Playing Conor Oberst/Bright Eyes almost non-stop since his superlative Portsmouth gig on Tuesday, I keep returning to the Nebraskan’s cover version of Girl From (sic) The North Country.
It’s a live rendition, by Oberst, along with Americana chums M Ward and Jim James, recorded specially for the September 2005 MOJO free cover disc, Dylan Covered.
And it’s magnificent. Oberst’s second verse entry is one of the most jaw-droppingly dramatic moments in rock music.
This North Country is probably my favourite Dylan cover of all. I almost prefer it to the Dylan/Cash version.
Gerry Smith
Friday, August 29, 2008
Thursday, August 28, 2008
Conor Oberst: the new Dylan?
Labelling Conor Oberst, the sometime Bright Eyes frontman, as “the new Dylan” is just lazy clichéd journalism. It’s dumb and it does the gifted young Nebraskan a disservice: he’s the nothing more or less than the new Conor Oberst.
But at the wonderful Oberst gig I attended in Portsmouth this week (review from www.musicforgrown-ups.com below) there were Dylan links for the observant.
First up was a rocking bluesy version of Corrina Corrina, the trad tune Dylan popularized on Freewheelin’.
Then Oberst also played Everybody’s Talkin’, the Fred Neil song recorded by Harry Nilsson for the era-defining movie Midnight Cowboy, and which, we are told, replaced Lay Lady Lay on the soundtrack.
Dylan Daily readers who get the chance to see Oberst on the world tour he’s just started are urged to seize it – he’s a magnificent performer, with or without any Dylan links.
Gerry Smith
XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
ARTICLE FROM MUSICFORGROWN-UPS.COM
Conor Oberst in Portsmouth: a magical gig
Last night’s Conor Oberst gig in Portsmouth was a stunner. The city’s sold-out Wedgewood Rooms, a tiny venue holding about 500, standing, was treated to a committed, energetic Oberst show, with powerful support from his Mystic Valley Band.
The 1 hour 40 minute show took you on an eclectic, richly musical tour, veering from country rock to confessional singer-songwriter balladry and new wave/indie rock to the Chicago blues.
The core of the set was a trio of songs from the fine new album (also called Conor Oberst): Moab, Milk Thistle, and I Don’t Want To Die (In The Hospital).
A highlight - one among many - was a rousing blues version of Corrina Corrina, the trad ballad popularized by Bob Dylan (on The Freewheelin’…). It showed the Mystic Valley Band – three guitars, drums and keyboards/synth/flugelhorn – at their best. The impossibly young lad playing bottleneck seized his opportunity to excel.
The Mystic Valley Band were a fine complement to Oberst all night long – having clearly bonded creatively and socially during the gestation of the new album in remote rural Mexico.
Conor Oberst (the artist formerly known for Bright Eyes), an engaging, immensely likeable performer, overcame a heavy cold just to be there – he was sweating profusely, spluttering, drinking, even spitting (!) all night long. Many less committed musos would have stayed in bed in the hotel with a hot water bottle and a pile of pills. Oberst worked very hard - and enjoyed it.
The head cold – and the mainly rock-out setlist - meant that Oberst’s signature, keening, tremulous vocals, were reined in, except in the ballads. Watching him from 10 feet away reminded me just what a gifted musician, songwriter and performer he really is: few contemporary rockers can touch him.
I half believe that rock is dead, but gigs like last night’s magical Conor Oberst show prove that it has plenty of life left - it just depends who’s playing.
Catch this tour! Buy the new album!
Gerry Smith
But at the wonderful Oberst gig I attended in Portsmouth this week (review from www.musicforgrown-ups.com below) there were Dylan links for the observant.
First up was a rocking bluesy version of Corrina Corrina, the trad tune Dylan popularized on Freewheelin’.
Then Oberst also played Everybody’s Talkin’, the Fred Neil song recorded by Harry Nilsson for the era-defining movie Midnight Cowboy, and which, we are told, replaced Lay Lady Lay on the soundtrack.
Dylan Daily readers who get the chance to see Oberst on the world tour he’s just started are urged to seize it – he’s a magnificent performer, with or without any Dylan links.
Gerry Smith
XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
ARTICLE FROM MUSICFORGROWN-UPS.COM
Conor Oberst in Portsmouth: a magical gig
Last night’s Conor Oberst gig in Portsmouth was a stunner. The city’s sold-out Wedgewood Rooms, a tiny venue holding about 500, standing, was treated to a committed, energetic Oberst show, with powerful support from his Mystic Valley Band.
The 1 hour 40 minute show took you on an eclectic, richly musical tour, veering from country rock to confessional singer-songwriter balladry and new wave/indie rock to the Chicago blues.
The core of the set was a trio of songs from the fine new album (also called Conor Oberst): Moab, Milk Thistle, and I Don’t Want To Die (In The Hospital).
A highlight - one among many - was a rousing blues version of Corrina Corrina, the trad ballad popularized by Bob Dylan (on The Freewheelin’…). It showed the Mystic Valley Band – three guitars, drums and keyboards/synth/flugelhorn – at their best. The impossibly young lad playing bottleneck seized his opportunity to excel.
The Mystic Valley Band were a fine complement to Oberst all night long – having clearly bonded creatively and socially during the gestation of the new album in remote rural Mexico.
Conor Oberst (the artist formerly known for Bright Eyes), an engaging, immensely likeable performer, overcame a heavy cold just to be there – he was sweating profusely, spluttering, drinking, even spitting (!) all night long. Many less committed musos would have stayed in bed in the hotel with a hot water bottle and a pile of pills. Oberst worked very hard - and enjoyed it.
The head cold – and the mainly rock-out setlist - meant that Oberst’s signature, keening, tremulous vocals, were reined in, except in the ballads. Watching him from 10 feet away reminded me just what a gifted musician, songwriter and performer he really is: few contemporary rockers can touch him.
I half believe that rock is dead, but gigs like last night’s magical Conor Oberst show prove that it has plenty of life left - it just depends who’s playing.
Catch this tour! Buy the new album!
Gerry Smith
Wednesday, August 27, 2008
I’m Not There: 2DVD now released in Europe (well, parts of…)
Thanks to Jorg, in Germany:
“Just a quick update concerning the INT-DVD-release: the "special edition" of I’m Not There released in Germany yesterday is the 2 disc version; seems to be identical with the US version.
“A friend tells me in Italy there is also a 2 disc collector's edition available.
“The standard 1 disc version here has no extras.”
(The 2DVD version is still not on sale in UK and France from the local amazon websites – Gerry Smith).
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
EARLIER RELATED ARTICLE:
I’m Not There – shame about the extras
Conscious of my petulant decision to delay buying I’m Not There until the 2DVD version becomes available in Europe, a friend came round last night, toting his new single disc UK version.
Watching the film for a second time confirmed the opinion from the original big screen viewing that Todd Haynes’s film is a serious piece of well-executed art and that it will stand repeated scrutiny.
The single disc version’s extras – which compare badly with those on the Collector’s Edition – were our focus last night.
I'm Not There single DVD has:
· a documentary on the making of soundtrack - the most interesting extra
· an option of watching the film with an audio commentary from Haynes. While the film is running. Why would anyone want that?
· a long interview with Haynes. Very long. I can’t remember a single thing he said
· tribute to Heath Ledger – which has little interest for me; I know virtually nothing about him
· an underwhelming Dylan filmography>discography>bibliography
High-quality movie. Shame about the extras.
The extra extras on the 2DVD set apparently include: deleted scenes, featurettes, a music video, audition tapes for Marcus Carl Franklin and Ben Whishaw, a gag reel, unreleased trailers featuring the six actors re-enacting the 'Subterranean Homesick Blues' music video.
Hmmm… Are they worth waiting for? Probably not.
But I’ll still delay buying I'm Not There to register my protest at Paramount Pictures’ discrimination against European consumers.
Gerry Smith
“Just a quick update concerning the INT-DVD-release: the "special edition" of I’m Not There released in Germany yesterday is the 2 disc version; seems to be identical with the US version.
“A friend tells me in Italy there is also a 2 disc collector's edition available.
“The standard 1 disc version here has no extras.”
(The 2DVD version is still not on sale in UK and France from the local amazon websites – Gerry Smith).
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
EARLIER RELATED ARTICLE:
I’m Not There – shame about the extras
Conscious of my petulant decision to delay buying I’m Not There until the 2DVD version becomes available in Europe, a friend came round last night, toting his new single disc UK version.
Watching the film for a second time confirmed the opinion from the original big screen viewing that Todd Haynes’s film is a serious piece of well-executed art and that it will stand repeated scrutiny.
The single disc version’s extras – which compare badly with those on the Collector’s Edition – were our focus last night.
I'm Not There single DVD has:
· a documentary on the making of soundtrack - the most interesting extra
· an option of watching the film with an audio commentary from Haynes. While the film is running. Why would anyone want that?
· a long interview with Haynes. Very long. I can’t remember a single thing he said
· tribute to Heath Ledger – which has little interest for me; I know virtually nothing about him
· an underwhelming Dylan filmography>discography>bibliography
High-quality movie. Shame about the extras.
The extra extras on the 2DVD set apparently include: deleted scenes, featurettes, a music video, audition tapes for Marcus Carl Franklin and Ben Whishaw, a gag reel, unreleased trailers featuring the six actors re-enacting the 'Subterranean Homesick Blues' music video.
Hmmm… Are they worth waiting for? Probably not.
But I’ll still delay buying I'm Not There to register my protest at Paramount Pictures’ discrimination against European consumers.
Gerry Smith
Monday, August 25, 2008
New Dylan magazine cover, and more on Bob Dylan Inc
Thanks to Martin Cowan:
* “The current issue of Rock and Reel magazine has Dylan on the cover.
http://www.rock-n-reel.co.uk/
* “Bob Dylan Inc: I have to admit that the wheels came off my Dylan-mobile when I heard his skimpy rewrites of Trouble No More (Some Day Baby) and Rolling and Tumblin (Rollin and Tumblin) with sole composer credits to B Dylan.
“If he wants to cut covers of old electric blues songs, by all means do it but at least have the decency to acknowledge your sources.
“Can't help but feel that the ‘cut and paste’ jobs that pass for original lyrics on the last three albums do nothing for his status as world's greatest songwriter, and in all honesty probably diminish his standing.”
* “The current issue of Rock and Reel magazine has Dylan on the cover.
http://www.rock-n-reel.co.uk/
* “Bob Dylan Inc: I have to admit that the wheels came off my Dylan-mobile when I heard his skimpy rewrites of Trouble No More (Some Day Baby) and Rolling and Tumblin (Rollin and Tumblin) with sole composer credits to B Dylan.
“If he wants to cut covers of old electric blues songs, by all means do it but at least have the decency to acknowledge your sources.
“Can't help but feel that the ‘cut and paste’ jobs that pass for original lyrics on the last three albums do nothing for his status as world's greatest songwriter, and in all honesty probably diminish his standing.”
Friday, August 22, 2008
Bob Dylan Inc? …encore…
Thanks to Brett Scott:
“I share your anonymous correspondent’s misgivings about Bob Dylan Inc.
“Except I would go further. I’m a long-time Bob devotee, but I’m getting heartily sick of recent developments, especially:
* the new Sony luxury album’s rip-off pricing
* Dylan’s NET rut: anyone with wider interests in rock knows that his contemporaries – Neil Young, Leonard Cohen and even Van Morrison, for God’s sakes – are doing much better shows than Zim these days
* the art sales. I’ve no problem with the two shows of originals, in London and Germany, but the mass marketing of the limited edition copies left a sour taste
* I’m Not There. I know Bob wasn’t in it, but there was something cheesy and exploitative about that whole project.
Maybe I’m getting old and bitter, but I know I’m not alone in tiring of Bob Dylan Inc, as Zim gets bigger and bigger in the global mainstream entertainment market.
xxxxxxxxxxxxxxxxxxx
EARLIER RELATED ARTICLE:
Bob Dylan Inc?
I keep hearing rumblings of discontent about what’s alleged to be the growing commercialisation of Dylan’s creativity.
One Dylan Daily reader confided a few days ago: “incidentally I'm pissed off with all the latest money-grabbing (or should that be grubbing) antics of Bob Dylan Inc. - absolutely no need for any of it!”
It was provoked by the fanciful price for the top spec super-duper version of the forthcoming album, Tell Tale Signs.
There have been similar stirrings in the past, of course, principally about Dylan’s involvement in TV ads.
While respecting the views of those who are uncomfortable when art mixes too readily with commerce, I take a more relaxed view of the merchants in the temple.
I don’t blame anyone, creative artist or not, for maximising the return for their labour, as long as what they do doesn’t offend my moral sense.
But record companies and concert venues testing whether the market will bear silly prices doesn’t offend me – it’s capitalism in action. I can choose to ignore them. And it hardly ranks alongside selling people into slavery or biting off the heads of babies.
It’s Sony’s commercial decision to set prices for Bob product. If they get it right, people will buy. If not, they’ll be left with eggy faces (and unsold stock).
Me? I wouldn’t touch the Tell Tale Signs Special/Limited DeLuxe Collector’s Edition @ $130 with a four metre bargepole. But, then, it’s not aimed at me - I dare say that if I was a serious collector, I’d have placed my order weeks ago.
I’ll be snapping up the standard Tell Tale Signs 2CD on release day, though!
Gerry Smith
“I share your anonymous correspondent’s misgivings about Bob Dylan Inc.
“Except I would go further. I’m a long-time Bob devotee, but I’m getting heartily sick of recent developments, especially:
* the new Sony luxury album’s rip-off pricing
* Dylan’s NET rut: anyone with wider interests in rock knows that his contemporaries – Neil Young, Leonard Cohen and even Van Morrison, for God’s sakes – are doing much better shows than Zim these days
* the art sales. I’ve no problem with the two shows of originals, in London and Germany, but the mass marketing of the limited edition copies left a sour taste
* I’m Not There. I know Bob wasn’t in it, but there was something cheesy and exploitative about that whole project.
Maybe I’m getting old and bitter, but I know I’m not alone in tiring of Bob Dylan Inc, as Zim gets bigger and bigger in the global mainstream entertainment market.
xxxxxxxxxxxxxxxxxxx
EARLIER RELATED ARTICLE:
Bob Dylan Inc?
I keep hearing rumblings of discontent about what’s alleged to be the growing commercialisation of Dylan’s creativity.
One Dylan Daily reader confided a few days ago: “incidentally I'm pissed off with all the latest money-grabbing (or should that be grubbing) antics of Bob Dylan Inc. - absolutely no need for any of it!”
It was provoked by the fanciful price for the top spec super-duper version of the forthcoming album, Tell Tale Signs.
There have been similar stirrings in the past, of course, principally about Dylan’s involvement in TV ads.
While respecting the views of those who are uncomfortable when art mixes too readily with commerce, I take a more relaxed view of the merchants in the temple.
I don’t blame anyone, creative artist or not, for maximising the return for their labour, as long as what they do doesn’t offend my moral sense.
But record companies and concert venues testing whether the market will bear silly prices doesn’t offend me – it’s capitalism in action. I can choose to ignore them. And it hardly ranks alongside selling people into slavery or biting off the heads of babies.
It’s Sony’s commercial decision to set prices for Bob product. If they get it right, people will buy. If not, they’ll be left with eggy faces (and unsold stock).
Me? I wouldn’t touch the Tell Tale Signs Special/Limited DeLuxe Collector’s Edition @ $130 with a four metre bargepole. But, then, it’s not aimed at me - I dare say that if I was a serious collector, I’d have placed my order weeks ago.
I’ll be snapping up the standard Tell Tale Signs 2CD on release day, though!
Gerry Smith
Thursday, August 21, 2008
Bob Dylan Inc?
I keep hearing rumblings of discontent about what’s alleged to be the growing commercialisation of Dylan’s creativity.
One Dylan Daily reader confided a few days ago: “incidentally I'm pissed off with all the latest money-grabbing (or should that be grubbing) antics of Bob Dylan Inc - absolutely no need for any of it!”
It was provoked by the fanciful price for the top spec super-duper version of the forthcoming album, Tell Tale Signs.
There have been similar stirrings in the past, of course, principally about Dylan’s involvement in TV ads.
While respecting the views of those who are uncomfortable when art mixes too readily with commerce, I take a more relaxed view of the merchants in the temple.
I don’t blame anyone, creative artist or not, for maximising the return for their labour, as long as what they do doesn’t offend my moral sense.
But record companies and concert venues testing whether the market will bear silly prices doesn’t offend me – it’s capitalism in action. I can choose to ignore them. And it hardly ranks alongside selling people into slavery or biting off the heads of babies.
It’s Sony’s commercial decision to set prices for Bob product. If they get it right, people will buy. If not, they’ll be left with eggy faces (and unsold stock).
Me? I wouldn’t touch the Tell Tale Signs Special/Limited DeLuxe Collector’s Edition @ $130 with a four metre bargepole. But, then, it’s not aimed at me - I dare say that if I was a serious collector, I’d have placed my order weeks ago.
I’ll be snapping up the standard Tell Tale Signs 2CD on release day, though!
Gerry Smith
One Dylan Daily reader confided a few days ago: “incidentally I'm pissed off with all the latest money-grabbing (or should that be grubbing) antics of Bob Dylan Inc - absolutely no need for any of it!”
It was provoked by the fanciful price for the top spec super-duper version of the forthcoming album, Tell Tale Signs.
There have been similar stirrings in the past, of course, principally about Dylan’s involvement in TV ads.
While respecting the views of those who are uncomfortable when art mixes too readily with commerce, I take a more relaxed view of the merchants in the temple.
I don’t blame anyone, creative artist or not, for maximising the return for their labour, as long as what they do doesn’t offend my moral sense.
But record companies and concert venues testing whether the market will bear silly prices doesn’t offend me – it’s capitalism in action. I can choose to ignore them. And it hardly ranks alongside selling people into slavery or biting off the heads of babies.
It’s Sony’s commercial decision to set prices for Bob product. If they get it right, people will buy. If not, they’ll be left with eggy faces (and unsold stock).
Me? I wouldn’t touch the Tell Tale Signs Special/Limited DeLuxe Collector’s Edition @ $130 with a four metre bargepole. But, then, it’s not aimed at me - I dare say that if I was a serious collector, I’d have placed my order weeks ago.
I’ll be snapping up the standard Tell Tale Signs 2CD on release day, though!
Gerry Smith
Wednesday, August 20, 2008
Rotolo recognised Dylan in Picasso: revealing interview
Thanks to Martin Cowan for alerting me to a revealing interview of Suze Rotolo by Richard Williams for The Guardian newspaper. Highly recommended.
A couple of tasters:
* “While in Umbria she read Françoise Gilot's Life with Picasso and felt a shock of recognition. "I felt I was reading a book of revelations, lessons, warnings," she writes. "Even though Picasso was a much older man than Bob and had experienced a lot more, their personalities were so similar that it was astounding."
* “Nowadays she doesn't care to listen to the songs of parting and loss he wrote while she was away - "Don't Think Twice", "One Too Many Mornings", "Tomorrow is a Long Time" - even though, like their composer, she firmly resists literal interpretations. "People ask, 'Was this song written for you?' Well, I could say this and that. I could make a list. But if you really listen to those songs, they're somewhat like fiction - he's written something coming from his life, but he sets it in a fiction, maybe using another character's voice.”
Excellent article: read it in full here:
http://www.guardian.co.uk/books/2008/aug/16/biography.bobdylan
Gerry Smith
A couple of tasters:
* “While in Umbria she read Françoise Gilot's Life with Picasso and felt a shock of recognition. "I felt I was reading a book of revelations, lessons, warnings," she writes. "Even though Picasso was a much older man than Bob and had experienced a lot more, their personalities were so similar that it was astounding."
* “Nowadays she doesn't care to listen to the songs of parting and loss he wrote while she was away - "Don't Think Twice", "One Too Many Mornings", "Tomorrow is a Long Time" - even though, like their composer, she firmly resists literal interpretations. "People ask, 'Was this song written for you?' Well, I could say this and that. I could make a list. But if you really listen to those songs, they're somewhat like fiction - he's written something coming from his life, but he sets it in a fiction, maybe using another character's voice.”
Excellent article: read it in full here:
http://www.guardian.co.uk/books/2008/aug/16/biography.bobdylan
Gerry Smith
Monday, August 18, 2008
Dylan the American poet: new regular commentary
Thanks to Lawrence J. Epstein:
“I am writing a new source of commentary about Bob Dylan. I will write regularly about Dylan for The Best American Poetry blog. The Best American Poetry is an annual anthology that includes the best poems published during the previous year.
“I am an author who writes about American culture and society. I am currently writing a book about folk singers from Woody Guthrie to Bob Dylan for Yale University Press.
“My posts, titled The Bob Dylan Watch, will appear every two weeks or whenever some crucial new event occurs or some vital material appears. I’ll be commenting on books, films, articles, websites, blogs or other Dylan-related materials and will also take a look back at Dylan’s achievements.
“In researching my book, I’ve interviewed many people about Dylan. Some of them are famous, like Pete Seeger, or Peter, Paul and Mary. Others are less famous, like B.J. Rolfzen, Dylan’s high school English teacher. They were all interesting, and I’ll be blogging about some of them as well.”
http://thebestamericanpoetry.typepad.com/the_best_american_poetry/dylan_watch/
“I am writing a new source of commentary about Bob Dylan. I will write regularly about Dylan for The Best American Poetry blog. The Best American Poetry is an annual anthology that includes the best poems published during the previous year.
“I am an author who writes about American culture and society. I am currently writing a book about folk singers from Woody Guthrie to Bob Dylan for Yale University Press.
“My posts, titled The Bob Dylan Watch, will appear every two weeks or whenever some crucial new event occurs or some vital material appears. I’ll be commenting on books, films, articles, websites, blogs or other Dylan-related materials and will also take a look back at Dylan’s achievements.
“In researching my book, I’ve interviewed many people about Dylan. Some of them are famous, like Pete Seeger, or Peter, Paul and Mary. Others are less famous, like B.J. Rolfzen, Dylan’s high school English teacher. They were all interesting, and I’ll be blogging about some of them as well.”
http://thebestamericanpoetry.typepad.com/the_best_american_poetry/dylan_watch/
Friday, August 15, 2008
Suze Rotolo’s memoir: encore… encore…
Thanks to Keerstin in Los Angeles
”I read the Suze Rotolo book as soon as it came out. I think everyone is being a little overly critical of the book. It is titled ‘Freewheelin in 60’s’ and that’s exactly what it is about...
“There are a few insights into Bob’s personality as a young man during his rise to fame, which I found interesting. Overall the book was a fun read with lots of great details of old NY locations that no longer exist. Anyway, that’s my take on it.
”Zim zim will be here at the beginning of September and I will let you know how the concert is!
”I just adore your blog.”
”I read the Suze Rotolo book as soon as it came out. I think everyone is being a little overly critical of the book. It is titled ‘Freewheelin in 60’s’ and that’s exactly what it is about...
“There are a few insights into Bob’s personality as a young man during his rise to fame, which I found interesting. Overall the book was a fun read with lots of great details of old NY locations that no longer exist. Anyway, that’s my take on it.
”Zim zim will be here at the beginning of September and I will let you know how the concert is!
”I just adore your blog.”
Wednesday, August 13, 2008
Suze Rotolo’s memoir: encore
Thanks to PJ in DC:
“The Rotolo book is not worth the money, and I must say that I am astounded at how much critical praise it received.
“Rotolo's new age-y writing style is, in places, very irritating. Moreover, though the Dylan information is somewhat interesting, hardcore fans will not glean much that is news or unknown...
“... In the sections where Rotolo discusses her life independent of Dylan, I skimmed or skipped. When I did try to read these passages, I found them uninteresting at best.
“If you really want to see the Dylan-specific stuff in the book, I recommend simply waiting until you can borrow a copy.”
XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
Meanwhile, UK publishers Aurum have kindly agreed to supply Dylan Daily with a review copy, so watch this space for an early review. Aurum also corrected my price info given yesterday: their UK hardback edition of A Freewheelin’ Time is priced at £16.99, not £18.99.
Gerry Smith
“The Rotolo book is not worth the money, and I must say that I am astounded at how much critical praise it received.
“Rotolo's new age-y writing style is, in places, very irritating. Moreover, though the Dylan information is somewhat interesting, hardcore fans will not glean much that is news or unknown...
“... In the sections where Rotolo discusses her life independent of Dylan, I skimmed or skipped. When I did try to read these passages, I found them uninteresting at best.
“If you really want to see the Dylan-specific stuff in the book, I recommend simply waiting until you can borrow a copy.”
XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
Meanwhile, UK publishers Aurum have kindly agreed to supply Dylan Daily with a review copy, so watch this space for an early review. Aurum also corrected my price info given yesterday: their UK hardback edition of A Freewheelin’ Time is priced at £16.99, not £18.99.
Gerry Smith
Tuesday, August 12, 2008
Suze Rotolo’s memoir
I stumbled upon a stray copy of A Freewheelin’ Time, the new Suze Rotolo memoir, in my local Borders last night. I assume it was “stray” as I understood that it wasn’t due to be published in London until 25 September (though the US edition has been available – online - since 13 May).
A 10 minute skim read raised the possibility that an earlier claim on Dylan Daily that Ms Rotolo’s book would be one of the big Dylan events of recent years might have been premature.
Perhaps it isn’t intended as a “Dylan event”? Though I don’t see any reason why anyone would want to know about Suze’s early life without the Zim connection. Anyhow, Dylan only figures in half the book’s almost 400 pages, and I failed to find any Earth-shattering revelations.
A full-length, fair-minded Dylan Daily review will follow - if I can get hold of an advance copy. In the meantime, if you’ve bought the book and have views on it, I’ll be very pleased to publish them here.
Gerry Smith
A 10 minute skim read raised the possibility that an earlier claim on Dylan Daily that Ms Rotolo’s book would be one of the big Dylan events of recent years might have been premature.
Perhaps it isn’t intended as a “Dylan event”? Though I don’t see any reason why anyone would want to know about Suze’s early life without the Zim connection. Anyhow, Dylan only figures in half the book’s almost 400 pages, and I failed to find any Earth-shattering revelations.
A full-length, fair-minded Dylan Daily review will follow - if I can get hold of an advance copy. In the meantime, if you’ve bought the book and have views on it, I’ll be very pleased to publish them here.
Gerry Smith
Monday, August 11, 2008
Film-maker’s evocation of Old Woodstock
Thanks to film director David McDonald for more clips from his work documenting life in Woodstock:
“I've got a bunch of videos you might be interested in:
* Did I send you The Band in Woodstock?
http://blip.tv/file/1062928
* Or, the section on The Woodstock Soundouts, which happened in the summers preceding Woodstock, and which Dylan played at?
http://blip.tv/file/1059037
* Also, there's a clip I like to call rock 'n roll summer camp:
http://www.viddler.com/explore/Misanthrope/videos/4/
* Finally, there's the trailer I did for a film called "The Culture Wars":
http://theculturewars.blip.tv/#695454
* And part two of that film, which I'm now working on, a clip called "America's Oldest Peace Protesters."
http://www.bbc.co.uk and after it add:
http://blip.tv/file/1042507/
“Woody Guthrie had a sticker on his guitar that said, "This machine kills fascists." I feel very much the same way about my camera.”
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
EARLIER RELATED ARTICLE:
Dylan in Woodstock: must-see new documentary, featuring Elliott Landy
Thanks to film director David McDonald for details of his new documentary on Woodstock. The 4’11” Dylan sequence, featuring a recent interview with photographer Elliott Landy, is a must-see:
“I am the director of a film called "Woodstock/You Can't Get There From Here”, featuring a section on Bob Dylan's life in Woodstock”:
www.viddler.com/explore/Misanthrope/videos/1/
Gerry Smith
“I've got a bunch of videos you might be interested in:
* Did I send you The Band in Woodstock?
http://blip.tv/file/1062928
* Or, the section on The Woodstock Soundouts, which happened in the summers preceding Woodstock, and which Dylan played at?
http://blip.tv/file/1059037
* Also, there's a clip I like to call rock 'n roll summer camp:
http://www.viddler.com/explore/Misanthrope/videos/4/
* Finally, there's the trailer I did for a film called "The Culture Wars":
http://theculturewars.blip.tv/#695454
* And part two of that film, which I'm now working on, a clip called "America's Oldest Peace Protesters."
http://www.bbc.co.uk and after it add:
http://blip.tv/file/1042507/
“Woody Guthrie had a sticker on his guitar that said, "This machine kills fascists." I feel very much the same way about my camera.”
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
EARLIER RELATED ARTICLE:
Dylan in Woodstock: must-see new documentary, featuring Elliott Landy
Thanks to film director David McDonald for details of his new documentary on Woodstock. The 4’11” Dylan sequence, featuring a recent interview with photographer Elliott Landy, is a must-see:
“I am the director of a film called "Woodstock/You Can't Get There From Here”, featuring a section on Bob Dylan's life in Woodstock”:
www.viddler.com/explore/Misanthrope/videos/1/
Gerry Smith
Friday, August 08, 2008
Tell Tale Signs: three disc non-deluxe version?
Thanks to Jace:
“Tell Tale Signs: don't get me started on the different tiers and pricing of this release, I just hope the rumored 3CD non-deluxe version is for real.
“I'm as excited by this era of Dylan as any right now, and if they really wanted to offer a special edition, how about one with a DVD of the entire live set filmed for Masked and Anonymous? Or at least the audio - those 4 songs on the soundtrack are killer!”
“Tell Tale Signs: don't get me started on the different tiers and pricing of this release, I just hope the rumored 3CD non-deluxe version is for real.
“I'm as excited by this era of Dylan as any right now, and if they really wanted to offer a special edition, how about one with a DVD of the entire live set filmed for Masked and Anonymous? Or at least the audio - those 4 songs on the soundtrack are killer!”
Thursday, August 07, 2008
Dreamin Of You – new free download on bobdylan.com - encore...
Thanks to Martin Cowan:
“Following recent comments, I too have downloaded this new old Dylan song.
“While picking up the lyrical similarities between this and ‘Standing in the Doorway’, I was also struck by how it didn't sound like it came from the TOOM sessions - I'm wondering if it has had a sexed-up remix?
“Nice song though.”
“Following recent comments, I too have downloaded this new old Dylan song.
“While picking up the lyrical similarities between this and ‘Standing in the Doorway’, I was also struck by how it didn't sound like it came from the TOOM sessions - I'm wondering if it has had a sexed-up remix?
“Nice song though.”
Wednesday, August 06, 2008
Tell Tale Signs: encore… encore… encore
Thanks to Liam Mogan:
“Just a quick response to avid collector Daniel Lobby's disappointment at my post about the new 'bootleg' album.
“My comment 'If it's a true 'bootleg' then give us something truly rare' was specifically referring to the inclusion of already officially released tracks within the collection. His musings on this statement are contradictory especially when he goes on to say that 'Perhaps the answer is for Columbia Records, every now and then, to gather these oddities and rarities together and release them on a compilation album.' A statement I heartily agree with I, especially when the new collection misses out on some fantastic one-off tracks, such as 'Red Cadillac..' and 'I Can't Get You Off of My Mind' (amongst others). I also agree that the inclusion on the No Direction Home OST of 'Song to Woody' and 'LARS' was below the belt and unnecessary.
“I do not doubt the rarity value of the Oh Mercy/Time Out of Mind outtakes, I was simply questioning the vitality of a new Bootleg Volume containing a large volume of multi-takes.
“Similarly, I have no idea about the quality of items within the Dylan Vaults - I merely suggested it would have been nice for this volume to have followed the successful blueprint of Volumes 4, 5 and 6 in releasing top-notch live collections. This is why I suggested the Supper Club and Born Again recordings.
“Finally, I take umbrage at Daniel's questioning my description the first instalment of the series" as "majestic". Was it not majestic even to the likes of Mr Lobby who obviously had the majority of the tracks anyway? Did he not enjoy or appreciate the sound clarity of the release?
“For me, as a 16 year old Dylan fan at the time it took my breath away (it still does). Even if a lot of the tracks did already exist amongst collectors, the majority had never been officially released.
“Does Daniel suggest that the first official release of 'I'm Not There' on the OST was not of interest because the Tree With Roots/Genuine Basement Tapes collections already included it? Even though the sound quality was a million miles away from the bootlegs?
“To my mind the purpose of the Bootleg Series is not just to offer outtakes and alternative versions. No one can doubt that the first 7 volumes entrenched His Bobness' position as the greatest songwriter, performer and recording artist of the 20th century. Can anyone truly say that this collection promises to do the same?
“Been listening to Dreamin' of You for the past few days. Nice enough but not a patch on the song that used the same lyrics. Cleary, Bob's quality radar was switched back on in the 90s.”
“Just a quick response to avid collector Daniel Lobby's disappointment at my post about the new 'bootleg' album.
“My comment 'If it's a true 'bootleg' then give us something truly rare' was specifically referring to the inclusion of already officially released tracks within the collection. His musings on this statement are contradictory especially when he goes on to say that 'Perhaps the answer is for Columbia Records, every now and then, to gather these oddities and rarities together and release them on a compilation album.' A statement I heartily agree with I, especially when the new collection misses out on some fantastic one-off tracks, such as 'Red Cadillac..' and 'I Can't Get You Off of My Mind' (amongst others). I also agree that the inclusion on the No Direction Home OST of 'Song to Woody' and 'LARS' was below the belt and unnecessary.
“I do not doubt the rarity value of the Oh Mercy/Time Out of Mind outtakes, I was simply questioning the vitality of a new Bootleg Volume containing a large volume of multi-takes.
“Similarly, I have no idea about the quality of items within the Dylan Vaults - I merely suggested it would have been nice for this volume to have followed the successful blueprint of Volumes 4, 5 and 6 in releasing top-notch live collections. This is why I suggested the Supper Club and Born Again recordings.
“Finally, I take umbrage at Daniel's questioning my description the first instalment of the series" as "majestic". Was it not majestic even to the likes of Mr Lobby who obviously had the majority of the tracks anyway? Did he not enjoy or appreciate the sound clarity of the release?
“For me, as a 16 year old Dylan fan at the time it took my breath away (it still does). Even if a lot of the tracks did already exist amongst collectors, the majority had never been officially released.
“Does Daniel suggest that the first official release of 'I'm Not There' on the OST was not of interest because the Tree With Roots/Genuine Basement Tapes collections already included it? Even though the sound quality was a million miles away from the bootlegs?
“To my mind the purpose of the Bootleg Series is not just to offer outtakes and alternative versions. No one can doubt that the first 7 volumes entrenched His Bobness' position as the greatest songwriter, performer and recording artist of the 20th century. Can anyone truly say that this collection promises to do the same?
“Been listening to Dreamin' of You for the past few days. Nice enough but not a patch on the song that used the same lyrics. Cleary, Bob's quality radar was switched back on in the 90s.”
Tuesday, August 05, 2008
Tell Tale Signs: encore… encore…
Thanks to Daniel Lobby:
“I am quite disappointed by some of the comments made about the forthcoming "Bootleg Series" release.
“Liam Mogan said, "If it's a true 'bootleg', then give us something rare" and then went on to describe "the first instalment of the (bootleg) series" as "majestic". I would suggest that he re-examines that first "Bootleg Series" release. Of its 58 tracks, only 21, as I recall, were new to collectors at the time plus one line recording that we already had as an audience recording.
“The full 3-CD version of Volume 8 will have at least 16 tracks that are new to collectors, up to 10 more "new" tracks (depending on which takes of the Oh Mercy songs are used), plus another 6 that we already have as audience recordings (likely to be line recordings and/or better quality on "Volume 8) - not to mention "Ring Them Bells" from the Supper Club, which sounds better on the USA TODAY video than on the soundboard recording that emerged recently.
“Whilst on the subject of the Supper Club, David Faulkner says that he didn't realise that these shows were professionally filmed. The sole purpose of the four shows was to film them and thus the only reason they took place at all. This is certainly mentioned in Clinton Heylin's biography of Dylan.
“As for a fan-based "Bootleg Series" release, I'm not at all convinced. Who amongst Dylan fans knew about "Dreamin' Of You" or "Can't Escape From You" or "Marchin' To The City" or "Mary And The Soldier" before this track listing was announced? Precious few, if any, I'd suggest.
“And, similarly, even for previously released songs, who amongst Dylan fans would know which exist in a usuable demo form? Or with different lyrics? Or with totally different musical arrangements? Again, very few of us. We would have been blundering around in the dark.
“The inclusion of recordings already officially released is a difficult one. The record company cannot win. Those who who have already bought the soundtrack albums for the one Dylan track feel swizzled. Those who have not (or were even unaware of the recordings) welcome it.
“Perhaps the answer is for Columbia Records, every now and then, to gather these oddities and rarities together and release them on a compilation album. Anyway, what about "Song To Woody" and "Like A Rolling Stone" on Volume 7 (No Direction Home), the former a straight lift from a regular Dylan album and the latter a repeat from the previous volume in the series? These were far greater "crimes" against collectors but I recall little complaint at the time.
“On the other hand, I do agree that the price of the Deluxe edition only available through bobdylan.com (the one that includes the 7" vinyl single) does seem very, very high indeed, particularly when you add in the postage cost from the States to Europe. Does anyone yet know the retail price of the shop-bought or internet-bought version of the DeLuxe package? The one that is housed in the bigger, hardback slipcase (complete with the two hardback books and the 3 CDs) but excludes the vinyl single?
“I'm tempted to say "Get real!" to your contributors and the record company executives alike!”
“I am quite disappointed by some of the comments made about the forthcoming "Bootleg Series" release.
“Liam Mogan said, "If it's a true 'bootleg', then give us something rare" and then went on to describe "the first instalment of the (bootleg) series" as "majestic". I would suggest that he re-examines that first "Bootleg Series" release. Of its 58 tracks, only 21, as I recall, were new to collectors at the time plus one line recording that we already had as an audience recording.
“The full 3-CD version of Volume 8 will have at least 16 tracks that are new to collectors, up to 10 more "new" tracks (depending on which takes of the Oh Mercy songs are used), plus another 6 that we already have as audience recordings (likely to be line recordings and/or better quality on "Volume 8) - not to mention "Ring Them Bells" from the Supper Club, which sounds better on the USA TODAY video than on the soundboard recording that emerged recently.
“Whilst on the subject of the Supper Club, David Faulkner says that he didn't realise that these shows were professionally filmed. The sole purpose of the four shows was to film them and thus the only reason they took place at all. This is certainly mentioned in Clinton Heylin's biography of Dylan.
“As for a fan-based "Bootleg Series" release, I'm not at all convinced. Who amongst Dylan fans knew about "Dreamin' Of You" or "Can't Escape From You" or "Marchin' To The City" or "Mary And The Soldier" before this track listing was announced? Precious few, if any, I'd suggest.
“And, similarly, even for previously released songs, who amongst Dylan fans would know which exist in a usuable demo form? Or with different lyrics? Or with totally different musical arrangements? Again, very few of us. We would have been blundering around in the dark.
“The inclusion of recordings already officially released is a difficult one. The record company cannot win. Those who who have already bought the soundtrack albums for the one Dylan track feel swizzled. Those who have not (or were even unaware of the recordings) welcome it.
“Perhaps the answer is for Columbia Records, every now and then, to gather these oddities and rarities together and release them on a compilation album. Anyway, what about "Song To Woody" and "Like A Rolling Stone" on Volume 7 (No Direction Home), the former a straight lift from a regular Dylan album and the latter a repeat from the previous volume in the series? These were far greater "crimes" against collectors but I recall little complaint at the time.
“On the other hand, I do agree that the price of the Deluxe edition only available through bobdylan.com (the one that includes the 7" vinyl single) does seem very, very high indeed, particularly when you add in the postage cost from the States to Europe. Does anyone yet know the retail price of the shop-bought or internet-bought version of the DeLuxe package? The one that is housed in the bigger, hardback slipcase (complete with the two hardback books and the 3 CDs) but excludes the vinyl single?
“I'm tempted to say "Get real!" to your contributors and the record company executives alike!”
Subscribe to:
Posts (Atom)
