Dylan

In the empty lot where the ladies play blindman's bluff with the
key chain
And the all-night girls they whisper of escapades out on the "D"
train
We can hear the night watchman click his flashlight
Ask himself if it's him or them that's really insane
Louise, she's all right, she's just near
She's delicate and seems like the mirror
But she just makes it all too concise and too clear
That Johanna's not here
The ghost of 'lectricity howls in the bones of her face
Where these visions of Johanna have now taken my place

Now, little boy lost, he takes himself so seriously
He brags of his misery, he likes to live dangerously
And when bringing her name up
He speaks of a farewell kiss to me
He's sure got a lotta gall to be so useless and all
Muttering small talk at the wall while I'm in the hall
How can I explain?
Oh, it's so hard to get on
And these visions of Johanna, they kept me up past the dawn

Inside the museums, Infinity goes up on trial
Voices echo this is what salvation must be like after a while
But Mona Lisa musta had the highway blues
You can tell by the way she smiles
See the primitive wallflower freeze
When the jelly-faced women all sneeze
Hear the one with the mustache say, "Jeeze
I can't find my knees"
Oh, jewels and binoculars hang from the head of the mule
But these visions of Johanna, they make it all seem so cruel

The peddler now speaks to the countess who's pretending to care for
him
Sayin', "Name me someone that's not a parasite and I'll go out and
say a prayer for him"
But like Louise always says
"Ya can't look at much, can ya man?"
As she, herself, prepares for him
And Madonna, she still has not showed
We see this empty cage now corrode
Where her cape of the stage once had flowed
The fiddler, he now steps to the road
He writes ev'rything's been returned which was owed
On the back of the fish truck that loads
While my conscience explodes
The harmonicas play the skeleton keys and the rain
And these visions of Johanna are now all that remain

Louise, she's all right, she's just near
She's delicate and smells like veneer

I didn't know where to put this and this fucker certainly doesn't deserve his own thread but Zantzinger, don't RIP:

http://www.nytimes.com/2009/01/10/us/10zantzinger.html?ref=obituaries

A lowlife to the end:

In 1991, The Maryland Independent disclosed that Mr. Zantzinger had been collecting rent from black families living in shanties that he no longer owned; Charles County, Md., had foreclosed on them for unpaid taxes. The shanties lacked running water, toilets or outhouses. Not only had Mr. Zantzinger collected rent for properties he did not own, he also went to court to demand past-due rent, and won.

He pleaded guilty to 50 misdemeanor counts of deceptive trade practices, paid $62,000 in penalties and, under an 18-month sentence, spent only nights in jail.

is Visions of Johanna seriously about having a hard on and wanting to wank in a room full of sleeping/fornicating people? damn

who knows?

Heylin

we were one JBR xpost away from the greatest first response ever

This is amusing: https://www.spin.com/2018/10/bob-dylan-lyrics-drawings-review/

he he it is indeed

Great interview with Larry Campbell about what it was like to tour/play with Dylan. As mentioned in the interview, the Larry Campbell/Charlie Sexton band (first with Kemper on drums, then Receli) is often considered the best band Dylan had on the NET, and I would agree.

https://dylanlive.substack.com/p/larry-campbell-goes-deep-on-his-eight

Thanks for posting this. I've been listening to a lot of 'Love and Theft' tour bootlegs lately. Such a great band. The Warren Zevon covers were so good.

No idea where to put this:

THE PHILOSOPHY OF MODERN SONG by BOB DYLAN coming 11/8/22

60+ essays
150+ photos
350+ pages

the man is simply unstoppable pic.twitter.com/0sheWWgsQd

— Jokermen (@JokermenPodcast) March 8, 2022

I can't wait to read it. Loved "Chronicles Vol 1".

Wow!

The man in me will hide sometimes to keep from being seen
But that’s just because he doesn’t want to turn into some machine 😀

a most reasonable explanation

Splendid song & track---also the Persuasions cover---and an appealing alibi, but not for Self-Portrait, which is like a cut-rate greeting card designed by a bot.

(Thinking of that since New Morning was his return to cred after S-P)

Audiobook has an interesting selection of readers.

saw him live (for the umpteenth time) recently

setlist almost same every night, heavy on the rough & rowdy material (alas, no murder most foul)

key west was great

but really, who am I kidding, he is just the weirdest legacy live act I've ever seen, it's never really bad, but always just so weeeird... money rolling in, tour goes on forever, just the weirdness of it all, maybe this time emphasized by beeing in a big arena, and people were just applauding, happy... seem to recall people used to disappointed, which was practical, I could be enthusiastic and exegetical, now they just love it

anyway, roll on Bob

After visiting the Lou Reed exhibit at the NYPL, I checked out Light in the Attic's preview of the upcoming release of 1965 demos, and this one for "Men of Good Fortune" stuck out - it has NO relation to the song that later appeared on the 1973 album Berlin:

https://www.youtube.com/watch?v=rLNnlYYhz2M

It's basically a rewrite of Dylan's "Song to Woody," which itself is a rewrite of Guthrie's song "1913 Massacre." (The same demo tape has Reed covering "Don't Think Twice, It's All Right.") It's a nice glimpse of a great artist finding his voice, absorbing one influence (in this case Dylan) and virtually mimicking that influence before finding a new path.

xp my MO with Bob shows is to just steadily lower my expectations for the weeks leading up to the show, so I'm usually pleasantly surprised with what actually transpires musically. That said, I haven't seen him in a decade or more, so no idea if that would be different.

I'm surprised how great his most recent shows have been. I almost gave up on going to anymore after the Americanarama tour. Probably a combination of three things: 1) phrasing improved after the per-rock standards project, 2) stopped changing the setlist, which meant the band was very familiar with the material and were sharper and more precise as a result (downside - if you went to multiple shows, you got the same songs over and over again), 3) on the current tour, he had the lyrics laid out for him (at least for the first leg), so instead of trying to remember, he could read them, and honest to God, he hasn't enunciated this well since the '70s. It's pretty amazing.

*pre-rock standards

yeah good points

and that men of good fortune take is hilarious!

https://www.nytimes.com/2022/10/13/books/bob-dylan-book-excerpt.html

The title of Bob Dylan’s latest book, “The Philosophy of Modern Song,” is, in a sense, misleading. A collection of brief essays on 65 songs (and one poem), it is less a rigorous study of craft than a series of rhapsodic observations on what gives great songs their power to fascinate us.

Dylan, who was awarded the Nobel Prize in Literature in 2016, worked on these for more than a decade, though they flow more like extemporaneous sermons. The chapter on Johnnie Taylor’s “Cheaper to Keep Her,” for example, is mainly an indictment of the lawyers whose profiteering of heartbreak drives the divorce “industry.”

Elsewhere, Dylan writes in oracular riddles. His one-paragraph piece on “Long Tall Sally,” by Little Richard, likens Sally to the Nephilim giants of the Old Testament, and postulates Richard as “a giant of a different kind” who took a diminutive stage name “so as not to scare anybody.”

About half the essays in the book — his first collection of new writing since “Chronicles: Volume One,” in 2004 — are accompanied by what Dylan’s publisher calls “riffs”: even shorter, even looser pieces, in which Dylan attempts to embody the spirit — the philosophy? — of the song itself. On “Poor Little Fool,” by Ricky Nelson: “She sized you up, she was captivating and shrewd and lousy with lies. Oh yeah, you were an absolute blockhead beyond a doubt.”

Dylan on "My Generation" by The Who via that NY Times article

This is a song that does no favors for anyone, and casts doubt on everything.

In this song, people are trying to slap you around, slap you in the face, vilify you. They’re rude and they slam you down, take cheap shots. They don’t like you because you pull out all the stops and go for broke. You put your heart and soul into everything and shoot the works, because you got energy and strength and purpose. Because you’re so inspired they put the whammy on, they’re allergic to you, and they have hard feelings. Just your very presence repels them. They give you frosty looks and they’ve had enough of you, and there’s a million others just like you, multiplying every day.

You’re in an exclusive club, and you’re advertising yourself. You’re blabbing about your age group, of which you’re a high-ranking member. You can’t conceal your conceit, and you’re snobbish and snooty about it. You’re not trying to drop any big bombshell or cause a scandal, you’re just waving a flag, and you don’t want anyone to comprehend what you’re saying or embrace it, or even try to take it all in. You’re looking down your nose at society and you have no use for it. You’re hoping to croak before senility sets in. You don’t want to be ancient and decrepit, no thank you. I’ll kick the bucket before that happens. You’re looking at the world mortified by the hopelessness of it all.

In reality, you’re an eighty-year-old man, being wheeled around in a home for the elderly, and the nurses are getting on your nerves. You say why don’t you all just fade away. You’re in your second childhood, can’t get a word out without stumbling and dribbling. You haven’t any aspirations to live in a fool’s paradise, you’re not looking forward to that, and you’ve got your fingers crossed that you don’t. Knock on wood. You’ll give up the ghost first.

You’re talking about your generation, sermonizing, giving a discourse.

Straight talk, eyeball to eyeball.

enjoyed that will probably read the book

Dylan on "My Generation" by The Who via that NY Times article

Is that actually Dylan's excerpt? I was confused at first, but it looks like that is actually Ben Sisario channeling Dylan's style. The actual excerpt from the book comes later, in italics, and is read by Oscar Isaac.

They’re both by Dylan. The part in italics is a “riff” on the song; the article points out that many of the essays are accompanied by these additional “riffs.”

Also, Dylan OTM. I’d be interested to hear Townshend’s reaction/response.

Because Dylan is really known for his riffs

Has Bob really been irritated by this song for nearly 60 years?

Ah now it makes sense, thanks! xxp

Didn't realize this:

https://www.nme.com/features/music-interviews/the-psychedelic-furs-tim-butler-david-bowie-pretty-in-pink-2808731

NME's Q: Which Bob Dylan song did you reject when he sent it to you for inclusion on the Psychedelic Furs 1984 album ‘Mirror Moves’?
Tim Butler's answer: “Clean Cut Kid.”

CORRECT.

“It had about 15 verses – it was a long song! (Laughs) He sent it to us because his son Jakob was a fan back then and said: ‘Hey, Dad, these guys are cool’. Richard still has the cassette of it, and it was a huge deal because our father was a big Bob Dylan fan and would buy his records on the day they came out and we’d all sit round and listen to them. He was a massive influence on Richard and I, so to have a song that was written by him sent to us was a great pat on the back.”

From a new interview with John Mellencamp by the NY Times:

Mellencamp: I’m going to quote Bob Dylan to you. Bob and I were painting together one day, and I asked him how he wrote so many great songs. In all seriousness, he said, “John, I’ve written the same four (expletive) songs a million times.” I’m going to get in line with Bob on that. It’s always the same song, just more mature or with a different angle.

Haha, that's perfect

Surprise set at Farm Aid, backed by Tom Petty's Heartbreakers! And he's switched back to guitar for the first time in many years!

https://vimeo.com/867585062

so awesome. i’d been watching the Farm Aid livestream for a while & the way i YELLED when he appeared

and with the goddamn Heartbreakers!

best surprise

I love that his most stunning move to play a set of songs everyone knows with a band everyone loves. This is great!

I love this. I have tickets to the Chicago show. But i really think this might leg of the Never Ending tour

*might be the last leg of the Never Ending Tour

I hope I'm wrong obviously.

Funny that one of the first things I see on here after having the first disc of Blonde on Blonde on for the first time in ages is a thread started in reference to one of its songs.

I'm not getting the image of the guy who builds a fire on main street and fills it full of holes. Unless it is a call for better gun control or something.

& I thought for a moment I was just about to read that Bob had died.

The book was quite fun and a quick read though I to still need to listen to a lot of it. Though think I was already somewhat familiar with a load of those tracks

“Absolutely Sweet Marie” came on in the car yesterday and I cranked it up, the way it just careens along, it’s like the band are riding flat out alongside each other and grinning.

Not strictly necessary o course, but v. fun:
Jason and the Scorchers, "Absolutely Sweet Marie" (original studio version, haven't checked the live ones yet)

https://www.youtube.com/watch?v=aKqQJuJqN6Q

Dylan is playing new songs every night (usually two) and they are covers with some relation to the city he's in. He opened the tour in Kansas City and played Wilbert Harrison's standard "Kansas City." In St. Louis, he bookended his show with two Chuck Berry covers ("Johnny B. Goode" and "Nadine"). And last night in Chicago, it was "Born in Chicago" (probably in tribute to the Paul Butterfield Blues Band as it was the opening track of their debut and Dylan famously recorded and performed at Newport with its members) as well as "Forty Days and Forty Night" by Muddy Waters.

Saw him tonight. No surprise covers unfortunately. But I loved the new version of Key West that he did. He closed with Every Grain of Sand and it was one of the best live versions I’ve ever heard.

i will be seeing Dylan in Springfield, Mass in a couple weeks and I will be satisfied with nothing less than a medley of musical numbers from The Simpsons

He covered Leonard Cohen's "Dance Me To the End of Love" in Cohen's hometown of Montreal the other night.

https://www.youtube.com/watch?v=TPAVmw94Zds

Picked up the new book from the archive yesterday, Bob Dylan: Mixing up the Medicine, and based on a quick flip through it looks like a great trove of stuff I haven't seen before. Enjoyed the Lucy Sante piece from it that Dow linked in another thread.

Glad you liked it: https://lithub.com/how-bob-dylan-blurred-the-boundaries-between-literature-and-popular-music/ ("Not my title!" LS sez)

Last night's show at the Beacon Theater opened with a verse from Billy Joel's "New York State of Mind." Then towards the end of the show, after introducing his band, Dylan said, “Jann Wenner is here tonight. He was kicked out of the Rock and Roll Hall of Fame. We don’t like that. We’re trying to get him back in.” Yeeesh.

Next month is 50th anniversary of the 1974 tour. I’m completely unfamiliar with this era—is Before the Flood the best document of the tour, or is there an individual show/bootleg compliation that’s better?

My short answer would be that it’s the best available and best sounding representation we have.

Long answer:

The tour was more interesting at the start because the setlist wasn’t set in stone and had a number of surprises. The first show above all had the most (and welcome) surprises, opening with “Hero Blues,” unveiling a few more songs from Planet Waves (nearly everything from that album was eventually dropped from the tour after a few weeks), the great lost outtake “Nobody ‘Cept You” (one of my favorites) and for the only time of the tour, Dylan plays on a Band number, playing harmonica on their great cover of “Share Your Love with Me.” If I could have one show in pristine sound, it would be that tour opening show - I hope a soundboard recording was made but I have my doubts one exists anywhere. That’s the problem with the early shows - they may be more interesting, but they mostly exist as audience recordings and can be rough listening. A soundboard or PA feed was recorded on January 14 but by then the setlist was becoming much more standardized with much fewer surprises. However Dylan’s singing wasn’t quite as mannered as it would be in the final two weeks when he was shouting more and more with less nuance in his phrasing. Unfortunately those later shows are the only ones that were professionally recorded. The upshot is that the Band played better as the tour went on and come off great on the final two shows performed on Valentine’s Day - selections from those shows dominate the official live album. Frustratingly, the final show had the tour’s only performance of “Mr. Tambourine Man” which was dedicated to Sara (her favorite song) but it was not included on the official live album.

“Professionally recorded” meaning multi-track recordings

Thanks! I’ll check out Before the Flood and the opening show—I’ve heard enough Dead AUD tapes that maybe I won’t mind so much.

i'm blanking on where I read this, but i want to say there are more multitracks of the 1974 shows in the dylan archives ... maybe i dreamt it. some of the soundboards are decent (oakland, NYC). will be interesting if they do anything to commemorate the 50th anniversary — with Robertson's recent passing, seems like a good time?

it's really too bad there isn't a concert doc of this tour, though — I feel like the energy would suit itself to that format ...

However Dylan’s singing wasn’t quite as mannered as it would be in the final two weeks when he was shouting more and more with less nuance in his phrasing.

yeah, as loved as Before the Flood is - I can't really stand Dylan in that mode, such a waste

even Levon gets a bit shouty on some of the Band things, but that said I've always loved Dixie here

The shoutiness totally works for me, Dylan's and Levon's. I prefer several versions here to the originals, even: for inst, the original "Don't Think Twice" sounds fussy faux-hillbily compared to the reggae-oid "someone to give his ha!-ha!" heartiness on the electric set, while the solo acoustic has him flashing back (or experiencing a Blood On The Tracks-related?) mixed-up confusion, like, what just happened? What did she do? Should he even be leaving, and anyway where is he going? But he's going alright, and "Don't think twice it's alrieeet---" Also the jittery raspy proto-rap of "It's Alright Ma." which Lester Bangs compared to Paul Newman in Robert Altman's Buffalo Bill Among The Indians, Or, Sitting Bull's History Lesson: the return of the battered Americana hero "in full scraggle." One of the great arena rock albums of the 70s, esp. by older guys, in there with Rock N Roll Animal(although I've played BTF a lot more than that) and Van Morrison's It's Too Late To Stop Now (almost too sensitive at times to qualify for "arena," but the overall effect of the 2-LP is v. powerful.) I know we all hear what we hear, but gotta say that.

Sure, would love to hear a 50th Anniversary expansion, with or without audience tapes, esp. of songs not on Before..: whatever, bring it on.

your enthusiasm makes me want to revisit this, and I'm down for an official release of more tapes

I've had a good bootleg recording of October 17, 1987 for years - Dylan's backed by Tom Petty & the Heartbreakers and IIRC the 1987 tour is held in higher regard than their 1986 tour together.

This show is supposed to be the highlight, and amazingly TWO different amateur videos exist of the concert, both from very different angles.

https://www.youtube.com/watch?v=LXbDllRrT5k

https://www.youtube.com/watch?v=pja9JSWE0Fk

Should mention, Roger McGuinn makes a guest appearance for "Chimes of Freedom" during the encore, then later George Harrison pops in for a guest appearance.

(Should also mention the sound on the camera close to the stage is abysmal.)

Awhile back there was a discussion on Dylan's heavy drinking during the '80s and I think I was trying to remember where it was well documented. I just stumbled on this paragraph from Clinton Heylin's bio:

By 1987, his drinking had again begun to get the better of him and when Kurt Loder arrived in Jerusalem on September 7 to interview him for a special twentieth-anniversary issue of Rolling Stone, he proceeded to sit through the interview drinking Kamikazes like they were Kool-Aid. Two days after he predicted tomorrow might be his dying day, an almost totally incoherent Dylan fell out of his chair after a hotel piano jam had found him hamming it up on ‘You’ve Got a Friend’ and ‘I Left My Heart in San Francisco.’ He was consuming up to four Kamikazes or, later on the tour, Kahlúa, cream, and cognac, before each show. That he could even stand some nights qualified as some kind of achievement. Journalists at the shows couldn’t resist commenting on his shuffling demeanor, referring to his new image as the death-mask look.

Hey, Kamikazes! Those used to be my pleasure, er, downfall

Reminds me of a scene in a Tony Tyler book where an intoxicated Dylan, backstage in '66, pours so much cream or sugar into his coffee that it overflows onto the floor.

Random Internet story: https://www.instagram.com/p/C4JiGvzOY6P/

Incredible arrangement! What a fey trickster, he's clearly having a ball with it.
https://www.youtube.com/watch?v=aZB7QJjqmL0

I love Bob.

Just stumbled on a very handy site dedicated to lyric changes Dylan has made whenever he re-interprets a song. There are already a few sites that extensively document those changes, but this one allows you to toggle back and forth easily between lyrics, bolding the sections that are different:

https://dylyricus.com

What do we think of “jokerman?”

I fucking LOVE it. On paper it should fail miserably, in practice it is one of his best songs from the decade. Who's gonna argue with the rhythm section, for one?

Punk version is great, too.

love jokerman

caetano version rules imo

https://www.youtube.com/watch?v=Syaoz-wLy_Y

The Bob Dylan Center's Director Steven Jenkins is presenting Dylan-related films again in NYC, and I went to the free presentation at the New School, but there's another tonight (Thursday) in Pleasantville at the Jacob Burns Center and another in Brooklyn at Nitehawk Cinema near Prospect Park. These screenings aren't free, you need to buy tickets to either event, but the Nitehawk screening will also have Ira Kaplan of Yo La Tengo moderating the post-screening discussion. (Also, regardless of which one you go to, you'll be entered in a free raffle for two complimentary round-trip plane tickets to Tulsa—redeemable within one year on American Airlines or Delta—and a tour of the Bob Dylan Center.)

Anyway, a lot of what was shown at the free screening looked familiar and was likely circulating in some form, but there are some new discoveries and I know for a fact the Jacob Burns Center will screen at least one different clip. A quick rundown:

The first clip is the real find but brief. It's a clip of Dylan’s first film soundtrack contribution, before his first album even came out! The late Tony Glover apparently discussed it when they interviewed him in the '90s for the project that evolved into No Direction Home, and it happens during the train ride interview seen briefly in that film. They took the relevant portion and use it to frame the relevant footage they found from that rediscovered film - a documentary put together by a Catholic group in response to HUAC (which they were very much against). Produced in 1961, it was called Autopsy on Operation Abolition. Unfortunately, Dylan's music is mixed into the background, so much that an interview subject dominates the audio, but it still has historical value. (I'm guessing the 20-minute raw recording Glover mentions is still lost. He says he remembers it well because it was the first time he saw magnetic tape, which in this case was mag-track complete with sprocket holes, the kind of tape you'd use for a motion picture.)

Next clip was a solo rendition of “Ballad of Hollis Brown” from the 1963 TV special Folk Songs and More Folk Songs. Great performance, they even cut to some extraordinary close-ups of Dylan - it's just startling to see him looking this young yet seeming very old at the same time, and despite the fact that it's vintage TV footage, the quality is really good. (Not to oversell it, it's not like you're looking at 35mm footage, but it still looks really good.)

After that, it's a clip shot by D A Pennebaker of the 1966 tour, a performance of "Baby Let Me Follow You Down." I forgot which show it was (they have a title card that indicates when and where) but it's amazing to watch. It's one angle, one complete and unbroken take, shot from stage right. When Dylan sings, it's a close-up on him, but when he backs away during an instrumental break, no matter how brief it is, Pennebaker zooms out so you can see Robbie Robertson and Garth Hudson before zooming back in when Dylan sings again. Robbie and Garth looked incredibly young on this tour, especially without facial hair. I don't think I've ever seen Hudson without a thick beard after the 1966 tour.

Next was “I Pity the Poor Immigrant” from the Hard Rain footage from 1976. Joan Baez is there playing maracas and singing in the same mic as Dylan. Rob Stoner is prominently shown too. Not much of the other band members though. You do get a close-up of the pianist - can't tell if it was T-Bone Burnett or Howard Wyeth as I don't know how either looked in 1976 and they appeared too briefly for me to remember the face well. Fun almost jokey stop-start arrangement that seemed real "showbiz" - each of the stops was basically like a fake ending. In some way, this kind of makes the next tour - the bizarre one from 1978 - seem less of a surprise.

However, the next clip skips to 1981 where Dylan and his new band performs "Blowin' in the Wind" at one of the Florida shows, and it's another single, unbroken take, but this time the cameraman walks around the entire stage, almost simulating a tracking shot as best as they can with a handheld camera. Starts off with Clydie King, Regina McCrary and Madelyn Quebec wearing what may be choir gowns, then it circles around Dylan at the piano, then we see Jim Keltner appear, then another drummer, Arthur Rosato, and eventually Al Kooper who sounds magnificent playing a simple solo. The cameraman keeps moving and we see the rest of the band, and then Dylan hops down, grabs his guitar and finishes the song. The place (which looks like a small arena but per Bjorner is supposed to be a theater) is packed and the crowd is very enthusiastic - people in front are raising their hands like it's a revival.

Next clip is from one of the 1986 Australian shows for Hard to Handle, and a card tells us it was, at the time, the biggest multi-camera 35mm shoot in Australia's history. The Center is currently scanning ALL of the 35mm footage still in existence from those shows - I don't know if that implies some footage is lost, but afterwards they kind of suggested that they had a ton of footage they're scanning, so they still have plenty regardless. Tom Petty & the Heartbreakers as well as The Queens Of Rhythm (Debra Byrd, Queen Esther Marrow, Madelyn Quebec, Elisecia Wright) back Dylan, and they kind of make the performance because by now (and this applies to the 1981 clip too) Dylan's singing has kind of gone downhill, turning into the kind of thing comedians would exaggerate when spoofing Dylan.

But the next clip from 1993 is much better. It's the Supper Club performance of "Ring Them Bells" which was officially released, first on a CD-ROM then in audio form on Tell Tale Signs. It's a great clip and maybe the definitive performance of a great song. (The master take from Oh Mercy was already a perfect performance, so that's saying something.) Too bad the whole video hasn't been released, but the audio for all four Supper Club shows are out there in top-notch quality. Tonight's program at the Jacob Burns Center will feature "Tight Connection to My Heart" from these shows.

Next is the performance of "Train of Love" that was taped for a tribute to Johnny Cash. Home recordings of the broadcast special are on YouTube, but what's nice about this clip is that it's the original video so you're not seeing a screening of it in an auditorium or hearing people applause. Dylan's official Facebook page uploaded the same raw video a few years ago so it's not rare. This is also one unbroken take from one camera, and you see Larry Campbell, David Kemper and Tony Garnier, no one else from Dylan's band (if there's anyone else that was playing).

Next is "Cold Irons Bound" as it was filmed for Masked and Anonymous, also one unbroken take from one camera. Dylan's best band outside of the Hawks, though Kemper is now replaced by George Receli, a recent new addition when they filmed this performance. This is a very common clip - the audio was on the soundtrack, but the footage was put on promo DVD's, it's in the film itself, it was one of the first clips uploaded to YouTube and elsewhere whenever Dylan's camp would upload video to some new platform for the first time...IMHO it's still THE definitive performance of this song, and I even replaced the original album version with it whenever I listen to Time Out of Mind. I'm certain Dylan loves this clip, and not just because of the performance - Jenkins said when they filmed this clip, Dylan basically directed it. He set up the camera and the blocking then told Larry Charles THIS was the setup and not to touch anything - just roll camera and Dylan would start things off. Debate the film all you want, but for at least this particular scene, Dylan did a great job directing.

Next was a tribute to Tony Bennett, again one-camera, one unbroken take, with Dylan and the band performing "Once Upon a Time." I'm not a huge fan of this era but Charlie Sexton does a marvelous job here as he would on tour whenever Dylan did these songs. This was also broadcast so it's not rare.

The last thing they show was anticlimactic but worth seeing. Advertised as "a glimpse into the Archive’s film restoration project with never-before-seen footage of 'It’s All Over Now, Baby Blue' from 1966," it really is a glimpse. The restoration demonstration is pretty good - frustratingly they don't go into technical details (how was the original transfer of Pennebaker's 1966 footage "incorrect" per their words?) but you see the results. I don't want to say it's just "brighter" because that would imply they simply pushed everything in the lab, and it's not like they simply boosted the footage, otherwise the highlights would blow out. They manage to pull a lot more detail in the darker areas that originally fell off really fast, so while overall it does look about a stop brighter, it's as if you're seeing a much wider dynamic range and all this stuff that was sinking in the shadows is now clearly visible. (Sort of like the difference between seeing a show with your own eyes and looking at a video of it afterwards - your own vision adjusts all the exposure so everything's visible, but that's not how it shows up in the video.) At the very end of the demo, they show "It's All Over Now, Baby Blue" and it looks great, but we only get like 20 or 30 seconds before they fade out.

The Q&A afterwards was okay, but I don't remember it too well because it seemed to cover things I've already seen stated by the Center many times. A lot of Dylan-related people were apparently there that night, including Terri Thal, Dylan's first manager, and Mitch Blank, the famed Dylan collector. (Plus some other names that Jenkins pointed out, I think people who did some technical work for them or put together things like video for the exhibits at the Center, but I can't remember their names.)

One hilarious revelation - Clinton Heylin was at the Center for ten weeks to do research, and whatever he did outside of the Center really pissed off some of the locals because there are places in Tulsa where he's been permanently banned.

What do we think of “jokerman?”

― calstars, Saturday, August 24, 2024 2:53 PM

top ten Dylan -- one of the songs I play to non-fans to show how well Dylan can stress and throw away key syllables.

xp bitw thank you - fascinating account!

yeah, that is all very interesting! even with the No Direction Home film, it does seem like the 66 Pennebaker footage should be put together in some kind of cohesive package. it's just such great stuff — every time I see clips, I can't believe it exists.

that blowin in the wind 1981 clip went around at some point, it really is sublime.

in ray padgett's newsletter there was a recent/interesting interview with the filmmaker who shot the supper club shows, some discussion about why Dylan wasn't into releasing them ...

here are the unheard dylan tapes I want to be sitting in some box in Tulsa: "I did some sessions once with Don Cherry and Billy Higgins. I really don't know what happened to that stuff."

You're welcome! And I was actually wondering the other day why Dylan never tried working with full-on jazz musicians. If it happened now, I imagine it would be pretty conservative given his recent standards albums, but I don't think it would be too much of a stretch if it was an ace combo like Jason Moran, Dave Holland, Jack DeJohnette and Bill Frisell.

I saw that interview with Michael Borofsky! He even talks about the train interview with Glover since he filmed it - the moderator at the New School program mentioned that some people in the audience chuckled because they recognized some of the sights outside of the window, which apparently gave away which train line they were taking. (It's the one that follows the Hudson River.)

yeah he did a couple songs with wynton marsalis about a decade ago (or longer?) that ... were pretty good?

https://www.youtube.com/watch?v=IwE_zj8Y0X0

not exactly don cherry / billy higgins in the early 60s good ... but yeah, something like "Murder Most Foul" feels almost like it could go in a minimal modern jazz direction. almost surprising he hasn't done anything with frisell.

Stylistically Wynton Marsalis makes sense though it's interesting to see the differences in the way they both revisit the past (even the same pre-WWII eras). They've had a great deal of success in doing so - Dylan's modern-day resurgence comes directly out of it, and Marsalis has made himself synonymous with that approach - but Marsalis has been called a reactionary for adhering to a doctrinal philosophy whereas Dylan is very much a restless apostate.

But Marsalis has taken his old school stance into more of a good-humored, songster, Compleat Entertainer vein sometimes, like on his albums with Willie Nelson---I especially like their "tribute" to Ray Charles, which covers RC songs but for instance with some horns that sound more like Cab Calloway Orchestra soundtracking one of those bizarrely imaginative Fleischer Brothers cartoons in the 1930s---though also with relaxed vocals from Willie and Wynton (cool blue breezes of Norah-no-longer-Snorah Jones passing through sometimes).So I think WM and BD might go together well.
I saw Hard Rain in '76, on ABC, I think. Really fun, and the versions of "Oh Sister" and "Shelter From The Storn "uptempo, with slide guitar hook! Just follow that dream, boy), at least the ones on the HR LP, which is not all the same performances as the TV doc, top the originals, I think.
Don't remember a lot of particulars about the doc, but seems like it would be worth an official release, streaming license, something (as we were saying about other possible releases over on the Masked and Anonymous thread).

And speaking of Frisell, he's been on some strong Lucinda albums, and she's with him and the rest of Charles Lloyd & The Marvels on several Vanished Gardens---also their live "Masters of War, " which I hope suggests further possibilities to Mr. D.:
https://www.youtube.com/watch?v=VgVFLdwIRPU

Several Vanished Gardens tracks, that is.

Very true re: Marsalis. I don't follow him that closely, but I get the impression he's far less dogmatic than he was before, and collaborating with rock, pop and country stars is probably a reflection of that.

Frisell's pretty amazing - he just did a three week run at the Village Vanguard playing with three different combos. I was only able to catch one, but it's really impressive how he fits himself into any given context.

Man are there a lot of Dylan threads.

I was doing some belated research into Post Malone, who I know next to nothing about, and came across this old quote of his:

" ... when I wanna sit down and cry, I sit down and I listen to Bob Dylan and his guitar. Just like everyone else, no matter how hard you are, no matter where you're from, you're gonna have times where you sit back and reflect on your life and you listen to what you wanna listen to. For me, that's Bob Dylan."

I don't doubt the guy's honesty, I'm sure Dylan looms large for him. But I was struck by the idea of putting on *Dylan* when you wanna sit down and cry because if I wanted to sit down and cry, Dylan might be the *last* songwriter I reach for. There are a couple of sad Dylan songs, I suppose, but little that would come close to making me weepy, at least few (or none?) that I can think of. Dramatic Dylan, sure. Funny. Clever. Profound, sometimes. But tearjerker? I dunno. Am I forgetting some obvious candidates?

There are Dylan songs that have made me cry (Sad Eyed Lady, Sign Language, Covenant Woman, What Can I Do for You, Pressing On, Mississippi, a bunch of the co-writes from Lost on the River) but none are from his solo guitar days. I could see some of the songs that didn't make The Times They are a-Changin' doing the trick. Pretty deep vein of sadness there.

yes? xpost

A Hard Rain's Gonna Fall is the most obvious example

“Standing in the doorway”

If You See Her Say Hello
Sara

Bucket Of Rain

Forever Young is a weeper for me now, it reminds me of my dog

I'll be the only one to say "Lily, Rosemary and the Jack of Hearts".

I understand why someone would say this, because Dylan wears a lot of masks and operates at a lot of remove sometimes. But I put Dylan on all the time when I'm feeling emo. Some Dylan songs that make me want to cry:

Restless Farewell
One Too Many Mornings
Let Me Die in My Footsteps
Seven Curses
Every Grain of Sand
Love Henry
Pretty Saro
This Evening So Soon
Mr. Tambourine Man
It's All Over Now, Baby Blue

More often when I am feeling emo and want Dylan, I put on The Complete Basement Tapes. The humor and laid back casual profundity help me weather the storm.

Tambourine Man, good call. And the Basement Tapes as medicine music, yes.

Strap yourself to a tree with roots and all that.

. . . the majority of Blood on the Tracks

A lot of good answers here!

I think you could argue he'd still have been a major songwriter even if he never released anything but his love songs.

More often when I am feeling emo and want Dylan, I put on The Complete Basement Tapes. The humor and laid back casual profundity help me weather the storm.

― il lavoro mi rovina la giornata (PBKR), Tuesday, December 3, 2024 3:52 PM (forty-five minutes ago) bookmarkflaglink

i love this. the humor on that recording is so absurd and delicious.

if you don't feel a certain way listening to You're Gonna Make Me Lonesome When You Go ... don't know what to tell you

i mean ... Ballad in Plain D ? what is this business about no tearjerkers in the solo guitar era

A lot of people here don't like that one. I get it, Dylan is pretty mopey, but that last couplet is so ridiculous I love it.

It's like if Dylan wrote a Twilight novel.

I think you could argue he'd still have been a major songwriter even if he never released anything but his love songs.

Yes -- you ever give Lost on the River attention, Halfway? I know Costello / Giddens / Goldsmith / James / Mumford doesn't *sound* like it'd make for an inspired album, but most of the most beautiful love songs Dylan wrote are on that record, and the C-G-G-J-M band did a stellar job with them.

...sorry, "did a stellar job" is dumb. Let's be more precise: Costello kept his guard up but contributed pretty good stuff regardless; Giddens was new to both Dylan and songwriting, and vulnerable and curious; and Goldsmith, James, and Mumford transcended themselves and became, for a moment, Dylan's equals. I spent a couple years paying close attention to all three, hoping I'd find more in their catalogues to explain what happened on Lost on the River, but no, it seems collaborating with a 26-year-old Dylan allowed for a unique, and temporary, level-up...

How have I never heard of this Lost on the River?? You say it’s good, eh? Will have to give a listen

It's been in my Bob Dylan top five since it came out in 2014; even though Dylan doesn't play on it.

It got buried in an avalanche of "ugggh, who do these assholes think they are, recording new versions of lyrics from the Basement Tapes era? They will never ever be as good as Dylan & The Band, so why are they trying."

This was unfair because, one, they *didn't* try to call up the sprit of Big Pink at all, it's more like New Morning meets Desire -- seriously beautiful (T-Bone Burnett produced, at Bob's request). And two, because although the lyrics were from '67 or thereabouts they *weren't* Basement Tapes outtakes. They were a whole different writing session, probably from when Dylan was laid up in hospital after the motorcycle crash, which is why he never set them to music -- by the time he was back on his feet, he was writing new and different songs (the Basement Tapes stuff). They're as different stylistically from the Basement Tapes as John Wesley Harding. But just as ageless.

I think the reviews in the usual music mags were good, and I remember three or four people on the Expecting Rain forums who actually listened a few times and said "hold on, guys, this is awesome," but nobody cared.

Dylan himself likes the record too, by the way.

Also: if anyone's going to give Lost on the River a listen, make sure it's the 20-track version.

If You See Her Say Hello
Visions of Johanna
Sara
Simple Twist of Fate

are my emo crying go tos

re-reading bird's excellent xpost on Dylan footage, incl. his fave "Cold Irons Bound," reminds me of a strong version on this live comp, which I think was on Sony Japan only, though I bought it at Coconuts, so not too elusive---it does incl. a number of things from earlier albs, then OOP, and maybe still (that live various artists Woody G, trib has some more very electric Dylan & The Band, like "I Ain't Got No Home" like pre-Sex Pistols at their best, also "Dear Mrs. Roooooosevelt," and worthy performances by other performers)--from the most helpful The Band-related archive I know of:

"...Bob Dylan Live 1961-2000 is a phenomenal collection of 16 live tracks bringing together nearly 4 decades of great concert performances by one of the greatest singer/songwriters of the last 40 years. Featuring many 'rare' and previously 'unreleased' tracks Bob Dylan Live is the definitive performance album and will appeal to fans and collectors alike..."

This limited edition album, released in Japan in March 2001, contains previously unreleased live recordings (tracks 1, 2, 3, 4, 15 and 16) and tracks that have never been released on a Bob Dylan album (tracks 6, 8, 10, 13 and 14.) Track 6 is from a compilation that is no longer in print, track 8 is from a promo only album, track 10 is the "B" side of a cassette single and tracks 13 and 14 were released on EP only.

The Hawks/Band are present on tracks 5, 6 and 7, from 1966, 1968 and 1974, respectively.

Tracks
Somebody Touched Me
9/24/2000 (Portsmouth, England)
Wade In The Water
12/22/1961 (Minneapolis)
Handsome Molly
1962 (Gaslight tapes)
To Ramona
1965 (Outtake from the film Don't Look Back)
I Don't Believe You
5/17/1966 (Free Trade Hall, Manchester, released on the album, Live 1966)
Grand Coulee Dam
1968 (from Woody Guthrie Tribute Album)
Knockin' On Heaven's Door
1/30/1974 (Madison Square Garden NY from Before the Flood)
It Ain't Me Babe
1975 (from Renaldo & Clara)
Shelter From The Storm
1976 (from HARD RAIN)
Dead Man, Dead Man
1981 (New Orleans)
Slow Train
1987 (from Dylan & the Dead)
Dignity
1994 (from Unplugged)
Cold Irons Bound
12/16/1997 (El Ray Theatre, Los Angeles)
Born In Time
2/1/1998 (New Jersey Center, New Jersey)
Country Pie
2000 (Portsmouth, England)
Things Have Changed
2000 (Portsmouth, England)
Bob Dylan - Live 1961-2000- 2001 - Sony SRCS2438

(there was also a promo-only EP floating around, consisting of "Cold Irons Bound" and others from this album.)

So what's with him recording a song for the Reagan biopic?

Hmm:

Dylan's cover of "Don't Fence Me In" was a welcome addition to a star-studded soundtrack that included a cover of the 1930s song "Stormy Weather," performed by Gene Simmons of KISS, and country music star Clint Black covered John Denver's "Country Roads," according to Spin.com.

Maybe Bob is friends with Dennis Quaid

Sara is another weeper for sure

Out of curiosity, I checked out the two ILM "songs that make you cry" threads, and Dylan does make a few appearances (maybe even the first post?). I'm genuinely glad I prompted the discussion, because aside from a song or two Dylan just never struck me that way. But there are definitely a few pretty ones that, even though they don't make me weepy, I do find affecting and/or sentimental, like "If You See Her, Say Hello" or "I Threw It All Away" or "Every Grain of Sand;" for sure "Forever Young" I've heard at plenty a wedding, graduation, etc. In a lot of cases I think my affection stems from cover versions that have meant something to me, tbh, like Yo La Tengo's "Threw It All ..." or Emmylou Harris' "Every Grain of Sand." I guess I just don't really listen to Dylan for tearjerkers, or certainly can't imagine putting him on while I cry over a pint of beer. But I *can* see him as particularly suited to intense solitary listening, which in turn I can also see sparking those feelings. Context. Which I suppose is true for a lot of songs that make you cry.

"Every Grain of Sand" is top ten.

...sorry, "did a stellar job" is dumb. Let's be more precise: Costello kept his guard up but contributed pretty good stuff regardless; Giddens was new to both Dylan and songwriting, and vulnerable and curious; and Goldsmith, James, and Mumford transcended themselves and became, for a moment, Dylan's equals. I spent a couple years paying close attention to all three, hoping I'd find more in their catalogues to explain what happened on Lost on the River, but no, it seems collaborating with a 26-year-old Dylan allowed for a unique, and temporary, level-up...

― TheNuNuNu, Tuesday, December 3, 2024 5:00 PM (six hours ago) bookmarkflaglink

i'm far from a dylan head but you sold me on this enough to check it out. it's nice!

xps thanks Dow! I recently bought that comp off Discogs for peanuts. I remember when it was an expensive import back in the day but I guess that's changed thanks to the deflation of the CD market and the enormous redundancy created by so many archival releases since then.

Going back to Josh's post, I would also single out the outtake "He Was a Friend of Mine" from the debut, the second album's hurt and bitter "Don't Think Twice, It's All Right" (memorably used to close season 1 of Mad Men even though the record didn't actually exist yet) and "Boots of Spanish Leather" from the third album as well as the outtake "Percy's Song."

Dylan's always recorded heartbreaking songs, but with Post Malone's comments in mind, I would go with the original NY version of Blood on the Tracks, and it would be the original mixes, complete with desolate-sounding reverb. Under the right circumstances, for me there's nothing better, and even though Greil Marcus and Robert Christgau have argued vehemently against it in favor of the half re-recorded version that replaced it, both of them aren't fans of Nick Drake either, and I would argue what makes the NY version all the more powerful can be found in the similarly-produced (or not-produced) sound of Pink Moon.

And "Every Grain of Sand" is indeed one of Dylan's best, absolutely beautiful. Truth be told, I've always had mixed feelings about the evangelical period, and the Christian right's recent rise to power thanks to Trump has only increased whatever distaste I have in many of the songs from that era. But there are a handful of gems that break out from the pack, and "Every Grain" is my favorite out of all of them.

And I too have no idea what Dylan was thinking when he recorded that song for the Reagan biopic. Maybe it was a favor?

Speaking of biopics, I'm surprised to see Paul Schrader lavish praise on A Complete Unknown. The trailer looks terrible to me and I was not a fan of James Mangold's Johnny Cash biopic. I'll probably wait to sample the movie via streaming, but I can't see sitting through 2+ hours of it. Nothing against the actors, I actually like them all, but Chalamet doesn't seem convincing as Dylan (it's funny how close his performance seems to be to Heath Ledger/Robbie Clark as Bob Dylan/Jack Rollins) and I could say the same for the rest, but that's typical of a lot of biopics, especially I Walk the Line. One of the things I love about I'm Not There is how it doesn't try to impersonate or compete with real life, it knowingly presents us with theoretical representations of everyone.

"Every Grain of Sand" is a song that changed for me when I heard Dylan sing it in concert a couple of years ago, and so I have two equal and separate understandings of the song, both of which I find very moving. I don't know if I'll be able to get it into words but here goes.

To me, there's a deeply unpeaceful, agonized quality about the song as Dylan first performed it; it reminds me a lot of the Terrible Sonnets of Gerard Manley Hopkins, esp. the one that ends "the lost are like this, and their scourge to be/ as I am mine, their sweating selves, but worse." There's a sense of intense loneliness, and of grasping for comfort in the most meager of reassurances: that it must somehow be worse not to believe; that if God knows every leaf and every sparrow he must also know you. And so, while it's never made me want to cry, I do find that ending deeply painful. When he sings, "I am hanging in the balance," I hear someone who doesn't want to be hanging in the balance, who wants to be safe and secure in his faith, and who is clinging to it as he starts to feel it deserting him.

And then I heard him sing it on the last tour, and it had taken on a quality of age, and reflection, and peace. And it felt to me like it was now a song about accepting not knowing, about living with both of those parts of himself at once: the side that has faith and the side that does not. And that last verse was now about old age to me: the singer standing on the shore, knowing that he is nearing the end, not knowing just what is coming, but taking comfort in the knowledge that this uncertainty is something he shares with everyone and everything that has ever existed.

I'm sorry, that's cheesy as hell, I couldn't get it into words that weren't. Dylan has never made me cry, but thinking about Dylan as an old man singing "Every Grain of Sand" kind of makes me want to.

beautiful, lily <3
thx for sharing

great post!!!!

i forgot til just now that “Murder Most Foul” made me fully weep the night it released

i was so fucking miserable from quarantine shutdown & i was so overwhelmed by the fact that Zimmy still had something like this in the chamber, thinking “by what miracle do we still get to have him??” yknow & i just lost it. i bawled my eyes out

*actually maybe it wasn’t quite full shutdown but def in a bad freaked-out headspace nonetheless

xps That was a very beautiful post Lily.

I can never remember the title (which one of the “dream” songs it is) but my never fails Dylan cry song is the one that goes
I dreamed a dream
That made me sad
Concerning myself
And the first few friends I had

My top Dylan tearjerker is “Tomorrow is a long time”

Once after a tough breakup, organ stabs with Dylan croaking “I’m love sick” would appear in my head every 30 min or so

He's not someone known particularly for sad songs, but there is something about Dylan's voice that can get to me, on too many tracks to name.

xp The version of Greatest Hits Vol. II is wrenching. (From his famous Town Hall concert from April 12, 1963, all of which circulates.) He's done several good-to-great recordings of it, but that's still my favorite one.

Yeah it took me a while to realize that was not a widely heard song. Greatest hits vol 2, side 2 was what made me fall in love with Dylan.

I get the sense that the vol 2 I was raised on wasn’t the original? The one with the acoustic version of I shall be released is what I always knew

I love this version of Tomorow is a Long Time
https://www.youtube.com/watch?v=CXz0gyUh0O4

xp That's kind of a complicated answer because following common practices in the folk world, Dylan published that song and let a lot of people perform and record it before he ever put it out on one of his own albums. Besides Dylan's own shows, Joan Baez performed it at hers, and soon Ian and Sylvia released a version on one of their albums in 1963. Within a year or two, Judy Collins, Odetta and many others released their own versions, but the big one IMHO was Elvis Presley's, recorded and released in 1966. No surprise that Dylan was familiar with it - he was always a big Elvis fan - and it's one of Elvis's best recordings in the vast wasteland between the Elvis Is Back! sessions in 1960 and his legendary comeback in 1968.

After that, Rod Stewart recorded an excellent version for Every Picture Tells a Story, and given how massively popular Stewart was (particularly that album), I think that was enough to get Dylan to include the Town Hall recording on Greatest Hits Vol. II, which was released almost six months after Stewart's album.

But Dylan also recorded a demo for Witmark in 1962 that's really good, more for the guitar work than the vocal (which is solid, but also a bit perfunctory compared to his singing on the live recording). He also revisited the song in 1970 during the New Morning sessions, giving it a tongue-in-cheek arrangement that's pretty entertaining in its own right. Both were widely bootlegged and officially released decades later, but I think Dylan made the right call to release the Town Hall version first - if there was any version that could compete with Elvis's or Rod's as the definitive version, it was the Town Hall recording.

Beyond that, Sandy Denny also released a great version in 1972 and Nick Drake made a home recording that wouldn't see release for decades. Chrissie Hynde also recorded an excellent version during lockdown. I could go on - there are likely dozens of great covers out there!

"Tomorrow Is A Long Time" is so good. Always seems to bring out the best in him whenever he plays it.

the 1987 versions w/ Benmont Tench and Mike Campbell are sweet:

https://www.youtube.com/watch?v=UCRnD8DJVxM

Tench: For small talk, I said, "What do you want to do for a slow song?" He said, "Do you know, ‘Tomorrow Is a Long Time’?" I said, "Yeah." He said, "Let's do that, just you and me and maybe Mike." When the time came, he started playing “Tomorrow Is a Long Time” with just me and Mike. It was Gothenburg, Sweden, and it was 20,000 people. We had never played it with him before, or with each other. It was transcendent. It was transcendent.

The New York Times: "A correction was made on Dec. 14, 2024: Because of an editing error an earlier version of a picture caption with this article misidentified the role played by Edward Norton. It is Pete Seeger, not Bob Seger."

Dylan went electric after hearing “Old Time Rock n” Roll.” True story.

Against the Mighty Wind

https://www.flaggingdown.com/p/fred-tackett-talks-three-years-playing

In this interview Fred Tackett says that Bob would play Night Moves in tour rehearsals

With Chalamet dressing like Dylan eras on his publicity tour, there was talk online yesterday about his 2002 Newport Folk Festival wig and hat, which led me to listen to the actual show. Enjoying it.

https://www.youtube.com/watch?v=zJ7qlhzzOLw

hi thread, I just bought a cheap vinyl copy of Infidels, geez what a lineup! never heard it before, will report back.

With Chalamet dressing like Dylan eras on his publicity tour, there was talk online yesterday about his 2002 Newport Folk Festival wig and hat, which led me to listen to the actual show. Enjoying it.

I was there. Took forever for Dylan to take the stage. They played that warmup music at one point and then turned it off, and we all waited for at least 20 minutes. There was a big cruise ship at anchor in Newport Harbor right behind the crowd, which the band would have been looking at. The ship finally pulled anchor and started moving up the river. As soon as it passed behind the stage and out of view, Dylan came on. I'm convinced to this day that he demanded the ship leave his line of vision before he performed.

speaking of Dylan love songs, Maria Muldaur's got a good collection---my only complaint is that it's not weird enough---but for instance she did provide my special first time with "Golden Loooom":
http://music.youtube.com/playlist?list=OLAK5uy_nIyJ4izZM6kbZb5BrQJcZdEtoPvam9AUc

but then we already had Marianne Faithfull's "Visions of Johanna":
https://www.youtube.com/watch?v=qKpzSObamHo

https://substackcdn.com/image/fetch/f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F0da3dac6-c68b-4ae8-b2c0-8398d96eb385_3000x3000.jpeg?utm_source=substack&utm_medium=email
If image goes away, it's for

A Complete Unknown: A Listening Companion from Smithsonian Folkways
Written & Curated by Elijah Wald

Bukka White – Fixin’ to Die

Mance Lipscomb – Corrine, Corrina

The Carter Family – John Hardy Was a Desperate Little Man

Jean Ritchie – Lord Randall

Bascom Lamar Lunsford – Mole in the Ground

Sonny Terry – Lost John

Woody Guthrie – Mean Talking Blues

Blind Lemon Jefferson – See That My Grave Is Kept Clean

Lead Belly, Woody Guthrie, Sonny Terry – We Shall Be Free
Audrey Coppard – Scarborough Fair

Big Joe Williams – Baby, Please Don’t Go

Lightnin’ Hopkins – Mojo Hand

Jesse Fuller – Crazy About a Woman

Harvey Andrews – The Patriot Game

The Bently Boys – Down on Penny’s Farm

Pete Seeger – Wimoweh

Mike Seeger – Man of Constant Sorrow

Eric Von Schmidt – He Was a Friend of Mine

Dave Van Ronk – Wining Boy

Ramblin’ Jack Elliott – So Long, It’s Been Good to Know You

Pete Seeger – Wasn’t that a Time

Woody Guthrie – 1913 Massacre

Bob Dylan (Blind Boy Grunt) – Only a Hobo

*New World Singers – Blowin’ In the Wind

The Freedom Singers – We Shall Overcome

Phil Ochs – Ballad of William Worthy

Len Chandler – Father’s Grave

Peter La Farge – Ira Hayes

Bob Dylan (Blind Boy Grunt) – Train A-Travelin'

Nina Simone – Mississippi Goddamn

Dave Van Ronk – Buckets of Rain

*New World Singers had first release of this, according to Wald.