digit
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Post by digit on Apr 24, 2009 6:10:07 GMT -5
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Post by digit on Apr 23, 2009 15:05:51 GMT -5
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Post by digit on Apr 23, 2009 7:36:36 GMT -5
change comin on is a nice record.
tbh, i dont mind the ripping off so much. its just the way the "blues" is played - it sounds as lame as a dead duck. how can you possibly like jolene or shake shake? he could do something like that blues thing he plays in dont look back with price - now that would be good.
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digit
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Post by digit on Apr 22, 2009 15:59:02 GMT -5
Po'Trev will be having a wank to the new record like the rest of them.
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digit
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Post by digit on Apr 22, 2009 14:40:58 GMT -5
you going soft in your old age, hobes?
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digit
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Post by digit on Apr 21, 2009 5:14:32 GMT -5
or
"i can release any old crap and my fans will buy it"
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digit
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Post by digit on Apr 20, 2009 12:57:18 GMT -5
destrepenvanspits.kro.nl/strepenmeester/widget.aspxlife is hard - the old fart has finally written a song to kill yourself too forgetful heart - aint talkin part 2 if you go to houston - yet another re-write of red sails in the sunset. the accordian player should be shot - 2 notes played over and over again. its all good - another re-write of trouble no more. the accordian is an attempt to differentiate it from the other blues numbers on MT. jolene - more 12 bar blues wife's home town - more muddy shake - more bullshit dream of you - poor lonesome tears in my eyes re-write. very telling comment in the interview BF: How do you think this new record will be received? BD: I know my fans will like it. Other than that, I have no idea.
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Post by digit on Apr 19, 2009 15:53:42 GMT -5
Seeing yet another side of Bob Dylan
New Clinton Heylin chronology of the legendary singer/songwriter traces creative process that revolutionised rock music
Bob Dylan fans are in for a treat. The man’s new album, Together Through Life, will be released on April 27. Before that, Dylan begins the latest instalment of the Never-Ending Tour at Sheffield Arena on Friday; and Thursday sees the publication of Revolution in the Air, a new book by the man The New York Times described as “the only Dylanologist worth reading”, Clinton Heylin. Certainly, Heylin, who previously wrote the Dylan biography Behind the Shades, seems to have little time for other Dylanologists, or would-be Dylanologists. In the introduction to Revolution in the Air, he muses that he is “providing yet another invaluable resource for the congenitally lazy breed of ‘rock critic’ to cherry-pick for this month’s Why Dylan Matters feature”.
So, when I met Heylin recently, I thought we should start from the assumption that of course Dylan matters, and that we really don’t need reminding why he matters; and instead we should concentrate on what, if anything, the Dylan fan might glean from yet another book on the man. Refreshingly, Revolution in the Air isn’t about Why Dylan Matters, nor is it about What Dylan Means: it is, essentially, What Bob Did Next — a chronological journey through his songs, taken one at a time in the order they were written. The simple mathematics of Dylan’s output appear to be smiling on this venture, as the 600 songs in the man’s catalogue (this doesn’t include the new album) are split evenly into two volumes of 300 each, with the first volume taking us from the earliest attempt at a song (1957’s Song for Brigit — apparently written for Brigitte Bardot) through to Wedding Song, the last track written for Planet Waves, while Volume 2 will spring into life with Dylan’s most-loved creative rebirth, Blood on the Tracks.
One of the great advantages of Heylin’s approach is that it really brings into focus the extraordinary period from spring 1962 through to the summer of 1965 when Dylan was completely reinventing himself, pop music and the wider popular culture on a regular basis. The landmark songs of this period — Blowin’ in the Wind, A Hard Rain’s A-Gonna Fall, Mr Tambourine Man and Like a Rolling Stone — each kick off a new level of songwriting; but Dylan is moving so fast at this point that he is effectively writing one kind of song while still recording the previous kind, and in live performance singing the generation before. What Heylin’s approach makes clear is that, even while many in his audience thought he was moving way too fast for them, he was actually slamming on the brakes, playing what he must already have considered “the old stuff”. This also helps to explain the sheer sense of release when he finally does get up on stage with the Hawks and plugs in his electric guitar; no wonder he doesn’t let a few boos stop him — this stuff has been building up inside of him for months.
Placing the songs in the order they were written also reveals some extraordinary decisions. Dylan had actually written Mr Tambourine Man before he went into the studio to make his fourth album, but chose not to release it, instead putting out Another Side of Bob Dylan, a (relatively) simple collection of (mainly) love songs, and keeping this astonishing leap forward for album five. It’s become traditional to think of the mid-1960s as a kind of songwriting competition between Dylan, the Beatles and Brian Wilson. How galling for the other contenders in this competition to find out that Dylan was sometimes keeping his best players on the bench and fielding a weakened team. “You think Chimes of Freedom is a great song?” Dylan must have been laughing to himself. “You have no idea.”
Not every page is revelatory, as Heylin admits: “You can overstate the importance of chronological order. But what surprises me is that nobody had attempted to do this before.” The vastness of the task may be one explanation, but Heylin says his main problems in dating songs came only with those written after 1990 — a mere 60 out of the 600. “To be honest, after 1990, it becomes almost impossible to organise the material in this way, but it also becomes less important because, for the first time ever, Dylan starts to repeat himself,” Heylin says. “Prior to Love and Theft, Dylan never repeated himself. Whether they were good, bad or indifferent, his albums always represented something new.” But Heylin considers Love and Theft to be essentially Time Out of Mind Volume 2, and adds: “Everything I’ve heard of the new album tells me it’s Time Out of Mind Volume 4. He’s making the same album. I’m not necessarily criticising him. But it means that what I’m doing with these books becomes less interesting.”
Heylin believes the reason why Dylan is sticking with essentially the same template lies in the long, seven-year gap between Under the Red Sky and Time Out of Mind, a period in which Dylan appeared to have run out of ideas: “I think that when he made Time Out of Mind, it had taken him so long to take that step that he made a decision. ‘I’ve got two choices: I can wait perhaps another seven years for lightning to strike again, or I’m just going to mine this seam till it’s done.’ ”
Together Through Life does closely follow the pattern of Dylan’s previous three albums, but he freshens up the sound cleverly by bringing in the Los Lobos accordion player David Hidalgo, who features on every track, thus giving the album a discrete sonic identity, much as Scarlet Rivera’s violin did on Desire. Mike Campbell, guitarist with Tom Petty and the Heartbreakers (who backed Dylan in the 1980s), is also on the album, which is produced by Dylan himself (using his Jack Frost pseudonym). Intriguingly, online Dylanologists have already unearthed several lyrical borrowings from Chaucer’s Canterbury Tales (the David Wright translation) among the new album’s songs. My Wife’s Home Town contains the line “I’m pretty sure she’ll make me kill someone”, which appears in The Prologue of the Monk’s Tale; Forgetful Heart includes the line “Nothing shocks me more than that old clown”, which also appears in the Summoner’s Tale; while the refrain from I Feel a Change Coming On, “and the fourth part of the day is already gone”, turns up in the Sergeant- at-Law’s Tale. But Dylan is more than capable of writing a fine couplet without leaning on Chaucer. My favourite comes from My Wife’s Home Town: “Well, there’s reasons for that and reasons for this / I can’t think of any just now, but I know they exist.”
Dylan has always borrowed words and phrases, and in his early days he co-opted the tunes of old folk songs on a regular basis to provide the framework for his new lyrics. Blowin’ in the Wind, for example, adapts the tune of an old spiritual, No More Auction Block. But despite leaning on the past, the song sparked off a whole new direction in Dylan’s career — one that he was far from happy with. Again, Heylin’s approach, taking us back to when the song was written, gives a clearer focus. Only a week after writing Blowin’ in the Wind, Dylan had already begun introducing it with the defensive line “This here ain’t a protest song or anything like that”. Remarkably, within a few days of its genesis, long before it had been recorded, when only a handful of New York fans could have heard it, the song had already landed the young Dylan with a new problem, one that was to plague him for decades — people asking him “What does it mean?” — and he was already backing away from being anybody’s spokesman.
Things have changed, however. In a recent interview with the music journalist Bill Flanagan, Dylan said: “I see that my audience now . . .feel style and substance in a more visceral way and let it go at that. Images don’t hang anybody up. Like if there’s an astrologer with a criminal record in one of my songs, it’s not going to make anybody wonder if the human race is doomed. Images are taken at face value and it kind of freed me up . . .If there are shadows and flowers and swampy ledges in a composition, that’s what they are in essence. There’s no mystification . . . All those things are what they are.”
And perhaps that’s another reason why Dylan is sticking with the style he developed on Time Out of Mind; because he has finally won back what he lost way back in 1962 — the right to just be a songwriter, not a spokesman. We still listen carefully to what he says, but, these days, it’s not because we think he knows some big secret that we don’t; it’s because, even if he’s only saying what we’re all thinking, he just says it better.
Revolution in the Air: The Songs of Bob Dylan, Volume 1 1957-1973 is published by Constable on April 23
anyone who thinks the beatles were galled by somebody else's non-album output shouldnt be allowed to write.
heylin is right about the last few albums tho.
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digit
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Post by digit on Apr 17, 2009 17:27:03 GMT -5
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Post by digit on Apr 17, 2009 13:03:09 GMT -5
its no more than the crusty eared dimwits deserve
"his last three albums, taken as a whole, form the most brilliant trypdich in rock and roll history".
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digit
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Post by digit on Apr 16, 2009 15:22:05 GMT -5
jimmy buffett is his favourite songwriter.
that says all about modern boby that you need to know.
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Post by digit on Apr 15, 2009 8:31:18 GMT -5
well, waddya know, the old man is finally giving credit..dixon's team obviously werent gonna let him away with it...remember they sued led zep for gazillions.
All music by Bob Dylan except 'My Wife's Home Town' (music by Bob Dylan and Willie Dixon) All lyrics by Bob Dylan with Robert Hunter except 'This Dream Of You' which is lyrics by Bob Dylan only.
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Post by digit on Apr 13, 2009 17:10:04 GMT -5
harvey, meet bubba, bubba meet harvey
Phil Spector convicted of murder US music producer Phil Spector has been convicted of murdering actress Lana Clarkson at his home in 2003.
The 68-year-old, famous for the "Wall of Sound" recording technique, faces between 15 years and life in prison.
He had pleaded not guilty to the second degree murder of 40-year-old Ms Clarkson, who was shot in the mouth at Spector's home in Los Angeles.
The trial, at the city's Superior Court, lasted five months and saw 77 witnesses take the stand.
Second degree murder falls between first degree murder, which requires proof of pre-meditation, and manslaughter.
Actress Clarkson, 40, had been working as a hostess at the House of Blues venue in Los Angeles, and went home with Spector on the night of her death.
After appearing in cult 1980s films such as Barbarian Queen and Fast Times at Ridgemont High, her acting career had hit the rocks.
Spector had arrived at the club with waitress Kathy Sullivan, before setting his sights on Ms Clarkson.
Spector's Brazilian chauffeur, Adriano De Souza, said his boss appeared to be intoxicated and that Ms Clarkson was initially reluctant to go home with the music producer.
She was found dead in the foyer of his house in the early hours of the morning.
A holster that matched the snub-nosed Cold Cobra revolver that Spector used to kill her was found in a drawer in the foyer.
Mr De Souza called the emergency services, saying: "I think my boss killed somebody", after Spector emerged from his home with a gun.
He told jurors Spector had said: "I think I killed somebody."
The producer was taken into custody about 40 minutes after the shooting and had to be subdued by officers using a stun gun.
The trial also heard from a number of women who said Spector had threatened them with guns in the past.
Defence lawyers had argued that Ms Clarkson's death was a suicide.
Spector himself decided not to give evidence.
The two sides in the trial closed their cases on 7 September.
The prosecution, speaking last, offered a dramatic animated video purporting to recreate the shooting, showing Spector within inches of Ms Clarkson's mouth.
Prolific career
"These are not evidence," prosecutor Pat Dixon said of the animations. "They are our view of what happened."
Spector's lawyer closed her case by asking jurors not to become "vigilantes", appealing to them not to judge the star on his eccentric appearance, or by stories of women who dated him.
The jury began their deliberations on 11 September, but returned to court after a week to say they were split over the verdict.
Superior Court Judge Larry Paul Fidler ruled they would not be allowed to consider a lesser charge of manslaughter after hearing arguments from lawyers on both sides of the case.
Spector worked with some of the biggest names in the pop and rock business, including The Beatles and Ike and Tina Turner.
He produced hits including You've Lost That Lovin' Feelin' by the Righteous Brothers and the Ronettes' Be My Baby.
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digit
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Post by digit on Apr 13, 2009 16:31:34 GMT -5
wow. you can know them a mile away.
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Post by digit on Apr 13, 2009 12:57:44 GMT -5
forgetful heart = aint talkin its all good = someday baby
i think boby is taking the piss at this stage.
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Post by digit on Apr 13, 2009 6:06:05 GMT -5
no probs with the band here www.youtube.com/watch?v=VeIkg4oc58Ithe donald duck vocals mean that even when the band are good and the arrangement is good it still sounds like crap.
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digit
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Post by digit on Apr 12, 2009 6:25:16 GMT -5
the album was released in 65. connolly was talking about the album being popular in late 60's.
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Post by digit on Apr 12, 2009 6:14:53 GMT -5
i can see "shake shake" being the new summer days. excellent !
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Post by digit on Apr 12, 2009 5:58:39 GMT -5
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Post by digit on Apr 10, 2009 10:33:29 GMT -5
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