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ЛЕНТА НОВОСТЕЙ БОБ ДИЛАНА - 3
Voldar: В этой теме обсуждаются животрепещушие вопросы современности.
Voldar: Tour update - Bob Dylan to play Israel and Norway John Baldwin at the Desolation Row Information Service has posted the following Bob Dylan tour dates: From the Promoters this afternoon: * June 20th 2011, Ramat Gan Stadium, Tel Aviv, Israel * June 29th 2011, Bergen Calling, Bergen, Norway * June 30th 2011, Spektrum, Oslo, Norway More information when we get it. Nothing is official until it is posted on Bob Dylan's official site. Dates so far: April 3rd 2011, Nang Gang Exhibition Hall, Taipei, Taiwan April 6th 2011, Workers Gymnasium, Beijing, China April 8th 2011, Grand Stage, Shanghai, China April 10th 2011,Loretta Grounds, RMIT University, Ho Chi Min City, Vietnam April 12th 2011, Star Hall, Kowloon Bay, Hong Kong April 13th 2011, Star Hall, Kowloon Bay, Hong Kong April 15th 2011, Rock & Roots Festival, Marina Promenade, Singapore April 17th 2011, West Coast Blues 'N Roots Festival, Fremantle Park, Perth, Western Australia, Australia. April 19th 2011, Adelaide Entertainment Centre, Adelaide, Australia April 20th 2011, Rod Laver Arena, Melbourne, Australia April 21st 2011, Rod Laver Arena, Melbourne, Australia April 23rd 2011, WIN Entertainment Centre, Wollongong, Australia April 25th 2011, Byron Bay's Bluesfest, Byron Bay, New South Wales, Australia. April 26th 2011, Byron Bay's Bluesfest, Byron Bay, New South Wales, Australia. April 27th 2011, Sydney Entertainment Centre, Sydney, Australia. April 28th 2011, Sydney Entertainment Centre, Sydney, Australia. April 30th 2011, Vector Arena, Auckland, New Zealand. The Full European Tour Dates - From the Promoters this afternoon June 16th 2011, The Marquee, Cork, Ireland June 18th 2011, The Feis, Finsbury Park, London, England June 20th 2011, Ramat Gan Stadium, Tel Aviv, Israel June 22nd 2011, Alcatraz, Milan, Italy June 24th 2011, Sursee, Switzerland June 25th 2011, Volkspark, Mainz, Germany June 26th 2011, Stadtpark, Hamburg, Germany June 27th 2011, Funen Village, Odense, Denmark June 29th 2011, Bergen Calling, Bergen, Norway June 30th 2011, Spektrum, Oslo, Norway July 2nd 2011, Peace and Love Festival, Borlange, Sweden, July 15th 2011, Pacific Amphitheatre, 2011 OC Fair, Orange County, California. http://www.examiner.com/bob-dylan-in-national/tour-update-bob-dylan-to-play-israel-and-norway
Voldar: Google проверил поиск Диланом Новая функция "живого" поиска от интернет-гиганта рекламируется роликом с жизненной балладой классика фолк-рока Новый сервис Google Instant – «живой» поиск от интернет-гиганта, выдающий результаты поиска по мере написания запроса, едва был представлен, а в Google Creative Lab уже создали ролик, демонстрирующий его работу на примере песни «Subterranean Homesick Blues», живого классика фолк-рока Боба Дилана (Bob Dylan). В видео поиск пытается успеть за Диланом, скороговоркой выплескивающим текст песни про проблемы общества в целом и девушки, не способной привыкнуть к миру за пределами школы. Изредка кадры с поиском перемежаются вырезками из оригинального клипа, где Дилан вслед за текстом меняет таблички со словами песни. Отметим, что в гонке за отображением текста песни Google удалось опередить Дилана, который показывал на своих табличках лишь ключевые слова. http://adindex.ru/news/creative/2010/09/13/53524.phtml
Voldar: City's manhole covers honor Bob Dylan DULUTH, Minn. (AP) - "The Times They Are a-Changin"' -- and so are the manhole covers. Bob Dylan's hometown of Duluth, Minnesota, is honoring him in the street. The Duluth News Tribune reports two manhole covers inspired by the lyrics of Dylan's classic tune "Subterranean Homesick Blues," have been cast in iron. They'll be installed later this year on Bob Dylan Way. http://www.nbc-2.com/Global/story.asp?S=13141998 http://www.duluthnewstribune.com/event/article/id/178667/
Voldar: Боб решительно не хочет успокаиваться и к своему туру по Америке добавляет ещё концертов. Bob Dylan tour announces seven more concerts for October, November Bob Dylan and His Band are off the road at the moment, but the legendary musician and his backing band are busy rolling out more concert plans for fall. A total of 19 concerts are now on Dylan's late-year calendar, which opens October 6 at NSU's University Center Arena in Davie, FL. In keeping with the other dates on this leg of Dylan's tour, the shows are mostly slated for U.S. college and university venues. The new seven-date addendum picks up October 24 at the McLeod Center at the University of Northern Iowa in Cedar Falls, IA, and continues through a November 2 performance at the EJ Thomas Performing Arts Hall at the University of Akron in Akron, OH. An October 26 show at Michigan State University in East Lansing and an October 29 stop at Western Michigan University in Kalamazoo are among the campus shows booked for the run. A couple new public venue shows are also set for October 25 at Overture Hall in Madison, WI, and October 31 at Murat Theatre in Indianapolis, IN. Public onsales open September 24 for each of the seven new concerts, and fan club presales will start earlier on September 21, according to Dylan's official Web site. The majority of the new dates have not yet appeared on Ticketmaster.com, but earlier tour stops listed on the site have ticket prices set anywhere from $35 to $67. The iconic singer-songwriter's fall itinerary was initially scheduled to end October 22 at Assembly Hall in Champaign, IL. Onsales for those previously announced performances began over the September 17-19 weekend. Dylan recently completed his summer tour leg with a September 4 set at the 2010 Bumbershoot Festival in Seattle, WA. He had launch the venture a month earlier on August 4 at The Backyard in Austin, TX, and was joined on several dates by fellow singer-songwriter John Mellencamp. October 6 Davie, FL Nova Southeastern University Center Arena October 7 Tampa, FL USF Sun Dome October 8 Gainesville, FL Stephen C. O'Connell Center October 10 Orlando, FL UCF Arena October 11 Tallahassee, FL Tallahassee-Leon County Civic Center October 13 Birmingham, AL BJCC Concert Hall October 14 Charlotte, NC Halton Arena October 16 Winston-Salem, NC Lawrence Joel Veteran Memorial Coliseum October 17 Clemson, SC Littlejohn Coliseum October 19 Nashville, TN Nashville Municipal Auditorium October 21 St. Louis, MO Chaifetz Arena October 22 Champaign, IL Assembly Hall October 24 Cedar Falls, IA McLeod Center * October 25 Madison, WI Overture Hall * October 26 East Lansing, MI MSU Concert Auditorium * October 28 Ann Arbor, MI Hill Auditorium * October 29 Kalamazoo, MI James W. Miller Auditorium * October 31 Indianapolis, IN Murat Theatre * November 2 Akron, OH E.J. Thomas Hall * * new dates http://www.ticketnews.com/news/Bob-Dylan-tour-announces-seven-more-concerts-for-October-November91020673
Voldar: The Bob Dylan - Tony Curtis connection Actor Tony Curtis, born Bernard Schwartz in 1925, the star of Some Like It Hot and father of Jamie Lee Curtis, died on September 29. Bob Dylan mentioned Curtis in his book, Chronicles, Volume One: "The actor Tony Curtis once told me that fame is an occupation in itself, that it is a separate thing. And Tony couldn't be more right.The old image slowly faded and in time I found myself no longer under the canopy of some malignant influence. Eventually different anachronisms were thrust upon me - anachronisms of lesser dilemma - though they might seem bigger. Legend, Icon, Enigma (Buddha in European Clothes was my favorite) - stuff like that, but that was all right. These titles were placid and harmless, threadbare, easy to get around with them. Prophet, Messiah, Savior - those are tough ones." Trivia: Life-size cut-outs of both Dylan and Curtis grace the cover of the Beatles' album, Sgt. Pepper's Lonely Hearts Club Band. Tony Curtis played Ira Hayes in the movie, The Outsider. Hayes was the Native American and American Marine who was one of the six men immortalized in the iconic photograph of the flag raising on Iwo Jima during World War II. Bob Dylan's 1970 version of Peter LaFarge's "The Ballad of Ira Hayes" appeared on the 1973 album, Dylan. In Dylan's 1978 movie Renaldo & Clara: Bob Neuwirth, in a mask, is on stage in a small club reading a poem written by a badly disabled black guy named Tony Curtis who sits watching. At the end of the poem Tony Curtis asks for money (asking for money for poems or songs will be a recurring motif in the film.) http://www.examiner.com/bob-dylan-in-national/the-bob-dylan-tony-curtis-connection-1
Voldar: Боб добавил ещё концертов и в ноябре. Bob Dylan has added an extra twelve dates to the upcoming North American leg of his world tour. 2010 has been a quiet year for Bob Dylan, but perhaps he deserves to take a rest. The singer released two new studio albums last year, including a somewhat bizarre Christmas charity record. Alongside this, the singer kept up a tough touring schedule and launched several exhibitions of his artwork. In comparison, 2010 was always going to be a year in the slow lane for the legendary songwriter. Launching a new tour, Bob Dylan has confirmed a new instalment to the Bootleg series. However new material does not seem to be forthcoming after a glut of releases last year, including a number one album. Currently on tour across the United States, Bob Dylan recently experimented with an anti-tout ticket model in San Francisco. The singer refused to allow a pre-sale, meaning that fans had to queue up in person for a ticket to the show. Making life extremely difficult for touts, it is not known if this scheme will be rolled out over the new tour dates. Bob Dylan will start the new leg of the tour on October 6th in Fort Lauderdale, before moving around the country. With the tour running throughout October, the new dates kick off on November 2nd in Akron, Ohio. Ending on November 27th in Atlantic City, other important dates include three nights at Terminal 5. Tickets for the upcoming shows are available now. Bob Dylan is set to play the following shows: November 2 Akron Thomas Performing Arts Hall 3 Kentucky University 4 Columbus Ohio State University 6 Rochester Institute Institute of Technology 7 Pittsburgh University of Pittsburgh 9 Penn State State College 13 Charlotteville University of Virginia 14 Monmouth University 19 Amherst University of Massachusetts 20 Lowell University of Massachusetts - Lowell 22 New York Terminal 5 23 New York Terminal 5 24 New York Terminal 5 26 Atlantic City Borgata Hotel Casino 27 Mashantucket Grand Theater at Foxwoods http://www.clashmusic.com/news/bob-dylan-adds-12-dates-to-north-american-tour
Voldar: Dylan still on never-ending journey "An artist has to be careful never to really arrive at a place where he thinks he's at somewhere. You always have to realize that you're constantly in a state of becoming, and as long as you're in that realm, you'll sort of be all right." Nowhere is Bob Dylan's assessment of his creative philosophy, delivered in Martin Scorsese's 2005 Dylan documentary No Direction Home, more apparent than on the concert stage. In the spotlight, where the iconic American songwriter will be again on Sunday at the UCF Arena, Dylan always has specialized in confounding expectations. In 1965, Dylan alienated and angered his fans by plugging in electric guitars at the Newport Folk Festival, inspiring boos that would be the soundtrack to his performances for several years. As recently as 2006, at the TD Waterhouse Centre, Dylan declined to play guitar at all, leaving it unused on a stand in the middle of the stage as he accompanied himself on electric keyboard. "It's like Newport in reverse!" complained one disappointed friend who considered a Dylan concert without acoustic guitar something close to sacrilege. At the least, one has to wonder: Why would the guy put the guitar in the middle of the stage if he had no intention of playing it? Is he just messing with us? Such complaints likely bounce off the old troubadour, who apparently had a grand time being booed by outraged folk fans in the 1960s. In the Scorsese film, one-time sideman Al Kooper recalls wondering aloud to his boss about whether something ought to be changed to appease the fans. Dylan's response? He loved the ruckus, which he likened to a circus. In the audience, the key to navigating such quirks is to follow the advice I always offer to skeptics at their first Dylan show: "No matter what he looks like, no matter what he sounds like, remember the person you are looking at up there. That is Bob-freaking-Dylan." It's advice that I've needed to force myself to remember from time to time: When the singer played in Orlando in 2002, less than six months after the Sept. 11 attacks, it took half of the first verse before I recognized "Blowin' in the Wind," a song I had sung since grade school. So why keep showing up? And is there a science to appreciating a Dylan concert? Why go? The obvious answer: How often can you see a legitimate legend at work? Here's a guy who sang at the 1963 March on Washington for jobs and freedom, a singer who inspired the Beatles to evolve from mop tops into agents of social change. And there might not be many opportunities left. At 69, Dylan is old enough that the notion of the "Never Ending Tour," as his rigorous road schedule has been known since 1988, can't be taken literally. Like other aging icons such as B.B. King and Tony Bennett, Dylan should be savored. But don't go merely out of historical obligation. Go because there are still flickers of brilliance. Songs such as "Just Like a Woman" and "Positively 4th Street" have evolved with age. The hard edges of a young man have been replaced by a world-weary resignation that allows the singer to tilt the lyrics at appealing angles. And Dylan's touring band is consistently top-notch: The core unit of bassist Tony Garnier, drummer George Receli, lead guitarist Stuart Kimball and multi-instrumentalist Don Herron have been re-joined by guitarist Charlie Sexton, a notable member of the entourage for a few years starting in 1999. Together, the musicians help take the old songs to new places, a worthwhile journey even if Dylan doesn't care much about the final destination. http://www.orlandosentinel.com/entertainment/music/os-cal--bob-dylan-cover-100810-20101007,0,2099130.story P.S. У Боба прикольный парик,а может не парик?
Voldar: Dylan Plays Younger Than 69 The voice is better and the veteran seems to enjoy the sold-out crowd. By BILL DEAN THE GAINESVILLE SUN Published: Monday, October 11, 2010 at 4:28 p.m. Last Modified: Monday, October 11, 2010 at 4:28 p.m. ( page of 3 ) Funny what age can do for a guy. For Bob Dylan, being five months shy of 70 seems to have had the reverse effect of what could be expected, given the evidence of recent years. Dylan working hard to please an audience? The voice of a generation doing three encores and not only acknowledging the crowd but drinking in its adulation like the tab was on the house? And playing more classics than the new stuff and egging the audience to sing along on "Just Like a Woman"? What would Neil Young say, for goodness sake? Well, he might've said "Atta boy, Bob," if he had been in Gainesville on Friday - where the third date of a new Dylan tour played pretty well to a sold-out crowd of almost 6,000 (he also played Tampa on Thursday and Orlando on Sunday). We'll never know whether Dylan had shipped his voice off to vocal-chord camp during his recent time off the road or whether he's simply coming to terms with getting older and embracing what there is while he still has it. But in a show that clocked in at one hour and 50 minutes, he played longer and his voice sounded better than it has in perhaps any time over the last 10 years. (At points during 2001 performances in Tampa and Orlando he literally sounded like Donald Duck with a mouthful of popcorn). The exuberance of kick-starting the show in quick succession with "Rainy Day Women # 12 & 35," "Lay, Lady, Lay," "I'll Be Your Baby Tonight" (from the 1967 album "John Wesley Harding") and "Just Like a Woman" seemed to prime Dylan as much as it did the audience. Though he began the night playing keyboards, Dylan was mobile early, moving to electric guitar in the first song and from guitar to harmonica by the second. On "I'll Be Your Baby Tonight," Dylan and his five-piece band added a juke-joint beat to the original's swaying ramble, and on the later "Tangled Up in Blue," shed that song's see-saw, tumbling acoustic guitar for a jump-blues shuffle syncopated by Dylan's harmonica lines. During one of his most audience-friendly set lists in years - the 16 songs also included "Simple Twist of Fate," "Highway 61 Revisited," "Ballad of a Thin Man," "Like a Rolling Stone" and "All Along the Watchtower," the band fully hit its stride on "Highway 61," pausing long enough for Dylan to spray a burst of keyboard notes in the middle. On "Ballad of a Thin Man," meanwhile, guitarist Charlie Sexton - Dylan's lead axe-man of choice in the early 2000s and now happily back in the fold - played clanging guitar chords to Dylan's blues-harp for a fitting crescendo that ended the song and the regular set on a rousing high point. Dylan's newer material mostly held its own with the old songs. Dylan and band were energized on the rollicking "Thunder on the Mountain" (also from "Modern Times"), which fully deserved its spot two songs after "Highway 61." The three-song encore, which began with the 2009 tune, "Jolene," and ended with "Like a Rolling Stone" and "All Along the Watchtower" - but not before Dylan spread his arms as if to behold the audience during a curtain call with the band - included another telling moment of his apparent newfound zest for performing. After he and the band worked through all of "All Along the Watchtower," Dylan sang the first stanza again as if he just wasn't ready to call it quits. It's very safe to say that, in this case, at least, neither was most of the audience. http://www.theledger.com/article/20101011/NEWS/10115019/1308/TIMEOUT?p=1&tc=pg
Voldar: Ещё бутлеги Боба. How Bob Dylan Sounded Before He Was a Star Enigmatic artists spawn their fair share of gossipy anecdotes, which is probably one reason why pop culture critics are so drawn to them. Bob Dylan is about as enigmatic—and chameleonic—as modern artists get, so I've had occasions of my own to chuckle over a few Dylan stories from time to time. My current favorite dovetails with the release this week of The Bootleg Series Volume 9—The Witmark Demos: 1962-1964. It's an unlikely scene: a very young Dylan sits in a Madison Avenue office room in 1962, cutting demos in the hopes that assorted folk-niks will be enticed to record his music, earning him royalty revenue in the off-chance that the whole performing career thing didn't work out. And why was that a concern? Dylan haters will love one possible answer: because of his voice. The story goes that the music arrangers in the surrounding offices had to ask that Mr. Dylan's door be pressed firmly shut, lest his braying vocals disrupt their work. find this absurd, and I don't doubt that you might as well, after you listen to these demonstration discs. We're met head-on by his voice in these demos. It's rugged, brittle, and churlish on "Masters Of War" and "The Death of Emmett Till." But that wispy, smoky voice of the seer—the one who will find a home on a future classic like Blonde On Blonde—wafts through the plangent, coarse soundscapes of "Mama, You've Been On My Mind" and "Don't Think Twice, It's All Right." The latter out-emotes the official studio version, and still retains the dignity of solid demo singing, creating the effect of a performer doing his damnedest to hold himself together, before excusing himself to go off and fall apart in private. There are also plenty of jokey asides, with Dylan commenting on his own wry songs, or the occasional production gaffe. But for every instance when Dylan cracks himself up with a lyric, there's a cut like "Girl From The North Country," delivered with the kind of epic solemnity prized by the great Delta bluesmen, but with a levity-inducing, spry sense of rhythm. The Dylan that inhabits these demos has a knack for sounding not of his time, or any time, really. You start to wonder just where the hell this man in a Madison Avenue office was coming from. The hardcore Dylan brigade has had most of these recordings for a long time, thanks to the bountiful Dylan bootleg business. Understandably, the overall demo concept is a bit at odds with our iPod age, so it may take listeners some time to grow into a release like this new two-disc set. Demos aren't intended, at any point, as a finished, releasable work. They're not alternate takes—that is, an attempt to get a part of a song or a complete song right. They're guides, a performance as instructional manual. There are some scattered Beatles examples, and a host of Pete Townshend Who demos, with Townshend playing all the instruments so his bandmates could later come along and learn their parts. And there are some Sex Pistols' demos with the lovely handle Spunk, which has an unfinished ring to me, like only one party got what they were looking for. Lively demos all the same. And that's notable, as demos are often more wooden than their official-version counterparts, with exaggerated enunciation and a prevailing formality that tends to be in contrast to their often lo-fi recording circumstances. I've often wondered what Dylan's fellow folkies would've thought when they heard some samples of his wares. Everything here was cut before Dylan turned 24. The man was positively armed with songs, and he was primed to use them. Dylan, as anyone who has seen Don't Look Back will attest, had no issues of conscience when it came to intimidating other artists. If you're ever feeling low because you've been shown up by someone, watch what happens to Donovan in that film when he's granted his request to play a song for Dylan, only to have Dylan reciprocate with one of his own. Some might see the Witmark demos as an admission that, maybe, a long-term performing career wasn't a certainty in Dylan's mind. Pop singers—remember, this is the era before rock and roll became rock, and got, like, out there, man—were expected to hew to traditional pop singer lines. Even folkie pop singers. If you couldn't, you wouldn't be unwise to have a back-up plan. Personally, I don't hear anything vaguely resembling a back-up plan here. I hear a guy with a different kind of talent finding another way to flaunt it. The music biz outsider, with the crazy voice, was, lo and behold, a music biz insider as well, the guy who delivered the publishing goods. And then, of course, there's the allure of someone having a hit record with one of your compositions, just so you can cut a version that surpasses it. Not that it ever came to that—but Dylan must have been grateful for the motivation in those shakier, pre-superstar times. http://www.theatlantic.com/culture/archive/2010/10/how-bob-dylan-sounded-before-he-was-a-star/64586/
Voldar: У Боба ещё один бокссет выходит. First look at Bob Dylan's 'Mono' CDs - Box set includes bonus MP3 Just received Bob Dylan - The Original Mono Recordings and The Best Of The Original Mono Recordings. First impressions: BOX SET: Bob Dylan - The Original Mono Recordings is packaged in a small box (5 3/4 " x 5 3/4 ") with two stickers: "LIMITED EDITION", and one that reads: "BOB DYLAN'S FIRST 8 ALBUMS REPRODUCED FROM THEIR FIRST GENERATION MIXES" --------------- DELUXE LP-REPLICA PACKAGING AND 60 PAGE FULL COLOR BOOK PLUS Free High Quality MP3 Download of the entire set, including exclusive bonus track, "Positively 4th Street," also in mono. Download valid through 12/31/2011 On the back of the box - all eight albums are listed with LP covers and include track listings. Front and back booklet covers consist of color photographs of Dylan circa 1966. Inside, there are many great, mostly familiar, portraits of the artist as a young man. Also included are an essay by Greil Marcus, track-by-track session information, and a list of album and single release dates from 1962 to 1967. Mini-LP sleeves are housed in a cut-away box featuring eight black and white photographs circa 1966. The Times They Are A-Changin' includes an insert with additional "Epitaphs". Blonde On Blonde gatefold, wth 2 CDs, does not restore the missing photographs from the original edition. The early albums include the timing strip on the back cover. Two inserts are included: One for the Witmark Demos, one for the "Free Digital Download". CDs have white "inner sleeves", except for Bob Dylan and Freewheelin', which replicate original inner sleeves of the era - Various other Columbia releases ("Stereo Spectacular", "Superb Listening", "Exotica", etc.) for Dylan's debut, the Columbia "eye logo" in the middle of vertical lines for the follow-up. Sticker for SINGLE CD: 14 SELECTIONS FROM THE ORIGINAL MONO RECORDINGS BOX SET 1962-1967 PUS BONUS MONO SINGLE "Positively 4th Street" The way these songs were meant to be heard - in one channel of powerful sound http://www.examiner.com/bob-dylan-in-national/dylan-cd-mono-box-set-included-mp3s-including-positively-4th-street
Voldar: Watch new Bob Dylan video for 'Guess I'm Doing Fine' here Sony has produced a video for the Bob Dylan track "Guess I'm Doing Fine", from The Witmark Demos 1962-1964: The Bootleg Series Vol. 9. The video, which features archival images from the early 1960s of Dylan as well as the era (Note the Hibbing baseball uniforms). Rolling Stone currently has the exclusive, but similar promotional videos officially make it to YouTube and other web sites soon after. This version unfortunately features the song with the ending cut off (at the time of this posting). You can watch the 2:43 video, which is embedded on the left. You may have to sit though an advertisement first. видео можно посмотреть здесь: http://www.examiner.com/bob-dylan-in-national/bob-dylan-guess-i-m-doing-fine-video
Voldar: Неутомимый Боб продолжает свой бесконечный тур. Bob Dylan set list - Ohio State University, November 4, 2010 Rainy Day Women # 12 & 35 Girl From The North Country Stuck Inside Of Mobile With The Memphis Blues Again Love Sick Summer Days Tangled Up In Blue Tweedle Dee & Tweedle Dum Tryin' To Get To Heaven High Water (for Charlie Patton) A Hard Rain's A-Gonna Fall Highway 61 Revisited Not Dark Yet Thunder On The Mountain Ballad Of A Thin Man // Jolene Like A Rolling Stone Rochester Institute of Technology, November 6, 2010 University of Pittsburgh, November 7, 2010 Ещё видео с The Whitmark Demos
Voldar: Из планов Боба на будущий год. Bob Dylan to play Bluesfest For years he refused to play in a town he had never heard of, but Bob Dylan has finally agreed to grace Byron Bay's Bluesfest with his folk-saintly presence. In a huge coup, the East Coast Blues and Roots Festival has confirmed an impressive trifecta of headline acts with influential English troubadour Elvis Costello and blues legend BB King joining Dylan over the Easter weekend. Bluesfest director Peter Noble has been chasing Dylan's signature since 2003 when the folk legend was booked to play but pulled out at the last minute. "Bob Dylan and BB King are rock royalty, and we especially wanted to get Dylan because of the counter culture and protest music in his early career representing a lot of what Byron Bay was once about," Noble said. "Byron used to be such an anti-establishment hippy town and to get Bob to play here has always been the Holy Grail. "He used to say, 'don't put me in any town I've never heard of', and finally we've done it, although I think he's heard of Byron now. "Elvis Costello is the icing on the cake of the best line-up we've had in years." While the three play their maiden shows in Byron Bay - King returns to Australia for the first time since 1995 - Bluesfest will welcome back some familiar faces including Michael Franti And Spearhead and Mexican duo Rodrigo Y Gabriela. Ben Harper will introduce his new supergroup Fistful Of Mercy, comprising also of Joseph Arthur and George Harrison's son Dhani as well as playing with his band du jour, the Relentless Seven. Another collaboration sees The Blind Boys Of Alabama paired with soul master Aaron Neville for the first time Down Under. Other international visitors will include Eric Bibb, Derek Trucks And Susan Tedeschi Band, Robert Randolph And The Family Band and Tony Joe White. From New Zealand the mighty Trinity Roots return newly reformed and bringing along their side project Little Bushmen, while local acts include The Cat Empire, Ash Grunwald, Washington, Xavier Rudd, Kate Miller-Heidke, CW Stoneking and Saltwater Band. Two more line-up announcements will be made in the coming months, but tickets are likely to move fast on Dylan's inclusion alone. http://www.abc.net.au/news/stories/2010/11/03/3056058.htm?section=justin
Voldar: Большая статья о том как сейчас проходят концерты Боба. Bob Dylan Examiner's UMass Lowell concert review - Part one Lowell, Massachusetts, has always had a special place in Dylan lore. 35 years ago, for the fourth Rolling Thunder Revue concert of 1975, Dylan and friends played Lowell's Technical University on November 2. The following day, Dylan and poet Allen Ginsberg were filmed visiting Jack Karouac's grave. A clip of this was included in the film Renaldo and Clara. A quarter of a century later, Dylan returned to Lowell to play the Paul E. Tsongas Arena on November 11, 2000. The venue opened about two years previous, but Dylan's appearance there led to more big name acts being booked, including Van Morrison the following spring. Last night, Dylan returned to Lowell - now known at the Tsongas Center - and gave an incendiary performance. I arrived early - about 6:20 - and got in line for the 8 p.m. show. We were let in at about 6:40. It was to be the 70th time I've seen Dylan on stage. Security made its presence known, but the entrance to the venue was hassle-free. I went to check out my seat - first row in section 117, just off the right side of the stage. At first it appeared that I had a great seat, but soon realized there was a problem. There was not only a speaker at the front right lip of the stage, but next to that was a spotlight. I was wondering if I could even see Dylan while he was at the keyboard. One reason I showed up early at the Center was to see if Dylan was still showing the film Intolerance before the show. While we didn't get that, we did get something even more special. Just to my right, Dylan's guitarist Stu Kimball was talking to some friends. The woman next to me tried to get Kimball to sign her poster, but he politely refused, saying it was "Bob's show". Then someone came up and asked if Stu's friends would like a photograph with "Mr. Kimball". Again, the guitarist refused, saying picture taking was not allowed. While this may sound rude in print, Kimball was quite disarming and probably just following orders. He even went over to the fan who asked for the signature and said he hoped she would enjoy the show. There was some confusion for certain concert goers who entered the building through the incorrect line, and did not get the necessary wristband to get onto the general admission section on the floor. There were also attendees who did not realize they would have to stand for more that two hours. At 8:08, the lights went down, and the announcer started the familiar introduction. Luckily I could just about see Dylan, from the back, while he was playing keyboards. Unfortunately, drummer George Recile and multi-instrumentalist Donnie Herron were blocked from view. The band was dressed mostly in beige, while Dylan was in black with a beige hat. They started with a swampy version of "Gonna Change My Way Of Thinking", energized by Charlie Sexton's slide guitar riffs and drummer George Recile's pounding rhythms. The first line out of Dylan's mouth sounded kind of rough, but it soon cleared up, and he sang clearly and passionately the rest of the evening. The vibe at the end of the song was reminiscent of the Rolling Stones' Exile On Main St. Sexton was clearly the visual focus of the show when Dylan was behind the keyboards. With his knee-bends, chops, and looks (a mix of David Bowie and Robbie Robertson circa 1973), he clearly energized Dylan, the band, and the crowd, without actually stealing Bob's thunder . Dylan then stepped up to center stage, armed with an electric guitar. "It Ain't Me, Babe" was next, which, coincidently was the second song Dylan played in 1975's Lowell gig. Dylan has been known to occasionally sleep walk through this classic from his fourth album. Tonight, however, he not only connected with the original emotions of the song, but clearly had been rehearsing some rather complicated melodic guitar solos, often based on chord structures. The early solos were most successful, while the later ones were more of the simple one-note-at-a-time variety, and not always the correct one. Still, Dylan's charisma made watching him play guitar mandatory. I wondered if Sexton was giving Dylan guitar lessons while on the road? Kimball started strumming his acoustic guitar and it was clear that "Memphis Blues Again" was next. The first of many photographic images appeared behind the stage, projected onto the back curtain. It appeared to be a building with a structure similar to the Eiffel Tower, but was obviously something else (Mobile ? Memphis?). Dylan played lead guitar again, and his voice was completely clear by this point (at least by 2010 standards). Toward the end, Dylan was playing Chuck Berry-style riffs. To be continued . . .
Voldar: Кто то немножко пошутил над Бобом,почти на 4000$. Pizza parlor stiffed by fake Dylan rep AMHERST, Mass. (WWLP) - A pizza prank cost an Amherst business a lot of money and aggravation and resulted in Antonio's Pizza throwing away dozens of pies. Early Saturday morning, a man walked into Antonio's Pizzeria in Amherst and ordered 148 pizzas... an order that cost nearly $4,000. He claimed he was with Bob Dylan's crew and was wearing a backstage pass which didn't seem crazy because Bob Dylan had played the Mullins Center in Amherst on Friday night. He promised a big tip and said he would return in several hours to deliver them to Dylan's crew. Sean McElligott, the manager of Antonio's, told 22News the man looked like he was in his 40s or 50s. He and his staff were excited about the opportunity so they stayed late to make the pizzas however the customer never returned and never paid. He said they were forced to give away half of the pizzas to family, friends, and local businesses. The other half had to be thrown away. “It was a tremendous waste of time, money, food, and effort. Our people were here very late. People who had worked a full shift had to work an extra four hours and got out at about 6 in the morning,” said McElligott. Owner Walter Pacheco told 22News he wishes his staff got a deposit from the man or his phone number before they made the pizzas. Right now, they are analyzing a security video to try and find the person who pulled this prank. http://www.foxtoledo.com/dpps/news/offbeat/mass-pizza-parlor-stiffed-by-fake-dylan-rep-ob10-jgr_3656817
Voldar: Бесконечный тур Боба в этом году всё таки закончился. Bob Dylan set list - Foxwoods, November 27, 2010 Bob Dylan ended his fall tour last night in Mashantucket, Connecticut Mashantucket, Connecticut MGM Grand Theater at Foxwoods November 27, 2010 1. Gonna Change My Way Of Thinking (Bob on keyboard, Donnie on lap steel) 2. Lay, Lady, Lay (Bob center stage on harp, Donnie on pedal steel, Stu on acoustic guitar) 3. I'll Be Your Baby Tonight (Bob on guitar, Donnie on pedal steel, Stu on acoustic guitar) 4. Tangled Up In Blue (Bob center stage on harp, Donnie on pedal steel, Stu on acoustic guitar) 5. Tweedle Dee & Tweedle Dum (Bob on guitar, Donnie on pedal steel) 6. The Lonesome Death Of Hattie Carroll (Bob on keyboard, Donnie on electric mandolin, Stu on acoustic guitar, Tony on standup bass) 7. High Water (For Charley Patton) (Bob center stage on harp, Donnie on banjo, Stu on acoustic guitar, Tony on standup bass) 8. Visions Of Johanna (Bob on keyboard, Donnie on electric mandolin, Stu on acoustic guitar) 9. Summer Days (Bob on keyboard, Donnie on pedal steel, Tony on standup bass) 10. Love Sick (Bob on keyboard, Donnie on electric mandolin) 11. Highway 61 Revisited (Bob on keyboard, Donnie on lap steel, Stu on acoustic guitar) 12. Workingman's Blues #2 (Bob on keyboard then center stage on harp, Donnie on pedal steel, Stu on acoustic guitar) 13. Thunder On The Mountain (Bob on keyboard, Donnie on lap steel, Stu on acoustic guitar) 14. Ballad Of A Thin Man (Bob center stage on harp, Donnie on lap steel) (encore) 15. Jolene (Bob on keyboard, Donnie on lap steel, Tony on standup bass) 16. Like A Rolling Stone (Bob on keyboard, Donnie on pedal steel) http://www.examiner.com/bob-dylan-in-national/bob-dylan-set-list-foxwoods-november-27-2010-plus-list-of-fall-tour-songs
Voldar: На экзаминере загадали загадку - кто этот чувак на видео? Did Bob Dylan wear a disguise to watch the Band on SNL in 1976 ? About four weeks before The Last Waltz, The Band appeared on the second season of NBC's Saturday Night Live program. Buck Henry was the host. According to the embedded clip (left), found by Bob Dylan's friend Larry "Ratso" Sloman, there is a close-up of someone in the audience, identified as an "Electoral College Dropout." It's my understanding that if there is a closeup of an audience member, special permission must be obtained. This would explain why these "close-ups" usually featured the same staff members over and over again. Has this been kept a secret for over three decades? Here's the blurb: On October 30, 1976, The Band appeared as the musical guest on a weekly late night sketch-based comedy show. About 14 minutes into the episode, a man who looked a lot like Bob Dylan wearing a costume (and possibly prosthetics) was briefly featured in the audience. Could this have actually been Bob Dylan wearing a fake nose, hippie wig, and weird clothing? What do you think? Is it Dylan? Is it Sloman?
Voldar: Рукопись Боба Дилана выставлена на аукцион за $250 000 Выцветший, нечистый и покусанный собакой кусочек бумаги не так часто оценивают в четверть миллиона долларов. Причина, впрочем, ясна – именно на этой бумажке 47 лет назад Боб Дилан впервые записал текст песни The Times They Are A-Changin. Вошедшая позже в одноименный альбом Дилана, песня стала гимном протестного движения в США и Европе. Сегодня она известна в десятках кавер-версий, причем такие суперзвезды 60-х, как The Beach Boys, The Byrds и Саймон и Гарфанкель записали свои версии в первые же два года после появления песни. Позже к ним присоединились Нина Симон (1969), Билли Джоэл (1987), Фил Коллинз (1996), Брайан Ферри (2007) и Херби Хенкок (2010), не упоминая уже менее известных исполнителей. Лист с текстом был выставлен на продажу другом Дилана Колином Крауном, с которым они общались с начала 60-х, когда Боб давал свои первые концерты в богемных клубах Нью-Йорка. Эксперты аукционного дома Sotbey полагают, что рукопись будет продана на $250 000 - $300 000. Впрочем, когда дело касается легендарных рок-песен, реальность часто превосходит ожидания аукционистов. Так, рукопись текста песни The Beatles A Day in the Life, которая, как ожидалось, будет продана за $500 000 - $800 000, в итоге была оценена в $1 200 000. http://ivona.bigmir.net/showbiz/stars/302382
Voldar: Ещё три диска Боба этого года,просто обалдеть. 3 CD set 'The Bob Dylan Sampler' The Bob Dylan Sampler hails from 2010 and is a U.S. 3CD mega-rare promotional music licensing sampler housed in a deluxe tri-fold glossy picture sleeve. This 36-track sampler features custom printed discs with each disc’s tracks selected to support ‘The Hits’, ”Best of The Bootleg Series’ and 'Forgotten Gems’. An absolutely amazing collectible!! Note: "Abandoned Love" , "I Wanna Be Your Lover", and "Up To Me" were on Biograph, not The Bootleg Series. Tracks are as follow: The Hits The Times They are A-Changin’ Blowin’ in the Wind Like a Rolling Stone Rainy Day Women #12 & 35 All Along the Watchtower Knockin’ on Heaven’s Door Tangled up in Blue Subterranean Homesick Blues Mr. Tambourine Man Lay, Lady, Lay Forever Young Gotta Serve Somebody Best of The Bootleg Series Series of Dreams I Was Young When I Left Home Mama, You Been on my Mind Abandoned Love Blind Willie McTell Mississippi I Wanna Be Your Lover I’ll Keep it with Mine Born in Time Farewell Angelina Up to Me Paths of Victory Forgotten Gems Ring Them Bells Dignity Not Dark Yet Can You Please Crawl Out Your Window? It’s All Over Now, Baby Blue Most Likely You Go Your Way (And I'll Go Mine) If Not For You Simple Twist of Fate The Groom's Still Waiting at the Altar Tryin' to Get to Heaven High Water (for Charlie Patton) When the Deal Goes Down В следующем году Боб собирается в австралию уже весной. http://www.examiner.com/bob-dylan-in-national/rare-promo-3-cd-set-the-bob-dylan-sampler
Voldar: Статья в Wall Street Journal,которая вызвала большой резонанс не только среди поклонников Боба.Основная мысль статьи - а не пора ли старичкам на покой? When to Leave the Stage A generation of music icons is hitting retirement age, along with their baby-boomer fans. Is it time for Bob Dylan to hang up his hat and harmonica? Last Friday night, Bob Dylan chugged through "Highway 61 Revisited" at the Borgata, an Atlantic City, N.J., casino. His always-raspy voice, now deteriorated to a laryngitic croak, echoed through the no-frills ballroom. Security guards wandered the seated audience, enforcing his no-cameras policy. Behind some empty rows in the rear, a handful of dancers shimmied mildly. A trickle of people peeled off for the exit, descending an escalator into the ringing rows of slot machines. One of the walkouts, 50-year-old Warner Christy, said he wouldn't be paying to see the singer again: "I've been scared straight." For people of influence in any walk of life, from corporate leaders to sports stars, the question of when to leave the stage is a crucial one. Do you go out at the top of your game, giving up any shot at further glory? Or do you dig in until the end, at the risk of tarnishing a distinguished career? For the many and passionate fans of Bob Dylan these are questions that loom large. After 50 years in music, his place in the pantheon is unassailable. He is the age's iconic singer-songwriter and rock's poet laureate—a title even he lays claim to in the introduction read aloud before his concerts. And unlike other artists of the '60s who've been trading on nostalgia since the '70s, he has continued to release new material and wrestle with his art form. Such are the consolations for fans who have seen one of music's best talents at his worst. The issue of whether Mr. Dylan should pack it in has been an enduring parlor game in music circles, whether part of the punk generation's attack on hippie dinosaurs, or the dismay of those hippie dinosaurs over their hero's notoriously dismal output in the '80s. Now, however, Mr. Dylan's detractors question whether he—at age 69 and having just wrapped yet another tour—is capable of another turnaround. Most alarming to listeners devoted to his seminal recordings: the state of Mr. Dylan's voice, decades on from its first signs of deterioration. Dr. Lee Akst, director of the Johns Hopkins Voice Center, says it's impossible to diagnose Mr. Dylan without an examination, but that rock singers are especially prone to scarring or other damage to the vocal cords. Such trauma can be cumulative, he says, compounding the risks for the perennially touring singer. What's obvious: Though he never had a conventionally pretty voice—that was part of its power—lately he's been sounding like a scatting Cookie Monster. On stage, he strums an electric guitar and blows on a harmonica but spends more time at an upright organ, vamping. Representatives for Mr. Dylan said he was unavailable for comment. Retirement is an alien concept among music stars who know only a life of performing and touring. Those who have decided to give it up early have often changed their minds. Saying it was time to "move aside," Little Richard announced his retirement at age 70—eight years ago. Since then, he has played about 100 gigs. At age 33, rapper Jay-Z said he was hanging up his microphone to concentrate on being a music executive. Three albums later, he vows to never make such a pronouncement again, recently saying, "I lost the privilege to even discuss the topic, I did it so bad." At the zenith of his Ziggy Stardust fame, David Bowie announced his last concert from the stage, only to reinvent himself with impressive results. Yet he has not publicly performed since 2007, and perhaps won't ever again—he hasn't said. This issue is coming to the fore now that a generation of performers is hitting old age, along with their baby-boomer fans. Not unlike their R&B predecessors, such as the still-touring Four Tops, most classic rock acts are delivering note-for-note nostalgia, but on a bigger scale. Pink Floyd's Roger Waters scored one of the most successful tours of the year by rolling out "The Wall," updating only the 1980 stage technology. But for the handful of acts releasing new material and trying to stay relevant as artists, there's no late-career blueprint. Mr. Dylan isn't working toward a golden parachute; he's pursuing a craft. "Anybody with a trade can work as long as they want. A welder, a carpenter, an electrician. They don't necessarily need to retire," he said in an interview published in Rolling Stone last year. "My music wasn't made to take me one place to another so I can retire early." After all, he cut himself from the same cloth as artists such as Woody Guthrie and Leadbelly, for whom performing was a matter of existential, if not economic, necessity. He has sold almost 21 million albums since 1991, when Nielsen SoundScan began tracking such figures. In the past decade, he has moved more than 3.7 million concert tickets and grossed more than $192 million on tour, according to Pollstar. If he walks away from touring, he has fallbacks, including painting (the National Gallery of Denmark is exhibiting 40 of his works) and writing (the first volume of his "Chronicles" memoirs was a hit; two more installments are expected.) Why single out Mr. Dylan when Judy Collins and other graying veterans are out there touring unmolested? Firing the debate is his status as the ultimate music icon, the caretaker of a body of work that, many would agree, stands in contrast to his current sound. He's also got a touring schedule that would put some hungry young acts to shame. He's been doing roughly 100 gigs, year in, year out, since 1988. While some oldies acts play obscure venues because no one else will have them, Mr. Dylan seems bent on playing every last stage in America, including minor-league baseball parks, college campuses and antiquated theaters such as the Shrine Mosque in Springfield, Mo. Casual fans, especially, are vexed by Mr. Dylan's ongoing habit of mutating his most familiar songs. In Atlantic City he shadowboxed with the beat on "Just Like a Woman," going silent when the crowd gamely sang the chorus, then rushing out the words himself. To his many loyal admirers, such idiosyncrasies just emphasize his artistry. "With every concert, he's saying, 'Think again,' " says historian Sean Wilentz, author of the recent book "Dylan in America." Jim Waniak is having none of that. Though he's seen eight previous Dylan concerts, he, too, walked out on him at the Borgata, saying, "I know every word to 'Desolation Row' but I couldn't sing along. What you're used to feeling from his music just isn't there." Mr. Dylan's critics say they're simply evaluating him as he is now, without spotting him any points for past achievements. Last July, music critic Ian Gittins watched Mr. Dylan headline a music festival in Kent, England, where he followed strong performances, including one by folk newcomers Mumford & Sons. At first, Mr. Gittins jostled for a view at the rear of the predominately young crowd. But before the singer even got to his frequent closer, "Like a Rolling Stone," the critic had elbow room to spare. "The crowd had melted away," retreating from "the perplexing noise of this man whining," Mr. Gittins, 48 years old, said in an interview. Of course, the singer has been derailing expectations, riling the faithful and inspiring calls for his head since he strapped on an electric guitar at the Newport Folk Festival in 1965. He made many of his critics reconsider in 1997, when he released "Time Out of Mind," a mordant, Grammy-winning album that established a new artistic benchmark for him. But if he plows on indefinitely, could the accumulating career lows undermine the highs? "Listen, this legacy stuff is a bunch of crap," says University of Chicago economics professor David Galenson. "That goes for Michael Jordan and Bob Dylan and economic professors: You're known for your best work, not the bad work at the end of your career." Mr. Galenson examined the two potential "life cycles" of creativity among great artists in his book "Old Masters and Young Geniuses." Epitomizing the latter, Mr. Dylan worked conceptually and with deliberation, turning out his most influential work before he hit 30. So what becomes of young geniuses in their dotage? Mr. Galenson judges their "graciousness" by whether they accept that their greatest work is behind them. He points to interviews in which Mr. Dylan discusses searing songs such as "Blowin' in the Wind" with a sort of detached awe. "I give him credit for saying, 'I love those old songs but I couldn't write them anymore if I tried.' My suspicion is that very few artists of any kind would admit that," he says. Mr. Dylan has defied the young-genius playbook simply by continuing to roam the earth, unlike Jimi Hendrix and Janis Joplin. The result: the somewhat disconcerting spectacle of a rock star acting his age. Mortality has been an undercurrent in his recent music. The song "Forgetful Heart" on last year's "Together Through Life" album features the closing line "The door has closed forevermore, if indeed there ever was a door." Mr. Wilentz says we're witnessing an unvarnished evolution, pointing out that Mr. Dylan hasn't made obvious fixes with cosmetic surgery, and favors "old man's clothes." With flat wide-brimmed hats and dark suits with piping on his pant legs, "he looks like a cross between a parson and a Mississippi riverboat gambler. It's stagey, but it's certainly sedate." Pop critic Jim DeRogatis says Mr. Dylan's methods—changing the set list nightly, reshaping songs on the fly—are nobler even in defeat than the crowd-pleasing approach by the Rolling Stones. The Stones have poured money into production on stadium outings, such as the "Bigger Bang" tour in 2006 (featuring tiered balconies on stage for high-end ticket buyers) and delivered faithful renditions from their catalog, from "Start Me Up" to "Brown Sugar." "They're like a global corporation and they cannot let down their stockholders and employees," Mr. DeRogatis says. Still, Mr. Dylan's live shows are a no-go for the critic ("I've been burned too many times") now that they're not compulsory—Mr. DeRogatis left the Chicago Sun-Times last year. Stalwarts revel in the promise of resurgence. Two weeks ago, Kenny Goldsmith took his 12-year-old son to his first Bob Dylan concert, at the Mid-Hudson Civic Center, a hockey-rink facility in Poughkeepsie, N.Y. They both left disappointed. Reading the show's set list online the next day, he was surprised to see "Just Like Tom Thumb's Blues"—he hadn't even recognized the lyrics coming out of Mr. Dylan's mouth. Last week Mr. Goldsmith was in the audience again, this time at Terminal 5, a club frequented by indie rock bands on their way up. The venue was crowded and hot, the sound was clear, and Mr. Dylan seemed fired up for a three-night stand in Manhattan. Occasionally he bared his teeth in either a grimace or a grin. As Mr. Dylan plowed through the climax of "Tom Thumb's Blues," singing, "I do believe I've had enough," a smiling Mr. Goldsmith turned to a friend and shouted, "Compared to last time? 180 degrees!" By JOHN JURGENSEN http://online.wsj.com/article/SB10001424052748704594804575648691223353352.html?KEYWORDS=bob+dylan
Voldar: Один блогер озаботился посчитать книги о Бобе и насчитал их 81... Bob Dylan Books When I gathered my Dylan books together, I was surprised to find that I only have sixteen (twelve are pictured above). A quick search of the Seattle Public Library catalog shows eighty-one books in their collection about or by Bob. Entering the artist's name into the search field at Amazon and clicking on books brings up an astonishing 1690 titles with references to the singer. I'm sure that many devoted fans have at least as many titles as me and certainly any true collector has many more. Here's where I confess, in these opening weeks of my blog, that writing about books is just my excuse to write about Dylan. Okay, not exactly, but besides books and kids and family and nature, Bob is pretty much next on the list of things I care about in life. As noted above, there is no shortage of words in print about his music, and that holds true for the web also. You can click away to at least a dozen high quality sites devoted to the singer, including his own. I will add those links to this blog soon. So there is no need for me to ramble on endlessly about Dylan. I will write about him only on occasion. But I believe I have found a slightly different way to approach the topic of Zimmerman: every so often I will discuss one of the above mentioned books. From his own 2004 memoir, Chronicles, Volume 1, to Larry Sloman's excellent reportage of the 1975 Rolling Thunder tour, On the Road with Bob Dylan, there are plenty to choose from. I hope that tomorrow's Dylan fan (it's amazing how many 16 to 25 year-olds you see at his concerts), wondering which book to read about our greatest living artist, will be able to come here, to the Idiot Child, for a preview of what each one holds in store. Here's one really cool thing about Dylan, and the reason that there's always room for another book and another website: every Bob story is a personal story. Beyond the statistics on shows and songs and LP's, there is no objective truth. Dylan is the masked man. Anyone who listens closely will, sooner or later, get a peek beneath that mask. Sometimes you will see a bizarre distortion of reality or maybe you will see Mr. Jones or a sensitive lover, but in most cases that glimpse you get of Dylan will look like your own face. I'm not talking about Dylan the real human being, of course. I'm speaking about the art. Every person who has interacted closely with the music has found a unique relationship with it and sometimes a corresponding sequence of crazy real life events. Even in the most scholarly and supposedly detached tomes about Dylan these personal stories are revealed. Many authors have seen fit to spend many hours thinking and writing about Bob Dylan. I intend to share my take on what they've discovered and, in keeping with the theme of this blog, look for a less obvious, more cryptic interpretation of the bare facts. Speaking of crazy, I have a personal Dylan story too, and even a book to go with it. The Golden Bird is a memoir of my own strange adventures in the decade of my twenties. It's only a little bit about Bob, really. Dylan is a side character, but an important one. It's like the experience of many Dylan fans, where Bob's art and even his presence has a strong and steady influence in a life that goes all kinds of ways they never planned or expected. I'll be writing more about my book when it is released and available for your reading pleasure. In the meantime I am re-reading Chronicles, and it will be the subject of my next post. Bob's memoir is a good place to start, because unlike in the music, where you can't tell for sure if it's Bob talking, or that guy you met once in a bar in Spain, or what you thought to yourself yesterday when you were stuck in traffic, the voice in Chronicles is clearly the man who wrote the songs. He manages to tell details of the most revealing sort and yet remain mysterious as all heck. Only this time, because we are getting a look at the real human being a little more strongly than the songs, it's mostly his face behind the mask. http://notesfromtheidiotchild.blogspot.com/2010/12/bob-dylan-books.html
Voldar: The Bob Dylan Motorcycle Crash Did the folk-rock legend cheat death of simply duck the limelight? Of course Bob Dylan rode a Triumph. The coolest troubadour to ever hang a harmonica around his neck owned a 1964 Triumph T100, smaller 500cc brother to the Bonneville 650. Some say he almost died on the bike. Others claim the Triumph may have preserved his sanity. Just what happened that July 29, 1966, ain't exactly clear. Dylan was riding in upstate New York, not far from the future site of the Woodstock Festival, when he and the bike parted company. The extent of his injuries, again, is unclear. Facial abrasions, unconsciousness, even broken vertebrae were reported, forcing cancellation of his upcoming concert at the Yale Bowl. Rumors were rampant: Dylan was horribly disfigured, hopelessly paralyzed, quite possibly dead. Yet, no hospital records have ever been procured relating to the incident, and no one remembers an ambulance carting off the Tambourine Man. At least one alleged witness has claimed that Dylan-apparently not very skilled behind the handlebars-had a simple, low-speed get-off that required a trip to the doctor's office, nothing more. So what gives? Remember that just a few short years before, Dylan had been unknown, a struggling coffee-house singer. His first album sold just 5000 copies. Now he was the so-called Voice of a Generation, expected to weigh-in on civil rights, the Vietnam War, labor relations, and he was starting to chafe under the pressure. "Me, I don't want to write for people anymore-you know, be a spokesman," he said in '64. "From now on, I want to write from inside me ... I'm not part of no movement ... I just can't make it with any organization." At the time of his crash, Dylan had released five albums in little more than two years, each one projected to out-do the previous, fans combing the lyrics for symbolism and hidden meaning. He had book deals, TV deals, movie deals. Sixty concert dates had been scheduled. Is it out of the question, then, that the poor man simply took his minor crack-up as an opportunity to check out for the next nine months? Dylan all but confirmed this in his 2004 autobiography, Chronicles, saying, "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race." Then as now, no better vehicle for that than a motorcycle-wheels down preferred. http://www.motorcyclistonline.com/features/122_1101_the_bob_dylan_motorcycle_crash/index.html
Voldar: Интересный интерактивный проект от SONY. Remix a Classic Bob Dylan Track With Your Own Music Sony’s giving users a chance to perform a remix of the classic “Subterranean Homesick Blues” by Bob Dylan, and whoever does the best job of re-creating the song wins a trip to South by Southwest in Austin in March. Each of Dylan’s recorded tracks are separated for your mixing pleasure. Individual Dylan vocals, drums, electric guitar and bass lines, along with dozens of other tracks performed by various artists, can all be mixed together for a unique result. This is tons of fun. Once you get the hang of it, it feels like you’re actually creating a new piece of music. The Remix Project Flash app allows more talented users to record their own musical tracks to add to the mix. It gets really interesting when you take a look at the remixes people have already created — these are sorted on the site using a filter for most recent or most watched, along with an offer to search for a username. A panel of Sony judges will decide which remixes are the best, and the company will announce the top 10 remixes on January 24 via its Facebook Page. Visitors to Sony’s Facebook Page will also be invited to vote for their favorites. This is a brilliant piece of viral marketing from Sony, shining the light on the brand without forcing the issue. It’s not surprising, given Sony’s history of creating fun apps and games to call attention to its brand. For example, look at the company’s spy-themed Facebook app from last May. http://www.facebook.com/Sony http://mashable.com/2010/12/21/remix-a-classic-bob-dylan-track/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed:+Mashable+%28Mashable%29&utm_content=Netvibes
Voldar: Боба настолько уважают в Австралии,что готовы выделить для его выступлений специальные дни. Music will play on as Bluesfest gets extra day THE legendary US singer-songwriter Bob Dylan may yet extend his stay in Byron Bay this Easter after the council decided to allow the annual Bluesfest to run an extra day. Ahead of a hearing in the Land and Environment Court, the Byron Shire Council convened an extraordinary meeting to consider the festival's application to take advantage of the Anzac Day holiday and run for six days. Six councillors out of the seven present voted in favour. ''It's a bit of 'watch this space' now,'' said the festival director, Peter Noble. ''We're hoping to have that extra day of Bluesfest on sale by the end of the month.'' Advertisement: Story continues below The dispute flared up last month because of what Mr Noble called the council's ''bloody-mindedness'' and what the council called ''proper planning process'' in deferring a decision on the extension until February, which would not leave organisers enough time to secure Dylan for a second show. Mr Noble filed an application to have the matter heard urgently in the Land and Environment Court, but the council's decision yesterday meant the court case would not be necessary. Mr Noble welcomed the ''expected'' decision. ''It's just one or two mavericks on that council … and the others are normal, reasonable, intelligent people,'' Mr Noble said. ''Most normal, ordinary Australian people don't have any problem with Bob Dylan or Bluesfest, including in Byron shire.'' Byron shire's general manager, Graeme Faulkner, said the council had tried to get the balance right between the region's creative industries and residents' needs. There were 30 community submissions on the application and the extra day would apply for this year only, he said. ''Byron Shire Council is committed to seeing the region's creative industries thrive,'' Mr Faulkner said. ''But … it was only fair community members had a right to have a say on what is proposed near their backyards.'' This year's Bluesfest will run from Thursday, April 21, to Tuesday, April 26. http://www.smh.com.au/entertainment/music/music-will-play-on-as-bluesfest-gets-extra-day-20110106-19hml.html
Voldar: Bob Dylan and Johnny Cash: Two Songwriting Titans Make History When it comes to creative freedom, Johnny Cash and Bob Dylan have been two of the most historically defiant risk-takers among American singer-songwriters. Loyal only to the muse, it was inevitable that the paths of these two visionaries would eclipse during the most experimental and inspired phases of their careers, with an ensuing co-conspiracy and friendship that would last a lifetime. Two Greats Collide After making a huge dent in the country charts during the late 1950s, Cash spent the early 1960s exploring and infusing his sound with music from the American folk tradition. When The Freewheelin' Bob Dylan was released in 1963, the album captivated Cash. He wrote Dylan, telling him how much he enjoyed the record. A flattered Dylan wrote back, explaining that he grew up listening to Cash's music, and an impassioned correspondence ensued. The two eventually met at the 1964 Newport Folk Fest where they both appeared on the bill—Cash the seasoned country legend, Dylan the fresh new star. The two spent the evening in Cash's hotel room with June Carter Cash, Joan Baez, Jack Elliot, and others. In a legendary moment, Cash pulled Dylan aside and handed him his Martin as a gift, a traditional gesture of honor among country musicians. Cash in Dylan's Defense During his Newport set, Dylan played "Chimes of Freedom" (purchase/download) and "Mr. Tambourine Man" (purchase/download) two new songs that would soon appear on his third album released a month later, Another Side of Bob Dylan. Stamped with personal lyrics and a more literary songwriting style, and lacking political messages, the album deviated greatly from everything he'd recorded to date. In response, Irwin Silber, editor of Sing Out! magazine, published “An Open Letter to Bob Dylan,” which lambasted the young songwriter, accusing him of falling into the fame trap and straying from his responsibilities as a “protest” singer in the folk movement. Spurred to action, Johnny Cash came to Dylan's side, publishing a response demanding that Dylan's detractors “SHUT UP! … AND LET HIM SING!” As Dylan later wrote of the spat, “The editors had published a letter chastising me for the direction my music was going. Johnny wrote the magazine back an open letter telling the editors to shut up and let me sing, that I knew what I was doing. This was before I had ever met him, and the letter meant the world to me. I've kept the magazine to this day.” Dylan and Cash Circa 1965-67 Dylan and Cash were huge mutual inspirations, each covering the other's songs accordingly. The first nod came in 1965, when Cash recorded his version of “It Ain't Me, Babe” for his album Orange Blossom Special. Then, following his 1966 motorcycle accident, Dylan and The Band spent a good portion of the next year in Saugerties, NY, recording over 100 tracks for what became The Basement Tapes. Among the cover songs stuffed on the reels, Cash's presence looms large with Dylan covering “Belshazzar,” “Big River” and “Folsom Prison Blues.” Duets were also a staple of the Cash/Dylan fraternity, and filmmaker D.A. Pennebaker captured the two dynamos caterwauling backstage on a couple piano duets during Dylan's 1966 tour. You can catch a clip of Pennebaker's rare footage of them stumbling through “I'm So Lonesome I Could Cry” in Martin Scorcese's 2005 film, No Direction Home. Meanwhile, the legendary scene with the two dusting up on Cash's “I Still Miss Someone” is featured in Dylan's still-unreleased film, 1967's Eat the Document. Nashville Skyline Dylan recorded most of his first all-country record, Nashville Skyline, on February 13-14, 1969 in Nashville. At the wrap-up sessions on February 17-18, Cash—who'd been recording at the studio next door—dropped in to visit, and ended up spending two days there, recording what's become known as the Bob Dylan/Johnny Cash Sessions. The 23 duets the label-mates laid down included everything from Cash's “Big River” to Dylan's “One Too Many Mornings,” along with covers of Jimmie Roger's “Blues Yodel #1,” plus “That's All Right Mama” and “You Are My Sunshine.” Although this session was a bootlegger's wet dream, few of the songs were strong enough for an official album release. However, the crème of the session, a duet of “Girl from the North Country,” was included as the opening track to Nashville Skyline, which also featured liner notes written by Cash. During his stay in Nashville, Dylan also ended up writing “Wanted Man” for Cash—a song the Man in Black would debut live to a cafeteria full of California inmates a week later at San Quentin penitentiary. Johnny Gets His Own Show Dylan was still very much in country mode when, on June 7, 1969, he appeared as the debut guest star on the premiere airing of ABC's new hit program, The Johnny Cash Show. The weekly series was explosively successful, lasting until March 31, 1971 after 58 episodes. Much to the producers' agitation, Cash loved controversy, doing things like inviting outspoken anti-war activist-singer Pete Seeger, and refusing to change the word “stoned” during Kris Kristofferson's performance of “Sunday Morning Coming Down.” Nervous about having his very own TV show, Cash hammered record producer Bob Johnston to help him get Dylan for the first airing, believing that the show's success lay in the balance. In his first television appearance in four years, Dylan's performance was stunning. Besides debuting his newest country song, “I Threw It All Away,” Dylan performed “Lay, Lady, Lay,” as well as an arresting duet with Cash on “Girl from the North Country.” “Cash Is King” When Cash died on September 12, 2003 (just three months after his wife passed), Rolling Stone magazine asked Dylan for a statement. In an essay called “Cash Is King” that could have easily worked as liner notes for Cash's next album, Dylan wrote, “In plain terms, Johnny was and is the North Star; you could guide your ship by him—the greatest of the greats then and now... Truly he is what the land and country is all about, the heart and soul of it personified and what it means to be here; and he said it all in plain English. I think we can have recollections of him, but we can't define him any more than we can define a fountain of truth, light and beauty.” http://folkmusic.about.com/od/bobdylan/a/Bob-Dylan-Johnny-Cash.htm
Voldar: На офсайте Боба появилась информация о туре по Австралии.На концерт в Аделаиде приглашен Би Би Кинг. Bob Dylan to tour Australia in April – B.B. King to make special guest apperance in Adelaide Bob Dylan is coming to Australia this April for his first dates Down Under in nearly four years. Dylan will play shows in Adelaide, Melbourne, Syndey and Wollongong as well as making festival appearances in Byron Bay for Bluesfest and Fremantle for West Coast Blues & Roots. For the date in Adelaide on 19 April, Dylan will be joined by the blues legend B.B. King. Further special guests are to be announced for the other dates. Dylan is also guaranteed a warm welcome when he plays WIN Entertainment Centre in Wollongong, Southern NSW, the venue that he opened thirteen years ago in 1998. Bob Dylan has recorded more than 50 albums, has a career spanning six decades, is listed in Time Magazine’s ‘100 Most Important People of the Century’, is a Grammy award winner and Academy award winner. He turns 70 this year and continues on the road on his ‘Never Ending Tour’. Tickets for all shows go on sale on Monday 31 January at 9am. A pre-sale will take place on 24 January with details to be posted on the tour section of Bob Dylan’s official website. Links and full dates are included below. BOB DYLAN AUSTRALIAN TOUR DATES 2011 Apr17 Fremantle, Western Australia, Australia West Coast Blues 'n' Roots * Apr19 Adelaide, South Australia, Australiia Entertainment Centre with special guest B.B. King 1/31 9:00am 1/24 9:00am * Apr20 Melbourne, Victoria, Australia Rod Laver Arena 1/31 9:00am 1/24 9:00am * Apr23 Wollongong, NSW, Australia WIN Entertainment Centre 1/31 9:00am 1/24 9:00am * Apr25 Byron Bay, NSW, Australia Byron Bay Bluesfest * Apr27 Sydney, NSW, Australia Entertainment Centre http://www.bobdylan.com/tour
Voldar: Filmmaker Sandi Bachom on Dylan's 1966 warm-up show at Riverside College Bob Dylan played a warm-up gig in 1966 at Riverside College that does not appear to be documented in any book or on any web-site, according to filmmaker and "New Media Maven" Sandi Bachom. In a recent telephone interview, Bachom told me she attended an open rehearsal concert by Bob Dylan and The Hawks, then attended the after-party, where Donovan was one of the guests. I was contacted by Bachom after a friend sent her a link to my Examiner story about Dylan's appearance at the 1963 March On Washington. She informed me that her "old man", the late Stuart Scharf, played guitar with Dylan, Len Chandler, and Joan Baez on Chandler's song, "Hold On (Keep Your Eyes On The Prize)." I thanked her for the information, and asked if she had any other Dylan-related stories. Bachom informed me that she not only attended a 1973 mixing session, with Dylan in the room, for "Knockin' On Heaven's Door," but had seen an electric mid-1960s show, probably with her friend, a young Jackson Browne. Bachom is the daughter of two Walt Disney Animation Studio artists, film editor Jack Bachom and airbrush artist Dorothy Higgins, who worked together on such classic "Golden Age" films as Bambi, Fantasia, and Pinocchio . Sandi grew up in Hollywood, California, where she was a folksinger and a surfer. In 1965, Sandi moved to Boston for a while, went back to California, then joined Scharf in New York City in 1967, where she lives to this day. Bachom went on the become an award-winning producer of television commercials, and has created hundreds of films she calls “Schlockumentaries.” She has also written three books, created an on-line tribute to Manny's World after the legendary music store closed (which features an autographed photo of Dylan), and is currently organizing an eight-day Greenwich Village Music Festival. Once we got on the subject of the mid-1960s concert, we spent the next couple of hours trying to figure out when she saw this rare, electric Dylan show. Although she had been a fan since his early folkie days, Bachom was surprised to discover that Dylan was initially "electric" only from July 25, 1965, (Newport) to July 29, 1966 (motorcycle accident). "I didn't realize how rare that was," she said, referring to seeing a concert during this one year time frame. Bachom remembered that she saw the electric Dylan show "at Riverside College, in Orange County. That's 'The Barricades Of Heaven' Jackson (Browne) sang about." So when, exactly, did this concert take place? We both went into detective mode. While I was rummaging through my Dylan books, I directed her to Olof's Still On The Road site, to show her where Dylan played during this time period. "I'm amazed such a site even exists!" she said. On the "1965 Concerts, Interviews & Recording Sessions" page, it listed a one-off gig at the Hollywood Bowl on September 3, then a return to California at the end of the year. "When did (The Beatles album) Rubber Soul come out?" Bachom asked, trying to figure out when she was in Boston. When I told her it was early December, 1965, she said, "I associate my time there with Rubber Soul . . . It was new at the time. I know I was there for the great blackout of (November) 1965." So the Riverside College date could not have happened in late 1965. "How old were we in 1965?" Sandi asked herself out loud. Then she laughed, "In '65 . . .he was 17", quoting the famous Jackson Browne line. "I’m pretty sure our friend Jackson was with us but I'm not sure.....Hey, it was the 60s after all! ..Jackson and I were friends in California, so we probably went to the show. He was so influenced by Dylan. He idolized him. I have a picture he signed some place, he wrote on the back, 'Sandi babe . . . motor highways . .something . . ' . . .very Dylanesque . . He signed it 'Jack.' We called him 'Jackie' in those days." I pointed out to Sandi that, according to Clinton Heylin in A Life In Stolen Moments, Dylan was on the West Coast in March and April of 1966, although no California shows were listed during this time. Information about the show was still a puzzle. Sandi asked various friends to help her figure out when she saw this "mystery" concert. She finally heard, via email, from her friend Richard Alderson, who professionally taped Dylan's shows around this time: "This was a warm up for the '66 world tour. Why it doesn't exist on any site is weird, except that I think it was not really a booked concert, just sort of a rehearsal with an audience. I missed it because I was in NYC building the sound system for the tour - The next stop was Honolulu, Hawaii. The Hawaiian and the Australian parts of this tour are sketchily documented and I did not tape them as I did the European ones." Dylan and the Hawks played the Honolulu International Center Arena on April 9, 1966. It has been documented that Dylan rehearsed with the Hawks and new drummer Mickey Jones, in Los Angeles, on March 30. So the concert probably took place the first week of April. As for the show itself, Bachom recalled, "We were total Dylan freaks. We were folkies, and just starting to get into the protest thing. I just remember it was a huge theater. It was fancy. "So we went to this concert and the first half was "Mr. Tambourine Man" and all that...and then he came out with THE BAND...It was like the scene from (the Mel Brooks movie) The Producers, the audience's jaws dropped. i remember that pretty well. They played 'Like A Rolling Stone'. . ." I pressed her to see if she could remember what other songs he did. She thought Dylan sang an acoustic "Masters Of War", but he had dropped this from his set list during this period, although that doesn't mean he didn't dust if off for this performance. I mentioned "Gates Of Eden", and she remembered that, then I said "She Belongs To Me," and she started singing, "She's an artist, she don't look back," then said, "Yeah, he did that too." "You're scraping the plaque off my memory," she laughed at one point. "I was an eyewitness to history!" There was a party after the concert which Bachom attended. "It was a big deal. Donovan was there, and Dylan. They spent a lot of time in another room, probably getting high and playing guitars." Looking back, Sandi is amazed by the attention Dylan still receives from his fans. "When I told Paul Colby (owner and manager of legendary Greenwich Village club, the Bitter End) that I was being interviewed about Dylan, we both talked about how dumbfounded we were. Paul asked, 'What is it about Dylan'? "To me, it appears to have the sort of reverence usually reserved for dead people, like Elvis or John Lennon." In closing, Sandi said she'd "love to urge people to join and share their memories of seeing Dylan or other artists in the village. I started this thing on Facebook, and the 65 comments so far are amazing!" http://www.examiner.com/bob-dylan-in-national/filmmaker-sandi-bachom-on-dylan-s-1966-warm-up-show-at-riverdale-college
Voldar: Интересная статья на сайте Гибсон о тётях вдохновлявших Боба. 5 Rainy Day Women: Bob Dylan’s Muses Bob Dylan has always known how to write about women. Sure, he’s also written beautifully about war and art and public figures, but the opposite sex remains his favorite subject to puzzle over. Within songs like “Big Girl Now” and “She Belongs to Me,” he’s created complex and haunting portraits of the women in his life. During the ’60s and ’70s especially, the folk singer wore his heart on his sleeve, writing brooding songs about his crushes on “It” girls like Edie Sedgwick, Karen Dalton, Mavis Staples, Dana Gillespie and Joan Baez. Just as many songs, however, were dedicated to his love affairs with less famous women, among them first wife Sara Lownds and early girlfriend Suze Rotolo (pictured walking arm in arm with Dylan on the cover of The Freewheelin’ Bob Dylan in 1963). His most thoughtful and enduring gifts to his wives and girlfriends, it seems, were his songs. Here are five of Dylan’s best-known muses. Karen Dalton Now a cult favorite among blues aficionados, Karen Dalton caught Bob Dylan’s eye right away upon his arrival at Café Wha in 1961 in Greenwich Village. The young singer of Cherokee descent was master of a 12-string Gibson, and she had a weary howl that Dylan would never forget. In his 2004 autobiography, Dylan wrote, “My favorite singer in the place was Karen Dalton. Karen had a voice like Billie Holiday and played guitar like Jimmy Reed ... I sang with her a couple of times.” It’s unknown whether the two ever carried on a romance. With two front teeth missing (the result of a fight between two of her lovers), she didn’t fit the glamorous bill like Dylan’s other dalliances. In 1975, Dylan and The Band included a song about Dalton, “Katie’s Been Gone,” on their Basement Tapes, singing, “Katie laughed when I said I was lonely. / She said, There’s no need t’feel that way. / Katie said that I was her only one, / But then I wonder why she didn’t wanna stay.” Dalton released only two albums, It’s So Hard to Tell Who’s Going to Love You the Best and In My Own Time, before dying of AIDS in 1993. Mavis Staples Dylan’s earliest boldfaced crush was on gospel singer Mavis Staples, a member of her family’s band The Staple Singers, who aligned themselves with Martin Luther King, Jr. and the civil rights movement. According to a 2008 NPR interview with Staples, Dylan asked her father, Roebuck “Pops” Staples, for her hand in marriage after the two met in 1962. Not too pleased with the idea, Pops reportedly said, “Don’t ask me, ask Mavis.” Mavis did not accept Dylan’s proposal, but the two remained friends. The Staple Singers covered Dylan’s “A Hard Rain’s a-Gonna Fall” on their 1973 album Use What You Got. Joan Baez Though Joan Baez is only six months his senior, she preceded Bob Dylan in celebrity as a folk singer, and is credited with popularizing his songs in America with her covers of them. The two sparked their romantic connection in late 1962 and stayed together until early 1965. Dylan was initially more taken with Baez’s sister than with the barefoot singer herself, but in the next two years he came around to the idea of a romance with Baez. In May 1963, Dylan and Baez appeared on stage together at the Newport Folk Festival to perform “With God on Our Side.” After the festival, they drove to Baez’s house outside of Carmel, California, and began one of the most famous unions of the ’60s. Baez’s sister told Dylan biographer Howard Sounes, “Joan was wild about him, and in her usual fashion, [she] gave a hundred percent attention to the thing that charmed her the most.” Dylan became disinterested in Baez during his 1965 U.K. tour, a time documented in the 1967 documentary Don’t Look Back. Nevertheless, the singer remained a champion of Dylan, even releasing an entire album of Dylan covers – 1968’s Any Day Now. Her song “Diamonds and Rust,” which appeared in 1972 as the title track of her 19th album, is a compelling diary of the dissolution of the relationship. Dana Gillespie During the same 1965 U.K. tour in which he snubbed Joan Baez, Dylan took up with a busty 16-year-old English pop singer named Dana Gillespie and holed up with her in his hotel room during subsequent visits to England. “I guess he was juggling women, like most musicians,” said Gillespie in Down the Highway: The Life of Bob Dylan. Gillespie relates a story about Dylan borrowing her orange and pink flowered pants and leaving her in his hotel room, saying he’d be back with them in a few hours. “I was stuck in my underwear because he had taken my trousers. He could fit into mine, but I couldn’t fit into his. I had to sit in the hotel waiting for him to come back. He said, ‘I’ll only be a few hours.’ It was about 15 hours before he came back.” Of Dylan, Gillespie reflects, “He’s amusing, he’s spiritual. Women prefer to be seduced by a brain than bullock. Brains go a helluva long way.” Gillespie would go on to also charm Donovan, Mick Jagger, Jimmy Page (who produced her 1966 single “Thank You Boy”), and David Bowie (who taught her to play guitar). In 1997, Gillespie was invited by Dylan to open up his U.K. tour. Here’s the title track from Gillespie’s 1973 album, Weren’t Born a Man, which was produced by Mick Ronson and David Bowie: Edie Sedgwick It is rumored that Dylan owes not only “Just Like a Woman” but also “Leopard-Skin Pill-Box Hat” and “Like a Rolling Stone” to peroxide blonde socialite Edie Sedgwick. Though it was Dylan’s best friend Bob Neuwirth with whom Sedgwick had the longest affair, Dylan observed the fragile actress (who’d acquired her fame as the subject of several of Andy Warhol’s short films) during his foray into New York society in 1965. At the time, Sedgwick was living at the Chelsea Hotel, having disassociated from Warhol and his circle; there she developed a crush on Dylan. Sedgwick’s romantic interest in Dylan endured until Warhol informed her in February 1966 that Dylan had married Sara Lownds several months earlier. Only five years later, she was dead at age 28 of a barbiturate overdose, but she’s remained a source of interest and inspiration for many modern day artists, musicians and filmmakers. Dylan has spoken publicly of Sedgwick only once, telling Rolling Stone in 1985, “She was a great girl … I did know her, but I don’t recall any type of relationship. If I did have one, I think I’d remember.” http://www.gibson.com/en-us/Lifestyle/Features/bob-dylan-0119-2011/
Voldar: Bob Dylan's 'Renaldo & Clara' to be released on DVD Levi Asher is reporting that Bob Dylan's four hour 1978 film, Renaldo & Clara, is being readied for release on DVD, and, presumably, Blu-Ray. According to Asher, he has "heard from a semi-reliable source that Renaldo and Clara, a much-discussed and little-seen 1978 epic film by Bob Dylan, will soon be finally released on DVD. . . I'm really glad that Bob Dylan's creative team has decided to give this undeniably important movie its proper official release, though I haven't yet heard word when it will happen." He also has commented that "It happens that I have a good connection very close to Dylan's management, and this information did NOT come from that source (since this person is a friend, I try not to bug him for inside scoops). The information came to me in a relatively random way from a person who is working on the audio/video conversion. There has definitely not been an announcement, but I'm pretty sure the technical work for the DVD is being done right now." Although the film was initially misunderstood, it has gained a significant cult following over the last few decades. In 1993, Asher wrote a detailed synopsis of the film for rec.music.dylan. While the official commercial release of Renaldo & Clara would be amazing news, I'm wondering if the "technical work" might be for some other project, like the rumored sequel to the 2005 Martin Scorsese documentary, No Direction Home. Renaldo & Clara was a critical and commercial disaster. Although Dylan insisted that the movie be four hours long, a shorter version, heavy on the concert footage, was eventually released. It has never been commercially available, although his performance of "Tangled Up In Blue" has been used as a promotional video, and the initial copies of Live 1975 - The Bootleg Series Volume 5, included a two-song bonus DVD. A handful of songs have been officially released, including a rare, promotional, 4-song 12" EP. It was shown on TV once, and that copy has been traded among collectors. The footage was filmed during the first leg of the Rolling Thunder Revue tour in 1975, and was edited in 1977. Dylan paid for the movie himself to have control over his artistic vision. During this period, his wife, Sara, divorced Dylan, making this a very expensive time for the budding film-maker. http://www.examiner.com/bob-dylan-in-national/report-bob-dylan-s-renaldo-clara-to-be-released-on-dvd
Voldar: Перед гастролями в Австралии Боб собирается посетить Вьетнам и Малайзию. Tour update - Bob Dylan to play Singapore, possibly Vietnam, in April April 10, 2011, Saigon, Vietnam-- (Sunday) Not Confirmed April 15, 2011, Singapore-- (Friday) Timbre Rock & Roots Festival (Thanks, Tricia!) Marina Promenade
Voldar: В Америке появление 50 лет назад Боба Дилана в Нью- Йорке отмечается как второе пришествие. Bob Dylan's New York City: Why It Never Got Better Than 1961 To celebrate the 50th anniversary of Bob Dylan's arrival in New York City, we're rolling out a host of essays, videos, old Voice clips, and assorted fanfare. Here, professor, author, and critic David Yaffe explains why 1961 was the year Dylan could never forget, and never duplicate. On January 24, 1961, Bob Dylan shook the Midwestern dust off his boots and arrived in New York town. If Woody Guthrie was bound for glory, Dylan was bound for something borrowed, something weird, something genius. When he dropped out of the University of Minnesota, he was just like any other kid with a guitar who ditched classes to try to sing the blues like Blind Willie McTell. He wanted to be Joan Baez' singing partner. He wanted to have fun and get high and get laid, but also be taken seriously. When he had all that and more, he still wanted other things, and he got those, too. (He still wasn't happy, but then Pete Seeger recalled him saying, "Happy? What's that? Anyone can be happy.") By the end of his first year here, he would be discovered by John Hammond and Columbia Records, and record his first, self-titled album at the age of 20; a few months after that, he would write "Blowin' in the Wind" and make a second album, The Freewheelin' Bob Dylan, with its cover image of Bobby and his girlfriend, Suze Rotolo, walking down Jones Street looking like boho icons living for the moment. Yet that record's most powerful songs were, like the jumble of nerves that created them, like New York City itself, seductive and terrifying, making you feel like the world was about to end, but first you had to see this young scruff at the Gaslight. Apocalypse went down pretty sweet, and it wouldn't be long until he was predicting hard rain all the way up to Carnegie Hall. "It's hard times in the city/Livin' down in New York town," Dylan sang in a tongue-in-cheek talking blues, but he soaked up all those hard times, and turned them into beauty and truth, not to mention more cash and clout than any Bleecker Street busker could have possibly imagined. Dylan was on his way to New York the same week that JFK gave his "Ask Not" speech, and whether he knew it or not, he was one of the young people the new president was directing to national service, of a kind. Dylan's first year in New York would be the last time he would be working cheap and living from couch to couch. He encountered many weirdos and geniuses in 1961, from Tiny Tim to Richard Pryor to Gorgeous George, an NYC hazing recounted with eloquence and humor in the memoir Chronicles: Volume 1, where he even describes sitting in on a rehearsal with Cecil Taylor (they found mutual ground on a spiritual). After Dylan became Dylan, he could never stumble upon spontaneous music unnoticed again. He still tried, though, and his annus mirabilus of 1961 would be a Proustian Madeleine he would conjure again and again. It didn't work when he moved his young and vulnerable family to the Village in 1969, thinking it was safer from freaks digging through his trash than Woodstock. But at MacDougal Street, AJ Weberman led a pack of so-called Dylanologists who tormented our Bob and bullied him for leaving the New Left behind. Soon, he tried to relive his folkie past when he caught the second, non-idiotic wind of Blood on the Tracks, Desire, and the drugged-out carnival of the Rolling Thunder Revue, in which he populated his cast (overlapping with the bound-for-DVD Renaldo and Clara) with Ramblin Jack Eliot (who palled with Bob in the '61 folk scene), Joni Mitchell (who sang but refused to be filmed), Joan Baez (who never met a camera she didn't seem to love), and Sam Shepard, who co-wrote Renaldo and Clara, a film that caused a debate among critics in these very pages, all arguing whether it was incoherent, brilliant, or a little of both. Later, a hipster Dylan made a 1975 Voice cover with another girl on his arm: Patti Smith, who refused to join the revue, a wise move at the time. He did manage to pick up a violinist named Scarlet Rivera, who he collected in the East Village when he saw a beguiling chick with a violin case and she suddenly had to practice. He took this group with him and played unannounced gigs in small clubs. He was trying to get 1961 back. What he got instead was more wheezy, more weary, deeper, but also desperate, great rock 'n' roll, but too drugged out to sustain. He couldn't get Sara back, so he went to California and found Jesus instead. The bible-thumping was only a phase, but Gotham kept pulling him back in. Over the past several decades, he has played thrilling gigs at the Beacon, Irving Plaza, the Supper Club, and more. Since the Neverending Tour began in 1988, he has spent around 100 days a year traipsing the globe; even in 2010, the 69-year-old played 102 gigs. The road is Dylan's home now, but just as he will get a cheer when he refers to Texas medicine at a Dallas gig, fans in all boroughs get a certain comfort when he sings, from "Just Like Tom Thumb's Blues," "I'm goin' back to New York City, I do believe I've had enough." In 1965, he sang it with a guttural vengeance. Now, even among the triumphant cheers, it sounds battered. He takes his nostalgia for Bleecker Street everywhere he goes. It's a New York City of the mind he conjures when he's had enough, even if the only true urban paradise he will know is the one he has lost. The big city broke his heart. It is the wound that never heals. http://blogs.villagevoice.com/music/2011/01/bob_dylans_new_1.php
Voldar: Ну Боб дает...На этот год расписание гастролей только увеличивается и так же выйдет концертник 1963 года. Tour update - Dylan in the Far East, U.K., Europe, plus 'Brandeis' CD release Bob Dylan is expected to play the following concerts in the Far East, according to the Desolation Row Information Service : April 3rd 2011 Nang Gang Exhibition Hall (Venue MIGHT change), Taipei, Taiwan April 6th 2011 Workers Gymnasium, Beijing, China April 8th 2011 Grand Stage, Shanghai, China April 10th, 2011 Loretta Grounds, RMIT University, Ho Chi Min City, Vietnam April 12th 2011 Star Hall, Kowloon Bay, Hong Kong April 13th 2011 Star Hall, Kowloon Bay, Hong Kong Thanks to John Baldwin for the head's up. Other known dates: April 15th 2011, Rock & Roots Festival, Marina Promenade, Singapore April 17th 2011, West Coast Blues 'N Roots Festival, Fremantle Park, Perth, Western Australia, Australia. April 19th 2011, Adelaide Entertainment Centre, Adelaide, Australia April 20th 2011, Rod Laver Arena, Melbourne, Australia April 23rd 2011, WIN Entertainment Centre, Wollongong, Australia April 25th 2011, Byron Bay's Bluesfest, Byron Bay, New South Wales, Australia. April 26th 2011, Byron Bay's Bluesfest, Byron Bay, New South Wales, Australia. To be confirmed. April 27th 2011, Sydney Entertainment Centre, Sydney, Australia. April 30th 2011, Vector Arena, Auckland, New Zealand. Isis Magazine has the following tour report: Bob Dylan will be coming to Europe and the UK for an extensive tour in 2011. Initially, talks indicated that this tour might take place in the Autumn. However, we are now hearing that Dylan's visit may be as early as this Summer. Isis also reports that the CD Bob Dylan in Concert - Brandeis University 1963, will be released in the USA on April 12 through Sony. It was previously available only as a "bonus" CD with the release of Dylan's Witmark Demos or Original Mono Recordings last fall. An article in a Brandeis publication last year hinted that a separate CD would be released in 2011. One can only hope that the April release will have more accurate artwork. http://www.examiner.com/bob-dylan-in-national/tour-update-dylan-the-far-east-u-k-europe-plus-brandeis-cd-release
Voldar: Best biography of Dylan to be improved and released in May New York Times music critic Robert Shelton met Bob Dylan when the young singer first arrived in New York in 1961. His review of the 20-year-old Dylan’s appearance at Gerde’s Folk City that September launched his career. Shelton became Dylan’s friend and champion and, later, his biographer with the release of No Direction Home, hailed as the definitive unauthorized biography of Dylan. Most of what I know about Dylan today I learned from No Direction Home. My copy (above) is dog-eared and falling apart. Unbeknown to me, the book was also heavily edited prior to publication. Out of print for more than 10 years, the new edition of No Direction Home, edited by Elizabeth Thomson and Patrick Humphries and to be published in May by Backbeat Books to coincide with Dylan’s 70th birthday, will restore some 20,000 words of Shelton’s original manuscript. Shelton was on the staff of the New York Times from 1951-63 and wrote regularly for the paper until 1969, when he moved to Europe. Best known as the man who “discovered” Bob Dylan, he was the principal chronicler of the 1960s U.S. folk revival. He died in 1995. I am eagerly anticipating this new edition. And may it become dog-eared, too. http://www.sltrib.com/sltrib/blogsburger/51170215-53/dylan-shelton-bob-direction.html.csp
Voldar: На сайте rollingstone размещены отличные ранние фото Боба. http://www.rollingstone.com/music/photos/early-bob-dylan-20100301/bob-dylan-85968050
Voldar: Напомню,что прошлом году Бобу не разрешили выступать в Китае,CNN опять сомневается... A Bob Dylan Shanghai concert -- too good to be true? After being blocked from performing in China last year, Bob Dylan has put Shanghai and China back on his tour roster Will we be seeing Bob Dylan in China in April? Right now it's anyone's guess. We’ve seen the scene before: Bob Dylan announces concerts in China. Fans get excited. The Ministry of Culture then crushes hopes and dreams and sends Bob packing to the next tour stop. This last played out in April 2010 when Dylan announced shows in Beijing and Shanghai only to be rebuffed by local authorities. Maybe 2011 will bring new musical tidings for this legend in China. According Bob Dylan’s official site, Dylan will be playing at the Shanghai Grand Stage on April 8 (and Beijing on April 6). The shows are set after a long set of stops in Japan and one in Taiwan. Permits for international music acts to play in mainland have been limited since Bjork took it upon herself to challenge the powers that be while she was in Shanghai three years ago by shouting "Tibet! Tibet!" at the end of her song: "Declare Independence." Since it doesn’t look like Bob Dylan China concert tickets are on sale yet, we won’t hold our breath for this to go through, but on the heels of confirmed Usher and Eagles shows, who knows, this might be Bob Dylan's China year. http://www.cnngo.com/shanghai/drink/bob-dylan-shanghai-concert-too-good-be-true-047313
Voldar: Bob Dylan at the Grammys - First thoughts Random thoughts: Dylan was great, of course. The performance was posted on Facebook by 11 p.m. When it was originally reported that Bob Dylan was bringing his acoustic guitar, that was probably written by someone that didn't have a clue what Dylan was/is up to. He may have brought it, but he didn't play it. Dylan appeared about 90 minutes into the program, introduced by David Letterman after a pre-taped "Top 10" segment. "Special guest, Bob Dylan". Promotional clip of Dylan was from his performance at the White House last year. An off-stage female announcer introduced Dylan. Bob appeared after the other acts of the "Salute to Acoustic Music" - Mumford & Sons and the Avett Brothers - did their songs. Curtain opened, Dylan walked through, numerous microphones set up, Stu Kimball, Donnie Herron, and Tony Garnier can be seen. Bluegrass / Rockabilly/ Elvis beat plays as Dylan takes center stage. No guitar, bullet mic in hand, but sings into regular microphone on the stand. "Maggie's Farm" via "That's All Right, Mama". Dylan's voice is ragged but right. Smiles early on, having a grand ol' time. Close-ups, but not too close. This is rockin' ! Members of Mumford and the Avetts almost giddy with excitement, singing backup. Love Bob without guitar or keyboards- just singing, with one hand waving free, as it were. Gets more animated, with hand gestures. Now he's surfing ! He cannot hide his joy . . Dylan's voice full of power, nuance. Mesmerizing. This performance puts some of the other acts in their place. (Imagining them at the Grammys, pushing 70.) Dylan starts on harmonica as a cue to Garnier, than bring the song to a halt. Over much too soon. Rewind. Nice to see Neil and Pegi Young, and Jeff Beck, applauding immediately after the performance. A keeper. Some postings on Facebook and Twitter: Rolling Stone "I see banjos. That means Bob Dylan can't be far off!" "Maggie's Farm, no guitar, no keyboard, Bob's just standing there croaking it out. HELL YEAH" "Bob is out-Gagaing Gaga with this one. Total freakness." Right Wing Bob And Bob Dylan appears from another universe. One that bears some relation to reality. Finally I can turn this horror show off! John Fugelsang The straights didn't get it when Dylan did Maggie's Farm electric in '65 & they don't get it acoustic tonight. Sandi Bachom : the BEST!!!! BobFest rocking the house! Jay Levesque : It sounds even better the second time Paul Robert Thomas : Great stuff & loved Bob's choreography as well as his Liverpool 96 & Hall of Fame gold shirt (can't place those spats though) & looked as though Bob was enjoying himself too:)! P.S. Nice of Train to thank Greg Linn over at Sony. His name appears on releases by Dylan, Bruce Springsteen, and others. http://www.examiner.com/bob-dylan-in-national/bob-dylan-at-the-grammys-first-thoughts
Voldar: Пока точно установленные даты гастролей Боба в этом году. * Apr15 Marina Promenade, Singapore Timbre: Rock & Roots * Apr17 Fremantle, Western Australia, Australia West Coast Blues 'n' Roots * Apr19 Adelaide, South Australia, Australia Entertainment Centre with special guest B.B. King * Apr20 Melbourne, Victoria, Australia Rod Laver Arena * Apr23 Wollongong, NSW, Australia WIN Entertainment Centre * Apr25 Byron Bay, NSW, Australia Byron Bay Bluesfest * Apr26 Byron Bay, NSW, Australia Byron Bay Bluesfest * Apr27 Sydney, NSW, Australia Entertainment Centre * Apr30 Auckland, New Zealand Vector Arena
Voldar: Отличная статья о выступлении Боба на Гремми и его голосе. A matter of perspective - Why Bob Dylan was great last night at the Grammys Bob Dylan went "acoustic" last night at the Grammys, and still rocked the house. As expected, the reaction so far has been mixed - polarized, even - with comments ranging from "Awesome" to "Awful". It's a matter of perspective. Dylan will be turning 70 in a few months. His voice has deteriorated, especially in the last few years. Anyone who has heard or seen him recently knows that. This is not news. People say that his voice is "shot", that he's not "singing" - he's "croaking". More than one comment from my previous review suggested that Dylan should get his vocal chords fixed. I know, I get it. However, that's beside the point. There's a famous saying about criticism - "Talking about music is like dancing about architecture." Music, like all art forms, hits you in many ways, from various angles. While it can be interesting to dissect and analyze a piece of work, that's not its purpose. At its best, it should affect you, hit you from behind, catch you off guard. Comfort you, challenge you, teach you, open your mind, expand your boundaries. You should feel it. Dylan's voice is rough, no surprises there. It's clear that Bob Dylan is not Barbra Streisand. When I listen to Dylan, I have faith that he knows what he is doing. Getting old is a fact of life, and it is a privilege to make that journey. Dylan's voice is not pretty, and if that's what you want from him, you can get off the train now. I must admit that after seeing the rehearsal clip, I thought the performance might be a train wreck. The sound was poor, the visuals distant. It looked like a mess, but was hopeful that when it came to show time, Dylan would come through. I was not disappointed. Last night I was not home, so I was unable to watch the Grammys live. I set my DVR, but was concerned that it would not record, as happens on occasion. There was no need to worry, because Dylan's segment was already available on Facebook. Soon, the entire segment was posted. The Grammys are taking down clips from You Tube as soon as they are uploaded, but it can still be found on other similar sites. When I watched the clip and saw Dylan walk to center stage, I held my breath. It was a typically Dylanesque entrance, with his mock bumbling around, eyes darting around the stage, then he grabbed the mic like Elvis and out came "I ain't gonna work on Maggie's farm no more . . ." Oh yeah. The voice. "Dylan can't sing", I heard you say. We've all heard that, for almost half a century now. Now, I'm not hard of hearing, nor am I in denial. His voice has deteriorated. Shockingly so. I accept that, it's part of the deal. One of the appeals of Dylan and his art is his honesty. This is reality. Face it. Deal with it. Old age is nothing to be ashamed of. Now, once we get past the "croak", how was Dylan's performance? Excellent, I say. Dylan has rarely shown this much joy or exuberance on television. If he had been talked into doing this a couple of decades ago, he might have subverted the entire performance, but not last night. Dylan just got better and better as the song went on. He got lost in the moment, and let the music play him. That's what it's all about. The entire segment was exciting, considering the somewhat uninspired choice of "Maggie's Farm", although there was this interesting posting on Facebook by Marianna Lemos: "Was Bob's choice of "Maggie's Farm" a tribute to the Egyptian Revolution? "- a friend asks . It makes sense to me... The Avett Brothers and Mumford & Sons, along with members of Dylan's own band (and one mystery person), played with so much spirit and gusto, that the enthusiasm permeated the atmosphere, and in turn inspired Dylan. As for Bob, it must have seemed like a childhood dream come true, playing the kind of music he heard when he was a kid in Minnesota. How could one's heart not be touched by any of Dylan's numerous smiles? Bob also stuck with the basic melody (such as it was), but added flourishes and nuances as the spirit took him. Dylan's been known to sleepwalk through this song, but he certainly connected with the lyrics last night. If you didn't like it the first time, watch it again with an open mind. How many times has Dylan's work grown after repeated viewings or listenings? However, if you are expecting Newport '65, don't bother. Dylan does not live in the past, he lives in the present moment. Despite his voice, Dylan is still trying to be "forever young'' in spirit, but not embarrassingly so. He certainly appeared healthier and happier that he did a couple of decades ago. The years are not slowing Dylan down. During the last verse, Dylan summed it up best: Well, I TRY my best To BE just LIKE I AM But everybody WANT YA To be JUST like them They say SING while you SLAVE and I get BORED Well croaked, Bob. Well croaked. http://www.examiner.com/bob-dylan-in-national/a-matter-of-perspective-why-bob-dylan-was-great-last-night-at-the-grammys
Voldar: Подробности о выходящем на CD 12 апреля концерте Боба. "Bob Dylan In Concert - Brandeis University 1963" to be Released April 12 Columbia Records and Legacy Recordings announce the first stand-alone release of Bob Dylan In Concert - Brandeis University 1963, available on digital, CD and vinyl formats everywhere on Tuesday, April 12, 2011. A previously unknown live recording of a 21-year-old Bob Dylan taped at the Brandeis First Annual Folk Festival in Waltham, Massachusetts, on May 10, 1963, Bob Dylan In Concert - Brandeis University 1963 captures the rollicking wit, deadpan delivery and driving intensity of the young artist's on-stage persona in an assortment of end-of-the-world songs -- none of them commercially available at the time -- performed in front of an appreciative audience two weeks prior to the release of The Freewheelin' Bob Dylan (May 27, 1963). The Bob Dylan In Concert - Brandeis University 1963 concert tape was discovered recently in the archives of the noted music writer and Rolling Stone co-founder Ralph J. Gleason, where it sat on a shelf for more than forty years. "It had been forgotten, until it was found last year in the clearing of the house after my mother died," said Toby Gleason, Ralph's son. "It's a seven inch reel-to-reel that sounds like it was taped from the mixing desk." Drawn from two sets that Spring night at the Brandeis Folk Festival, tracks on Bob Dylan In Concert - Brandeis University 1963 include "Honey, Just Allow Me On More Chance" (incomplete), "Talkin' John Birch Paranoid Blues," "Ballad Of Hollis Brown," "Masters of War," "Talkin' World War III Blues," "Bob Dylan's Dream," and "Talkin' Bear Mountain Picnic Massacre Blues." Previously available as a limited time offer, Bob Dylan In Concert - Brandeis University 1963 is being reissued in response to overwhelming popular demand for a wide release. The new Columbia/Legacy edition features liner notes penned exclusively for this release by noted Bob Dylan scholar Michael Gray, author of The Bob Dylan Encyclopedia and the three-volume Song & Dance Man: The Art of Bob Dylan, who provided an explication of the album's seven songs and historical/cultural context for the performances. "It's a small miracle this recording exists," Gray writes in his essay. "Clearly a professional recording.... (t)he Bob Dylan performance it captured, from way back when Kennedy was President and the Beatles hadn't yet reached America, wasn't even on fans' radar.... It reveals him not at any Big Moment but giving a performance like his folk club sets of the period: repertoire from an ordinary working day....Dylan has leapt a creative canyon with this material....This is the last live performance we have of Bob Dylan before he becomes a star...." http://www.bobdylan.com/news/bob-dylan-concert-brandeis-university-1963-be-released-april-12
Voldar: Ещё одно супер издание. Bob Dylan 'Box Of Vision' archive book Jonathan Polk's much anticipated new Box Of Vision book, BOB DYLAN Archive, will be released shortly. Polk sent me an advanced copy, and I must say, it's quite impressive. It's the perfect gift for any Bob Dylan fan, or anyone who admires album graphics in general. However, in order to truly appreciate this Bob Dylan vinyl album art storage book, it needs to be experienced in person. Well, if you look at the embedded clip at the left, you can view the next best thing. "The video does a real good job of showing off the product," Polk told me. "There is nothing like picking up the real thing, feeling it, and leafing through the pages, but this comes close to showing how nice a product it is." Polk also let me know that pre-sales will start by March 10, and the first product will ship in April. Next Friday, Box of Vision is expecting to launch "a contest to win one of the very first copies shipped. There will be a little Bob Dylan quiz. The contest will be time sensitive. The first people to get it correct, win. The contest should go live at noon, Friday, on the Box of Vision Facebook page." For more information, and photos, check out the Box Of Vision Facebook page and click "like", or go to Box Of Vision and sign up for the latest information. The Box Of Vision website is solely responsible for all aspects of the quiz. http://www.examiner.com/bob-dylan-in-national/will-harvey-the-snake-mandel-replace-charlie-sexton-bob-dylan-s-band
Voldar: Bob Dylan, Neil Young, Eagles to play 2011 Hop Farm Festival RTT News is reporting that Bob Dylan will be returning to Paddock Wood, Kent, U.K., to play at the 2011 Hop Farm Festival on Friday, July 1. Dylan is not yet listed on the official website, but performed at the festival last year. According to various sources, Dylan will share the bill with Neil Young (also not yet listed), The Eagles, Bryan Ferry, Death Cab For Cutie, and 10CC. Other acts scheduled to appear at the two day (July 1 and 2) festival include Mumford & Sons, Pete Doherty and Primal Scream. Dylan, of course, recently appeared with Mumford & Sons at the Grammy Awards. Tickets are available at the official website. But beware . . . The appearance had not been confirmed at either the Hop Farm or Bob Dylan website. Bob Dylan - Ballad Of A Thin Man, Hop Farm Festival 2010
Voldar: Suze Rotolo, Bob Dylan's muse and 'Freewheelin' cover girl, dead at 67 Susan Elizabeth Rotolo, Bob Dylan's girlfriend in the early 1960s pictured on the iconic cover of The Freewheelin' Bob Dylan, has died at the age of 67. According to The Village Voice, Suze Rotolo died on February 24 "after a long illness, at home in her Noho loft and the arms of her husband of 40 years, Enzo Bartoccioli." Rotolo is often credited as the inspiration for such Dylan classics as "Don't Think Twice, It's All Right", "Tomorrow Is A Long Time", "Down The Highway", "Boots Of Spanish Leather", "Ballad in Plain D", "Simple Twist Of Fate", and the instrumental, "Suze (The Cough Song)". She also expanded the political, poetic, and emotional boundaries of Dylan's songwriting. Rotolo appeared in the Martin Scorsese documentary, No Direction Home, and recalled her relationship with Dylan in her memoir, A Freewheelin' Time. Dylan wrote about Rotolo in his book, Chronicles Volume One. Last June, I wrote about Rotolo's 1962 trip to Italy as part of the "Dylan's back pages" series. it also includes audio of Nick Drake covering "Don't Think Twice" and "Tomorrow Is A Long Time". http://www.examiner.com/bob-dylan-in-national/suze-rotolo-bob-dylan-s-muse-and
Voldar: Joan Baez reissue to include previously unreleased demo of Bob Dylan cover An upcoming reissue of Joan Baez's 1992 album, Play Me Backwards, will include a previously unreleased demo cover version of Bob Dylan's "Seven Curses". Baez released a live take of the song on her 2005 album, Bowery Songs (recorded in 2004). According to a post on Joan Baez's official website, Proper Records will release the newly re-mastered and expanded CD edition of the album on March 14. The CD will feature new cover artwork, and "will be released only in the United Kingdom and European territories". There will also be a worldwide release on vinyl through the Diverse Records label. Their website states the release will be a "180G Double LP, gatefold sleeve," however, it currently only lists the original 11 tracks from the 1992 release. The length of the original album is just over 36 minutes and should easily fit on one LP. Presumably, the ten demos will comprise the second disc. As with many other Baez releases, the reissue of Play Me Backwards will feature new liner notes by Arthur Levy. Original track listing: Play Me Backwards (J. Baez, W. Wilson, K. Greenberg, K. O'Connor) Amsterdam (Janis Ian, B. Mondlock) Isaac & Abraham (J. Baez, W. Wilson, K. Greenberg) Stones In The Road (Mary Chapin Carpenter) Steal Across The Border (Ron Davies) I'm With You / Reprise (J. Baez, W. Wilson, K. Greenberg, P. Bunch) Strange Rivers (John Stewart) Through Your Hands (John Hiatt) The Dream Song (J. Baez, R. Davies) Edge Of Glory (J. Baez, W. Wilson, K. Greenberg, K. O'Connor) Bonus demo track listing: Medicine Wheel • Rise From The Ruins • Trouble With The Truth • Much Better View Of The Moon • Seven Curses • In My Day • Dark Eyed Man • We Endure • The Last Day • Lonely Moon Original credits: Original release date: October 1992 Produced by: Wally Wilson and Kenny Greenberg Album cover design by: Tom Dolan Album cover art direction by: Mick Haggerty Album cover photography by: Melanie Nissen Additional musicians and vocalists: Greg Barnhill, Richard Bennett, Ashley Cleveland, Chad Cromwell, Jerry Douglas, Carl Gorodetzky, Kenny Greenberg, Vicki Hampton, Mike Lawler, Bob Mason, Edgar Meyer, Jonell Mosser, Steve Nathan, Cyndi Richardson, Tom Roady, Chris Rodriguez, Pam Sixfin, James Stroud, Marcos Suzano, Willie Weeks, Kristen Wilkenson, Wally Wilson, Glen Worf Issued on cassette tape: Virgin Records 86458-4 Issued on CD: Virgin Records 86458-2 Re-issued in 1996 on CD: Guardian Records 54615 This was Baez's first album recorded in Nashville since 1972's Come from the Shadows. Baez made her first music video for the Mary Chapin Carpenter song, "Stones in the Road." The album was nominated for a Grammy for Best Contemporary Folk Recording. http://www.examiner.com/bob-dylan-in-national/joan-baez-reissue-to-include-previously-unreleased-demo-of-bob-dylan-cover
Voldar: К 70 - летию Боба будет выпущено кино. When Bob Dylan turns 70 in May 2011, his iconic career will have spanned five decades. Yet, a true portrait of the reclusive "voice of the generation" has eluded Dylan fans. Through exclusive insider interviews, and never-before-seen photos and footage spanning Dylan's 50-year career, Bob Dylan Revealed offers an intimate biography of who Bob Dylan was, and who he is today. * Producer Jerry Wexler and award-winning songwriter Al Kasha provide an untold account of Dylan's early days at Columbia Records in 1962. Drummer Mickey Jones chronicles the 1966 Bob Dylan and the Band electric world tour that changed Rock n’ Roll forever, while soon after, Dylan used the cover story of a motorcycle accident to enter drug rehab. Dylan's 1974 comeback tour is illustrated by tour photographer Barry Feinstein through his finest photos and behind-the-scenes accounts. In 1975, Bob Dylan hit the road with a rag-tag band of folk troubadours, culminating in “The Night of the Hurricane”. Folk legend Ramblin’ Jack Elliott, violinist Scarlet Rivera, bassist Rob Stoner, and boxer Rubin “Hurricane” Carter reveal the inside story of Dylan’s Desire album and Rolling Thunder Revue tour. Following a stint as "The Entertainer" in 1978, Bob Dylan fell into the arms of the Lord through the Vineyard Christian Fellowship Church, producing three Gospel albums. Derided as “God-Awful Gospel,” Dylan’s radical new direction alienated fans and enraged critics. Pastor Bill Dwyer, journalist Joel Selvin, singer Regina McCrary, keyboardist Spooner Oldham, and Dylanologist AJ Weberman share intimate accounts of Bob Dylan’s “born-again” transformation – and his return to Judaism! Bob Dylan Revealed culminates with Dylan's Never Ending Tour that began in 1992 and continues to this day, as drummer Winston Watson recounts his personal journey as a warrior in Bob Dylan's "Never Ending Band”. BOB DYLAN REVEALED Coming on May 1, 2011 A Highway 61 Entertainment Production Directed by Joel Gilbert Running Time 110 Minutes - Widescreen Format http://www.bobdylanrevealed.com/
Voldar: Бобу Дилану разрешили выступить в Китае Американский певец Боб Дилан впервые в своей карьере выступит в Китае, сообщает Agence France-Presse. Два выступления пройдут 6 апреля в Пекине и 8 апреля в Шанхае и будут приурочены к 50-летию концертной деятельности легендарного музыканта, которому в мае исполняется 70 лет. Билеты на шоу поступят в продажу на следующей неделе и будут стоить от 280 юаней (42 доллара). VIP-билеты можно будет приобрести за 1961,411 юаня. Такая цена установлена не случайно, она отсылает к дате первого концерта Боба Дилана, состоявшегося в Нью-Йорке 11 апреля 1961 года. Певец, в чьем творчестве встречалось немало остро политических и протестных песен, намеревался выступить в Китае еще в прошлом году, однако министерство культуры КНР не выдало ему соответствующего разрешения. При этом чиновники никак не аргументировали свой запрет. Расстроившись, Дилан полностью отменил гастрольный тур по Юго-Восточной Азии, в рамках которого планировал заехать в Китай. Теперь промоутеры заручились разрешением на выступления. Власти Китая довольно жестко контролируют гастроли иностранных артистов. В частности, это связано с инцидентом на концерте Бьорк в 2008 году, когда певица со сцены призвала к независимости Тибета. После этого министерство культуры КНР распространило заявление, что своим скандированием "Тибет! Тибет!" Бьорк "оскорбила чувства китайского народа".
Voldar: После гастролей по Юго-Восточной Азии и Океании,Боб опять вернется летом в Европу,а затем в Америку. June 16, 2011, Cork, Ireland June 18, 2011, London, England June 22, 2011, Milan, Italy July 15, 2011, Costa Mesa, California http://www.boblinks.com/dates30.html#040311
Voldar: Bob Dylan recording, and cover, included on Starbucks '40th Anniversary' 2CD set A Bob Dylan master recording, and a well-known cover version of one of his songs, are two of the 40 tracks included on a new 2 CD compilation. Dylan's "Visions Of Johanna", as well as fellow Wilbury George Harrison's cover of the 1970 tune "If Not For You", are featured on Starbucks 40 - A 40th Anniversary Collection by Starbucks Entertainment. The collection - "Forty of our favorite selections that capture the essence of the coffeehouse sound" - is available from the Starbucks Store website. Dylan has previously sanctioned two exclusive releases via Starbucks. A truncated, 10 track version of Bob Dylan: Live at the Gaslight 1962 was released in 2005, and Artist's Choice - The Music That Matters To Him', a hand-picked collection of mostly early blues, country, jazz and R&B sides, saw the light of day a few years later. Here's the complete track listing of the new compilation (Note the first three artists on disc two): Disc One 1. Satin Doll - Duke Ellington 2. Lover Man (Oh, Where Can You Be) - Billie Holiday 3. Just You, Just Me - Nat King Cole 4. In the Still of the Night - Ella Fitzgerald 5. A Kiss to Build a Dream On - Louis Armstrong 6. Fever - Pegge Lee 7. Busted - Ray Charles 8. Bring It On Home to Me - Sam Cooke 9. Bumpin' on Sunset - Wes Montgomery 10. Memories Are Made of This - Dean Martin 11. Summer Wind - Frank Sinatra (Featured on the very first episode of Theme Time Radio Hour). 12. Visions of Johanna - Bob Dylan 13. (You Make Me Feel Like) A Natural Woman - Aretha Franklin 14. Inner City Blues (Make Me Wanna Holler) - Marvin Gaye 15. Peace Like a River - Paul Simon 16. Lively Up Yourself - Bob Marley and The Wailers 17. Constant Craving - K.D. Lang 18. Beyond Belief - Elvis Costello & The Attractions 19. Building a Mystery - Sarah McLachlan 20. Cantaloop (Flip Fantasia) - Us3 featuring Rahsaan and Gerard Presencer Disc 2 1. Woman - John Lennon 2. Every Night - Paul McCartney 3. If Not for You - George Harrison 4. Chan Chan - Buena Vista Social Club 5. New Slang - The Shins 6. Lonestar - Norah Jones 7. How to Fight Loneliness - Wilco 8. Gotta Get Back - Shelby Lynne 9. 9 Crimes - Damien Rice 10. Don't Wait Too Long - Madeleine Peyroux 11. Lost Cause - Beck 12. Put Your Records On - Corinne Bailey Rae 13. Please Read the Letter - Robert Plant & Alison Krauss 14. I Feel It All - Feist 15. Blue Ridge Mountains - Fleet Foxes 16. Don't Forget Me - Neko Case 17. History of Lovers - Calexico and Iron & Wine 18. The Clockwise Witness - DeVotchKa 19. For Emma - Bon Iver 20. Doesn't Mean Anything - Alicia Keys http://www.examiner.com/bob-dylan-in-national/bob-dylan-recording-and-cover-included-on-starbucks-40th-anniversary-cds
Voldar: Bob Dylan to perform in Vietnam for the first time... but will fans be able to afford a ticket? His songs were considered anthems for the anti-Vietnam war era of the Sixties. But it wasn't just the Americans who were inspired by him but he also gained a legion fans in the communist country. And next month they will finally get the chance to see him play live when he performs there for the very first time. However, there may be some concerns that many will struggle to afford a ticket, with general admission entry costing 900,000 dong (£26) - which is slightly higher than Vietnam's monthly minimum wage. VIP tickets cost 2.5 million dong (£75), and will include food and drinks as well as parking, VIP entrance, exclusive access to a VIP bar and tents, and executive washrooms. The gig will take place on April 10 at the 8,000-plus-capacity RMIT University in Ho Chi Minh City, which used to be known as Saigon. But despite the ticket prices, Rod Quinton, general manager of promoters Saigon Sound System said this will be a once-in-a-lifetime event because of the cultural and historical significance of Dylan playing in the country for the first time. He said: 'We are bringing him here because Bob Dylan is a very important legend of music and we think it's important that Vietnamese people, particularly the younger generation, are exposed to his legacy and what he's done for music. 'It will be something very special when Dylan and his band takes to the stage in Vietnam.' And he said despite what the Vietnamese may consider high prices for the tickets, he expected that all 8,250 will sell out. However, he added that they were currently only taking ticket reservations because they were still working out details with the tax department. Dylan's 1960s songs 'Blowin' in the Wind' and 'The Times They Are a-Changin' were inspirations for the American civil rights and anti-war movements. His trip to Vietnam is part of his Asia tour which will also take in a concert in China, his first there too. Chinese officials allowed the concert in Beijing to go ahead after initially refusing permission last year when plans for the tour were first put in place. He will become among a handful of western music artists who have performed in the country including Bjork, Beyonce, Eric Clapton and Wham!, who were the first Western pop group to play there. http://www.dailymail.co.uk/tvshowbiz/article-1366469/Bob-Dylan-perform-Vietnam-time--fans-able-afford-ticket.html
Voldar: Tour Report - Bob Dylan to play Denmark, Germany Bob Dylan tour update: Marek Lieberberg Konzertagenturis lists two Bob Dylan tour dates: Volkspark, Mainz, June 25, and Stadtpark, Hamburg, June 26. Tickets on sale March 18. Gaffa.dk is also reporting that Bob Dylan is playing The Funen Village, Odense, Denmark, on June 27. The dates have not yet been confirmed on Dylan's official website. Here's the translation via Google (unedited): BOB DYLAN TO ODENSE By John Bailey Wednesday 16-03-2011 at. 11:01 The legendary songwriter'll visit the museum town to June There is published a wealth of concerts these days, but when it comes to legend status and impressive backlist there are not many names that can compete with Bob Dylan as the 27th June performs in The Funen Village. It is two years since Dylan last gave a concert in Denmark, and three years since he last stopped by the capital of Funen. On both occasions received the legendary songwriter, great reviews and when you look at the quality of the last fifteen years of publishing, it is clear that age is no way tap at the 69-year-old American. Dylan will be aged 70 when he next summer comes to Denmark and there is nothing to suggest that the upcoming European visit will take place in conjunction with a new release. Song writer seems these days more interested in looking back on his life and career through publications and reissues of old material and an agreement to write the next two volumes of his autobiography. Bob Dylan The Never Ending Tour frames Odense 27th June and bill sales begin on Monday 21 March at. 10.00 in DanBillet and Billetnet. http://www.examiner.com/bob-dylan-in-national/tour-report-bob-dylan-to-play-odense-denmark-june-27
Voldar: Bob Dylan Encyclopedia Greatest Hits - Michael Gray (preview and release info)
Voldar: Bob Dylan's Blues: Ashen-faced singer's synagogue trip after death of his soulmate Bob Dylan has been spotted on a mission of mercy – visiting a local synagogue. The 69-year-old music legend had presumably gone to say prayers for his lost ‘soulmate’ and ex-girlfriend Suze Rotolo, who died at the end of last month. An ashen-faced Dylan cut a frail figure as he was dropped off with his head buried inside a baseball cap and hooded sweatshirt. He was greeted at the Los Angeles synagogue by a young woman before going inside carrying a black leather jacket underneath his arm as the sun shone. An onlooker said: ‘He looked pretty beaten down and depressed. He went in a back door and stayed inside for over an hour before being picked up again by his driver.’ It is not known how often Dylan visits the synagogue and until now his chosen religion has been a long-standing mystery. However he may well have just been saying a prayer for Miss Rotolo - his inspiration and young sweetheart who appeared with him arm in arm on the iconic cover of his 1963 album The Freewheelin’ Bob Dylan. The pair began dating in 1961 when Miss Rotolo was just 17 years old. They split after three years but remained close friends until she died of lung cancer in New York on February 25. Dylan, who turns 70 in May, has been exceptionally undecided about religion during his life and on the rare occasion that he has spoken about his faith he has been quite cryptic. From being born Jewish as Robert Zimmerman in Minnesota he famously became a born-again Christian in the late 1970s. His conversion to Christianity was very public when he released three Christian influenced gospel music albums – ‘Slow Train Coming’ in 1979, ‘Saved’ in 1980 and ‘Shot of Love’ in 1981. He has admitted struggling with his faith in the past telling Rolling Stone magazine in the 1980s: ‘I've never said I'm born again. That's just a media term. I don't think I've been an agnostic. 'I've always thought there's a superior power, that this is not the real world and that there's a world to come.’ When asked if he belonged to any church or synagogue in the same interview, he replied: ‘Not really. Uh, the Church of the Poison Mind.’ However since then he has been reported to attend Jewish religion events including the bar mitzvahs of his sons. These exclusive pictures are the first conclusive pieces of evidence that the folk music icon has come back to Judaism after the loss of his beloved ex-girlfriend. Dylan fiercely guards his privacy and goes out of his way to avoid being photographed except when he is performing in concert. He lives a nomadic existence on his sprawling ramshackle farmhouse which overlooks the Pacific Ocean in Malibu. He stays at the cliff-top compound while taking breaks in his busy tour schedule. His estate now stretches five acres as he has bought up many of the houses surrounding it since he moved there in the 1970s. On it he is known to spend his time doing carpentry and occasionally walking his pet dogs. Speaking exclusively his elderly neighbour Caroline Maclay, who has lived next door since Dylan moved in, described how rarely she has seen him. ‘We talked to him once when he was driving his truck years ago but he’s gone a great deal of the time. When he is here he’s quite private. He has 24/7 security guards. ‘You never see him. Whereas Martin Sheen is very visible in the community and we used to see Dick Van Dyke all the time in the neighbourhood - I never see Bob Dylan.’ Another elderly neighbour Audrey Burright ,who has lived opposite Dylan for more than three decades, said: ‘I met him 30 years ago, he used to come to the PTA meetings at the local school. 'He’s a very very nice person. He would take his kids to school. I never see him anymore. That was a long time ago. He’s become much less visible as he’s got older. He loves his privacy.’ Dylan’s property lies on one of the most expensive portions of real estate in California and is on the cusp of local beauty spot Point Dune - which has spectacular views out on to the Ocean. He has a number of staff who go about their day feeding the horses and chickens and going in and out for supplies. His estate manager lives in one of the several buildings on the property. From the outside several rusty old green storage units are visible in Dylan’s yard as well a decades old wreck of a Chevy, and other assorted rusty old car parts. Another neighbour Valerie Sklarevsky - who is actually friends with Dylan and was a 1960s activist herself - also told of Dylan’s desire for privacy. Valerie, who eccentrically lives in a bright yellow and red gypsy wagon behind Dylan’s estate, said: ‘He is a friend of mine. He’s a sweet guy. I met him in 1980, I wrote him a letter and he came over and talked to me, we became friends and he even wrote a song about me on his Infidels album in 1983. ‘He is a very private person. He is a nice and kind neighbour.’ Allen Weiss, who lives next door to Valerie's wagon, added: ‘He’s very , very shy to the point if she (Valerie) was talking to him and someone else walked in he would turn around and look away.’ Despite his reclusiveness Dylan seems to still have an insatiable appetite for the road and performing for his millions of fans across the world. He is due back on tour on his ‘Neverending tour’ on April 3 – beginning in Taipei, Taiwan. He then tours China, Australia, New Zealand through the rest of the month before another break until June when he heads to Ireland, England, Italy, Germany and Denmark. http://www.dailymail.co.uk/tvshowbiz/article-1370546/Bob-Dylans-Blues-Ashen-faced-singers-synagogue-trip-death-soulmate.html
Voldar: Bob Dylan 70th birthday countdown - No. 57, T. Rex's Marc Bolan covers Dylan T. Rex is best known for such 1970's glam-rock classics as "Jeepster", "20th Century Boy", and "Bang A Gong (Get It On)." Leader Marc Bolan (born Marc Feld) cited Bob Dylan as one of his main influences. He referred to Dylan in "Telegram Sam" ("Bobby's alright, Bobby's alright / He's a natural born poet, he's just outta sight"), and "Ballrooms Of Mars": Bob Dylan knows And i bet Alan Freed did There are things in night That better not to behold On the album Live 1977, Bolan updated "Telegram Sam", singing "Bobby's alright, he may be getting dee-vorced". Why did Feld choose the name "Bolan"? Possibly from B-O-b d-y-L-A-N, according to comments attributed to Bolan. Bolan, as Toby Tyler, covered Dylan's "Blowin' In The Wind" in January, 1965, along with "The Road I'm On (Gloria)," originally by Dion Di Mucci (of Dion and The Belmonts). It was finally released in1993. Several takes of "Blowin' In The Wind" were included on Marc Bolan As Toby Tyler : The Maximum Sound Session (Zinc Alloy Records ZAR CD 9006). http://www.examiner.com/bob-dylan-in-national/bob-dylan-70th-birthday-countdown-no-57-t-rex-s-marc-bolan-covers-dylan
Voldar: Bob Dylan 70th birthday countdown - No. 56, Eric Clapton and Dylan Bob Dylan first crossed paths with Clapton at Levy's Recording Studio, in London: * Date: May 12, 1965 * Song: "If You Gotta Go, Go Now" * Producer: Tom Wilson * Musicians: John Mayall's Bluesbreakers (Mayall, Clapton, John McVie, and Hughie Flint). The session was not a success, probably due to the consumption of alcohol. Ten years later, Clapton showed up at one chaotic session for Dylan's Desire album. One track, "Romance In Durango", made the final cut. In 1976, Clapton was recording his album, No Reason To Cry, at the Band's Shangri-La Studios . Dylan appeared for the sessions, staying in the rose garden, in a tent made from Ron Wood's clothes. He contributed guitar and vocals to his song, "Sign Language". In November, Clapton joined Dylan at the finale of The Last Waltz. Dylan and Clapton recorded in London one more time, for the Hearts Of Fire soundtrack, in 1986. Clapton appeared at Dylan's 1978 gig at England's Blackbushe Aerodrome, as well as Dylan's Wembley concert in 1984. Clapton rehearsed a duet with "It Takes A Lot To Laugh, It Takes A Train To Cry" for the Bob Dylan 30th Anniversary Concert Celebration in 1992, but it was cut due to time constraints. Clapton did perform two songs, and joined Dylan, George Harrison, Roger McGuinn, Neil Young, and Tom Petty for "My Back Pages", and everybody else for "Knockin' On Heaven's Door". In 1999, Dylan and Clapton finally got to perform a set together, including "It Takes A Lot To Laugh", at the "Eric Clapton & Friends To Benefit Crossroads Centre Antigua". According to Dylan Covers, Clapton has covered the following songs either written or co-written by Dylan: "Born In Time", "Don't Think Twice", "If I Don't Be There By Morning", "Knockin' On Heaven's Door", "Love Minus Zero", "Not Dark Yet", "Sign Language", "Walk Out In The Rain", and "Rainy Day Women #12 & 35". http://www.examiner.com/bob-dylan-in-national/bob-dylan-70th-birthday-countdown-no-56-eric-clapton-and-dylan
Борис: В 70 лет выступать и не потерять запала - феноменально! Неспроста Линн (с его слов) перед ним робел при встречах и работе.
Voldar: Один из обожателей Боба собрал коллекцию коверов его песен,аж на 33 дисках. Download This: Thirty-Three Freaking Discs of Unreleased Bob Dylan Covers Regular readers know we love Bob Dylan covers. They also know we love collecting live covers in what we creatively call Live Collections. Well this is a live collection to beat them all. It’s 33 discs of live Dylan covers performed by, well, everybody! No, we can’t take credit for this one. We love Dylan covers, but we also love sleeping and eating, and we can’t imagine the man who put this together had much time for either. This beast of a set was compiled at live music torrent site DimeaDozen by user jeffs98119. Titled Nobody Sings Dylan Like Dylan after some old Columbia Records ad copy, it collects over 500 legal, unreleased live covers. It’s a daunting set to say the least, so we checked in with Jeff to guide us through it. “I’ve always enjoyed Dylan covers, because they let me hear songs I know and love in different ways,” he told us. “I used to fantasize with a friend about different tribute albums and artists who should cover particular songs (e.g. Springsteen, “The Groom’s Still Waiting at the Altar;” George Harrison, “Precious Angel”; Leonard Cohen, “Slow Train”). When the web allowed me to collect a huge number of Dylan covers I just decided to live out my fantasy – minus the part where I get to hobnob with all the artists, make a lot of money, and get a thank you call from Dylan.” After 33 volumes, we wondered if he’d had about enough. Where does it all end? “Who knows? I think I did try to stop after volume 12, and even sort of announced a hiatus after volume 24 (which I cleverly titled ‘Oh Mama, Can This Really Be the End?’), but then more cool stuff fell into my hands (Waylon Jennings doing ‘Things Have Changed’!) and I decided to revive the series. As long as I have versions of songs that I think add something to the original and are worth sharing, and as long as the web allows easy distribution, I’ll keep ‘em coming.” Without further ado, here is a selection from the 33-disc-and-counting series Nobody Sings Dylan Like Dylan. All songs were chosen as particular highlights by curator Jeff, and he gives us his notes on each. Enjoy, then go to Music Ruined My Life to download the full series (if you dare). http://www.covermesongs.com/2011/04/download-this-thirty-three-freaking-discs-of-unreleased-bob-dylan-covers.html http://musicruinedmylife.blogspot.com/search?q=Nobody+Sings+Dylan+Like+Dylan&updated-max=2011-03-20T20%3A27%3A00-05%3A00&max-results=20
Voldar: Bob Dylan Goes Electric on Blu-ray Two Bob Dylan classic documentary films will be released on Blu-ray for the first time on April 26. Both titles, D.A. Pennebaker’s Don’t Look Back and Murray Lerner’s The Other Side Of The Mirror – Bob Dylan Live at the Newport Folk Festival 1963-1965, are classic rock and roll movies. The Blu-ray release of Don’t Look Back includes a new interview with director Pennebaker. Lerner’s The Other Side of the Mirror captures Dylan performing at the Newport Folk Festival in 1963, 1964 and 1965 (the year he went “electric” at the event). Lerner said in a statement: “We decided on no narration, no pundit interviews, no interviews with Dylan. Nothing except the experience of seeing him… That to me is exciting. Just the clear experience gives you everything you need.” http://www.gibson.com/en-us/Lifestyle/News/bob-dylan-0404-2011/
Voldar: Bob Dylan's spring tour has officially begun. Taipei, Taiwan Taipei Arena April 3, 2011 1. Gotta Serve Somebody (Bob on keyboard) 2. It Ain't Me, Babe (Bob on guitar) 3. Things Have Changed (Bob on guitar) 4. Sugar Baby (Bob center stage on harp) 5. Cold Irons Bound (Bob center stage on harp) 6. Simple Twist Of Fate (Bob on guitar) 7. Honest With Me (Bob on keyboard) 8. Desolation Row (Bob on keyboard, Donnie on electric mandolin) 9. Tweedle Dee & Tweedle Dum (Bob on keyboard, then center stage on harp) 10. Forgetful Heart (Bob center stage on harp, Donnie on violin) 11. Highway 61 Revisited (Bob on keyboard) 12. Tryin' To Get To Heaven (Bob on keyboard) 13. Jolene (Bob on keyboard) 14. Ballad Of A Thin Man (Bob center stage on harp) (encore) 15. Like A Rolling Stone (Bob on keyboard) 16. Blowin' In The Wind (Bob on keyboard, then center stage on harp) Despite rumors to the contrary, the band members appear to be the same. Tour dates, courtesy Desolation Row Information Service: April 3rd 2011, Taipei Arena, Taipei, Taiwan April 6th 2011, Workers Gymnasium, Beijing, China April 8th 2011, Grand Stage, Shanghai, China April 10th 2011,Loretta Grounds, RMIT University, Ho Chi Min City, Vietnam April 12th 2011, Star Hall, Kowloon Bay, Hong Kong April 13th 2011, Star Hall, Kowloon Bay, Hong Kong April 15th 2011, Rock & Roots Festival, Marina Promenade, Singapore April 17th 2011, West Coast Blues 'N Roots Festival, Fremantle Park, Perth, Western Australia, Australia. April 19th 2011, Adelaide Entertainment Centre, Adelaide, Australia April 20th 2011, Rod Laver Arena, Melbourne, Australia April 21st 2011, Rod Laver Arena, Melbourne, Australia April 23rd 2011, WIN Entertainment Centre, Wollongong, Australia April 25th 2011, Byron Bay's Bluesfest, Byron Bay, New South Wales, Australia. April 26th 2011, Byron Bay's Bluesfest, Byron Bay, New South Wales, Australia. April 27th 2011, Sydney Entertainment Centre, Sydney, Australia. April 28th 2011, Sydney Entertainment Centre, Sydney, Australia. April 30th 2011, Vector Arena, Auckland, New Zealand. Advertisement June 16th 2011, The Marquee, Cork, Ireland June 18th 2011, The Feis, Finsbury Park, London, England June 20th 2011, Ramat Gan Stadium, Tel Aviv, Israel June 22nd 2011, Alcatraz, Milan, Italy June 24th 2011, Sursee, Switzerland June 25th 2011, Volkspark, Mainz, Germany June 26th 2011, Stadtpark, Hamburg, Germany June 27th 2011, Funen Village, Odense, Denmark June 29th 2011, Bergen Calling, Bergen, Norway June 30th 2011, Spektrum, Oslo, Norway July 2nd 2011, Peace and Love Festival, Borlange, Sweden, July 15th 2011, Pacific Amphitheatre, 2011 OC Fair, Orange County, California. http://www.examiner.com/bob-dylan-in-national/bob-dylan-set-list-taipei-arena-taiwan-april-3-2011
Voldar: Bob Dylan Performs in China for the First Time BEIJING -- Counter-culture hero and 1960s protest singer-songwriter Bob Dylan got a rapturous welcome from fans on Wednesday at his first ever concert in China, despite having agreed to sing only an approved set designed not to offend political sensitivities. Famous for his songs against injustice and for civil liberties and pacifism, Dylan struck a cautious line in Beijing and did not sing anything that might have overtly offended China's Communist rulers, like The Times They Are A-Changin. On stage for almost two hours at the city's Worker's Gymnasium, Dylan brought the audience to a standing ovation with his penultimate song, All Along the Watchtower, and came back for two encores. Like a Rolling Stone also proved popular. He spoke only once directly to the crowd of some 5,000 people -- mostly young Chinese though with a strong foreign presence -- and that was to introduce his band. "I was a little disappointed that he didn't sing many of his songs because of the politics," said Zhang Tian, 30, a Beijing lawyer. "What is the government so afraid of?" Dylan's gravelly voice, which made his lyrics hard to pick out even for native speakers of English, would have flummoxed many Chinese in the crowd in any case. China's agreement to permit the concert this year after an aborted attempt last year came with the proviso that Dylan "performed with the approved content," according to a brief statement issued last month by the ministry, which gave no other details. Dylan's concert comes at a sensitive time in China, where musicians and artists have always had to contend with at least a measure of government control and censorship. Over the weekend renowned Chinese contemporary artist Ai Weiwei was taken into custody at Beijing airport and has not been heard from since, in the latest part of a sweeping campaign to stifle dissent. Beijing perhaps ought not to have been so worried. While some Western artists such as Lady Gaga and Celine Dion are wildly popular in China, especially with young people in the big cities, the aging Dylan is much less well-known. "I know his songs from karaoke, but I'm really not that familiar with him," said advertising executive Yin Yang, 24. "Still I think this was a historic concert and I'm glad I've seen him." One state-run newspaper, The Global Times, a popular tabloid run by Communist Party mouthpiece The People's Daily, sniffed that Dylan had nothing to say to the man on the street in China. "The subject of Dylan's songs, from drugs to racial equality to human dignity to war, are not on the radar of the average Chinese person, who is more interested in taking care of his or her family," it wrote in its English language edition. However, American studies professor Teng Jimeng said Dylan's musical messages of justice and world peace were just as meaningful today as when he first sang them. "Dylan is still relevant to us because...Blowing in the Wind is an anti-war song and also Hard Rain's Gonna Fall is an anti war song," Teng said. "And Dylan means a lot to us still because the world is still at war." "Baobo Dilun," as he is known in Chinese, will also perform in China's commercial capital Shanghai later in the week. China's censors are notoriously sensitive not just to subversive political content, but also references to sex, drugs and religion. In 2006, Beijing demanded The Rolling Stones exclude five of their racier numbers for their first show in China, including "Brown Sugar" and Let's Spend the Night Together, due to lyrics deemed too risque for mild-mannered Chinese. Visits by Western singers and bands to China are still fairly rare, though increasing. Their shows don't always go off smoothly. In 2008, Icelandic singer Bjork shouted "Tibet! Tibet!" at a Shanghai concert after performing her song Declare Independence, angering the government and local fans alike. But Dylan's words were lost on many in the crowd. "He has songs the government could consider sensitive? Really?" asked Xiao Shu, 36. "I just like the music." http://www.hollywoodreporter.com/news/bob-dylan-performs-china-first-175647
Voldar: Боба Дилана упрекнули в предательстве китайского художника Правозащитники раскритиковали Боба Дилана за то, что он не произнес речь в поддержку китайского художника Ая Вэйвэя во время своего концерта в Пекине, сообщает ContactMusic. Недовольство поведением музыканта, в частности, выразили представители организации Human Rights Watch. Боб Дилан впервые в своей карьере дал концерт в столице КНР 6 апреля. Во время шоу он обращался к публике лишь единожды, когда представлял зрителям своих музыкантов. По мнению представителя Human Rights Watch Брэда Адамса, своим молчанием Дилан буквально предал Вэйвэя, чье задержание правозащитники и представители мира искусства сочли политически мотивированным. Адамс заявил, что если бы Дилан оказался на месте китайского художника, ему непременно захотелось бы, что бы в его адрес прозвучали слова поддержки. Как подчеркнул правозащитник, американский музыкант, известный своими песнями протестного содержания, не подверг бы себя никакому риску, если бы решился на речь. Сам Боб Дилан пока никак не прокомментировал свое выступление в Пекине. 8 апреля. в пятницу, американский музыкант выступит в Шанхае. Ая Вэйвэя задержали 3 апреля. После этого несколько дней о нем не было никакой информации. Вскоре агентство "Синьхуа" сообщило, что художник находится под следствием по подозрению в экономических преступлениях. http://www.lenta.ru/news/2011/04/08/dylan/
Voldar: Sign of the times Or why you should catch the Bob Dylan gig WHEN one is offered the chance to hop on a plane to catch a Bob Dylan gig, one doesn't say no. Well, I certainly didn't. Sure, his recent performance at the Grammys was … Let's just say it was less than the stellar quality one would expect from someone of Dylan's stature. But this is the guy who wrote seminal songs like Blowin' In The Wind, Subterranean Homesick Blues, Mr Tambourine Man and All Along The Watchtower. The 11-time Grammy-winner has been called "the best lyricist in the world" by producer Jeff Lynne, who, along with Dylan, was in the '80s "supergroup", The Traveling Wilburys. And Lynne's probably right. "This is quite a historic event," said Timbre co-founder Danny Loong - who will be bringing Dylan to Singapore for the Timbre Rock & Roots music festival on Friday - as our plane taxied in to Ho Chi Minh's airport. Loong wasn't far wrong. This was the first concert in Vietnam - where international big-name acts have traditionally not been allowed to perform - by the legendary 69-year-old folk singer, whose songs became peace anthems during the 1960s anti-Vietnam War movement. It also marked 50 years since Dylan's first major performance. So yes, it's a big deal. I heard 10,000 whisperin' Ho Chi Minh City, or Saigon, as it was previously called, is famous for a lot of things - mostly war-related. It's home to tourist attractions such as the Reunification Palace, the famous Rex and Caravelle hotels which were lodgings for war correspondents during the Vietnam war, and, well, the girlie bars that offered some R&R for servicemen during said war (not that it looks to be any different today). It's also one of the stops in Dylan's 2011 tour - which incidentally is considered by fans as part of his Never Ending Tour that began in 1988. The Asia-Pacific leg kicked off in China with concerts in Beijing and Shanghai. And, as was typical of Dylan, he immediately drew controversy. After apparently banning a concert by Dylan last year, the Chinese government reportedly only agreed to a performance of songs vetted by their censors. (The Chinese authorities have been wary of foreign performers, partly because of Icelandic singer Bjork's showing of support for Tibetan independence at her 2008 concert in Shanghai.) But if anybody thought Dylan would take the high road of artistic integrity, they would have been wrong. Dylan agreed to the terms. Obvious politically charged songs like The Times They Are A-Changin' and Blowing In The Wind would not be performed. (Although it's not clear if those songs were even submitted to the authorities in the first place.) His acquiescence was criticised by Human Rights Watch in the United States, which said "Dylan should be ashamed of himself". "The young Dylan wouldn't have let a government tell him what to sing," Brad Adams, executive director of the organisation's Asia division said in a statement. "He has a historic chance to communicate a message of freedom and hope, but instead he is allowing censors to choose his playlist." There were mumblings that the same rules applied to Dylan's gig here in Vietnam, although concert promoter Rod Quinton, who runs Saigon Sound System, had told correspondents that no restrictions had been imposed to the lengthy song list submitted. The Times, They Are A-Changin' Ironically, the Dylan management themselves issued some restrictions: No press time, no press photographers at the concert. According to the grapevine, some photographers had flouted the "no flash" rule when it came to concert photography, and the Dylan camp weren't amused. To be honest, we weren't too happy about this development. I mean, we did fly all this way here. But did we take the artistic high road and say, "Well, we are not agreeable to those terms"? Nah. Heck, if the singer/songwriter/poet/artist didn't, who were we to do so? Besides, this was Bob Dylan - in Vietnam. Take the darn camera. The historic night began with a performance by several of Vietnam's top singers and musicians, who commemorated the 10th anniversary of the death of anti-war Vietnamese folk singer Trinh Cong Son, also known as the "Bob Dylan of Vietnam". "Bob Dylan's music opened up a path where music was used as a weapon to oppose the war in Vietnam and fight injustice and racism," Tran Long An, 67, vice president of the Vietnam Composers' Association told the Associated Press. "That was the big thing that he has done for music." According to AP, Tran was a student during the war and took to the streets with other Communist sympathisers calling for the killing to stop. He remains a big Dylan fan and has a large collection of the singer's records. Then came the rumbling. Or should I say, grumbling. During the opening set for Trinh, spectators got annoyed that a bunch of people had stood up at the front of the stage, blocking their view. Cries of "sit down!" and "Sit! Sit! Sit!" issued from the back. "Did they think to come to a Bob Dylan concert and sit down?" asked one concertgoer standing near me. Her companion laughed until they saw plastic cups sailing through the air, launched by the angry people at the back. I was on my butt - pronto. When that still didn't get the front row guys to sit down, some concertgoers pushed their way forward to confront these errant folk. Arguments ensued. My companions whom I met at the concert started mapping out escape routes in case things got ugly. Don't think twice, it's alright Thankfully, a collective cheer went up when Dylan took to the stage with his band (which, incidentally, featured critically acclaimed singer-songwriter Charlie Sexton on guitar). But if people thought they were going to be treated to a slew of familiar favourites, they thought wrong. It wasn't until six songs in that Dylan unleashed his first golden oldie, A Hard Rain's A-Gonna Fall, which had been so dramatically changed, not many recognised it until he got to the chorus. The same went for songs like Like A Rolling Stone, Tangled Up In Blue, All Along The Watchtower and Highway 61 Revisited. To be sure, the singer's voice isn't quite what it was. He's given the term "gravelly" new meaning. But you don't go to a Dylan gig expecting him to sound like Michael Buble, do you? What was surprising though was Dylan's musicianship. I had not seen him play live, so my impression of a Dylan show was of somebody who just sang, played acoustic guitar and the harmonica. That was it. However, Dylan showed his blues roots - and his liking for Little Richard - when he spent more than half the time at the keyboards, playing riffs and solos. He also showed his guitar virtuosity when he ran through several solos on his electric guitar. And, yes, he whipped out his harmonica. Of course, there were those who whined that he didn't communicate with the audience. Well, he did. He introduced the band. And smiled at the crowd - twice. It was almost poetically Dylan-esque, I suppose, that his show, with the updated renditions, reflected the changes Vietnam is going through, with its numerous construction sites and shifts in social and political sentiment. The times, they are indeed a-changin'. Should you watch the Bob Dylan gig in Singapore? Well, to quote Hoang Dao Cam, a 42-year-old who flew from Hanoi to Ho Chi Minh: "The chances of watching Bob Dylan live are not many, and he's no longer young." (Ironic, considering the last song of the night was Forever Young.) Hoang said his father had taught him English when he was six years old by singing Blowin' In The Wind. "I just cannot miss this opportunity." Too right. http://www.todayonline.com/Entertainment/Music/EDC110412-0000330/Sign-of-the-times
Voldar: Джастин Бибер и Боб Дилан номинированы на Webby Awards Организаторы ежегодной интернет-премии Webby Awards назвали номинантов 2011 года. Об этом сообщается на сайте премии. В числе номинантов - певец Джастин Бибер, комик Конан О'Брайан, а также Боб Дилан и группа Arcade Fire. В категории "Игры для мобильного телефона" заявлены Angry Birds и Fruit Ninja. В категории "Лучшее вирусное видео" представлены, в частности, ролик "Песня незваного гостя в постели" ("Bed Intruder") и серия рекламных роликов Old Spice. Как сообщает CNN, победители будут объявлены 3 мая, а официальная церемония вручения премии состоится 13 июня. Лауреатов выбирает экспертное жюри, кроме того, до 29 апреля на сайте премии ведется голосование, принять участие в котором могут все желающие. В 2011 году премия Webby Awards будет вручаться в пятнадцатый раз. http://www.lenta.ru/news/2011/04/12/webby/
Voldar: Dylan in China is the message Everyone wants a part of Bob Dylan. They want ownership of the unownable. Songs are different to paintings and sculptures. Songs are clouds. They change shape, they pass by, they fragment and reform, but they're always chained to the sky, and that sky in which they float is the artist's canvas. In Dylan's case, they're not our songs, they're his. He can do with them what he likes. People take them, adore them, love them, cherish them, connect with them, are inspired by them, but that has to be the end of it. It poisons the relationship to want anything more. This is especially so with Dylan, a legend, an icon, a revolutionary. When the listener believes the artist should be answerable to him or her, they place their sense of priorities above the artist. It doesn't matter how right or righteous the cause, how deep the emotions run, it is still theft. Advertisement: Story continues below Dylan, who performs in Melbourne this week, was criticised last week for performing in China — by New York Times columnist Maureen Dowd and by human rights groups, among others. It was Dylan's first appearance in China. He had to have his song list vetted by the Communist Party. Hence the outrage in some quarters, on two counts: that he would appear in a country that treats human rights as a giant would treat a bothersome fly, and that he would allow the party to tell him what to sing. Both points miss the overwhelming factor that even the robot men of China would not have considered: being there. China is a monolithic political machine that survives through repression. It calibrates life. The machine may think it's in control by allowing Western artists to perform under its rules (the Rolling Stones played there a few years ago), but robots only understand robot rules. They don't get the poetic imagination that resides in all, no matter how deeply buried. Dylan could have stood on the stage at Beijing and recited Mary Had a Little Lamb and, from a political vantage, had the same effect as the songs he performed. Being there. Everything about Dylan is a protest song. He hasn't retired to Malibu. He doesn't play the rooms at Las Vegas. He's touring a third of the year around the globe, and has been for decades. The songs he did perform in Beijing included All Along the Watchtower, Like a Rolling Stone, Ballad of a Thin Man, Love Sick, A Hard Rain's A-Gonna Fall, It's All Over Now Baby Blue and Tangled Up in Blue. Boy, was that audience short-changed. Come on, Dylan, where were your hits? Something was happening and they didn't know what it was, did they? The opening song was Gonna Change My Way of Thinking, with its Christian tilt, from Dylan's album Slow Train Coming. How did that get through the godless cogs of the robot men? It's true he didn't perform Masters of War, the top protest song of all time according to a Mojo listing published several years ago. But in the past two years he has only played it about a dozen times, and he last played The Times They Are A'Changin' in 2009. Similarly, he performed Blowin' in the Wind only half a dozen times last year. As Alex Ross, a critic for The New Yorker, pointed out last week: "To expect an artist to issue incendiary statements while on tour is the worst sort of armchair moralism. In any case, Dylan almost never makes topical comments from the stage, and the notion that he would launch into a critique of the Chinese regime will amuse anyone who has paid even the slightest attention to him in the past 20 years." Dowd cites Hurricane, a song Dylan wrote about the injustice in the jailing of boxer Rubin Carter, and contrasts this with the singer's silence in China over the incarceration of artist Ai Weiwei. To Dowd, Dylan was merely a mercenary and, implicitly, a puppet of the repressive state. To her, he sold out because of what he did not sing. In fact, Dylan last played Hurricane in 1976, and has performed it only 33 times in his career. By contrast, he has performed All Along the Watchtower close to 2000 times. Perhaps people invest so much in Dylan, and then they don't like to see their investment behave in ways with which they do not agree. Perhaps he is a hostage to how others perceive him. This is not the fault of the artist or indeed their responsibility. They ask nothing of an audience but their ears. Everything else is beyond their control. Dylan has been battling being labelled a turncoat and a sellout since the '60s. To some in the folk movement, even back then he was a traitor, a Judas, for selling out; that is, he plugged in an electric guitar. He was a bigger enemy than the enemy. Figure that out. No other artist has been forensically examined like Dylan. A couple of weeks ago, the Fordham Law School in the US held a two-day conference on Dylan and the law. Professors were, if not fighting in the captain's tower, at least vigorously discussing myriad points of view about the songwriter and his work. A book is due out soon by an academic on the complexities of "blackness" in Dylan's work. All of this is fine, in its strange way. Just don't act as if he is yours. He's an artist, he don't look back. http://www.smh.com.au/opinion/blogs/wokkapedia/dylan-in-china-is-the-message-20110418-1dk18.html
Voldar: TWO CLASSIC DOCUMENTARIES STARRING BOB DYLAN AVAILABLE FOR FIRST TIME ON BLU-RAY DISC D.A. Pennebaker's Cinéma Vérité Masterwork "Dont Look Back" & Murray Lerner's "The Other Side of the Mirror - Bob Dylan Live At The Newport Folk Festival 1963-1965" Available on Blu-ray Everywhere Tuesday, April 26 * * * * * Bob Dylan fans and film aficionados alike have reason to celebrate on April 26, when a pair of classic documentaries, each chronicling and illuminating different aspects of Bob Dylan in the 1960s, will be released on state-of-the-art Blu-ray disc (BD) for the very first time. Both D.A. Pennebaker's Dont Look Back, a pioneering masterwork of cinéma vérité, and Murray Lerner's revelatory musical time-capsule The Other Side Of The Mirror - Bob Dylan Live At The Newport Folk Festival 1963-1965, provide indispensable glimpses into Dylan and his pivotal role as an American artist in the 1960s, each film capturing an earlier era with heart-breaking immediacy. * * * * * Dont Look Back - Blu-ray Edition (Tuesday, April 26, 2011) - Docurama Films(R) New Video's Docurama Films(R) presents the first Blu-ray release of "Dont Look Back," newly mastered in High Definition (HD) and featuring a brand new and exclusive interview with D.A. Pennebaker, the film's director, and renowned rock and culture critic Greil Marcus. The Blu-ray edition also includes bonus material from the 2007 DVD release: Highway 65 Revisited; Five Additional Uncut Audio Tracks; Commentary by D.A. Pennebaker and tour road manager Bob Neuwirth; Alternate Version of the "Subterranean Homesick Blues" Cue Card Sequence; Original Theatrical Trailer. When acclaimed documentary filmmaker D.A. Pennebaker (Monterey Pop, The War Room) filmed Bob Dylan during a three-week concert tour of England in the spring of 1965, he had no idea he was about to lens one of the 1960s most iconic feature films. Wanting to make more than just a concert film, Pennebaker decided to seek out both the public and private Bob Dylan. With unobtrusive equipment and rare access to the elusive performer, he achieved a fly-on-the-wall view of one of the most influential musicians of any era -- and redefined filmmaking along the way. New Video launched Docurama Films(R) in 1991 with Bob Dylan: Dont Look Back, the first feature documentary ever available on DVD. Twelve years and 250 award-winning, highly-acclaimed documentary titles later, Docurama continues to discover and release the greatest non-fiction films of our time while spreading the word about filmmakers who are taking the form to new heights. * * * * * The Other Side Of The Mirror - Bob Dylan Live At The Newport Folk Festival 1963-1965 (Columbia/Legacy) Columbia Records and Legacy Recordings are releasing, for the first time on Blu-ray disc, The Other Side Of The Mirror - Bob Dylan Live At The Newport Folk Festival 1963 - 1965. An essential film in the Bob Dylan cinematic canon, The Other Side Of The Mirror brings together more than 80 minutes of exquisitely lensed performances, 70% seen here for the first time, drawn from three seminal years in the artist's ever-evolving career. Produced and directed by Academy Award winner Murray Lerner (From Mao To Mozart: Isaac Stern In China), The Other Side Of The Mirror - Bob Dylan Live At The Newport Folk Festival 1963 - 1965 opens a window into a critical epoch in American cultural history as reflected in the musical transformations of Bob Dylan's galvanizing watershed performances at the Newport Folk Festival in 1963, 1964, and 1965. "This is a different kind of film, in a sense, from what I usually make," said Murray Lerner. "We decided on no narration, no pundit interviews, no interviews with Dylan. Nothing except the experience of seeing him... . That to me is exciting. Just the clear experience gives you everything you need." * * * * * THE OTHER SIDE OF THE MIRROR - BOB DYLAN LIVE AT THE NEWPORT FOLK FESTIVAL 1963 - 1965 All I Really Want To Do (7/24/1965 - afternoon workshop) 1963 North Country Blues (7/26 afternoon workshop) With God On Our Side (with Joan Baez - 7/26 afternoon workshop and 7/28 night performance) Talkin' World War III Blues (7/26 night performance) Who Killed Davey Moore? (7/27 afternoon workshop) Only A Pawn In Their Game (7/26 night performance) Blowin' In The Wind (with The Freedom Singers, Joan Baez, and Peter, Paul and Mary - 7/26 night performance) 1964 Mr. Tambourine Man (7/24 afternoon workshop) It Ain't Me, Babe (with Joan Baez - 7/24 night performance) With God On Our Side (with Joan Baez - 7/26 night performance) Chimes Of Freedom (7/26 night performance) 1965 If You Gotta Go, Go Now (7/24 afternoon workshop) Love Minus Zero/No Limit (7/24 afternoon workshop) Daytime Rehearsal with his electric band Maggie's Farm (with his electric band - 7/25 night performance) Like A Rolling Stone (with his electric band - 7/25 night performance) Mr. Tambourine Man (7/25 night performance) It's All Over Now, Baby Blue (7/25 night performance) Bonus Feature: Interview with director Murray Lerner http://www.bobdylan.com/news/two-classic-documentaries-starring-bob-dylan-available-first-time-blu-ray-disc
Voldar: When Bob Dylan & B.B. King came to town THE times they are a changing, but Bob Dylan and B.B. King will never be forgotten. Two of the biggest names in blues and folk were at the Adelaide Entertainment Centre last night. Dylan worked his way through songs old and new. Gonna Change My Way Of Thinking kicked off the night before heading into familiar territory of Senor and I'll Be Your Baby but the blues versions, which the 69-year-old stuck to most of the night, became tired. Performing blues and bluegrass versions of his back catalogue was entertaining, but lacked the emotion and delivery we have come to love. B.B. King's opening show was a brilliant tribute to the blues legend, who despite being 85 years of age can handle a room of 5000 with his stage presence and fancy fretwork. http://www.adelaidenow.com.au/entertainment/when-bob-dylan-bb-king-came-to-town/story-e6fredpu-1226042050243
Voldar: Dave Stewart collaborates with Bob Dylan and Stevie Nicks on new album The Eurythmics musician co-wrote a track with the legendary folk musician for 'The Blackbird Diaries', as well as recording collaborations with Fleetwood Mac vocalist Stevie Nicks and country singer Martina McBride. Dave said of the album: 'This was my favourite time ever in the studio, I wrote most of the songs on the spot and recorded all of them in one incredible session lasting 5 days and nights.' Stevie's involvement comes after Dave leant his production and writing skills to her latest album 'In Your Dreams' and she wanted to return the favour. The 'Sweet Dreams' musician ' who has worked with many of the world's most highly rated musicians, including Ringo Starr, Bob Geldof and Gwen Stefani - has been especially busy of late, and is currently said to be working with Mick Jagger on the Rolling Stones frontman's first material since his band released 'A Bigger Bang' in 2005. Mick's brother, Chris, revealed: "He's doing a record at the moment in Los Angeles with Dave Stewart, he called me last night telling me what he was doing." 'The Blackbird Diaries' will be released on June 27 http://www.music-news.com/shownews.asp?H=Dave-Stewart-collaborates-with-Bob-Dylan-and-Stevie-Nicks-on-new-album&nItemID=40762
Voldar: Bob Dylan set list - Byron Bay Bluesfest (First night), April 25, 2011 Byron Bay, Australia Byron Bay Bluesfest MoJo Stage April 25, 2011 1. Gonna Change My Way Of Thinking 2. Don't Think Twice, It's All Right 3. The Levee's Gonna Break 4. Tangled Up In Blue 5. Tweedle Dee & Tweedle Dum 6. Tryin' To Get To Heaven 7. High Water (For Charley Patton) 8. A Hard Rain's A-Gonna Fall 9. Summer Days 10. Simple Twist Of Fate 11. Highway 61 Revisited 12. Ballad Of A Thin Man (encore) 13. Like A Rolling Stone 14. Forever Young http://www.youtube.com/watch?feature=player_embedded&v=ySrvKgl-JKs http://www.examiner.com/bob-dylan-in-national/bob-dylan-set-list-byron-bay-bluesfest-day-one-april-25-2011
Voldar: Dylan proves magical in Byron HE'S renowned for his hit or miss live shows but Bob Dylan, 69, was on song when he finally played the 22nd annual Byron Bay Bluesfest on Monday night. It was just a shame he wouldn't let the crowd see him as well as hear him. The sense of relief was palpable as a large, licorice-allsorts audience waited with baited breath to see if Dylan could live up to not so much expectation, as hope. And he did. While his vocals aren't nearly as crisp as those of Elvis Costello, who followed his rousing set on the Mojo stage to close Day 5 night's delights, Dylan was indeed present and accounted for. Opening with Gonna Change My Way Of Thinking before peeling off favourites from Don't Think Twice, It's All Right (with Dylan on guitar) to The Levee's Gonna Break, Tangled Up In Blue, A Hard Rain's A-Gonna Fall (which it did for a few minutes); Highway 61 Revisited (greeted with an enormous roar); Ballad of a Thin Man; Like A Rolling Stone and Forever Young, his beaut band carried his cataolgue to comforting heights and more than made up for any clairty his vocals lacked. The big criticism was that he didn't screen his performance on the large screens either side of the stage or in front of the Mojo tent as every artist before and after him has done during the festival. We don't care what you look like, Mr Dylan. We want to watch you believe what you're singing. We hear it. Indulge us by letting us see it. Dylan appreciated the crowd's warmth and applause enough to utter a rare ''thank you''. Turn on the telly today, if you really want to thank us Bob. Elvis Costello is one of few artists capable of rising to the challenge of following an act of Dylan's iconic status. And as grand as Costello's set was last night, smart money is on an even bigger blinder tonight! His razor-sharp band The Imposters, including super sideways guitarist Charlie Sexton, built the crowd up and brought them gently back down with a wonderful mix of favourites and treats. ''How many of you have been here since Thursday?'' Costello asked as he launched into A Slow Drag With Josephine. It was a rocking affair from there, from Every Day I Write The Book to Watching the Detective -- no one could complain. Also among Monday's highlights were Osibisa's standout set on the Crossroads stage from the joyous Everybody Do What You're Doing to a magical cover of George Harrison's My Sweet Lord and Wolmfother's Andrew Stockdale closing the night on the APRA stage by gate-crashing the Resin Dogs' set for for a blinding Led Zep cover. Today offers the chance to see both Bob and Elvis play again. Can Bob bounce back on the big screen? No dramas if he doesn't you can always Pump it Up with Elvis or funk it up with George Clinton. All hail Day 6. http://www.goldcoast.com.au/article/2011/04/26/310585_gold-coast-news.html
Voldar: Gig review: Bob Dylan in Auckland "Ladies and gentlemen, please welcome the poet laureate of rock 'n' roll." Introduced by monologue, the man who "forced folk into bed with rock, disappeared into a haze of substance abuse, returned after finding Jesus before being written off in the 80's" brought Vector Arena to it's feet last night. Back in New Zealand for the first time since 2007, Dylan strode out decked in black, with a cream, Boss of the Plains-style hat, and treated Auckland to the thick end of a two-hour show which left fans baying for a second encore. From an extensive catalogue of 34 studio albums, Dylan mixed a range of favourites, including Tangled Up in Blue, Desolation Row, This Wheel's on Fire and Highway 61, with a selection of acclaimed newer work like Thunder on the Mountain and Spirit on the Water. Songs like Tweedle Dee & Tweedle Dum also saw him throw the odd curve ball. Spending most of his time playing a side-facing organ, Dylan went about business in usual style, lights dimming between songs with no crowd acknowledgement at all. But he was clearly enjoying himself. Lurching into the ivories, kicking his leg out when on guitar and regularly busting out the harmonica. He even afforded a "Thank you, friends" before launching into a three-song encore. Usually he only plays two songs to end an evening. Compared to his recent 90-minute sets in Australia, he also gave New Zealanders much more bang for their buck. Both shows at the Byron Bay International Blues and Roots Festival received mixed reviews. The first was largely panned with grumbling over Dylan's decision to switch off the large video screens at the side of the stage. Over sensitive? Perhaps. Typical Dylan? Definitely. But those at last night's show can have little to complain about. Admittedly his ever-evolving voice is somewhat shot, though it stood up well last night, and you know before you get there he won't play you the 'original' version of his songs in favour of swing-heavy adaptations. But for a guy who hits 70 this month, his energy and overall performance easily hit the mark. Backed by a superb five-piece band, the sextet really got things moving during Highway 61 and Thunder on the Mountain. After an hour-and-a-half Dylan and his cohorts silently addressed the audience, stood in a line at the front of the stage. There was no bow, just seven or eight seconds of eye-balling before they slipped off into the darkness. Ad Feedback Then came the star-studded encore. Launching into Like a Rolling Stone, almost 10,000 Kiwis belted the lyrics back at the stage before All Along the Watchtower and Forever Young brought a memorable night to a close. Leaving the stage for a second time, the house lights stayed down for another three or four minutes, teasing Vector Arena with hope of a re-appearance. But you don't become the most enigmatic man in music by dishing out second encores. The most pertinent question now is will he ever come back? Bob Dylan Where: Vector Arena, Auckland When: Saturday, April 30 http://www.stuff.co.nz/entertainment/music/4947885/Gig-review-Bob-Dylan-in-Auckland/
Voldar: Статья в которой перечислены издания к юбилею Боба. Bob Dylan 70th Birthday New Release Bonanza Bob Dylan may be celebrating his septuagenarian birthday, but the cake is being carved at the shareholders meeting. Bob Dylan means many things to many people, but in the corporate boardroom it's all about the Benjamins. Ever since his 50th, every time Dylan's birthday hits a decade, a latent and lucrative cottage industry re-emerges, offering a plethora of new editions and re-releases bearing Dylan's shining monicker. On May 24, Dylan will turn 70, and the hype is so ridiculously over the top, that 2011 takes the trophy for the sheer volume of products up for release. While some of these releases will actually make excellent high-quality gifts for fans and collectors, others are lame rush jobs, quickly tossed together to cash in on the occasion. And the irony is that by the time Dylan's birthday finally gets here, the market will be so saturated with products that everyone clambering for placement will lose money. All Dylan fans have to do is sit it out and wait for the clearance sales. But cynicism aside, the following is a list of all the products being released in tandem with Bob Dylan's big Seven-Oh. See ya at the store! * Shot in '65, D.A. Pennebacker's vintage 1967 black-and-white film release Don't Look Back is being presented on Blu-ray by Docurama (compare prices). * Sony/Legacy is also releasing Murray Werner's The Other Side of the Mirror: Bob Dylan at Newport Folk Festival, 1963-1965 on Blu-ray (compare prices). * The children's biography, When Bob Met Woody: The Story of the Young Bob Dylan, was released by Little, Brown Books for Young Readers on May 3 (compare prices). * The new CD, Bob Dylan in Concert – Brandeis University 1963 was released by Sony/Legacy on April 12 (compare prices). * Bob Dylan: A Spiritual Life, by Scott Marshall, dropped from the heavens of Bully! Pulpit Books on April 15. * The new biography, The Ballad of Bob Dylan, by Daniel Mark Epstein came from Harper Books on May 3 (compare prices). * Carlton Books dropped a new edition of Andy Gill's Bob Dylan: The Stories Behind the Songs, 1962-1969 on April 5 (compare prices). * The updated edition of The Old, Weird America was released by Picador on April 11 (compare prices). * The re-release of Robert Shelton's classic biography, No Direction Home (which includes an additional 20,000 words cut from the original 1986 manuscript) was released by Back Beat Books on May 1 (compare prices). * For the serious music collector, on the heels of its Beatles and limited-edition John Lennon deluxe CD archives, Box of Vision released its (actually gorgeous) Bob Dylan music archive in April, along with retail shelf sales on May 10. * David Yaffe's new volume of essays, Like a Complete Unknown (Yale University Press), will hit the shelves on the maestro's birthday, May 24 (compare prices). * Chrome Dreams released the final DVD of its Dylan documentary collection. Titled Bob Dylan 1990-2006, The Never Ending Narrative, on April 19 (compare prices). * Produced by Highway 61 Entertainment, another new DVD documentary, Bob Dylan Revealed, spilled from the racks on May 1 (compare prices). * And let's not forget the kiddies. Even though it's not coming until November, Sterling Books has announced an illustrated version of Bob Dylan's song, “Blowin' in the Wind” for children. http://folkmusic.about.com/od/bobdylan/a/Bob-Dylan-70-Birthday.htm
Voldar: Пошли поздравительные открытки.Огромная статья в GQ. Icon: Bob Dylan By Robert Chalmers As America's greatest living songwriter turns 70, he remains as distant and contrary as ever. Joining the 'latest leg' of his Never Ending Tour, GQ talks to those who have worshipped and worked with him in an attempt to unwrap rock'n'roll's greatest enigma. Everything would be so much more simple if he were dead. Let's say that Bob Dylan had passed away in his early to mid-thirties, as would have befitted the Christ-like figure his most fanatical admirers consider him to be. He would have released Blood On The Tracks in 1975, and completed Desire, the second masterpiece from his middle period, which appeared the following year. Disciples would never have had to struggle with his distinctive readings of songs such as "Froggie Went A-Courtin'", "The Little Drummer Boy", or "Here Comes Santa Claus". They would have been spared the need to follow him to places like Bournemouth, Limoges and Spokane, to hear him revisit his classic compositions in a voice that, on a bad night, has the timbre of a cracked bell. The fog of secrecy that surrounds his life would long since have lifted. There would have been little point in devoted admirers rehearsing, as so many have, questions he might answer concerning his lyrics. "When you wrote that line, Bob, about 40 red, white and blue shoe strings, did you mean 40 striped laces, or 13 red, 13 white and 14 blue?" And did you really have a job in the great north woods [as you wrote in 'Tangled Up In Blue'] 'working as a cook for a spell'? What were the specials? Who was your sous chef?" And - this next question was actually put to him by his former Boswell and occasional collaborator, Larry "Ratso" Sloman, concerning Dylan's sublime 1966 love song "Sad Eyed Lady Of The Lowlands" - "In the chorus, 'My warehouse eyes, my Arabian drums'... That word, 'eyes'. What is it? A noun, or a verb? The constant need to explain his work - a curse Bob Dylan has bemoaned for 50 years - would be over, as would the need to avoid the attentions of his more unhinged fans. Gone, too, all those fatiguing enquiries concerning his alleged lovers, opiate use and undignified stories such as those recent reports about neighbours to his main residence, in Malibu, complaining about the odour emanating from his workers' Portaloos, with predictable headlines such as "Blowin' In The Wind". On a superficial level, at least, everybody wins. Dylan, though, remains obstinately fit and industrious, and celebrates his 70th birthday in May. In 2006, after a frustratingly inconsistent run of albums over the previous three decades (disappointing enough at certain points, such as his "born-again" period in the early Eighties, to convince some that his talent had deserted him forever) he produced the triumphant Modern Times. It's the best thing he's done, I suggested to one of his compatriots (a household name who, like many I interviewed for this article, insisted on remaining anonymous) since Desire. "It's the best thing he's done," came the reply, "since Blood On The Tracks." That renaissance has been sustained with 2009's Together Through Life. And in recent years - having already proved himself the greatest folk singer, lyricist and rock'n'roll artist of all time - the famously taciturn performer has improbably evolved into the world's greatest-ever DJ as the avuncular host of the arcane, witty and magnificent series Theme Time Radio Hour. "Critics are notoriously liberal with their use of the term 'genius'," says fellow songwriter Steve Earle. "Bob Dylan is one of the very few people in the history of popular music who you can unquestionably apply that word to. From the moment Dylan arrived as a songwriter, he was [so] much better than everybody else around [just like], to take a crude example, Pelé was at his peak, or Tiger Woods. He emerged from nowhere, like an alien. And that was just the start." "Hang on," I say. "Aren't you the man who claimed that Townes Van Zandt is the greatest songwriter in the history of popular music, 'And I'll stand on Bob Dylan's coffee table in my cowboy boots and say that'?" "This may sound a bit odd," the Texan replies, "but I was comparatively late in understanding Bob Dylan's overwhelming importance as a songwriter. Everybody who does my job exists in the shadow of Bob Dylan. There are two categories: Dylan and everybody else. It's as simple as that. And it's going to be that way until he dies." It could be that, because you have somehow grown up beyond the reach of English- speaking popular culture - you are now asking: who exactly is Bob Dylan? On a literal level, the question is a straightforward one. Born Robert Zimmerman on 24 May 1941, in Duluth, Minnesota, he first used his new name in 1960 and emerged as an unrivalled talent in the New York folk clubs. Most agree that he has enjoyed three especially brilliant periods: first as an acoustic artist, with protest anthems such as "The Times They are A-Changin'", in the early Sixties; then with his great electric trilogy, Bringing It All Back Home, Highway 61 Revisited and Blonde On Blonde, in the middle years of that decade; and finally the more introspective work of his Blood On The Tracks period in the mid-Seventies. Fans argue as to just when his current, fourth great flowering began, but there's a broad consensus that, in the studio at least, it is ongoing. Полностью статью можно прочитать здесь: http://www.gq-magazine.co.uk/comment/articles/2011-05/3/gq-comment-bob-dylan-icon-robert-chalmers/introduction
Voldar: Bob Dylan 70th birthday countdown, No. 26 - His complex friendship with Donovan Do I like Donovan's "Colours"? No. He's a nice guy, though - Bob Dylan, 1965 San Francisco press conference. Scottish singer-songwriter and guitarist Donovan Philips Leitch was born on May 10, 1946. The relationship between Donovan and Bob Dylan is almost as confusing as the reports of Dylan "going electric" - an event that Donovan witnessed. The problem started with an encounter on May 8, 1965, when the rising star Donovan hung out with Dylan at the Savoy Hotel in London. The moment was captured by D.A. Pennebaker in the 1967 documentary, Dont Look Back. In the spring of 1965, Donovan's Dylan-esque "Catch The Wind" was number five on the U.K. singles charts, while Dylan had climbed to number 13 with 1964's "The Times They Are A-Changin'." Meanwhile, "Subterranean Homesick Blues" was rising up the U.S. charts at the same time. In the film, Dylan appeared to have been amused/annoyed by this new upstart, one of the first "new Dylans", before the summit occurred, commenting: (To Alan Price of The Animals): "Who's this Donovan?" Price tells him he's a good guy and a better guitar player than him. Dylan says he wants to meet him. When Albert Grossman (Dylan's Manager) asks Dylan if they mail to him an award he has been recently given, Dylan tells him "I don't even want to see them. Tell them to give it to Donovan". Then he opens a newspaper and says "Donovan, Donovan, our next target. He's our target for tomorrow". In the car, Dylan asks Donovan's manager tour, Fred (who was also Dylan's) about Donovan's tour: "Uh, not so good", Fred says, Bobby Neuwirth (Dylan's friend) laughs. Dylan lights a cigarette and turns to the window, saying nothing. Before the last concert Dylan talks to Neuwirth in the backstage and asks, "Donovan out there?" Neuwirth replies "Hey, I can't see him… people like Donovan… they look just like ordinary… everybody… out there." Dylan says nothing. In Dont Look Back, we can see a party in progress, and a timid-looking Donovan starts to play a gentle original song, "To Sing For You". Realizing that he was no threat, the film shows Dylan eviscerating Donovan with his recent composition, "It's All Over Now, Baby Blue". Or did he? Donovan hinted that he performed "To Sing For You" to diffuse a situation with a belligerent drunk that was harassing Dylan, with Bob praising the song midway through. Also, if you listen closely, it sounds like Donovan requested "Baby Blue", so it was would not have been Dylan's idea of a put-down. Pennebaker also added this information: . . .When Donovan first came to meet him in his room. . .I had a camera there, but Dylan said, "I don't want you to film any of this." So, I didn't. Donovan played a song, which was set to the tune of "Mr. Tambourine Man" ("My Darling Tangerine Eyes") but with different words. Dylan didn't crack. He just listened. Finally, Donovan realized that the rest of us were sitting there kind of cracking up. Later, he said [to Dylan], "Well, I heard you sing this somewhere and I thought it was a folk song so I thought the tune was up for grabs." Dylan said, "There have a been a lot of songs that people said I swiped, but that wasn't one of them." And he let it go. It was kind of a funny moment. Reportedly, Dylan handed Neuwirth and Pennebaker Halloween masks, which they were all wearing when Donovan arrived. Donovan, to his credit, said nothing. According to Olof, Dylan also sang two other new songs, "Love Minus Zero/No Limit" and "She Belongs To Me", plus "Let Me Die In My Footsteps". While on tour, Dylan added a line while performing "Talkin' World War III Blues", singing "I looked in the closet, and there was Donovan!" While the crowd laughed, Dylan told reporters after the show that "I didn't mean to put the guy down in my songs. I just did it for a joke." The headline in Melody Maker on the fifth day of May, 1965, proclaimed "Dylan Digs Donovan", and the issue appeared to be settled. It turns out that Dylan and Donovan actually met earlier in the day of the Savoy summit, during the filming of the promotional "Subterranean Homesick Blues" short. According to Donovan, it was the beat poet Allen Ginsberg that suggested he, Donovan, and Dylan write some of the lyrics from "Subterranean Homesick Blues" on the backs of large, white cards for what turned out to be the opening scene of Dont Look Back. Dylan encouraged Donovan because he liked his penmanship. According to other sources, Bobby Neuwirth, Alan Price, and Joan Baez also helped. Donovan said he and Bob swapped songs, and Dylan said he particularly liked "To Sing For You." Dylan, Donovan, and Price then attempted to go to a club in Soho, but were mobbed by teenyboppers and returned to safety and the Savoy. Before Dylan went back to the U.S., Donovan was invited to see Bob one more time. All four members of a certain British pop combo from Liverpool were in the room, hidden in the darkness. Bob asked, "Have you met these guys yet?" It was, of course, the Beatles. In the May 15 issue of Record Mirror, Donovan reviewed Dylan's new album, Bringing It All Back Home, track-by-track. Here are a few examples: She Belongs To Me: "Yea, it's beautiful. His Buddy Holly influence comes out. Very pretty harmonica on it, it's nice. Maggie's Farm: "This is the ... (Turns volume up and laughs). It's a good send-up. It's just amusing. You know, all these things he does they're just personal, you can't understand them. It's just to make one person laugh, probably Maggie. Don't like this much." (Takes it off). It's Alright Ma (I'm Only Bleeding): "He's written a lot of poems and he's just picked these few to put to song. You've got to be a genius to understand them. To me he's just a guy that writes poems and puts a lot of feeling in them. it's hard for me to say what I think of him. I couldn't write a story of what I think of him for any paper. I like him because he shoots down a lot of people who shoot a load of crap." Filmmaker Sandi Bachom recalled seeing Donovan with Dylan at a party in 1966, after a show at Riverside College: "It was a big deal. Donovan was there, and Dylan. They spent a lot of time in another room, probably getting high and playing guitars." By 1966, the Bob Dylan influences were gone. Donovan would soon be hanging around with the Beatles (helping write "Yellow Submarine" and teaching them his finger-picking technique) and the Maharishi Mahesh Yogi. Ten years ago, Donovan was asked to comment on Dylan for his 60th birthday: Q: What was the first Dylan song you heard - and what did you think? Donovan: Can't recall - it could be "Song To Woody" . . .But when I heard "Blowin' In The Wind" it was the clarion call to the new generation - and we artists were encouraged to be as brave in writing our thoughts in music. . . I sounded like him for five minutes - others made a career of his sound. Q: How did you feel about Dylan's switch to electric sounds in 1965? Donovan: . . . Dylan shocked Newport Folk Festival by going electric. I loved it when he played electric guitar and I was there when it happened! The audience at Newport Folk in the USA were still naïve - the girls in Bobby Sox and pony tails and the boys in plaid shorts and crew-cuts - what did they or the press know about folk and R&B?
Voldar: Bob Dylan in 1969: His first Rolling Stone interview They say Bob Dylan is the most secretive and elusive person in the entire rock & roll substructure, but after doing this interview, I think it would be closer to the point to say that Dylan, like John Wesley Harding, was "never known to make a foolish move." RollingStone.com: Hear audio excerpts from this interview The preparations for the interview illustrates this well. About 18 months ago, I first started writing Bob letters asking for an interview, suggesting the conditions and questions and reasons for it. Then, a little over a year ago, the night before I left New York, a message came from the hotel operator that a "Mr. Dillon" had called. This article appeared in the November 29, 1969 issue of Rolling Stone. The issue is available in the online archive. Two months later, I met Bob for the first time at another hotel in New York: . . . he casually strolled in wearing a sheepskin outfit, leather boots, very well put together but not too tall, y'understand. It was 10 A.M. in the morning, and I rolled out of bed stark naked -- sleep that way, y'understand -- and we talked for half an hour about doing an interview, what it was for, why it was necessary. Bob was feeling out the situation, making sure it would be cool. That meeting was in the late fall of 1968. It took eight months -- until the end of June this year -- to finally get the interview. The meantime was covered with a lot of phone calls, near misses in New York City, Bob's trips to California which didn't take place and a lot of waiting and waiting for that right time when we were both ready for the show. The interview took place on a Thursday afternoon in New York City at my hotel, right around the corner from the funeral home where Judy Garland was being inspected by ten thousand people, who formed lines around several city blocks. We were removed from all that activity, but somehow it seemed appropriate enough that Judy Garland's funeral coincided with the interview. Bob was very cautious in everything he said, and took a long time between questions to phrase exactly what he wanted to say, nothing more and sometimes a little less. When I wasn't really satisfied with his answers, I asked the questions another way, later. But Bob was hip. Rather than edit the interview into tight chunks and long answers, I asked Sheryl to transcribe the tapes with all the pauses, asides and laughs left in. So, much of the time, it's not what is said, but how it is said, and I think you will dig it more just as it went down. To bring us up to date after all that, August through September was spent trying to get Baron together with Bob to get some new photographs of him, in a natural, non-performance situation. But it proved fruitless. Perhaps if we had had another six months to work on getting the photographs, but Bob was simply not to be rushed or pushed into something he really didn't feel like doing at the time. ("I'll have Baron meet you in New York tomorrow." "Well, tomorrow I might be in Tucson, Arizona," "Baron will fly to Tucson," etc.) The photographs we have used are from rehearsals for the Johnny Cash show and from the Isle of Wight, ones you probably have not seen yet, and some photos of Bob from a long time ago. Bob promised that we would get together soon to take some photos, and if we do, you'll see them as soon as we get them. But don't hold your breath. Meantime, here's the interview. When do you think you're gonna go on the road? November . . . possibly December. What kind of dates do you think you'll play -- concerts? Big stadiums or small concert halls? I'll play medium-sized halls. What thoughts do you have on the kind of back-up you're going to use? Well, we'll keep it real simple, you know . . . drums . . . bass . . . second guitar . . . organ . . . piano. Possibly some horns. Maybe some background voices. Girls? Like the Raelettes? We could use some girls. Do you have any particular musicians in mind at this time? To go out on the road? Well, I always have some in mind. I'd like to know a little bit more about what I'm gonna do. You see, when I discover what I'm gonna do, then I can figure out what kind of sound I want. I'd probably use . . . I'd want the best band around, you know? Are you going to use studio musicians or use some already existing band? I don't know . . . you see, it involves putting other people on the bill, full-time. I'd only probably use the Band again . . . if I went around. And they'd do the first half of the show? . . . Sure . . . sure . . . Are you thinking of bringing any other artists with you? Well, every so often we do think about that. [Laughter.] We certainly do. I was thinking about maybe introducing Marvin Rainwater or Slim Whitman to "my audience." Have you been in touch with either of them? No . . . no. Остальное здесь:http://us.cnn.com/2011/SHOWBIZ/Music/05/12/bob.dylan.rs/index.html?hpt=Sbin
Goldenday: Боб Дилан отверг обвинения в уступках цензуре во время гастролей в Китае Легендарный фолк- и рок-певец Боб Дилан оспорил утверждения американской прессы и правозащитных организаций о том, что он поддался требованиям цензоров при подборе репертуара для первых в карьере концертов в Китае. "Если цензуре подвергались песни, стихи к ним или строфы, то мне об этом никто никогда не говорил. Мы исполнили все песни, которые намеревались спеть", - отметил легендарный американский бард в личном блоге в Интернете. По заверению музыканта, китайская публика не столько требовала от него исполнения хитов 1960-х, сколько "с энтузиазмом отреагировала" на композиции из его последних альбомов. Ни для кого не секрет, что, по условиям министерства культуры КНР, певец должен был работать по "утвержденной программе", в которую власти не включали его всемирно известные хиты - гимны борцов за гражданские права и антивоенного движения в США – "Blowin in the wind" и "The times they are a-changin", иначе Дилану был бы заказан путь в Китай точно так же, как в прошлом году. Американский бард уточнил также, что на его шоу в Пекине было продано 12 тысяч из имевшихся 13 тысяч билетов. Нераспроданные билеты были распространены среди детских приютов Поднебесной, сообщает ИТАР-ТАСС. Дилан, которому 24 мая исполнится 70 лет, выступил 6 апреля в Пекине и 8 апреля в Шанхае. В прошлом году власти КНР без разъяснения причин отменили его гастроли, и Дилан отказался от своего турне по Юго-Восточной Азии. http://www.vesti.ru/doc.html?id=452200&cid=9
Voldar: Bob Dylan comments on China, censorship, and upcoming books - A must read In a bold and unexpected move, a bobdylan.com post, written by Bob Dylan, clarifies much of the misinformation about Dylan's tour of China. Take that, Maureen Dowd! From Bob Dylan's official website: May 13: To my fans and followers Allow me to clarify a couple of things about this so-called China controversy which has been going on for over a year. First of all, we were never denied permission to play in China. This was all drummed up by a Chinese promoter who was trying to get me to come there after playing Japan and Korea. My guess is that the guy printed up tickets and made promises to certain groups without any agreements being made. We had no intention of playing China at that time, and when it didn't happen most likely the promoter had to save face by issuing statements that the Chinese Ministry had refused permission for me to play there to get himself off the hook. If anybody had bothered to check with the Chinese authorities, it would have been clear that the Chinese authorities were unaware of the whole thing. We did go there this year under a different promoter. According to Mojo magazine the concerts were attended mostly by ex-pats and there were a lot of empty seats. Not true. If anybody wants to check with any of the concert-goers they will see that it was mostly Chinese young people that came. Very few ex-pats if any. The ex-pats were mostly in Hong Kong not Beijing. Out of 13,000 seats we sold about 12,000 of them, and the rest of the tickets were given away to orphanages. The Chinese press did tout me as a sixties icon, however, and posted my picture all over the place with Joan Baez, Che Guevara, Jack Kerouac and Allen Ginsberg. The concert attendees probably wouldn't have known about any of those people. Regardless, they responded enthusiastically to the songs on my last 4 or 5 records. Ask anyone who was there. They were young and my feeling was that they wouldn't have known my early songs anyway. As far as censorship goes, the Chinese government had asked for the names of the songs that I would be playing. There's no logical answer to that, so we sent them the set lists from the previous 3 months. If there were any songs, verses or lines censored, nobody ever told me about it and we played all the songs that we intended to play. Everybody knows by now that there's a gazillion books on me either out or coming out in the near future. So I'm encouraging anybody who's ever met me, heard me or even seen me, to get in on the action and scribble their own book. You never know, somebody might have a great book in them. http://www.examiner.com/bob-dylan-in-national/bob-dylan-comments-on-china-censorship-and-upcoming-books-a-must-read
Voldar: The tree of 70 24 of May Dylan will be seventy. Truly amazing what the man has achieved and is still achieving. 34 studio albums, more than 500 songs, more than 3100 concerts, dozens of awards, among others 11 grammy’s, one Oscar, two doctorates at Universities, several exhibitions around the world with his artwork, listed as one of Time’s most influential people of the 20th century, nominated several times for the Nobel Literature Prize, and so on. I picked out exactly 70 milestones to celebrate and honour Dylan. And although the 70 milestones are in number of cases personal choices (e.g I miss the great song abandoned love in every list you can find on the Internet, and i have chosen the concert in Madison Square Garden because of the phenomenal performance of the Times we’ve know, a song by Aznavour), I think most people who admire Dylan will back up 80 % of the choices (at least). http://mastermindmaps.wordpress.com/2011/05/15/the-tree-of-70/
Voldar: Bob Dylan and old rockers: will we still love them when they're... 70? Once upon a time, rock music was young - and its stars were, too. Now, as Bob Dylan nears 70, Neil McCormick asks whether an old rocker can still deliver the goods. Bob Dylan will be 70 years old next Tuesday, May 24. Seventy! From one perspective, looking through the prism of youth-obsessed pop culture, it seems such an extraordinary thing. Pop freezes its icons in moments in time, and Dylan will always be there at the explosive birth of the modern pop age, manning the barricades of the Sixties revolution, captured in black and white: a skinny, grave-faced, curly haired, visionary twentysomething, strumming his acoustic guitar, blowing bony notes through his harmonica, warning the adult establishment to get out of the way (“Senators, congressmen, please heed the call/ Don’t stand in the doorway, don’t block up the hall”) because the times they were a-changin’. Well, the times have changed all right and Dylan with them. This year, he has toured the once mysterious and inaccessible land of China, allegedly submitting his set list to censorship by the powers that be. He didn’t play The Times They Are a-Changin’ but he did play his world-weary postscript from the year 2000, Things Have Changed, in which he growls with a defeatism that borders on defiance: “People are crazy, times are strange/ I used to care but things have changed.” Yet he ended his set in Beijing with his beautiful 1974 hymn Forever Young, in which he elegantly celebrates the most positive virtues of youth: “May your heart always be joyful/ May your song always be sung.” We are still singing Dylan’s songs, in all their poetry, wisdom, contradiction and complexity. His sombre, gospel-tinged ballad Make You Feel My Love from 1997 has just spent more than 40 weeks in the British top 40, delivered with worshipful authority by 23-year-old star of the moment, Adele. Shift the pop-culture prism, and Dylan at 70 starts to make a different kind of sense, because he has been here, right in front of us all this time, hair greying, jowels sagging, wrinkles spreading across his face, voice slowly turning from the barbed wire ululations of a youth in thrall to the ageless depths of folk to a rubbed raw bullfrog croak of an old man giving it whatever his ragged vocal cords still can. And he is not alone, out there on the geriatric frontline. Paul McCartney (68) is on tour, and planning a new album. Mick Jagger and Keith Richards (both 67) are considering another Rolling Stones tour. Brian Wilson (68) is currently on tour in Britain, no longer a Beach Boy, but still a celebrated musical genius. Paul Simon (69) has a new album and tour this year. Roger Daltrey (67) has been performing the Who’s rock opera, Tommy. Rock and roll once revelled in its youthful flash of energy, delighting in anti-adult sloganeering like “Live fast, die young, leave a beautiful corpse” and Pete Townshend’s aggressively nihilistic “I hope I die before I get old” (he is 66 today), but those who survived its first hedonistic impulses inevitably did get old, and along the way made some vital new discoveries. Music is for life. And life is long. It is a good time to be a veteran rock musician. Bob Dylan’s last album, 2009’s Together Through Life, was number one on both sides of the Atlantic, his first British chart topper since Desire in 1975. Neil Diamond (70) had his first ever number one studio album in Britain in 2008. Leon Russell (69) staged a critically acclaimed comeback last year with The Union, made with Elton John (a mere stripling of 64). Other spring chickens enjoying a second wind of recording and touring success include Greg Allman (63) and Robert Plant (a youthful 62), who, when challenged about being a sexagenarian rock star in a radio interview, smartly retorted “old people do it better”. Perhaps that could be a new slogan for our times. But it would be a mistake to get too carried away by the apparent triumph of age over beauty. As recorded music sales collapse and musical activity migrates towards the internet, it is older consumers still romantically attached to the notion of the long-playing record as a cohesive work of art who are keeping the album alive. Bob Dylan fans, in other words. The young are still with us, illegally downloading Lady Gaga, Rihanna and provocative art rapper Tyler The Creator. And if you haven’t heard of him, then all it shows is that the generation gap is still wide open. But veterans are cleaning up on the still thriving live circuit, too, trading on reputations built over time. According to a recent report on the live music industry by Deloitte, a full 40 per cent of the frontmen of the top 20 highest grossing live acts in the States will be 60 or over next year. Rock got old, and so has its audience. This is our music, and it still speaks to us, still tells us things about our lives, still brings us joy in the moment, still carries our spirits aloft. Because it turns out that we didn’t, as we perhaps might have once imagined in more innocent times, all slip into pipes and slippers and start listening to Mantovani and trad jazz. Certainly, we may have shifted the dial from BBC Radio One to Radio 2, but only to find the DJs were getting older with us, and are still playing our songs. And even if veteran artists are only talking to their own generation, we should celebrate the very fact that they are still talking. Paul Simon, an artist working at the very heights of lyrical singer-songwriting, has spoken of being on “a new frontier”: the frontier of age. Prior to the Sixties, popular songs were essentially show tunes, dance tunes, novelty songs and love songs. Dylan and his contemporaries introduced the notion of the songwriter as a poetic chronicler of his life and times, they were artists of their own interior worlds, making pop music that aspired to the same heights as other art forms. This remains the challenge, as Simon would have it: “The struggle of Dylan and the Stones and McCartney and Neil Young is to see the possibility of talent continuing to evolve, as is the case in other arts. Nobody says you should stop painting when you’re 60.” Dylan at 70 makes sense to us, because he is still helping his listeners make sense of the world. The final track on his most recent album is a masterpiece every bit as beautifully wrought and challenging as The Times They Are a-Changin’, even if its message might sound sour in the mouth of a firebrand youth. It’s All Good simultaneously rails against and accepts the injustices of life, juggling with the great and small in an almost mocking spirit, eyes fixed on an even bigger picture. “Big politicians telling lies/ Restaurant kitchens, all full of flies” barely seem to move Dylan at 70, as he declares he “wouldn’t change a thing, even if I could”. It’s a song no child could have written, magnificent in its ambiguity, the great bard of pop culture barking out his indifference over a rattling rock and roll rhythm, snapping “throw on the dirt, pile on the dust”. It is, as he wryly notes, “all good”. As we mark Dylan’s shifts from the raging fires of youth to the slow-burning embers of old age, we should celebrate not just his extraordinary legacy, but the even more extraordinary fact of his continuing creativity, reporting back from what may turn out to be popular music’s last unexplored frontier. http://www.telegraph.co.uk/comment/8522235/Bob-Dylan-and-old-rockers-will-we-still-love-them-when-theyre...-70.html
Voldar: Dylan at 70: In Bob we trust Bob Dylan is 70 on Tuesday. If like me you are a Dylan fan, you will have been waiting for this event for months, perhaps even years. If you are not a Dylan fan – and I realise there are some who have not seen the light – you'll wonder what all the fuss is about. Even those happy to hum along to his early hits may now think his life is but a joke. I am a Dylan fan, but not quite a fanatic. I'm not one of those people who goes to every gig, collates setlists, chats with other obsessives on internet messageboards, or criss-crosses America in an RV in pursuit of him. I first saw him in 1978, when he played a week of concerts at Earls Court. He hadn't performed in the UK for nine years, and these were huge events. For me, just finishing university, this wasn't a show, it was a rite of passage, a communion, a consummation. I have kept my programme and even my ticket from that 1978 concert. I've just discovered that ticket stubs from those concerts are selling online for £20 – three times what I paid for my balcony seat back then – but I'm not selling. For me, this concert was a watershed. I had found someone in whom I believed totally. What's odd is that I've never questioned that faith, even when his inspiration flagged. As a recent poll of leading musicians in Rolling Stone magazine suggests, all his signature songs are from the first 15 years of his career. Blood on the Tracks in 1975 marks the end of that period of unquestioned greatness. Desire – the first album I got to know well thanks to John Peel playing it complete on his late-night Radio 1 show as soon as it was released in 1976 – retains some of that aura and ambition. But Street Legal, released in 1978, shows a marked falling off. Music writer and Dylan specialist Greil Marcus immediately recognised its inauthenticity. The banal, mechanical rhyming underlines the diminishing energy, and not even the brilliant Señor can save it. Dylan's muddled middle period was beginning. It is tempting to conjure up a brilliantly revisionist argument – that the true glory of Dylan resides in the mid-80s albums Empire Burlesque and Knocked Out Loaded, for instance – but it can't be done. But the albums in the middle period should not be completely dismissed, even though many critics more or less gave up on him in the 80s. Some artists who produced great work in the 60s and early 70s – Paul McCartney and the Rolling Stones spring to mind – really have added nothing of note to their oeuvre since. They remind you of those young playwrights who pile out great plays before realising just how difficult it is. Once they've lost that innocence, they either dry up, or, worse, spend 40 years repeating themselves. Dylan had lost the knack of producing great albums – he was blocked creatively for much of the 80s – but could still knock out the occasional great song. Shot of Love, released in 1981 at the height of his religious phase, ends with the poignant Every Grain of Sand. Infidels, from 1983, has Jokerman. Even Down in the Groove in 1988, reckoned by some to be his worst album, a bare 30 minutes of insipid new songs and uninspired covers, has one song I really like – Death Is Not the End, which has one of those gloriously mournful Dylan harmonica intros. This is enough to forgive him a great deal, even the peculiar version of Shenandoah on the same disc. Something was clearly amiss in the 80s – mid-life crisis, too much touring, personal problems, who knows? His gift was always instinctive rather than entirely controlled. No one who could publish Tarantula, his rambling 1966 sub-Ginsbergian poem, or waste his time on the tedious and incomprehensible mid-70s film Renaldo and Clara could claim to have impeccable artistic judgment. When it was easy for him, it was too easy; when it got hard, maybe he panicked. You certainly sense a degree of panic in his memoir Chronicles, published to great acclaim in 2004. "I hadn't actually disappeared from the scene," he writes, "but the road had narrowed … I was lingering out on the pavement. There was a missing person inside of myself and I needed to find him … I felt done for, an empty burned-out wreck. Too much static in my head and I couldn't dump the stuff. Wherever I am, I'm a 60s troubadour, a folk-rock relic, a wordsmith from bygone days, a fictitious head of state from a place nobody knows. I'm in the bottomless pit of cultural oblivion." This is laying it on a bit thick. Dylan, for all his virtues, never quite knows when to stop when it comes to word production. Dylan's audience diminished in the 80s. It was easy to get tickets for gigs, and you could see him in smaller venues. But we true fans never wavered. I would have bought the albums even if they hadn't still contained the occasional gem. I'd signed up for the religion at Earls Court in 1978, and there was no going back. He wasn't confined to small venues for long. The official bootlegs won back the critics, and gave fans like me new cause for fascination. Then came the run of albums, beginning with Time Out of Mind in 1997, that suggested his gifts had returned, albeit in different form. He seemed to have found his voice again as he ruminated on mortality and communed with the ghosts of the great bluesmen. Late Dylan is fascinating: the darkness, the obsession with time draining away, the refusal to stop touring even with a voice as rough as sandpaper. He transcends criticism now. When he makes a Christmas album, as he did in 2009, we nod sagely and add it to our collections, marking it down as an homage to Bing Crosby, one of his earliest heroes. I could probably live without it, but I'm not embarrassed to have it in my collection. Indeed, his croaky rendition of O Come All Ye Faithful (with verses in Latin and what may be English) may turn into a regular part of my Christmas ritual, like eating too many cheese footballs before dinner. I bought an album recently to fill a gap in my collection: Bob Dylan (A Fool Such As I). It was released in 1973 by Columbia when Dylan announced he was moving to Asylum. Generally seen as a malign attempt at subversion from his long-time label, it is filled with covers he had recorded but never intended to release – Can't Help Falling in Love, Big Yellow Taxi, A Fool Such As I, Mr Bojangles. Critics mocked it, and it was quickly deleted when Dylan made his way back to Columbia. It's expensive to buy – the CD cost £55 from a seller in Germany. I'm listening to it now. And do you know what? It's great, money well spent; the sabotage didn't work. Dylan has been omnipresent for the past 50 years, yet we know next to nothing about him. Fat books pour forth, especially in this anniversary year, yet he still eludes us, this rolling stone, this balladic thin man. Todd Haynes's clever, beautiful, moving film, I'm Not There, is a perfect summation of Dylan's career, because he truly does not seem to have been there during those 50 years. The six Dylan personas incarnated by six different actors (including a black boy and a white woman) perfectly represent Dylan's elusiveness, his partly deliberate evasiveness, his stolid evanescence (the lyrical logorrhoea is catching). I have a framed photograph of the young Dylan on the wall next to my desk. He is thin, wearing jeans and a check shirt, looking straight at the camera with a hint of arrogance, hands in pockets, his guitar case sitting on the road beside him. He is standing outside, in what looks like an empty car park, surrounded by pools of water. He is alone, self contained, at one with himself in this alien landscape. He has a slight smile, as if he has some secret information. Yet he never spells it out, never makes it easy for us. That may be why the love affair endures; the mystery remains. The answer is still blowin' in the wind. In 2005, the Guardian asked me to review a Dylan gig. This was probably a mistake as the chance of an objective assessment was nil. The reviews editor may have realised this when I tried to give the show seven stars. I remember becoming tearful during Visions of Johanna, one of his truly great songs, which even the ultra-reductive late Dylan is incapable of reducing to rubble. A man standing beside me saw me making notes through the tears. "We're just crossing the ocean with Bob," he said. "Write that down." And I did, because he had summed up what it means to be a Dylan fan. We are on a voyage, and the voyage never ends. http://www.guardian.co.uk/music/2011/may/19/bob-dylan-at-70
Voldar: Завтра Бобу 70! It’s Not Easy Being Bob -- a retrospective look at Bob Dylan on his 70th Birthday Of course, the less the public saw of Dylan the more they clamored for him and the few appearances he made generated a great deal of publicity. He continued to deliver albums that not only sold well, but, for the most part, always included something unexpected. No one, not record labels, fans, family or the press, has ever been able to box Dylan in. In January 1974, Dylan returned to live touring playing 40 concerts coast-to-coast, backed by The Band. In 1975 the success of the phenomenal album, “Blood on the Tracks” spawned the Rolling Thunder Revue tour that featured a wide range of performers including T-Bone Burnett, Ramblin' Jack Elliott, Joni Mitchell, David Mansfield, Roger McGuinn, Mick Ronson, Joan Baez, and violinist Scarlet Rivera, whom Dylan discovered walking down the street with her violin case hanging from her back. In November of 1976 Dylan appeared at The Band’s farewell concert, honoring his long relationship with the musicians and much of his set was included in the Martin Scorsese film of the concert, “The Last Waltz.” In 1978, Dylan toured the world performing 114 shows in Japan, the Far East, Europe and the U.S. to a total audience of two million people. In 1978, Bob Dylan became a born-again Christian. The album that followed Dylan’s conversion was the compelling “Slow Train Coming.’’ It won Dylan a Grammy for “Best Male Vocalist” for the song “Gotta Serve Somebody.” While the album sold well Dylan took a lot of heat in the press for his conversion. When he toured from the fall of 1979 to the spring of 1980 Dylan talked about his faith saying things like: “Years ago they ... said I was a prophet. I used to say, ‘No I'm not a prophet’ they say ‘Yes you are, you’re a prophet.’ I said, ‘No it's not me.’ They used to say ‘You sure are a prophet.’ They used to convince me I was a prophet. Now I come out and say Jesus Christ is the answer. They say, ‘Bob Dylan's no prophet.’ They just can’t handle it.’ ” And so it was. People didn’t mind other people embracing a particular faith but they got angry when Bob Dylan did it. Why? Because Dylan had long been established as the voice of truth. And when the voice of truth says you need Jesus you have to reckon with it. Many responded in anger. By the next album, “Saved,’’ in 1980, a lot of people seemed to be hopping mad about it. Dylan has never been afraid to go up against criticism and his records still sold, but after awhile, all but his truest fans weren’t listening to the songs or anything he had to say about his faith. They just couldn’t let it go. Dylan sang on “We Are the World.” the fundraising single for Africa’s famine relief and on July 13, 1985, he appeared at the climax of the Live Aid concert at JFK Stadium in Philadel-phia backed by Keith Richards and Ronnie Wood from the Rolling Stones. He sang a ragged version of “Hollis Brown,’’ his song about rural poverty, and then said to a worldwide audience of over one billion people: “I hope that some of the money ... maybe they can just take a little bit of it, maybe ... one or two million, maybe ... and use it to pay the mortgages on some of the farms and, the farmers here, owe to the banks.’’ Naturally, his remarks were widely criticized as inappropriate, but they inspired Willie Nelson to organize Farm Aid to benefit debt-ridden American farmers. In January 1988 Dylan was inducted into the Rock and Roll Hall of Fame with Bruce Springsteen declaring, “Bob freed your mind the way Elvis freed your body. He showed us that just because music was innately physical did not mean that it was anti-intellectual. In the fall of that same year Dylan co-founded the Traveling Wilburys with George Harrison, Jeff Lynne, Roy Orbison and Tom Petty. Their multi-platinum “Traveling Wilburys Vol. 1’’ reached No. 3 on the U.S. album charts and featured songs that were described as Dylan’s most accessible compositions in years. After Orbison died in December 1988, the remaining four recorded a second album. Dylan then released “Oh Mercy’’ which included “Most of the Time,’’ a song later prominently featured in the film “High Fidelity’’ and “What Was It You Wanted?’’which most interpret as a wry comment on the expectations of critics and fans. Though he had backed off from the overtly Gospel songs the album included “Ring Them Bells,” a song about faith. In fact, though Dylan told interviewers he had re-embraced his Jewish faith he never really has back off from his spirituality. Every album contains lyrics and themes that are virtually right out of the Bible. I don’t believe Dylan gave up on Christianity. He just realized that he could be far more effective if he stopped challenging people head on with it. In a 2004 interview with “60 Minutes’’ he told Ed Bradley that “the only person you have to think twice about lying to is either yourself or to God.’’ He also explained his constant touring schedule as part of a bargain he made a long time ago with the “chief commander — in this earth and in the world we can't see.’’ In a 2009 interview with Bill Flanagan promoting his “Christmas in the Heart’’album, Flanagan commented on the “heroic performance’’ Dylan gave of “O Little Town of Bethlehem’’ and that Dylan “delivered the song like a true believer.’’ Dylan replied: “Well, I am a true believer.’’ In 1991, Dylan was honored by a Grammy Lifetime Achievement Award from the recording industry. The event coincided with the beginning of the Gulf War and Dylan performed his song “Masters of War” and then made a short speech that startled some of the audience: “Well, my daddy, he didn’t leave me much — you know he was a very simple man, and he didn’t leave me a lot — but what he did tell me was this. He did say, son, he said … he said so many things, you know…. He say, you know it’s possible to become so defiled in this world that your own mother and father will abandon you, and if that happens, God will always believe in your own ability to mend your own ways.’’ Those who believed Dylan had stepped away from his beliefs began to wonder again. In the next few years Dylan recorded “Good as I Been to You’’ (1992) and “World Gone Wrong’’ (1993) which included “Lone Pilgrim” written by a teacher from the 19th century and sung with a haunting reverence. Dylan did an MTV Unplugged in November of 1994, but later that spring was hospitalized with a life-threatening heart infection. He canceled his European tour but soon left the hospital saying, “I really thought I’d be seeing Elvis soon.’’ By midsummer he was back on the road and in the fall performed before Pope John Paul II at the World Eucharistic Conference in Bologna, Italy. The Pope then gave a sermon to the 200,000 people in the audience that was based on Dylan's “Blowin’ in the Wind”. In September of 1997, he released “Time Out of Mind,’’ his first collection of original songs in seven years which won him his first solo “Album of the Year’’ Grammy Award. In December 1997, President Bill Clinton honored Dylan in the East Room of the White House saying; “He probably had more impact on people of my generation than any other creative artist. His voice and lyrics haven’t always been easy on the ear, but throughout his career Bob Dylan has never aimed to please. He’s disturbed the peace and discomforted the powerful.’’ When Time Magazine did their end of the century list of the “Most Important People of the Century,’’ Dylan was on it, described as a “master poet, caustic social critic and intrepid, guiding spirit of the counterculture generation.’’ In March of 2001, Dylan won his first Oscar for his song “Things Have Changed” which he wrote for the film Wonder Boys. Since then he has often carried the award (or a facsimile of it) on the road with him, sitting it on top of an amplifier which he performs. On August 29, 2006, Dylan released “Modern Times’’ which entered the U.S. charts at No. 1, making it Dylan's first album to reach that position since 1976's “Desire.’’ Nominated for three Grammy Awards, “Modern Times’’ won Best Contemporary Folk/Americana Album and Dylan also won Best Solo Rock Vocal Performance for “Someday Baby.’’ Modern Times was named Album of the Year, for 2006, by Rolling Stone magazine n 2007 a study of United States legal opinions determined that Dylan’s lyrics were quoted by judges and lawyers more than those of any other songwriter, 186 times versus 74 by The Beatles, who were second. Among those quoting Dylan were conservative Supreme Court Chief Justice John Roberts and Justice Antonin Scalia, both conservatives. The most widely cited lines included “you don't need a weatherman to know which way the wind blows’’ from “Subterranean Homesick Blues' and “when you ain't got nothing, you got nothing to lose’’ from “Like a Rolling Stone'. In 2008, the Pulitzer Prize jury awarded Bob Dylan a special citation for “his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power.' In 2009 Dylan released “Together Through Life’’ in April which contained songs he had written with long-time Grateful Dead lyricist Robert Hunter. It was his 33rd studio album and debuted at No. 1 on the American charts. In November of that same year he released “Christmas in the Heart,’’ his first Christmas album. A collection of hymns, carols and popular Christmas songs, all royalties from the album went to benefit the charities Feeding America in the USA, Crisis in the UK, and the World Food Programme. The “Never Ending Tour” commenced on June 7, 1988, and Dylan has played roughly 100 dates a year for the entirety of the 1990s and the first decade of the 21st century — a heavier schedule than most performers who started out in the 1960s. By the end of 2010, Dylan and his band had played more than 2,300 shows. Ever changing Dylan alters his arrangements and changes his vocal approach night after night. Dylan's performances in China in April 2011 generated controversy. Some criticized him for not commenting on the political situation in China, and for, allegedly, allowing the Chinese authorities to censor his set list. Dylan denied it, saying on his website, “As far as censorship goes, the Chinese government had asked for the names of the songs that I would be playing. There’s no logical answer to that, so we sent them the set lists from the previous three months. If there were any songs, verses or lines censored, nobody ever told me about it and we played all the songs that we intended to play.’’ Like many artists Dylan’s personal life has been up and down. He married Sara Lownds (the sad- eyed lady of the lowlands) on Nov. 22, 1965. Their first child, Jesse Byron Dylan, was born on Jan. 6, 1966, and they had three more children: Anna Lea, Samuel Isaac Abraham, and Jakob Luke. Dylan also adopted Sara's daughter from a prior marriage, Maria Lownds (later Dylan, born Oct. 21, 1961). In the 1990s Dylan’s son Jakob became well known as the lead singer of the Wallflowers. Jesse Dylan is a film director and a successful businessman. Bob and Sara Dylan were divorced on June 29, 1977. In June 1986, Dylan married his longtime backup singer Carolyn Dennis. Their daughter, Desiree Gabrielle Dennis-Dylan, was born on Jan. 31, 1986. The couple divorced in October 1992. A true renaissance man Dylan has been very involved in film and visual art as well as music. In 1972, he wrote songs and backing music for Sam Peckinpah’s “Pat Garret & Billy the Kid’’ and playing the role of “Alias,’’ a member of Billy’s gang with some historical basis. Despite the film's failure at the box office, one of its songs, “Knockin’ on Heaven’s Door,” has become one of Dylan's most extensively covered songs. Dylan’s 1975 tour also provided the backdrop to his nearly four-hour film “Renaldo and Clara’’, a wildly improvised mixture of concert footage and reminiscences. Released in 1978, the movie received awful and had a very brief theatrical run. Later in the year, a two-hour edit that mostly featured the concert footage had a much wider release. In 1987, Dylan starred in Richard Marquand’s “Hearts of Fire,’’ playing Billy Parker, a washed-up-rock-star-turned-chicken farmer whose teenage lover (played by Fiona) leaves him for an English pop sensation (played by Rupert Everett). Dylan contributed two original songs to the movie, “Night After Night,’’ and “I Had a Dream About You, Baby,’’ as well as a cover of John Hiatt’s “The Usual,’’ but the film was not well received by cricits or the public A longtime visual artist Dylan has published three books of drawings and paintings beginning with Drawn Blank (1994) and his work has been exhibited in major art galleries. The Drawn Blank Series, opened in October 2007 at the Kunstsammlungen in Chemnitz, Germany and showcased more than 200 watercolors. From September 2010 until April 2011, the National Gallery of Denmark exhibited 40 large-scale acrylic paintings by Dylan entitled, The Brazil Series. Bob Dylan has released 34 studio albums, 13 live albums, 9 bootleg albums (The Bootleg Series) and 14 compilation albums. That’s 70 albums. One for each year of his life.
Voldar: Бобу Дилану - 70! Advice for Bob Dylan on his Miscellaneous Birthday, from Bob Dylan Examiner Thank you for finding this article under the avalanche of stories written by people contemplating what Bob Dylan's 70th birthday means. Words have been printed and posted, books have been written and expanded, radio documentaries have been broadcast, all in celebration of the Bard of Hibbing. Can TV news reports be far behind? What could I possibly add? Even though I've seen many links to these articles, I haven't had time to read most of them. I'm sure the obvious things have been covered - His impact on individuals, music, art, society. How grateful we are that he's still here and still relevant, still generating headlines, still controversial, still an enigma, still on the road. When I skimmed the recent Dylan birthday issue of Rolling Stone, it brought to mind an Eric Clapton interview I read probably about a decade ago. I don't remember the exact question, but when he was asked what his favorite blues songs or records or guitarists were, Clapton answered that he couldn't think of music in that way. A simple answer, but, in a way, very freeing. Before I even opened Rolling Stone's Dylan birthday issue, I was already dismissive of the claim that they really had the definitive list of "The 70 Greatest Dylan Songs." Do we finally have confirmation, once and for all, that "Tough Mama" (#65) is a slightly better than "Shelter From The Storm" (#66)? Is "Jokerman" slightly inferior to "It Ain't Me, Babe", but just a hair better than "Spanish Harlem Incident"? I used to have a friend that was also a Dylan fan. When discussing his works, we had a special saying. It didn't matter if we were discussing Blonde On Blonde, New Morning, or Knocked Out Loaded, one of us would always wistfully comment, "That's from one of my favorite periods". Just as Dylan fans are often puzzled how some people cannot appreciate what we consider to be the "genius" of Dylan's work, there are those on the other side that don't understand how we can stand his voice. They also believe that we blindly follow Dylan, as if his words were the sermon on the mount and that we are uncritical devotees, praising everything from his lamest out-takes to his deteriorating voice. Much like Dylan, we are misunderstood. One thing that would irritate me, if I let it, is people taking pot-shots at Bob. He's such an easy target, and easy to mock, with insults accompanied by a pathetic excuse for a "Zimmitation", usually by someone that could not possibly imagine what it would be like to accomplish the things Dylan has. These people think they know Dylan, but they haven't got a clue. They think they are clever, but they are the opposite. When I was younger, it was difficult to understand what Dylan was doing, where it came from, what it meant. For me, it took a concert by Dylan and the Band in 1974 to kick out the limitations in my mind of what music and art could do. It altered the trajectory of my life. I wanted to understand Dylan, but I had not yet lived enough, experienced enough. Yet I could not get enough. Since I filed my George, John, Paul, and Ringo solo albums just to the right of my Beatles albums, the Dylan "section" was smack dab in the middle of my relatively small record collection of the mid-1970s. I'd walk up to my LPs, I'd see Dylan album spines staring me in the face, and I'd have to decide - Do I want to listen to Dylan, or something else? I usually chose Dylan. I grew up on the Beatles and the Monkees, then the Top 40 of WABC and WGLI (AM). I was then interested in underground rock (now known as "classic"), but had to find out about it the hard way, from FM radio and magazines like Creem, Circus, and Crawdaddy. I had no idea what was "cool" or "good". In high school, one day Grand Funk and Emerson, Lake & Palmer were cool, the next day they weren't. I didn't know the difference between Black Sabbath and the Grateful Dead. You'd often blindly buy albums for the exorbitant price of $3.89, basically because the cover was cool. Most of my friends did not understand Dylan, nor my passion for his music. Even though he was pumping out number one albums like Planet Waves, Blood On The Tracks, and Desire, and touring with The Band and Rolling Thunder, it did not penetrate their worlds. They continued to listen to newer hard rock bands like Aerosmith and Kiss, without even knowing, or caring, how much they stole from the Stones and the Who. Finally, in 1976, Dylan was going to have his own television special, Hard Rain, in prime time on a major network, just like Sonny & Cher, or Tony Orlando & Dawn. I saw the last Rolling Thunder show of 1975, and loved Desire, but I had not heard anything about the second leg of the tour. It was very different than the show I saw, and unnerving to watch. My entire family was in the TV room while my friends were in their homes, also watching. It was judgment day. The program began with Dylan singing "Hard Rain". It was not a pretty sight. It was an outdoor show in a stadium, and it had been raining. Dylan sang in his yelping voice, a hard voice, a voice crying out in the Colorado wilderness. The song stopped then started again, and again, and again. He even slowed down and dragged out the chorus. It appeared to go on forever. It was a challenge, but I was not going to be a "Mr. Jones." I was intrigued, but I can't say I enjoyed it, because it wasn't meant to be enjoyed. It was rough, like punk rock without the fashion. It took me years to understand it. A friend of mine said he turned it off halfway through the first song. By the end of the 1970s, after the Street Legal tour, Renaldo and Clara, and Slow Train Coming, I had lost the plot. I couldn't possibly understand what Dylan was doing or what he was going through. I would still follow him, even calling the local NBC affiliate to complain when Dylan's appearance on SNL was joined in progress due to a Celtics game. In 1981, I was in England, and saw the second edition of Michael Gray's Song and Dance Man, The Art Of Bob Dylan. I didn't know anything about it, but bought it anyway. It opened up Dylan's world to me. Gray was able to articulate what Dylan's music meant, where it came from, and finding nice things to say about such puzzlers as Self Portrait and Saved. When I got back to the States, I went on a Dylan buying rampage, filling in holes in my collection, and buying books like Paul Cable's Unreleased Recordings. I would scrounge around used record stores to buy LPs by the Searchers, Clapton, and others that contained unreleased Dylan compositions. By now I was getting it, or at least beginning. I figured I'd unlocked the secret and wanted to share it, although it would be foolish to claim I understood everything. I spent the 1980s as the lone Dylan supporter at work, picking fights with anyone that put down any Dylan album. When Down In The Groove was released, a friend sarcastically said, "Two great ones in a row, huh?" Without missing a beat, I replied, "Three, actually." I should have said, "25". Analyzing Dylan taught me something. First of all, you've got to have faith. Dylan is one of the handful of artists that I trust, and one of the few that is still capable of making of making great music into his 70s. There is only one Bob Dylan. There is no one else like him (although many have tried). He is a human conundrum, someone that has created such a mystique that when you discover that he stole from some other artist or media, it not only does not take away from his art, it enhances it. Next, I've learned that it's important to question everything, and that's what I'm doing. It is not blind devotion, it's going beyond the obvious. Anyone can say Dylan can't sing anymore, or Dylan sold out, or laugh at Christmas in The Heart. That's easy. Dylan is never easy. If you're making fun of Dylan, you probably don't get him (or you write op-ed pieces for the New York Times). And you probably never will. I'm sure I don't get everything about Dylan, but I'm learning, still, and I'm just sharing another point of view. The hidden view, the one in the shadows, where many are afraid to look. If I'm defending Dylan's voice at the Grammys, it's sincere. I'm not saying it's pretty, I'm just saying it's real. For me, that's something to be applauded. Happy miscellaneous birthday, Bob. You don't need any advice. I just hope you enjoy this one, and many more to come.
Goldenday: Недавно заходил в наш "Диез" (неплохой магазин, торгующий фирменной аппаратурой и пластинками), так там ниша Дилана просто ломится от его изданий. Причём, и старых, и новых ремастеров. Что может быть лучше - так встретить свой юбилей, на коне и при оружии?! Молодец Боб! Здоровья ему и так продолжать
Voldar: Как уверяют - первая статья о Бобе. Bob Dylan, 1963 October 20, 1963 Reproduced below is the earliest article in the News Tribune’s files on Duluth and Hibbing native Bobby Zimmerman – better known as Bob Dylan. There may have been earlier mentions, but this is the first article that was clipped and saved in the archive files – and it seems to be written for a general audience who might not have known who Bob Dylan was. MY SON, THE FOLKNIK YOUTH FROM HIBBING BECOMES FAMOUS AS BOB DYLAN BY WALTER ELDOT of the News-Tribune staff There’s an unwritten code in show business that people like to be deceived. Performers, therefore, must be legendized and molded into a public image that is often quite different from what they used to be. It happened to Bobby Zimmerman from Hibbing – now widely known as Bob Dylan, 22, folk singer and songwriter. His rise in barely three years has been almost as impressive as the considerable fortune he has already amassed, the character he has assumed, the reams of reviews and stories written about him, and his Carnegie Hall debut next Saturday. Who and what is Bob Dylan? "Bob Dylan is emerging as the big wheel in the current folknik spin," the trade paper Variety noted last month. "He’s scoring in the recording, songwriting and concert field and is considered by many guitar-hooters as the single most creative force on the folk scene." A national folk song magazine referred to him as "the most prolific young songwriter in America today … His vocal style is rough and unpolished, reflecting a conscious effort to recapture the earthy realism of the rural country blues. It is a distinctive, highly personalized style combining many musical influences and innovations." Reporting on the recent Newport Folk Festival, the magazine Newsweek wrote: "The queen of the folk is Joan Baez and at this festival she informally named a crown prince, the 22-year-old Bob Dylan, a slight, reedy balladeer and backwoods poet with fluffy hair, a scared look in his small eyes, and a cry of anguish in his big voice and his strong songs. The crowd applauded every time his name was mentioned. ‘The most important folk singer today,’ declared Peter Yarrow, or Peter, Paul and Mary. ‘I feel it but Dylan can say it,’ said Joan Baez. ‘He’s phenomenal.’" McCall’s magazine, puzzled by his appeal, said he has "the style and voice of an outraged bear." Another national magazine described him as sounding like a TB patient singing behind the wall of a sanatorium. Columbia Records, introducing his first album last year, called him "one of the most compelling white blues singers ever recorded," and added for another album last month: "Of all the precipitously emergent singers of folk songs in the continuing renaissance of that self-assertive tradition, none has equaled Bob Dylan in singularity of impact." Yet his first album, last year, made no particular impact on the people who knew Dylan as Bobby Zimmerman. One local record dealer lamented: "I ordered a dozen albums but even his relatives won’t buy them." People who knew him before he set out to become a folknik chuckle at his back-country twang and attire and at the imaginative biographies they’ve been reading about him. They remember his as a fairly ordinary youth from a respectable family, perhaps a bit peculiar in his ways, but bearing little resemblance to the show business character he is today. Dylan’s career received a hefty boost when Peter, Paul and Mary recorded his song "Blowin’ in the Wind," whose topical theme about racial equality helped to propel it into an immediate hit. But Dylan is essentially a self-made creation, right down to the name which he borrowed from Dylan Thomas, the Welsh poet whose writings he likes, and some of the things he does strictly for effect. His parents, Mr. and Mrs. Abe Zimmerman of Hibbing, say whatever credit is due is his alone. "My son is a corporation and his public image is strictly an act," says his father. He’s had no musical training to speak of – at least, his parents don’t speak of it. But they recall that he was always fond of poetry and started writing verses, which they have saved, when he was only eight. Bob was born in Duluth in 1941 and attended Nettleton School, until his family moved to Hibbing where his father is a retail appliance and furniture dealer. Bobby completed high school in Hibbing and generally had a rather uneventful childhood. He impressed his peers and adults alike as being intelligent but unsettled. Even his parents concede that they found some of his ways distressing. That is not difficult to understand, for Bobby stems from a middle-class background in which much emphasis is placed on education and conformity and plans for a respectable career. Bobby didn’t quite fit into that framework and preferred a more bohemian type of life. His parents say he frowns on being called a beatnik, and they don’t like that designation for him either. But he was in fact adopting some of the manners associated with beatniks – or folkniks – in an area where that makes a person stand out like a strange character. His parents say they "always knew that Bobby had a real streak of talent, but we didn’t know what kind. We just could not corral it." Now, obviously, he seems to have done it all by himself. After his graduation from Hibbing High School, Robert Zimmerman entered the University of Minnesota in Minneapolis. He was expected to concentrate on science, literature and art, according to his father, but he didn’t like university life and put up with it for barely one year. Instead he took to playing his guitar-harmonica in a pizza house frequented by the college crowd. This appealed to him a great deal more than his studies or other campus activities. He didn’t think much of the college crowd. Says his father: "He had as many friends as he wanted but he considered most of them phonies – spoiled kids with whom he didn’t feel he had much in common." He had that opinion especially of the students who lived or met at the Sigma Alpha Mu Fraternity House. Bobby quit even before he was pledged. Playing around Minneapolis, usually without pay, he began to develop his present stage character – with the folk-style attire and accent that go with it. "That is," says his father, "what I found so disturbing – and still do. But it’s all part of the act." Bobby started improvising songs, making up lyrics and using some of his old poems, accompanying his own style of vocals on his guitar and harmonicas. That was three years ago. Just about that time his father decided to come to a definite understanding with him about Bobby’s future. "He wanted to have free rein," says Zimmerman. "He wanted to be a folk singer, an entertainer. We couldn’t see it, but we felt he was entitled to the chance. It’s his life, after all, and we didn’t want to stand in the way. So we made an agreement that he could have one year to do as he pleased, and if at the end of that year we were not satisfied with his progress he’d go back to school." It was eight months after that, says Zimmerman, that Bobby received a glowing "two-column review" in the New York Times. "So we figured that anybody who can get his picture and two columns in the New York Times is doing pretty good. Anyway, it was a start." After leaving the University of Minnesota, Bobby made his way to New York. He claims he hitch-hiked and his father does not contradict that claim. "He got himself a ride to New York," says Zimmerman. Bobby keeps in touch with his family in Hibbing and they have accepted him in his new role. But they stress that "we have absolutely no part in his affairs. Those are his own operation. He’s a corporation and he has a manager." The Zimmermans are particularly proud that Bob will perform in Carnegie Hall on Saturday – and some of his family plan to be there. The Zimmermans have another son, David, 17, a serious music student and fine piano player. He also has an excellent voice and occasionally performs as a volunteer cantor in the Hibbing synagogue, chanting the entire service with admirable intonation. David’s chanting, if one listens closely, sounds a bit like Bobby’s. It seems to come from the heart and reaches out to other hearts. http://attic.areavoices.com/2008/11/01/bob-dylan-1963/
Voldar: И вот такое поздравление о коммерсанта... Певец протеста не в настроении Исполнилось 70 лет Бобу Дилану, поэту и музыканту, заложившему основы протестного рока и всю жизнь стремящемуся избавиться от имиджа певца-бунтаря. Рассказывает БОРИС БАРАБАНОВ. Накануне 70-летия прогрессивная международная общественность в который раз обвинила Боба Дилана в предательстве идеалов 60-х. Согласившись выступить в Китайской Народной Республике, он якобы согласился и на просьбу местных культурных чиновников выбросить из программы концерта песни протеста. То есть "Like A Rolling Stone" и "All Along The Watchtower" — о'кей, а "Blowin' In The Wind", пожалуйста, уберите. Но гораздо большего внимания достоин тот факт, что официальный главный поэт-песенник XX века не собрал в свой первый приезд в Китай аншлага на арене на 13 тыс. зрителей, а из тех, кто пришел, большинство составляли экспаты. Почти такая же разочаровывающая картинка, как в июне 2008 года в санкт-петербургском Ледовом дворце, с той только разницей, что из зрителей, пришедших в зал пекинской "Гимназии рабочих", 2 тыс. составляли сотрудники спецслужб. В следующем пункте турне Боба Дилана, Шанхае, анонсы его концерта проиллюстрировали фотографиями кантри-певца Вилли Нельсона. Семидесятилетнего Роберта Аллена Циммермана до сих пор не везде знают в лицо. Но интеллектуальная элита все равно считает, что он ей должен, причем в глобальном масштабе. Его видят в роли артиста, олицетворяющего протест на баррикадах с гитарой, хотя концерты он уже давно дает в комфортабельных залах, согнувшись над клавишными. Словно предчувствуя юбилейную истерию, для исполнения на последней церемонии Grammy Боб Дилан выбрал песню "Maggie's Farm", которая в середине 60-х символизировала его желание обособиться, уйти от набивших оскомину ассоциаций с "протестным" фолк-движением. Это фактически сатира на американскую фолк-сцену, антитеза тезису "художник должен быть голодным". В конце концов, огромное количество песен Боба Дилана принесло ему тонны денег в версиях других артистов и в качестве абсолютных поп-хитов. Однако "Blowin' In The Wind" все равно ничем не перешибить. Вот и китайцы ее боятся, а соотечественники до сих пор чтут как гимн движения за гражданские права. "То, что хриплый трубадур 60-х, певший о свободе, отправится в диктаторскую страну и откажется там от исполнения песен протеста, представляется мне предательством",— писала накануне гастролей журналист The New York Times Морин Дод. Престарелому барду даже пришлось оправдываться. "На концертах мы сыграли все те песни, какие хотели, и никто мне не говорил ни о какой цензуре",— писал поэт в своем блоге уже после того, как информационные агентства доложили о его вопиющем соглашательстве. Музыканта также обвинили в том, что он не встал на защиту художника Ай Вэйвэя, арестованного незадолго до начала гастролей. Ярлык "борец за гражданские права" прирос к господину намертво, так же, как к U2, во время приезда которых активнее всего обсуждалась не музыка, а роль Боно в защите Химкинского леса. Бобу Дилану, по его словам, странно было обнаружить, что молодые китайцы, пришедшие на концерт, вообще не воспринимают его в контексте контркультуры 60-х, а, наоборот, с удовольствием слушают песни из последних четырех-пяти альбомов. На деле же художник ранга Боба Дилана должен благодарить Бога за то, что есть еще на планете места, где тебя любят не за то, что ты делал в середине прошлого века, не за то, что о тебе пишут газеты, не за то, чем ты угодил либералам или диктаторам, а за то, что ты делаешь прямо сейчас. http://www.kommersant.ru/doc/1646204
Voldar: Его ответ "керзонам" ‘My protests are conveyed through my music' “Protests need not always come out on the streets or shooting with the gun,” says Bob Dylan, the folk icon, as he answers a long distance call from California. “I appreciate and admire the folklore of this glorious sub continent that has one of the richest cultural heritages.” Last month saw his first performance in China, where he was earlier forbidden or never invited. Speaking of his China tour, Bob Dylan grows excited. “This was the concert of a lifetime. I admired the Red Revolution and China is a nation to look up to. When President Lyndon Johnson stated that he was moved to tears by Bob Dylan's numbers, he conveyed the feelings of countless people across the world. Elaborating on folk songs, Bob Dylan states, “A country or folk song is very different from a popular one. If the lyrics do not have the essence of the birth place's soil, wind and waters, it is not a folk song at all.” Songs like Blowin' in the Wind, The times they are a Changin' and albums like “Things Must Pass” and “No Direction Home” are legendary favourites. Yet, he confesses, “My personal favourite is I will be working in Maggie's farm no more. Through this I brought out the plight of a deprived and exploited peasant in the American countryside who was ignored by Hollywood and the world. This song, I feel, is the hymn of farmers and peasants through the globe. Even Paul Robeson complimented me for my creation.” More heart than craft Of the current synthetic genre of music, Dylan says, “Synthetic music requires more heart than craft to be everlasting. But the majority of numbers don't appeal permanently as they lack simple emotions.” What did he think of the Beatles? “Their lyrics are said to be as popular as the Bible. They even outclassed their predecessors, Rolling Stones. Though I do not think along the same lines of all their songs, I must admit some of them like Yellow submarine, Michelle and I wanna hold your hand are fabulous. A second Beatles can never be born." Bob Dylan confesses, “The greatest singer to musically convey the voice of people the world over is Paul Robeson. Sometimes I feel like a motherless Child is an evergreen number. The resonance in his voice is incomparable. Pete Seeager also was very effective in Where have all the flowers gone. I would be biased if I do not mention Dalia Lave, the greatest revolutionary female singer, who oozed emotions in her famous number My world can be yours.” No comparisons He does not believe in comparing himself with any of these greats and knows that his style and trend are unique and different. In fact Pat Boon once said if Bob Dylan rendered Anastasia it would have been far more effective than his own. Nancy Sinatra was keen to render a duet with the inimitable Dylan after he praised her haunting duet with Lee Hazlewood, Strawberries, cherries and angel's Kiss in spring. The poetry of Dylan Thomas is the Bible for Bob Dylan, who feels that a combination of guitar, bass, drums and piano accompanied occasionally with horn sections and violins can create magical effects. Recollecting his joint performance and appearance with George Harrison for his Bangladesh concert in 1971, Bob Dylan states, “I was determined to musically greet the survivors of a bloody battle and convey my musical condolences to those noble souls who lost their lives to liberate their nation. George Harrison was on an objective mission and how could I not support his cause?” Grammy awards don't mean anything for this revolutionary singer. According to him, the content of a song is best with imagination and protest against all forms of despotism and wrongdoing. He signs off, “The U.S. may be a super power but not all the wars it has fought are just; nor are all its policies. I am a writer, singer and musician and my protests are conveyed through my music.” http://www.thehindu.com/arts/music/article2050720.ece
Voldar: Bob Dylan's First Concert It may not have been The Big Time, per se, but for Bob Dylan, it sure must have felt like it. On November 4, 1961, the 20-year-old folksinger ascended the stage of the 200-seat Carnegie Recital Hall armed with his guitar and a pocketful of new cover songs he'd just carved into memory. While he had performed at Greenwich Village's bigger venues like the Gaslight and Gerde's Folk City, the Carnegie Hall show constituted Dylan's very first actual live concert. How It Fell Together Career-wise, Bob was on a roll. Just six weeks earlier, entertainment writer Robert Shelton published a glowing review in the New York Times, touting Dylan as the next big thing in folk. Coincidentally, a day after the review appeared, Columbia Records A&R giant John Hammond Sr. signed the young singer-songwriter to a standard five-year recording contract with the label. Meanwhile, star-maker Albert Grossman, then manager of Peter, Paul, and Mary, had been aiming to make Dylan the next addition to his managerial roster, which would one day include the likes of The Band and Janis Joplin. It was actually Grossman's comments that inspired Izzy Young to finance and organize the Carnegie Hall concert. Izzy Young as Concert Promoter If not for Dylan's early supporters and cheerleaders, he'd probably have never reached the heights of success as quickly as he did. Izzy Young was one of those mentors, and his encouragement helped boost Dylan's ego, giving him a push at that crucial early stage of his career. Back in the mid-'50s, Young was the founder of Greenwich Village's Folklore Center on MacDougal Street, a central meeting place where patrons could shop for folk records and instruments. More than a retailer, though, Young was the scene's historian and general go-to guy who kept the pulse of the scene and its gossip. Naturally, as the Village's most pivotal hub, the Folklore Center was one of Dylan's first stops upon his arrival in the Village in January 1961. Young was a meticulous note-taker, and according to his journal, Dylan dropped in and played “Muleskinner Blues” on autoharp. However, it wasn't until the Shelton review appeared in the New York Times that Young took more than a passing interest in the folksinger. But the real clincher—and what spurred Young into becoming a full-blown believer—was when Grossman commented, “I think Dylan can make it” in mid-October. Seeing the light, Young quickly assumed the role of Dylan's ad hoc “manager,” taking him to meet Moe Asch at Folkway Records in hopes of getting him a record contract, as well as securing Dylan's very first radio appearance—a two-song set on Oscar Brand's show, Folksong Festival, on WNYC, where Dylan performed Woody Guthrie's “Sally Gal,” and a traditional, “The Girl I Left Behind.” The Concert More than anything, the radio appearance was more of a plug for the upcoming Carnegie Hall concert slated for November 4th. Completely sold on Dylan's future, Izzy Young scheduled the concert, then laid out $75 to rent the hall, plus $35 for programs. At $2 per ticket, Young reckoned he'd have to sell half the seats to recoup his expenses. Anything over that would be profit. The show, however, proved to be a financial disaster; only 53 people showed up, a good percentage of those being Dylan's friends and cohorts who were issued comps. By most accounts, it was a shy, nervous Dylan that took the stage, and his show deviated almost entirely from his normal set at Gerde's Folk City. Not yet the prolific songwriter he would soon become, his Carnegie Hall show consisted entirely of cover songs, including Woody Guthrie's “1913 Massacre,” and “Black Girl (In the Pines).” But more than anything, with studio time booked and his first-ever professional recording session looming just two weeks away, the concert became a live proving grounds for Dylan to try out some of the songs under consideration for his debut album. Three of the songs performed that night that would carry over to the November 20 session included “Pretty Peggy-O,” “Gospel Plow,” and “Fixin' to Die.” While young may have jumped the gun, optimistically promoting a relatively major concert before Dylan had built a big enough name to fill a 200-seat venue, he only missed the mark by about a year. For the time being, Dylan would return to Gerde's Folk City, taking up a regular spot on the bill until the summer of 1962, when he would begin performing to larger audiences, opening for the likes of Pete Seeger at benefit concerts and soon bvecoming a headliner in his own right. http://folkmusic.about.com/od/bobdylan/a/Bob-Dylan-First-Concert.htm
Voldar: Dave Stewart To Release The Blackbird Diaries, Including Song Co-Written With Bob Dylan Renaissance man Dave Stewart, who is a musician (ex-Eurythmics), producer, entrepreneur, author, filmmaker and philanthropist, is set to release The Blackbird Diaries on August 23rd. The album, released via Razor & Tie/Weapons of Mass Entertainment/Surfdog, will be Stewart’s first album of new original material in a decade. An adventurous collection of songs, The Blackbird Diaries will feature duets with Martina McBride, Stevie Nicks, Colbie Caillat, and the Secret Sisters, along with a song that was co-written by Stewart and Bob Dylan. The album is a novel mix of driving, unapologetic rock infused with blues licks and even some Americana, with lyrics that weave stories in the music. In an interview with Billboard, Dave said, “[The Blackbird Diaries has] got this weird mixture, like an Englishman landing in a country, blues, and rock atmosphere, but it has kind of a quirky side to it too.” As a musician and producer, Dave Stewart has been incredibly prolific over the course of his career, amassing 100 million plus in album sales, many Grammy, European, and MTV awards, and a Lifetime Achievement Award. Recently, he has produced and co-written albums with Joss Stone and Stevie Nicks helping found Superheavy, a supergroup with the likes of Mick Jagger, Joss Stone, Damian Marley, and A.R. Rahman. http://guitarinternational.com/2011/06/14/dave-stewart-to-release-the-blackbird-diaries-including-song-co-written-with-bob-dylan/
Voldar: Bob Dylan tour maps more U.S. dates for summer 2011 Bob Dylan is preparing for his usual summer tour across the United States. The iconic singer-songwriter will be back on the road starting next month with a 23-city national routing. The coast-to-coast tour kicks off with a July 14 concert at the Santa Barbara Bowl in Santa Barbara, CA, and continues through August 20, when Dylan will perform at the Waterfront Pavilion in downtown Bangor, ME. Highlights of the summer 2011 tour calendar include performances on July 17 at the Pearl Concert Theater in Las Vegas, NV; July 26 at Lakefront Arena in New Orleans, LA; August 1 at the Ryman Auditorium in Nashville, TN; and August 12 at the Bethel Woods Center in Bethel, NY. Tickets are already available for select dates on the summer tour. Later dates on the itinerary are still in presales and have public onsales opening June 17 or after. Ticket face values begin around $25 and reach up to the $60 range in most markets. Complete ticket onsale and pricing information is available on Dylan's official Web site. This year's tour breaks from the tradition of Dylan's 2009 and 2010 summer ventures to visit U.S. ballparks. The troubadour's 2010 summer tour featured a mix of both amphitheater and ballpark dates with support from John Mellencamp. Meanwhile the 2009 Ballpark Tour, featuring both Mellencamp and Willie Nelson, focused solely on minor leage parks and stadiums. Bob Dylan - Summer 2011 Tour itinerary: (Dates are subject to change.) July 14 Santa Barbara, CA Santa Barbara Bowl July 15 Costa Mesa, CA Pacific Amphitheatre July 16 Las Vegas, NV Pearl Concert Theater July 18 Phoenix, AZ Comerica Theatre July 19 Tucson, AZ Anselmo Valencia Tori Amphitheatre July 21 Albuquerque, NM The Pavilion July 23 Thackerville, OK Winstar World Casino July 24 New Braunfels, TX Whitewater Amphitheatre July 26 New Orleans, LA Lakefront Arena July 27 Pensacola, FL Pensacola Civic Center July 28 Atlanta, GA Chastain Park Amphitheatre July 30 Memphis, TN Mud Island Amphitheatre August 1 Nashville, TN Ryman Auditorium August 2 Evansville, IN Roberts Stadium August 3 Toledo, OH Toledo Zoo Amphitheatre August 5 Kettering, OH Fraze Pavilion for the Performing Arts August 6 Cleveland, OH Jacobs Pavilion at Nautica August 7 Rochester, MI Meadow Brook Music Festival August 9 Canandaigua, NY Constellation Brands - Marvin Sands PAC August 10 Scranton, PA Toyota Pavilion at Montage Mountain August 12 Bethel, NY Bethel Woods Center for the Arts August 19 Gilford, NH Meadowbrook U.S. Cellular Pavilion August 20 Bangor, ME Bangor Waterfront Pavilion http://www.ticketnews.com/news/Bob-Dylan-tour-maps-more-US-dates-for-summer61116125
Voldar: Боб Дилан как объект символических инвестиций Ян Левченко, PhD, профессор кафедры наук о культуре факультета философии Высшей школы экономики Боб Дилан разменял восьмой десяток. Журнал "Тайм" в характерном цветистом духе назвал его "мастеровитым поэтом, едким общественным критиком и бесстрашным предводителем поколения контркультуры", а прямо к юбилею Дилана университеты Майнца, Вены и Бристоля устроили семинары по его творчеству. Издан бокс-сет ранних монозаписей (полная аутентичность "плохого" звучания), продолжается "Бесконечное турне" — проект, начавшийся в 1988 году (отыграно около 2300 концертов). Британский журнал Mojo начал публиковать юбилейные материалы об артисте ровно за год до даты. Но нельзя сказать, что мир ликует и сотрясается. Теперь он это делает редко и по другим поводам. Славу Боба Дилана вообще нельзя назвать громкой. Он все-таки не "Битлз", один вид которых ввергал сотни людей в коллективный транс. Культурная функция Дилана не в последнюю очередь обеспечивается его долгим историческим дыханием. В свои 70 лет он пребывает в проверенной форме — той, что была наработана еще полвека назад на полуподвальных подмостках Гринвич-виллидж. Даже искренность и страсть практически те же, лишь слегка тонированы опытом и печалью. В отличие от многих других долгожителей сцены, отчаянно длящих безвозвратную молодость, Дилан не обманывает время. Приезжий одиночка В отличие от своего кумира Дэйва ван Ронка, игравшего в клубе "Газовый фонарь" на Макдугал-стрит, Дилан был приезжим. Он прибыл в Нью-Йорк 24 января 1961 года из Иллинойса в товарном вагоне. Таково необходимое условие легендарной биографии, которую сам Дилан, пропустив вперед десятки профессиональных авторов, начал писать в 63 года. Провинциал с гитарой в непривычно заснеженном Нью-Йорке, в голове — пара собственных песен и сотни "народных". Тщедушный еврейский юноша в толпе музыкантов, примкнувших к "фолк-возрождению", инициатором которого еще в 1940-е выступил Вуди Гатри. На фоне новорожденного рок-н-ролла для тинэйджеров и би-бопа для интеллектуалов корневой фолк оставался культовым, но архаичным явлением со своей публикой, своими лейблами и своими радиопрограммами. Юноша Циммерман, взявший себе псевдоним в честь поэта Дилана Томаса, плоховато играл на гитаре, часто "давал петуха" на губной гармошке, а петь и вовсе не умел — чего-то гнусаво бубнил. Условия для старта были никакие. Однако именно в фигуре Боба Дилана молодая Америка нашла оправдание своей скуке, досаде, пассивному протесту. Ровесник войны, учившийся в школе при Эйзенхауэре, но получивший уроки пацифизма от больного отца и дядьев-фронтовиков, Дилан воплотил желание перезагрузить жизнь и начать с нуля. Поколению послевоенного бэби-бума был нужен кто-то искренний, стеснительный, погруженный в себя, читающий и слушающий все подряд, рассеянный, слегка безответственный. Требовался кто-то, кому можно было доверять, как себе. "Битлз", написавшие за 10 лет карьеры 137 песен, из которых больше половины — гениальные, были экзотичными англичанами. Но главное заключалось в том, что это все-таки была группа, чей образ складывался как целое, которое всегда больше, чем сумма частей. Дилан был один и мог служить понятным образцом, не нуждающимся в дополнениях. Он был моложе и злее менестрелей белого кантри, тоньше и задушевнее героев рок-н-ролла, суше и литературнее рабочих черного блюза. Дилан вселял надежду, что с гитарой и гармошкой управится каждый. Просто народный Ранняя слава свалилась на него тяжким бременем. Время, тоскующее по новым героям, выбрало Дилана, возвестив о смене эпох. Он олицетворял "другую" Америку, чем малокультурный Элвис Пресли, — городского интеллигента, выскочку с томиком стихов, мечту антисемита. Шестидесятые были тем редким в новейшей истории временем, когда ставка была сделана на "других" — на молодежь, субкультуры, оригинальность и эксцентричность. Как истинный представитель этой генерации, Дилан постоянно сомневался и в муках рожал великолепные альбомы, отбиваясь от обвинений в предательстве. Сначала от "истинных" поклонников кантри, потом от антивоенных активистов, ошибочно принявших его за свой рупор, потом от рокеров, посчитавших его своим после "электрических" пластинок эпохи Вудстока. В первом томе мемуаров "Хроники" Дилан писал, что всегда был просто фолк-музыкантом, который "вперялся в серую дымку застланными слезами взором, сочинял песни, что парили в светящемся мареве". Он знал, что сквозь него проходит какая-то энергия, но не хотел быть ничьей совестью. И вообще, эру молодежного бунта сделали газеты, которых Дилан опасливо сторонился уже после первых успехов. Абсурдная ответственность Точнее всего характер Дилана был диагностирован в байопике Тодда Хейнса "Меня там нет" (2007), где музыканта сыграли сразу 4 актера — Хит Леджер, Кристиан Бэйл, Ричард Гир и даже Кейт Бланшетт, которой удалось лучше всех воплотить кучерявого невротика в темных битниковских очках. Действительно, Дилана никогда нет там, где все его ищут. Он мог быть и фанатичным пророком, и обдолбанным хулиганом, и добропорядочным буржуа с машиной в кредит. Все это реальные американцы, чьи образы оформились не без влияния Дилана же. Кто из них ему ближе, спрашивать бесполезно. В 1962 году Дилан написал "Дуновение ветра" (Blowin' In The Wind), где ответ на все "проклятые" вопросы знает только ветер. Подобные банальности пользуются спросом у искателей правды, которых развелось в шестидесятые годы под флагом движения хиппи. Дилан признавался, что его испугал масштаб молодежного движения. Вести за собой такую ораву — это даже не ответственность, это просто абсурд. Но писать другие песни он так и не научился, и его еще долго принимали за трибуна, пророка и не пойми чью совесть. Боб Дилан подарил своим соотечественникам союз героизма и обыденности, когда-то казавшийся неожиданным. Любая исключительность должна быть переводима на доступный язык, и Дилан странен ровно настолько, чтобы его понимали. Ирония Дилана никогда не бывает (само)убийственной, таких заносов он себе не позволяет. У него есть ярко выраженная модернистская миссия по преображению мира — в данном случае, посредством музыки. Ненадолго это удалось — лет на пять, не меньше. Когда в начале 1960-х вся Америка вдруг запела "Времена — они меняются" (The Times They Are A-Changin'), автор песни считал себя блаженной пифией, устами которой говорит история. Сейчас, после череды вкусовых перерождений, увлечения религией и даже магией, воспитания детей, бесконечных поездок на мотоцикле и 36 студийных альбомов Дилан бросил думать об истории. Есть "новые времена" (так называется его самый успешный альбом нулевых), и меняются они постоянно. Дилану же нравится оставаться. Писатель с роковыми последователями Дилан первым начал делать многие вещи, которые без него, конечно, как-нибудь придумались бы, но теперь из песни слов не выкинешь. Под его влиянием "Битлз" начали курить марихуану и впадать в самосозерцание (в просторечии — зависать). С тех пор принято считать, что алкоголь — это или для гопников, или старомодно, а вот трава — это да, настоящее искусство. После того, как изобретенный Диланом нервный политизированный кантри-рок породил новую музыку Нового Света от Creedence и Нила Янга до The Doors и Lynyrd Skynyrd, избыточно говорить о влиянии — скорее, о точке зрения Дилана, с которой можно рассматривать американскую музыку второй половины XX века. Что примечательно, без особого участия с его стороны. Увы, но и последыши рок-революции не могут избавиться от этого наваждения. Лайам Галлахер, обзывающий Дилана последними словами, и Пит Доэрти, открыто черпающий в нем свое нездоровое вдохновение, сидят в одной лодке. И даже Алекс Тернер, годящийся Дилану во внуки, может не волноваться насчет происхождения своих текстов. Аудитория Arctic Monkeys, как правило, не знает, кто такой Дилан, а старшее поколение не слушает рок для тинэйджеров. В чем Дилан преуспел много меньше, так это в литературе. Почетную степень Принстонского университета он получил за carminibus canendi (исполнение песен), а не за роман "Тарантул" или стихи, в которых Томас Стернз Элиот дерется на капитанском мостике с Эзрой Паундом. Да, а в 1997 году Дилан был номинирован на Нобелевскую премию по литературе. Читатель из дома престарелых В отличие от Джона Леннона, который даже английской поэзии нонсенса предпочитал собственные абсурдистские стишки, Дилан читал много и охотно. Разумеется, без всякой системы — эти штучки он оставлял интеллектуалам. В мемуарах Дилан сетует, что для знакомства со всеми необходимыми книгами нужно сразу заселяться в дом престарелых. Зависая в квартире нью-йоркских друзей, Дилан листал "По ту сторону принципа удовольствия" Зигмунда Фрейда, но, узнав, что это чтение рекламных агентов, больше книгу не открывал. "Шум и ярость" Фолкнера не пошла, но стало ясно, что это сила. Отдельной полкой стояла русская литература. Редкий американский рокер опознает имя Пушкина — гений русского культуртрегерства за границей никогда не был интересен. Дилан утверждает, что читал его "политические стихи" (оду "Вольность"? "К Чаадаеву"?) и знает, что приятель неосторожно поучаствовал в дуэли. Напротив, Толстой и Достоевский — почти американские писатели. В имении одного из них Дилан катался на хозяйском велосипеде, а другого вспоминал, когда в 1970-е пришлось писать пластинки, чтобы расплатиться с кредиторами. Круг молодого певца Джоан Баэз — фолк-певица, некоторое время была невестой Дилана, но впоследствии обрела себя на поприще идейно однополой любви. Ее аранжировка народной песни "Дом восходящего солнца" (1962) породила волну подражаний, неутихающую до сих пор. Аллен Гинзберг — один из лидеров так называемого "разбитого поколения" в литературе, или битников, оказал мощное влияние на поэтическую манеру Дилана, признал в нем ученика и единомышленника, а начиная с личной встречи в декабре 1963 года, числил в друзьях. Карен Долтон — единственная девушка с гитарой в "Кафе Чего?" (The Cafe Wha?), куда Дилан попал зимой 1961 года. "Сексуальная, долговязая и хмурая", по восхищенным воспоминаниям Дилана, мисс Долтон предвосхитила сценический образ Джоан Баэз. Дэйв ван Ронк — "левый" поэт-марксист, локальная знаменитость блюзовой сцены Гринвич-виллидж, гуру Дилана, чья нарочито грубая вокальная манера нашла отражение во влиятельной школе "белого" блюза, позднее нашедшего вторую родину в Британии. Пит Сигер — белый менестрель-фольклорист, поразивший воображение Дилана в 1963 году на фестивале в Ньюпорте. В 1959 году песня Чарльза Альберта Тиндли "Мы все преодолеем" в его исполнении была объявлена гимном Движения за гражданские права. Советское прошлое В 1978 году красивый 22-летний Михаил Науменко позировал с книгой Дилана в одной руке и плечом Бориса Гребенщикова в другой для кустарной обложки магнитоальбома "Все братья — сестры", с которого началась вторая волна ленинградского рок-н-ролла. Это был пижонский жест: книжка не просто англоязычная, но с именем культового героя. Без Дилана группе "Аквариум" пришлось бы идти по другому пути, о чем с уверенностью неофита напишет маститый Андрей Вознесенский в связи с выходом первой официальной пластинки "Аквариума" в 1986-м. Возможно, под впечатлением от встречи с американским героем, что состоялась за год до того в Переделкине, — Дилана повезли показать прирученного бунтаря советской поэзии. Американскую знаменитость нехотя признавали в советской империи — помнили его появления на разных сборищах, которые при желании можно было принять за антивоенные. В замшелые советские годы комсомольский журнал "Ровесник" смело относил Дилана к числу прогрессивных певцов, на самом излете эпохи уступив этот вышедший в тираж эпитет пионерскому журналу "Костер". В 1980-е Дилана слушали мало, хотя супергруппа "Traveling Wilburys" с его участием попала в эфир центрального телевидения. Впрочем, что значит мало, если последние советские хиппи повывелись только в эпоху рыночных реформ? http://www.kommersant.ru/doc/1665510
Voldar: Боб продолжает свой бесконечный тур после празднования юбилея. Bob Dylan set list - London Feis 2011, Finsbury Park, June 18, 2011 Jun 18, 2011 London, England London Feis 2011, Finsbury Park SET LIST 1 Gonna Change My Way Of Thinking 2 It's All Over Now, Baby Blue 3 Things Have Changed 4 Tangled Up In Blue 5 Summer Days 6 Simple Twist Of Fate 7 Cold Irons Bound 8 A Hard Rain's A-Gonna Fall 9 Highway 61 Revisited 10 Forgetful Heart 11 Thunder On The Mountain 12 Ballad Of A Thin Man // 13 Like A Rolling Stone 14 All Along The Watchtower 15 Blowin' In The Wind http://www.examiner.com/bob-dylan-in-national/bob-dylan-set-list-london-feis-2011-finsbury-park-june-18-2011
Voldar: Ещё две книжечки о Бобе. How to be forever young Two more contributions to the volumes greeting Bob Dylan's 70th highlight the great man's genius for constant change The Ballad of Bob Dylan Daniel Mark Epstein Souvenir Press, £20 The Mammoth Book of Bob Dylan Edited by Sean Egan Robinson, £7.99 The Ballad of Bob Dylan is an minutely detailed biography, written by a musician who was part of the original Greenwich Village folk scene. The book has an easy pace that weaves intricate detail with quotes from performers who knew and played with Dylan. You may not really be bothered about which high D note Dylan adds to his G chord to make it chime, but the author's account of watching him sing The Times They Are A-changing in 1963 is intense and intimate. There is even a scene where Epstein's younger sister gets lost in the crowd trying to get Dylan's autograph and Dylan himself rescues her. This kind of personal perspective continues throughout. Happily, the book is laced through with Dylan's lyrics. While many of these are now taken for granted as part of the vernacular, Epstein makes you appreciate anew just how many memorable words have flowed out of just one man. The words, both revealing and mysterious, are made magic by unexpected joinings, and made powerful when put to song. Here's just one sample, from Mr Tambourine Man: "Then take me disappearin' through the smoke rings of my mind/Down the foggy ruins of time, far past the frozen leaves/The haunted, frightened trees, out to the windy beach/Far from the twisted reach of crazy sorrow/Yes, to dance beneath the diamond sky with one hand waving free/Silhouetted by the sea, circled by the circus sands/With all memory and fate driven deep beneath the waves/Let me forget about today until tomorrow…" Dylan's creative restlessness is as legendary as his songs. He never sings a song the same way twice, and he goes to great effort to keep all his musicians destabilised so they sound fresh. And Epstein shows why smashing preconceptions and exploding genres is as natural to Dylan as getting out of bed. The book watches Dylan creating his own myth of growing up out west in a carnival and riding freight trains, whereas he really grew up as Bobby Zimmerman in a respectable middle-class Jewish home in the Midwest. Myth and reality converge when he goes to New York to visit his hero, the firebrand, leftist folk singer Woody Guthrie. Epstein also shows that, while Dylan's image is always that of a loner, he has always been plugged into a larger community of musicians and mythmakers, starting with Woody Guthrie's family. His songs are taken from a magpie's collection of inspirations, from the 1930s blues of Reverend Gary Davis to American Civil War newspapers to Anglo-Saxon poetry. Dylan was ever hungry for the arts, and hoovered up every work in sight, from El Greco to Leroi Jones and Bertolt Brecht, soaking in more and more information from his mentors and muses. He admires many musicians and keeps careful track of who's good at what. When he needs good bluegrass or gospel or country players, he knows who to call. He does have a cruel streak. He was tormenting his old friend, the blues player Dave Van Ronk in a bar one night until Van Ronk stood up and said, "Dylan, if you're so rich, why ain't you smart?" and left. But all is forgiven years later when Van Ronk and many others who weren't as successful as Dylan, including a disabled childhood friend, are invited to go on a long rock 'n' roll circus tour together. As you ride through Dylan's decades of changes, lovers and bands, a satisfyingly clear portrait emerges from the shadows, ever sharpening the focus on the most cleverly elusive artist in the age of media saturation. While Ballad is about the artist and how he created his art, The Mammoth Book of Bob Dylan is a collection of journalistic criticism, edited by Sean Egan. Egan's reviews are a little dry at times, but the book is saved by fascinating and hilarious anecdotes from fans, players and journalists who met Dylan, including entertaining interviews and funny tales about baffled reporters coming up against a man who could always keep 10 steps ahead of them. http://www.thejc.com/arts/books/50489/how-be-forever-young
Voldar: Bob Dylan and The Band: The Making of The Basement Tapes When it was released in 1975, the official album was only the tip of the iceberg—a mere 24-song sampler of Bob Dylan's most prolific year as a songwriter. Whether it was simply a loose months-long jam session or—as some argue—an epic submersion into the primordial marrow of America's ancient folk tradition, The Basement Tapes will forever stand as one of the most obscure, yet important chapters of Dylan's career. Dylan's Folk Scholarship Although Dylan made a name for himself as a folksinger-songwriter in the early 1960s, his knowledge of folk music was superficial at best. Oft-described by his Greenwich Villager contemporaries as a “sponge” when it came to learning new songs, his sponge-manship was limited to technique. Between 1961-66, Dylan's life was a whirlwind—a blur of activity that allowed no time to actually pause and absorb the rich roots, the lore, the purest American-ness of his chosen medium. He felt the archaic pulse—which is good enough to make brilliant music—but he'd only scratched the surface of its meaning. It wasn't until the The Basement Tapes era of 1967 that Dylan, at 26 years old, began to seriously and consciously plumb the mines of American folk and blues, tapping the true essence of the musical traditions he'd been stealing from and modifying. Forever after, this Basement Tapes foundation would serve as Dylan's career anchor—a sanctuary of muses and inspiration that he would add to and tap into again and again for the duration, beginning with 1975's Rolling Thunder Revue, and later with the folk cover-albums Good As I Been to You and World Gone Wrong (1992-93), and into the new millennium with his Sirius/XM program, Theme Time Radio Hour. The Sessions In July 1966, after returning to his Woodstock refuge following a grueling world tour with his new electric backing band The Hawks, an exhausted Dylan had his legendary “nearly fatal” motorcycle accident. Seizing the opportunity to “get out of the rat race,” Dylan canceled all future plans—including a full fall tour—and went into seclusion for eight years. But despite outward appearances that Dylan's life had ground to a halt, as a songwriter, the following year became the most productive of his career. To be closer to Dylan, The Hawks—consisting of Robbie Robertson, Richard Manuel, Rick Danko, and Garth Hudson (and later in the sessions drummer Levon Helm)—had recently relocated to nearby West Saugerties into a house dubbed Big Pink. In the spring of 1967, while writing new material for his forthcoming album John Wesley Harding, Dylan began visiting the band for a few hours everyday for informal jams in the basement, where the musicians had set up a basic studio with three mikes and a seven-inch reel-to-reel tape recorder operated by Hawks organist Garth Hudson. When exactly the Basement Tapes sessions began and ended has been one of those great rock mysteries. In the official album's liner notes, music writer Greil Marcus wrote “Between June and October,” however, he revised those dates in his 2001 book The Old Weird America to “early summer 1967... off and on through the rest of the year and into the next.” But regardless of that trivia, with no mission other than to get together and play, and no intention to ever release any of the songs recorded, the sessions became a time for pure creation that ranged anywhere from tomfoolery to absolute intensity—and moments pure sublimity. The Outcome From songs like Johnny Cash's “Big River” and Ian Tyson's “Four Strong Winds, to off-the-cuff performances like “Clothesline Saga” (a spin on Bobbie Gentry's then-hit “Ode to Billie Joe”), the bulk of the sessions were spent either improvising or doing covers of folk ballads and country standards. Meanwhile, Dylan seized the opportunity to teach the Hawks the songs he'd cut his teeth on back in the early Village days, generating a new appreciation for traditional American music in these hardcore Canadian rockers. All told, in the six or seven months that encompassed the sessions, the musicians produced more than 100 songs ranging from half-minute fragments, to zany throwaways, to fully realized originals. Other songs included Curtis Mayfield's “People Get Ready,” John Lee Hooker's “I'm in the Mood,” traditional songs like “Going Down the Road” and “Coming Round the Mountain,” and even “Flight of the Bumble Bee.” Despite the no-expectations atmosphere of the sessions, a 14-song demo called “The Basement Tape” was released with some of the original performances, including “The Mighty Quinn (Quinn the Eskimo)” (which became a #10 hit first for Manfred Mann in 1968), “Too Much of Nothing,” first recorded by Peter, Paul and Mary in 1967, and “You Ain't Goin' Nowhere,” recorded by the Byrds. The Official Album In 1968, renamed “The Band,” the Hawks would reach rapid fame as America's foremost “country rock” band, and their debut album, Music from Big Pink, would prominently feature some of the cream of the Basement Tapes sessions, including, "This Wheel's on Fire" (purchase/download) and "Tears of Rage" (purchase/download). Meanwhile, it didn't take long for the demo—meant to stay behind industry doors—to trickle into the public domain and become Dylan's most heavily bootlegged recordings of all time. But despite that saturation, with the world still high on the 1974 comeback album Blood on the Tracks, when Columbia released the official album The Basement Tapes in 1975, it quickly blazed up the charts into the top ten. Featuring 24 tracks from the sessions, as Greil Marcus wrote in the liner notes, “As Dylan and The Band trade vocals across these discs, as they trade nuances and phrases within the songs, you can feel the warmth and the comradeship that must have been liberating for all six men... the open spirit of the songs is as straightforward as their unmatched vitality and spunk.” Although more of unreleased tracks from the sessions have made it onto official releases over the years, the most recent unearthing from the Basement Tapes vaults was the song “I'm Not There,” which also which Todd Haynes used in the title of his 2007 film by the same name. Recorded in one take, and never performed again, until now the song was the most obscure track from the sessions. http://folkmusic.about.com/od/BobDylanAlbums/a/Bob-Dylan-Basement-Tapes-History.htm
Voldar: Rumor - Bob Dylan to tour Europe with Mark Knopfler, announcement soon According to John Baldwin's Desolation Row Information Service, Bob Dylan's fall tour itinerary of Europe is almost final, and he may be touring with his former collaborator Mark Knopfler (of Dire Straits fame): We’ve been telling you for some time that there will be an Autumn Tour of Europe. What I can say now is that the tour has been finalized and the Promoters are just waiting for Dylan’s people to give their approval before an announcement can be made – just in case they or Mr. Dylan might object to some aspect of the arrangements. I expect to get the full details this Friday or next Monday. They want to get tickets on sale ASAP. What I can tell you is that the tour will start early October and finish mid-November. Dylan will be touring with another big name. I can’t say who without breaking confidence but our friends at ISIS believe that this might be Mark Knopfler (I’ll neither confirm nor refute this). The UK Promoter has said that fan access to a ticket allocation will be available and I expect to be running that as usual. The rumor over at Isis is that it will be a "double-header" tour. The Dylan fanzine has learned that Knopfler has postponed the planned mixing of his new album until the new year because "something has come up". Among the countries mentioned for the tour are United Kingdom, Germany, the Czech Republic, Austria and Italy. Knopfler participated on session for two of Dylan’s most acclaimed albums, 1979’s Slow Train Coming (as guitarist) and 1983’s Infidels (guitarist and co-producer). Despite Knopfler’s disappointment with Dylan’s final version of Infidels, they shared the stage twice in 1986 down in Australia - Once at a Dylan gig with Tom Petty & The Heartbreakers, then later at a Dire Straits concert. http://www.examiner.com/bob-dylan-in-national/tour-rumor-bob-dylan-to-tour-europe-with-mark-knopfler-announcement-soon
Voldar: Bob Dylan: A Legendary Fashion Inspiration Bob Dylan is one of those rare, iconic performers who has played a truly instrumental (pardon the pun) role in how the world views both music and fashion. In terms of influence, Dylan is up there with the Madonnas, Michael Jacksons and Kurt Cobains of the world. While they are all incredibly talented musicians, each of them have also single-handedly inspired some of the biggest fashion trends our era has ever seen. Today, as the world celebrates Bob Dylan's 70th birthday, it's only fitting that we honor him with a Dylan-inspired style tribute. It's the least we could do for the man who brought us wayfarers, fitted blazers, skinny pants and so much more, making androgyny acceptable and cool for all of us girls. Click through for some of our favorite pieces to help you get in touch with your androgynous side. http://www.stylecaster.com/fashion/13089/bob-dylan-legendary-fashion-inspiration#127961
Voldar: Bob Dylan in Vegas - A reader's review Today we have a review from Bob Dylan Examiner reader Ana Morris: I just got back from the gig at The Palms and am feeling the blues. Just because I may not see him again for another whole year. The waiting, the build up, then ... it's over. But his image is burned into my eyes. He looked even younger than last year. He wore the black hat with the flat brim and a light red feather. Black suit with thin white stripe and black and white spats which are actually boots ... I got a glimpse. He was also messing with his pants a lot, putting his hand in his white belt and moving his jacket around. His dancing and moves were too hot for me. I had to scream a few times. Seriously he seems to be getting younger. He looked about 40. My seat was right in front of the stage 3 rows back. At first we were standing in our seats rockin', but sorry to say Bob's audience were mainly geriatrics who wouldn't stand up, and were complaining so the whole audience was forced to sit until the encore. That was very difficult. The awesome set included "Things Have Changed" which he sang so beautifully it broke my heart. "Forgetful Heart" made me cry, literally ... the harmonica break just tore me up. Charlie (Sexton) was in great form, although he looks really skinny, more than usual, even not well. He was playful, at one point he rolled on his back on the floor. Dylan changed up the lyrics a bit on "Simple Twist of Fate". "Rolling Stone" and "Blowin' in the Wind" were thrilling. He sang "Watchtower" like it was the first time he ever sung it. Sitting in my seat to "Highway 61" and "Thunder on the Mountain" was truly torture. I just love to dance at a Dylan gig, so I felt cheated by The Palms. I had asked them if we can stand in our seats. They said "yes" but so many geriatric lazy fans - who wouldn't stand up - complained. Still, it was wonderful, I was only 10 feet away quite a lot of the time. Right in front of him. His vibe is so sweet, his voice sometimes that growl just went right through me. On "Highway 61" and a couple of other tracks they used an echo which seemed to just echo his deepest voice. I can't explain but it was so awesome. We will be playing Dylan music (a lot) at Freedom Festival for Wild Horses, Bonnie Springs, Las Vegas, on 1st October. Hope to see you there. Here's the set list: 1. Leopard-Skin Pill-Box Hat 2. It Ain't Me, Babe 3. Things Have Changed 4. Tangled Up In Blue 5. Beyond Here Lies Nothin' 6. Sugar Baby 7. Summer Days 8. Simple Twist Of Fate 9. Highway 61 Revisited 10. Forgetful Heart 11. Thunder On The Mountain 12. Ballad Of A Thin Man (encore) 13. Like A Rolling Stone 14. All Along The Watchtower 15. Blowin' In The Wind He rocked "Summer Days", and "Sugar Baby". Thanks, Ana . . . For the record: Tour debuts: "Leopard-Skin Pill-Box Hat" and "It Ain't Me, Babe". Songs dropped from previous show: "Don't Think Twice, It's All Right", "Gonna Change My Way Of Thinking", "A Hard Rain's A-Gonna Fall", "High Water (for Charlie Patton)", and "Tryin' To Get To Heaven". Songs not played at previous show: "It Ain't Me, Babe", "Leopard-Skin Pill-Box Hat", and "Simple Twist Of Fate" http://www.examiner.com/bob-dylan-in-national/bob-dylan-vegas-a-reader-s-review
Voldar: Bob Dylan in Thackerville, Oklahoma - Things haven't changed much July 23, 2011 Thackerville, OK WinStar World Casino SET LIST Rainy Day Women # 12 & 35 It's All Over Now, Baby Blue Things Have Changed If You Ever Go To Houston Beyond Here Lies Nothin' Tangled Up In Blue Summer Days Visions Of Johanna Cold Irons Bound Sugar Baby Highway 61 Revisited Simple Twist Of Fate Thunder On The Mountain Ballad Of A Thin Man // Like A Rolling Stone All Along The Watchtower The Thackerville show was very similar to Dylan's previous concert in Albuquerque, New Mexico: 1. Rainy Day Women #12 & 35 2. It's All Over Now, Baby Blue 3. Things Have Changed 4. If You Ever Go To Houston 5. Beyond Here Lies Nothin' 6. Tangled Up In Blue 7. Cold Irons Bound 8. Visions Of Johanna 9. Summer Days 10. Sugar Baby 11. Highway 61 Revisited 12. Simple Twist Of Fate 13. Thunder On The Mountain 14. Ballad Of A Thin Man (1st encore) 15. Like A Rolling Stone 16. All Along The Watchtower (2nd encore) 17. Forever Young Note 16 of the songs (everything except the second encore of "Forever Young") were performed at both shows, although in a slightly different order. Of course changes in the setlist should have no baring on the quality of the performances. It's just interesting that Dylan has chosen to repeat this setlist almost exactly from the previous night after a history of variety in songs performed throughout the so-called "Never-Ending Tour." When Dylan played Israel last month, he repeated the setlist from his show in London two days before. Dylan had been changing sets list regularly - sometimes drastically - at every show since playing Berkeley, California, on May 7 and 8, 1992. http://www.examiner.com/bob-dylan-in-national/bob-dylan-thackerville-oklahoma-things-haven-t-changed-much
Voldar: Bob Dylan’s Grandson Pursues Career as a Rapper By pursuing a career as a rapper, Bob Dylan‘s grandson Pablo Dylan is marching to the beat of a slightly different drummer, and he’s got an interesting perspective on his famous grandfather, too. “I mean, really, my grandfather, I consider him the Jay-Z of his time, and he definitely has a legacy that a lot of people look up to,” Pablo Dylan tells AllHipHop.com. “He feels strongly about my music and I love him to death.” Pablo’s career draws further influence from his dad, Jesse Dylan, who is known for directing music videos for a wide array of musical artists, including Tom Petty, Tom Waits, Elvis Costello and Lenny Kravitz, as well as his film work, for movies like ‘Kicking and Screaming’ (with Will Ferrell) and ‘American Wedding.’ Dylan is about to turn 16 and names ‘The Eminem Show’ by Eminem as an important early influence on his music. Despite his famous lineage, he wants his music to be judged on its own terms. Having recently released his first mixtape, ’10 Minutes,’ Dylan is proud of his accomplishment. “It was meant to show people what I have been working for, and how I really want to differentiate myself from everyone else,” explains Pablo. “This project is all the hard work from being a little kid messing around on the piano up until now.” He has a lot of respect for what his grandfather has brought to his world and says, “Everyone around me influences me, and I have learned so much from him just listening to his records, but I hope his music continues to live on through what I continue to do the rest of my life.” http://www.youtube.com/watch?feature=player_embedded&v=DeQc_MDyyZU http://ultimateclassicrock.com/bob-dylan-grandson-rapper/
Voldar: В онлайн галерее доступны для покупки очередные творения Боба этого года. http://www.bobdylanart.com/standard-2011.asp?artID=8
Voldar: Bob Dylan Review 07/08/11 – Rochester Hills, MI As a Dylan advocate (you might at times have said “apologist”) I sometimes fear my legitimate praise of the great man will be perceived as mindless fawning. So let me first complain about the last show I’d seen at the Kitchener Aud (terrible acoustics) with a bunch of Greatest Hits enthusiasts, and poor Bob looking almost bored to tears. Even at this type of vaguely disheartening show I’d rationalize: “Well it looked like he was having a good time.” I was saying this because he bobbed his knees a few times. And because at previous shows I’d seen he’d looked like he was having a downright bad time. Well, last night in Rochester Hills, Michigan, Bob looked (not just to me but to even a neutral observer) like he was having a fucking hell of a time. I think the biggest improvement is that Bob’s new configuration of switching from organ, to centre-stage crooning to playing guitar really mixes up the dynamic. Previously, when all Bob did was plunk away on his circus organ (sometimes called the “instrument of torture”) things began to sound dreadfully similar and it could lull you to sleep, even if there were some grand moments. It also led to a lot of sing-songy shouting that disappointed the people who wanted the songs to sound at least something like the songs they love. But, now, for the handful of songs played on the IOT you get a great attack between the organ and Charlie Sexton’s subtle, exquisite guitar slinging. In the past there had been accusations among knowledgeable fans that Bob was drowning Charlie out. But it’s when Bob is crooning that his shows are now the most fun. During his early 60s appearances in Greenwich Village some compared him to Charlie Chaplin because of the comical way he’d look nervous and uncomfortable before tearing into some ballad that held the room in the palm of his hand. Also maybe because he is really short and cartoonishly cute in appearance. Well, now the Chaplin comparison has come full circle as Dylan seems to, more than ever, embrace the role of comedian. He prances about in a way so comical that I couldn’t help pointing it out to the somewhat aggravated “long-time-listeners-first-time-attendees” beside me. These people were also trying to have a kind of religious experience with Bob but a kind that wasn’t quite up to date. The woman was interested in my tips about what to expect. But her companion, after delivering a non-sensical speech about Blowin’ in the Wind that kept coming back to his condemnation of marijuana-smoking, was shushed by his more-savvy companion, so he eventually became insecure and boorishly yelled at me to leave them alone in stereotypical American nastiness, for which his date later apologized, referring to him as “her friend” as though she wanted precious little to do with him after his dickish outburst. As I have a sensitive psychic constitution this rattled me for the remainder of the show. Also, because the premiere area under the pavilion is seated, it’s a totally different vibe than standing general admission which encourages dancing (and in my case, a Bob-inspired duck walk). When I was yelling out the encouragement I felt Bob deserved I was generally perceived as a lunatic. That brings me to my main point. In the past I’ve had a theory that when an audience is rocking, Bob gives them what they deserve, but when an audience is passive Bob phones it in to a degree. This might explain why the shows in Europe and abroad are consistently better than the ones in America. Last night he fought through that beer-drunk passivity and just did what he does best now. It’s my opinion that songs two through four are usually the highlight of any Dylan show. And the last time I saw him, once those were over it was a long slow death march through Highway 61, Thin Man, etc. Last night was a totally even show, consistently good from top to bottom. Those aforementioned songs that I usually skip when listening to bootlegs are becoming nightly highlights. It could also be that they’re meant to be heard live where the power of the band really comes across. But more so than usual, the band was drum-tight on those songs. The addition of Mississippi allows Bob to play with the lyrics to one of his most beautiful songs in the way he’s been doing with Visions of Johanna and Desolation Row for the last few years. For some this is, to quote one message board commentator, “pissing on the Mona Lisa,” but for others, going to a Bob show and hearing one of these lesser played masterpieces is, like, a reason for living. I can attest to that somewhat extreme statement. The night previous I’d been at a wedding, and, as usual, due to my proclivity for hard drinking and the sensitive psychic constitution mentioned above had made a sort of minor scene. So I was hungover, plagued by guilt and a Kierkegaardian “sickness unto death,” and in this sorrowful condition, watching and hearing Bob healed and nourished me in ways that would only sound silly to anyone but a fellow Bob freak. Back to the music: When this boot comes out…pay particular attention to the clipped yelling on Things Have Changed. Clipped yelling is what people have grumbled about for years. Some idiots have even called for him to quit because of it. Maybe that lit a fire under Bob. Because this is a new kind of clipped yelling that even the Greatest Hits fans can’t help but be amused by. Something is happening here… http://www.youtube.com/watch?v=l2n0zFLR-e4&feature=player_embedded http://scorpionofscofflaw.wordpress.com/2011/08/08/bob-dylan-review-070811-rochester-hills-mi/
Voldar: Bob Dylan: Different but the same review Musical legend delivers with favorites. Leon Russell proves he’s still got it. BRAD PATTON Times Leader Correspondent SCRANTON -- For more than 20 years, Bob Dylan’s concerts have been a lot like Forrest Gump’s fabled box of chocolates: You never what you’re gonna get. Since his so-called “Never Ending Tour” began in June 1988, every show features a different setlist, altered arrangements and a varied vocal approach. Sometimes his classic songs are so radically rearranged, it takes even the most diehard Dylan fan two verses and a chorus to identify them. While that may have kept some people away from his performance at the Toyota Pavilion at Montage Mountain on Wednesday evening (it was definitely the venue’s smallest crowd of the season), it’s also what makes his shows so much fun. Dylan, the 1982 Songwriters Hall of Fame and 1988 Rock and Roll Hall of Fame inductee and who turned 70 in May, played keyboards for most of the night Wednesday, kicking off his set with a raucous version of his 1965 hit “Rainy Day Women # 12 & 35.” He followed it up with an equally fine rendition of “It Ain’t Me Babe,” and kept playing well-known songs from his storied repertoire including “Things Have Changed” and a stunning “Tangled Up In Blue” in the early part of his show. Dylan was backed by an impressive, highly adaptive five-piece band consisting of Charlie Sexton (guitar), Stu Kimball (guitar), Donnie Herron (multiple instruments including pedal steel, mandolin and banjo), Tony Garnier (bass) and George Recile (drums). Dylan played electric guitar on two songs Wednesday – “Beyond Here Lies Nothin’” from his latest album (2009’s “Together Through Life”) and “Simple Twist of Fate” from 1975’s acclaimed “Blood on the Tracks.” He peppered a few songs with his trademark harmonica, saving his most expressive playing for the main-set closer “Ballad of a Thin Man.” The small but appreciative crowd showered the reluctant legend with hearty applause during his two-song encore of “Like a Rolling Stone” and “All Along The Watchtower.” For the record, only four of his 15 songs on Wednesday were different from the set he played in Canandaigua, N.Y., on Tuesday. Wednesday’s show began with a 45-minute opening set by fellow Rock and Roll Hall of Famer Leon Russell, whose career has been on an upswing since the 2010 release of “The Union,” an album of duets with Elton John. Russell, who at 69 still has his long white hair and beard and is still a masterful piano player, began his portion with “Delta Lady,” the hit he wrote for Joe Cocker. Russell then played songs from all of rock’s Mount Rushmore besides Dylan – Chuck Berry (“Roll Over Beethoven”), The Beatles (“I’ve Just Seen A Face”) and the Rolling Stones (a full length “Wild Horses” and “Jumpin’ Jack Flash” as part of a medley). No matter what he sang, they all ended up sounding like vintage Leon Russell. Dylan and Russell will be at the Bethel Woods Center in Bethel, N.Y., on Friday and at Philadelphia’s Mann Music Center on Aug. 17. The next concert at the Toyota Pavilion is country star Jason Aldean on Aug. 25. http://www.timesleader.com/news/Bob_Dylan__Different_but_the_same_review_08-10-2011.html
Voldar: Review: Dylan brings legendary style to Montage The mood permeating the grounds of the Toyota Pavilion at Montage Mountain on Wednesday night was decidedly relaxed and appreciative of a night of quality musicianship during the Bob Dylan concert. At 7:45, opener Leon Russell walked quietly onstage, and with a little wave, sat behind his keyboards and jumped into his nearly 50-minute set. Hidden beneath his trademark Stetson hat and long white beard, the architect of "the Tulsa Sound" delivered a strong arrangement of jaunty bluesy songs, including "Sweet Little Angel" and "Back to the Island." Upbeat covers of the Rolling Stones' "Wild Horses" and The Beatles' "I've Just Seen a Face" got every toe in the pavilion-only show tapping. During "Delta Lady," Russell let his fingers race along the keys in a succinct but impressive solo. Dismissing his backup band temporarily, Russell belted a heartfelt version of the ballad "A Song For You," from his debut self-titled solo album, one of his best-known compositions. Rejoined by his band, a cover of the Stones' "Jumpin' Jack Flash" mashed with The Temptations' "Pappa Was a Rollin' Stone" lifted the mood back up effortlessly. A speedy cover of "Paint It Black" roused a cheerful round of applause from the audience, and segued into a bluesier version of "Roll Over Beethoven." Introduced as the "Poet Laureate of Rock 'n' Roll," Dylan took to the stage at 9 sharp to delighted screams from thousands of fans. The diminutive legend rasped through "It Ain't Me Babe" and "Things Have Changed" with the aid of an understated, though capable, backing band. With every breath into his harmonica, the veteran singer-songwriter garnered a fresh wave of cheers from the adoring crowd. "Tangled Up in Blue" and "Beyond Here Lies Nothin' " came next, and Dylan switched instruments for the third time in 30 minutes to sit down with his guitar. "Mississippi" placed him back behind his keyboards, where he seemed most comfortable. "Summer Days" injected a feelgood number into the mix, and "Desolation Row" unfolded at its own pace, telling a full story, which is what Dylan has proved to be a master at in his decades-long career. "Highway 61 Revisited" thumped along with a healthy dose of soul, and had every head bopping back and forth. Devoid of massive sets, props or pyrotechnics, unlike every other concert of the season, Wednesday's show was all about the music - and the men who delivered it in an earnest and skilled way. http://citizensvoice.com/news/review-dylan-brings-legendary-style-to-montage-1.1187660#axzz1UqJgBdBf
Voldar: New vinyl reissue of Bob Dylan's 'Oh Mercy,' and the story of the cover art One of Bob Dylan's most acclaimed albums, 1989's Oh Mercy, is being reissued on vinyl tomorrow, August 16. Interestingly, it is being released not on Sony or Sundazed, but 4 Men with Beards, a San Franscisco-based label that specializes only in vinyl reissues. While there is no confirmation on the Runt website, Amazon lists the release date as tomorrow. 4 Men With Beards has an amazing catalogue so far, with music ranging from late 1960s Atlantic Records soul classics to the Velvet Underground, the Slits, Big Star, Flipper, and Funkadelic. On August 23, the label is also expected to reissue Leonard Cohen's Death Of A Ladies' Man, which features Bob Dylan on one track. This is the blurb for Oh Mercy on the 4 Men With Beards website: Artists Name: Dylan, Bob Title: Oh Mercy (180 Gram Vinyl) Format: LP Label: 4 MEN WITH BEARDS Bob Dylan's 1989 release Oh Mercy is often considered a comeback record for him and for good reason, it is his strongest album of the decade along with Infidels released earlier in 1983. The swampy, organic and hazy atmospheric production is courtesy of Daniel Lanois and was influenced by the location of the recording, New Orleans, and the local musicians who played on it. By this time Dylan had rediscovered his song writing chops and the record is uniformly strong featuring stand out tracks such as Ring Them Bells, Most Of The Time, Man In The Long Black Coat and Shooting Star. Oh Mercy placed at #15 in The Village Voice's Pazz & Jop Critics Poll for 1989 and reached #6 in the U.K. and #30 on the Billboard chart capping off the decade on a positive note. 180 gram vinyl. Lanois was chosen as producer after a suggestion by U2's Bono, and would return to work on 1997's Time Out Of Mind. The cover artwork was picked by Dylan as he passed a mural that caught his eye while biking to the studio. The piece was called "Dancing Couple," and it was signed "Troksky." Remerro Trotsky Williams probably didn't realize the effect Dylan already had on him when he was younger. Trotsky grew up in Washington, D.C., and the 1963 March on Washington for Jobs and Freedom changed his outlook: "I learned that differences in acceptance could be attributable to color ... and my journey for balance and harmony [in my life] began." The march is most well known for Dr. Martin Luther King's' "I Have A Dream" speech, but Dylan performed at the event as well. The artist's life changed again when Dylan wanted artwork by Trotsky to be used as an album cover. According to a 1989 article in People magazine: ... Bob Dylan sent agents scurrying to locate the creator of a mural he'd spotted on a building in Manhattan's Hell's Kitchen district. Signed "Trotsky," the painting, a colorful acrylic-on-brick of a dancing couple, adorns the side of the Kowk Wah Chinese Restaurant at Ninth Avenue and 53rd Street. When Dylan wanted to photograph it for the cover of his 35th Columbia Records album, Oh Mercy, Columbia minions went in search of the artist ... with a contract for more than $5,000. Weeks later, Trotsky was located with the help of a local community group. "There I was in early July, returning from landlord-tenant court, completely exhausted, and the phone rings," says Trotsky, 36, who owed back rent on his ramshackle $369-a-month studio near his mural. "I answered with a whine." And utter disbelief when told of Dylan's intent. "I said, 'You're full of it,' " he recalls... Flirted with now by agents and galleries—"I'm hot right now and I love it," he says—Trotsky enjoyed an audience with his benefactor at a Dylan concert in July. "He told me my painting blew him away," says the artist. "He was also concerned that I liked the title of the album to go with my artwork. That was very nice." Trotsky was also quoted as saying, "I was just about to give up and move to Atlanta or Istanbul, and I get this phone call: 'CBS (who owned Columbia Records pre-Sony) calling - We want to use one of your paintings for the Bob Dylan LP,' and I say, 'You're kidding; this is some cruel joke; go away, but give me your number, and I'll call you back.' I called back and it ended up being the real thing." According to Trotsky, Dylan asked him for advice when they finally met. "He said, CBS was scared the title Oh Mercy sounded religious. I said Oh Mercy had guts and feeling, and it matched the art." A few months after the album's release, Trotsky was diagnosed with HIV. "I never thought I'd still be alive in 2007," he said four years ago. "HIV has astonished and confounded me, my work and my friends in uncounted ways [and that's not a bad thing]." ALBUM INFO: Political World Where Teardrops Fall Everything Is Broken Ring Them Bells Man In The Long Black Coat Most Of The Time What Good Am I? Disease Of Conceit What Was It You Wanted? Shooting Star Produced by Daniel Lanois Recorded by Malcolm Burn with Mark Howard Mixed by Malcolm Burn / Daniel Lanois Studio Installation by Mark Howard Mastered By Greg Calbi at Sterling Sound, New York Street Art by Trotsky Album Design by Christopher Austopchuk Type Design by Mark Burdett Photo: Suzie-Q http://www.examiner.com/bob-dylan-in-national/vinyl-reissue-of-bob-dylan-s-oh-mercy-scheduled-for-august-16
Voldar: Review: Bob Dylan at the Mann Bob Dylan is so old and weird and vocally ravaged that there’s been muttering on the Internet and in more respectable quarters that the septuagenarian Bard should bring the Never-Ending Tour to an end, and hang up his dancing shoes for good. Balderdash. On Wednesday night, Dylan played the Mann Center for the Performing Arts in Fairmount Park. Sure, he often sounded like a dying bullfrog scat-singing difficult-to-decipher Bob Dylan songs. (Was that “Leopard-Skin Pillbox-Hat,” he opened with in a predictably unfamiliar arrangement? Indeed it was.) And yes, when he stood stage center without an instrument and sang with arms extended while wearing a broad-brimmed white hat and black cowboy outfit, he did look like a macabre cross between Maurice Chevalier and Vincent Price. But when he was singing in a scorched-earth voice – and sometimes, playing a keyboard you could actually hear, or blowing into a harmonica on “Tangled Up In Blue,” or playing a tasty, surprisingly well-thought-out guitar solo on “Simple Twist Of Fate” – he was singing incomparably great Bob Dylan songs. More importantly, he sang the lyrics of a revamped “Desolation Row,” faithful to-the-Chicago blues original “Beyond Here Lies Nothing,” and swaggering, rugged, despairing “Blind Willie McTell” – like they were of importance to him. Maybe of not as much importance as they were to the devoted Dylanologists among the crowd of 6000 or so, who were warmed up with a mildly ingratiating blues boogie-woogie opening set by Leon Russell, the 69 year old pianist who was a vision of blinding whiteness in matching cowboy hat, shirt and a Cousin It-style beard and hairdo that didn’t appear to have been trimmed since “A Song For You” was recorded in 1970. But if Dylan himself didn’t sing as if ascribing as much meaning to every word as his reverent multi-generational followers do, his performance did disprove a key line in one of his best latter-day songs. “I used to care, but things have changed,” a disingenuous claim that adds up to “one big lie,” to crib another line from “Things Have Changed.” Dylan has been acting blasé and pretending not to care since … I don’t know, 1966 or so? But you don’t keep on keepin’ on as productively as he has in his senescence without investing a great deal of yourself into your work. Even in the case of songs that wearily claim, as Dylan did during “Mississippi” on Wednesday, that claim he has “Got nothing for you, had nothing before / Don’t even have anything for myself anymore.” Skeptical fans who have grown weary of Never-Ending tour dates and chose to sit this one out picked the wrong time to bail on Bob, who was engaged and frisky, increasingly so as the 90 minute evening wore on. And the nimble, up-for-anything band, which currently features Tony Garnier on bass, George Receli on drums, and, in their front man’s elocution, “Stu Kimball on rhythm gee-tar, Donnie Herron on steel gee-tar, and Charlie Sexton on lead gee-tar,” is as good as it’s been in a decade. And if you could only understand select lines as the singer scratched and moaned and bellowed his way with feeling through a revved-up and rumbling “Thunder On The Mountain,” powerfully doomy “Ballad Of A Thin Man,” or boldly ringing, satisfying sneering “Like A Rolling Stone,“ well, that was okay. Because you knew all the words anyway. http://www.philly.com/philly/blogs/inthemix/Review-Bob-Dylan-at-the-Mann.html
Voldar: Bob Dylan's Boston House Of Blues set list, plus summer tour summary Just got back from Bob Dylan's amazing show in Boston. Here's the set list: House Of Blues: Boston, Massachusetts August 21, 2011 (Approximately 8 to 9:45 p.m.) 1. Leopard-Skin Pill-Box Hat 2. Don't Think Twice, It's All Right 3. Things Have Changed 4. Tangled Up In Blue 5. Beyond Here Lies Nothin' 6. Mississippi 7. Summer Days 8. Tryin' To Get To Heaven 9. High Water (For Charley Patton) 10. Simple Twist Of Fate 11. Highway 61 Revisited 12. Blind Willie McTell 13. Thunder On The Mountain 14. Ballad Of A Thin Man // 15. Like A Rolling Stone 16. All Along The Watchtower 17. Blowin' In The Wind Will write a review as soon as time allows, but Dylan was in a good mood, often smiling - even laughing at certain points. Great venue, great sound, extra songs. Here's the summary of performances from this summer's North American tour (38 songs, 28 shows): (Song title, concert - see bottom.) All Along The Watchtower 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 Ballad Of A Thin Man 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 Ballad Of Hollis Brown 17 22 27 Beyond Here Lies Nothin' 1 2 3 4 5 6 7 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 Blind Willie McTell 19 21 23 25 27 28 Blowin' In The Wind 1 2 3 8 9 10 12 13 14 15 28 Cold Irons Bound 5 6 7 8 9 21 24 Desolation Row 4 16 20 21 25 26 Don't Think Twice, It's All Right 1 2 8 11 12 18 25 27 28 Forever Young 6 Forgetful Heart 1 2 3 5 9 10 12 13 15 Girl From The North Country 16 Gonna Change My Way Of Thinking 1 2 A Hard Rain's A-Gonna Fall 1 2 11 High Water (for Charley Patton) 1 2 10 13 15 20 23 26 28 Highway 61 Revisited 1 2 3 4 5 6 7 8 9 10 11 12 13 14 16 17 18 19 20 21 22 23 24 25 26 27 28 If You Ever Go To Houston 1 4 5 6 7 It Ain't Me, Babe 3 4 10 20 It's All Over Now, Baby Blue 5 6 7 9 13 14 15 24 John Brown 19 24 Leopard-Skin Pill-Box Hat 3 4 10 12 13 16 18 19 21 22 23 25 26 28 The Levee's Gonna Break 1 5 11 12 15 16 17 22 25 Like A Rolling Stone 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 The Lonesome Death Of Hattie Carroll 17 22 27 Love Minus Zero/No Limit 19 Mississippi 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 Rainy Day Women # 12 & 35 5 6 7 8 9 11 14 15 17 20 24 27 Simple Twist Of Fate 1 3 4 6 7 8 9 10 16 17 18 19 20 21 22 23 24 25 26 27 28 Spirit On The Water 26 Sugar Baby 2 3 4 6 7 8 9 11 12 13 14 15 Summer Days 2 3 4 6 7 8 14 18 19 20 23 24 28 Tangled Up In Blue 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 Things Have Changed 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 Thunder On The Mountain 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 To Ramona 17 21 22 23 26 Tryin' To Get To Heaven 2 5 8 16 18 28 Tweedle Dee & Tweedle Dum 4 16 18 Visions Of Johanna 5 6 7 14 Summer concert schedule (Concert number, date, location, venue): JUL 14 Santa Barbara, CA Santa Barbara Bowl JUL 15 Costa Mesa, CA The Pacific Amphitheatre JUL 16 Las Vegas, NV The Pearl Concert Theater at the Palms JUL 18 Phoenix, AZ Comerica Theatre JUL 19 Tucson, AZ Anselmo Valencia Tori Amphitheatre JUL 21 Albuquerque, NM Hard Rock Casino Presents: The Pavilion JUL 23 Thackerville, OK WinStar World Casino JUL 24 New Braunfels, TX Whitewater Amphitheater JUL 26 New Orleans, LA UNO Lakefront Arena JUL 27 Pensacola, FL Pensacola Civic Center JUL 28 Atlanta, GA Chastain Park Amphitheater JUL 30 Memphis, TN Mud Island Amphitheatre AUG 1 Nashville, TN Ryman Auditorium AUG 2 Evansville, IN Roberts Stadium AUG 3 Toledo, OH Toledo Zoo Amphitheater AUG 5 Kettering, OH Fraze Pavilion AUG 6 Cleveland, OH Jacobs Pavilion at Nautica AUG 7 Rochester Hills, MI Meadow Brook AUG 9 Canandaigua, NY Constellation Brands-Marvin Sands PAC AUG 10 Scranton, PA Toyota Pavilion AUG 12 Bethel, NY Bethel Woods Center for the Arts AUG 13 Wantagh, NY Jones Beach Theater AUG 14 Asbury Park, NJ Asbury Park Convention Hall AUG 16 Columbia, MD Merriweather Post Pavilion AUG 17 Philadelphia, PA Mann Music Center AUG 19 Gilford, NH Meadowbrook U.S. Cellular Pavilion AUG 20 Bangor, ME Bangor Waterfront Pavilion AUG 21 Boston, MA House of Blues http://www.examiner.com/bob-dylan-in-national/bob-dylan-s-boston-house-of-blues-set-list-plus-summer-tour-summary
Voldar: Bob Dylan’s country Now that we’ve put paid to the most distinctive U.S. regional accents – the peppery New York dialect (The Moscow News, 05/03/11); the smooth-as-syrup Southern variant (11/07/11); and the New England clam chowder/Boston baked bean version (25/07/11) – it’s high time we turned to America’s “non-distinctive” regional accent, the linguistic amalgam that has become the most widespread and widely imitated U.S. variety: Midwestern English. This is the version that will likely serve Russians acquiring English best. It also happens to be the native dialect of Prof. Extreme himself, although this coincidence has nothing to do with his descriptions of the three others as “grating,” “twangy,” and “for knuckle-draggers wearing bib overalls.” Seriously, Midwestern has long been the default version of American English, and mastery of it acts as a kind of Great Equalizer – both for people learning the language and for those functioning within it. It is the standard for Hollywood and the news networks, a pleasing vanilla that no one objects to. How could they? It’s everybody’s linguistic “property” – the democratic choice for the whole republic. So cue the Star Spangled Banner and let’s take a closer look… Go West, young Yanks Variously called General American, Middle American and Standard American, the Midwestern version of U.S. English differs in breadth of origin from its regional counterparts: Midwestern is more a hybrid, a “second wave” accent that developed from the intermingling of speech patterns among linguistically disparate settlers as they came together during the move westward from the Atlantic seaboard into the Ohio Valley and beyond. The “beyond,” of course, was a big one: great numbers of Midwesterners migrated to California and the Pacific Northwest after the Civil War (1861-65), taking their increasingly- generic English with them – and in the process rendering it the nation’s “unaccented” variant. Despite this pan-Americanism, certain properties of today’s basic Midwestern accent are area-specific, with various experts citing eastern Nebraska, southern and central Iowa and much of Illinois as the true dialectical heartland; there is also a recognizable Northern Tier version common to Wisconsin, Minnesota and the Dakotas. In terms of universality, Michiganders have been known to claim that “the speech of national broadcasters is modeled on their dialect.” To which I would add an Extreme “Harrumph” – but it’s rather un-Midwestern to argue, so let’s move on. The great leveler As the one-dialect-fits-all variant, Midwestern English tends to round, flatten and otherwise mute the sharp particularities of other dialects. Two salient features to note are: The “honest R” – one that’s always pronounced, whether at the beginning, middle or end of a word, and never added where it doesn’t occur “naturally” (in a word’s written form). New Englanders, New Yorkers, Southerners and most Brits – R-tinkerers, the lot of ’em – get off at this stop. The “flat A” – this is the region-defining vowel, the phoneme that renders class, dance and, well, flat distinctively Midwestern. Anyone who’s class [klas] comes out [klahs] or [klah-yuhs] is immediately treated as suspect, if not subversive. A good source on the regional lexicon is The American Midwest: An Interpretive Encyclopedia, which offers such nuggets as shanty (an outdoor toilet), owly (irritable) and the Minnesota-favored expression of disgust Ish! This state, by the way, has become nationally known since the late 1990s as the home of a multiple-word agreement – some variant of “Yah-sure-you betcha-yah” – that serves as a friendly caricature of the entire Northern Tier. Go ahead, give it a listen For a fee, sites such as accenthelp.com (“Learn the Central Plains Midwest Accent”) and generalamericanaccent. com (offering “a training tool for anyone wishing to speak with a Neutral American Accent”) will be happy to put both English acquirers and “Americans with regional dialects” into the Midwestern swing of things. Prof. Extreme says, in his unobtrusive Midwestern way, enjoy their free online samples; the rest is your business. (NB: if your current English teacher is an American, the chances are good that you’re already learning the accent these places are selling.) An oft-cited paradigm of Midwestern English is the late network newsman Walter Cronkite, whose three decades-plus of national prominence did much to consolidate the accent as “everybody’s.” Enter “Cronkite: In His Own Words” on YouTube and you’ll get a fine lesson in Midwestern for free, with a voice, tonality and cadence all worth imitating. For some amusing amateur instruction, YouTube “How to talk EXTREME Midwestern” and “Minnesota accent.” The recurrence of Minnesota here is neither accidental nor mysterious: the Coen brothers’ multiple-Oscar-winning Fargo (1996) made the whole country aware of the regional quirks of Minnesota-speak. See the entire film, by all means, but for the moment check out “Fargo Hookers” and “Fargo yeah” on YouTube. You’ll see that this state produced not only the Renaissance man of American popular music, Bob Dylan – who called the Midwest “the country I come from” – but also a kind of seriocomic, folksy earnestness that any region, or any other country, might well admire, yah? http://themoscownews.com/extreme_english/20110822/188946834.html
Voldar: Don't Be a Bob Dylan Superfan! My boyfriend Damon and I were in Philadelphia last week and his friend David picked us up to take us to a Bob Dylan show in Asbury Park. As we drove, I told David about the first time I saw Dylan. It was 1990, and I was 14 and couldn't name any Dylan songs beyond "Like a Rolling Stone." But when Dylan stepped onto the stage and started singing, I feel in love in the deepest sense of the word. My soul had found its mirror. An avid reader, I had not yet found Rimbaud or Baudelaire. And so Dylan was the first person I encountered in my life that clearly understood the ineffability of language. By the time the show ended, I was entirely convinced that Bob Dylan was my best friend. In the following weeks and years I bought a dozen cassette tapes of Dylan albums. I listened to them endlessly. I bought a hefty volume of Dylan lyrics and spent evenings and weekends pouring over them. I was convinced that if, as I stood in the audience at one of his shows, Dylan laid eyes on me, he would understand me completely and know in his core that we were best friends. My big sister, with whom I shared a room at the time, bore the brunt of this crazy talk. I hung onto the belief that Bob Dylan was my best friend all through high school and college. It dissipated around the time I turned 21 and was gone entirely soon after. I have remained a Dylan fan all my life; but have never again been a superfan. David laughed at this story. He said that while I had grown out of my delusions, he had talked to a few Dylan fans who hadn't. David, Damon and I arrived at Asbury Park a good four hours before the doors opened. A motley group of fans had already assembled in line. As we waited, David chatted with Dylan superfans he had met at other shows. He pointed out an avid fan standing near the very front of the line, a baby boomer with generous boobs and long brown hair hanging in two braids tied with red bows. She looked innocuous and not at all out of place. Her name, David said, was Trixsee. When the doors finally opened, we hurried in to stand in the second row of people packing in against the rail for the General Admission show. Squeezed in together against the stage after having waited for hours to get in, the bunch of us quickly developed a feeling of camaraderie. We all pressed in close for Leon Russell's opening act. And then we waited as Dylan's roadies set up the stage for him. And then, just as Bob Dylan came onto the stage, Trixsee came pushing and shoving from off to the side somewhere to plant herself directly in front of us. The happy energy of the crowd around us shifted as people protested Trixsee shoving her way into the space we had diligently homesteaded. The 20-something girl in braces in front of me, and her previously cheerful boyfriend both began to scream at Trixsee to get away from her squatted position in front of the stage. "I've seen her do this at other shows!" the young man yelled. "Get her out of here." "Bob wants me here. I'm here with Bob," Trixsee screamed. "Then why aren't you up there? " the girl with braces yelled back, gesturing at the stage. "I don't want to be!" Trixsee screamed. "I'm so sure!" the girl with braces said. For a moment it seemed the tightly packed crowd would mutiny and try to shove Trixsee out of the way, but things settled down and we all turned our attention back to Bob Dylan, who was playing better than any of us had seen him play in years. He had his I-Give-a-Sh*t pants on tight and was alternately playing keyboard and singing in front of the mic while doing little dance moves. He even played guitar on a few songs and punched out his familiar lyrics with a new zest; and we were all drinking it down. But Trixsee continued to be a distraction. She shook her ass and her hefty bosoms and screamed enthusiastically and bumped into the people around her with her elbows. David, who stood directly to the side and behind her, was taking the brunt of her wiggling. Every time I looked over at the two of them -- Trixsee's face bright with joy, the David's dark with annoyance -- I started to laugh. I had never seen a woman so capable of sucking the joy out of the people around her. By the end of the show, Trixsee was screaming at the top of her voice at Dylan, "Yeah, baby! Yeah, baby! Yeah, baby! YOU'RE MINE!!!!" The crowd around her rolled their eyes at each other and tried to focus on what was happening on the stage. I felt sure Trixsee must be the nuttiest Dylan fan on earth. But then, during the encore, a pretty blonde 30-something elbowed her way towards the front of the stage. She asked David if she could stand in front of him. "Sure," he said. "If you'll be sure and elbow her." He gestured at Trixsee. The blonde swore that she would. The blonde pulled a rolled up piece of paper tied carefully with ribbon from a plastic bag. "I wrote five notes for Bob!" she screamed for the benefit of anyone close enough to hear. She cocked her arm back to toss the first note onto the stage, but stood there frozen, waiting until Dylan glanced in our direction. "I want him to see me!" she screamed. "I want him to see me!" When Dylan looked more or less her way, she lobbed the first note onto the stage, reaching into her bag for another. "I wrote my phone number on them!" she yelled. After the show, as David, Damon and I left the Asbury Park Convention Center, we talked more about Trixsee and the blonde woman's bizarre behavior than we did about the show. As we talked, I wondered why -- with such an early start as an obsessive Dylan nut -- I had been blessed with growing out of being a Bob Dylan superfan. Curious to find out more about Trixsee, a woman with the power and ability to ruin a Bob Dylan show for him, the next day David started emailing other Bob Dylan fans to ask about her. The emails he received in return all stated clearly that Trixsee was the worst and craziest of all Dylan fans, and routinely wreaked havoc on other fans' enjoyment of the shows with her loud, pushy, inconsiderate behavior. But Trixsee's true sin, one email said, was to drive Dylan himself away from his own followers. The email recounted the following story: One time Bob came out and was talking with some fans, including Trixsee, and Trixsee asked him if he was breastfed as a baby. Dylan hurried away from the group saying, 'That's why I don't talk to my fans.' Bob Dylan likely doesn't look at his super fans and see himself reflected in them. He doesn't look at them and see lifelong best friends or future lovers. He looks at them and sees people who know his voice, who know his words. But he doesn't know their voices; and he certainly doesn't want to know their words. http://www.huffingtonpost.com/mary-pauline-lowry/dont-be-a-bob-dylan-super_b_935691.html
Voldar: Pink Floyd's Roger Waters on Bob Dylan, plus 'Knockin' On Heaven's Door' cover George Roger Waters was born on September 6, 1943, in Leatherhead, Surrey, England. He's best known as a founding member of Pink Floyd, eventually taking a leadership role after the 1968 departure of Syd Barrett. Waters left the band in 1985 to pursue a solo career, while the other members continued with the name, music, and props, over his objections. Relations between the surviving members have warmed somewhat in recent years, with various permutations of the band performing at isolated events. The music of Bob Dylan and Pink Floyd is not as diametrically opposed as it might first appear. For starters, they were both steeped in American music, most notably Rhythm and Blues, then went on to compose and perform more lengthy, mind-expanding, ground-breaking music. However, there is not much crossover in the careers of Dylan and the members of Pink Floyd. Barrett wrote his original song "Bob Dylan Blues" sometime between 1962 and 1964. According to Julian Palacios' 1998 book, Lost In The Woods, a young Syd Barrett saw Bob Dylan in London, with his girlfriend, Libby Gausden. It states that Barrett saw Dylan's first major London show in March of 1963, but there is no evidence of such a performance. It must have been either Royal Festival Hall in 1964, or one of a handful of smaller gigs between mid-December 1962 and early January 1963. Since the Waters/Floyd split, Pink Floyd is known to have covered "Like A Rolling Stone" at a soundcheck in Tampa, Florida, on the fifth day of May, 1994, according to Dylan Covers. Meanwhile, Waters recorded his version of "Knockin' On Heaven's Door" for the score of the late 1990s Israeli film The Dybbuk of the Holy Apple Field. It was also included on 1998's Flickering Flame: The Solo Years Volume 1. Here are some comments from Waters about Dylan: You can draw a line between what I'm interested in and what I'm not interested in. On one side you can name Dylan and Lennon, who observe the world and have feelings, and write songs directly from those feelings. On the vapid side you have pop groups who need material and write songs to fill the hole, rather than getting somebody else... I always question stuff I do. There's a moment after making a demo of a song and sticking it on in the car when I really get off on it, but it doesn't last very long. And then when it's in a finished record and you listen to it once or twice, it's there, but again, it doesn't last. I think it is in the nature of all people who do these things - in the Lennon, the Dylan, the Pete Townshend manner, that come from the heart - that the gratification doesn't stay with you and you feel compelled to go start the process all over again. - Musician, November, 1992. Brian from Rochester, N.Y.: Hello Roger, it's quite an honour to speak to you and it's been well worth the wait for the Amused To Death album. I have two questions for you tonight. The first one, in the song "Too Much Rope" you say "Each man has his price Bob, and yours is pretty low". Are you referring to Bob Ezrin? Roger Waters: Strangely enough, a lot of the lyrics I write now I write directly onto tape by putting some music down on a track and then going into the studio and running the tape and singing directly without thinking too much about what it is. And those verses of "Too Much Rope", I did like that. The reference when I actually put the word down on tape was to Bob Dylan because at the time, I was going through a kind of Bob Dylan sound-alike period to amuse myself in the studio. Uh, so I would be singing (Dylan style) "Each man has his price Bob", like that. For a joke. But afterwards it seemed to me a rather appertain lyric for Bob Ezrin so I left it in because of Ezrin as a little gift for Bob Ezrin. Yeah. Bob Cockburn: So, Dylan in mind but if it works the other way, no problem with that either, huh? Roger Waters: (Dylan-esque) That's right. That's right. - Rockline, Westwood One, February, 1993 Q) Did you feel any sense of of common cause with the Punks, or understand why they were doing what they did? Roger Waters: Do you know, I`ve never been very interested in modern music. I might find some of it enjoyable, but it`s never really been interesting. I never really heard the Clash, and certainly not the Sex Pistols, so I can`t really answer that question. As I still am now, I was listening to Neil Young when all that happened. It passed me by. I`ll always listen to a new Dylan album. But it takes an awful lot of something for anyone else to break in to what I listen to. - Q special edition October 2004 on Pink Floyd Mark Sainsbury: What modern-day music do you think might last the test of time? Roger Waters: Do you know to be perfectly honest with you I don't really listen to very much music and certainly not much contemporary pop music anyway. It's not to say that I don't think it's any good. It's just my interest lies in other areas. I still listen to music and I listen to a lot of classical music and I have my few favourite sort of song writers who, when they produce new work, I'll sort of listen to it. So I always buy the new Dylan album and the new Neil Young album and the new John Prine album and I'll sniff around one or two other things if I catch something on the radio. But by in large I'm not really interested in it. TVNZ, January 23, 2007 I came to Olympiysky at 18:30. During the soundcheck I heard mostly songs of Bob Dylan. After three songs I felt that Bob Dylan got me bored (as for me, his music is very specific)... And the people were coming, Bob Dylan songs were followed by John Lennon's "Mother" and "Imagine". The last moment before the show was some woman's speech about that there shoudn't be flash and fireworks unless the apparatus could come undone. - A fan's soundcheck observation from Roger Waters' April 23, 2011, concert at Moscow's Olympyisky. Waters hired Dylan's first guitarist from the Never Ending Tour, G.E. Smith, in late 2010, to play in Waters' 2010-11 The Wall tour. Smith once appeared with David Gilmour, when the Pink Floyd guitarist jammed with the Saturday Night Live band on December 12, 1987. Waters also enlisted the following Dylan-related artist to participate in 1990s The Wall - Live In Berlin: Sinead O'Connor, Marianne Faithfull, Van Morrison, Joni Mitchell, and The Band. You can hear Waters' cover of "Knockin' On Heaven's Door" by clicking on the embedded clip on the left: Vocals: Roger Waters Keyboards: Simon Chamberlain Electric/acoustic guitar: Clem Clempson Backing vocals: Katie Kissoon and Doreen Chanter Produced by Nick Griffiths http://www.examiner.com/bob-dylan-in-national/bob-dylan-roger-waters-and-knockin-on-heaven-s-door
Voldar: Bob Dylan begins autumn tour with Mark Knopfler in Dublin Bob Dylan's fall European tour started earlier tonight at Dublin's O2 arena. As far as I can tell, he did not plagiarize his songs (at least not any more that usual). No major changes since the summer tour. You can see a summary of last summer's tour performances at the end of this article. Oct 6, 2011 Dublin, Ireland O2 Arena 1. Leopard-Skin Pill-Box Hat 2. Don't Think Twice, It's All Right 3. Things Have Changed 4. Tangled Up In Blue 5. Beyond Here Lies Nothin' 6. Spirit On The Water 7. The Levee's Gonna Break 8. Desolation Row 9. Highway 61 Revisited 10. Forgetful Heart 11. Thunder On The Mountain 12. Ballad Of A Thin Man // 13. Like A Rolling Stone 14. All Along The Watchtower en of these songs were played at Dylan's previous show at Boston's House of Blues on August 21. The opening act was Mark Knopfler, which probably explains the 14 song set. According to the Desolation Row Information Service, Knopfler played for about an hour, starting at 7:30. Dylan's set started at 9:20, about 20 minutes late, with no change in the line up. Knopfler's set list, courtesy of Karl-Heinz Meurer (via Expecting Rain Discussions): Mark Knopfler (ca. 65 minutes): ------------------------------------ 01 Why Aye Man 02 Cleaning My Gun 03 [new song] 04 Sailing To Philadelphia 05 Hill Farmer's Blues 06 [new song] 07 Song For Sonny Liston 08 Done With Bonaparte 09 Speedway At Nazareth Dylan is not playing tomorrow night on Yom Kippur, but returns to the stage after sundown on October 8 at Braehead Arena in Glasgow, Scotland. Here's the summary of performances from this summer's North American tour (38 songs, 28 shows): (Song title, concert - see bottom.) 1. All Along The Watchtower 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 2. Ballad Of A Thin Man 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 3. Ballad Of Hollis Brown 17 22 27 4. Beyond Here Lies Nothin' 1 2 3 4 5 6 7 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 5. Blind Willie McTell 19 21 23 25 27 28 6. Blowin' In The Wind 1 2 3 8 9 10 12 13 14 15 28 7. Cold Irons Bound 5 6 7 8 9 21 24 8. Desolation Row 4 16 20 21 25 26 9. Don't Think Twice, It's All Right 1 2 8 11 12 18 25 27 28 10. Forever Young 6 11. Forgetful Heart 1 2 3 5 9 10 12 13 15 12. Girl From The North Country 16 13. Gonna Change My Way Of Thinking 1 2 14. A Hard Rain's A-Gonna Fall 1 2 11 15. High Water (for Charley Patton) 1 2 10 13 15 20 23 26 28 16. Highway 61 Revisited 1 2 3 4 5 6 7 8 9 10 11 12 13 14 16 17 18 19 20 21 22 23 24 25 26 27 28 17. If You Ever Go To Houston 1 4 5 6 7 18. It Ain't Me, Babe 3 4 10 20 19. It's All Over Now, Baby Blue 5 6 7 9 13 14 15 24 20. John Brown 19 24 21. Leopard-Skin Pill-Box Hat 3 4 10 12 13 16 18 19 21 22 23 25 26 28 22. The Levee's Gonna Break 1 5 11 12 15 16 17 22 25 23. Like A Rolling Stone 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 24. The Lonesome Death Of Hattie Carroll 17 22 27 25. Love Minus Zero/No Limit 19 26. Mississippi 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 27. Rainy Day Women # 12 & 35 5 6 7 8 9 11 14 15 17 20 24 27 28. Simple Twist Of Fate 1 3 4 6 7 8 9 10 16 17 18 19 20 21 22 23 24 25 26 27 28 29. Spirit On The Water 26 30. Sugar Baby 2 3 4 6 7 8 9 11 12 13 14 15 31. Summer Days 2 3 4 6 7 8 14 18 19 20 23 24 28 32. Tangled Up In Blue 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 33. Things Have Changed 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 34. Thunder On The Mountain 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 35. To Ramona 17 21 22 23 26 36. Tryin' To Get To Heaven 2 5 8 16 18 28 37. Tweedle Dee & Tweedle Dum 4 16 18 38. Visions Of Johanna 5 6 7 14 Summer concert schedule (Concert number, date, location, venue): 1. JUL 14 Santa Barbara, CA Santa Barbara Bowl 2. JUL 15 Costa Mesa, CA The Pacific Amphitheatre 3. JUL 16 Las Vegas, NV The Pearl Concert Theater at the Palms 4. JUL 18 Phoenix, AZ Comerica Theatre 5. JUL 19 Tucson, AZ Anselmo Valencia Tori Amphitheatre 6. JUL 21 Albuquerque, NM Hard Rock Casino Presents: The Pavilion 7. JUL 23 Thackerville, OK WinStar World Casino 8. JUL 24 New Braunfels, TX Whitewater Amphitheater 9. JUL 26 New Orleans, LA UNO Lakefront Arena 10. JUL 27 Pensacola, FL Pensacola Civic Center 11. JUL 28 Atlanta, GA Chastain Park Amphitheater 12. JUL 30 Memphis, TN Mud Island Amphitheatre 13. AUG 1 Nashville, TN Ryman Auditorium 14. AUG 2 Evansville, IN Roberts Stadium 15. AUG 3 Toledo, OH Toledo Zoo Amphitheater 16. AUG 5 Kettering, OH Fraze Pavilion 17. AUG 6 Cleveland, OH Jacobs Pavilion at Nautica 18. AUG 7 Rochester Hills, MI Meadow Brook 19. AUG 9 Canandaigua, NY Constellation Brands-Marvin Sands PAC 20. AUG 10 Scranton, PA Toyota Pavilion 21. AUG 12 Bethel, NY Bethel Woods Center for the Arts 22. AUG 13 Wantagh, NY Jones Beach Theater 23. AUG 14 Asbury Park, NJ Asbury Park Convention Hall 24. AUG 16 Columbia, MD Merriweather Post Pavilion 25. AUG 17 Philadelphia, PA Mann Music Center 26. AUG 19 Gilford, NH Meadowbrook U.S. Cellular Pavilion 27. AUG 20 Bangor, ME Bangor Waterfront Pavilion 28. AUG 21 Boston, MA House of Blues http://www.examiner.com/bob-dylan-in-national/bob-dylan-begins-autumn-tour-with-mark-knopfler-dublin
Goldenday: Паразиты! Нет, чтоб в Россию прикатить, так нет - Ирландию им подавай
Voldar: Ну хоть посмотреть и послушать можем. Dylan&Knopfler concert o2 dublin 6th october 2011
Voldar: Bob Dylan box set of singles to crawl out on Record Store Day Columbia/Legacy will be issuing a limited edition box set of Bob Dylan 45 r.p.m. singles, titled Can You Please Crawl Out Your Window?, for Record Store Day 2011's Black Friday. Here's the information: Format: 7" Vinyl Box Set Label: Columbia/Legacy Release type: Box set of four 7" singles, limited, numbered, includes Dylan sticker. Track listing: "Can You Please Crawl Out Your Window"/"Highway 61" "Positively 4th St."/"From A Buick Six" "Like a Rolling Stone"/"Gates of Eden" "Subterranean Homesick Blues"/"She Belongs To Me" There will be a limited run of 5,000 sets, made only for the United States market. http://www.examiner.com/bob-dylan-in-national/bob-dylan-box-set-of-singles-for-record-store-day
Voldar: In Luxembourg, Mark Knopfler joins Bob Dylan on stage for first three songs In another surprise on his summer tour, Bob Dylan was joined on stage in Luxembourg earlier tonight by Mark Knopfler for the first three songs of his headlining set. This is the twelfth night of the tour, but only the second gig where Knopfler shared the stage with Dylan. The previous time, one week ago in Bournemouth, Knopfler, unannounced, played guitar on Dylan's "Beyond Here Lies Nothin'." Tonight, Knopfler was there from the beginning, staying for "Leopard-Skin Pill-Box Hat," "It's All Over Now, Baby Blue", and "Things Have Changed." Here's the set list, courtesy Bob Links: Esch-sur-Alzette, Luxembourg Rockhal October 21, 2011 1. Leopard-Skin Pill-Box Hat (Mark Knopfler on guitar) 2. It's All Over Now, Baby Blue (Bob Dylan and Mark Knopfler on guitars) 3. Things Have Changed (Mark Knopfler on guitar) 4. Tangled Up In Blue 5. Honest With Me 6. Make You Feel My Love 7. The Levee's Gonna Break 8. Desolation Row 9. Highway 61 Revisited 10. Forgetful Heart (Donnie on violin) 11. Thunder On The Mountain 12. Ballad Of A Thin Man 13. All Along The Watchtower 14. Like A Rolling Stone The Knopfler fan site, A Mark In Time, has already linked to a video from the show. You can watch four short clips in the embedded links on the left, including two with Dylan and Knopfler. http://www.examiner.com/bob-dylan-in-national/in-luxembourg-mark-knopfler-joins-bob-dylan-on-stage-for-first-three-songs
Voldar: Ещё ролечег Боба и Марка.
Voldar: Stuck inside of a mobile device with the Dylan live in Hamburg blues again Earlier tonight in Hamburg, Germany, where Bob Dylan headlined at the O2 World arena, Mark Knopfler guested on the first four or five songs, including the tour debut of "Boots of Spanish Leather." At time of posting, Bob Links lists four songs with Knopfler, while A Mark In Time reports five. The embedded video clip at the left indicates that Knopfler did indeed play on the fifth song, "The Levee's Gonna Break," which means that he was on stage with Dylan for about half an hour. In addition, "Man In The Long Black Coat" was played for the third time on the tour, but this was the first with Knopfler. Later in the set, after Knopfler left, "Rollin' and Tumblin'" also made its first appearance. According to the Knopfler fan site A Mark In Time, the Dylan segment (and at least part of Knopfler's opening set) was broadcast live from a moblie device at Bambuster , where it had been archived at the time of this post. Bob Dylan's set list, courtesy Bob Links, Setlist.fm and A Mark In Time (and Bambuster): 1. Leopard-Skin Pill-Box Hat / w Mark K. 2. Boots of Spanish Leather / w Mark K. 3. Things Have Changed / w Mark K. 4. Man In The Long Black Coat / w Mark K. 5. The Levee's Gonna Break / w Mark K. 6. Not Dark Yet 7. Rollin' And Tumblin' 8. A Hard Rain's A-Gonna Fall 9. Highway 61 Revisited 10. Forgetful Heart 11. Thunder On The Mountain 12. Ballad Of A Thin Man 13. All Along The Watchtower 14. Like A Rolling Stone http://www.examiner.com/bob-dylan-in-national/stuck-inside-of-a-mobile-device-with-the-dylan-live-hamburg-blues-again
Voldar: Bob Dylan and Mark Knopfler play final 2011 Germany gig Earlier tonight in Nuremberg, Bob Dylan and Mark Knopfler played the 23rd show of their autumn tour. It was also the eight and final show in Germany. Dylan has played Nuremberg before, in West Germany in 1978 and 1987, then in a united Germany in 1998 and 2002. Dylan appears to have gotten himself into a groove, with Knopfler joining in on guitar during the first four songs of tonight's headlining set, no tour debuts, and, in this case, no encore of "Blowin' In The Wind." So far, Dylan has played 49 different songs on this fall tour. Still to go: Austria, Italy, Switzerland, and London, England. Set lists, courtesy of Bob Links and A Mark In Time: Nuremberg Arena, Germany: November 7, 2011 Bob Dylan 1. Leopard-Skin Pill-Box Hat (Mark Knopfler on guitar) 2. It's All Over Now, Baby Blue (Mark Knopfler on guitar) 3. Things Have Changed (Mark Knopfler on guitar) 4. Mississippi (Mark Knopfler on guitar) 5. Honest With Me 6. Tangled Up In Blue 7. The Levee's Gonna Break 8. Desolation Row 9. Highway 61 Revisited 10. Man In The Long Black Coat 11. Thunder On The Mountain 12. Ballad Of A Thin Man 13. All Along The Watchtower 14. Like A Rolling Stone Mark Knopfler 1. Why Aye Man 2. Cleaning My Gun 3. Sailing to Philadelphia 4. Hill Farmer's Blue 5. Privateering 6. Song for Sonny Liston 7. Haul Away 8. Marbletown 9. Brothers in Arms 10. Speedway at Nazareth 11. So Far Away http://www.examiner.com/bob-dylan-in-national/bob-dylan-and-mark-knopfler-s-last-2011-gig-germany
Voldar: A review of Bob Dylan and Mark Knopfler in Padova, Italy, last night Mark Knopfler influences Bob Dylan’s performances A review by "Mr. Tambourine." A great Bob Dylan took the stage at the Palasport Arcella in Padua, Italy, last night. The concert was more than good, it almost reached greatness - Bob and the band, all engaged and charged at the same point. Good sound, clean and complimentary, with an excellent collection of musicians on stage. With Mark on the bill, it was even better because Knopfler’s tone was more crystalline and less heavy, even if the Celtic music was a little foreign to my ears. A musician worthy of sharing the bill with Bob. Bob, the elder statesman, was in perfect shape and great voice. He played excellent harmonica licks dropped perfectly into the songs, with the keyboard maybe a little less so (but we all know that Bob is not really what people call a "monster of the keyboard”). Knopfler’s guest appearance in Bob’s set transformed those songs. They felt special, with Mark playing some very sweet Elvis-style solos which added a kindness and sensitivity that was a sharp contrast to Charlie Sexton’s guitar style. Tony Garnier was good as always, and George Recile, Stu Kimball, and Donnie Herron played together in excellent anonymity. Even Bob appeared to give much more when Mark was at his side. The set list was predictable, but the performances were not. The highlights were “Man In The Long Black Coat” and a fascinating version of “Desolation Row,” played and sung with a special echo effect on Bob’s voice. Even the "routine songs" like “Highway 61,” “Watchtower,” and “Rolling Stone,” were all exciting and energetic. Unfortunately, the Palasport Arcella was not sold out, perhaps due to the multiple midweek round of Italian shows, or maybe an alarm bell went off due to the high ticket prices. We will see if this happens again at the upcoming shows in Rome, Florence and Milan. The Padua audience was composed mostly of subdued Padua citizens, with a few foreigners mixed in. It was too bad really, as the quality of the show deserved more. Ciao, Mr.Tambourine http://www.examiner.com/bob-dylan-in-national/a-review-of-bob-dylan-and-mark-knopfler-padova-italy-last-night
Sergey`M: Дилан че то совсем охрип, я не в восторге...
Voldar: Серёж,он мотается по городам и весям почти два года без перерыва.
Goldenday: Скоро его и Тома Уэйтса не различить будет.
Voldar: Review of Dylan at Hammersmith November 2011 I thought I’d write a wrap-up review of the last few shows on the Dylan/Knopfler tour, focusing especially on the last show, but also touching on the entire tour, and where the Never Ending Tour is at (for me) as 2011 draws to a close. Essentially this has been a good tour. By any standards. But especially by the standard of Dylan’s last few half-decade or so of touring. My opinion is that there has been a steady improvement since 2009, following a steady decline since 2001. That decline was very gradual though, and there were great periods within it, eg Fall 2002, Fall 2003, the likes of Bonnaroo, Barrowlands 2004, Fall 2005 with the altered band line-up, Fall 2006 which had the fillip of the Modern Times songs, etc etc. But 2007, 2008 were not so great really, so it’s been good to see a steady improvement since then. However that does not mean his voice has improved. Far from it! The Dylan we see on stage today does not have anywhere near the vocal range of the late 90s/early ‘00s, nor even that of 2005. Coupled with this problem was that he seemed to get so fed up of singing some songs that he began to phrase them in ever more bizarre ways. In the heyday of the N.E.T. this was one of the ‘selling points’ for regular attendees, the fact that not only did he regularly change the song arrangements, but he also changed the phrasing, often from night to night. But, at that time, the ever changing phrasing seemed to have some point to it, and he usually found some way to make the phrasing fit the song, or whatever emotion he was trying to convey on the particular night. In recent years, while he can still achieve this when he wants to, there have been occasions when the bizarre phrasing didn’t seem to make any sense at all. Some songs seem to be guiltier of this than others, eg Hattie Carroll and Hard Rain. So good to see things improve on this front and that he continues to do 'interesting' things with what are left of his vocal chords. All of which brings us to a mild November day in Hammersmith last Monday. The tour had been notable for several reasons. Firstly, of course, having Mark Knopfler as an opening act. Having seen the opening night of the tour in Dublin 6 weeks ago, I had been disappointed he played not one Dire Straits song, so it’s been good that he’s added Brothers in Arms and So Far Away to his set. The rest of his set is pleasant rather than inspirational, the most interesting thing for me being his guitar playing. He has definitely added something to Dylan’s sets too, as from mid-tour on he joined Dylan every night for the first 3 or 4 numbers, just playing guitar, and making a nice contribution to the band’s sound. The other notable thing about the tour is Dylan’s increased engagement with the audience. From Glasgow onwards he had been out in the middle of the stage much more than usual (up to half the numbers) – and in a much more energetic way, moving around almost like a boxer just holding the microphone in one hand and his harmonica/harmonica mike in the other hand and/or using the mike stand as a prop of sorts. This has made the shows considerably more enjoyable visually, and haven’t hurt the musical performance at all, quite the opposite actually. By the London shows, the level of energy from earlier in the tour had perhaps ebbed a little, but was still very evident on some songs. So, what were the highlights of the London run? Here are a few examples; Mississippi – very enjoyable new bouncy arrangement, making this the best live version certainly since 2001 Blind Willie McTell – amazingly this is (arguably) even better than the great arrangement he had been using since 1997, now cast in a genre that’s hard to define – part country, part stomping 1920s dixieland jazz (if that makes any sense!), punctuated (and finished) with some of the best hand-held harmonica you’ll ever see Man in the Long Black Coat – this great song from 1989 has been transformed from a slow atmospheric number to a powerful up-tempo opportunity for Bob to stalk the stage barking out the verses in his best 2011 growl, again with fine harmonica Forgetful Heart – I’ve seen some amazing versions of this since the song came out on Dylan's last studio album in 2009, but the one on Sunday at Hammersmith probably tops them all. This is 2011 Dylan at his best, and by far the quietest song he performs these days (Dylan concerts are now very loud rock affairs, with very little acoustic or quiet songs). Anyway, he gave this song an incredible vocal in London and performed it very theatrically too, like some kind of torch-song, really communicating with the audience like he used to in 1995 or 1999 or earlier in his career. At times during this performance I felt he was incorporating the spirit of older performers, not the blues/country guys he normally reminds us of but people like Sinatra, Fred Astaire, even Charlie Chaplin. These are just a few highlights – lots of other songs were also very well performed over these 3 nights, and my only complaints are that he plays slightly too many ‘by-number’ rock/rock’n’roll/blues numbers, and obviously we’d like a bit more set-list variation - his set-lists having become a bit more static (by his own high standards of variety that is) in the last couple of years, but this tour saw a small but significant improvement in variety. So overall just a good solid run of shows, ending a very good tour. The final thing I want to talk about before I sign off is the last song of that last show. Up til then it had been a pretty good show, of a similar standard to the previous night, and definitely better than the first Hammersmith show, but now we were to get a performance/moment to take the show to another level. I had been wondering would he ask Knopfler out for one final song, and sure enough there he was, strapping on his red Strat(?) and, adjusting the microphone in the middle of the stage. So, wow – we were to get a vocal duet – something that had not happened thus far on the tour (he had only played guitar with Bob to this point), and indeed, I can’t remember the last time Bob performed an actual proper vocal duet with someone – maybe Norah Jones in 2005? Anyway, it really was the special moment that people have been talking about. Ok, perhaps nothing extraordinary musically, but just a very genuine and (presumably) relatively unscripted moment and it led to a lovely communal feeling of warmth spreading across this great old London venue. The song of course was Forever Young –Bob taking the 1st verse, Mark the 2nd and sharing the 3rd. As people will know, not just from other reviews but from the youtube vids(!), Knopfler sang the lyric ‘May your heart always be joyful, may your song always be sung, and may you stay forever young’ right TO Bob, and gestured with his arm to Bob on the line ‘may your song always be sung’ to which the place erupted. You’d have had to have a heart of stone not to have enjoyed it, and if Knopfler was ever to win over the Dylan audience, he did it right there. The song finished up with a solid harmonica solo from Bob (this tour having seen a very high standard of harmonica playing by the way), and the artists exchanged hugs with Bob giving Mark plenty of acknowledgement, showing friendship and respect between these two artists (and collaborators of old) in equal measure. It was a fitting end to a decent year’s touring. With no rumours or news yet, who knows what 2012 will hold, but let’s hope, as he approaches 71, that he keeps it fresh, enjoys himself and is not done yet. http://samsonsdiner.blogspot.com/2011/11/review-of-dylan-at-hammersmith-november.html
Voldar: Чего то давно не было книг о Бобе и вот пожалуйста. TRUTH ABOUT TAMBOURINE MAN Down the Highway: The Life of Bob Dylan by Howard Sounes (Random House, Rs 699). Don’t keep writing poetry, please don’t. Go to school and do something constructive… get a degree.” Fortunately, Bob Dylan paid no heed to this advice dished out by his mother Beatty in 1959. Now in his 60th year, with innumerable pictures and words charting a detailed trajectory of his life, is there anything new left to say about this man? Apparently yes, as this book proves. Three years and 250 interviews — that’s what Howard Sounes has put into this biography. While Dylan himself, quite predictably, refused to contribute to it, Sounes has done nothing if not a thorough job, researching almost every aspect of this “song and dance man”. While he maintains a sympathetic voice throughout, Sounes doesn’t shy away from breaking down the man before building him up again. In fact, in the opening chapters, Dylan is practically pulled down from his pedestal. We discover his propensity for prevarication. We learn that when he made his way to Denver in the summer of 1960, people avoided the “grubby faux hobo” and he couldn’t get a job to play anywhere. We also learn that the young Bob stole albums from his friends, and how, when he became famous, he would often pretend not to know people who had helped him when he was down and out. Perhaps that’s why one of Dylan’s old friends describes him as “a very lonely man. So few people left in the world… that he [can] talk to.” What ultimately comes through is the image of a wandering musician, fully committed to the Never Ending Tour. Despite his faults and frailties, this performer was born for a life on the road. A peripatetic musician, he often opted to sleep on friends’ couches, because he liked it, even when he owned several properties. What also comes through is that no matter how many biographers may try, the essence of Dylan — what he is “about” — still remains a mystery. As he replied to a question posed in 1966 by Playboy magazine on what his songs were about: “Oh, some are about four minutes; some are about five, and some, believe it or not, are about eleven.” Thumbs Up: Dylan buffs will love the fact that Sounes manages to ferret out new information on the life of this man whose every move has been scrutinised for the better part of his life. Most notably, he reveals that in 1986 Dylan secretly married one of his backing singers, Carolyn Dennis, who had had his sixth child. While details of this six-year marriage remains a mystery, it does show how adept Dylan was at keeping his life private, making him even more of an enigma. Revelations aside, the book is packed with anecdotes that offer rare glimpses into Dylan’s life. From the boyish games he played in school to his (busy) sex life, pretty much every fact and story you want to know about the man is contained within the covers of this book. Also, look out for the pictures, which include some of Dylan’s old loves and several of him performing. Thumbs down: While Sounes’s biography is chock-a-block with information, he loses points on two counts. One, his even-paced, measured style of writing lacks passion at times; previous biographies of Dylan are more stylishly written. Two, strangely enough, while we learn much about Bob the man, the book hardly delves too deep into what made the man who he is — his music. For example, Sounes lets the trinity of defining ’60s albums — Blonde on Blonde, Bringing It All Back Home and Highway 61 Revisited — go unexplored. This leaves one with a vaguely unsatisfied feeling that the book doesn’t quite manage to get to the heart of Bob Dylan. t2 tip: Dylan fans, if you want to know more about your man, this is your book. You can flip through this tome for years and never exhaust your supply of Dylan trivia. But be warned — if Dylan is your god, he may appear significantly more human after reading this book. http://www.telegraphindia.com/1111203/jsp/entertainment/story_14833108.jsp
Voldar: Неплохая подборка фоток Боба. Bob Dylan Photographic Exhibition http://www.irishtimes.com/indepth/slideshows/dylan-exhibition/
Sergey`M: Боб - счастливый парень на фотографиях.
Voldar: Интересно,что фотки выбраны с тех времён,когда у него было больше всего обломов.
Voldar: Журнал Лайф готовит большую публикацию о Бобе и даже предлагает на странице фейсбука выбрать вариант обложки. LIFE magazine working on Bob Dylan book - Check out potential covers Together Through LIFE: According to a December 12 post on the Life.com Facebook page: LIFE's editors are working on a special book on Bob Dylan. Which of these four covers is your favorite? Pick your favorite with the "Like" button. Fans without a Facebook account can check out the four potential covers in the slideshow on the left. However, in order the vote for your favorite, readers must visit the Life.com page on Facebook. The covers all feature the phrase "Bob Dylan - Forever Young - 50 Years On," and are all from the early to mid-1960s: Dylan strumming in front of an old chair, in Woody Guthrie mode. Bob Dylan, topical folk singer The Essential Bob Dylan (Really. The photograph was used for a compilation with that name). Already used as the cover of the book, Bob Dylan by Daniel Kramer - A Portrait of the Artist's Early Years. I'd like to see number one as the cover because it's an unusual early shot, but I expect either number three or four to be chosen. If the bar code is any indication, the "book" (or magazine) will sell for $12.99 in the U.S. ($16.99 in Canada), and is to be displayed until May 11, 2012. (Note to Life.com: Dylan turns 71 on May 24 ... You may want to extend that date.) Would it be too cynical to think that all four covers will be used, so that collectors will scoop up the entire set? It's LIFE, and LIFE only ... (Thanks to everyone who shared the link on Facebook. You know who you are.) Другие варианты обложки https://www.facebook.com/photo.php?fbid=10150461895566600&set=a.10150461895216600.393066.39308306599&type=3&theater http://www.examiner.com/bob-dylan-in-national/life-magazine-working-on-bob-dylan-book-check-out-potential-covers
Voldar: Bob Dylan, Leonardo DiCaprio and Olivia Harrison to participate in Critics' Choice Martin Scorsese tribute Tomorrow's 17th annual Critics' Choice Movie Awards ceremony just went electric. The Broadcast Film Critics Association has announced that singer/songwriter Bob Dylan, along with Leonardo DiCaprio and Olivia Harrison (widow of Beatle George Harrison), will participate in Martin Scorsese's Music+Film Award tribute. DiCaprio and Harrison will present the award, while Dylan (who was featured briefly in Scorsese's "The Last Waltz" in 1978 and in depth in the 2005 documentary "No Direction Home") will toast the director with a performance. Scorsese was announced in December as the second recipient of the award, which was inaugurated last year when it was presented to filmmaker Quentin Tarantino at the 2011 CCMA ceremony. The award honors "a single filmmaker who has touched audiences through cinematic storytelling and has heightened the impact of films through the brilliant use of source and original music." Scorsese's film, "Hugo," meanwhile, was nominated for 11 Critics' Choice Movie Awards by the BFCA, including Best Picture and Best Director. His documentary, "George Harrison: Living in the Material World," was also nominated in the Best Documentary Feature category. It's obviously an inspired selection, and a more apt choice for the honor than even last year's recipient, I'd wager. But it all dovetails nicely with Scorsese's work this year. And it will be a real treat to see Dylan offer up what's sure to be a fantastic tribute performance. What follows is an essay I contributed to the Critics' Choice Movie Awards program in honor of Scorsese's receiving the award: From the famous bass drum intro of The Ronettes' "Be My Baby" to open 1973's "Mean Streets," to the melancholy intermingling of Dinah Washington's "This Bitter Earth" and Max Richter's "On the Nature of Daylight" to close 2010's "Shutter Island," the films of Martin Scorsese have been as much a musical education as they've been a cinematic one. Harry Nilsson's "Jump Into the Fire" is forever wedded to images of a strung-out Henry Hill scoping the skies for surveillance helicopters in "Goodfellas." Pietro Mascagni's "Cavalleria Rusticana: Intermezzo" takes on a whole new meaning when laid over a silhouetted, ballerina-like Jake La Motta sparring with the air in "Raging Bull." There have been times, like this year's collaboration with Howard Shore on "Hugo," when Scorsese has seen fit to work with a film music composer for an original score. And those moments have been no less memorable: I can't ride the streets on a rainy New York night without the building horns and crashing cymbals of Bernard Herrmann's contribution to "Taxi Driver" creeping into my mind. The eerie cry of strings giving way to celebratory synth bells sounding at the end of "The Last Temptation of Christ," meanwhile, never fails to stir a collision of emotions in my heart. Documenting musicians and their work has been just as integral to Scorsese's explorations on the screen as using their music to further narrative. Beginning with his involvement in Michael Wadleigh's lightning-capturing "Woodstock" in 1970 on through concert films featuring The Band and The Rolling Stones, as well as in-depth studies of towering icons like Bob Dylan and George Harrison, Scorsese's reverence for lyric and melody is as defining a characteristic of the artist as his often celebrated reverence for film. And now, whether it's Peggy Lee ("After Hours"), Philip Glass ("Kundun"), Van Morrison ("Bringing Out the Dead"), Johann Sebastian Bach ("Casino"), Bob Dylan ("The Last Waltz"), Elmer Bernstein ("The Age of Innocence") or the Dropkick Murphys ("The Departed"), the moments flash as memories of the overall tapestry when we hear the tracks today. That's the power Scorsese wields as a constructionist, building story with what we hear, as much as with what we see, cementing those moments as classic, instantly and forever. I was happy to contribute that to the program because, indeed, Scorsese's work with music is very much a part of my cinematic upbringing, as I'm sure it is many others. The two elements are really inseparable. The 17th annual Critics Choice Movie Awards, hosted by comedians Paul Scheer and Rob Huebel, will air live for the fifth straight year tomorrow on VH1 at 8pm ET/PT. It was announced this week that George Clooney will be on hand to present Sean Penn with the Joel Siegel Award for humanitarianism. Meanwhile, Ty Burell, Vin Diesel, Kirsten Dunst, Donald Glover, Mindy Kaling, Ben Kingsley, Diane Kruger, Melissa McCarthy, Elizabeth Olsen, Paul Rudd, Maya Rudolph, Jason Segel and Owen Wilson have all been confirmed as presenters. http://www.hitfix.com/blogs/in-contention/posts/bob-dylan-leonardo-dicaprio-and-olivia-harrison-to-participate-in-critics-choice-martin-scorsese-tribute
Goldenday: Статья о Дилане из августовского номера Classic Rock, посвящённого "величайшим сонграйтерам всех времён":
Goldenday: Из того же номера. Обратите внимание, чьё это мнение.
Voldar: Мне вот думается,что из всех братьев Вилбури,Чарли и Лаки наиболее близки.
Goldenday: Мысли наши, как всегда, синхронны
Voldar: Только,сейчас пришла мысль,здорово было бы написать сказку про братьев Вилбурис на русский лад.
allamina: Боб с Томом отлично спелись в туре 86го. А что, удобно: петь в один микрофон, даже не нада подстраивать его высоту друг под друга, как сиамские близнецы или даже два веселых гуся, один серый, другой белый! Кстати, именно тогда в Лондоне на Томин ДР в дрессрум к ним и завалились другие два лохматых гуся на букву ДЖ ну и другой народ какой-то... Отметили славно;) С Джеффом по-другому никак
Voldar: А вот это уже страница настоящей истории брательников.Ребята не забывайте у нас историческая миссия донести до людей правду о создании единственной в мире настоящей супергруппы,так что Алла за тобой рассказка о этом случае.Пойдешь прямо первой полосой на сайте,не всё же мне одному отдуваться.
allamina: Да запросто могу красиво всё рассказать и изложить все свои мысли по этому поводу и на первую и на последнюю полосу..., тока не уверенна, что то, что я изложу есть правда Всёж я в последнее время понахваталась всего подряд и здесь, и на ютьюбе (уже не пойму где вымысел, а где нет, особенно начитавшись ютьюбных комментов-рассадник сплетен)))) . Надо с Леной проконсультироваться, она всё ж знатный энциклопедист Тома (на ДВД Running down Том рассказывает про то, как он любит Боба и как ему жутко понравился их совместный мировой тур и что-то про свой день рождения в Лондоне, и это точно до Вильбурисов, надо пересмотреть! (написать перевод????) Давайте писать ИСТОРИЮ!! я за
Voldar: allamina пишет: Да запросто могу красиво всё рассказать и изложить Вот это здорово,ждём.Гусей вставлю прямо здесь.
allamina: Два веселых гуся click here
Voldar: Можно сказать профильный по теме Боба американский журнал,статья из которого есть в первой теме о Томе и Бобе,объявил месячник Дилана,ну прямо как у нас "помой весной машину". Остальные статьи здесь: http://www.americansongwriter.com/2012/01/american-songwriter-presents-30-days-of-dylan/
Voldar: Ke$ha, Adele, others cover Bob Dylan songs for Amnesty International Anyone who ever doubted the transformative power of Bob Dylan's music need only look to Ke$ha. Yes, Ke$ha. The irreverent pop star known for singing about brushing her teeth with "a bottle of Jack" turns poignant while covering a song from one of music's great lyricists on the new four-disc "Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International." The project features 75 newly recorded Dylan songs by 80 artists, including Adele, Sting, Sugarland, Elvis Costello, hip-hop artist K'naan and others to support the human rights organization. Ke$ha is one of the more unlikely stars to contribute to the compilation, released Tuesday. The pop star defined by party anthems like "Tik Tok" and "Your Love Is My Drug" took on Dylan's "Don't Think Twice, It's Alright." As she found herself alone in her bedroom for the first time in months, the words of the song — about a person bidding goodbye to a lover — took on a new, deeply personal meaning. She realized she was saying goodbye to her carefree, former life — before big hits and world tours brought on pressure and priorities. She broke down as she began singing, and the emotion is captured on the record. "Everything has changed. It's amazing, but there are moments that are incredibly lonely. This caught me at one of those incredibly lonely moments, and it really struck home. There's a line, 'It's a long and lonesome road, babe, where I'm bound I can't tell.' It's tragically relevant," said Ke$ha in a phone interview. "I think these are all positive things for young people to see that you can be strong and you can be irreverent and you can say what you want and you have the freedom of speech, but I've learned that vulnerability is actually an asset. It can be just as much of an asset as strength." Ke$ha isn't the only eye-popping name on the compilation: Nineteen-year-old Miley Cyrus does a rendition of "You're Gonna Make Me Lonesome When You Go." The project has a wide range of acts, from Maroon 5 to 92-year-old folk legend Pete Seeger, who sings "Forever Young" with a children's chorus. Dylan waived the publishing rights to his entire catalog, and all of the artists, musicians, engineers and others involved in the recording process did everything pro-bono. Aerosmith guitarist Joe Perry, who recorded "Man of Peace," describes it as "thin ice" to cover an artist as iconic as Dylan, because not only are his songs brilliant, but his performances of those songs have become so revered themselves. "(Artists like Dylan) know where (the songs) live and breathe and where the heartbeat is. So covering them can be a touchy thing," said Perry, who recorded the Dylan song "Man of Peace." ''Hopefully you don't make it different just for the sake of making it different. I just wanted to kind of reinterpret my take on the song and just have fun singing it." Legendary country artist and actor Kris Kristofferson considers Dylan a personal friend but says he's been an inspiration and a hero a lot longer than that. Johnny Cash introduced them while Kristofferson was working as a janitor at Columbia Recording Studios in Nashville in the 1960s. At 75, Kristofferson says he has been around long enough to understand and appreciate Dylan's impact on music. "If you look at pop songs before Dylan, none of them were poetry like his are. He opened up the doors for creative writers and made songwriting to me what it is today," said Kristofferson, who covers "Quinn the Eskimo (The Mighty Quinn)." ''Music was a whole lot different when I was a little kid. Pop music was lifted up as an art form by Bob Dylan." British pop singer Natasha Bedingfield recorded "Ring Them Bells" in Nashville during her U.S. tour last year. She said she used to listen to it as a kid with her brother and sister. "To me the song is about freedom, 'Ring them bells for the blind and the deaf, for the innocent,'" she said. "For me it felt quite poignant, particularly for this album, where Amnesty is all about people who are being unjustly treated." "Chimes of Freedom" is a follow up to Amnesty International's 2007 collection of John Lennon songs performed by major artists, called "Instant Karma," which raised over $4 million for their efforts in Darfur. "Music has been at the heart of so many movements for change," said Julie Yannatta, who served as the album's executive producer with Jeff Ayeroff. "Music has a way of reminding us who we are at our essence and what we need to do to live together in a better world, and Amnesty is very much a part of that." The album will be available internationally on Jan. 30.
Voldar: Bob Dylan tribute album honors Amnesty International too Bob Dylan has been lauded so often as "the poet laureate of rock 'n' roll" that even the man himself, who for decades protested the notion that he was speaking for anything but his own musical muse, eventually caved and now incorporates the phrase into the voice-over introduction at his own concerts. This week, a massive new four-CD tribute album, "Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International," amplifies that sentiment with recordings by 80 artists of 75 of his songs that demonstrate his influence not just on his own generation but on several succeeding ones. The new album, which arrives Tuesday and from which proceeds will benefit Amnesty International's ongoing efforts to free political prisoners around the world, brings together numerous unlikely musical bedfellows: It finds room for 92-year-old folk singer and political activist Pete Seeger and 19-year-old pop princess Miley Cyrus; brash punk-rock band Bad Religion and elegant jazz standard-bearer Diana Krall; indie-rock group Silversun Pickups and chamber music's boundary-bending Kronos Quartet. And it raises a question, arriving as it does in conjunction with this year's 100th anniversary activities marking the birth of Dylan's preeminent musical influence, rabble-rousing troubadour Woody Guthrie, who also is being saluted by a raft of musicians affected by his deft explorations of social and political issues: Could 2012 become the year that pop music rediscovers its political conscience? The music of Dylan and Guthrie has been used prominently in "Occupy" protests across this country and at game-changing political uprisings in other countries. And these projects surrounding their work come just in time for what looks to be an exceptionally volatile presidential election year, one that comes on the heels of last year's Arab Spring protests that toppled long-entrenched repressive governments in several countries and helped foment myriad "Occupy" demonstrations in the U.S. and abroad. Plus, both the Guthrie and Dylan projects tap a broad swath of artists from the pop music world, efforts that will likely draw attention across disparate genres, social and economic strata, gender, race and geographical boundaries. The pairing of artist and beneficiary for the "Chimes of Freedom" project is a natural: Dylan released his first album in 1962, a short time after Amnesty began lobbying on behalf of prisoners of conscience. Both were informed by the conflicts between forces of totalitarianism and freedom during World War II and the consequent politics of the Cold War. Both found inspiration and validation in the politically minded music of Guthrie as well as that of Seeger, the Weavers and other folk revivalists who came to the fore in the '50s. Dylan himself started out a Guthrie clone, but quickly evolved into a widely lauded singer-songwriter whose initial exposure came through recordings of his songs by Joan Baez; Peter, Paul & Mary; the Turtles; Sonny & Cher; the Byrds; and other rock and pop acts. "Some of the themes [in Dylan's songs] feel like they were ripped from the headlines," said Karen Scott, Amnesty International's manager of music relations and an executive producer of the "Chimes of Freedom" album. "We are reminded again and again that the quest for freedom, for dignity and for transparency are issues that are longstanding." A similarly conceived 2007 album, "Instant Karma: The Amnesty International Campaign to Save Darfur," for which a variety of veteran and younger artists recorded songs of John Lennon, has generated more than $4 million for the human-rights organization. "It is creating awareness, getting people to open their eyes and perhaps take a deeper look at what this album is," Scott said. "They're going to keep seeing it, and they'll see their favorite artists posting about it. The hope is that once they hear the music, they'll want to take action." That's how it is playing out for many of the younger-generation artists represented on "Chimes of Freedom." "When so many people hear your voice, you just feel like it's time to start saying something that should be heard," said Josh Homme, 38, of heavy-metal group Queens of the Stone Age, which recorded a raw, sizzling version of "Outlaw Blues." "I've done so much press over the years. It's great to talk about a new record and it's a beautiful thing to make one, but it's something else to be part of something that helps human rights…. At some point it starts to turn around and you feel like you finally have enough power to do something. If you don't do something to help somebody else, then you're using that power for the wrong reason." Members of Chicago punk band Rise Against were attracted to "The Ballad of Hollis Brown" — a song that tells the story of a farmer who essentially loses everything. They decided to cover the song because it felt so timely. "I thought it was a great comment on contemporary society and had a lot of great parallels between the farmers who are losing livestock, farms and crops [in the song] and the world in 2011, with people losing jobs, factory workers being out of work, poverty and income disparity," said Rise Against singer Tim McIlrath, 32. "When you listen to the song, it's almost like the rallying cry of foreclosure in 2011 and what happened to the American dream. It rings so true. That's the sign of a good song — it's timeless." "Timeless" is a word that comes up a lot when describing Guthrie's songs as well, including "This Land Is Your Land," "Hard Travelin'," "Deportee" and "Pastures of Plenty." As the centennial of his birth on July 14, 1912, this year will see a bounty of activity highlighting his considerable impact, not just in popular music but across social and political strata worldwide from the ripples he started with his music. Guthrie's legacy will be examined in new books, recordings, a slate of all-star concerts and educational conferences dotting the country throughout the year. The fact that Guthrie's songs have turned up during "Occupy" protests doesn't surprise his daughter, Nora, who is overseeing a broad spectrum of activities marking her father's birth. "I was in Italy and I went into a bar and there's a picture of Woody — in a bar, in Italy," she said. "I asked the bartender, 'Why is there a picture of Woody Guthrie here?' and he immediately launched into this whole long spiel saying, 'He was the fighter for the working people.' This has happened to me so many times in my life. "That's because it's not about him," Guthrie continued. "He wasn't famous during his lifetime. He wasn't a celebrity. There have always been people who have said things like, 'Wasn't this land made for you and me?' He was just the one to put it in a word, in a phrase, in a verse. He caught it. I don't think any of those things will ever change. It's what people are asking around the country, and asking around the world, from the first tribe to the last tribe." Kris Kristofferson, who sings the enigmatic "The Mighty Quinn" on "Chimes," recalled first meeting Dylan when he was with Johnny Cash in a Nashville recording studio where Kristofferson was working as a janitor. Without Guthrie, says Kristofferson, there might not have been a Dylan, and without Dylan, there's no understating how differently music might have evolved. "Everything changed with him," he said. "He brought a freedom of expression we never had before. If you look back on music before him, what was in the top 40 or the Hit Parade — there were no songs like Bob ended up writing," Kristofferson said. "And he influenced the Beatles. They weren't the same after they met. It wasn't 'I Want to Hold Your Hand' anymore." Just as many rock purists looked down their noses when Olivia Newton-John recorded Dylan's "If Not For You" in 1971, some will scoff today at the thought of Top 40 pop artists such as Miley Cyrus (singing "You're Gonna Make Me Lonesome When You Go") and Kesha ("Don't Think Twice, It's All Right") taking a swing at Dylan's music on "Chimes of Freedom." Veteran record label executive Jeff Ayeroff, one of the album's co-producers, isn't among them. The edict Ayeroff got from Dylan's camp upon opening his song trove for the benefit of Amnesty International couldn't have been clearer. "My assignment was not to be a snob; it was to be creative and to let everybody do it who wants to do it," said Ayeroff, who also shepherded the John Lennon tribute album. "There is no judgment here. We wanted to hear what people could deliver. Miley has spent a lot of time dealing with gay issues, she's young, she has a voice and is coming into her own as a young adult. She's actually very bright, very articulate…. And her godmother is Dolly Parton — you can take it from there." Martin Lewis, producer of Amnesty International's original benefit event in 1976 and "contributing producer" of "Chimes of Freedom," said, "I really do think there is this political consciousness you can see in the younger artists they've got on the album. There's a sense of them pitching in and picking up a torch that's been handed to them." New-millennial musicians such as Cyrus, Adele ("Make You Feel My Love"), the Belle Brigade ("No Time to Think") and Jack's Mannequin ("Mr. Tambourine Man") are joining the continuum of pop music activism that for all intents began in 1971 with the Concert for Bangladesh. At that watershed show, George Harrison, freshly out of the Beatles, recruited a slew of musician friends for concerts to raise relief money and awareness for the tiny war and weather-ravaged country north of India. Among the Bangladesh players: Ringo Starr, Eric Clapton, Leon Russell, Billy Preston … and Bob Dylan. The mass platform for such music, however, has dramatically shifted since radio became big business and fell largely under the control of corporate ownership in the 1980s. But the Internet is leveling the playing field again by offering a potentially high-profile public arena for anyone making music with a message. "For our 30-year anniversary last year, we put an image of a protester on the cover of our album, 'The Dissent of Man,'" said Greg Graffin, lead singer for SoCalpunk group Bad Religion ("It's All Over Now, Baby Blue"). "Our hope in doing that was, yes, to spark and celebrate the idea of protest in music. Whether or not it catches steam, it's very hard to say. But one thing we've seen in cities across America is young people showing they stand for each other. If we can help inspire that with music, it's a job well done." http://www.latimes.com/entertainment/news/la-ca-dylan-amnesty-20120122,0,5360246.story http://latimesblogs.latimes.com/music_blog/2012/02/bob-dylan-chimes-freedom-amnesty-international.html
Voldar: Интевью с Бобом 1965 года. Bob Dylan Interview by Nora Ephron & Susan Edmiston This interview took place in late summer of 1965 in the office of Dylan's manager Albert Grossman. Dylan had just been booed in the historic Forest Hills concert where he abandoned folk purity to the use of electric accompaniment. he was wearing a red-and-navy op-art shirt, a navy blazer and pointy high-heeled boots. His fact, so sharp and harsh when translated through media, was then infinitely soft and delicate. His hair was not bushy or electric or Afro; it was fine-spun soft froth like the foam of a wave. He looked like an underfed angel with a nose from the land of the Chosen People. Q: Some American folk singers--Carolyn Hester, for example--say that what you're now doing, the new sound, "folk rock," is liberating them. A:Did Carolyn say that? You tell her she can come around and see me any time now that she's liberated. Q: Does labeling, using the term, "folk rock," tend to obscure what's happening? A:Yes. Q: It's like "pop gospel." What does the term mean to you? A:Yeah, classical gospel could be the next trend. There's country rock, rockabilly. What does it mean to me? Folk rock. I've never even said that word. It has a hard gutter sound. Circussy atmosphere. It's nose-thumbing. Sound like you're looking down on what is... fantastic, great music. Q: The definition most often given of folk rock is the combination of the electronic sound of rock and roll with the meaningful lyrics of folk music? Does that sum up what you're doing? A:Yes. It's very complicated to play with electricity. You play with other people. You're dealing with other people. Most people don't like to work with other people, it's more difficult. It takes a lot. Most people who don't like rock and roll can't relate to other people. Q: You mention the Apollo Theatre in Harlem on one of your album covers. Do you go there often? A:Oh, I couldn't go up there. I used to go up there a lot about four years ago. I even wanted to play in one of the amateur nights, but I got scared. Bad things can happen to you. I saw what the audience did to a couple of guys they didn't like. And I would have had a couple of things against me right away when I stepped out on the stage. Q: Who is Mr. Jones in "Ballad of a Thin Man?" A:He's a real person. You know him, but not by that name. Q: Like Mr. Charlie? A:No. He's more than Mr. Charlie. He's actually a person. Like I saw him come into the room one night and he looked like a camel. He proceeded to put his eyes in his pocket. I asked this guy who he was and he said, "That's Mr. Jones." Then I asked this cat, "Doesn't he do anything but put his eyes in his pocket?" And he told me, "He puts his nose on the ground." It's all there, it's a true story. Q: Where did you get that shirt? A:California. Do you like it? You should see my others. You can't get clothes like that here. There are a lot of things out there we haven't got here. Q: Isn't California on the way here? A:It's uptight here compared to there. Hollywood I mean. It's not really breathable here. it's like there's air out there. The Sunset Strip can't be compared to anything here, like 42nd Street. The people there look different, they look more like... you want to kiss them out there. Q: Do you spend a lot of time out there? A:I don't have much time to spend anywhere: The same thing in England. In England everybody looks very hip East Side. They wear things... they don't wear things that bore you. They've got other hangups in other directions. Q: Do you consider yourself primarily a poet? A:No. We have our ideas about poets. The word doesn't mean any more than the word "house." There are people who write _po_ems and people who write po_ems_. Other people write _poems_. Everybody who writes poems do you call them a poet? There's a certain kind of rhythm in some kind of way that's visible. You don't necessarily have to write to be a poet. Some people work in gas stations and they're poets. I don't call myself a poet because I don't like the word. I'm a trapeze artist. Q: What I meant was, do you think your words stand without the music? A:They would stand but I don't read them. I'd rather sing them. I write things that aren't songs--I have a book coming out. Q: What is it? A:It's a book of words. Q: Is it like the back of your albums? It seemed to me that the album copy you write is a lot like the writing of William Burroughs. Some of the accidental sentences-- A:Cut-ups. Q: Yes, and some of the imagery and anecdotes. I wondered if you had read anything by him. A:I haven't read _Naked Lunch_ but I read some of his shorter things in little magazines, foreign magazines. I read one in Rome. I know him. I don't really know him--I just met him once. I think he's a great man. Q: Burroughs keeps an album, a collection of photographs that illustrate his writing. Do you have anything similar to that? A:I do that too. I have photographs of "Gates of Eden" and "It's All Over Now, Baby Blues." I saw them after I wrote the songs. People send me a lot of things and a lot of the things are pictures, so other people must have that idea too. I gotta admit, maybe I wouldn't have chosen them, but I can see what it is about the pictures. Q: I heard you used to play the piano for Buddy Holly. A:No. I used to play the rock and roll piano, but I don't want to say who it was for because the cat will try to get hold of me. I don't want to see the cat. He'll try to reclaim the friendship. I did it a long time ago, when I was seventeen years old. I used to play a country piano too. Q: This was before you became interested in folk music? A:Yes. I became interested in folk music because I had to make it somehow. Obviously I'm not a hard-working cat. I played the guitar, that was all I did. I thought it was great music. Certainly I haven't turned my back on it or anything like that. There is--and I'm sure nobody realizes this, all the authorities who write about what it is and what it should be, when they say keep things simple, they should be easily understood--folk music is the only music where it isn't simple. It's never been simple. It's weird, man, full of legend, myth, Bible and ghosts. I've never written anything hard to understand, not in my head anyway, and nothing as far out as some of the old songs. They were out of sight. Q: Like what songs? A:"Little Brown Dog." "I bought a little brown dog, its face is all gray. Now I'm going to Turkey flying on my bottle." And "Nottemun Town," that's like a herd of ghosts passing through on the way to Tangiers. "Lord Edward," "Barbara Allen," they're full of myth. Q: And contradictions? A:Yeah, contradictions. Q: And chaos? A:Chaos, watermelon, clocks, everything. Q: You wrote on the back of one album, "I accept chaos but does chaos accept me." A:Chaos is a friend of mine. It's like I accept him, does he accept me. Q: Do you see the world as chaos? A:Truth is chaos. Maybe beauty is chaos. Q: Poets like Eliot and Yeats-- A:I haven't read Yeats. Q: they saw the world as chaos, accepted it as chaos and attempted to bring order from it. Are you trying to do that? A:No. It exists and that's all there is to it. It's been here longer than I have. What can I do about it? I don't know what the songs I write are. That's all I do is write songs, right? Write. I collect things too. Q: Monkey wrenches? A:Where did you read about that? Has that been in print? I told this guy out on the coast that I collected monkey wrenches, all sizes and shapes of monkey wrenches, and he didn't believe me. I don't think you believe me either. And I collect the pictures too. Have you talked to Sonny and Cher? Q: No. A:They're a drag. A cat got kicked out of a restaurant and he went home and wrote a song about it. Q: They say your fan mail has radically increased since you switched sounds. A:Yeah. I don't have time to read all of it, but I want you to put that I answer half of it. I don't really. A girl does that for me. Q: Does she save any for you--any particularly interesting letters? A:She knows my head. Not the ones that just ask for pictures, there's a file for them. Not the ones that say, I want to make it with you, they go in another file. She saves two kinds. The violently put-down-- Q: The ones that call you a sellout? A:yeah. Sellout, fink, Fascist, Red, everything in the book. I really dig those. And ones from old friends. Q: Like, "You don't remember me but I was in the fourth grade with you"? A:No, I never had any friends then. These are letters from people who knew me in New York five, six years ago. My first fans. Not the people who call themselves my first fans. They came in three years ago, two years ago. They aren't really my first fans. Q: How do you feel about being booed at your concert at Forest Hills? A:I thought it was great, I really did. If I said anything else I'd be a liar. Q: And at Newport Folk Festival? A:that was different. They twisted the sound. They didn't like what I was going to play and they twisted the sound on me before I began. Q: I hear you are wearing a sellout jacket. A:What kind of jacket is a sellout jacket? Q: Black leather. A:I've had black leather jackets since I was five years old. I've been wearing black leather all my life. Q: I wonder if we could talk about electronic music and what made you decide to use it. A:I was doing fine, you know, singing and playing my guitar. It was a sure thing, don't you understand, it was a sure thing. I was getting very bored with that. I couldn't go out and play like that. I was thinking of quitting. Out front it was a sure thing. I knew what the audience was gonna do, how they would react. It was very automatic. Your mind just drifts unless you can find some way to get in there and remain totally there. It's so much of a fight remaining totally there all by yourself. It takes too much. I'm not ready to cut that much out of my life. You can't have nobody around. You can't be bothered with anybody else's world. And I like people. What I'm doing now--it's a whole other thing. We're not playing rock music. It's not a hard sound. These people call it folk rock--if they want to call it that, something that simple, it's good for selling records. As far as it being what it is, I don't know what it is. I can't call it folk rock. It's a whole way of doing things. It has been picked up on, I've heard songs on the radio that have picked it up. I'm not talking about words. It's a certain feeling, and it's been on every single record I've ever made. That has not changed. I know it hasn't changed. As far as what I was totally, before, maybe I was pushing it a little then. I'm not pushing things now. I know it. I know very well how to do it. The problem of how I want to play something--I know it in front. I know what I am going to say, what I'm going to do. I don't have to work it out. The band I work with--they wouldn't be playing with me if they didn't play like I want them to. I have this song, "Queen Jane Approximately"-- Q: Who is Queen Jane? A:Queen Jane is a man. Q: Was there something that made you decide to change sounds? Your trip to England? A:I like the sound. I like what I'm doing now. I would have done it before. It wasn't practical to do it before. I spend most of my time writing. I wouldn't have had the time. I had to get where I was going all alone. I don't know what I'm going to do next. I probably will record with strings some time, but it doesn't necessarily change. It's just a different color. And I know it's real. No matter what anybody says. They can boo till the end of time. I know that the music is real, more real than the boos. Q: How do you work? A:Most of the time I work at night. I don't really like to think of it as work. I don't know how important it is. It's not important to the average cat who works eight hours a day. What does he care? The world can get along very well without it. I'm hip to that. Q: Sure, but the world can get along without any number of things. A:I'll give you a comparison. Rudy Vallee. Now that was a lie, that was a downright lie. Rudy Vallee being popular. What kind of people could have dug him? You know, your grandmothers and mothers. But what kind of people were they? He was so sexless. If you want to find out about those times and you listen to his music you're not going to find out anything about the times. His music was a pipedream. All escapes. There are no more escapes. If you want to find out anything that's happening now, you have to listen to the music. I don't mean the words, although "Eve of Destruction" will tell you something about it. The words are not really gonna tell it, not really. You gotta listen to the Stapes(Staple?) Singers, Smokey and the Miracles, Martha and the Vandellas. That's scary to a lot of people. It's sex that's involved. it's not hidden. It's real. You can overdo it. It's not only sex, it's a whole beautiful feeling. Q: But Negro rhythm and blues has been around underground for at least twelve years. What brought it out now? A:The English did that. They brought it out. They hipped everybody. You read an interview asking who the Beatles' favorite singer was and they say Chuck Berry. You never used to hear Chuck Berry records on the radio, hard blues. The English did that. England is great and beautiful, though in other ways kinda messy. Though not outside London. Q: In what way messy? A:There's a snobbishness. What you see people doing to other people. It's not only class. It's not that simple. It's a kind of Queen kind of thing. Some people are royalty and some are not. Here, man, somebody don't like you he tells you. There it's very tight, tight kinds of expressions, their whole tone of speaking changes. It's an everyday kind of thing. But the kids are a whole other thing. Great. They're just more free. I hope you don't think I take this too seriously--I just have a headache. Q: I think you started out to say that music was more in tune with what's happening than other art forms. A:Great paintings shouldn't be in museums. Have you ever been in a museum? Museums are cemetaries. Paintings should be on the walls of restaurants, in dime stores, in gas stations, in men's rooms. Great paintings should be where people hang out. The only thing where it's happening is on radio and records, that's where people hang out. You can't see great paintings. You pay half a million and hang one in your house and one guest sees it. That's not art. That's a shame, a crime. Music is the only thing that's in tune with what's happening. It's not in book form, it's not on the stage. All this art they've been talking about is nonexistent. It just remains on the shelf. It doesn't make anyone happier. Just think how many people would really feel great if they could see a Picasso in their daily diner. It's not the bomb that has to go, man, it's the museums. http://www.interferenza.com/bcs/interw/65-aug.htm
Voldar: Always Changing: An Interview with Bob Dylan Interview by Vojo Sindolic Bob Dylan and I met for the first time way back in the late Seventies, when I was editor-in-chief of then only Yugoslav rock and roll magazine called Jukebox, and I was often travelling to England and USA to make lengthy interviews with such rock stars and interesting persons like Leonard Cohen, Kris Kristofferson, John Lennon, Patti Smith, Neil Young, and members of rock groups like the Grateful Dead, the Pink Floyd, the Led Zeppelin, the Rolling Stones, etc. As in all other cases in my literary life connected with the Beat Generation and other related writers, it was the Beats goodwill ambassador Allen Ginsberg who put me in contact with Bob Dylan. Later, which means mostly in the Eighties, Bob Dylan and I met several times, and almost on each occasion I did an interview with him. Usually, we talked about just everything – from politics to religion, from movies to literature. I must say that I never had, not even the slightiest impression that Bob is such a difficult person to talk to, or to approcah to. Maybe the reason lies in the fact that Bob knew and was aware that Allen Ginsberg highly appreciated my friendship and my decades long and successful efforts to translate the works of not only Beat Generation writers (Jack Kerouac, W. S. Burroughs, Gary Snyder, Michael McClure, Lawrence Ferlinghetti, Gregory Corso, etc.) but also the works of songwriters and poets like Leonard Cohen, James Douglas Morrison, Patti Smith, etc. But, on the other hand, it’s also true that talking to Bob Dylan is the hardest thing to get going. Actually, talking to Bob is always a great pleasure and a big challenge because you never know if he’s going to be very exuberant and on a roll; if he’s really into something, he’ll want to keep talking about it. But it’s hard to get Bob to sit down and actually try anything. While during the Spring of 2008 I was working on Croatian translation of Sam Shepard’s Rolling Thunder Logbook, in fact Sam’s recollection of Bob Dylan’s famous Roling Thunder Revue Tour in the Fall of 1975. I got news that Bob and his band will be performing only concert in this part of Europe on June 13, in the old city of Varazdin, Republic of Croatia. So, with some help of my old friends from the States, I managed to get again in contact with Bob and got his agreement to do an interview with him upon his arrival to Croatia. Well, Bob appeared together with the members of his band. It’s the same band that plays with him for the last few years (Tony Garnier – bass; George Recile – drums; Stu Kimball – rhythm guitar; Danny Freeman – lead guitar; Donnie Heron – banjo, violin, etc.). Some 15.000 people from Croatia, Serbia, Austria, Hungary, Slovenia, Bosnia & Herzegovina and Germany gathered together on a local football stadium in Varazdin, Croatia. Despite rain and bad weather, Dylan and his band played almost two hours and I got impression that he seemed to enjoy himself, took a little bow after most songs and sort of jiggled and bowed a lot at the end looking quite sheepish throughout. Even the selction of songs was quite interesting. For the perfectionists who may want to know what songs Dylan performed that night, here is complete setlist: Rainy Day Women, Don’t Think Twice, It’s All Right, Lonesome Day Blues, Just Like A Woman, Rollin’ And Tumblin’, Tangled Up In Blue, Things Have Changed, Honest With Me, Love Sick, Highway 61 Revisited, Desolation Row, It’s Alright, Ma (I’m Only Bleeding), Ain’t Talkin’, Summer Days, Ballad Of A Thin Man, Thunder On the Mountain, Like A Rolling Stone VS: Since I just finished translating Sam Shepard’s book on your famous Rolling Thunder Revue Tour from the Fall of 1975, I immediately want to ask you about your present-day feelings in regard to that tour, but also your movie Renaldo & Clara. Bob Dylan: Well, Renaldo’s intense dream and his conflict with the present – that’s all the movie’s about. My main interest was not in literal plot but in the associational texture – colours, images, sounds. It’s obvious everyone was acting in that movie for dear life. Nobody was thinking of time. How else? Life itself is improvised. We don’t live life as a scripted thing. VS: There’s also no sense of time? Bob Dylan: You’ve got yesterday, today and tomorrow all in the same room, and there’s very little that you can’t imagine happening… What I was trying to do with the concept of time, and the way the characters change from one person to another person, and you’re never quite sure who is talking, if the first person is talking or the third person is talking… but to do that consciously is a trick, and if you look at the whole thing, it really doesn’t matter. In Renaldo & Clara I also used that quality of no-time. And I believe that the concept of creation is more real and true than that which dose have time… The movie creates and holds the time. That’s what it should do – it should hold that time, breathe in that time and stop time in doing that. VS: What do you think about your performance in Pat Garrett and Billy the Kid? And what about song-writting for the same movie. Obviously, they are two completely different things? Bob Dylan: I think that Sam Peckinpah had cast me quite intentionally. But, you know, nobody asked me what had been my concept of the soundtrack for the movie. And then of course I discovered that they took my music and they re-laid it, the studio did, behind Peckinpah’s back, so I would write a piece of music for particular sequence, and then the studio afterwards, in post-production, re-edited the whole thing and put that piece of music against another sequence and just completely screwed up what had been my concept of the music and movie. VS: What about the movie Hearts of Fire? Bob Dylan: What about it? VS: How did you get involved in that? Bob Dylan: The way the script came to me was through someone from the William Morris Agency and that person told me to look at the role of Billy Parker, and that the director Richard Marquand had me in mind to play that part. I stayed drunk most of the time. It was a terrible script and we (actors) had no control over it. I did it for money. I mean, why else would I do it? VS: Do you still read a lot? Bob Dylan: Some. VS: Did you always read a lot? Bob Dylan: I always read some. VS: What about your new songs? Bob Dylan: You know, when I was growing up, I used to listen to Hank Williams, Gene Vincent, Little Richard and all those people. I think they formed my style in one way or another. I can’t help this type of music I play, this is just the kind of type I’ve always played… VS: I want to ask you few things about your poetical, literary works, not only “songwriting”. Not long before his death, during one of our last encounters, our mutual friend Allen Ginsberg told me something about you that I think is very significant so I want to repeat it to you: “Over Kerouac’s grave [during Rolling Thunder Revue Tour in the Fall of 1975], Bob Dylan told me that it was Mexico City Blues that ‘blew his mind’ and tured him on to poetry in 1958 or 1959 in St. Paul. And I asked ‘Why?’ and he said, ‘It’s the first poetry that talked American language to me.’ So you get a line in Dylan’s Gates of Eden like ‘the motorcycle black Madonna two-wheeled gypsy queen and her silver studded phantom lover’ which comes straight out of either Howl or Kerouac’s Mexico City Blues in terms of the ‘chain of flashing images’. Kerouac’s spontaneous pile-up of words. And that’s the way Dylan writes his lyrics. So poetry’s extended itself in its own lineage afterward into John Lennon, the Beatles, named after Beats, and Dylan, so that it’s gone around the world. And I think after the wave of Whitman and then maybe another wave of Pound, it’s probably the strongest wave of American influence on world literature – the combination of Whitman, the Beats and Bob Dylan.” Bob Dylan: I don’t know if people have seen me sometime in 1963 or 1964. Anyway, I was singing songs back then. One was a song called Desolation Row. It was, “What’s he singing about?” They didn’t understand what I was singing about. I don’t think I did either. However, I understand now pretty much what I’m singing about. So it must have taken a while for Desolation Row, Maggie’s Farm, Subterranean Homesick Blues and all that stuff to catch on, because it wasn’t accepted very well at the time. I’ve always been prepared for adversity. I was always prepared back then, and now I’m even more prepared. VS: So to say, is there any real difference between “Improvised poetics” and hard re-workings on some poems? I mean, what is the final result? Bob Dylan: You can make something lasting. I mean, in order to live forever you have to stop time. In order to stop time you have to exist in the moment, so strong as to stop time and prove your point. So that you have stopped time. And if you succeed in doing that, everyone who comes into contact with what you’ve done – whatever it might be, whether you’ve written a poem, carved a statue or painted a painting – will catch some of that. What’s funny is that they won’t realise it, but that’s what they’ll recognise. My lyrics speak of the inner soul, of private pain, of the self, personal recognition – a private awakening. But people quite often want to be dulled… Don’t wait until it’s too late now. Lotta people wait until they’re old, lotta people wait until they’re at the end of the line. You don’t have to wait that long. Salvation begins right now, today. Vojo Sindolic was born in Dubrovnik in what is now Croatia. A poet and painter, he has translated the works Gary Snyder, Allen Ginsberg, Jack Kerouac, Gregory Corso, Lawrence Ferlinghetti, Michael McClure, Robert Creeley, and many others. http://www.prrb.ca/articles/issue10-dylan.html
Voldar: Всё таки остальным парням до Боба далеко,он снова собирается в путь. Bob Dylan to tour South America in April, nine dates confirmed The first Bob Dylan official tour dates of 2012 have been confirmed. Dylan and his band are scheduled to play nine concerts in South America - Six in Brazil, two in Argentina, and one in Chile. More dates are expected to be added. DATE: APRIL 15 LOCATION: Rio de Janeiro, Brazil VENUE Citibank Hall ON SALE: 3/05 10:00am (Tickets For Fun) DATE: APRil 17 LOCATION: Brasilia, Brazil VENUE: Ginásio Nilson Nelson ON SALE: 2/27 10:00am (Tickets For Fun) DATE: APRIL 19 LOCATION: Belo Horizonte, Brazil VENUE: Chevrolet Hall ON SALE: 2/27 10:00am (Tickets For Fun) DATE: APRIl 21 LOCATION: São Paulo, Brazil VENUE: Credicard Hall ON SALE: 3/05 10:00am (Tickets For Fun) DATE: APRIL 22 LOCATION: São Paulo, Brazil VENUE: Credicard Hall ON SALE: 3/05 10:00am (Tickets For Fun) DATE: APRIL 24 LOCATION: Porto Alegre, Brazil VENUE: Pepsi On Stage ON SALE: 2/27 10:00am (Tickets For Fun) DATE: APRIL 26 LOCATION: Buenos Aires, Argentina VENUE: Teatro Gran Rex ON SALE: 3/02 10:00am (Ticketek): DATE: APRIL 27 LOCATION: Buenos Aires, Argentina VENUE: Teatro Gran Rex ONSALE: 3/02 10:00am (Ticketek): DATE: APRIL APR 30 LOCATION: Santiago, Chile VENUE: Movistar Arena ON SALE: 3/04 10:00am (Ticketmaster Continue reading on Examiner.com Bob Dylan to tour South America in April, nine dates confirmed - National Bob Dylan | Examiner.com http://www.examiner.com/bob-dylan-in-national/bob-dylan-to-tour-south-america-april-nine-dates-confirmed?CID=obinsite#ixzz1nbYvRU00
Voldar: Bob Dylan's debut album was released 50 years ago, on March 19, 1962 "Bobby popped every p, hissed every s, and habitually wandered off mic. Even more frustrating, he refused to learn from his mistakes. It occurred to me at the time that I'd never worked with anyone so undisciplined before." John Hammond Bob Dylan self-titled album was released in the U.S. on March 19, 1962. It was produced by the man who signed him to Columbia Records, John Hammond. The LP featured two original compositions ("Talkin' New York" and "Song To Woody"), and eleven cover versions, mostly old folk and blues numbers. Below is a collated list of song titles, songwriters, song lengths, and publishers, taken from the "nonbreakable" mono vinyl LP, catalog number CL 1779: Side one (19:33) 1. "You're No Good" J. Fuller (Jesse) 1:37 No Publisher Listed 2. "Talkin' New York" B. Dylan 3:15 Duchess Music Corp. (BMI) 3. "In My Time of Dyin' " (No Credit) 2:37 No Publisher Listed 4. "Man of Constant Sorrow" Arr: Bob Dylan 3:06 Duchess Music Corp. (BMI) 5. "Fixin' to Die" B.White (Bukka) 2:17 Leeds Music Corp. (ASCAP) 6. "Pretty Peggy-O" Arr. Bob Dylan 3:22 Duchess Music Corp. (BMI) 7. "Highway 51 Blues" C. Jones (Curtis) 2:49 Duchess Music Corp. (BMI) Side two (17:31) 1. "Gospel Plow" Arr: Bob Dylan 1:44 Duchess Music Corp. (BMI) 2. "Baby, Let Me Follow You Down" R. von Schmidt 2:32 No Publisher Listed (Actually trad. arr. Reverend Gary Davis, Eric von Schmidt, and/or Dave Van Ronk) 3. "House of the Risin' Sun" (No Credit) 5:15 No Publisher Listed 4. "Freight Train Blues" (No Credit) (Actually trad., Roy Acuff) 2:16 No Publisher Listed 5. "Song to Woody" B.Dylan 2:39 Duchess Music Corp. (BMI) 6. "See That My Grave Is Kept Clean" L. Jefferson (Blind Lemon) 2:40 No Publisher Listed he original title was going to be "Free Wheelin'." The album did not cost much to make, with Hammond joking it cost $402 . Bob Dylan was recorded in two sessions, at Studio A, Columbia Recording Studios, New York City, on November 20 and 22, 1961. It was not a big seller initially, and the lack of success led to Dylan being called "Hammond's Folly" (although it did chart in the U.K. three years later). Here's more detailed information from Michael Krogsgaard: The recordings for Dylan's first album were done during two days, but under the same job number. Studio A Columbia Recording Studios New York City, New York November 20, 1961, 7-10 pm Produced by John Hammond. Engineers: Knuerr and Dauria 1. You're No Good (Jesse Fuller) O68726 Take 1C 2. You're No Good (Jesse Fuller) Take 2C 3. You're No Good (Jesse Fuller) Take 3b 4. You're No Good (Jesse Fuller) Take 4b 5. You're No Good (Jesse Fuller) Take 5C 6. You're No Good (Jesse Fuller) Take 6b 7. You're No Good (Jesse Fuller) Take 7b 8. You're No Good (Jesse Fuller) Take 8C 9. Fixin' To Die (Bukka White) CO68727 Take 1C 10. Fixin' To Die (Bukka White) Take 2C 11. Fixin' To Die (Bukka White) Take 3C 12. He Was a Friend of Mine O68728 Take 1b 13. He Was a Friend of Mine Take 2C 14. House of the Risin' Sun (trad.) CO68729 Take 1b 15. House of the Risin' Sun (trad.) Take 2C 16. House of the Risin' Sun (trad.) Take 3C 17. Talking New York CO68730 Take 1C 18. Talking New York Take 2C 19. Song To Woody CO68731 Take 1b 20. Song To Woody Take 2C 21. Baby, Let Me Follow You Down (Eric Von Schmidt) CO68732 Take 1C 22. Man of Constant Sorrow (trad.) CO68745 Take 1C 23. In My Time of Dyin' (trad.) CO68733 Take 1C Session: 7-9:45 pm. Notes after November 22, 1962 session. Studio A Columbia Recording Studios New York City, New York November 22, 1961, 2:30-5:30 pm Produced by John Hammond. Engineers: Knuerr and Brosnan 24. Man on the Street CO68743 Take 1b 25. Man on the Street Take 2C 26. Man on the Street Take 3b 27. Man on the Street Take 4b 28. Man on the Street Take 6b 29. (As I Go) Ramblin' Round (Woody Guthrie) CO68744 Take 1C 30. (As I Go) Ramblin' Round (Woody Guthrie) Take 2C 31. Man of Constant Sorrow (trad.) CO68745 Take 1C 32. Man of Constant Sorrow (trad.) Take 2b 33. Man of Constant Sorrow (trad.) Take 3C 34. Pretty Peggy-O (trad.) CO68746 Take 1C 35. Pretty Peggy-O (trad.) Take 2C 36. See That My Grave Is Kept Clean (Blind Lemon Jefferson) CO68747 Take 1b 37. See That My Grave Is Kept Clean (Blind Lemon Jefferson) Take 2C 38. See That My Grave Is Kept Clean (Blind Lemon Jefferson) Take 3C 39. See That My Grave Is Kept Clean (Blind Lemon Jefferson) Take 4C 40. Gospel Plow (trad., arr. Dylan) CO68748 Take 1C 41. Highway 51 (trad.) CO68749 Take 1C 42. Freight Train Blues (John Lair) CO68750 Take 1C 43. House Carpenter (trad.) CO68751 Take 1C Session: 7-9:45 pm. 1-8 "You're No Good" on recording Sheet 29 and 30 "Ramblin' Blues" on recording sheet. 20 overdubbed at Columbia Recording Studios, December 8, 1964 5,11,16,18,20,21,23,33,35,39,40,41 and 42 released on Bob Dylan. 13, 25 and 43 released on The Bootleg Series. 16 released on the CD-ROM Highway 61 Interactive in overdubbed version. Most people did not buy the album until after they'd heard "Blowin' In The Wind" and other early classics, although Pete Townshend and others have claimed that they loved it when it was originally released. It has often been dismissed as a minor album, with only one "major" original composition - "Song To Woody." For many fans, it was a late addition, something the "complete" their collection. Now, with a half-century of hindsight, the album comes across as a marvel. Dylan, who was twenty at the time, slams through the material with a reckless intensity, like a sort of folk punk, or an acoustic Billy Bragg. What many people don't realize is that this was virtually unheard of at the time, especially on a major label. Dylan appeared to have moved far behind the album by the time it was released. According to Hisbobness, Dylan has only revisited five songs from the album since the early 1960s : "Song To Woody" (51 concert performances), "Pretty Peggy-O" (50), "Baby Let Me Follow You Down" (27), "Man Of Constant Sorrow" (21), and "House Of The Risin' Sun" (7). ----- "Man Of Constant Sorrow" received a lot of attention when it was featured in the Coen brothers' 2000 movie, O Brother, Where Art Thou. The soundtrack included four versions of the song- two vocal (Soggy Bottom Boys with Dan Tyminski), and two instrumental (by Norman Blake and John Hartford). The soundtrack album was produced by T-Bone Burnett, who toured with Dylan in the Rolling Thunder Revue. Burnett has produced (or co-produced) critically acclaimed albums by the Wallflowers, Robert Plant & Alison Krauss, Elvis Costello, Elton John & Leon Russell, and the soundtrack to Crazy Heart, among others. Dylan contributed a song to Burnett's soundtrack of Divine Secrets Of The Ya-Ya Sisterhood. In 2002, the soundtrack of O Brother won three Grammys - "Album Of The Year, "Best Male Country Vocal Performance" ( "O, Death" by Ralph Stanley), and, for Dan Tyminski's version "Man Of Constant Sorrow," "Best Country Collaboration with Vocals." Soon after, Dylan brought the song back into his live repertoire for eight performances. The Animals' 1964 hit version of "House Of The Rising Sun" is considered one of the catalysts of Dylan "going electric." Dylan originally learned the song from Dave Van Ronk, and got to record it first. Animals' lead singer Eric Burdon said their version was not learned from Dylan, but from a folk singer named Johnny Handle. The Animals also recorded a re-write of "Baby, Let Me Follow You Down," titled "Baby Let Me Take You Home." This was credited to Bert Russell (a.k.a. Bert Berns) and Wes Farrell, and was also released in 1964. Dylan has sporatically revived the song on stage since the mid-1980s. Dylan paid tribute to the Animals in their home town by performing "Risin' Sun" in Newcastle, England, on April 12, 2007. "Pretty Peggy-O" is based on an old Scottish folk song. The original was probably called "The Bonnie Lass o' Fyvie." It is also known by other titles, including "Fennario." (In his version, Dylan starts off by saying, "I've been around this whole country but I never yet found Fennario"). It has been recorded by Joan Baez, Simon & Garfunkel, and the Grateful Dead, among many others. Dylan's former guitarist G.E. Smith said that knowing this song- when Dylan requested it - ended up being his audition: "I was, like, '[Expletive] yeah, I learned it from you!' It's cellular, man. Bob had been playing with these heavy session cats from LA, and they didn't know it. I got the gig." The recent Amnesty tribute, Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International, featured Marianne Faithfull doing a live cover "Baby Let Me Follow You Down," while Silverstein did "Song To Woody." http://www.examiner.com/bob-dylan-in-national/bob-dylan-s-debut-album-was-released-50-years-ago-on-march-19-1962
Voldar: Bob Dylan's first album turns 50 Fifty years ago this past Monday, Robert Zimmerman's debut album was released under a pseudonym - Bob Dylan. It would have been near impossible to predict from this 1962 record, a self-titled LP, that the young university dropout would one day revolutionize music. "Before Dylan, it was all pop music and love songs. What Dylan started doing is writing about subjects that mattered on a wider level," says Mike Heron of The Incredible String Band, a Scottish psychedelic-folk band formed in the '60s and heavily influenced by Dylan. In September of 1961, after a performance on the Greenwich Village circuit at the Gerde's Folk City club, Dylan received a strikingly positive review in The New York Times by Robert Shelton, who described his voice as "trying to recapture the rude beauty of a Southern field hand musing in melody on his porch." Within a few weeks, Dylan had signed a five-year contract with Columbia record executive John Hammond, who had heard a recording of Dylan's harmonica playing and read Shelton's review. Three short sessions later, Dylan's eponymous first album was released in North America. In a year, it had sold less than 5,000 copies, barely breaking even. However, while other executives at Columbia dubbed Dylan "Hammond's folly," Hammond himself, who had also discovered Billie Holiday, remained confident and began to plot Dylan's next project. His music seemed to spread almost by word of mouth, making its way to folk clubs across the Atlantic, where songwriters such as Heron were eagerly snatching up imported records. Dylan's first album remained in obscurity until, three albums later, it reached No. 13 on the U.K. charts in 1965. Most of the tracks on the album were recorded in one or two takes, and when asked if he wanted to do any extra takes, Dylan said no. "Dylan wasn't into the technology. He just wanted to play the music ... and the result was great," says Grammywinning Nashville session musician Charlie McCoy, who is responsible for some of Dylan's greatest albums. "He certainly wasn't into overdubbing ... or showing us the songs beforehand. It made everything very spontaneous." McCoy backed Dylan on five of his records, including Blonde on Blonde and Nashville Skyline. After calling up Dylan's then-producer Bob Johnston for free theatre tickets, Johnston invited Mc-Coy to the New York studio. It was August of 1965 when Dylan and McCoy first met. Soon after, Dylan said to Mc-Coy, "Hey, why don't you grab a guitar and help me with a song?" Then, Dylan told him to play along and, without rehearsing, they began to record Desolation Row with Mc-Coy as the lead guitarist. "We played it once, played it back, recorded it again ... and then the bass player had to leave and that was it," McCoy says with a laugh. They finished the epic 11-minute track in two takes, and it was chosen as the album closer on Highway 61 Revisited. Almost 10 years later, in 1974, Dylan's then-sound engineer Phil Ramone called Eric Weissberg to recruit him for the upcoming album, Blood on the Tracks. Following the laying down of four tracks over two days with Weissberg on guitar, Dylan suddenly decided to switch bands. "We didn't really have a rehearsal ... we would run a song down a couple of times without the mikes on and then record," Weissberg says. Used to working on more meticulously planned sessions, Weissberg says it was hard to adapt to Dylan's offthe-cuff recording style, and was daunted by the prospect of recording songs without having had the chance to even scribble down their chord progressions. "It was very bizarre. We didn't understand it from a professional standpoint. We did play the music and all that, but I don't think any of us had worked with anyone like (Dylan) before," he says. The consensus among biographers seems to be that to try and capture Dylan's essence in words is to lose it. Like any of his linguistically kaleidoscopic visions, he changes based on perspective. On the 50th anniversary of his expansive recording career, then, perhaps Dylan's studio ethic may be the closest we will ever come to understanding him, as an expression of human emotion over mechanical precision. "Recording with Dylan turned on a light bulb in my head," Weissberg says. "Now I sort of understand why he likes things to sound unrehearsed and spur of the moment ... it's an energy." Read more: http://www.leaderpost.com/entertainment/Dylan+first+album+turns/6363239/story.html#ixzz1qO9mOd8E
Voldar: Dylan's 'Blood on the Tracks' as a film? 10 albums seeking scripts A Brazilian production company has acquired the rights to Bob Dylan's landmark 1975 album "Blood on the Tracks" for an English-language feature film, according to Variety, and considering the imagery of "Shelter From the Storm," "Buckets of Rain," "Idiot Wind" and "Tangled Up in Blue," there could be lot of bad weather up on the screen. "Our goal is to work with a filmmaker who can create a classic drama with characters and an environment that capture the feelings that the album inspires in all fans," one of the producers told Variety. Maybe they're on to something here -- we can think of 10 other classic albums we'd like to see on the big screen. Meatloaf's "Bat Out of Hell": Operatic, overwrought and and catchy, this 1977 tapestry of sexed-up youth with no place to go could be "Hairspray" meets "SuperBad" ... or "Glee" with leather pants. Guns N’ Roses' "Appetite for Destruction": Starring Tilda Swinton as an androgynous Axl Rose lookalike named Mr. Brownstone and Sasha Baron Cohen as a Slash-headed transvestite named the Rocket Queen, “Appetite: The Movie” could have the feel of a superhero flick. (Plot: Brownstone battles the Queen for control of a post-apocalyptic Sunset Strip, where a genetically evolved race of super-landlords called Adlers have kidnapped Brownstone’s love interest, Sweet Child.) Bruce Springsteen's "Darkness on the Edge of Town": Any album by the Boss could be turned into cinema of hope and despair, but the tracks on this 1978 collection already read like titles from a film score: "Streets of Fire," "Badlands," "The Promised Land," "Something in the Night." The Clash, "London Calling": "Jimmy Jazz"? "Guns of Brixton"? Somebody get Guy Ritchie... Arcade Fire, "The Suburbs": Set in suburbia, of course (which suggests either Gus Van Sant or Mike Mills at the helm), this ode to teen angst and despair in the outer ring could easily be made for $10 million. In fact, by the time you're done reading this, "The Suburbs" treatment will have already made it onto the Black List. De La Soul, "3 Feet High and Rising": A neon-colored ode to the Daisy Age -- think "Yo Gabba Gabba" meets "Shrek" -- the tracks on De La Soul's classic hip-hop album are perfect for a G-rated animated feature. The song titles write the script for you: "The Magic Number," "Potholes on My Lawn," "Buddy," "Transmitting Live from Mars," and other multi-colored images will drive the kids crazy. Neutral Milk Hotel, "In the Aeroplane Over the Sea": The classic psychedelic indie rock concept album would work as a stop-motion animated film -- but, then, dozens of grad students have probably already done this. Kanye West, "My Beautiful Dark Twisted Fantasy": The title alone should guarantee a $20 million opening weekend -- and quadruple that if West can snag Taylor Swift to commit to the female lead. Slayer, "Reign in Blood": Four horsemen, swords, daggers, buxom women -- "Game of Thrones" meets "Saw." The Traveling Wilburys, "The Traveling Wilburys": An Adam McKay-directed buddy comedy starring Will Ferrell as Jeff Lynne, Cate Blanchett as Bob Dylan, Russell Brand as George Harrison, Jonah Hill as Roy Orbison and Kristin Wiig as Tom Petty. We're thinking "The Three Stooges" meets "Grumpy Old Men." http://latimesblogs.latimes.com/music_blog/2012/04/dylans-blood-on-the-tracks-as-a-movie-10-other-albums-looking-for-scripts.html
Voldar: Боб несколько опередил Тома. Bob Dylan starts tour in Rio de Janeiro, musically references the Titanic Bob Dylan just completed his first show of 2012. The gig at Rio de Janeiro's Citibank Hall marked the start of a 15 date tour of South, Central, and North America. The publicity shy Dylan was photographed arriving in Brazil. Here's a translation of the article: Frowning, Bob Dylan arrives in Rio for Brazilian tour Bob Dylan arrived late on Friday, the 13th, at Galeao Airport, in Rio de Janeiro, Brazil for her (sic) tour. With a few guy friends, Dylan did not want to know the photographers. Head down, the singer went to the car. In the Rio de Janeiro, Bob Dylan will show in Brasilia, Belo Horizonte, Sao Paulo and Porto Alegre, but vetoed journalists and paparazzi In addition, the following message was posted on guitarist Charlie Sexton's Facebook page yesterday: Tonight's set list has been posted on Bill Pagel's Bob Links page, Dylan's official set list page, and Wikipedia. Unlike most recent Dylan concerts, it proved difficult for fans to get tweets, or any other instant information, during the performance, and had to wait for the post on Pagel's site after the show's completion to find out what Dylan played. Just like the old days. The band line up appears unchanged: Tony Garnier (bass), George Recile (drums), Stu Kimball (rhythm guitar), Sexton (lead guitar), and Donnie Herron (various stringed instruments). The set list can be viewed below. Visit Bob Links later for more detailed information: Rio de Janeiro, Brazil Citibank Hall April 15, 2012 1. Leopard-Skin Pill-Box Hat 2. It Ain't Me, Babe 3. Things Have Changed 4. Tangled Up In Blue 5. The Levee's Gonna Break 6. Tryin' To Get To Heaven 7. Beyond Here Lies Nothin' 8. Desolation Row 9. Summer Days 10. Simple Twist Of Fate 11. Highway 61 Revisited 12. Forgetful Heart 13. Thunder On The Mountain 14. Ballad Of A Thin Man (encore) 15. Like A Rolling Stone 16. All Along The Watchtower For those who like to over analyze set lists, it is interesting that Dylan played "Desolation Row" at this show. The song references the Titanic, the legendary passenger liner that sank on April 15, 1912, exactly 100 years earlier to the day. The Dylan composition includes the lines: Praise be to Nero’s Neptune The Titanic sails at dawn And everybody’s shouting “Which Side Are You On?” Additionally, Sirius XM's Deep Tracks channel played the Unplugged version of "Desolation Row" this morning, after Theme Time Radio Hour. This week's show was, appropriately enough, a rebroadcast of the "Baseball" episode. http://www.examiner.com/bob-dylan-in-national/bob-dylan-resumes-tour-rio-de-janeiro-musically-references-the-titianic
Voldar: А Боб тоже не отстаёт,я бы правда затруднился назвать это мероприятие концертом.Сами послушаете... Bob Dylan's two nights in Sao Paulo, Brazil Bob Dylan played two concerts at Credicard Hall in San Paulo, Brazil, over the weekend. Here are the set lists, courtesy of Dylan's official site and Bob Links. Sao Paulo, Brazil Credicard Hall April 21, 2012 1. Leopard-Skin Pill-Box Hat 2. Don't Think Twice, It's All Right 3. Things Have Changed 4. Tangled Up In Blue 5. Beyond Here Lies Nothin' 6. Make You Feel My Love 7. Honest With Me 8. Every Grain Of Sand 9. The Levee's Gonna Break 10. A Hard Rain's A-Gonna Fall 11. Highway 61 Revisited 12. Love Sick 13. Thunder On The Mountain 14. Ballad Of A Thin Man 15. Like A Rolling Stone 16. All Along The Watchtower // 17. Blowin' In The Wind Four tour debuts - "Every Grain Of Sand," two from Time Out Of Mind ("Love Sick" and "(To) Make You Feel My Love"), and the encore of "Blowin' In The Wind." Sao Paulo, Brazil Credicard Hall April 22, 2012 1. Leopard-Skin Pill-Box Hat 2. It Ain't Me, Babe 3. Things Have Changed 4. Tangled Up In Blue 5. Beyond Here Lies Nothin' 6. Not Dark Yet 7. Summer Days 8. Simple Twist Of Fate 9. High Water (For Charley Patton) 10. Tryin' To Get To Heaven 11. Highway 61 Revisited 12. Forgetful Heart 13. Thunder On The Mountain 14. Ballad Of A Thin Man 15. Like A Rolling Stone 16. All Along The Watchtower // 17. Blowin' In The Wind Tour debut of another song from Time Out Of Mind, "Not Dark Yet." Three songs returned to the set that haven't been played since the first night - "Forgetful Heart," "It Ain't Me, Babe," and "Tryin' To Get To Heaven." Dylan also brought back "High Water (For Charley Patton)" (second time this tour), "Summer Days" (third), and "Simple Twist Of Fate" (fourth, after one night off). For more details, please visit Bob Links. Last thoughts on Levon Helm: I spent the last couple of days listening to a poor sounding audience recording of the Levon Helm Band at Boston's Orpheum Theater from 2008, a show I attended. Revisiting that evening was a reminder of aspects I left out in my appreciation of the legendary musician, actor, and author. I had forgotten the wild reaction of the fans. There was non-stop cheering from the rowdy crowd, which reached a fever pitch during the encores of "I Shall Be Released" and "The Weight." More that 2000 fans drowned out the assembled multitude on stage with their spontaneous vocal accompaniment. The feeling in the air was Helm coming full circle, leading a musical hybrid reminiscent of the Band and Levon & the Hawks. It was comforting to see Helm regain his voice, return to the road, and record Grammy-winning albums. Not to take anything away from the other members of the Band, but in his final years, Helm reclaimed the legacy as the soul of the Band. Continue reading on Examiner.com Bob Dylan's two nights in Sao Paulo, Brazil, plus more on Levon Helm - National Bob Dylan | Examiner.com http://www.examiner.com/article/bob-dylan-s-two-nights-sao-paulo-brazil-plus-more-on-levon-helm#ixzz1sspWzT7j
Voldar: Will Bob Dylan’s Presidential Medal of Freedom Lead to a Nobel Prize? Bob Dylan may have a better shot than ever at getting a Nobel Prize, now that President Obama has announced he will receive a Presidential Medal of Freedom. The movement has been building for the past few years. Dylan has won 11 Grammys – including a Lifetime Achievement Award (in 1991) — an Oscar and a Pulitzer Prize. France even named Dylan a Commandeur dans l’Ordre des Art et des Lettres. To his supporters, the Nobel is the lone citation that has eluded Dylan, who turns 71 next month. Characteristically, Dylan has seldom commented on the possibility. In a July 2001 press conference in Rome, a European journalist suggested that Dylan could win a Nobel. Dylan acknowledged: “I hear about that, but who would that put me in the company of?” When a reporter at the Rome news conference mentioned that a Pulitzer would put Dylan in the category of Ernest Hemingway, Dylan shrugged it off, noting, “I play (music),” intimating that people like Hemingway were more traditional writers of distinction. Perhaps President Obama’s seal of approval will put Dylan over the top. The other Presidential Medal of Freedom recipients are: Madeleine Albright, the former Secretary of State; John Doar, a legendary public servant and civil rights leader during the 1960s; William Foege, a physician and epidemiologist who helped eradicate smallpox in the 1970s; former astronaut and U.S. Senator John Glenn; Gordon Hirabayashi, who defied the relocation and internment of Japanese-Americans during World War II; Dolores Huerta, a civil rights, workers and women’s advocate who worked closely with Cesar Chavez; Jan Karski, who served as an officer in the Polish Underground during World War II; Juliette Gordon Low, who founded the Girl Scouts in 1912; Toni Morrison, one of the great American novelists; Shimon Peres, an advocate for Israel’s security and for peace; John Paul Stevens, an Associate Justice of the U.S. Supreme Court from 1975 to 2010, and Pat Summitt, a widely respected college basketball coach. http://blogs.wsj.com/speakeasy/2012/04/26/will-dylan%E2%80%99s-presidential-medal-of-freedom-lead-to-a-nobel-prize/
Voldar: Bob Dylan's four nights in an Argentinian movie theater, tour summary so far Bob Dylan and his band played four shows in the last five nights in Buenos Aires, Argentina, at an Art Deco style theater influenced by New York's Radio City Music Hall. The concerts began with three consecutive gigs, opening last Thursday and concluding tonight. Teatro Gran Rex, Buenos Aires, Argentina April 26, 2012 1. Leopard-Skin Pill-Box Hat 2. It Ain't Me, Babe 3. Things Have Changed 4. Tangled Up In Blue 5. Beyond Here Lies Nothin' 6. Tryin' To Get To Heaven 7. High Water (For Charley Patton) 8. Spirit On The Water 9. The Levee's Gonna Break 10. A Hard Rain's A-Gonna Fall 11. Highway 61 Revisited 12. Love Sick 13. Thunder On The Mountain 14. Ballad Of A Thin Man 15. Like A Rolling Stone 16. All Along The Watchtower // 17. Blowin' In The Wind No tour debuts tonight, but the following seven songs returned to the set list, each for the third time: "A Hard Rain's A-Gonna Fall," "High Water (For Charley Patton)," "It Ain't Me, Babe," "The Levee's Gonna Break," "Love Sick," "Spirit On The Water," "Tryin' To Get To Heaven." All other songs except "Blowin' In The Wind" have been performed every night of this tour, with "Blowin'" taking the encore spot the last four shows. April 27, 2012 1. Leopard-Skin Pill-Box Hat 2. Girl From The North Country 3. Beyond Here Lies Nothin' 4. Tangled Up In Blue 5. Honest With Me 6. Desolation Row 7. Cry A While 8. Make You Feel My Love 9. The Levee's Gonna Break 10. Love Sick 11. Highway 61 Revisited 12. Simple Twist Of Fate 13. Thunder On The Mountain 14. Ballad Of A Thin Man 15. Like A Rolling Stone 16. All Along The Watchtower // 17. Blowin' In The Wind Tour debuts for "Cry A While " and "Girl From The North Country." Returning to the set list were the second "Make You Feel My Love," the fourth "Desolation Row" and "Honest With Me," and the sixth "Simple Twist Of Fate" of the tour. April 28, 2012 1. Leopard-Skin Pill-Box Hat 2. To Ramona 3. Beyond Here Lies Nothin' 4. Tangled Up In Blue 5. Summer Days 6. Not Dark Yet 7. Jolene 8. Ballad Of Hollis Brown 9. A Hard Rain's A-Gonna Fall 10. The Lonesome Death Of Hattie Carroll 11. Highway 61 Revisited 12. Forgetful Heart 13. Thunder On The Mountain 14. Ballad Of A Thin Man 15. Like A Rolling Stone 16. All Along The Watchtower // 17. Blowin' In The Wind Tour debuts of four "biographical" songs -"To Ramona,""Jolene,""Ballad Of Hollis Brown," and "The Lonesome Death Of Hattie Carroll." Returning to the set were the second "Not Dark Yet," the third "Forgetful Heart," the fourth "A Hard Rain's A-Gonna Fall, " and the fifth "Summer Days" of the tour. April 30, 2012 1. Leopard-Skin Pill-Box Hat 2. Man In The Long Black Coat 3. Things Have Changed 4. Tangled Up In Blue 5. Rollin' And Tumblin' 6. Spirit On The Water 7. Summer Days 8. Desolation Row 9. High Water (For Charley Patton) 10. Simple Twist Of Fate 11. Highway 61 Revisited 12. Blind Willie McTell 13. Thunder On The Mountain 14. Ballad Of A Thin Man 15. Like A Rolling Stone 16. All Along The Watchtower // 17. Blowin' In The Wind Tour debut of "Rollin' And Tumblin'." Returning to the set were the second "Man In The Long Black Coat," the third "Blind Willie McTell," the fourth "High Water (For Charley Patton)" and "Spirit On The Water," the fifth "Desolation Row," the sixth "Summer Days," the seventh "Simple Twist Of Fate," and the eighth "Things Have Changed." Here are the tour song summaries so far: Song number, song title, show number (See list below): All Along The Watchtower 1 2 3 4 5 6 7 8 9 10 Ballad Of A Thin Man 1 2 3 4 5 6 7 8 9 10 Ballad Of Hollis Brown 9 Beyond Here Lies Nothin' 1 2 3 4 5 6 7 8 9 Blind Willie McTell 2 6 10 Blowin' In The Wind 4 5 6 7 8 9 10 Cry A While 8 Desolation Row 1 3 6 8 10 Don't Think Twice, It's All Right 2 4 Every Grain Of Sand 4 Forgetful Heart 1 5 9 Girl From The North Country 8 A Hard Rain's A-Gonna Fall 2 4 7 9 High Water (For Charley Patton) 3 5 7 10 Highway 61 Revisited 1 2 3 4 5 6 7 8 9 10 Honest With Me 2 3 4 8 It Ain't Me, Babe 1 5 7 It’s All Over Now, Baby Blue 3 6 John Brown 6 Jolene 9 Leopard-Skin Pill-Box Hat 1 2 3 4 5 6 7 8 9 10 The Levee's Gonna Break 1 4 7 8 Like A Rolling Stone 1 2 3 4 5 6 7 8 9 10 The Lonesome Death Of Hattie Carroll 9 Love Sick 4 6 7 8 Make You Feel My Love 4 8 Man In The Long Black Coat 3 10 Not Dark Yet 5 9 Rainy Day Women #12 & 35 2 3 Rollin' And Tumblin' 10 Simple Twist Of Fate 1 2 3 5 6 8 10 Spirit On The Water 2 3 7 10 Summer Days 1 2 5 6 9 10 Tangled Up In Blue 1 2 3 4 5 6 7 8 9 10 Things Have Changed 1 2 3 4 5 6 7 10 Thunder On The Mountain 1 2 3 4 5 6 7 8 9 10 To Ramona 9 Tryin' To Get To Heaven 1 5 7 APRIL TOUR DATES (Show number, date, location, venue): 4/15 Rio de Janeiro, Brazil - Citibank Hall 4/17 Brasilia, Brazil - Ginasio Nilson Nelson 4/19 Belo Horizonte, Brazil - Chevrolet Hall 4/21 Sao Paulo, Brazil - Credicard Hall 4/22 Sao Paulo, Brazil - Credicard Hall 4/24 Porto Alegre, Brazil - Pepsi On Stage 4/26 Buenos Aires, Argentina - Teatro Gran Rex 4/27 Buenos Aires, Argentina - Teatro Gran Rex 4/28 Buenos Aires, Argentina - Teatro Gran Rex 4/30 Buenos Aires, Argentina - Teatro Gran Rex Remaining shows for this leg of the tour: May 2, Santiago, Chile - Santiago, Chile; May 5, Heredia, Costa Rica - Palacio de los Deportes; May 7, Monterrey, Mexico - Auditorio Banamex; May 9, Guadalajara, Mexico - Telmex Auditorium; May 11 and 12 Mexico City, Mexico - Pepsi Center. http://www.examiner.com/article/bob-dylan-s-four-nights-an-argentinian-movie-theater-tour-summary-so-far
Voldar: Я только родился ,а он уже снимался для плейбоя.
Voldar: Bob Dylan's set list for Santiago, Chile As I am writing this, a friend is reporting that Bruce Springsteen and the E Street Band are paying tribute to the Band's drummer and singer, Levon Helm, at Newark, New Jersey's Prudential Center. They are covering the iconic "The Weight," from the band's debut, Music From Big Pink. According to Bruce Bernfeld, it's an "Acoustic full band with crowd singing the chorus." E Street Band members Clarence Clemons and Nils Lofgren toured with Helm and Rick Danko in Ringo Starr's first All Starr Band, back in 1989. Elsewhere in the world, Bob Dylan just played the Movistar Arena in Santiago, Chile. The live set list was posted in Facebook's EDLIS Parties & Gatherings page, and confirmed on Bob Links: Santiago, Chile Movistar Arena May 2, 2012 1. Leopard-Skin Pill-Box Hat 2. It Ain't Me, Babe 3. Things Have Changed 4. Tangled Up In Blue 5. Beyond Here Lies Nothin' 6. Desolation Row 7. Cry A While 8. Tryin' To Get To Heaven 9. The Levee's Gonna Break 10. Simple Twist Of Fate 11. Highway 61 Revisited 12. Love Sick 13. Thunder On The Mountain 14. Ballad Of A Thin Man 15. Like A Rolling Stone 16. All Along The Watchtower // 17. Blowin' In The Wind Back in the list were the tour's fourth "High Water (For Charley Patton)," "It Ain't Me, Babe," and "Tryin' To Get To Heaven," and the fifth "The Levee's Gonna Break" and "Love Sick" "Beyond Here Lies Nothin'" also returned after missing only one show. For those looking at patterns, "Tryin' To Get To Heaven,""Forgetful Heart,"and "It Ain't Me, Babe," have only been played on "odd" numbered gigs (1, 5, 7, and 11 for "Heaven" and "Ain't Me"; and 1, 5, and 9 for "Forgetful Heart.") According to an article posted on the Santiago Times' website, while in Chile: (Dylan's) management requested that his hotel not be luxurious but rather be located in a suburb far away from noise and possible harassment. Dylan will have special security to stop stalking by press or fans at the airport and the arena. No expanded flatscreens will be used during the concert and the arena will not be completely filled guaranteeing fans a little more intimacy with the artist. Bob Dylan previously played Chile in 1998 and 2008. http://www.examiner.com/article/bob-dylan-s-first-ever-concert-chile
Voldar: Monterrey, Mexico 8 may Bob returns to Mexico after 4 years. Great show in Monterrey! So good to meet Liiz Dylan from this city and see again Federica from Italy and Lurrette from France before the show. Dylan appeared on stage! I really couldn't believe he was there, in my country! Leopard-Skin started a little weak in my opinion. But things got much better with Man in the Long Black Coat with Bob on guitar, beautifully played! Another good one was Things have changed playing harp. TUIB from Blood of the tracks also well received by the audience. Then it came the time for the first highlight of the night, Cry a while, I couldn't believe my ears and my eyes! Bob enjoying a lot and smiling at his band every time he could! The bluesy and rock n' roll new arrangements made it so enjoyable for the people at the Auditorio Banamex. Spirit on the water cooled down things a little bit but then came another highlight, Summer days, one of the best performances I've ever seen! Wow! Everybody was dancing and shouting with the new arrangements! Desolation row another favorite of the people was really nice. High water was good but there had better ones. Simple Twist was so beautiful, so sensitive as usual; I would say one of the best performances of this tune Bob has ever given! Then Highway 61 revisited shaking the place as we are used to, so powerful! Blind Willie McTell with Bob center stage with harp was excellent and people just loved it. Thunder on the mountain at the beginning a little bit slow but at the end was fantastic as usual. Ballad of a thin man always a masterpiece, just great! Like a rolling stone made everyone go crazy! All the Auditorio Telmex singing this classic! Bob left the stage but returned quickly to introduce his band and played an incredible Watchtower! After this, Bob said good bye to the audience and even sent kisses to them! Never seen this in any Dylan show! Marvelous! In this right moment a guy from the audience jumped to the stage, surely to hug Bob but the security guys sent him to the floor (tackled him) and took him out! First time I see that! Blowing in the wind was the second encore of the night! Also everybody was singing this one at the venue! Well is now time to go to bed and get things ready to fly to Guadalajara! http://www.boblinks.com/050712r.html
Voldar: О чудо,кривой офсайт Боба обновился,наверно наконец накопил деньжат и это сразу объявили новым стандартом музыкальных сайтов. http://www.bobdylan.com/us/home Dylan's New Masterpiece Bob Dylan's Website sets a new standard for modern music. Based on the latest incarnation of bobdylan.com, the times they are a-changin' for top musicians' Websites. The old guy has set a new standard: This fourth redo in 15 years leaves his site as the richest, most comprehensive of any modern-music artist's. There's a page for all Dylan songs ever performed or recorded (we counted 521), most allowing you to listen to the tune, buy it, link to the history of the album and performance, and download the sheet music. It amounts to thousands of clickable ways to lose yourself in music's equivalent of a presidential library. http://online.barrons.com/article/SB50001424053111904370004577390064174262618.html
Voldar: Dylan, Albright to receive Presidential Medal of Freedom (Reuters) - Musical legend Bob Dylan, novelist Toni Morrison and former U.S. Secretary of State Madeleine Albright are among 13 people who will be awarded the country's highest civilian honor, the Presidential Medal of Freedom, by President Barack Obama next week, the White House said. The presentations will be made at the White House on May 29. Also chosen to receive the award were former senator and astronaut John Glenn, retired U.S. Supreme Court Justice John Paul Stevens, Israeli President Shimon Peres and Jan Karski, an officer in the Polish underground who carried the first eye-witness accounts of the Nazi Holocaust to the outside world. The award also will be given to John Doar, a key figure in the Justice Department during the civil rights era; William Foege, who helped spread smallpox immunizations around the world; Gordon Hirabayashi, who fought Japanese-American World War Two internment; civil rights campaigner Dolores Huerta; Girl Scouts founder Juliette Gordon Low; and former University of Tennessee women's basketball coach Pat Summitt. Peres will not attend the ceremony and will receive his medal at a separate event, the White House said. http://www.reuters.com/article/2012/05/23/entertainment-us-usa-obama-medal-idUSBRE84M00920120523
Voldar: BOB DYLAN & THE TITANIC: A RUMOUR My sources suggest that the forthcoming Bob Dylan album may well include a song about the Titanic: a song that is about 14 minutes long. I know no more - and I can't really “know" even that much. But if it turns out to be true, it's surely a very rare example of his releasing something to tie in so handily with the centenary of a famous event. Not that it would be Dylan's first allusion to this maritime disaster. As I wrote in Song & Dance Man III: The Art of Bob Dylan, he first mentions the Titanic in ‘Desolation Row': “The most striking evocation of impending catastrophe [in the song is] achieved very simply - in the one arresting line ‘The Titanic sails at dawn'. That summarises concisely the tone and colouring of the whole song." Then there is Dylan's evocation of this same sense of foreboding in a rather later song. Quoting again from Song & Dance Man III: “In 1981’s ‘Caribbean Wind’ (issued on Biograph, 1985)...the ‘Street band playing ‘Nearer My God To Thee’' is not only an allusion to the meaning-loaded event of the sinking of the Titanic... but to the group of blues songs that arose to express it decades before Dylan first uses its symbolic clout himself in 1965’s ‘Desolation Row’: a group of songs which includes Hi Henry Brown’s ‘Titanic Blues’: ‘Titanic sinking in the deep blue sea / And the band all playing ‘Nearer My God To Thee’.' " The footnote attached to that paragraph includes this: “The clutch of such songs reflected African-American delight at the sinking of the Titanic, because it signified whitey’s come-uppance, pride coming before a fall and so on. This feeling, however, was not restricted to black Americans. The Russian symbolist poet Alexander Blok wrote: ‘The sinking of the Titanic has made me indescribably happy; there is, after all, an ocean.' " Hi Henry recorded his song 20 years after the sinking of the ship. I'm interested to know, 80 years further on, whether Bob's forthcoming Titanic track (if it exists, and if it is forthcoming) will draw upon any of these old blues songs, perhaps interweaving some of their lines of blues lyric poetry into his own 2012 text. http://michaelgrayouttakes.blogspot.com/
Voldar: Bob Dylan’s New Album: The Story So Far Our sources indicated in late February that Bob Dylan had been into the studio with members of his tour band to record a new album. The sessions are reported to have begun in January 2012 at Groove Masters, a semi-private studio facility owned by musician Jackson Browne. The studio, on Colorado Avenue, Santa Monica, is where Dylan recorded both “Together Through Life” and “Christmas In The Heart”. He is said to have spent up to two months working on the album. Then, in March, David Hidalgo revealed to The Aspen Times that he had been involved with the recording of a New Dylan album and that whilst he had been brought in primarily to play accordion and guitar, he ended up adding Mexican instruments, including tres, to some tracks. Hidalgo said the recording sessions were nothing like the earlier ones he had done with Dylan. He had previously played accordion and guitar on “Together Through Life” and accordion, guitar, mandolin and violin on “Christmas In The Heart”. Next, it was leaked on the Internet that Uncut’s Alan Jones would get to hear the album week commencing May 14. It’s not certain that any such a listening session actually took place. Nevertheless, some individuals, on both sides of the Atlantic, are anticipating media listening session in the near future– the likes of Rolling Stone magazine and USA Today have been mentioned. Given the restrictions that apply, it is doubtful whether these events will yield any more information. Sony’s marketing people will have a plan and letting people like us know, people who actually buy the albums, would mean that they have little purpose in life. Listening sessions for Sony staff in New York and London have already taken place but those attending are warned not to talk about the album. ISIS received information about a 14-minute Titanic song before this rumour was carried on the Internet. It is, however, our policy not to publish such rumours until we get some form of independent confirmation. This has now been forthcoming. Meanwhile, we have heard the album will contain 10 tracks and is 68 minutes long. The most likely release date is September, prior to the Grammy deadline and in the run-up to the holiday season. This fits a common pattern in the past. As well as the 14 minute song, there is believed to be another that is 9 minutes in length. There are, as so often in these situations, unconfirmed stories. We are currently trying to check out a couple of these. Watch this space. http://www.bobdylanisis.com/contents/en-uk/d19.html
Voldar: Bobfest ’12, A Celebration of Dylan’s 71st RED BANK – While Bob Dylan was off celebrating his recent Presidential Medal of Freedom (the highest civilian award that our nation has to offer) and his 71st birthday, Pat Guadagno and his Tired Horses were busy paying tribute to the American icon just as they have been doing for the past 15 years, with another mind-boggling performance at Bobfest ‘12 – A Bob Dylan Birthday Celebration. Hosted by 101.5 FM’s Big Joe Henry, for the first time in its illustrious history Bobfest was held at the Count Basie Theatre. And, I must say that Pat Guadagno and the Tired Horses, along with this year’s special guests, Rob Papparozzi (harmonica/vocals), Jeff Levine (Hammond B3 organ), Steve Rielly (acoustic guitar/vocals), John Philippidis (acoustic guitar) and Aura Guadagno (vocals), had no trouble settling in at the venerable old music hall. Kicking the night off with an inspired rendition of Tangled Up In Blue, Pat Guadagno (lead vocals, acoustic and electric guitars) and Tired Horses, Rich Oddo (electric guitar, vocals), Phil “Red River” Rizzo (bass/vocals), Steve Delopoulos (lead vocals, acoustic guitar), Marc Muller (pedal steel guitar, mandolin, electric guitar, vocals), Rene Woolley (drums), Andy McDonough (keyboard, accordion, vocals), Yuri Turchin (violin) and Mary McCrink (vocals, tambourine) never looked back as they easily won over the enthusiastic crowd. Some of the first set’s more impressive moments came on Dylan gems like Sweetheart Like You (Pat Guadagno in fine voice, mournful harmonica and violin), Watching the River Flow (with Rob Papparozzi on vocals the Horses blues it up/great vibe and feel, crowd favorite), Oh, Sister (Steve Delopoulos chips in with a most moving lead vocal), Lily, Rosemary and the Jack Of Hearts (Pat G. nails vocal/tight band number), Ring Them Bells (Mary McCrink soars on lead vocals/Steve D. also up to the task), It Takes A Lot to Laugh, It Takes A Train to Cry (way cool laidback, down home vibe with Marc Muller on lead vocals and electric g.), Tweeter And The Monkey Man (featured Rich Oddo on lead vocals, big, bad, band number on Dylan and Wilbury’s ode to Jersey, huge cheers), I Shall Be Released (Red River on lead vocal/in honor of Levon, Rick and Richard of The Band), Hazel (one of Pat’s very best vocal efforts), Tough Mama (Horses rock with Rich and Pat on electric guitar), This Wheel’s On Fire (killer P.G. vocal/forget the wheel the whole band’s on fire!) and Forever Young (wonderful first set closer with Pat and Aura Guadagno on vocals, Marc’s pedal steel guitar oh yeah!). As for the second half of the show, Andy McDonough, Rob Papparozzi and Jeff Levine got the crowd’s attention with a soulful interpretation of Don’t Think Twice, It’s All Right, after which Pat and Tired Horses came out like gangbusters with rockin’ renditions of Rambling, Gambling Willie (Steve Rielly gets in on the action with hot lead vocals and acoustic guitar), Tombstone Blues (Guadagno and Tired Horses perfect together), Trust Yourself (Mary out of this world with show stopping vocal, Jeff kills on Hammond B), Every Grain of Sand (great Steve D. vocal, Yuri works his magic on violin, a true beauty), Senor (Tales of Yankee Power) (monster ballad with Pat and Steve D. on lead vocals and John Philippidis on acostic guitar), Romance in Durango (Pat, Mary and the Horses head south of the border, terrific number), The Groom’s Still Standing At The Alter (Steve P. at his absolute best on lead vocals as Horses kick up their heels), Stuck Inside of Mobile With The Memphis Blues Again (classic Dylan and Guadagno garners partial standing ovation), Hurricane (Pat sings and plays the hell out of this one, Yuri does his best Nero as Rene Woolley and the Horses burn/another partial standing o.), Blowin’ in the Wind (Steve P., Mary and P.G. share vocals on this wonderfully gorgeous version, standing o), Mr. Tambourine Man (band gets standing ovation with everyone on vocals) and Like A Rolling Stone (everybody up for this rousing closer). Look, Pat Guadagno, his band the Tired Horses and all of this year’s special guests upheld Bobfest’s longstanding tradition of excellence with outstanding musicianship and stellar vocal efforts. If you are a Bob Dylan fan or just a lover of great music, year after year. Bobfest is a must see. And now that Bobfest has moved to the Count Basie Theatre lets all hope that one of Red Bank’s hipper traditions has found a permanent home for many years to come! Produced by co-founder Tom Moog the concert benefited the local charity the Rock & Roll Music Fund and the Anthony X. Guadagno Scholarship Fund. Established in honor and memory of Berklee College of Music alumnus bassist Tony Guadagno, the endowed scholarship is awarded each year to an outstanding bass player from New Jersey who displays a passion for rock and roll. http://trtnj.com/lifestyles/arts-entertainment/bobfest-12-a-celebration-of-dylans-71st/
Voldar: First Details of Bob Dylan's Upcoming Album 'Tempest' Here is the full track listing for Tempest: "Duquesne Whistle" "Soon After Midnight" "Narrow Way" "Long and Wasted Years" "Pay in Blood" "Scarlet Town" "Early Roman Kings" "Tin Angel" "Tempest" "Roll on John" Bob Dylan has revealed more information about his upcoming album Tempest, including cover art and the track listing. It's his 35th studio album. The album contains 10 songs, including a John Lennon tribute entitled "Roll on John," which quotes lines from multiple Beatles songs, including "Come together right now" from "Come Together" and "I heard the news today, oh boy" from "A Day in the Life." The title track is a 14-minute epic about the sinking of the Titanic, which actually refers to a scene from James Cameron's 1997 film Titanic at one point. The chorus of another standout track, "Pay in Blood," includes the line, "I'll pay in blood, but not my own." Tempest arrives in stores on September 11th, 11 years to the day after the release of Dylan's 2001, LP Love and Theft. Read more: http://www.rollingstone.com/music/news/first-details-of-bob-dylans-upcoming-album-tempest-20120717#ixzz2274libEh
Voldar: Bob Dylan's Tempest: first listen “I’m searching for phrases to sing your praises,” croons Bob Dylan on Soon After Midnight. It is fantastic to be able to report that popular music’s greatest troubadour is still as brilliant and bewildering as ever. Words spill out on his 35th album, Tempest, to be released by Columbia next month: one liners, couplets, random observations, overheard expressions, inverted slogans and non sequiturs, verses and images often set up in baffling opposition to one another. What sounds at first like a gentle country love song contains the admission “My heart is fearful / It’s never cheerful / I’ve been down on the killing floor” and concludes with the threat to drag the corpse of somebody called Two Timing Tim “through the mud”. There’s a lot of blood spilt on Tempest through murder and revenge, chaos and confusion. On the Muddy Waters style, harmonica-driven blues of Narrow Way, Dylan declares “this is a hard country to stay alive in / I’m armed to the hilt.” Although unfolding with a lot of wit and relish, this is Dylan’s darkest, maddest, most provocative collection of songs in a long time. The word is that Dylan is pleased with his latest effort, or, as someone at his record company told me, “he wants people to hear it.” I have had the privilege of being amongst a select few journalists around the world to be allowed a sneak preview. It would be absurd to attempt a definitive review based on such a cursory listen but I was blown away with the mad energy of the album. At 71-years-old Dylan is still striking out into strange new places rather than revisiting his past. Although he no longer attempts to scale the heights of poetic imagery and dense metaphor that established him as popular music’s greatest lyricist, instead writing in bluesy couplets, the extreme collision of ideas and characters and the mysterious, ambivalent arcs of his narratives creates a pungent effect. Dylan still has the power to disturb and thrill. I emerged from this listening session feeling like I had been on a journey into the weird dream territory of Ballad Of A Thin Man, where nothing is quite what it seems. His voice, often little more than a croak on stage these days, invests these ten tracks with the spirit of something ancient. Sure, he has the wheeze and gargle of an old man, but the words come through loud and clear, delivered with real relish. Los Lobos founder David Hidalgo’s fiddle weaves through the acoustic shuffle of Dylan’s touring band, guitarist Charlie Sexton, Stu Kimball and Donnie Heron, drummer George Receli and bassist Tony Garnier. The sound is a continuation of the blues, country and folk styles that run through all his later work, but with less of the kind of Thirties pastiche he’s played with since 2001’s Love And Theft . There is a sense is that Dylan is still honing in on that wild, mercurial music he hears in his head. These ten tracks range from the throwaway blues of Early Roman Kings to the nine minute ballad Tin Angel to the title track which runs to 45 verses and 14-minutes, relating a vision of the sinking of the Titanic. The album’s beautiful, surprising conclusion, Roll On John, is almost out of character, a shaggy, loose piano and organ lament for one of rock’s great dreamers, John Lennon. Dylan sings to his lost friend “your bones are weary, you’re about to breath your last / Lord you know how hard that bit can be” before breaking into an elegiac, bittersweet chorus (“Shine a light / Move it on / You burned so bright / Roll on John”). This is an album I can’t wait to hear again, the sound of a great artist approaching the twilight of his career with fearless creativity, our finest songwriter regarding the murderous madness of the world with an unflinching gaze and a loving heart. Roll on, Bob. Tempest is released on September 10 on Columbia http://www.telegraph.co.uk/culture/music/bob-dylan/9461252/Bob-Dylans-Tempest-first-listen.html
Voldar: Неутомимый Боб опять в пути. Bob Dylan's North American summer tour starts, concert added, new single deleted Bob Dylan and his band began their North American summer tour tonight in Canada. The concert took place at the Lloydminster Exhibition Grandstand, in Saskatchewan, the prairie province where his friend and verbal sparring partner Joni Mitchell got her start. Here is the set list, courtesy of Dylan's official site: View slideshow: Bob Dylan at the Capitol Theatre, N.Y. Leopard-Skin Pill-Box Hat Don't Think Twice, It's All Right Things Have Changed Tangled Up In Blue Rollin' and Tumblin' Sugar Baby Tweedle Dee & Tweedle Dum Trying To Get To Heaven Summer Days Desolation Row Highway 61 Revisited Simple Twist Of Fate Thunder On The Mountain Ballad Of A Thin Man Like A Rolling Stone All Along The Watchtower // Blowin' In The Wind In addition, Bob Links reported Dylan played guitar, harp, and, specifically, piano (not keyboard). In other news, a new date has just been added to this leg of the tour. Dylan's official "Upcoming Dates" page today posted details of an appearance at the Capitol Theatre in Port Chester, New York, on September 4. Dylan will be the first act to appear at the re-opened historic venue. Here is the information from the Capitol's website: Bob Dylan and His Band Tue, September 4, 2012 Doors: 6:30 pm / Show: 8:00 pm The Capitol Theatre Port Chester, NY $65.00 On Sale 8/17 @ 10AM This event is 18 and over This event will have a general admission standing room only floor and a reserved seated balcony. Reserved balcony tickets will NOT have access to the general admission floor. The pre-sale starts on August 13 at 10 a.m. ET, while the general sale begins August 17, also at 10 a.m. Below is an updated itinerary for the summer 2012 North American tour: AUGUST 10 Lloydminster, Alberta - Lloydminster Exhibition Grounds AUGUST 11 Lethbridge, Alberta - Enmax Center AUGUST 12 Cranbrook, British Columbia - RecPlex AUGUST 14 Missoula, Montana - Big Sky Brewery AUGUST 17 Rapid City, South Dakota - Barnett Arena AUGUST 18 Sioux Falls, South Dakota - Sioux Falls Arena AUGUST 19 Fargo, North Dakota - Fargo Civic Center AUGUST 21 Rochester, Minnesota - Taylor Arena AUGUST 22 Des Moines, Iowa - Wells Fargo Arena AUGUST 24 Fort Wayne, Indiana - Parkview Field AUGUST 25 Indianapolis, Indiana - White River State Park AUGUST 26 Cincinnati, Ohio - PNC Pavilion at Riverbend AUGUST 28 Youngstown, Ohio - Covelli Centre AUGUST 29 Johnstown, Pennsylvania - Cambria County War Memorial AUGUST 30 Salisbury, Maryland - Wicomico Youth & Civic Center SEPTEMBER 1 Big Flats, New York - Tag's Summer Stage SEPTEMBER 2 Bethel, New York - Bethel Woods Center for the Arts SEPTEMBER 4 Port Chester, New York - Capitol Theatre SEPTEMBER 6 Lewiston, New York - Artpark Outdoor Amphitheater SEPTEMBER 7 Holyoke, Massachusetts - Mountain Park SEPTEMBER 8 Uncasville, Connecticut - Mohegan Sun Arena SEPTEMBER 9 Hershey, Pennsylvania - Star Pavilion Dylan's tour with Mark Knopfler begins October 5. "Early Roman Kings," the much anticipated first single from Dylan's upcoming album Tempest, was listed on Amazon as an MP3 download only release beginning August 7. However, it was never made available to the public on that site. A couple of other sites did not get the memo, and sold it until they were instructed to stop. Someone got their signals crossed. http://www.examiner.com/article/bob-dylan-s-north-american-summer-tour-starts-concert-added-new-single-deleted
Voldar: Bob Dylan plays concert rarity in Sioux Falls, South Dakota When Bob Dylan played South Dakota's Sioux Falls Arena last night, he dug out "This Dream Of You," a deep cut from his 2009 album, Together Through Life. According to His Bobness, Dylan has played this song in concert only six times, all in the year of the album's release. Below is last night's set list, courtesy Dylan's official site: Sioux Falls Arena, Sioux Falls, South Dakota: August 18, 2012 Leopard-Skin Pill-Box Hat Don't Think Twice, It's All Right Things Have Changed Tangled Up In Blue Summer Days The Lonesome Death Of Hattie Carroll High Water (For Charley Patton) A Hard Rain's A-Gonna Fall Honest With Me This Dream Of You Highway 61 Revisited Simple Twist Of Fate Thunder On The Mountain Ballad Of A Thin Man Like A Rolling Stone All Along The Watchtower // Blowin' In The Wind More detailed information can be found at Bob Links. Returning to the set list were the second "Don't Think Twice, It's All Right," "A Hard Rain's A-Gonna Fall," and "The Lonesome Death Of Hattie Carroll," and the fourth "Summer Days," of the tour. Interestingly, "Hattie Carroll" is usually played in tandem with "Ballad Of Hollis Brown," but the latter was not performed tonight. Dylan has sung a total of 32 different songs so far on this leg of the tour. If the recent past is any indication, do not expect Dylan to play anything from his upcoming album, Tempest, until after it has been released on September 11. This was the sixth show on this leg of the tour, with 16 more to go. The next gig is tonight at North Dakota's Fargo Civic Center. Dylan's tour with Mark Knopfler begins October 5. http://www.examiner.com/article/bob-dylan-plays-concert-rarity-sioux-falls-south-dakota
Voldar: Фаны то,разочаровываются... Stephen Wooten: Bob Dylan concert disappoints fan After many weeks of anticipation, I attended the Bob Dylan concert at the Arena on Saturday night. I have been a Dylan fan for many, many years, from his folk days to his early electric, from his protest songs to his country songs and love ballads to his rowdy rock and roll. So I waited for the big night — waited for what should have been a great concert. The concert I attended was not the one I waited for. First of all, the sound system at the Arena is so bad that Dylan often was halfway through a song before I could tell what song he was performing. There was no spotlight on Dylan or the band, so you could not see them well. It might have been different for the first few rows on the floor, but back in row 13, you could not see well at all. It must have been even worse for the people sitting in the seats off the floor. Our chairs on the floor were padded, but they were so close together they made airline seats seem spacious. To his credit, Dylan did start on time and didn’t screw around. He played almost two hours straight through. And he does rock. But there was no interaction at all with the audience. And because the sound was so poor, you could not understand what he was singing, so the relationship wasn’t through his poetry either. I have been to many concerts at the Washington Pavilion. This was my first and last concert at the Arena. I longed for the Washington Pavilion. By the end of the night, I was sorry: Sorry that I had spent money on a disappointing concert, sorry that I had missed the master poet and artist Dylan, and sorry that he had missed the opportunity to connect with me. I should have stayed home. Stephen Wooten, 61 http://www.argusleader.com/article/20120821/VOICES/308210007/Stephen-Wooten-Bob-Dylan-concert-disappoints-fan?odyssey=nav|head&nclick_check=1
Voldar: Highly Anticipated Release Of Bob Dylan's Tempest Album To Be Celebrated By Numerous Fan Events Around The World NEW YORK, Aug. 27, 2012 /PRNewswire/ -- Leading up to the highly anticipated worldwide release of Bob Dylan's 35th studio album, Tempest, Columbia Records is announcing an international lineup of events that will enable fans to experience the album in advance of its September 11 release date and celebrate with their fellow Bob Dylan enthusiasts around the globe. PR Newswire (http://s.tt/1lNSF) On Monday, August 27, the opening track from Tempest, "Duquesne Whistle" will have its world premiere on NPR Online (NPR.org/music). The song was recently described by the Los Angeles Times as, "the folky sound of old-time country blues guitar licks quietly unfurling before the full band explodes into a driving big-beat rhythm as rollicking as the train ride the song explores." Two days later, at 9 a.m. GMT (4 a.m. EDT), the brand new video for "Duquesne Whistle," featuring Bob Dylan, will have its world premiere on the website of The Guardian (guardiannews.com). The video was directed by Nash Edgerton, who also directed the clip for "Beyond Here Lies Nothing" from Dylan's 2009 release, Together Through Life. On Friday, August 31, fans who visit listentobobdylan.com will find a map of locations in the U.S. and nine other countries where selected songs from Tempest will be streamed to mobile devices. The tracks will be randomly streamed only when users are within the Tempest-tagged geographic areas, utilizing the free web-based Sound Graffiti app (which can be accessed directly through listentobobdylan.com). In addition to the U.S., other countries in which Sound Graffiti locations will be found include Australia, Belgium, Brazil, Canada, France, Germany, Netherlands, Sweden and the United Kingdom. Fans who stream the song will also be given an opportunity to pre-order Tempest from iTunes while they listen. On Monday, September 10, dedicated Bob Dylan Tempest "pop-up" stores will open for a seven day period in New York City, Los Angeles and London. At these stores, fans can purchase the new album, as well as other Bob Dylan releases and exclusive merchandise commemorating these week-long events, including a limited quantity of CDs hand-signed by Bob Dylan. Bob Dylan Tempest stores will be open from 4 p.m. to 8 p.m. on Monday, September 10 so that fans can buy Tempest a full day in advance of its official release, and will remain open from 11 a.m. to 8 p.m. through Sunday, September 16. Stores will be located at the following U.S. locations: 819 Washington Street, New York, NY 10014 7763 Melrose Avenue, Los Angeles, CA 90046 A Bob Dylan Tempest store will also open in London on Monday, September 10 and remain open through Monday, September 17 at the following location: 47 Beak Street, London, W1F 9SE Additionally, the well-known Dussmann store in Berlin will be dedicated to Tempest and feature special promotions and other activities beginning September 7. Its hours are Monday through Friday from 10 a.m. to midnight and Saturday from 10 a.m. to 11:30 p.m.: Dussmann das KulturKaufhaus GmbH, Friedrichstrasse 90, 10117 Berlin While detailed reviews of Tempest will not be published by media outlets until next week, early notices have hailed Bob Dylan's 35th studio album as one of his finest works. Neil McCormick of The Telegraph wrote, "It is fantastic to be able to report that popular music's greatest troubadour is still as brilliant and bewildering as ever…. This is an album I can't wait to hear again, the sound of a great artist approaching the twilight of his career with fearless creativity." Author and pop music critic Robert Hilburn wrote, "Dylan set the bar high for himself with the series of rich, engaging albums that began with Time Out of Mind, and he clears the hurdle again gloriously with Tempest. A stunning work." Michael Simmons of Mojo Online wrote, "Tempest is astonishing." Earlier this year, Bob Dylan was the recipient of the Presidential Medal of Freedom, the country's highest civilian honor. He was awarded a special Pulitzer Prize in 2008 for "his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power." He was also the recipient of the French Commandeur des Arts et des Lettres in 1990, Sweden's Polar Music Award in 2000 and numerous other honors. SOURCE Columbia Records PR Newswire (http://s.tt/1lNSF)
Goldenday: Если бы я не знал, что речь идёт о музыке, по обложке вообразил бы себе стильный киновестерн.
Voldar: До черт его знает,может и пальнет.
Voldar: Это новое видео Боба,веселенькое такое.
Goldenday: Да уж, в "жизнерадостности" Бобу не откажешь
Voldar: Боб Дилан выложил новый альбом в Сеть Боб Дилан обнародовал свой новый альбом в интернете. Пластинку "Tempest", которая стала 35-й студийной работой в дискографии американского певца, можно бесплатно послушать в онлайн-магазине iTunes (в российском магазине эта возможность отсутствует). В продажу диск поступит 11 сентября. Всего на альбом, продюсером которого выступил сам Боб Дилан, попали 10 новых песен, включая посвящение Джону Леннону "Roll On John" и заглавную 14-минутную "Tempest", вдохновленную фильмом "Титаник" и Леонардо ди Каприо. Релиз "Tempest" совпадает с 50-летием с начала творческой деятельности Боба Дилана. Дебютный альбом исполнителя "Bob Dylan" вышел в марте 1962 года. С сентября по ноябрь Дилан будет находиться в гастрольном турне по Северной Америке в поддержку альбома "Tempest". Специальным гостем в туре выступит бывший лидер Dire Straits Марк Нопфлер. http://lenta.ru/news/2012/09/05/dylan/
Goldenday: Voldar пишет: можно бесплатно послушать в онлайн-магазине iTunes (в российском магазине эта возможность отсутствует) Зато на российском рутрекере уже 5 дней как можно скачать его в lossless: http://rutracker.org/forum/viewtopic.php?t=4174892 Впрочем, мнения на форуме довольно неоднозначные. Обратите внимание, что 70-минутный альбом состоит всего из 10 песен: Боб не потерял тягу к монументальным произведениям 01. Duquesne Whistle (05:44) 02. Soon After Midnight (03:28) 03. Narrow Way (07:28) 04. Long And Wasted Years (03:47) 05. Pay In Blood (05:10) 06. Scarlet Town (07:17) 07. Early Roman Kings (05:14) 08. Tin Angel (09:05) 09. Tempest (13:55) 10. Roll On John (07:26)
Voldar: Ну 7 минут про Джона это понятно,а вот что почти в 2 раза больше про титаник ,даже мне интересно.Кстати ссылочка не на торрент,а на обычные файлообменники: http://www.kpnemo.ws/music/2012/09/07/bob_dylan__tempest__2012/#full
Voldar: Ребята ,а альбом очень даже ничего получился,так что рекомендую послушать.
Шубидуба: А мне как-то не очень показался. Правда послушал всего один раз... Вот Нопфлер - это да! Крутой альбом получился. Особенно второй диск понравился. В любом случае закажу и Дилана и Нопфлера.
Voldar: Влад,ну так надо делать поправку на Боба.
Voldar: Bob Dylan's new interview comments: Critical, provocative, or manipulative? Two provocative excerpts from a Bob Dylan interview with Mikal Gilmore, published in the upcoming issue of Rolling Stone magazine, are spreading like wildfire. And I think that was the intent. (Warning: Adult content) Below is the first excerpt (slightly edited): I want to ask about the controversy over your quotations in your songs from the works of other writers, such as Japanese author Junichi Saga's Confessions of a Yakuza, and the Civil War poetry of Henry Timrod. In folk and jazz, quotation is a rich and enriching tradition, but some critics say that you didn't cite your sources clearly. What's your response to those kinds of charges? Oh, yeah, in folk and jazz, quotation is a rich and enriching tradition. That certainly is true. It's true for everybody, but me. There are different rules for me. And as far as Henry Timrod is concerned, have you even heard of him? Who's been reading him lately? And who's pushed him to the forefront? Who's been making you read him? And ask his descendants what they think of the hoopla. And if you think it's so easy to quote him and it can help your work, do it yourself and see how far you can get. Wussies and p*ssies complain about that stuff. It's an old thing – it's part of the tradition. It goes way back. These are the same people that tried to pin the name Judas on me. Judas, the most hated name in human history! If you think you've been called a bad name, try to work your way out from under that. Yeah, and for what? For playing an electric guitar? As if that is in some kind of way equitable to betraying our Lord and delivering him up to be crucified. All those evil m*****f***ers can rot in Hell. Seriously? I'm working within my art form. It's that simple. I work within the rules and limitations of it. There are authoritarian figures that can explain that kind of art form better to you than I can. It's called songwriting. It has to do with melody and rhythm, and then after that, anything goes. You make everything yours. We all do it. Strong words, indeed. Of course we do not know whether Dylan is being serious, cranky, or playful. We do not know the tone, nor are we made aware of Dylan's mood. Sure, the language is strong, but that can be misleading on the printed, or electronic, page. Does he really feel that way, or was it just posturing? After the initial shock, I tried the understand Dylan's comments. Like his songs, his interviews are often a form of theater. Of course, this is all speculation, but I feel that Dylan, once again, is putting us on. First of all, I don't think Dylan really cares about being called "Judas" forty-six years ago. However, that was a cultural milestone, captured on the Live 1966 CD, and manipulated and distorted in Martin Scorsese's documentary, No Direction Home. To many casual fans, that moment defines Dylan in their minds. Dylan knows how to drum up instant press with provocative statements, and now he has come up with this whopper. Sorry, but the idea that Dylan is even the slightest bit concerned with that moment from nearly a half century ago does not ring true. The expletive at the end, so out of character for a wordsmith like Dylan, just emphasizes that this is an attempt to attract attention. However, it was a brilliant public relations move. The report has been repackaged on dozens of sites, thus increasing both the readership of Rolling Stone, and the potential buyers of Dylan's new album. Of course, promoting Tempest is the reason Dylan wanted to be interviewed in the first place, and promote it he does. As for the rest, it was something I had always suspected. Dylan was sprinkling clues in his songs, knowing they would be analyzed. This way, when the sources were eventually discovered, these relatively obscure works would get a surprising amount of new attention. It was a fun, positive thing, a little game he was playing. Dylan freely quotes songs the Beatles recorded in his new composition, "Roll On John," a moving meditation on the death of John Lennon. The sources were obvious, so Dylan was not brought to the court of public opinion. However, when it comes to old blues, country, or folk tunes, or works of literature, everyone has a field day, trying to accuse Dylan of ripping off, rather than paying tribute to, the often long forgotten original artists. The original detective that uncovered many of Dylan's sources, Scott Warmuth, never complained, or judged the artist. He just pointed out where Dylan was getting his material. Other people, however - those who often referred to Warmuth's work without attribution, ironically - did complain. The comments were typically lazy accusations by people with too much time on their hands, and not much upstairs. No wonder Dylan said what he did! When I asked Warmuth if he would like to contribute to this article, he sent this Jack London quote: "I can conceive of no more laughable spectacle than that of a human standing up on his hind legs and yowling plagiarism. No man with a puny imagination can continue plagiarizing and make a success of it. No man with a vivid imagination, on the other hand, needs to plagiarize." The Rolling Stone interview also includes Dylan's thoughts of slavery, and its affect on the United States. From an Associated Press posting: Bob Dylan says the stigma of slavery ruined America and he doubts the country can get rid of the shame because it was "founded on the backs of slaves." The veteran musician tells Rolling Stone that in America "people (are) at each other's throats just because they are of a different color," adding that "it will hold any nation back." He also says blacks know that some whites "didn't want to give up slavery." The 71-year-old Dylan said, "If slavery had been given up in a more peaceful way, America would be far ahead today." When asked if President Barack Obama was helping to shift a change, Dylan says: "I don't have any opinion on that. You have to change your heart if you want to change." The version available on the Huffington Post's site has had 1,279 comments posted in just over nine hours. If that is not evidence of Dylan's ability to create a buzz, I don't know what is. All in all, it was a great job by Dylan. He was getting people to think, and start a dialogue, something he's been doing for half a century. The great provacateur, Dylan continues to make news, and make us look at ourselves, no matter how uncomfortable that may be. http://www.examiner.com/article/bob-dylan-s-new-interview-comments-critical-provocative-or-manipulative
Voldar: Bob Dylan sees 'red' as he begins autumn tour with Mark Knopfler Bob Dylan kicked off the autumn tour with Mark Knopfler at the MTS Centre in Winnipeg, Manitoba, last night. He performed only one song from his new album, Tempest. It may have been a coincidence, but the show took place on the 25th anniversary of a pivotal Dylan concert, at least according his book Chronicles, Volume One. On October 5, 1987, Dylan played Piazza Grande in Locarno, Switzerland, and, in his "memoir," wrote how he got his groove back at that show. I also learned from Theme Time Radio Hour that more people were born on October 5 than any other day, coming nine full months after New Year's Eve. Set lists for MTS Centre, Winnipeg, Manitoba, Canada: October 5, 2012 Bob Dylan, courtesy Bob Links: 1. Watching The River Flow 2. It Ain't Me, Babe 3. Things Have Changed 4. Tangled Up In Blue 5. Tweedle Dee & Tweedle Dum 6. This Dream Of You 7. Summer Days 8. Desolation Row 9. Highway 61 Revisited 10. Scarlet Town 11. Thunder On The Mountain 12. Ballad Of A Thin Man 13. Like A Rolling Stone 14. All Along The Watchtower // 15. Blowin' In The Wind For more details on Dylan's set, please visit Bob Links. Mark Knopfler, courtesy A Mark In Time: 1. What It Is 2. Corned Beef City 3. Yon Two Crows 4. Privateering 5. Redbud Tree 6. I Used to Could 7. Song for Sonny Liston 8. Daddy’s Gone to Knoxville 9. Hill Farmer's Blues 10. Haul Away 11. Miss You Blues 12. Marbletown // 13. So Far Away Band member Guy Fletcher is blogging about the tour. A few observations about Dylan's set: The show began with "Watching The River Flow." This is not unusual, as Dylan played it in the opening slot a handful of times near the end of the last tour. However, the original recording sessions featured Kathi McDonald on backing vocals (although not on that track). McDonald died earlier in the week at the age of 64. Fans were eagerly anticipating the live debuts of songs from Dylan's new album, Tempest. Dylan, however, only performed one, "Scarlet Town," on opening night. ("Scarlet." "Red." Get it?) Expect more songs to be added as the tour warms up. He also dug out "This Dream Of You," from Together Through Life. According to His Bobness, this is only the twelfth performance of the song, although half of these were from this calendar year. Dylan's set was somewhat shorter than usual, in order to give more time to the support act. Knopfler hinted in a recent interview that there would be some collaborations on stage, but apparently that did not occur last night. The next show is tonight at the Brandt Centre, in Regina, Saskatchewan. http://www.examiner.com/article/bob-dylan-sees-red-as-his-begins-autumn-tour-with-mark-knopfler
Voldar: Шоу Боба посетил Бенмонт и обозвал Боба обманщиком. Ex-guitarist guests with Dylan in Santa Barbara; 'Bootleg Series' going country? While Mark Knopfler has yet to appear with Bob Dylan on their joint autumn tour, former Dylan guitarist Freddy Koella made a surprise appearance at California's Santa Barbara Bowl last night. According to Dylan's official site, Koella snuck on stage during his former boss's set and played guitar on two songs, "Things Have Changed" and "Tangled Up In Blue." Koella was a member of Dylan's band in 2003 and 2004. Below are last night's set lists, courtesy A Mark In Time and Dylan's official site: Santa Barbara County Bowl, Santa Barbara, California: October 22, 2012 Mark Knopfler: What It Is Corned Beef City Privateering Yon Two Crows I Used to Could Song for Sonny Liston Haul Away Hill Farmer Blues Marbletown So Far Again Bob Dylan: Watching The River Flow Man In The Long Black Coat Things Have Changed (Freddy Koella on guitar) Tangled Up In Blue (Freddy Koella on guitar) Cry A While A Hard Rain's A-Gonna Fall High Water (For Charley Patton) Chimes Of Freedom Highway 61 Revisited Mississippi Thunder On The Mountain Ballad Of A Thin Man Like A Rolling Stone All Along The Watchtower // Blowin' In The Wind Last night was the 13th show of this leg. There were no tour debuts. Returning to the set list were the second "Man In The Long Black Coat," the third "Chimes Of Freedom" and "A Hard Rain's A-Gonna Fall," the fourth "Mississippi," the fifth "High Water (For Charley Patton)," and the sixth "Cry A While," of the tour. In addition, "Watching The River Flow" returned to the opening slot after one night off. According to a comment on yesterday's article by Frank Cipriano, the lyrics for yesterday's opener, "You Ain't Goin' Nowhere," were more like the 1971 version released on "Greatest Hits, Vol. II" than from the original "Basement Tapes." Keyboardist Benmont Tench III tweeted about attending last night's show. When I asked him how it was, he replied, "Bob-esque. No Tempest, though, which was a shame." http://www.examiner.com/article/ex-guitarist-guests-with-dylan-santa-barbara-bootleg-series-going-country
Voldar: Боб оказывается тоже за Обаму и даже сыграл в честь его избрания одну песню в Чикаго. Bob Dylan's Chicago blues instrumental mystery may have been solved Friday evening, when Bob Dylan played guitar on an instrumental to kick off his headlining set at Chicago's United Center, there was no consensus from fans what the song was called. Some thought it was "Rainy Day Women" (which is currently listed on Dylan's official site), others believed it was a common opener, "Watching The River Flow." There was even speculation it was "Leopard-Skin Pill-Box Hat," or possibly the blues classic, "Dust My Broom." Bill Pagel, of Bob Links fame, changed his original set list post opening number from "Watching The River Flow" to something more appropriate for the occasion - "Sweet Home Chicago": I've listened to the first song a number of times and compared it to Stevie Ray Vaughan doing an instrumental "Sweet Home Chicago" and I am convinced that the first song was "Sweet Home Chicago." The obvious reason for Dylan to play "Sweet Home Chicago" would be to acknowledge the blues-based city in which he was playing. However, another could be President Barack Obama, the candidate Dylan predicted would win last week's election in a landslide, sang part of the song, at the urging of Mick Jagger and B.B. King, in the East Room of the White House, February 21, 2012, for “In Performance at the White House: Red, White and Blues.” President Obama, of course, was a United States Senator from Illinois before he began his current occupation. Or maybe the song was just, as critic Greg Kot noted, a "Blues instrumental." Updated set list, courtesy Bob Links: United Center, Chicago, Illinois: November 9, 2012 1. Sweet Home Chicago (Instrumental - Bob on guitar) 2. To Ramona (Knopfler on guitar) 3. Things Have Changed (Knopfler on guitar) 4. Tangled Up In Blue (Knopfler on guitar) 5. Blind Willie McTell (Knopfler on guitar) 6. Make You Feel My Love 7. The Levee's Gonna Break 8. Desolation Row 9. Highway 61 Revisited 10. Forgetful Heart 11. Thunder On The Mountain 12. Ballad Of A Thin Man 13. Like A Rolling Stone 14. All Along The Watchtower // 15. Blowin' In The Wind Note song number five now also credits Mark Knopfler on guitar. http://www.examiner.com/article/bob-dylan-s-chicago-blues-instrumental-mystery-may-have-been-solved
Goldenday: Как, однако, разделились мнения в Америке: киногерои вроде Клинта Иствуда или Чака Норриса активно выступали против Обамы, а именитые музыканты, такие как Дилан или Петти - за него. Ну, главное, что люди имели возможность самостоятельно выбирать безо всяких 146 процентов.
Voldar: В этом году Боб решил пока притормозить. At tour ending show, Bob Dylan gives Brooklyn fans extra song Bob Dylan and Mark Knopfler finished their 33 concert tour of North American earlier tonight at Brooklyn's Barclays Center. While there were no surprises, for the first time this autumn Dylan played a 16 song set, instead of the usual 15. Below is tonight's set list, courtesy Bob Links and Facebook: 1. You Ain't Goin' Nowhere 2. Don't Think Twice, It's All Right (Knopfler on guitar) 3. Things Have Changed (Knopfler on guitar) 4. Tangled Up In Blue (Knopfler on guitar) 5. Early Roman Kings 6. Chimes Of Freedom 7. The Levee's Gonna Break 8. Visions Of Johanna 9. Highway 61 Revisited 10. Soon After Midnight 11. Thunder On The Mountain 12. Forgetful Heart 13. Ballad Of A Thin Man 14. Like A Rolling Stone 15. All Along The Watchtower // 16. Blowin' In The Wind For the second night in a row, Dylan played "Soon After Midnight." Sadly, there was no Dylan/Knopfler duet to end the tour, as was the case last year in London, exactly one year ago tonight. Comedian and Current TV/VH1 presenter John Fugelsang shared his thoughts with me on last night's show in Washington, D.C.: Observations on D.C. in no particular order: Having Knopfler onstage seems to really invigorate Bob - Wish Mark had stayed for the whole show; the room really liked his set. I had a great seat in D.C. & really got to watch Bob's hands at the grand piano. It was the best possible way to watch him; his playing is great fun & often quite lovely. Having him seated for most of the show takes away a fair bit of energy at times. When Bob stood up at the keys during "Thunder," the crowd loved it. Great to hear "Soon After Midnight" in its live debut. I once got to hear the live premiere of "Things Have Changed" and it really is exciting to witness something like this. When Charlie Sexton re-joined the band in '09 it was great fun to see all the flair he brought to every concert. Tonight was more subdued and I missed watching him show off. The songs where Bob sings downstage at the mic continue to be pretty dazzling. This was by far the best "Ballad of a Thin Man" I've seen. I loved when he began performing it this way in '09 but it's evolved into something demonically beautiful. There was once a period where I thought Bob should give "Watchtower" a break; I'll won't say that again. Bob's interplay with his band from behind the grand piano made this the best live "Watchtower" I've seen. Every show without that drawn-out 'poet laureate' introduction is a gift for the ears. Stu's solo acoustic guitar opening was elegant & gorgeously evocative of "Blood on the Tracks." Watching Bob enter the stage without the hat on his head gave a brief sense of hope he might have forgotten it. The usual walkouts; those expecting the live greatest-hits jukebox weren't destined to enjoy this. Bob's enunciation was quite good for most of the show. Bob was having a blast onstage during "Things Have Changed" and adding some hilarious asides. After singing "The next 60 seconds could be like an eternity" he threw in "that's a long time!" Listen to it when you can. I'm not much of a critic, Harold, but bootlegs don't do these appearances justice. He keeps having the kind of moments that make one really glad to follow what he does. Can't wait for Brooklyn tonight.... Thanks, John! Fuglesang can be followed on Twitter (@JohnFugelsang), as well as on his "Caffinated" series on You Tube. He just finished seeing Dylan again tonight in Brooklyn. During the show, he tweeted, "Bob's not wearing a hat." North American Fall Tour with Mark Knopfler and his band: 5 October 2012, Winnipeg, Manitoba - MTS Centre. Capacity 16,345. 6 October 2012, Regina, Saskatchewan - Brandt Centre. Capacity 6136. 8 October 2012, Saskatoon, Saskatchewan - Credit Union Centre. Capacity 7800. 9 October 2012, Edmonton, Alberta - Rexall Place. Capacity 16,839. 10 October 2012, Scotiabank Saddledome, Calgary, Alberta. Capacity17,000. 12 October 2012, Rogers Arena, Vancouver, British Columbia, Capacity 18,650. 13 October 2012, Key Arena, Seattle, Washington. Capacity 16,641. 15 October 2012, Rose Garden Arena, Portland, Oregon. Capacity 19,800. 17 October 2012, Bill Graham Civic Auditorium, San Francisco, California. Capacity 7,000. 18 October 2012, Bill Graham Civic Auditorium, San Francisco, California. Capacity 7,000. 19 October 2012, Greek Theatre, Berkeley, California. Capacity 8,500. 20 October 2012, Power Balance Pavilion, Sacramento, California. Capacity 17,317. 22 October 2012, Santa Barbara County Bowl, Santa Barbara, California. Capacity 4,562. 24 October 2012, Valley View Casino Center, San Diego, California. Capacity 16,100. 26 October 2012, Hollywood Bowl, Los Angeles, California, Capacity 17,376. 27 October 2012, Mandalay Bay Events Center, Las Vegas, Nevada. Capacity 12,000. 29 October 2012, 1st Bank Center, Broomfield, Colorado. Capacity 6,500. 30 October 2012, 1st Bank Center, Broomfield, Colorado. Capacity 6,500. 1 November 2012, Verizon Theatre, Grand Prairie, Texas. Capacity 6,824. 2 November 2012, BOK Center, Tulsa, Oklahoma. Capacity 13,644. 3 November 2012, CenturyLink Center, Omaha, Nebraska. Capacity 18,300. 5 November 2012, Alliant Energy Center, Madison, Wisconsin. Capacity 10,200. 7 November 2012, Xcel Energy Center, St. Paul, Minnesota. Capacity 18,064. 8 November 2012, BMO Harris Bradley Center, Milwaukee, Wisconsin. Capacity 20,000. 9 November 2012, United Center, Chicago, Illinois. Capacity 23,500. 12 November 2012, Van Andel Arena, Grand Rapids, Michigan. Capacity 10,834. 13 November 2012, Fox Theatre, Detroit, Michigan. Capacity 5,000. 14 November 2012, Air Canada Centre, Toronto, Ontario. Capacity 15,800. 16 November 2012, Bell Centre, Montreal, Quebec. Capacity 15,000. 18 November 2012, TD Banknorth Garden, Boston, Massachusetts. Capacity 19,600. 19 November 2012, Wells Fargo Center, Philadelphia, Pennsylvania. Capacity 21,660. 20 November 2012, DC - Verizon Center, Washington. Capacity 20,282. 21 November 2012, Barclay's Center, Brooklyn, New York. Capacity 19,000. http://www.examiner.com/article/at-tour-ending-show-bob-dylan-gives-brooklyn-fans-extra-song
Voldar: Если в прошлом году Боб выступал вместе с Марком Нопфлером,то в этом, по слухам из Экзаминера,к нему может присоединиться известный блюзовый гитарист Дюк Робилиард. 'Time Out Of Mind' guitarist Duke Robillard to join Bob Dylan's touring band It appears blues guitarist Duke Robillard will be joining Bob Dylan's touring band next year. The following was posted yesterday to the Byron Bay Bluesfest forum (with typos fixed): Duke Robillard was to be toured by an Australian Blues promoter who had sold a date on the tour to Bluesfest. It has transpired that he was unable to get the number of shows needed to proceed with the tour, and then advised us, and Duke's agent, he was canceling. Bluesfest then attempted to resurrect the tour, but found it impossible when Duke Robillard subsequently advised he needed to cut the tour short due to his being appointed by Bob Dylan as his new guitar player - and needing to get back to the US by April 1 for rehearsals, and only being available for a much shorter run of dates, which did not make coming to Australia at this time viable... Sincerely, Peter Noble Bluesfest Director Robillard, a co-founding member of Roomful Of Blues, was brought in by Dylan to play on his 1997 album "Time Out Of Mind." According to Olof, Robillard appeared on the following songs from those sessions: "Million Miles," "Tryin' To Get To Heaven," "Can't Wait," "Mississippi," "Red River Shore," and "Marchin’ To The City." Here is a quote from engineer Mark Howard about the sessions, courtesy Uncut magazine: (Co-producer Daniel Lanois) had put together a band, and then Dylan had put out the call for these guys like Jim Dickinson, Augie Meyers, Duke Robillard, Cindy Cashdollar. Dylan brought in all these Nashvile people, and I think that made Dan a little mental having all these Nashville strummers strumming, it was a bit too much. As I’m sure Jim Dickinson has said, there were a lot of ingredients in there that you don’t actually hear on the record, because things were filtered down so we could take a cleaner path on some of them. As of now, dates posted on the Duke Robillard Band's tour page still list shows past April 1. This development has not been confirmed by Dylan's management. It is unclear who, if anyone, Robillard will be replacing in Dylan's touring band. Of course Robillard's career expands much wider than his time short time with Dylan. After his stint with Roomful Of Blues, he played with the Fabulous Thunderbirds for a few years before forming his own band. He has played with everyone from Pinetop Perkins and Jimmy Witherspoon to Jay Geils and Tom Waits. He has been nominated for many awards, including Grammys for Best Contemporary Blues Album (2007) and Best Traditional Blues Album (2010). http://www.examiner.com/article/time-out-of-mind-guitarist-duke-robillard-to-join-bob-dylan-s-touring-band
Voldar: Я уже писал,что масса музыкальных критиков поживилась на ниве жизнеописания Боба,вот ещё один. For I is Someone Else: A Review of Who Is That Man? In Search of the Real Bob Dylan For I is someone else,” wrote Arthur Rimbaud in one of his famous “seer letters” of May 1871. “If the brass awakes as a horn, it can’t be to blame.” France was just out of its war with Prussia, and Paris was controlled, for the rest of the month at least, by the Marxist Commune. Living in his childhood town, Rimbaud seems to have gone mad from boredom as uncertainty swirled in the capital. This was a year into the precious five in which he would write all the poetry he would ever write, and the surrealist savant was already furiously marching into the “unknown by a derangement of all the senses.” On his path to becoming a secular “seer,” Rimbaud claims to have known himself well enough to see his own thoughts with a degree of removal. “I’m around for the hatching of my thought: I watch it, I listen to it.” You can’t help who you are, he contended, but you should at least realize how vapid that self of yours really is. “It is wrong to say I think: one should say I am thought.” “When I read those words, the bells went off,” wrote Bob Dylan of Rimbaud’s letter in his “autobiography,” Chronicles. “It made perfect sense.” In March of 1965, thirty-five hundred Marines landed in South Vietnam. Two weeks later, Dr. Martin Luther King Jr. marched from Selma to Montgomery, Alabama with thirty-two hundred protestors as the Civil Rights movement gained real traction. Later that month, Dylan released Bringing It All Back Home, kicking off his “neon Rimbaud” phase as David Dalton terms it in his new book, Who Is That Man? In Search of the Real Bob Dylan (Hyperion, 2012) Dylan was also deranging his senses—with speed, marijuana and fame—and writing lyrics that were “almost a direct transcription of how his mind works.” He was seeking refuge from “the smoke rings of [his] mind,” “the twisted reach of crazy sorrow,” as “Mr. Tambourine Man” puts it. The listener of Bringing It All Back needs only to sit with Dylan on that “windy beach” to watch as the images and ideas tumble out of the waves of his subconscious. Dalton is kind enough, though, to sit between you and the “National Living Treasure” to translate, substantiate and contextualize what we see in front of us. The veteran rock critic explains to us on the second page that “Dylan is a method actor who sees his life as an emblematic movie.” This film begins with Robert Zimmerman leaving the University of Minnesota after a year of school for New York in 1959, where he named himself after a poet and then proceeded to lackadaisically fill in the new identity with dozens of pasts, and soon Bob Dylan had made a name for himself in the thriving folk-revival scene in Greenwich Village. By 1961, he gained the notice of the New York Times, which declared that “it matters less where he has been than where he is going.” That the ubiquitous nomadic legend/cultural institution was, at this writing, preparing to play a show in Buenos Aires, having played Porto Alegre, Brazil yesterday, testifies to the Delphic nature of that insight. And as if to hammer the point home, “Don’t Think Twice, It’s All Right,” came on in the bagel shop as I wrote this paragraph. Of course we’ve all heard Dylan’s music in public, and perhaps millions of us have been to his concerts. We know the public image of an image-obsessed man, as Dalton makes clear from the beginning. Take Dylan’s stance on the famous 1965 Newport Folk Festival incident, when Dylan was supposedly booed for performing on an electric guitar for the first time. In 2005, he said definitively that they weren’t booing at him, but the following year, “You’re nobody if you don’t get booed sometimes,” reverting back to the public narrative he allowed to develop about it in the 60’s. At this point, it’s advantageous to have the likes of Dalton as a guide: “Nevertheless, the booing of Bob at Newport (now enshrined in pop-music history) is a myth. There may have been murmurs from a few die-hard folkie purists, but most of the objections I heard that day were about the lousy sound system.” Dalton expertly holds on to the first person for these sorts of “I was there” moments, which both dispel myth and grant the reader a direct line to Dylan. His style peels back the cloudy laminate of popular history, which at times shows us just how much we conflate and exaggerate the past to fit our preferred image. Because, with Dalton, we see that he lives in each of our heads, behind cagey, allegorical lyrics that in prodding our subconscious minds gives us insight into why we must ask questions like Who Is That Man? To pursue the “real” Dylan is to realize the reconstructive nature of personal memory and the mythologizing tendency of collective memory, and Dalton’s perspective offers us a portrait of Dylan that is by no means transparent, though much clearer than any collective cultural memory could be. In 1965, much the same as Rimbaud in 1871, Dylan was coming loose, acquiring new friends, morphing into “the Dylan he would spend the rest of his life trying to escape.” Both were intoxicated on what was going on around them, but their artistic output was not in any way about those times so much as it was of them. “The song is infrequently the work of a singer, which is to say rarely is its thought both sung and understood by its singer,” wrote Rimbaud. The sheer haphazardness with which Dylan created both his music and the various personas that inhabited them seems to indicate that this held true for Dylan as well. “This wasn’t an act; this was simply Bob,” as Dalton says. It’s interesting, for a Dylan neophyte like myself, to see how the seasoned music journalist’s experiencing of a song from that time, such as the frenetic “Subterranean Homesick Blues,” runs up against my own. The song has the breathless quality of hip-hop, as Dalton points out. It hits you over the head with its pace, leaving the listener to wander in a state of confused rapture. The meaning always forms in your head a half beat behind the words, if you can understand what he’s saying. Regardless, “the hallucinatory style” imparts at least some of the speed-blitzed highly-associative paranoia of a man that’s been “standing on the pavement thinking about the government.” But I also can’t help but expect a bass drop after that line, the same place where Dalton hears Chuck Berry. In 2009, Juelz Santana’s “Mixing up the Medicine,” was a minor internet hip-hop hit, rising quickly but then deflating meagerly into the corner where it lives on YouTube, having plateaued at the decidedly mortal view count of 1.9 million. It, like the famous opening scene of Don’t Look Back, features Santana holding up posters with the lyrics hand-written on them. In the rap video, this interesting homage only lasts for the length of the initial hook. The song then sadly falls into boring verses about how good of a rapper Juelz Santana is, how good he is with women, how good he is at making hits, and so on. Like cheap bread, the song is sweet and easily consumed when fresh, but goes stale in a week. It’s somewhat appropriate though that Dylan, the magpie of folk music, has had his Beatnik blues so callously sampled. He commandeered the folk music of Appalachia and electrified it to express a mid-sixties existential disillusionment (“Twenty years of schoolin’ and they put you on the dayshift”); Juelz Santana, with his short-looped hook and choppy verses, reflects the instant fame, “hype” driven hit cycle of the internet. Ever since the Byrds did their Sweet-N-Low version of “Times They Are A Changin’,” more pop oriented acts have been making Dylan more digestible for the mass market, for no easily discernible artistic reason. “Mixin’ Up the Medicine” takes up that paper crown, and in doing so, confirms that our culture is still interested in putting on Dylan’s masks, on playing his songs and, without even realizing it, being played by his mind. Pop culture is the brass that has awoken a horn, and it the likes of Dylan which plays it. Who Is That Man? documents its way to the same point Rimbaud makes in his ecstatic letter. The book makes no strong argument or over-arching interpretation of Dylan’s life or music, and instead accepts and surrenders itself to the chaos of Dylan’s mind. http://www.gadflyonline.com/home/index.php/for-i-is-someone-else-a-review-of-who-is-that-man-in-search-of-the-real-bob-dylan-by-matt-conover/
Voldar: Ну очень известный саунд продюсер,сам Стив Хоффман готовит второй сборник Боба. I'm in BobDylanLand in my studio, every darn pressing ever, getting ready for Greatest Hits, Vol 2.. Getting ready for mastering Dylan's Greatest Hits, Vol. 2 from scratch for Audio Fidelity and I'm surrounded by every variation of the two LP set plus every album that the songs were originally taken from. It's monumentally confusing but I'm trying to get each and every song from a pure ORIGINAL mix and hopefully I can do it. If not, such is life, some of the tapes are pretty shot but surprisingly, most aren't. Basically I'm revisiting the Dylan catalog. I have each and every in print disk plus all the original vinyls I can lay my hands on. :^) to try and figure out what they did originally on the two LP set and what they did for the CD version. I have all the old 45's as well. Can you say "Watching The River Flow", dude? At any rate, that's my end of the week so far. Stephen Marsh had a bunch at his studio (each and every Dylan SACD both MoFi and Columbia) and he just ended up shipping them to me so he could have a life. However, this is mine for the moment, good thing I like Bobby Dylan. The vinyl is trippy to listen to for some of these original albums. There is so much bass cut on some of them that I hear nothing below 100 cycles sometimes. Then other cuttings have more bass but less good midrange magic. It's interesting how the cuttings vary in terms of sonics. My goal (as ever) is to make Dylan sound as much like a human man as possible and let the instruments fall where they may. One thing we must not do however is vary the CONTENT one little bit. There are some nice count-offs and doodad's at the end of the reels but we can't use them, sorry. Only content that was on the original two record album set. Looking forward to the actual mastering which will take a lot longer than usual due to the nature of the music, the condition of the music and the length of this release. Fun time! Stay tuned! http://forums.stevehoffman.tv/threads/im-in-bobdylanland-in-my-studio-every-darn-pressing-ever-getting-ready-for-greatest-hits-vol-2.309794/
Voldar: Things have changed for Bob Dylan's summer 'AmericanaramA' tour pre-sale At noon, yesterday, Bob Dylan's official web site posted information about his summer “AmericanaramA” tour with WILCO, My Morning Jacket, and others. However, the site has since updated some of the pre-sale dates, with nine changed from April 27 to April 30. Ticketmaster and Live Nation have some different pre-sale information at this time. According to one source, the dates where Live Nation shows May 1 will be changed to April 30. The West Palm Beach pre-sale that is currently on the Live Nation site is for a Citi card pre-sale, not the bobdylan.com pre-sale http://www.examiner.com/article/things-have-changed-for-bob-dylan-s-summer-americanarama-tour-pre-sale
Goldenday: Боб Дилан получил орден Почетного Легиона 14 ноября 2013 года. Власти Франции наградили американского певца Боба Дилана высшей наградой страны - орденом Почетного Легиона. В ходе состоявшейся в Париже церемонии министр культуры Франции Орели Филиппетти заявила, что "Дилан стал героем молодежи, жаждущей справедливости и независимости". Как передает корреспондент Би-би-си в Париже Хью Скофилд, хотя Дилан не записал ни одной песни на французском, в 1960-70 годах прошлого века он был крайне популярен во Франции. Ответная речь Дилана была краткой: сказав, что он горд и благодарен, певец вышел. На этой неделе Боб Дилан выступает с концертами в Париже. Как отмечает корреспондент Би-би-си, в словах Филиппетти, когда она говорила о вкладе Дилона в культуру, были слышны лирические нотки. Называя песню за песней музыканта, она связывала их с прошедшими эпохами и различными общественными кампаниями, такими, например, как движение в защиту гражданских прав в США. По словам Филиппетти, Дилан черпал вдохновение в творчестве французских поэтов Верлена и Рембо. По словам министра, эстетика певца обращалась к сердцу, а голос был криком свободы. Министр также сказала, что песни Боба Дилана оказали влияние на участников знаменитых студенческих волнений в Париже в мае 1968 года. На церемонии была запрещена фото- и видеосъемка. Один из журналистов, присутствовавших при награждении, рассказал, что 72-летний певец чувствовал себя явно некомфортно. По словам корреспондента Би-би-си, Дилан никогда не любил, чтобы его использовали в качестве представителя чьих-либо интересов. Газета Le Parisien пишет, что после награждения певец встретился на приеме с министром юстиции Кристиан Тобира. Никаких подробностей встречи издание не сообщает. Чернокожая Кристиан Табира сейчас находится в центре расистского скандала, после того как крайне правый журнал сравнил ее с обезьяной. Правительство начало в отношении издания расследование. Присуждение Дилану награды было временно заблокировано в этом году. Армейский генерал Жан-Луи Жоржелен, Великий канцлер ордена, заявил, что певец в свое время увлекался марихуаной и выступал с антивоенными призывами. Орден Почетного Легиона был учрежден во Франции в 1802 году Наполеоном Бонапартом, его удостаиваются за особые заслуги перед Францией. http://www.bbc.co.uk/russian/society/2013/11/131114_dylan_legion_honour.shtml
Voldar: Наверно скоро надо ждать памятник на родине героя.Чего-нибудь типа этого. Автопортрет
Goldenday: Американский рок-музыкант Боб Дилан выпустит полный сборник The Basement Tapes Complete 4 ноября, сообщает USA Today. Он будет включать в себя 30 песен, которых еще никто не слышал, а также 138 известных, но ранее не издававшихся композиций. Все записи планируется опубликовать на шести компакт-дисках. Как пишет издание, большую часть музыкального материала впервые издадут в цифровом формате. Кроме новых композиций, музыкант представит каверы на песни Джонни Кэша, а также альтернативные версии песен Blowin' In The Wind и It Ain't Me Babe. Укороченная версия сборника на двух дисках также будет выпущена 4 ноября вместе с тремя виниловыми пластинками. The Basement Tapes — сборник песен Боба Дилана и группы The Band, записанных в период с 1967 по 1975 год. Релиз альбома состоялся в 1975 году. Музыканты подготовили более 100 песен, но целиком сборник ни разу не издавался. Многие песни Боба Дилана, к примеру, Blowin' in the Wind или The Times They Are a-Changin, стали гимнами движения за гражданские права в США. Журнал Rolling Stone назвал Дилана второй по значимости после The Beatles фигурой в истории рок-музыки. Музыкант является девятикратным обладателем премии «Грэмми», кроме того, в 2000 и 2001 году он удостоился «Оскара» и «Золотого глобуса» за саундтрек к фильму «Вундеркинды». http://lenta.ru/news/2014/08/27/dylan/
chimike: https://www.youtube.com/watch?v=r-qGZdptakw https://www.youtube.com/watch?v=P2bmvq6n_s4 https://www.youtube.com/watch?v=UamfpNDImE0 https://www.youtube.com/watch?v=v0LQ4FCg-DQ https://www.youtube.com/watch?v=-taaupTYsvM https://www.youtube.com/watch?v=LEuxQ9mEY84
Voldar: Бобу дали нобеля,по литературе,так и хочется добавить Карл.
chimike: «за создание нового поэтического языка в рамках великой американской песенной традиции», Карл!!! Ждем комментарии Лозы
chimike: Практически мгновенно на всех телетайпных лентах)))))))) «Великая американская песенная традиция — это совсем не великая русская песенная традиция. Наш Высоцкий более значим для России, допустим, чем Дилан для Америки, но никто же Высоцкого не рассматривает. Премия становится карманной американской. Какой вклад в мировую культуру сделал Дилан, кроме американской? Давайте спросим полтора миллиарда китайцев, какой вклад Дилан сделал в их культуру. Наверное, никакого», — заявил Лоза. По его словам, как композитора Дилана тоже нельзя рассматривать всерьёз, поскольку его мелодии не играют оркестры по всему миру. «Мне он всегда был неинтересен, потому что мелодии у него никакие. Скажем так, это более социальное явление, он очень близок к бардам нашим, которые поют песни, похожие друг на друга. Это такой большой американский бард», — отметил музыкант.
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