# The Bob Dylan Depository Thread (CF+LUMMEX+POLAROID SEA!)



## cardinalfire (Dec 10, 2009)

The three of us are uniting to create a Dylan exclusive thread!:happy: 
Feel free to discuss any songs, lyrics, bio's, movies, songs about, covers, parodies etc of his bob-ness










*INTRODUCTION*

*For those who aren't familiar with his Bobness, he is basically a very influential rock/pop singer. Who from the 1960s has been blasting out tune after tune, some more popular than others, though so MANY people, artists and the record buying public love this guy. Disagreements are usually over the sound or ability of his voice, though most are in agreement that the man without a doubt has a talent for songwriting.*

*Here are some of his well known tunes:*

*1. Blowin' in the wind*
*2. Times they are a changin'*
*3. Like a Rolling Stone*
*4. Lay Lady Lay*
*5. Positively 4th Street*
*6. All Along the Watchtower*
*7. It Ain't Me Babe*
*8. Knockin' on Heavens Door*
*9. Subterranean Homesick Blues*
*10. Mr Tambourine Man*

*Some of the fan favourites are:*

*1. Visions of Johanna*
*2. Tangled Up In Blue*
*3. Sad Eyed Lady of the Lowlands*
*4. My Back Pages*
*5. Shelter from the Storm*
*6. I Want You*
*7. It's Alright Ma*
*8. Desolation Row*
*9. Don't Think Twice, It's Alright*
*10. Sara*

*Some Key albums:*
*1. Freewheelin' Bob Dylan *
*(The sophomore record, with the begins of genius emerging)*
*2. Bringing It All Back Home*
*3. Blonde on Blonde*
*4. Highway 61 Revisited*
*(The White hot 60's trilogy - Peak DYLAN!)*
*5. Blood On The Tracks *
*(The comeback album)*
*6. Desire*
*(Album not given enough credit for)*
*7. 30th Anniversary Concert*
*(Cameo Cover albums, featuring George Harrison, Eric Clapton and other stars)*
*8. Modern Times*
*(The contemporary good album)*
*9. Bootleg Series Vols 1-8*
*(Different out-takes, live versions, unreleased material)*
*10. Basement Tapes*
*(What a man can do with a house and a band to himself... Get the bootleg version... "I didn't tell you that though :wink:")*

*Enjoy the introduction to Bob... Hopefully you will have a lifelong friend who will deliver you great songs through your headphones...:happy:*


----------



## cardinalfire (Dec 10, 2009)

*CF guide to the Albums : Part One*

*Blood On The Tracks, the comeback*

In many ways Dylan returned to form with his 1975 release Blood On The Tracks, he had come back from Asylum Records to his home Columbia Records, had returned from the fire of a broken marriage and most importantly.... he was writing songs that people enjoyed again... here is Blood On The Tracks...



When you put Blood On The Tracks on for the first time you hear this ...





 
"Early one morning, the sun was shining, I was lying in bed, wondering if she changed at all, if her her was still red...'' 

So says the narrator of this first track. The trouble is, we don't know who this is... Is Dylan relating his past experiences to us in a way that only he knows how? Was he thinking about his recent marriage, with wife Sara Lowndes, that had now crumbled to pieces? Or is the narrator a different commentator altogether? One that perhaps has been through what Dylan went through though stood on the sidelines and never got exposed?

Throughout Blood On The Tracks, their is a sense of melanchony and longing throughout all of the characters and their observations. One guy blames his misfortunes on a "Simple twist of fate", another espouses that he has "Buckets of rain and buckets of tears". The album itself is more than another break up album though, Dylan had spent two months in the spring of 1974, studying painting under Norman Raeben in New York. Afterwards he claimed: ‘It changed me. I went home after that and my wife never did understand me ever since that day’. 

Norman took students under his wing, and encouraged them to see objects in a way that they hadn't before, and one get's the sense that this effected Dylan's songwriting, for what we find in Tangled Up In Blue, is not one but many characters, all sharing in the same story. In 1978, Dylan recalled that his time with Raeben "locked me into the present time more than anything else I ever did...I was constantly being intermingled with myself, and all the different selves that were in there, until this one left, then that one left, and I finally got down to the one that I was familiar with...[Raeben] taught me how to see...in a way that allowed me to do consciously what I unconsciously felt. And I didn't know how to pull it off. I wasn't sure it could be done in songs because I'd never written a song like that. But when I started doing it, the first album I made was _Blood on the Tracks_. Everybody agrees that that was pretty different, and what's different about it is there's a code in the lyrics and also there's no sense of time." Something more than the Fine Art studies had rubbed off on Dylan.

A little red book note book and some sessions in New York City lead to the recordings of some the greatest Dylan numbers. The first session was to be held on September 16th, with Dylan himself producing and Phil Ramone engineering. Dylan recorded at least nine songs during that first session, and at least six of them were recorded with Deliverance. Master takes of "Lily, Rosemary and the Jack of Hearts," "Meet Me in the Morning," and "Idiot Wind" were successfully recorded at this session and set aside for the album, but the rest of the recordings were deemed unsatisfactory. 





 
Another session was held the following day; At this session, master takes of "You're a Big Girl Now," "Shelter from the Storm," and "You're Gonna Make Me Lonesome When You Go" were successfully recorded and set aside for the album.

That next session came on the 19th. At this session, Dylan successfully recorded master takes of "Buckets of Rain," "If You See Her, Say Hello," "Simple Twist of Fate," "Up to Me," and "Tangled Up in Blue," which were set aside for the album. 

Recording was deemed complete, but during the preliminary mixing and sequencing of the album, Dylan realized he had to remove one, possibly two of his chosen songs as the final product would have been 58 minutes in length, too much for a single LP but too short to give a double LP release serious consideration. As a result, "Up to Me" was excised, eventually seeing release on 1985's boxed-set retrospective, _Biograph_.






 
Dylan had completed his album in less than a week, and Columbia was now preparing to release it by Christmas. Test pressings were eventually made and Columbia was soon printing sleeve artwork as well. On his return to Malibu, Dylan played his own test pressing to a number of friends, including Robbie Robertson. However, when Dylan went to see his younger brother, David, in Minneapolis, David apparently convinced Dylan that the album would never "sell." Put off by the album's stark sound, David convinced Dylan to re-record half of the album in Minneapolis with local musicians that he would assemble at a studio he knew well. The decision would force Columbia to push back the release date for _Blood on the Tracks_.


Hence why you will never hear this on track seven of your LP or CD...





 
or this on track three ...





 
The musicians reported to Studio 80 in Minneapolis on Friday, December 27th. Dylan proceeded to re-record "Idiot Wind" backed by these local musicians, but sometime afterwards, rather than end the session, Dylan informed Engineer Paul Martinson that he wanted to record "You're a Big Girl Now." 
On December 30th, the local musicians, re-convened at Studio 80, where Dylan proceeded to re-record "Tangled Up in Blue," "Lily, Rosemary and the Jack of Hearts," and "If You See Her, Say Hello."

The re-recording of Idiot Wind became something of a mini phenomenon years later when Dylan released Hard Rain, a live show in which he performed this song as a finale in front of former wife Sara. The three versions that are now in existence each have their own signature stamp. The first is angrier, upsetting almost, the second calm and relaxed and as for the live version... well judge for yourself...





 

One story that circulated was that Allen Ginsberg's inclusion on Dylans Rolling Thunder Tour in the 1970s started because of a comment that Ginsberg had sent Dylan regarding the lyrics of this song:

"Idiot wind, blowing like a circle around my skull,
From the Grand Coulee Dam to the Capitol."

Ginsberg apparently noticed that there is a relationship between Dylans use of Skull of Capitol here. The double meaning of capitol, also meaning the capitol or capital of the human body, which is the head or skull. This subtle connection Ginsberg identified, so the story goes. Whether this story is true or not, the connection is definitely there, and if this is something Dylan does regularly I would love to know, it seems that there are a lot more going on in the narrative of his lyrics then we truly know yet. The whole song revolves around a narrator blaming the other for how he feels 'you're an idiot babe, it's it a wonder you still know how to breathe' (kudos for that wit alone!), and how he finally comes to take responsibility for his own behaviour and emotions, and the emphasis shifts from 'you' to 'we':

"You'll never know the hurt I suffered nor the pain I rise above,
And I'll never know the same about you, your holiness or your kind of love,
And it makes me feel so sorry.
Idiot wind, blowing through the buttons of our coats,
Blowing through the letters that we wrote.
Idiot wind, blowing through the dust upon our shelves,
We're idiots, babe.
It's a wonder we can even feed ourselves."

Similar 'codes' like the 'capital/skull' association exist in other tracks on the album. Dylan has said. “There’s no respect for it. You’ve got yesterday, today and tomorrow all in the same room, and there’s very little you can’t imagine not happening.” Like most of the songs on _Blood on the Tracks_, “Tangled Up in Blue” has been subject to lyrical tinkering, some which make the perspective shifts more noticeable.
In 1984, the song went like this:

“She was married when they first met,
to a man four times her age.
He left her penniless, in the state of regret,
it was time to bust out of the cage.
…and she turned around to look at him
as he was walking away.
She said I wish I could tell you all the things
that I never learned how to say.
He said thats alright babe I love you too,
but we were tangled up in blue.

…and all the time he was alone,
the past was close behind.
he had one too many lovers then,
and none of them were too refined,
all except for you,
but you were tangled up in blue.

….and when it all came crashing down,
I was already south.
I didn’t know whether the world was flat or round,
I had the worst taste in my mouth,
that I ever knew,
tangled up in blue.

…some are masters of illusion,
some are ministers of the trade.
All under strong delusion,
all of their beds unmade.
Me I’m heading toward the sun,
trying to stay out of the joint.
We always did love the very same one.
We just saw her from a different point
of view,
tangled up in blue”

During the New York sessions, Dylan recorded "Tangled Up in Blue" in the key of E with an open-tuning configuration. When he began sessions in Minneapolis, Dylan raised the pitch, performing the song in the key of G. 





 
This version is much more angrier and forceful than the album version, and if you listen closely you can hear Dylans shirt sleeve brushing against the side of his guitar. (Personal note - to think that this was potentially going to be released as a final track without any 'corrections' is something I find very honest about Dylan and his work.)

"Lily, Rosemary and the Jack of Hearts" was arranged in the key of D, and when Dylan realized that the harmonicas he brought were not in the same key, there was only ever one take recorded at these sessions, with Dylan using an A harmonica and can be heard throughout the introduction scrambling to find notes that worked on the mismatched instrument. 

A since fan favourite "If You See Her, Say Hello" was the last song recorded at the January 30th session. Master takes selected from the December 30th session would replace the 'New York' master takes on the final album the revised edition of _Blood on the Tracks_ was eventually released on January 17th, 1975, but test pressings of the original version were eventually replicated and heavily bootlegged. 

When _Blood on the Tracks_ was released, the original album credits were not changed, omitting the Minneapolis musicians from the sleeve notes. Columbia allegedly wanted to exhaust their supply of album sleeves (printed before Dylan's decision to hold additional sessions at Studio 80), after which new sleeves would be printed with the correct album credits. However, this was never done, and subsequent re-issues of _Blood on the Tracks_ still incorrectly list Deliverance as the only musicians involved.


(sources: my own knowledge, Blood on the Tracks: Encyclopedia II - Blood on the Tracks - Writing and recording <i>Blood on the Tracks</i> , Home Page | Bob Dylan, The 30 Greatest Bob Dylan Songs: #10, “Tangled Up in Blue” | American Songwriter)


----------



## Gabbi (Nov 12, 2009)

I only knew Blowin' In The Wind, Times They Are A-Changin', Knocking On Heaven's Door and Dignity before. And I didn't even know they were from Bob Dylan ¬_¬
Thank you for posting that!


----------



## cardinalfire (Dec 10, 2009)

Yeah I also here that from those who are new to Dylan, always always always, they mention Knockin on Heavens Door. I bet Guns n Roses have something to do with that. Everyone knows All Along The Watchtower because of Hendrix.

Dignity is amazing though, I love hearing that again after I haven't for a while.





 
and here is John Lennon's funny parody of Dylan


----------



## polaroid sea (Dec 19, 2009)

*this wheel's on fire*

holy moses, you MADE it. 
i do believe i adore you. 

LOVE LOVE LOVE idiot wind. my favourite's the acoustic version from the bootleg series. 

bob in this moment? total badassity achieved. play it FUCKING LOUD.






and i love his harmonica here. and the grace with which he just COMMANDS the air around him.






and this song, this version, practically makes me seize. pristine. gorgeous.






and one of my favourites from desire.






and this






crying like a banana in the sun






love john's bob parody too. and even moreso, their utterly stoned cab conversation in london.


----------



## cardinalfire (Dec 10, 2009)

HA! I did have the live bootleg with that rolling stone on it!

I DON'T BELIEVE YOU! (play it fucking loud...) I love how it kicks in after he says that on the record...

I love how the people are still sitting down and not moving whilst they play the track, if that was me, I would be boogie-ing about in the front row. Who said Judas? Who said that? You come down here! I'll bop you right on the nose!










Desolation Row and Baby Blue are tunes, definitely in my top ten Dylan tracks.


----------



## saynomore (Feb 27, 2010)

Bah, I feel left out...

Here is a dreamier version of idiot wind with a few altered lyrics...





Can't leave out Scorsese's The Last Waltz, a must-see for the Dylan faithful





Strangely, this is my general disposition on telephones too...





I don't remember seeing this episode...





and to round it all off, Dylan singing Cohen (live)





I may post more over the break, but right now there isn't much in the way of time. Great thinking, this is easily my favorite thread. I pose this question for some of you die-hards though: In the bootleg version of Every Grain of Sand, many claim that there's a dog barking in certain parts. However, I've always maintained that those are backup singers. It's too in sync with the song, but if it is a dog he/she deserves to credited on the album. So humor me, what do you think?


----------



## firedell (Aug 5, 2009)

He can't sing in my opinon. *hides*


----------



## cardinalfire (Dec 10, 2009)

inebriato said:


> He can't sing in my opinon. *hides*


*aims gun* *red dot appears on Inebriato's forehead*

No seriously, he has never said that he did, and it just all about the lyrics really and the melodies. Forget the voice, though for the faithful, it really doesn't seem to matter.


----------



## cardinalfire (Dec 10, 2009)

saynomore said:


> Great thinking, this is easily my favorite thread. I pose this question for some of you die-hards though: In the bootleg version of Every Grain of Sand, many claim that there's a dog barking in certain parts. However, I've always maintained that those are backup singers. It's too in sync with the song, but if it is a dog he/she deserves to credited on the album. So humor me, what do you think?


Thank you, the three of us (Lummex.PS. and me!) concieved this thread idea.

I totally feel it is a dog, I am going to go back and have another listen, though I totally heard a dog before I even read the liner notes.


----------



## saynomore (Feb 27, 2010)

inebriato said:


> He can't sing in my opinon. *hides*


Sacrilege! She's a witch I tells ya!

Seriously though, it took me several months to warm up to that "sand and glue" voice as Bowie called it. Now it's the most beautiful voice to me that's ever sung, not classically speaking but in a very human way. If you don't find it pleasant, you most certainly will stop your ears when you hear Tom Waits gravelly gurgling. Sounds like the cookie monster, looks like fozzie bear. Love all three.


----------



## cardinalfire (Dec 10, 2009)

saynomore said:


> If you don't find it pleasant, you most certainly will stop your ears when you hear Tom Waits gravelly gurgling. Sounds like the cookie monster, looks like fozzie bear. Love all three.


HA HA! So true...

*sings - Don't you know there ain't no devil, it's just God when he's drunk*


----------



## saynomore (Feb 27, 2010)

Aye or better yet, God's Away On Business. Roomful of emus anyone?

Bobby-D





Slightly humorous





Also, if any of you can find it, there is this song left off of Shot of Love called Ah Ah Ah (Ha Ha Ha). It seems to fallen off the face of the earth. As far as I know only one rough outtake of it exists. It used to be on youtube but has long since disappeared. I've done some serious digging around and have come up empty handed. You can't even understand 1/2 of the lyrics but it doesn't matter, it's just that good.

Interestingly enough, Dylan once showed up to Sting's birthday party (invited) many years back and gave him a bullet. With thanks Sting didn't know quite what to make of the gift, but assumed there was no ill-will involved haha. The account given is on a 90s interactive cd of Sting's, which also seems to have disappeared from the known world.

Enjoy Bob Dylan, indeed.
Bob Dylan - a set on Flickr


----------



## Perseus (Mar 7, 2009)

cardinalfire said:


> "You'll never know the hurt I suffered nor the pain I rise above,
> And I'll never know the same about you, your holiness or your kind of love,
> And it makes me feel so sorry.
> Idiot wind, blowing through the buttons of our coats,
> ...




Sounds to me the INTP Dylan x INFP 

NF Idealists can behave like idiots. That is if they use Feeling as their prime mode. Trouble occurs if they suppress Intuition. 

FIPN-"the veterinarian"- Healers in every sense of the word, these are like the FINP, but they tend to focus on the physical body of the "patient" first.​

 

The problem is their Guardians SJ as far as everyone else is concerned.


----------



## Perseus (Mar 7, 2009)

*
What type is Bob Dylan?*

What type is Bob Dylan?



At the film's savage climax, Friend attacks Uncle Sweetheart, and is in turn attacked by Fate then Cupid - who murders him. As we watch the journalist bleed to death, it's hard not to think that Fate/Dylan is getting his revenge for a lifetime of intrusion - but when Fate is falsely accused of the murder, and taken off for sentence, we realise that things are not as straightforward as that.


http://www.sonyclassics.com/masked/andrew-motion-essay.html


The recurring message of the Wicked Messenger throughout Dylan's poetry.


And the acceptance of Fate.


There was a wicked messenger
From Eli he did come,
With a mind that multiplied
The smallest matter


http://www.lyricsdirectory.com/index/B/Bob%20Dylan/Bob%20Dylan%20-%20The%20Wicked%20Messenger%20lyrics.htm


Been treated like a farm animal
On a wild goose chase


East of the Jordan, hard as the Rock of Gibraltar,
I see the burning of the page, Curtain risin' on a new age,
See the groom still waitin' at the altar.


Try to be pure at heart, they arrest you for robbery,
Mistake your shyness for aloofness, your shyness for snobbery,




http://www.metrolyrics.com/the-grooms-still-waiting-at-the-altar-lyrics-bob-dylan.html


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 electricity howls in the bones of her face


The cloak and dagger dangles
Madams light the candles
In ceremonies of the horsemen
Even the pawn must hold a grudge


http://www.tsrocks.com/b/bob_dylan_texts/love_minus_zero.html




http://www.mp3lyrics.org/b/bob-dylan/visions-of-johanna/diff-1.htm




Do the kill-crazy bandits and the haters get you down?
Does the preachin' and the politics spin your head around?
Does the burning of the buses give your heart a pain?
Then you heard my voice a-singin' and you know my name.


Bob Dylan
http://bobdylan.com/songs/atravelin.html


​


----------



## cardinalfire (Dec 10, 2009)

Perseus it seems like you are either a) on to something (which I don't know what that is!) or 
b) totally nuts...:tongue:


----------



## Sily (Oct 24, 2008)

My fav Bob Dylan song: Jokerman






Bob Dylan Victoria Secret ad


----------



## cardinalfire (Dec 10, 2009)

OH NO! NOT THEEEEEE ADVERT! That is like the black mark on Dylans whole career lol... I find it embarrasing to say i'm a fan and simultanouesly know he did this. I wish I never found out about this advert lol...

I love how Q mag described it as an elderly vampire stalking his prey lol... classic...


----------



## cardinalfire (Dec 10, 2009)




----------



## Sily (Oct 24, 2008)

cardinalfire said:


> OH NO! NOT THEEEEEE ADVERT! ...


I thought it was a good advert, I really did. Supposedly in the 60's when he was interviewed, he answered the question of "what would you ever sellout for..?" and he said "ladies undergarments".


----------



## cardinalfire (Dec 10, 2009)

Sily said:


> I thought it was a good advert, I really did. Supposedly in the 60's when he was interviewed, he answered the question of "what would you ever sellout for..?" and he said "ladies undergarments".


Yeah he did, lol maybe that's why he did it? Who knows? Lol, the woman in it, is hot. It does seem that Dylan's Character is a little pervy lol..


----------



## saynomore (Feb 27, 2010)

So legend has it, seems as though the company contacted him...maybe they heard of said interview before too and thought it was worth a shot? Haha. Gotta love Bob's pencil mustache.

Bob Dylan looks for commercial success as Secret partner | Houston Lifestyle & Features | Chron.com - Houston Chronicle


----------



## saynomore (Feb 27, 2010)

cardinalfire said:


> I love how Q mag described it as an elderly vampire stalking his prey lol... classic...


Haha, I suppose he does have a certain Mr. Burnsness quality these days.


----------



## Perseus (Mar 7, 2009)

*Code*



cardinalfire said:


> Perseus it seems like you are either a) on to something (which I don't know what that is!) or
> b) totally nuts...:tongue:


Dylan writes an imaginary (lots of imaginings) code (which why he finds it so easy to find the rich words). It is a complex psychology, which I happen to know (in parts). 

I found a Promoter who nearly fell off the floor.

Promoter is the designated ESTP in the Jungian MBTI System (I use my own system). These are the entrepreneurs, often ingenious, often ruthless, opportunist, sometimes failures, sometimes successful. Perseus Code has them as the Big Cats. 

The same Promoter in Masked & Anonymous. The same theme has been with Dylan since the beginning. It is a perennial philosophy and is not unique to Dylan, but used by all the finest writers. 

Some references are much more difficult, e.g. Eden (Gates of Eden, Changing of the Guards), Eli (Wicked Messenger). 

The journalist is ENFP. The one who gets bashed over the head at the end of Masked & Anonymous. He might be ESFP though.


----------



## Perseus (Mar 7, 2009)

My top 16 Dylan songs (genius level poems) to fit on an CD/album:

When The Ship Comes In
Ballad In Plain D
Love Minus Zero / No Limit
One of Us Most Know
She Belongs To Me
Sad Eyed Lady Of The Lowlands
Wicked Messenger
The Ballad Of Frankie Lee And Judas Priest
Three Angels
Idiot Wind
Lily, Rosemary And The Jack Of Hearts
Oh Sister
Changing Of The Guards
Where Are You Tonight (Journey Through Dark Heat)
The Groom's Still Waiting At The Altar
I And I
Handle with Care
Tweeter & The Monkey Man


----------



## cardinalfire (Dec 10, 2009)

Perseus said:


> It is a perennial philosophy and is not unique to Dylan, but used by all the finest writers.


It is.... what?

Are you saying Dylan actively puts Jungian Myers Briggs Temperaments into his songs? Lol I doubt that somehow...


----------



## Perseus (Mar 7, 2009)

*Man Gave Names to all the Animals (Supplementary Last Verse)*



cardinalfire said:


> It is.... what?
> 
> Are you saying Dylan actively puts Jungian Myers Briggs Temperaments into his songs? Lol I doubt that somehow...


Nope, he studied the same literature as Jung and Keirsey and MBTI. Convergent research arriving at approximately the same position. I did the same thing with my Perseus System and it happened to coincide with MBTI in a lot of ways, and MBTI filled in the gaps about character types I was not familiar with like ESFJ





Man Gave Names to all the Animals (Supplementary Last Verse)
Original words:

Songs | Bob Dylan

Changed words:

Two legged animal without any thought
He liked to open his mouth and began to talk
Fashioned some crayons and began to draw
Think I'll call it the law


----------



## cardinalfire (Dec 10, 2009)

So you are just saying he read the same books as them and it inspired him?


----------



## Sily (Oct 24, 2008)

Perseus said:


> My top 16 Dylan songs (genius level poems) to fit on an CD/album:
> 
> When The Ship Comes In
> Ballad In Plain D
> ...


Anyone reading this like to record these and put in a Zip file so we can have to listen to and put on our iPod's? Hmmmm... anyone? We can call it The Perseus mix. I haven't heard oh.. about 14 of these songs.

It would be cool if we had a section for files to download from Users. User created mixes and such. I could make an INFP chill mix.


----------



## saynomore (Feb 27, 2010)

Well, I have most of those, but am slightly computer illiterate so the zip file's a no go, but the next best thing you can find below.

The Perseus Mix

Changing of the Guards' melody is eerily similar to Animal Hospital's theme










Before being remastered Street Legal was an overlooked masterpiece. Where Are You Tonight w/ lyrics.





Epic-long narrative tune. I don't believe he's ever played it live.





The last two songs on that list are from the Traveling Wilburys (Petty, Harrison, Dylan, Orbison, and Jeff Lynne of ELO), but were penned by Dylan...the last one was in no way lyrically collaborative. Clearly I need to find something to do with myself...a few of the others can be found on youtube.


----------



## Perseus (Mar 7, 2009)

*Still on Tapes*



Sily said:


> Anyone reading this like to record these and put in a Zip file so we can have to listen to and put on our iPod's? Hmmmm... anyone? We can call it The Perseus mix. I haven't heard oh.. about 14 of these songs.
> 
> It would be cool if we had a section for files to download from Users. User created mixes and such. I could make an INFP chill mix.




This was the plan. Most of my Dylan is still on tape (taped from vinyl in the 1970s). CD and computer stuff is handicapped by a need for a new computer.

In fact, my electronic communications stuff is still the last decade of the 20th century. Needs a wholesale upgrade.


----------



## cardinalfire (Dec 10, 2009)

The perseus mix is great mix. I had a weird dream last night where I was singing Oh Sister to some people, lol, not sure what that was about...


----------



## Perseus (Mar 7, 2009)

*The Fates*



cardinalfire said:


> The perseus mix is great mix. I had a weird dream last night where I was singing Oh Sister to some people, lol, not sure what that was about...


Oh Sister is a weird song.


----------



## polaroid sea (Dec 19, 2009)

Perseus said:


> Oh Sister is a weird song.


i quite enjoy this cover of it


----------



## Perseus (Mar 7, 2009)

I l;ost all my records in a fire. Has anybody got this one:


The Rock Machine Turns You On
From Wikipedia, the free encyclopedia
The Rock Machine Turns You On - Wikipedia, the free encyclopedia
The Rock Machine Turns You On
Compilation album by Various artists
Released 1968
Genre Rock
Label CBS
Various artists chronology
The Rock Machine Turns You On
(1968) Rock Machine I Love You
(1968)

The Rock Machine Turns You On and its follow-up, Rock Machine I Love You, were bargain priced sampler albums, released by CBS Records in the UK, The Netherlands and a number of other European countries in 1968.


----------



## cardinalfire (Dec 10, 2009)

No I don't, why is it relevant to Dylan? I see the first track is a Dylan one. Are you making a zip of your mix then?


----------



## Sily (Oct 24, 2008)

Perseus said:


> ..The Rock Machine Turns You On and its follow-up, Rock Machine I Love You, were bargain priced sampler albums, released by CBS Records in the UK, The Netherlands and a number of other European countries in 1968.


Oooo... I shall try to find this and update this page, if I can find it. I love a good challenge to find!


----------



## Sily (Oct 24, 2008)

Sily said:


> Oooo... I shall try to find this and update this page, if I can find it. I love a good challenge to find!


I'll keep looking but all I've been able to find is this. I am sorry, no BD in this. I'll keep looking.

Getting back to the more usual type and era of music that you find on Rare MP3, here is a compilation of music from the late 60s, originally released on two albums called "The Rock Machine Turns you on" and "Rock Machine I love you". These albums were combined into one Cd and reissued as "The Best Of The Rock Machine Turns you on" in 1989. At the present it is selling for 165 Pounds on Amazom Uk.

The Rock Machine Turns You On - Wikipedia, the free encyclopedia

Rock Machine I Love You - Wikipedia, the free encyclopedia


01 Can't Be So Bad - Moby Grape (3.25)
02 Fresh Garbage - Spirit (3.11)
03 I Won't Leave My Wooden Wife For You - The United States Of America (3.52)
04 Turn On A Friend - The Peanut Butter Conspiracy (2.20)
05 Sisters Of Mercy - Leonard Cohen (3.34)
06 My Days Are Numbered - Blood, Sweat & Tears (3.18)
07 Killing Floor - The Electric Flag (4.09)
08 Come Away Melinda - Tim Rose (3.37)
09 More & More - Blood, Sweat & Tears (3.02)
10 Stone Soul Picinic - Laura Nyro (3.46)
11 Stop - Al Kooper, Mike Bloomfield (4.16)
12 You Ain't Goin' Nowhere - The Byrds (2.33)
13 Somebody to love - Grace Slick & The Great Society (4.21)
14 Hey, That's No Way To Say Goodbye - leonard cohen (2.55)
15 See To Your Neighbour - The Electric Flag (2.33)
16 Ball & Chain - Big Brother & The Holding Company (9.03)
17 Time - Dino Valente (3.04)
18 A Lot Of Love - Taj Mahal (4.02)
19 Tired Of Waiting for You - The Flock (4.37)
20 White Bird - It's A Beautiful Day (6.05)


----------



## Perseus (Mar 7, 2009)

*Electric Folk Rock Genre*



cardinalfire said:


> No I don't, why is it relevant to Dylan? I see the first track is a Dylan one. Are you making a zip of your mix then?




I have not got the equipment to make a zip of my mix yet. I was made redundant a few years ago. 

Rock Machine was contemporary to (just after) the period when Dylan visited England for the first time.


----------



## Perseus (Mar 7, 2009)

*Electric Folk Rock Genre*



cardinalfire said:


> No I don't, why is it relevant to Dylan? I see the first track is a Dylan one. Are you making a zip of your mix then?




I have not got the equipment to make a zip of my mix yet. I was made redundant a few years ago. 

Rock Machine was contemporary to (just after) the period when Dylan visited England for the first time. I have been trying to find a copy for ages.


----------



## snowqueen (Mar 24, 2009)

In my view, Our Bob is INFJ. The thinking person's feeler. 

He is a genius in our midst, the Shakespeare of our time.

And I love his voice. So there.

http://www.youtube.com/v/HZ8CHGNpBxg&color1=0xb1b1b1&color2=0xcfcfcf&hl=en


----------



## Gabbi (Nov 12, 2009)

I watched the movie I'm Not There last weekend and I googled some of my favourite quotes to see if they were actually words Bob Dylan said in interviews.
I found that:





And that:

Bob Dylan Interview, by Nora Ephron & Susan Edmiston 
_ This interview took place in late summer of 1965 in the office of Dylan’s manager Albert Grossman. Dylan had just been booed in the historic Forest Hills concert where he abandoned folk purity to the use of electric accompaniment. he was wearing a red-and-navy op-art shirt, a navy blazer and pointy high-heeled boots. His fact, so sharp and harsh when translated through media, was then infinitely soft and delicate. His hair was not bushy or electric or Afro; it was fine-spun soft froth like the foam of a wave. He looked like an underfed angel with a nose from the land of the Chosen People._
* Q:* Some American folk singers—Carolyn Hester, for example—say that what you’re now doing, the new sound, “folk rock,” is liberating them.
* A:*Did Carolyn say that? You tell her she can come around and see me any time now that she’s liberated.
* Q:* Does labeling, using the term, “folk rock,” tend to obscure what’s happening?
* A:*Yes.
* Q:* It’s like “pop gospel.” What does the term mean to you?
* A:*Yeah, classical gospel could be the next trend. There’s country rock, rockabilly. What does it mean to me? Folk rock. I’ve never even said that word. It has a hard gutter sound. Circussy atmosphere. It’s nose-thumbing. Sound like you’re looking down on what is… fantastic, great music.
* Q:* The definition most often given of folk rock is the combination of the electronic sound of rock and roll with the meaningful lyrics of folk music? Does that sum up what you’re doing?
* A:*Yes. It’s very complicated to play with electricity. You play with other people. You’re dealing with other people. Most people don’t like to work with other people, it’s more difficult. It takes a lot. Most people who don’t like rock and roll can’t relate to other people.
* Q:* You mention the Apollo Theatre in Harlem on one of your album covers. Do you go there often?
* A:*Oh, I couldn’t go up there. I used to go up there a lot about four years ago. I even wanted to play in one of the amateur nights, but I got scared. Bad things can happen to you. I saw what the audience did to a couple of guys they didn’t like. And I would have had a couple of things against me right away when I stepped out on the stage.
* Q:* Who is Mr. Jones in “Ballad of a Thin Man?”
* A:*He’s a real person. You know him, but not by that name.
* Q:* Like Mr. Charlie?
* A:*No. He’s more than Mr. Charlie. He’s actually a person. Like I saw him come into the room one night and he looked like a camel. He proceeded to put his eyes in his pocket. I asked this guy who he was and he said, “That’s Mr. Jones.” Then I asked this cat, “Doesn’t he do anything but put his eyes in his pocket?” And he told me, “He puts his nose on the ground.” It’s all there, it’s a true story.
* Q:* Where did you get that shirt?
* A:*California. Do you like it? You should see my others. You can’t get clothes like that here. There are a lot of things out there we haven’t got here.
* Q:* Isn’t California on the way here?
* A:*It’s uptight here compared to there. Hollywood I mean. It’s not really breathable here. it’s like there’s air out there. The Sunset Strip can’t be compared to anything here, like 42nd Street. The people there look different, they look more like… you want to kiss them out there.
* Q:* Do you spend a lot of time out there?
* A:*I don’t have much time to spend anywhere: The same thing in England. In England everybody looks very hip East Side. They wear things… they don’t wear things that bore you. They’ve got other hangups in other directions.
* Q:* Do you consider yourself primarily a poet?
* A:*No. We have our ideas about poets. The word doesn’t mean any more than the word “house.” There are people who write _po_ems and people who write po_ems_. Other people write _poems_. Everybody who writes poems do you call them a poet? There’s a certain kind of rhythm in some kind of way that’s visible. You don’t necessarily have to write to be a poet. Some people work in gas stations and they’re poets. I don’t call myself a poet because I don’t like the word. I’m a trapeze artist.
* Q:* What I meant was, do you think your words stand without the music?
* A:*They would stand but I don’t read them. I’d rather sing them. I write things that aren’t songs—I have a book coming out.
* Q:* What is it?
* A:*It’s a book of words.
* Q:* Is it like the back of your albums? It seemed to me that the album copy you write is a lot like the writing of William Burroughs. Some of the accidental sentences—
* A:*Cut-ups.
* Q:* Yes, and some of the imagery and anecdotes. I wondered if you had read anything by him.
* A:*I haven’t read _Naked Lunch_ but I read some of his shorter things in little magazines, foreign magazines. I read one in Rome. I know him. I don’t really know him—I just met him once. I think he’s a great man.
* Q:* Burroughs keeps an album, a collection of photographs that illustrate his writing. Do you have anything similar to that?
* A:*I do that too. I have photographs of “Gates of Eden” and “It’s All Over Now, Baby Blues.” I saw them after I wrote the songs. People send me a lot of things and a lot of the things are pictures, so other people must have that idea too. I gotta admit, maybe I wouldn’t have chosen them, but I can see what it is about the pictures.
* Q:* I heard you used to play the piano for Buddy Holly.
* A:*No. I used to play the rock and roll piano, but I don’t want to say who it was for because the cat will try to get hold of me. I don’t want to see the cat. He’ll try to reclaim the friendship. I did it a long time ago, when I was seventeen years old. I used to play a country piano too.
* Q:* This was before you became interested in folk music?
* A:*Yes. I became interested in folk music because I had to make it somehow. Obviously I’m not a hard-working cat. I played the guitar, that was all I did. I thought it was great music. Certainly I haven’t turned my back on it or anything like that. There is—and I’m sure nobody realizes this, all the authorities who write about what it is and what it should be, when they say keep things simple, they should be easily understood—folk music is the only music where it isn’t simple. It’s never been simple. It’s weird, man, full of legend, myth, Bible and ghosts. I’ve never written anything hard to understand, not in my head anyway, and nothing as far out as some of the old songs. They were out of sight.
* Q:* Like what songs?
* A:*“Little Brown Dog.” “I bought a little brown dog, its face is all gray. Now I’m going to Turkey flying on my bottle.” And “Nottemun Town,” that’s like a herd of ghosts passing through on the way to Tangiers. “Lord Edward,” “Barbara Allen,” they’re full of myth.
* Q:* And contradictions?
* A:*Yeah, contradictions.
* Q:* And chaos?
* A:*Chaos, watermelon, clocks, everything.
* Q:* You wrote on the back of one album, “I accept chaos but does chaos accept me.”
* A:*Chaos is a friend of mine. It’s like I accept him, does he accept me.
* Q:* Do you see the world as chaos?
* A:*Truth is chaos. Maybe beauty is chaos.
* Q:* Poets like Eliot and Yeats—
* A:*I haven’t read Yeats.
* Q:* they saw the world as chaos, accepted it as chaos and attempted to bring order from it. Are you trying to do that?
* A:*No. It exists and that’s all there is to it. It’s been here longer than I have. What can I do about it? I don’t know what the songs I write are. That’s all I do is write songs, right? Write. I collect things too.
* Q:* Monkey wrenches?
* A:*Where did you read about that? Has that been in print? I told this guy out on the coast that I collected monkey wrenches, all sizes and shapes of monkey wrenches, and he didn’t believe me. I don’t think you believe me either. And I collect the pictures too. Have you talked to Sonny and Cher?
* Q:* No.
* A:*They’re a drag. A cat got kicked out of a restaurant and he went home and wrote a song about it.
* Q:* They say your fan mail has radically increased since you switched sounds.
* A:*Yeah. I don’t have time to read all of it, but I want you to put that I answer half of it. I don’t really. A girl does that for me.
* Q:* Does she save any for you—any particularly interesting letters?
* A:*She knows my head. Not the ones that just ask for pictures, there’s a file for them. Not the ones that say, I want to make it with you, they go in another file. She saves two kinds. The violently put-down—
* Q:* The ones that call you a sellout?
* A:*yeah. Sellout, fink, Fascist, Red, everything in the book. I really dig those. And ones from old friends.
* Q:* Like, “You don’t remember me but I was in the fourth grade with you”?
* A:*No, I never had any friends then. These are letters from people who knew me in New York five, six years ago. My first fans. Not the people who call themselves my first fans. They came in three years ago, two years ago. They aren’t really my first fans.
* Q:* How do you feel about being booed at your concert at Forest Hills?
* A:*I thought it was great, I really did. If I said anything else I’d be a liar.
* Q:* And at Newport Folk Festival?
* A:*that was different. They twisted the sound. They didn’t like what I was going to play and they twisted the sound on me before I began.
* Q:* I hear you are wearing a sellout jacket.
* A:*What kind of jacket is a sellout jacket?
* Q:* Black leather.
* A:*I’ve had black leather jackets since I was five years old. I’ve been wearing black leather all my life.
* Q:* I wonder if we could talk about electronic music and what made you decide to use it.
* A:*I was doing fine, you know, singing and playing my guitar. It was a sure thing, don’t you understand, it was a sure thing. I was getting very bored with that. I couldn’t go out and play like that. I was thinking of quitting. Out front it was a sure thing. I knew what the audience was gonna do, how they would react. It was very automatic. Your mind just drifts unless you can find some way to get in there and remain totally there. It’s so much of a fight remaining totally there all by yourself. It takes too much. I’m not ready to cut that much out of my life. You can’t have nobody around. You can’t be bothered with anybody else’s world. And I like people. What I’m doing now—it’s a whole other thing. We’re not playing rock music. It’s not a hard sound. These people call it folk rock—if they want to call it that, something that simple, it’s good for selling records. As far as it being what it is, I don’t know what it is. I can’t call it folk rock. It’s a whole way of doing things. It has been picked up on, I’ve heard songs on the radio that have picked it up. I’m not talking about words. It’s a certain feeling, and it’s been on every single record I’ve ever made. That has not changed. I know it hasn’t changed. As far as what I was totally, before, maybe I was pushing it a little then. I’m not pushing things now. I know it. I know very well how to do it. The problem of how I want to play something—I know it in front. I know what I am going to say, what I’m going to do. I don’t have to work it out. The band I work with—they wouldn’t be playing with me if they didn’t play like I want them to. I have this song, “Queen Jane Approximately”—
* Q:* Who is Queen Jane?
* A:*Queen Jane is a man.
* Q:* Was there something that made you decide to change sounds? Your trip to England?
* A:*I like the sound. I like what I’m doing now. I would have done it before. It wasn’t practical to do it before. I spend most of my time writing. I wouldn’t have had the time. I had to get where I was going all alone. I don’t know what I’m going to do next. I probably will record with strings some time, but it doesn’t necessarily change. It’s just a different color. And I know it’s real. No matter what anybody says. They can boo till the end of time. I know that the music is real, more real than the boos.
* Q:* How do you work?
* A:*Most of the time I work at night. I don’t really like to think of it as work. I don’t know how important it is. It’s not important to the average cat who works eight hours a day. What does he care? The world can get along very well without it. I’m hip to that.
* Q:* Sure, but the world can get along without any number of things.
* A:*I’ll give you a comparison. Rudy Vallee. Now that was a lie, that was a downright lie. Rudy Vallee being popular. What kind of people could have dug him? You know, your grandmothers and mothers. But what kind of people were they? He was so sexless. If you want to find out about those times and you listen to his music you’re not going to find out anything about the times. His music was a pipedream. All escapes. There are no more escapes. If you want to find out anything that’s happening now, you have to listen to the music. I don’t mean the words, although “Eve of Destruction” will tell you something about it. The words are not really gonna tell it, not really. You gotta listen to the Stapes(Staple?) Singers, Smokey and the Miracles, Martha and the Vandellas. That’s scary to a lot of people. It’s sex that’s involved. it’s not hidden. It’s real. You can overdo it. It’s not only sex, it’s a whole beautiful feeling.
* Q:* But ***** rhythm and blues has been around underground for at least twelve years. What brought it out now?
* A:*The English did that. They brought it out. They hipped everybody. You read an interview asking who the Beatles’ favorite singer was and they say Chuck Berry. You never used to hear Chuck Berry records on the radio, hard blues. The English did that. England is great and beautiful, though in other ways kinda messy. Though not outside London.
* Q:* In what way messy?
* A:*There’s a snobbishness. What you see people doing to other people. It’s not only class. It’s not that simple. It’s a kind of Queen kind of thing. Some people are royalty and some are not. Here, man, somebody don’t like you he tells you. There it’s very tight, tight kinds of expressions, their whole tone of speaking changes. It’s an everyday kind of thing. But the kids are a whole other thing. Great. They’re just more free. I hope you don’t think I take this too seriously—I just have a headache.
* Q:* I think you started out to say that music was more in tune with what’s happening than other art forms.
* A:*Great paintings shouldn’t be in museums. Have you ever been in a museum? Museums are cemetaries. Paintings should be on the walls of restaurants, in dime stores, in gas stations, in men’s rooms. Great paintings should be where people hang out. The only thing where it’s happening is on radio and records, that’s where people hang out. You can’t see great paintings. You pay half a million and hang one in your house and one guest sees it. That’s not art. That’s a shame, a crime. Music is the only thing that’s in tune with what’s happening. It’s not in book form, it’s not on the stage. All this art they’ve been talking about is nonexistent. It just remains on the shelf. It doesn’t make anyone happier. Just think how many people would really feel great if they could see a Picasso in their daily diner. It’s not the bomb that has to go, man, it’s the museums.


----------



## Perseus (Mar 7, 2009)

deleted post, sorry


----------



## cardinalfire (Dec 10, 2009)

snowqueen said:


> In my view, Our Bob is INFJ. The thinking person's feeler.


INFJ? How come? I just had him pegged as an ISFP...


----------



## marie (Mar 13, 2010)

love love love love love love love


----------



## Aqualung (Nov 21, 2009)

I can't believe I just now saw this thread. Major Dylan freak here. "Blood on the Tracks" is probably my favorite of his albums & "Tangles Up & Blue" my favorite track on it. All week long the songs "Desolation Row" & "Idiot Wind" have been going through my head. Maybe one of these days I'll post a video of my Dylan impersonation. I sit down with the guitar & harmonica & wail away off key until I bust out laughing or until my wife's ready to punch me.:laughing: Probably annoying as hell to most but I've always had a weird sense of humor.


----------



## polaroid sea (Dec 19, 2009)

cardinalfire said:


> INFJ? How come? I just had him pegged as an ISFP...


i'm with you on bob as SP. i think fondly of him as either ISTP or ISFP.

i cannot take my eyes from these two in this moment. plus allen is clearly hot for bob. 

YouTube - ALLEN GINSBERG BOB DYLAN

bob's appearances in this film are hilarious

YouTube - Who are you?

and youtube used to have all of renaldo & clara but apparently not anymore. 

it doesn't get any more fucking gorgeous. and to everyone who spews the common blaspheme that bob can't sing, i say 1. kindly suck it and 2. nashville skyline

YouTube - Bob Dylan & Johnny Cash


----------



## cardinalfire (Dec 10, 2009)

NAshville Skyline HAHA! Yeah he didn't help his voice rep with that album really... lol... I love how him and Cash sound like a couple of drunks at midnight in this video and song... :tongue:


----------



## polaroid sea (Dec 19, 2009)

Aqualung said:


> Maybe one of these days I'll post a video of my Dylan impersonation. I sit down with the guitar & harmonica & wail away off key until I bust out laughing or until my wife's ready to punch me.:laughing: Probably annoying as hell to most but I've always had a weird sense of humor.


if a man did that within a five mile radius of me, he'd have me hook, line and sinker.

WHICH REMINDS ME OF SOMETHING ENTIRELY UNRELATED

YouTube - Bob Dylan's "No Direction Period" (un-cut)

easily one of my favourite homegrown bob parodies and i'd forgotten about it until you triggered it just now. and for this i curtsy and thank you.


----------



## polaroid sea (Dec 19, 2009)

*haha*



cardinalfire said:


> NAshville Skyline HAHA! Yeah he didn't help his voice rep with that album really... lol... I love how him and Cash sound like a couple of drunks at midnight in this video and song... :tongue:


even worse in terms of drunken shenanigans is the related video of those two at the piano from eat the document. oh, wasted bob. you're still impossibly charming.


----------



## cardinalfire (Dec 10, 2009)

polaroid sea said:


> if a man did that within a five mile radius of me, he'd have me hook, line and sinker.
> 
> WHICH REMINDS ME OF SOMETHING ENTIRELY UNRELATED
> 
> ...


That's second after the parody with bobs subterrean homesick dinner lol...:tongue::laughing:


----------



## Aqualung (Nov 21, 2009)

polaroid sea said:


> if a man did that within a five mile radius of me, he'd have me hook, line and sinker.
> 
> WHICH REMINDS ME OF SOMETHING ENTIRELY UNRELATED
> 
> ...


That video was hilarious! The part where Joan Baez & Bob do that hip hop thing around 3 minutes in busted my gut. :laughing: Good stuff, thanks.


----------



## polaroid sea (Dec 19, 2009)

Aqualung said:


> That video was hilarious! The part where Joan Baez & Bob do that hip hop thing around 3 minutes in busted my gut. :laughing: Good stuff, thanks.


yes! the first time i saw it, that "I'M GONNA GET GET GET YOU DRUNK--" straight out of left field made me choke and spit out my tea. it's my favourite part too and happy to share.


----------



## saynomore (Feb 27, 2010)

Just happened upon this little gem, thought I'd share it with you all.






G'night.


----------



## wafflecake (Aug 30, 2010)

I'm going to try not to feel bad for bringing back such an old post, but I had a couple of thoughts:

- The recently released _The Bootleg Series, Vol. 9: The Witmark Demos: 1962-1964_ is well worth the money. Nothing completely new for the Dylanologists out there, but revealing nonetheless. His banter and asides are priceless (he stops playing "Let Me Die In My Footsteps" halfway through, saying it's "a drag").

- Since I lost my copy of _Don't Look Back_, I bought the new box set edition, with the new _65 Revisited_ included. A few things jumped out at me while watching the latter, with the biggest of these being the utterly heartbreaking singing of Joan Baez (often at awkward moments). Another one is the scene where he goes shopping; he picks up a pink tie that no one else seems to like, but he buys it anyway. Doing his own thing, as he always did. The best thing about _65 Revisted_ is the full performances of songs. The look on his face while performing, well, it's inspiring to say the least.

- I have to agree with Perseus on this one: Dylan does seem like an INtP to me.


----------

