis de 16 år som har gått siden Dylan startet sin karriere. Vi møter kvinner og menn som er spaltet og desperate, mens "den gode hyrde" (Jesus?) sørger. Fortelleren trer inn i sangen på markedsplassen, hvor handelsmenn og tyver tørster etter makt. Kaos og forvirring råder, helt til vi  blir vitne til en oppstandelse, på den tredje dag, akkurat som Jesus "Forty-eight hours later, the sun is breaking." Den oppstadne taler til folket og forteller at han har pusset deres sko, han har flyttet deres fjell, men Edens hage brenner og menneskene står foran et valg:"Either brace yourself for elimination/ Or else your hearts must have the courage for the changing of the guards." Vi må ha mot til å forteta et vaktskifte, hvis ikke går vi rett inn i tilintetgjørelsen. Den oppstadne forkynner også at freden vil komme, og at de falske idolene skal falle.
Dylan sier: "A song like that, there's no way of knowing... what the motivation was behind it" (GBS, nr 3)
Det er verdt å merke seg at sangen fades både inn og ut, den har verken begynnelse eller slutt, den skildrer et viktig øyeblikk i en lang historie, et vaktskifte.

(hentet fra Bob Dylan - jeg er en annen (Petter Myhr)

quote:Bob at his most Yeatsian and one of his first "the end is nigh" songs that would keep him busy up through Modern Times and possibly beyond

quote:Fantastic Song! I really like Street Legal, always have, despite the bad rap it generally gets. And this is the best song by far - what a start - the voice strong, powerful and a great set of lyrics. The girls add another dimension - the gospel call and response is perfect - to my ear anyway.

Definately in my top 10 Bob songs ... tho that is a hard list to settle on!

quote:This is one of those songs of that era that seems really tied to what was going on in Central America. Bob seems more concerned about this stuff that any other American songwriter at the time.
"they're killing nuns and soldiers"
and every line from carribean wind pretty much.

I dont know why but this whole song always seemed to me to be about some central or south american revolution. Did anybody else get that impression?

quote:It's still solidly in my top 1 Bob songs of all time. The sound of that song is somehow different from anything else he's done, it just works for me

Dylan fraserer/synger som en gud, låten er frisk, suggererende...
Teksten blir du aldri ferdig med, stadig nye fantastiske vendinger å oppdage...



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.

Fortune calls.
I stepped forth from the shadows, to the marketplace,
Merchants and thieves, hungry for power, my last deal gone down.
She's smelling sweet like the meadows where she was born,
On midsummer's eve, near the tower.

The cold-blooded moon.
The captain waits above the celebration
Sending his thoughts to a beloved maid
Whose ebony face is beyond communication.
The captain is down but still believing that his love will be repaid.

They shaved her head.
She was torn between Jupiter and Apollo.
A messenger arrived with a black nightingale.
I seen her on the stairs and I couldn't help but follow,
Follow her down past the fountain where they lifted her veil.

I stumbled to my feet.
I rode past destruction in the ditches
With the stitches still mending 'neath a heart-shaped tattoo.
Renegade priests and treacherous young witches
Were handing out the flowers that I'd given to you.

The palace of mirrors
Where dog soldiers are reflected,
The endless road and the wailing of chimes,
The empty rooms where her memory is protected,
Where the angels' voices whisper to the souls of previous times.

She wakes him up
Forty-eight hours later, the sun is breaking
Near broken chains, mountain laurel and rolling rocks.
She's begging to know what measures he now will be taking.
He's pulling her down and she's clutching on to his long golden locks.

Gentlemen, he said,
I don't need your organization, I've shined your shoes,
I've moved your mountains and marked your cards
But Eden is burning, either brace yourself for elimination
Or else your hearts must have the courage for the changing of the guards.

Peace will come
With tranquility and splendor on the wheels of fire
But will bring us no reward when her false idols fall
And cruel death surrenders with its pale ghost retreating
Between the King and the Queen of Swords.


I ain't lookin' to compete with you, beat or cheat or mistreat you
Simplify you, classify you, deny, defy or crucify you
All I really want to do, is baby, be friends with you
B.Dylan

[Jon R]

quote:Selv syns jeg den er sånn passe bra. Fantastisk åpningslåt, grei resten (småkoselig, "flinkt" men griper meg ikke slik han ofte gjør ellers...).

Til ære for deg, Asbjørn, slet jeg meg gjennom hele Modern Times for to dager siden. Må si jeg synes filmen var bedre. [8D]

Litt sånn taffel/rockabilly/køntri mix. Låtene bare gled forbi, med unntak av de to siste faktisk. Fikk vel egentlig bare en bekreftelse på at Dylan rett og slett ikke er min greie. [:I]






Jon R.

[Asbjørn]

quote:Originally posted by Jon R
Må si jeg synes filmen var bedre. [8D]

Du tenker på lyden? []





I ain't lookin' to compete with you, beat or cheat or mistreat you
Simplify you, classify you, deny, defy or crucify you
All I really want to do, is baby, be friends with you
B.Dylan

[Asbjørn]

Bob'ern får stjernekarakter etter stjernekarakter på Modern Times for tiden...  Hyggelig det, men hos meg blir det bare småkoselig...

Derfor likte jeg godt denne anmeldelsen fra pstereo-gjengen, jeg kjenner igjen mye herfra...  Ulikt de fleste har jeg falt pladask for åpningskuttet, mens andre igjen bare blir noen halvveise greier. (men for all del, only time will tell, kanskje får jeg sansen for noen av tekstene etter hvert som de glir inn... [:I]).

Men iallefall:

Bob Dylan står fast i heisen.

Modern times
Bob Dylan


Bob Dylan står fast i heisen.

Jeg vet ikke om han er på vei opp eller ned, men han står nå i hvert fall der. Det er ikke spesielt mye som skjer. Vi venter og venter. I mellomtida har vi "a whoppin' good time", jeg skal innrømme det. Bob Dylan og bandet hans spiller blues for oss. Heis-blues. Han smiler, spøker og danser den rare Chaplin-dansen sin. Det sies at Bob Dylan er på vei til Las Vegas, men inntil videre står han der i heisen og godter seg. Av og til tror jeg nesten at han har trykket på stopp-knappen selv.

Alle elsker visst den nye plata til Bob Dylan, men jeg tror at tida vil avsløre "Modern Times" â€" ikke som et dårlig album, men som ei høyst middelmådig Bob Dylan-plate. Forskjellen er ganske stor.

Jeg har prøvd og prøvd, men for meg er dette hans svakeste utgivelse med "originalt" materiale - rent musikalsk - siden "Under The Red Sky"(1990), minst. Kanskje må vi helt tilbake til "Down In The Groove"(1988). For dette er virkelig Bob nede i gropa. Bare den lange nesa hans stikker opp. Hvordan den gamle luringen har klart å overbevise så mange med dette albumet, begriper jeg rett og slett ikke.

All verdens anmeldere har gravd seg innover og tilbake i musikkhistorien, gjort rede for Bob Dylans kjærlighet til kildene og søkt etter sangene han har stjålet fra denne gang. Jeg skal ikke gjøre det samme, bare bemerke at hans forrige album inneholdt mye av det samme. "Love & Theft" (2001) var en feiring av fortida, framtida og følelsen av å være i live etter nær døden-opplevelsen "Time Out Of Mind" (1997). Blueslåtene var kulere og kåtere sist. De øvrige sangene hadde større kraft og mer konsistens. På "Modern Times" må vi nøye oss med to virkelig gode låter: "Workingman's Blues #2" og "Ain't Talkin'".

Vi har lov å forvente mer av Bob Dylan, selv i 2006.

På "Modern Times" føles det som om han har plukket noen linjer fra gamle folk-, country- og blueslåter, lagt til noen egne han har kommet på i farten, puttet hele greia i countryhatten sin, trukket dem opp etter tur og satt dem mer eller mindre tilfeldig sammen. Han har brukt den samme framgangsmåten også tidligere, men denne gang gir tekstene meg stort sett ingen ting som helst. Jeg hører bare ord. Enkeltlinjer står fram innimellom, av og til hele vers, men det hjelper ikke. Det har fungert før, men det fungerer ikke nå.

På låter som ”Thunder On The Moutain”, ”Rollin’ And Tumblin’”, ”Someday Baby" og ”The Levee’s Gonna Break” er ikke ordene hans noe annet enn godt kamuflerte unnskyldninger for å henge i heisen med Memphis Minnie, John Lee Hooker, Magic Sam, Chuck Berry og alle de andre gamle heltene. Han fraserer fantastisk, men ærlig talt, det gjør han stort sett nesten alltid. Jeg elsker også lyden av stemmen til Bob Dylan, men jeg skulle ønske at han hadde brukt den til noe annet enn å sette farge på en grå klump.

Det er ikke bare blues på denne plata, selv om det av og til føles slik.

"Spirit On The Water" er en kjærlighetssangene der vi ikke helt vet om Bob Dylan synger til Gud, ei kvinne eller begge deler. "When The Deal Goes Down" handler om vår egen og verdens forgjengelighet og er sånn sett ikke helt ulik "Every Grain Of Sand" og "Ring Them Bells", uten å være i nærheten av like dyptloddende og skjellsettende. Med disse låtene og "Beyond The Horizon" fullfører han løpet han la ut på med konsertversjonen av "If Dogs Run Free" for noen år tilbake. Dette er crooneren Bob Dylan, som synger seg smertefritt gjennom smør og gamle sorger. Men det er ingen av disse nedstemte, "jazz i en lenestol fra før krigen"-sangene som er like enkle og rørende som for eksempel ”Not Dark Yet”, ”Standing In The Doorway” eller ”Trying To Get To Heaven".

”Modern Times” er Bob Dylan med briller på nesa, tøfler på føttene, sovepiller i glasset og Viagra i venene. Mark Knopler sitter i stolen ved sida av døser. Eric Clapton har duppet av forlengst. Av og til kvepper Bob Dylan til - med en hard, raspende lyd - så resten av gjengen våkner, men stort sett sitter han bare der og mumler og drømmer seg bort - med et fårete smil om munnen - til ei tid når sjelen svever over vannet og den siste avtalen er oppfylt, den som ble inngått for mange, mange år siden, helt ved starten av reisen.

"Beyond the horizon, behind the sun
At the end of the rainbow life has only begun
In the long hours of twilight 'neath the stardust above
Beyond the horizon it is easy to love"

Men helt til slutt på albumet, på "Ain't Talkin'", tasser han ut av gamlehjemmet, lettere forvirret, inn i en tåkete og merkelig verden. Hesten er blitt halt, muldyret har mistet synet. Jeg tror det er samme dag som på "As I Went Out One Morning", hentet fra ”John Wesley Harding” (1967), bare mye, mye seinere. Det er en mystisk, mytisk snakkende blues, som egentlig ikke er en blues, men noe helt eget, noe jeg ikke klarer å beskrive. Det er Bob Dylan ved verdens ende, uten noe mer å si. Gartneren har gått hjem, og det er ikke lenger bare én slange i Edens hage, men mange.

Det er det nærmeste Bob Dylan kommer et mesterverk denne gang.

Men da er også alt slutt.
(6/10)
Ingve Aalbu
14.09.2006







I ain't lookin' to compete with you, beat or cheat or mistreat you
Simplify you, classify you, deny, defy or crucify you
All I really want to do, is baby, be friends with you
B.Dylan

[Jon R]

Var ikke min anmeldelse en slags kortversjon av den lange til Aalbu, ihvertfall når det kommer til det musikalske? Dessuten er han da uforskammet like good ole` Arnie Skiffle-Joe på forsiden av Rolling Stone Magazine? [:I]

Jon R.

[Asbjørn]

Av og til dukker det opp lesbare konsert-anmeldelser... []



Aug. 24, 2006: Bob Dylan plays the Pawtucket Arts Festival at McCoy Stadium

Seeing a Legend in Action: Bob Dylan

One of the things I've always loved about hanging out with my uncle Shane is that he hit the age when a man starts digging music in the early 1970s, when legendary songs were being made and performed.

He has a book of ticket stubs for every show he's ever attended, and I'm constantly asking him about those concerts, which range from Bruce Springsteen to Elton John to Neil Young to Hot Tuna. I've dreamed of one day having a book like that to show my kids or nephew someday.

I've seen my fair share of great shows. I rocked out to a four-hour Pearl Jam concert at Madison Square Garden. I've sat down for James Taylor's beautiful, soaring, acoustic shows. I've jammed out to Southern space-rock band My Morning Jacket and recently saw Midwestern garage-blues rockers The Black Keys at a small club in Manhattan.

But, unlike my Uncle Shane, I had never seen a "legend" in concert. And I had no foreseeable prospects until a friend called me a few weeks ago and said he had scored two tickets to see Bob Dylan in Philadelphia.

I jumped at the chance.

Consider the facts: It was the last show of Dylan's U.S. tour supporting his latest album, "Modern Times"; he's 65 years old and who knows when and if he'll tour big again; the tickets were a mere $40. And, of course, he's Bob Dylan.

To put it mildly, I didn't think twice.

But I had some weariness mixed in with my expectations. As soon as I told some friends, the insults began.

"Dylan? Guy can't sing anymore. Good luck with that."

"You don't know what a drag it is to see him."

"Yeah, too bad it's not the 1960s anymore."

Well, that last one is true. Dylan released his biggest album, "Highway 61 Revisited," in 1965. That's a long time ago. His voice has slowly changed from smooth and soft to rough and scruffy. He sure isn't the same Dylan.

But he's coming off the release of a trifecta of wonderful albums, the most recent of which is regarded by many music critics to be the album of the year.

I also have a boss whose opinion I trust on these things. And he assured me he had just seen Dylan, and that it was more than impressive. Besides that, he said, "It's Bob Dylan; you can tell your kids you saw Bob Dylan."
You couldn't deny that.

I was already a Dylan fan and had heard roughly a quarter of his vast catalog â€" upward of 50 albums in all. I realized it would be nearly impossible to cram in every song of his before I saw him, but I did my best buying and downloading leading up to the show and felt pretty prepared.

The crowd was an odd mixture: kids with their hippie parents, people who are still living in the '60s and young people like my friend and me who were there to witness a legend on his last legs.

When Dylan came out, the place went crazy. Two kids sitting in front of me, no older than 10 â€" there with their parents, of course â€" were standing, clapping and yelling. The hippies went nuts in their bellbottoms and tie-dyed shirts. I was trying to observe the crowd, and then Dylan walked out. And from that moment on, every eye turned to him. And every eye stayed there.

The opener, "The Levee's Gonna Break," which is off his most recent album, sounded different from the album version -- louder and harder.

The band moved quickly through a variety of hits, old and new: "Highway 61 Revisted," "Tangled Up in Blue" ... and my highlight of the night, "Thunder on the Mountain," another track off "Modern Times."

He encored with "Thunder," then "Like a Rolling Stone" and "All Along the Watchtower."

Every member of the band is a superb musician. The lead guitarist, Denny Freeman, would have your attention all night if he played with another band. And the sound was much louder than I anticipated. This was rock 'n' roll.

As the show progressed, I realized Dylan was a different man. The songs were mostly slower than I had heard him play before: bluesier and more jazz-like. His voice doesn't quite fill the room when the band plays full speed, and the musicians quiet down when Dylan picks up his harmonica, so you can hear it clearly.

But they're still Dylan's songs. He can still deliver a line.

And he has stage presence. All he's doing is standing there at his keyboard, moving his hips and feet around a little and singing. But you are transfixed.

People may say Dylan's lost a step and can't perform like he used to, but they don't get it.

He's Bob Dylan.

After this show, I think I'm ready to start my own ticket stub album.

* * *

[Asbjørn]

Litt musikk denne gang []

Som dere vet, anskaffet jeg i sin tid MP3 (til sykkelturene) og dermed lastet ned en del (for meg) ukjente konsertopptak.
Av det som beveget meg mest, var da jeg hørte ham synge Deportees (som viste seg å være en Woody Guthrie-sang, opptaket stammer fra Rolling Thunder-turneen (75-76), og Joan Baez korer i veg...


Sigøyner-stilen var viktig under the Rolling Thunder Revue


Rolling Thunder-turnéen var noe for seg selv. Bob'ern var klar for en noe annerledes turné etter å ha kjedet seg i hjel under '74-verdensturnéen. Så han inviterte med seg venner, stappet utstyret inn i lastebiler, og så kjørte de USA på kryss og tvers. Ingen kjente reiseruta, konsertene ble kunngjort et par dager i forkant, via plakater. Men jungeltelegrafen gikk, og utsolgt ble det.
Høst'75-turnéen ble en gedigen suksess med skikkelig friske anmeldelser, mens '76 ble et lite antiklimaks med en noe mer sliten gjeng... Konsertplata Hard Rain stammer fra '76, mens Live '75 (som kom ut i 2002) stammer fra den noe mer vellykkede '75-høsten.



Tilbake til Deportees. Her er Bob & Joan i aksjon under Rolling Thunder...


Og her følger I Pity the Poor Immigrant fra samme turné. Sangen stammer fra det eneste albumet der Bob først skrev teksten (John Wesley Harding, '67), og senere la til melodi. Teksten en flott skildring av å ikke passe helt inn...


Da fullstendig ukjente Bob så skjønne Joan på tv i sin pure ungdom (og hørte hennes klokkeklare "Sissel-sang" tenkte han at henne ville han synge med, at deres to stemmer måtte da bli flott sammen... []
Drøye året senere var landskjente Joan på tuppa etter Bob (Bobs interesse varte bare noen måneder), og de hadde utallige opptredener sammen (visstnok også nattestid en periode []).

Vel ti år senere møttes de igjen under denne Rolling Thunder Revue.

I don't want to stright-face you, race or  chase you, track or trace you
Or disgrace you or displace you Or define you or confine you
All I really want to do, is baby, be friends with you
B.Dylan

[Asbjørn]

Januar 2007 MOJO:
In this month's MOJO Magazine, saluting another 12 months of Bob Dylan eminence, MOJO presents the 50 greatest Dylan albums [] - that's every damn record, studio, live and compilations, reviewed and rated!
Including the inside story on Dylan's world-changing Blonde on Blonde, by the men who made it. Plus Iggy Pop blows his cool over Bringing It All Back Home, and Dylan's WORST album is revealed!



"I DON'T BREAK THE RULES….BECAUSE THERE ARE NO RULES"

I don't want to stright-face you, race or  chase you, track or trace you
Or disgrace you or displace you Or define you or confine you
All I really want to do, is baby, be friends with you
B.Dylan

[Asbjørn]

New Morning (1970).

Slett ikke det beste albumet hans. Likevel med mye bra. Nå som det er vintertid, kan tre vinterstemninger trekkes frem, med stemningsfulle Winterlude i første rekke... []

Hans møte med Elvis fra Went To See The Gypsy også... særegent.


Her følger en fin omtale:


Winterlude, This Dude Thinks You're Fine

New Morning is to Bob Dylan what Fables of the Reconstruction is to R.E.M. or Presence is to Led Zeppelin. It’s rarely listed in the handful of the artist’s greatest records, but holds a very special place in the hearts and minds of their most devoted fans.

This was the final record in Dylan’s Country Gentleman era, which began as a retreat from madness after the motorcycle crash following his 1966 world tour. He got off the road, and traded in his Mod suits, Beatle boots and mad-genius afro for seersucker, sandals and a patchy beard. In the rural quiet of Woodstock and Saugerties, NY, he started to raise a family and relax a bit. (Bob devoted an entire chapter of his 2004 memoir Chronicles Volume One to this fascinating period.)

But even in his downtime, Dylan was prodigious and brilliant. He laid down over 100 covers and originals with the Band at their Big Pink house, which became known as “the Basement Tapes.” Then came the quiet masterpiece John Wesley Harding, the country Nashville Skyline, the leave-me-alone Self Portrait and then, in 1970, New Morning.

Unlike the folkie anthems and speed-freak put-downs that characterized his music up to Blonde on Blonde, the music of this era evokes contentment, family, wedded bliss, spiritual discovery, mountains’ majesty, warm hearths, country roads and cascading streams. Take this stanza from “Sign on the Window.”

Build me a cabin in Utah
Marry me a wife, catch rainbow trout
Have a bunch of kids who call me ‘Pa’
That must be what it’s all about
That must be what it’s all about

This was also the first record on which Dylan played a lot of piano (something he now does every night on tour), which helps give New Morning a warm, intimate feel. There’s the Dylan standard “If Not for You,” and a hot toddy of deep-catalog Bob: “Day of the Locusts,” about his trip to Princeton to receive an honorary degree; “Went to See the Gypsy” about an alleged meeting with Elvis; the Walden-worthy “Time Passes Slowly”; the randy “One More Weekend” and the semi-macho “The Man in Me.”

But there are three tracks that make New Morning an ideal stocking stuffer. The charming waltz “Winterlude,” “Father of Night” and “Three Angels” are the closest one can get to A Very Dylan Christmas. And the title cut is a perfect New Year’s tune. The ideal track to kick off some late-night festivities after putting Dick Clark’s New Year’s Rockin’ Eve on mute.

Too bad New Morning was not upgraded as part of the recent Bob Dylan Revisited program. The CD has a slight hiss which would not be missed were it gone. Nevertheless this is one of the true finds in his bottomless catalog. As Dylan says at the end of the beatnik-scat ditty “If Dogs Run Free,” Get it, baby.




I don't want to meet your kin Make you spin or do you in
Or select you or dissect you Or inspect you or reject you
All I really want to do, is baby, be friends with you
B.Dylan

[Asbjørn]

I need something to cheer me up...


Modern Times har (i mine ører, that is [:I]) én stor låt, åpningen Thunder On the Mountain, tekst med mange flotte bilder, morsom tekst, mange bilder en liksom aldri blir helt ferdig med osv - og en fresh melodi.

Nå har videoen kommet, ta en titt her.




Thunder on the Mountain, the chugging boogie-blues song that kicks off Bob Dylan's great album Modern Times, begins with images of apocalypse and moves swiftly to the singer's lust for Alicia Keys. This is followed by more End Times imagery ("All the ladies in Washington scrambling to get out of town/ Looks like something bad is going to happen, better roll your airplane down"), some leering double-entendres ("I've got the pork chops, she's got the pie"), tenderness ("I've been sitting down studying the art of love/ I think it will fit me like a glove"), bile ("I'll say this, I don't give a damn about your dreams"), and deliciously strange bursts of poetry: "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, said my religious vows/ I've sucked the milk out of a thousand cows." All in all, "Thunder on the Mountain" is a tour de force, a perfect example of why Dylan is currently in one of the most fertile periods of his career.



The video for "Thunder on the Mountain," which Slate is proud to premiere, is a whirlwind tour of the many phases, and faces, of Bobâ€"from fierce '60s folk-rock tyro to white-makeup-caked troubadour to craggy old bard with a gleam in his eye and a Vincent Price mustache. The video draws on several decades of archival footage, some of it previously unseen. It's a panorama of 40-odd years of American musical history, andâ€"for Dylan freaksâ€"a trainspotter's dream.



I don't want to meet your kin Make you spin or do you in
Or select you or dissect you Or inspect you or reject you
All I really want to do, is baby, be friends with you
B.Dylan

[kjelvi]

Regner med at jula er redda no Asbjørn...?


Dylan kommer

Sett av 30. mars.

I dag offentliggjorde den evigturnerende Bob Dylan reiseruta for 2007. Han starter sin europaturné i Stockholm 28. mars neste år. To dager seinere står legenden på scenen i Oslo Spektrum.

Når billettsalget tar til for spektrumkonserten er ikke klart, men billettsultne Dylan-fans kan vende seg mot Storbritannia. I april spiller 65-åringen fem ganger på øyriket, og billettene til disse konsertene er allerede i salg.

(Dagbladet.no)

[SirOlsen]

Asbjørg: du er ikke tilfeldigvis fan av Bob Dylan?...

Juleønske: R-R får Norsk tastatur til dataen sin! []

[Asbjørn]

quote:Originally posted by Øisten forkynner

Asbjørg: du er ikke tilfeldigvis fan av Bob Dylan?...

Du får spørre henne, Øisten...



I don't want to meet your kin Make you spin or do you in
Or select you or dissect you Or inspect you or reject you
All I really want to do, is baby, be friends with you
B.Dylan

[Asbjørn]

quote:Originally posted by kjelvi


Regner med at jula er redda no Asbjørn...?

Jojo, Kjell Bjørn []

Kanskje jeg til & med skal tørre meg på konsert denna gangen [:I]
(...det er alltid forbundet med risiko å gå på Dylan-konsert). I forrige runde var han visst crap i Stockhom og på topp i Oslo dagen etter...

Men som det sies, uansett så er han Dylan []



I don't want to meet your kin Make you spin or do you in
Or select you or dissect you Or inspect you or reject you
All I really want to do, is baby, be friends with you
B.Dylan

[SirOlsen]

Asbjørn: hehe, vel.. der ødela jeg hele spøken selv med å greie å bomme på N tasten da. hehe..... Men når jeg først bomma, må jeg si jeg bomma bra! []

Juleønske: R-R får Norsk tastatur til dataen sin! []

[Asbjørn]

quote:Originally posted by Øisten forkynner

Asbjørn: hehe, vel.. der ødela jeg hele spøken selv med å greie å bomme på N tasten da. hehe..... Men når jeg først bomma, må jeg si jeg bomma bra! []

Hehe, jojo...

Jeg var vel faktisk nærmere 20 før jeg "oppdaget" Bob. Så kom noen år der jeg vel nærmest gikk i opplæring, ble kjent med folk som kjente sin Bob, jeg "tok for meg" plate for plate, oppdaget mangfoldet, men med den vanvittige originaliteten som hele tiden lå i bunn, no matter what...

Etter noen år i Bergen oppdaget jeg Bergen Dylan Society... plutselig dreiet det seg ikke lenger bare om de offisielle utgivelsene... []

Nå er det dvd'er det går i.



I don't want to meet your kin Make you spin or do you in
Or select you or dissect you Or inspect you or reject you
All I really want to do, is baby, be friends with you
B.Dylan

[SirOlsen]

Hehe, kjenner meg veldig godt igjen i det du beskriver der [] Forskjellen er at for meg gjelder det Dave Weckl og Simon Phillips

Simon - trommis i TOTO nå. Har spilt med tonnevis av folk!
Dave  - var trommis i Chick Coreas Electric Band.. har spilt med haugevis av folk.

Juleønske: R-R får Norsk tastatur til dataen sin! []

[Asbjørn]

Det går mot hjul  []

Av og til dukker spørsmålet opp, har Bob'ern gitt ut noen jule-låter?

- Svaret er nok nei... Men det er da en knippe sanger der julen er nevnt:


THREE ANGELS
They've been there since Christmas morn.

ARTHUR MCBRIDE
For it bein' on Christmas mornin'

SHE BELONGS TO ME
And for Christmas, buy her a drum.

FLOATER (TOO MUCH TO ASK)
With all the ring dancin' Christmas carols on all of the Christmas Eves

BALLAD OF DONALD WHITE
And so it was on Christmas eve

LAST THOUGHTS ON WOODY GUTHRIE
That come knockin' and tappin' in Christmas wrappin'

Og, ohh, neste ukes Theme Time (radio hour) med Bob har jo selvfølgelig temaet Christmas []






I don't want to meet your kin Make you spin or do you in
Or select you or dissect you Or inspect you or reject you
All I really want to do, is baby, be friends with you
B.Dylan

[Budda]

Bob Dylan? Hvem er det?

[Asbjørn]

quote:Originally posted by Budda

Bob Dylan? Hvem er det?

- jeg har iallefall aldri møtt'n... [:I]


Bortsett fra på noen hundre meters avstand da, that is...



I don't want to meet your kin Make you spin or do you in
Or select you or dissect you Or inspect you or reject you
All I really want to do, is baby, be friends with you
B.Dylan

[Asbjørn]

Dette juleklippet er nesten ubetalelig. []

Parodien er tatt fra den  velkjente scenen i Don't Look Back, alle musikkvideoers mor Subterranean Homesick Blues
Ingen synger Bob som Bob heter det. Men denne karen kommer pretty close []








I don't want to fake you out Take or shake or forsake you out
I ain't lookin' for you to feel like me See like me or be like me
All I really want to do, is baby, be friends with you
B.Dylan

[kjelvi]

kan skryte av at jeg har to billetter til 30/3 - selv om salget starter i morgen. to gode sitterplasser a 650,-
'venner' av GEC (Gunnar Eide Concerts, som arrangerer) får forkjøpsrett til de fleste konsertene.
ikke noen stor bob-fan (fine tekster, men blir litt småtregt for meg).
skulle jeg finne ut at jeg ikke kan/vil på konserten når det nærmer seg - slenger jeg de gjerne ut på Dylanskolen til salgs for pålydende.

[Asbjørn]

quote:Originally posted by kjelvi

kan skryte av at jeg har to billetter til 30/3 - selv om salget starter i morgen. to gode sitterplasser a 650,-
'venner' av GEC (Gunnar Eide Concerts, som arrangerer) får forkjøpsrett til de fleste konsertene.
ikke noen stor bob-fan (fine tekster, men blir litt småtregt for en så hyper gutt som meg).
skulle jeg finne ut at jeg ikke kan/vil på konserten når det nærmer seg - slenger jeg de gjerne ut på Dylanskolen til salgs for pålydende.

Dén e go.

Fikk selv tilbud om billetter for en ukes tid siden, men vil ikke binde meg too early... (vurderer jo Leeds også i påska da) []

Det var forresten bare noen guttetreninger fra at Bob'ern returnerte til Bergen i stedet for Oslo...

Har egentlig unngått Bob-konserter i det siste. På sitt verste er han litt hopeless, men du verden man vet liksom aldri det, neste dag kan han være genious... []



I don't want to fake you out Take or shake or forsake you out
I ain't lookin' for you to feel like me See like me or be like me
All I really want to do, is baby, be friends with you
B.Dylan