So I’m walking through Greenwich village. Bleecker Street, once heart of the East Coast counter-culture. Once home to beatniks and hippies.
Tag Archives: bob dylan
Dylan in China: An antidote to the nonsense
There’s been a lot of nonsense written about Bob Dylan and his trip to China – as though him singing “Blowin’ in the Wind” would have caused the Chinese government to change their ideals and allow democratic elections and political freedoms.
An Indepth Look at Bob Dylan’s Christmas in the Heart
Bob Dylan
Christmas in the Heart
Columbia Records 88697 57323 2
Making an album of Christmas music would seem to be about as middle-of-the-road and as polite and inoffensive a project as a singer could have. So it would seem. But when Bob Dylan decided to announce the release of his forthcoming Christmas album, it got the online critics’ fires a-blazing!
The cards are no good which you’re holding, unless they’re from another world.
Date: 25 & 26 April 2009
Artist: Bob Dylan
Venue(s): The O2, Greenwich, London & The Roundhouse, Camden, London
Immediately following Bob Dylan’s shows in London this weekend I read droves of reviews complaining. Now I would have expected them to complain about some things – the engineering works that meant there was no tube service heading in or out of North Greenwich on Saturday, the hours of queuing outside of the Roundhouse on Sunday and the insensitivity of the door staff in closing off the toilets, hours before the concert, to those who were having to wait outside, perhaps. But whilst these matters got their own fair share of deserved criticism, it was the artist’s performance which took the lion’s share of negativity – a verdict which left me rather bemused.
One member of the public posted on a messageboard that it was a good thing that Dylan insisted on not using the large screens at the o2 and that he couldn’t work out which one of the distant figures on the stage was Mr Dylan – because if he couldn’t have figured that out, he would have marched down the front and punched poor Bob on the nose.
Now I’ve been a Dylan fan for over thirty years and I know all about the variable quality of his live shows and his periodic apparent disinterest in what the show amounts to and all the rest – but these shows were Dylan at his idiosyncratic best. Sunday night the O2 was the host to that other giant of popular music "Girls Aloud" and if you want to hear crystal clear versions of all the hits just as they were originally recorded, bright colours and dance routines then perhaps that was the show you should have been at. But if you’re going to see Bob Dylan at least judge him on his ability to reach his apparent goals. He will trawl through all his catalogue of songwriting and redesign the melodies on a whim. He won’t talk to the audience much if at all (let’s be fair when he has done this – for example, at his gospel shows in the early 80s, nobody wanted to listen). He won’t pick up his guitar and pretend this is 1962 just because you want him to. But if you want to hear an artist recreating songs from his best known to his most obscure, then perhaps this is the place for you.
The fans are apparently quite happy with his current tour. The band isn’t the most adventurous. He changes the bulk of his setlist most every night – although some of those who watch closest tell me that they can guess what he is going to play according to what night of the week it is. The opener changes each night – The Wicked Messenger, Rainy Day Women, Maggie’s Farm, Gotta Serve Somebody but often according to which day the calendar shows. For example, Sunday night seems most likely to be gospel night. One audience was recently treated to Gotta Serve Somebody, I Believe in You, Every Grain of Sand and Tryin’ to Get to Heaven. Monday night had none of these. There is a kind of perverse logic to all this.
The two nights, then, were very different affairs with the Roundhouse proving the better show partially because of the increased intimacy and better atmosphere of the smaller venue.
Highlights? Saturday had an excellent version of "Things Have Changed" with Donnie Herron echoing the riff on violin. "The Lonesome Death of Hattie Carroll" was all bent out of shape but still has power to make you think about humanity’s inability to treat all of society like human beings. There was a powerful and echo-ey version of "The Ballad of Hollis Brown" which was driven by Tony Garnier on double bass. "Po’ Boy" and "When the Deal Goes Down" were full of all that is best about Dylan’s current work and were drawn close to the versions that you would be familiar with from the albums. For me, the best was "Workingman’s Blues #2" with Dylan cherishing each line and obviously enjoying himself. Saturday also produced indistinct, poor versions of "Rollin’ and Tumblin’" and "Honest with Me" so this was far from a flawless show – but it was good.
Sunday was better. Nothing here was fumbled just different degrees of high quality. The older songs "Don’t Think Twice, It’s All Right", "Leopard-Skin Pill-Box Hat", "Tangled Up in Blue", "Like A Rolling Stone" were straightforward enough renditions and kept the crowd on board when perhaps the attention of the casual visitor might be tempted to drift. "Million Miles" and "High water (for Charley Patton)" were rumbling, threatening and apocalyptic. The peaks were "Ain’t Talkin’" and "Tryin’ to get to Heaven" where the lyrics were biting and heartfelt.
So Dylan in London wasn’t quite a triumph but this was a very good weekend indeed for music . He will always divide opinion (for what it counts for, I think it’s probably part of his intention) but for those who get it, these were shows we should be talking about for years to come.
New Albums on the Horizon (and an old title just to spice the pot)
Two of the artists I respect most have new albums coming in the next few weeks.
First up is Bob Dylan whose new album is due on cd and vinyl on the 28th of April. I think the artwork is dreadful but I’m sure the musical content will be better. It’s called "Together Through Life"
Next is John Foxx who, as I’ve mentioned before, has been working with Robin Guthrie. Their album will also be on cd and vinyl and will appear the first week in May. It’s called "Mirrorball".
On a more personal note, I’ve been working on remastering the sound on three albums for a band from the 70s and 80s called Sad Cafe. I now have a provisional release date for the first of these. The album also called Sad Cafe will be on Renaissance Records in the States on the 21st of April.
I mentioned John Foxx. Another album he has been busy on dropped through my letterbox this morning. This time he’s worked with Steve D’Agostino and Steve Jansen (ex-Japan). I’ve not shown the artwork for this one before so here goes:
Mr Foxx is frighteningly prolific.
What other discs would I recommend at the moment?
Bob Dylan – Tell Tale Signs
Frankie Valli – Romancing the Sixties (one for the nostalgists – but very good!)
Barclay James Harvest – Revolution Days (just happens to feature Ian Wilson and Mike Byron-Hehir from Sad Cafe, did I mention I’ve been remastering for them)
Richie Furay Band – Alive (Catch my interview with him on Cross Rhythms on the web and in Natural Progressions Magazine in the world of print)
Enough for now………….
Dylan Days
Spent a lot of time over the last couple of weeks listening to this "new" Bob Dylan cd "Tell Tale Signs" which is proving a very worthwhile experience. More than anything this compilation of outtakes from 1989-2005 has made me realise how much I appreciate Dylan’s back catalogue. I have a fairly unusual take on Dylan’s albums in that against the prevailing trend I see a lot of worth in his albums of the early to mid Eighties – seeing only the period around "Down in the Groove" as the time that he really lost his vision of his music. Couldn’t choose which of his albums I’d take to a desert island so here’s a complete list of what I think of as his crucial records, in chronological order:
The Times They Are A-Changin’
Another Side of Bob Dylan
Highway 61 Revisited
Blonde on Blonde
Blood on the Tracks
Street Legal
Slow Train Coming
Saved
Shot of Love
Empire Burlesque
Oh Mercy
Time Out of Mind
Live 1961-2000 (Japan only)
Modern Times
If I was going to round it out to 15, then the contenders would be "Bringing it All Back Home", "Pat Garrett & Billy the Kid", "Infidels", "Knocked Out Loaded", "World Gone Wrong", and "Love and Theft". Oops, that makes it 20. Really poor Dylan albums: the aforementioned "Down in the Groove", "Desire" (sorry, awful production), and a number of the official live albums.
More on Tell Tale Signs when I’ve lived with it a little longer – and yes, I do have the three cd set and don’t feel I was robbed……..
Ch-Ch-Changes
It’s been a grim few weeks. But there have been some glittering things in the dross.
First highlight was the Bob Dylan “Drawn Blank” exhibition at Halcyon Art Gallery near Green Park in London. A few years ago, Dylan was a writer and his “Chronicles” book was well-worth the investment. A few months ago, he was given a Pulitzer but I’m not exactly sure what for. This isn’t to imply he doesn’t deserve one. I’m just not sure why then. Now he’s an artist. And somehow he still manages to always be on tour and make the occasional album.
“Drawn Blank” however is a little unusual even by Dylan’s standards. First published in book form in 1994, these drawings were hardly noticed. Then his critical rating was low and nobody cared what he was drawing. Now painted, the “Drawn Blank” exhibition comes at a time when his star is in the ascendancy. Consequently, it is all over the broadsheets (The London Times, no less) and is worthy of an art gallery exhibition on the continent and two here in the London and no doubt some others I’m missing. Then, no-one cared, now the £1250 signed prints are all sold out and the first book is selling for £400 a copy. Strange. Of course, with Dylan, we’ve encountered this before. When he went electric, he was a Judas, until we decided he was a genius. His “Jesus” shows were dire for many, but are now spoken of as amazing feats where an artist like Dylan chose to perform only new songs in a show of passion, energy and commitment. Then few could see past the evangelism and booed his accompanying girl vocalists. I’m waiting for the “Empire Burlesque” reassessment.
I purchased the 1994 book of “Drawn Blank”. I purchased the 2008 book of the same drawings painted. I thought they were okay. Some good, a few very good. However, seeing them extremely well presented at the Halcyon, moved them up a notch in my estimation. Well worth seeing.
Second highlight. John Foxx’s “Tiny Colour Movies” at the Apple Store, Regent Street, London. Musical artist again but this time not paintings but films. Now I’m not much for the world of contemporary commercial films and I hate most cinemas. I do mean hate. So that I have now gone to see “Tiny Colour Movies” three or four times must mean that this set of films has something more going on than simply being the work of one of my favourite musicians and the fact that I have to keep going beacuse despite my persistent requests Mr Foxx will not put it on DVD.
Tiny Colour Movies is a collection of 14 concept pieces assembled from the home movies of a bygone generation. It is moving, thought-provoking, vivid and imaginative. It has a tremendous ambient soundtrack which the artist accompanies his films with, standing alongside, like the pianist adding sound to a silent movie. It is quite, quite wonderful and if it comes to a town near you, I might just follow it there.
Finally, on this smorgasbord of updates, a little baseball. Surprise, surprise. As the trade deadline approaches the Bronx is seeing new faces. First in was Richie Sexson. Now in 2007, Sexson, then at Seattle, hit .205 BA with 21 home runs. Fortunately, he turned this all around by storming to .218 with 11 homers by the first week of July. Not surprisingly, the Mariners released Richmond Lockwood Sexson. I’m not quite so sure why the Yankees decided to sign him later in the month. Perhaps it had something to do with that florid name. At least they didn’t invest in Bonds. I’m not holding my breath for this acquisition to be a great success. Indeed, I’m praying that by the time of my return to the Bronx in September, he will have headed toward waivers. We’ll see.
More significant (hopefully) was the trade made yesterday which has brought Xavier Nady and Damaso Marte over from the Pittsburgh Pirates. Marte, who actually spent a little while in the Yankees system a few years ago but never made it to 161 St. and River Avenue, is that crucial item a left-handed relief pitcher. Occasional promotions for Billy Traber and Kei Igawa have not added such a thing to the roster for very long. Marte with his 3.47 ERA, 4 Wins (no losses), and 5 saves seems a much better prospect.
Nady is a good addition at least because Matsui and Damon are not likely to see much time in the outfield for the remainder of the season. However, there may be more. His contract has another year beyond 2008 and he is 5 years younger than Damon. He is batting .330 with 13 home runs. There might be quite a lot in this for the Bombers.
A slight downside to this came in the final detail of the trade. The original detail suggested that the Yankees were giving up Ross Ohlendorf and three minors who were barely on my radar. Now Ohlendorf looked good earlier in the year but then his mechanics fell apart and he might not be a huge loss but I was a little more disappointed with today’s update. The news is that the Pirates final list for the trade sees Jeff Karstens heading over to Pittsburgh. Now I’m not sure quite where Karstens’ career was headed (he’s been rather injury prone) but I’ve followed his career since seeing his early appearances for the Staten Island Yankees some years ago. I’m disappointed that he will never be established in the Bronx. It was an interesting journey.
The final footnote to this was that the very disappointing LaTroy Hawkins was designated for assignment and that Kei Igawa was removed from the 40-man roster and outrighted to Scranton (AAA). The Yankees are paying him in excess of $5 million – and they finally seem to have given up on him. Now that’s an amazing story.
People are crazy, times are strange…….
When I’m going through difficult times (like now) I tend to rely on music to get me through. One album that’s carrying me along at the moment is a Bob Dylan cd which has had a limited circulation. Although released as recently as 2001, it was only made for the Japanese market at the time that Dylan was about to tour there. Entitled Bob Dylan Live 1961-2000 – Thirty Nine Years of Great Concert Performances, it culls tracks, many that have not been on cd elsewhere, from all across his career.
So what’s on here?
Somebody Touched Me. Country gospel hymn recorded in 2000. His current set list could do with some of this kind of innovation to break it up a little.
Wade in the Water. More traditional gospel but this time recorded in 1961 – a long, long time before anyone was asking about his religious beliefs. Acoustic folk.
Handsome Molly. From 1962. The lyrics have echoes from something from Modern Times. Part of the Gaslight Tapes.
To Ramona. From 1965. Dylan works words like no-one else and this has him at his youthful best.
I Don’t Believe You. 1966. It used to sound like this…….. Dylan has gone electric and one of my favourite songs from the 1964 period is reworked and sent soaring.
Grand Coulee Dam. 1968. Recorded as a tribute to his mentor, Woody Guthrie.
Knockin’ On Heaven’s Door. 1974. One from an album that has been available forever. It was originally on “Before the Flood”. Along with the version on the “Hard to Handle” video performance this is my favourite of the live recordings of this classic track.
It Ain’t Me, Babe. Recorded during the filming of Renaldo and Clara and filled with all the ramshackle glory and energy that dominated the Rolling Thunder Revue.
Shelter From the Storm. 1976. Again commonly available on Hard Rain but let’s face it that’s an album you’re never going to need all of. This is one of the better moments from that album. I’d have gone for “I Threw it all Away” or “Idiot Wind” but this will do.
Dead Man, Dead Man. 1981. Everybody now realises that for an established artist to go on stage with a setlist made up entirely of new songs virtually never happens. We have realised too late that Dylan live during the Slow Train / Saved period was simply amazing. It’s time for a full release of one of those shows in the Bootleg Series. Until that happens, then a performance of this song from Shot of Love from the following tour will have to do. Very cool indeed.
Slow Train. 1987. Originally released on “Dylan and the Dead”, the live album from his tour with the Grateful Dead. No-one needs that whole album but this proves that if you dig deep enough there are golden nuggets even there.
Dignity. 1994. From “Unplugged” which is another album that you don’t really need. This song was originally left off “Oh Mercy”. Now for a song to be left off a Dylan album is the recipe for it to be regarded as a work of genius. For someone that his fans call a genius, they sure don’t trust his judgement. Indeed, this is a very good song but I’m not sure it would have added to the album. Great performance here.
Cold Irons Bound. 1997. The studio version was on “Time Out of Mind”. Here, it seems a little rootless but it is still a fine reading of this vital song.
Born in Time. 1998. “Under the Red Sky” is a neglected album which whilst some songs were under-realised, is still a very worthwhile record which Dylan obviously rates. This is a fine performance of a great song.
Country Pie. 2000. Just proves that Dylan songs don’t have to be profound and mean something. Originally on “Nashville Skyline”, this song just argues for the virtues of country music. You don’t have to agree with him to enjoy hearing the old guy having fun for once.
Things have Changed. 2000. Classic song. Like on the 1979 album, Dylan is waiting on the last train. Like in 1980 he tells us what is going to happen if the Bible is right. But times as well as things have changed by now and so this time we gave him an award. The song deserves it. The live performance shows Dylan working out the truth in his own words.
This Japanese album is difficult to find. You can get all the songs on iTunes but only if you buy all their Dylan collection. I can only say that, even so, they are well worth seeking out.
The Goths are at the door……….
No, not the guys who dress in black. Guys who dress in black can actually be quite approachable.
I’m thinking about Titus Andronicus at the moment. I’m sure it has something to say about Empire and its nature but I’m still trying to work all this out.
Titus Andronicus, for those who don’t know, is a neglected play by that little known writer William Shakespeare. I’m only joking about Shakespeare being little known. Titus Andronicus is a neglected play. Principally, I think, because, it is probably Shakespeare’s most violent play. It includes someone having her tongue cut out, being raped, having her hand cut off. You get the idea. You can do that in the cinema and say nothing but if it’s Shakespearean drama and it has something to say you’d better look forward to it seldom being performed.
But what does it have to say? Now there’s the question. The Romans and the Goths are at war. The General Titus Andronicus returns victorious but with 21 of his 25 sons sacrificed in the battles. He decides to humiliate the Goth prisoners who return to Rome in his train. The Goths in their midst become more cultured during their stay in Rome. The Romans display the barbarism they had until now associated with the Goths. By the end of the play, Titus Andronicus’ son has ascended to the throne and he is enabled to achieve this goal by the Goths that his father had sought to humiliate.
Empire is a very current idea. The Americans and assorted allies invade Iraq to remove a corrupt leader but also to export democracy. The kind of rights that are traditionally associated with democracy are meanwhile denied those who are prisoners-of-war at Guantanamo Bay.
Heather James in her important essay, “Cultural disintegration in Titus Andronicus” has this to say:
“the founding acts of Empire turn out to contain the seeds of its destruction”
Something like this is afoot in the world at the moment. The Chinese seem to be exporting their Empire to Africa by stealth and by financial interest. Examine what’s happening in Congo and Ethiopia. Sell us your resources and we will build you roads and train lines. Ships of Chinese weapons are stopped at South Africa en route to Robert Mugabe. Meanwhile, China stifles Tibet back home. Beware of Empire-makers bearing gifts. Africa needs to wake up before it gives away the little it has left……..
GK Chesterton said , in “The Flying Inn”, that the great destiny of Empire was in 4 acts. “Victory Over Barbarians. Employment of Barbarians. Alliance with Barbarians. Conquest by Barbarians.”
There is a theme here somewhere. Something about the fact that on order to create your Empire you must defeat your enemy, and in order to defeat your enemy, you must stoop to the level of those you came to enrich, to exploit and make wiser. In order to build your Empire you must become worse than those you came to improve. This is certainly true of the Romans in Titus Andronicus and perhaps of all attempts at Empire.
There are, of course, those who rise above and survive. Speaking of the people of God, Bob Dylan reminded us “every empire that enslaved him is gone – Egypt and Rome, even the great Babylon” (Neighbourhood Bully, 1983).
Even the Eagles remind us on their new record that the “road to Empire is a bloody stupid waste” (Long Road out of Eden, 2007). Despite all these great voices ranged around to remind us, the wise ones still try to build empires to export their ways. It cost Titus Andronicus his sanity and the Romans the world they had re-created. It might cost us more, if we don’t learn the lessons of this play and our history.
It went around the world!
A few years ago I wrote an article about Bob Dylan. Today someone sent me a review of it from Australia which was written on the 8th of February 2008. I’m quite pleased that people are still discussing it! I don’t have the link to hand but the original aricle is on the ‘net. Try googling Darren Hirst (that’s me), Bob Dylan.