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

. . . 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.