Re: Bob DYLAN

Yazid Mar 21 Jan 2014 - 13:22

Sortie le 4 mars chez Sony Legacy :

BOB DYLAN - The 30th Anniversary Concert Celebration - Deluxe Edition (2 CD/DVD/Blu-ray)

Bob DYLAN - Page 14 Dyan_30_DVD-Copie_zps78ec55a4

Bob DYLAN - Page 14 Dyan_30_DVD-Copie_zps78ec55a4

Le 16 octobre 1992, le Madison Square Garden accueillait le concert de l’année à New York en réunissant des légendes venues célébrer le 30ème anniversaire du premier album de Bob Dylan et interpréter des chansons de la légende vivante qui les avaient émus et inspirés au cours des trois décennies précédentes.

Avec une image désormais en haute définition et un son remasterisé, The 30th Anniversary Concert Celebration - Deluxe Edition rend cet extraordinaire événement musical enfin disponible en DVD et Blu-ray.

Les éditions 2DVD et Blu-ray contiennent 40 minutes de documents vidéo inédits tels que des images de répétitions en coulisses, des interviews, etc.

L’édition 2CD présente quant à elle deux enregistrements inédits effectués lors de la balance du concert : Sinead O’Connor interprétant I Believe In You et Eric Clapton sur Don’t Think Twice, It’s Alright.

YM

Manon Manon Mar 21 Jan 2014 - 17:53

En écho aux échanges sur Mike Bloomfield, voici le long et passionnant article consacré à Dylan passant à l'électricité, à Paul Butterfeld,Mike Bloomfield... publié sur www.nodepression.com

Le lien: Dylan's Guitar: Credit Michael Bloomfield and Paul Butterfield

As you’ve probably heard, the Fender Stratocaster that Bob Dylan played at the Newport Folk Festival on Sunday, July 25, 1965, sold at Christie’s on December 6 for $965,000. NPR's All Things Considered gave the story prominent coverage that night; PBS’s History Detectives “authenticated” the ax as the real thing last year. But both these reports, and virtually everything else written in the lead-up to the auction, omitted one significant detail. It's Mike Bloomfield, not Bob Dylan, who played those slashing, staccato licks that raised such a clatter at Newport.

(Sound check: Mike Bloomfield, Sam Lay, Jerome Arnold, Bob Dylan; David Gahr photo)

“Michael was the electricity, Bob was the box office,” says David Dann, who maintains the website Michael Bloomfield American Music. Of course, Dylan was also a visionary, but it was Bloomfield’s frenetic playing that animated “Maggie’s Farm,” “Like a Rolling Stone,” and “Phantom Engineer” at Dylan's plugged-in premiere, and his prominence in the mix underscored his emerging status as the first white American guitar icon of blues-rock. Bloomfield and his English counterpart Eric Clapton were a mutual admiration society; in a 2007 interview with the Chicago Tribune, Clapton said, "I can remember meeting [him in 1966]. The guy in America at the time was Mike Bloomfield. There was no one else. You know why? He was serious. There was no bull involved. It didn't have anything to do with being on TV or show-biz or popularity." But Michael's indifference to show-biz has a lot to do with why his name is missing from what's been mythologized as Dylan's singular bit of daring.

In NPR’s report, Murray Lerner, who directed Festival, a documentary about Newport ’65, cited the angry reaction of Parisians to "The Rite of Spring" a century ago as a precedent for how Dylan was received at Newport. But the myth of folkie hostility over an electrified Dylan has never been as cut and dried as Lerner asserts, and like the question of whether it was Stravinsky’s music or Nijinsky’s choreography that upset the patrons of the Theatre des Champs-Elysees, a variety of possible motives continues to converge on one of the most storied events in rock history. Yes, NFF board member Pete Seeger was upset and wanted to cut the mic cable, but in less impassioned accounts, it was poor sound quality and a short, 15-minute set that triggered reactions in the crowd of 15,000.

Al Kooper, a member of Dylan's back-up band, says, “People went nuts. A lot of them sat through three days of music that they didn’t understand or care about just to hear their idol. And then he played three songs and took a hike.” Barry Goldberg also played keyboards that night, and remembers "a lot of people cheering, too...I remember Michael counting it off and saying, 'Let's go!' and it was like POW! into this whirwind." Joe Boyd, the festival's stage manager, said it’s easy to confuse, “Boo!” and “More!” To mollify both, emcee Peter Yarrow handed Bob an acoustic and ordered him back to the stage, where he played the finger-wagging “It’s All Over Now, Baby Blue.” and his paean to folkdom, “Mr. Tambourine Man."

Who knows if Dylan was aware of what happened in Paris in 1913? What is certain is that he knew of the firestorm the Paul Butterfield Blues Band, which featured Bloomfield, ignited only two days earlier at their Newport debut. It was Butterfield who blew the cover off the festival's acoustic innocence in the broad daylight of Friday's blues workshop. There, the pre-eminent folklorist Alan Lomax, seething at the prospect of his cherished conceits about folk music being upended, gave the quintet of Chicagoans a disparaging introduction, belittling their use of amps and skill as blues players. Bloomfield called it "rank," and the intro so enraged Dylan's manager Albert Grossman that he confronted Lomax and punches were thrown.

(Paul Butterfield, Albert Grossman, Michael Bloomfield; David Gahr photo)

In his memoir, White Bicycles, Joe Boyd called the dispute “round one of the kulturkampf, with two large men rolling around in the dust.” Grossman’s wife Sally remembered it as “the clash of the elite and the common," the supreme irony being Lomax, a Popular Front egalitarian, now recast as an elitist. Bloomfield gloried in the skirmish. In On the Road With Bob Dylan, he told Larry Sloman, “I was delighted to see Albert kick his ass," and he likened the billowy, gray-haired Grossman to Ben Franklin. In the Bloomfield biography, If You Love These Blues: An Oral History, Mike says, "We figured, 'Albert, now there's a manager!' We used to call him 'Cumulous Nimbus,' the gray cloud. He was such a vague guy. " Later that day, the board voted to ban him from the grounds, but the fest’s producer, George Wein, counseled that expelling Grossman would trigger the departure of Dylan and his other clients: Peter, Paul & Mary, Ian and Sylvia, Odetta, and the Jim Kweskin Jug Band. Wein prevailed.

(Elvin Bishop, Mike Bloomfield, Jerome Arnold, Paul Butterfield: Newport Folk Fest, July 24, 1965)

Though he’d yet to begin managing Butterfield, it was Grossman who’d urged the Festival to book the 22-year-old blues harpist in the first place. But once they learned that he fronted an amplified blues band, the old guard of Lomax, Seeger, Ronnie Gilbert, Theo Bikel, Oscar Brand, and Ralph Rinzler turned thumbs down. For Brand, amplification “was the antithesis of what the festival was supposed to be doing. The electric guitar represented capitalism…the people who were selling out.” Bloomfield saw it differently; for him, a Telecaster was the most representative voice in the “folk” music of his hometown, the Chicago blues of Muddy Waters, Otis Rush, and Buddy Guy.

The Butterfield Blues Band’s raucous take on Chicago blues, which Carlos Santana, a Bloomfield discovery and protégé, calls “gutbucket switchblade,” was a far cry from the acoustic country blues of the living black legends whom Newport proudly showcased. That summer they included Delta bluesmen Skip James, Son House and Mississippi John Hurt, and the Texan Lightnin’ Hopkins. Bloomfield, still a few days shy of his 22nd birthday, was already a walking encyclopedia of American music. In Ed Ward's 1983 biography, Michael Bloomfield: The Rise and Fall of an American Guitar Hero, Charlie Musselwhite says, "He was real smart, real interesting, and he investigated every part of music that interested him to the nth degree." Musselwhite was a member of Bloomfield's band when he was signed by John Hammond at Columbia in 1964, but recordings by the group were unreleased at the time largely because of Bloomfield's unappealing singing.

(Charlie Musselwhite and Mike Bloomfield, New York, 1964)

Entrusted with the hosting duties of the Saturday blues workshop at Newport, Michael reserved his highest praise for Lightnin' Hopkins. Spoken like an insider who was shaped by what he'd seen going down at Pepper's Lounge and other South Side bars, he announced, "Man, this cat can play some guitar. He's an out-a-sight guitar player, the meanest, nastiest cat. He can play fast, slow, dirty, anyway you want it...He's my favorite bluesman, the king of the blues singers." In later years, when the Newport controversy came up, Bloomfield liked to argue that the folk purists were blind to their own provincialism, and noted ironically that when Hopkins was back home playing Houston's Third Ward bars, he wore sunglasses and mohair suits and wailed through an amp, but to maintain favor with the Newport crowd, he'd show up in overalls and a straw hat with an acoustic slung over his shoulder.

It's not that Bloomfield lacked reverence for the real folk blues. "He knew his roots," said Clapton. "He knew where it came from, and he knew where he belonged in it." And while he was a firebrand with a Telecaster in hand, he befriended country blues elders like Big Joe Williams and Yank Rachell, presented them at the Fickle Pickle, a Chicago coffeehouse, and recorded with them for Delmark and Arhoolie. Near what proved to be the end of his life 37-year-old life, Bloomfield wrote a frank, forty-page picaresque of his travels to St. Louis, Gary, Indiana and around the Windy City with Big Joe, the itinerant guitarist who'd composed the blues classic, "Baby Please Don't Go."

(First editions of Me and Big Joe command a princely sum these days, but there's an expanded edition that's slated for publication in 2014.)

In White Bicycles, Joe Boyd recalls that even though Butterfield was initially rejected by the Newport board, “Everyone was talking about [him]. His band was unlike any other revivalist group…hard-edged and raw with nothing ‘folk’ or ‘pop’ about it…Paul was an amazing harmonica player… [he and Bloomfield were] the magic dialectic.” Boyd says it was the band’s racially integrated makeup, which was still a rarity in 1965, that ultimately secured them a booking. Maria Muldaur, who was at Newport with the Kweskin Jug Band, said, “They were just so electrifying, no pun intended. I loved it. I was jumping out of my skin. Everybody I was hanging with thought they were just incredible. So that was a very memorable moment in the music scene.”

Dylan had already “gone electric” in January of ’65 when he jumped down the manhole of “Subterranean Homesick Blues” and scored his first chart success. "Like a Rolling Stone," recorded a month before Newport with Bloomfield playing the song's signature leads and turn-arounds, was all over the radio by the festival weekend. In his book-length study, Like a Rolling Stone: Bob Dylan at the Crossroads, Greil Marcus hears in Michael's playing something "triumphant, like a hawk in the sky...when, out of instinct, out of desire, out of a smile somewhere in his memory, Bloomfield finds the sound of a great whoosh, and for an instant a rising wind blows right through the rest of the music."

While Bob hadn't come to Newport planning to go electric, the sudden buzz over Butterfield, and his increasing disdain for folk orthodoxy, inspired him to amp up. “He knew electricity was definitely the direction and he was going with that flow,” wrote Jim Rooney and Eric Von Schmidt in Baby Let Me Follow You Down: The Cambridge Folk Years. “When he heard the Butterfield Band the day before and saw the reaction of the crowd, it seemed that the time might be right to work up two or three songs to play on the evening concert.”

(Sound check: Mike Bloomfield, Jerome Arnold, Bob Dylan, Al Kooper; David Gahr photo)

Dylan recruited Bloomfield to hastily assemble an ad hoc outfit which rehearsed late Saturday night at a Newport mansion leased by George Wein. The group coalesced around Butterfield's ace rhythm section, bassist Jerome Arnold and drummer Sam Lay, players who'd honed their chops with Little Walter and Howlin’ Wolf, and organist Barry Goldberg, who'd traveled from Chicago with Butter. Al Kooper had also come to Newport, but on his own as a paying customer. Shortly after his arrival, he was handed backstage passes, then was deputized to play organ on "Maggie's Farm" and bass on “Like a Rolling Stone.”

(That's Kooper, not Elvin Bishop, standing behind Dylan in the photo below.)

Barry Goldberg played the B3 on "Like a Rolling Stone" at Newport, but Kooper was the organist on the record. He’d arrived at the June 15 session assuming he’d play guitar, but as he’s humbly related ever since, “Just hearing Bloomfield warm up ended my career as a guitarist…Until then, I’d never heard a white man play guitar like that.” Kooper's never lacked for enterprise, however, so he insinuated himself onto the session as an organist, an instrument he was largely unfamiliar with, but no sweat. The riffs he improvised, and that Dylan insisted be brought up in the mix, proved to be critical to the success of the tune, first as a Top 40 hit, ever after as an anthem.

When Bloomfield first encountered Dylan in Chicago in 1963, he approached him like a headhunter. “I had heard his first album, and I went down [to Grossman's club, the Bear] to cut Bob, to take my guitar and cut him, burn him, [but] he was a great guy. I mean we spent all day talking and jamming and hanging out…and any instinct I may have had to try and cut him, which is very common in Chicago…was immediately stopped, and I was just charmed by the man…I realized he was way more than a player and singer. He was a magician.”

He was also an alchemist, and when he decided two years later to form a rock band, Bloomfield was his choice for lead guitar. Following Newport and the Highway 61 sessions, it was Dylan’s expectation that Bloomfield would stay on and lead his touring band, but Bloomers felt a different calling. “My druthers was to play with Butterfield. I mean I had absolutely no interest in playing with Bob because I saw that I would be merely a shadow. First of all, as a blues player, his music would take me in no direction that I wanted to go in… and I was finally beginning to see that he was an immensely popular star, and that held no interest for me at all. So we were in Newport and it sort of came down that I was going to play with Paul, I was going to join his band, and I think Bob felt betrayed or pissed.

“So after that we like drifted apart, what was there to drift apart, we weren’t that tight, but after that when I’d see him he was a changed guy… There was a time he was one of the most charming human beings I had ever met and I mean charming, not in the sense of being very nice, but someone who was beguiling…You just had to say, ‘Man this little guy’s got a bit of an angel in him. God touched him in a certain way.’ [But then] I would see him consciously be cruel. I didn’t understand that game they played, that constant insane sort of sadistic putdown game.”

Notwithstanding Bloomfield's decision to go with Butterfield, Dylan has continually hailed him as the best guitarist he's ever heard. In a Rolling Stone interview in May 2009, 28 years after Michael's death from a drug overdose in San Francisco, Douglas Brinkley asked Dylan if he had ever played a set with a perfect guitarist? “The guy that I always miss and I think would still be around if he stayed with me, actually, was Mike Bloomfield. He could just flat out play. He had so much soul. And he knew all the styles, and he could play them so incredibly well. He was an expert player and a real prodigy. He started playing early. He could play like Willie Brown and Charlie Patton. He could play like Robert Johnson way back then in the early 60's...He could play the pure style of country blues authentically.”

(Muddy Waters hosts 20-year-old Mike Bloomfield at his Chicago home in 1963)

While there’s no denying the significance of Dylan strapping on a Strat at Newport, the music pivoted on Bloomfield’s Telecaster. Loud and brazen, a shock even to those who were inclined to cheer on the forging of folk-rock, his playing lashed out at the either/or hypocrisy of the purists, all of which reached a fever pitch on that long ago weekend. Still, he was incredulous that the audience expressed anything less than gratitude for Dylan, and was surprised that Bob seemed shaken by the experience. “He was uptight all day,” Bloomfield recalled in On the Road with Bob Dylan. “He was uncomfortable, I think he knew that this was a much more serious thing than I did.” At a party following the show, Maria Muldaur tried to draw Dylan out of his shell by asking him to dance. In Baby Let Me Follow You Down, she recalled, “He looked up with this weird and withered look and said, ‘I’d dance with you Muldaur, but my hands are on fire’.”

Bloomfield left a paper trail nearly as substantial as his recorded legacy. He was a great interview, smart, candid, and generous. He brimmed with enthusiam for the legends and lesser knowns of jazz, blues, gospel, hillbilly, and Western swing. His Rolling Stone interview from February 1968 is a virtual master class in American music, ringing with scholarship, slang, and blunt assessments pro and con. His reflections on Newport, and his ambivalent view of Dylan as a man who donned "character armor," may be the most illuminating we have by a participant, but Bloomfield himself is receding from the historical record. Would it make a difference if Dylan clarified who the guitarist of consequence was on July 25? Myth-makers and auction houses rarely pay attention to contradictory evidence.

I've felt a deep sense of personal gratitude toward Bloomfield since I was in my teens, not only for his playing, which retains its freshness at every hearing, but for the guidance he provided in what to listen for in music, how to hear between the cracks, in the microtones, and in the silences. He was a fierce and hilarious opponent of hype, especially when he was its intended beneficiary. After leaving Butterfield, he formed the Electric Flag, his idyllic vision of a band synthesizing "music in the air, on the air, and in the streets." The group was new, nervous, and unseasoned when they made their debut at Monterey Pop in 1967. Appearing as The Mike Bloomfield Thing, and introducing Buddy Miles to the Age of Aquarius, they earned rave reviews, but that only deepened Bloomfield's disillusionment. "We played abominably, and they loved us," he told Rolling Stone . In the oral history, If You Love These Blues , he said, "They loved us. What a lesson that was. I learned then that if you looked like you were getting it on, even if you were terrible, they'd love you."

Later in the Rolling Stone interview, Michael revealed, however unwittingly, the divide he was never able to bridge between the sublime achievements of his dues-paying youth in ghetto bars and the meaninglessness of mass acclaim. "It's like me with B.B. [and Muddy]...I love them. These cats who were so groovy to teach me and they were so groovy because they weren't satisfied with just the little white boy playing those licks. You had to be good in order for them to dig you. They just weren't happy, they weren't grabbed, just to see a white cat playing that music. That wasn't where it was at. It was when a cat socked it to them. They'd say that was the real shit. That [feels] so good, man!"

mathis Mar 21 Jan 2014 - 20:17

Splendide !
vraiment très intéressant, merci

CC Rider Lun 3 Fév 2014 - 20:48

Cette pub Chrysler est passée pendant la mi temps du super bowl.

Maintenant on attend la pub Cabrel/Twingo à la mi temps de la finale de la coupe de la ligue.

Kyle William Lun 3 Fév 2014 - 21:10

Hum… je préférais sa pub pour des soutien-gorges il y a quelques années…

CC Rider Mar 4 Fév 2014 - 8:34

Là aussi ça réagit.
Rapport à l'argent, l'image tout çà.

À 73 ans, le chanteur qui se voulait anticonformiste, s'est mué en véritable symbole de l'Amérique pour les besoins d'une publicité de la célèbre marque automobile. Un comble selon certains.
Du blouson en cuir au costume cravate. Étonnement général lors du Super Bowl où les États-Unis tout entiers ont pu découvrir l'icône rock Bob Dylan, jouant les proaméricains dans une publicité pour la marque automobile Chrysler. Si certains sont fiers de voir leur pays représenté par ce dieu de la pop culture américaine, d'autres s'indignent et ne comprennent pas où il veut en venir.
Il faut dire que Bob Dylan est une légende. Par les textes qu'il compose, par ses prises de position depuis 50 ans, mais aussi par l'attitude qu'il adopte, il est devenu un symbole: celui de la contestation et de la dénonciation des inégalités sociales,
comme lorsqu'il chante Only a Pawn in Their Game à la suite du discours de Martin Luther King. Son influence a joué un rôle très important sur l'évolution de la société dans la seconde moitié du XXe siècle.
Très vite adulé par un public folk et des révolutionnaires de gauche, Dylan a toujours refusé d'assumer ce rôle de messie. Il a plutôt incité ses admirateurs à penser par eux-mêmes «Don't follow leaders/Watch the parkin' meters» et à ne se laisser guider par aucun leader d'opinion. En anticonformiste, Dylan refuse de participer au «jeu» de l'industrie de la musique. Il change sans cesse d'orientation musicale et tente à tout prix d'en finir avec l'idolâtrie dont il est l'objet depuis les années 1960. Ses apparitions médiatiques sont assez rares et il s'exprime très peu.
«N'est- il rien de plus américain que l'Amérique»
Pourtant, surprise. À 73 ans cette année, le chanteur prête sa voix et son image à une publicité diffusée pour la première fois au Super Bowl qui a eu lieu dimanche dernier. «N'est-il rien de plus américain que l'Amérique?» Pour Chrysler, Bob Dylan s'affiche comme une véritable icône américaine. Une apparition qui ne fait pas l'unanimité.
Pourquoi diable cette publicité fait tant polémique? Sûrement parce qu'elle met en scène deux paradoxes. Et pas des moindres.Tout d'abord, Chrysler appartient à la multinationale Fiat, marque italienne. On peut bien sûr dire que les voitures Chrysler sont américaines parce qu'elles sont fabriquées en Amérique. Mais alors, les Wolkswagen à Chattanooga, au Tennessee, les BMW en Caroline du Sud et les Mercedes fabriquées en Alabama le sont elles aussi? Ensuite, l'artiste anticonformiste vante ici les mérites d'une marque automobile,
symbole du capitalisme et de la puissance économique. L'homme qui ne voulait pas qu'on lui colle d'étiquette s'affiche ici comme un 100% américain, qui défend les valeurs de sa chère patrie. La légende de la folk joue-t-elle encore un coup de maître ou l'argent a-t-il eu raison de son silence et de sa discrétion médiatique?
Pourtant, ce n'est pas la première fois que l'on voit apparaître le chanteur de Like a Rolling Stonedans une publicité. En 1965, il avoue à un journaliste que s'il devait être vendu à une entreprise, se serait en tant que «vêtement pour dame». En 2004, il assume cette pensé et apparaît dans un spot pour la célèbre marque de lingerie Victoria Secret's aux côtés de la belle Adriana Lima. C'était la première fois. Et cela choqua les foules.
En 2006, il apparaît dans une publicité pour Apple avec son titre Someday Baby.
En 2007, c'est pour représenter la marque automobile Cadillac qu'il prête son image. Avec cette publicité pour Chrysler en 2014, Bob Dylan va plus loin cette fois. En ce mettant lui-même en scène, en récitant un texte, il passe au cran supérieur et entre de plein pied dans le monde de la publicité:The Times They Are A Changin... Again..

Jokerman Mar 13 Mai 2014 - 17:12

Nouvel album en vue avec, pour commencer, une reprise de Sinatra:
http://www.bobdylan.com/us/home

Album de vieux crooner si le premier morceau est représentatif de l'album à venir. Des reprises uniquement ou des morceaux originaux ?

http://www.rollingstone.com/music/news/bob-dylan-releases-frank-sinatra-cover-plans-new-album-20140513

bill horton Mar 13 Mai 2014 - 19:32

Jokerman a écrit:Nouvel album en vue avec, pour commencer, une reprise de Sinatra:
http://www.bobdylan.com/us/home

C'est sûr que Dylan a désormais la voix pour reprendre du Sinatra...

Bob DYLAN - Page 14 Tumblr_lg5ee24sKe1qabwixo1_400

Kyle William Mar 13 Mai 2014 - 20:01

Il ne l'a jamais eue. La version est très belle, je trouve. Aussi bien qu'American Beauty, et le nouveau Michael Jackson.

bill horton Mar 13 Mai 2014 - 20:23

Kyle William a écrit:Il ne l'a jamais eue.

Bien sûr, à part aujourd'hui précisément, comme en témoigne cette belle version...

CC Rider Jeu 15 Mai 2014 - 10:04

Kyle William a écrit: et le nouveau Michael Jackson.

tu es sérieux là? Suspect

Kyle William Jeu 15 Mai 2014 - 16:03

Hihihi…
Non, j'aime bien taquiner Bill, qui en fait autant avec moi.
Cela dit, Timbaland est largement le meilleur producteur pour Michael depuis Quincy Jones. Enfin, celui qui imite le mieux Quincy…

Mais tu n'as pas réagi sur l'allusion à American Beauty ?

CC Rider Jeu 15 Mai 2014 - 16:10

Kyle William a écrit:
Mais tu n'as pas réagi sur l'allusion à American Beauty ?

Non et c'est voulu Smile

CC Rider Jeu 15 Mai 2014 - 16:15

...Le titre je l'appelle "American Mochty"

Mais ce ne fait rire que moi:)

bill horton Jeu 15 Mai 2014 - 19:04

Kyle William a écrit:Hihihi…
Non, j'aime bien taquiner Bill, qui en fait autant avec moi.

Pour me commencer à me taquiner sérieusement il faudrait par exemple que tu me dises que WOAD est un grand album pop incompris doublé de l'un des meilleurs du Springsteen années 00. Mais je me doute bien que tu n'iras pas jusque là quand même... Wink

jamestwest64 Ven 16 Mai 2014 - 10:26

CC Rider a écrit:...Le titre je l'appelle "American Mochty"

Mais ce ne fait rire que moi:)

Non, moi aussi Very Happy

Pour ce qui est du Zim - et ses idées bizarres mises à part - il confirme sur cette nouvelle galette que son application dans le chant et le semblant de voix retrouvée que nous avons pu juger depuis début 2013 sur scène n'étaient pas qu'une passade. La fin de la période trachéotomie ? ...Maybe ! En tous les cas, v'la -t'y pas qu'il croone. Bon il y a de l'évolution tout de même, après 4 albums directement venus des années 20-40 on attaque les années 50 ! ... le prochain album sera 60's, folk et plein de protest songs. Encore 10 ans à attendre et il nous refait Bring it all back home et Blonde Blonde Bob DYLAN - Page 14 1052170044

Keep on rollin' Bob !

wisertime Mar 26 Aoû 2014 - 10:07

Bob DYLAN - Page 14 91NF1mL-WtL._SL1500_

On s'attendait à un Bootleg Series consacré aux sessions de "Blood On The Tracks", finalement ça sera les Basement Tapes.

Editions 2 CD / 3 LP et Deluxe 6 CD (!! - The Basement Tapes Complete). Ca sort le 04 Novembre.

2CD-edition:
http://www.amazon.com/Basement-Tapes-Raw-Bootleg-Vol/dp/B00MXILUH4/ref=sr_1_1?s=music&ie=UTF8&qid=1409051848&sr=1-1&keywords=bob+dylan+bootleg+series
6CD Deluxe-edition (includes 120 page book):
http://www.amazon.com/Basement-Tapes-Complete-Bootleg-Deluxe/dp/B00MXILU3S/ref=sr_1_3?s=music&ie=UTF8&qid=1409051893&sr=1-3&keywords=bob+dylan+bootleg+series
3LP-edition:
http://www.amazon.com/Basement-Tapes-Raw-Bootleg-Vinyl/dp/B00MXILUCY/ref=sr_1_2?s=music&ie=UTF8&qid=1409051918&sr=1-2&keywords=bob+dylan+bootleg+series

Jokerman Mar 26 Aoû 2014 - 14:15

Même si les bootlegs (A tree With Roots en tête) nous ont fait accéder depuis longtemps au contenu de ces Basement Tapes, c'est quand même un événement considérable que cette publication exhaustive officielle. 138 chansons:

CD 1
1. "Edge of the Ocean"
2. "My Bucket's Got a Hole in It" (written by Clarence Williams)
3. "Roll on Train"
4. "Mr. Blue" (written by Dewayne Blackwell)
5. "Belshazzar" (written by Johnny Cash)
6. "I Forgot to Remember to Forget" (written by Charlie A Feathers and Stanley A Kesler)
7. "You Win Again" (written by Hank Williams)
8. "Still in Town" (written by Hank Cochran and Harlan Howard)
9. "Waltzing with Sin" (written by Sonny Burns and Red Hayes)
10. "Big River (Take 1)" (written by Johnny Cash)
11. "Big River (Take 2)" (written by Johnny Cash)
12. "Folsom Prison Blues" (written by Johnny Cash)
13. "Bells of Rhymney" (written by Idris Davies and Peter Seeger)
14. "Spanish is the Loving Tongue"
15. "Under Control"
16. "Ol' Roison the Beau" (Traditional, arranged by Bob Dylan)
17. "I'm Guilty of Loving You"
18. "Cool Water" (written by Bob Nolan)
19. "The Auld Triangle" (written by Brendan Francis Behan)
20. "Po' Lazarus" (Traditional, arranged by Bob Dylan)
21. "I'm a Fool for You" (Take 1)
22. "I'm a Fool for You" (Take 2)

CD 2
1. "Johnny Todd" (Traditional, arranged by Bob Dylan)
2. "Tupelo" (written by John Lee Hooker)
3. "Kickin' My Dog Around" (Traditional, arranged by Bob Dylan)
4. "See You Later Allen Ginsberg (Take 1)"
5. "See You Later Allen Ginsberg (Take 2)"
6. "Tiny Montgomery"
7. "Big Dog"
8. "I'm Your Teenage Prayer"
9. "Four Strong Winds" (written by Ian Tyson)
10. "The French Girl (Take 1)" (written by Ian Tyson and Sylvia Tyson)
11. "The French Girl (Take 2)" (written by Ian Tyson and Sylvia Tyson)
12. "Joshua Gone Barbados" (written by Eric Von Schmidt)
13. "I'm in the Mood" (written by Bernard Besman and John Lee Hooker)
14. "Baby Ain't That Fine" (written by Dallas Frazier)
15. "Rock, Salt and Nails" (written by Bruce Phillips)
16. "A Fool Such As I" (written by William Marvin Trader)
17. "Song for Canada" (written by Pete Gzowski and Ian Tyson)
18. "People Get Ready" (written by Curtis L Mayfield)
19. "I Don't Hurt Anymore" (written By Donald I Robertson and Walter E Rollins)
20. "Be Careful of Stones That You Throw" (written by Benjamin Lee Blankenship)
21. "One Man's Loss"
22. "Lock Your Door"
23. "Baby, Won't You Be My Baby"
24. "Try Me Little Girl"
25. "I Can't Make it Alone"
26. "Don't You Try Me Now"

CD 3
1. "Young but Daily Growing" (Traditional, arranged by Bob Dylan)
2. "Bonnie Ship the Diamond" (Traditional, arranged by Bob Dylan)
3. "The Hills of Mexico" (Traditional, arranged by Bob Dylan)
4. "Down on Me" (Traditional, arranged by Bob Dylan)
5. "One for the Road"
6. "I'm Alright"
7. "Million Dollar Bash (Take 1)"
8. "Million Dollar Bash (Take 2)"
9. "Yea! Heavy and a Bottle of Bread (Take 1)"
10. "Yea! Heavy and a Bottle of Bread (Take 2)"
11. "I'm Not There"
12. "Please Mrs. Henry"
13. "Crash on the Levee (Take 1)"
14. "Crash on the Levee (Take 2)"
15. "Lo and Behold! (Take 1)"
16. "Lo and Behold! (Take 2)"
17. "You Ain't Goin' Nowhere (Take 1)"
18. "You Ain't Goin' Nowhere (Take 2)"
19. "I Shall be Released (Take 1)"
20. "I Shall be Released (Take 2)
21. "This Wheel's on Fire" (written by Bob Dylan and Rick Danko)
22. "Too Much of Nothing (Take 1)"
23. "Too Much of Nothing (Take 2)"

CD 4
1. "Tears of Rage (Take 1)" (written by Bob Dylan and Richard Manuel)
2. "Tears of Rage (Take 2)" (written by Bob Dylan and Richard Manuel)
3. "Tears of Rage (Take 3)" (written by Bob Dylan and Richard Manuel)
4. "Quinn the Eskimo (Take 1)"
5. "Quinn the Eskimo (Take 2)"
6. "Open the Door Homer (Take 1)"
7. "Open the Door Homer (Take 2)"
8. "Open the Door Homer (Take 3)"
9. "Nothing Was Delivered (Take 1)"
10. "Nothing Was Delivered (Take 2)"
11. "Nothing Was Delivered (Take 3)"
12. "All American Boy" (written by Bobby Bare)
13. "Sign on the Cross"
14. "Odds and Ends (Take 1)"
15. "Odds and Ends (Take 2)"
16. "Get Your Rocks Off"
17. "Clothes Line Saga"
18. "Apple Suckling Tree (Take 1)"
19. "Apple Suckling Tree (Take 2)"
20."Don't Ya Tell Henry"
21."Bourbon Street"

CD 5
1. "Blowin' in the Wind"
2. "One Too Many Mornings"
3. "A Satisfied Mind" (written by Joe Hayes and Jack Rhodes)
4. "It Ain't Me, Babe"
5. "Ain't No More Cane (Take 1)" (Traditional, arranged by Bob Dylan)
6. "Ain't No More Cane (Take 2)" (Traditional, arranged by Bob Dylan)
7. "My Woman She's A-Leavin'"
8. "Santa-Fe"
9. "Mary Lou, I Love You Too"
10. "Dress it up, Better Have it All"
11. "Minstrel Boy"
12. "Silent Weekend"
13. "What's it Gonna be When it Comes Up"
14. "900 Miles from My Home" (Traditional, arranged by Bob Dylan)
15. "Wildwood Flower" (written by A.P. Carter)
16. "One Kind Favor" (Traditional, arranged by Bob Dylan)
17. "She'll be Coming Round the Mountain" (Traditional, arranged by Bob Dylan)
18. "It's the Flight of the Bumblebee"
19. "Wild Wolf"
20. "Goin' to Acapulco"
21. "Gonna Get You Now"
22. "If I Were A Carpenter" (written by James Timothy Hardin)
23. "Confidential" (written by Dorina Morgan)
24. "All You Have to do is Dream (Take 1)"
25. "All You Have to do is Dream (Take 2)"

CD 6
1. "2 Dollars and 99 Cents"
2. "Jelly Bean"
3. "Any Time"
4. "Down by the Station"
5. "Hallelujah, I've Just Been Moved" (Traditional, arranged by Bob Dylan)
6. "That's the Breaks"
7. "Pretty Mary"
8. "Will the Circle be Unbroken" (written by A.P. Carter)
9. "King of France"
10. "She's on My Mind Again"
11. "Goin' Down the Road Feeling Bad" (Traditional, arranged by Bob Dylan)
12. "On a Rainy Afternoon"
13. "I Can't Come in with a Broken Heart"
14. "Next Time on the Highway"
15. "Northern Claim"
16. "Love is Only Mine"
17. "Silhouettes" (written by Bob Crewe and Frank C Slay Jr.)
18. "Bring it on Home"
19. "Come All Ye Fair and Tender Ladies" (Traditional, arranged by Bob Dylan)
20. "The Spanish Song (Take 1)"
21. "The Spanish Song (Take 2)"

Kyle William Mar 26 Aoû 2014 - 17:24

C'est ENORRRME !!
(pour moi qui ne me suis jamais lancé dans les pirates de Dylan, tout en entendant parler de ces titres là pendant… 25 ans)

CC Rider Mar 30 Sep 2014 - 16:19

Savoureux.
J'aime les gens qui font les choses sérieusement sans se prendre au sérieux

Bob Dylan au coeur d'un petit jeu secret entre scientifiques

Cela fait près de 20 ans que le jeu dure. Cinq scientifiques de l'institut Karolinska en Suède ont passé un pari entre eux pour savoir qui parviendrait à insérer le plus de citations possibles de Bob Dylan dans leurs écrits sur leurs travaux, révèle le journal suédois The Local.

Leur premier coup d'éclat? Quand John Jundberg et Eddie Weitzberg ont écrit un essai sur les flatulences intitulé: "Oxyde nitrique et inflammation : The answer is blowing in the wind". Un coup d'essai, en forme de coup d'éclat, qui les pousse à glisser un efficace The times they are a-changing dans un autre de leur papier.

L'aventure aurait pu s'arrêter là si un des bibliothécaires de l'institut n'avait pas repéré leur petit manège. Surprise, John Jundberg et Eddie Weitzberg ne sont pas les seuls à glisser des citations du pape de la folk dans leurs travaux les prévient-il. Ils se sont même fait doubler par un autre duo, qui a réussi l'exploit de glisser une double référence dans leur titre de travail: Blood on the tracks: A simple twist of fate. Placer du même coup le titre d'un album et celui d'une chanson, jolie performance, qui marque le coup d'envoi de la compétition.

C'est à celui qui dédiera le plus de références à leur idole, et ce avant que l'un d'eux ne prenne sa retraite. Soit dix sept ans de ce petit manège. Ils sont entre temps rejoints par un autre fan, et c'est donc pas moins de cinq scientifiques de l'institut Karolinska qui se sont prêtés au jeu pendant tout ce temps . De quoi donner envie de fouiller les archives…

"Bien sûr que cela m'amuse"

"Nous ne parlons pas là d'articles scientifiques" prévient toutefois Eddie Weitzberg. "Cela aurait pu nous mettre dans une situation délicate et le but n'est vraiment pas de ridiculiser la communauté scientifique. Nous nous sommes amusés avec des travaux de recherche, des introductions à des livres, ce genre de choses" tempère-t-il.

"D'ailleurs nous ne sommes pas les seuls à essayer d'être accrocheur dans nos titres. Si vous lisez d'autres articles, vous verrez que les scientifiques essayent tous de se démarquer à leur manière" ajoute-t-il, beau joueur. "De mon côté, j'aurais préféré recevoir de l'attention pour le contenu de mes articles plutôt que pour mes citations de Bob Dylan, mais je ne vais pas me plaindre, bien sûr que cela m'amuse" conclut-il.

Un passe temps qui vaudra au moins à l'un d'entre eux un repas gratuit. À l'approche de la retraite, il va bientôt être temps pour le grand gagnant de récolter son prix. Ne reste plus qu'à éplucher 17 ans d'archives scientifiques pour déterminer lequel des membres de ce club des cinq un peu particulier est le plus grand fan de Bob Dylan.

HibbingSon Mar 30 Sep 2014 - 16:30

dans un registre similaire, lors d'une conférence de politique internationale à la Mairie de Lille, mon neveu a cité le célèbre stratège américain Vincent Furnier... Mon frère et mon autre neveu étaient pliés en deux au fond la salle

bill horton Sam 25 Oct 2014 - 13:05

Un titre en écoute tiré du coffret Complete Basement Tapes désormais imminent:

http://www.esquire.com/blogs/culture/bob-dylan-the-band-dress-it-up

Bob DYLAN - Page 14 Esq-dylancomplete

bill horton Mar 18 Nov 2014 - 21:17

Jokerman a écrit:Nouvel album en vue avec, pour commencer, une reprise de Sinatra:
http://www.bobdylan.com/us/home

Album de vieux crooner si le premier morceau est représentatif de l'album à venir. Des reprises uniquement ou des morceaux originaux ?

http://www.rollingstone.com/music/news/bob-dylan-releases-frank-sinatra-cover-plans-new-album-20140513

J'ai trouvé ça dans ma boite mail, apparemment il s'agit de quelques détails supplémentaires autour du prochain Dylan...

“These are most of the tunes recorded by Bob and his current band (with guitarist Dean Parks added for a few tunes) during the sessions at Capitol recorded during Jan/Feb 2014:

All Or Nothing At All

All The Way

Autumn Leaves

Come Rain Or Come Shine

Didn’t He Ramble

Full Moon And Empty Arms

I’m A Fool To Want You

It Had To Be You

Maybe You’ll Be There

Melancholy Baby

On A Little Street In Singapore

Polkadots and Moonbeams

Skylark

Some Enchanted Evening

Stay With Me

Stormy Weather

That Lonely Old Sun (Lucky)

That Old Black Magic

The Night They Called It A Day (We)

What’ll I Do

Why Try To Change Me Now

I have no idea what made the cut for the final released version of Shadows In The Night nor do I know the actual release date. But some of this stuff is flat out amazing!”

CC Rider Mar 25 Nov 2014 - 9:24

Pour les besoins d'une expérience Suédoise intitulée «Experimenter seul», la légende folk-rock s'est produite sur scène avec son groupe devant une salle vide, composée d'un unique et chanceux spectateur.

Parmi les places de concerts les plus prisées au monde, celle-ci doit figurer parmi les gagnantes: la légende folk-rock Bob Dylan et son groupe ont donné dimanche un concert devant un public composé... d'une seule personne.
L'heureux élu de cette représentation ultra-privée donnée à l'Académie de musique de Philadelphie était la star de la télévision suédoise, Fredrik Wikingsson, qui travaille sur une série de films sur l'expérience en solitaire d'événements conçus pour de larges foules.
Wikingsson, qui se décrit lui-même comme un énorme fan de Dylan, a longtemps insisté pour obtenir ce concert. Il a expliqué au magazine Rolling Stone qu'il était tellement nerveux avant le spectacle qu'il ne pouvait rien avaler.
«Je souriais tellement que c'était comme si j'étais sous ecstasy», a raconté Wikingsson. «Mes mâchoires m'ont fait mal pendant des heures après (le concert) parce que je n'ai pas arrêté de sourire».
Bob Dylan, qui continue à 73 ans de se produire sur scène, a donné plus tard dimanche un autre concert plus traditionnel devant un large public à Philadelphie (Pennsylvanie, est). Mais le concert privé s'est avéré bien plus atypique pour la star, qui a pour l'occasion, repris des morceaux de pionniers du rock, dont Heartbeat de Buddy Holly et Blueberry Hill de Fats Domino, selon le magazine.
Totale euphorie ou un vide sidéral?

Le Suédois a confirmé sur Twitter avoir vécu cette expérience qu'il prévoit de transformer en documentaire de 15 minutes qui sera publié le mois prochain sur YouTube.
La page Facebook de son projet appelé «Experiment Ensam» (Expérimenter seul) reviendra sur l'impact qu'a eu sur Wikingsson le fait d'assister à un concert du géant Dylan, complètement seul.
«Est-ce que ce sera le témoignage d'une totale euphorie ou au contraire celui d'un vide sidéral dont on ne peut partager l'expérience avec quiconque?», peut-on y lire.
Wikingsson a confié au magazine américain Rolling Stone ne pas être allé au concert public de Dylan donné plus tard à Philadelphie, estimant que cela aurait été «bizarre» et que «rien ne peut surpasser» son propre concert privé.
A la place, le Suédois a passé la soirée dans un bar karaoké. Il a choisi des morceaux de Dylan et a chanté avec la foule.

#nicola# Mar 9 Déc 2014 - 16:33

Quelques mots sur le nouvel album.

Facebook a écrit:
Bob Dylan's new studio album, Shadows In The Night, will be released on February 3, 2015.

Of the album, Bob Dylan commented, “It was a real privilege to make this album. I've wanted to do something like this for a long time but was never brave enough to approach 30-piece complicated arrangements and refine them down for a 5-piece band. That's the key to all these performances. We knew these songs extremely well. It was all done live. Maybe one or two takes. No overdubbing. No vocal booths. No headphones. No separate tracking, and, for the most part, mixed as it was recorded. I don't see myself as covering these songs in any way. They've been covered enough. Buried, as a matter a fact. What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day.”
Read more and pre-order Shadows In The Night at http://www.BobDylan.com

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