The Encyclopedia of Dylanology
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Durham E-Theses
Durham E-Theses `This is what Salvation must be like after a While': Bob Dylan's Critical Utopia KOUVAROU, MARIA How to cite: KOUVAROU, MARIA (2011) `This is what Salvation must be like after a While': Bob Dylan's Critical Utopia, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1391/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ‘This is what Salvation must be like after a While’: Bob Dylan’s Critical Utopia Maria Kouvarou MA by Research in Musicology Music Department Durham University 2011 Maria Kouvarou ‘This is what Salvation must be like after a While’: Bob Dylan’s Critical Utopia Abstract Bob Dylan’s work has frequently been the object of discussion, debate and scholarly research. It has been commented on in terms of interpretation of the lyrics of his songs, of their musical treatment, and of the distinctiveness of Dylan’s performance style, while Dylan himself has been treated both as an important figure in the world of popular music, and also as an artist, as a significant poet. -
Bob Denson Master Song List 2020
Bob Denson Master Song List Alphabetical by Artist/Band Name A Amos Lee - Arms of a Woman - Keep it Loose, Keep it Tight - Night Train - Sweet Pea Amy Winehouse - Valerie Al Green - Let's Stay Together - Take Me To The River Alicia Keys - If I Ain't Got You - Girl on Fire - No One Allman Brothers Band, The - Ain’t Wastin’ Time No More - Melissa - Ramblin’ Man - Statesboro Blues Arlen & Harburg (Isai K….and Eva Cassidy and…) - Somewhere Over the Rainbow Avett Brothers - The Ballad of Love and Hate - Head Full of DoubtRoad Full of Promise - I and Love and You B Bachman Turner Overdrive - Taking Care Of Business Band, The - Acadian Driftwood - It Makes No Difference - King Harvest (Has Surely Come) - Night They Drove Old Dixie Down, The - Ophelia - Up On Cripple Creek - Weight, The Barenaked Ladies - Alcohol - If I Had A Million Dollars - I’ll Be That Girl - In The Car - Life in a Nutshell - Never is Enough - Old Apartment, The - Pinch Me Beatles, The - A Hard Day’s Night - Across The Universe - All My Loving - Birthday - Blackbird - Can’t Buy Me Love - Dear Prudence - Eight Days A Week - Eleanor Rigby - For No One - Get Back - Girl Got To Get You Into My Life - Help! - Her Majesty - Here, There, and Everywhere - I Saw Her Standing There - I Will - If I Fell - In My Life - Julia - Let it Be - Love Me Do - Mean Mr. Mustard - Norwegian Wood - Ob-La-Di Ob-La-Da - Polythene Pam - Rocky Raccoon - She Came In Through The Bathroom Window - She Loves You - Something - Things We Said Today - Twist and Shout - With A Little Help From My Friends - You’ve -
Settin' My Dial on the Radio
SETTIN ’ MY DIAL ON THE RADIO BOB DYLAN 2006 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES , NEW RELEASES , RECORDINGS & BOOKS . © 2010 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Settin’ My Dial On The Radio — Bob Dylan 2006 page 2 of 86 1 INTRODUCTION ...................................................................................................................................................................4 2 2006 AT A GLANCE ..............................................................................................................................................................4 3 THE 2006 CALENDAR ..........................................................................................................................................................4 4 NEW RELEASES AND RECORDINGS ..............................................................................................................................6 4.1 MODERN TIMES ................................................................................................................................................................6 4.2 BLUES ..............................................................................................................................................................................6 4.3 THEME TIME RADIO HOUR : BASEBALL ............................................................................................................................8 -
Freewheelin-On-Line Take Twenty One
Freewheelin-on-line Take Twenty One Freewheelin’ 219 This month’s cover could be the ultimate statement on the art of minimalism. Or, as Chris Cooper suggests, it could be a picture of Dylan in a snowstorm. Actually it’s neither of these. In fact, this month’s cover is meant to be a visual representation of silence which I suppose is quite natural when you consider that the journal itself concerns the comings and goings of an artist who makes a lot of noise. Before you accuse me of being a pretentious git let me plead for your sympathy and say that it wasn’t meant to be this way. I had planned a festive cover with bangles, baubles, beads and lots of angles. But then one foggy November eve some malicious spam spreader cast his spell my way and sent me an email, purporting to be from Paypal, inviting me to open an attachment. Dutifully, ignorantly and very stupidly I opened the attachment whereupon some worm leapfrogged my internet security system and crashed my pc. I tried to boot, boot boot the machine into life which only made matters worse. So I was left with no hardware, no software, no email facility and, worst of all, no access to Expecting Rain. Total silence on all fronts. I am now waiting for Santa Baby to hurry down the chimney with a brand new pc packed tight with some massive gigs and other things. Yet all I really wanna do is plug in a machine that works. So that I can hear that Windows jingle. -
Great Mambo Chicken and the Transhuman Condition
Tf Freewheel simply a tour « // o é Z oon" ‘ , c AUS Figas - 3 8 tion = ~ Conds : 8O man | S. | —§R Transhu : QO the Great Mambo Chicken and the Transhuman Condition Science Slightly Over the Edge ED REGIS A VV Addison-Wesley Publishing Company, Inc. - Reading, Massachusetts Menlo Park, California New York Don Mills, Ontario Wokingham, England Amsterdam Bonn Sydney Singapore Tokyo Madrid San Juan Paris Seoul Milan Mexico City Taipei Acknowledgmentof permissions granted to reprint previously published material appears on page 301. Manyofthe designations used by manufacturers andsellers to distinguish their products are claimed as trademarks. Where those designations appear in this book and Addison-Wesley was aware of a trademark claim, the designations have been printed in initial capital letters (e.g., Silly Putty). .Library of Congress Cataloging-in-Publication Data Regis, Edward, 1944— Great mambo chicken and the transhuman condition : science slightly over the edge / Ed Regis. p- cm. Includes bibliographical references. ISBN 0-201-09258-1 ISBN 0-201-56751-2 (pbk.) 1. Science—Miscellanea. 2. Engineering—Miscellanea. 3. Forecasting—Miscellanea. I. Title. Q173.R44 1990 500—dc20 90-382 CIP Copyright © 1990 by Ed Regis All rights reserved. No part ofthis publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Printed in the United States of America. Text design by Joyce C. Weston Set in 11-point Galliard by DEKR Corporation, Woburn, MA - 12345678 9-MW-9594939291 Second printing, October 1990 First paperback printing, August 1991 For William Patrick Contents The Mania.. -
ELCOCK-DISSERTATION.Pdf
HIGH NEW YORK THE BIRTH OF A PSYCHEDELIC SUBCULTURE IN THE AMERICAN CITY A Thesis Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of History University of Saskatchewan Saskatoon By CHRIS ELCOCK Copyright Chris Elcock, October, 2015. All rights reserved Permission to Use In presenting this thesis in partial fulfilment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Head of the Department of History Room 522, Arts Building 9 Campus Drive University of Saskatchewan Saskatoon, Saskatchewan S7N 5A5 Canada i ABSTRACT The consumption of LSD and similar psychedelic drugs in New York City led to a great deal of cultural innovations that formed a unique psychedelic subculture from the early 1960s onwards. -
Live and Die Down to the River to Pray (Oh Brother
THE AVETT BROTHERS Live and Die GEORGE HARRISON If Not For You PETE SEEGER If I had a Hammer ALISON KRAUSS Down to The River to Pray GEORGE HARRISON My Sweet Lord RICHIE HAVENS Here Comes The Sun (Oh Brother Where Art Thou?) GILLIAN WELCH Dear Someone RUFUS WAINWRIGHT Hallelujah THE BAND The Weight GILLIAN WELCH I’ll Fly Away (Oh Brother Where Art Thou?) RYAN ADAMS When The Stars Go Blue BONNIE RAITT Angel From Montgomery GRATEFUL DEAD Cold Rain And Snow THE SHINS New Slang BIG STAR 13 HANK WILLIAMS Jambalaya TOWNES VAN ZANDT I’ll Be Here In The Morning BLIND WILLIE JOHNSON John The Revelator JACKSON BROWN These Days TOWNES VAN ZANDT White Freightliner Blues BOB DYLAN Lay, Lady Lay JOAN BAEZ House of The Rising Sun THE TRIO Do I Ever Cross Your Mind BON IVER Skinny Love JOHN DENVER Take Me Home, Country Roads THE VELVET UNDERGROUND Pale Blue Eyes BRUCE SPRINGSTEEN I’m on Fire JOHNNY CASH Ring of Fire THE ZOMBIES This Will Be Our Year THE BYRDS You Aint Going Nowhere JOHN PRINE/ BONNIE RAITT Up Above My Head VAN MORRISON Astral Weeks CANNED HEAT Going Up The Country JONI MITCHELL California WILCO California Stars THE CARTER FAMILY Keep on the Sunny Side JOSE GONZALEZ Heartbeats WILLIE NELSON Always on My Mind CAT POWER Sea of Love THE KINKS Strangers WOODY GUTHRIE Hard Travelin’ CAT STEVENS Here Comes My Baby LED ZEPPELIN Tangerine DOLLY PARTON Jolene LOUDON WAINWRIGHT Daughter DUSTY SPRINGFIELD Son Of A Preacher Man LOUVIN BROTHERS My Baby’s Gone EAGLES One of These Nights LOUVIN BROTHERS You’re Running Wild EDWARD SHARPE Home THE LUMINEERS Ho Hey EVERLY BROTHERS All I Have To Do Is Dream NEIL YOUNG Harvest Moon EVERLY BROTHERS Down In The Willow Garden NEIL YOUNG Unknown Legend THE FACES Ooh La La OLD CROW MEDICINE SHOW Wagon Wheel FAIRPORT CONVENTION Who Knows Where the Time Goes? PAUL SIMON Diamonds on the Soles of Her Shoes FLEET FOXES Mykonos PAUL SIMON Me and Julio Down by The Schoolyard FLEETWOOD MAC Never Going Back Again PENNY & QUARTERS You And Me . -
The Songs of Bob Dylan
The Songwriting of Bob Dylan Contents Dylan Albums of the Sixties (1960s)............................................................................................ 9 The Freewheelin’ Bob Dylan (1963) ...................................................................................................... 9 1. Blowin' In The Wind ...................................................................................................................... 9 2. Girl From The North Country ....................................................................................................... 10 3. Masters of War ............................................................................................................................ 10 4. Down The Highway ...................................................................................................................... 12 5. Bob Dylan's Blues ........................................................................................................................ 13 6. A Hard Rain's A-Gonna Fall .......................................................................................................... 13 7. Don't Think Twice, It's All Right ................................................................................................... 15 8. Bob Dylan's Dream ...................................................................................................................... 15 9. Oxford Town ............................................................................................................................... -
Het Verhaal Van De 340 Songs Inhoud
Philippe Margotin en Jean-Michel Guesdon Rollingthe Stones compleet HET VERHAAL VAN DE 340 SONGS INHOUD 6 _ Voorwoord 8 _ De geboorte van een band 13 _ Ian Stewart, de zesde Stone 14 _ Come On / I Want To Be Loved 18 _ Andrew Loog Oldham, uitvinder van The Rolling Stones 20 _ I Wanna Be Your Man / Stoned EP DATUM UITGEBRACHT ALBUM Verenigd Koninkrijk : Down The Road Apiece ALBUM DATUM UITGEBRACHT 10 januari 1964 EP Everybody Needs Somebody To Love Under The Boardwalk DATUM UITGEBRACHT Verenigd Koninkrijk : (er zijn ook andere data, zoals DATUM UITGEBRACHT Verenigd Koninkrijk : 17 april 1964 16, 17 of 18 januari genoemd Verenigd Koninkrijk : Down Home Girl I Can’t Be Satisfi ed 15 januari 1965 Label Decca als datum van uitbrengen) 14 augustus 1964 You Can’t Catch Me Pain In My Heart Label Decca REF : LK 4605 Label Decca Label Decca Time Is On My Side Off The Hook REF : LK 4661 12 weken op nummer 1 REF : DFE 8560 REF : DFE 8590 10 weken op nummer 1 What A Shame Susie Q Grown Up Wrong TH TH TH ROING (Get Your Kicks On) Route 66 FIVE I Just Want To Make Love To You Honest I Do ROING ROING I Need You Baby (Mona) Now I’ve Got A Witness (Like Uncle Phil And Uncle Gene) Little By Little H ROLLIN TONS NOW VRNIGD TATEN EBRUARI 965) I’m A King Bee Everybody Needs Somebody To Love / Down Home Girl / You Can’t Catch Me / Heart Of Stone / What A Shame / I Need You Baby (Mona) / Down The Road Carol Apiece / Off The Hook / Pain In My Heart / Oh Baby (We Got A Good Thing SONS Tell Me (You’re Coming Back) If You Need Me Goin’) / Little Red Rooster / Surprise, Surprise. -
Matrices of 'Love and Theft': Joan Baez Imitates Bob Dylan
Twentieth-Century Music 18/2, 249–279 © The Author(s), 2021. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi: 10.1017/S1478572221000013 Matrices of ‘Love and Theft’: Joan Baez Imitates Bob Dylan MIMI HADDON Abstract This article uses Joan Baez’s impersonations of Bob Dylan from the mid-1960s to the beginning of the twenty-first century as performances where multiple fields of complementary discourse con- verge. The article is organized in three parts. The first part addresses the musical details of Baez’s acts of mimicry and their uncanny ability to summon Dylan’s predecessors. The second con- siders mimicry in the context of identity, specifically race and asymmetrical power relations in the history of American popular music. The third and final section analyses her imitations in the context of gender and reproductive labour, focusing on the way various media have shaped her persona and her relationship to Dylan. The article engages critical theoretical work informed by psychoanalysis, post-colonial theory, and Marxist feminism. Introduction: ‘Two grand, Johnny’ Women are forced to work for capital through the individuals they ‘love’. Women’s love is in the end the confirmation of both men’s and their own negation as individ- uals. Nowadays, the only possible way of reproducing oneself or others, as individuals and not as commodities, is to dam this stream of capitalist ‘love’–a ‘love’ which masks the macabre face of exploitation – and transform relationships between men and women, destroying men’s mediatory role as the representatives of state and capital in relation to women.1 I want to start this article with two different scenes from two separate Bob Dylan films. -
WDAM Radio's History of the Byrds
WDAM Radio's Hit Singles History Of The Byrds # Artist Title Chart Comments Position/Year 01 Jet Set “The Only One I Adore” –/1964 Jim McGuinn, Gene Clark & David Crosby with studio musicians 02 Beefeaters “Please Let Me Love You” –/1964 03 Byrds “Mr. Tambourine Man” #1/1965 Jim McGuinn, Gene Clark, David Crosby, Michael Clarke & Chris Hillman. Only Jim McGuinn played on this recording with the Wrecking Crew studio musicians. 03A Bob Dylan “Mr. Tambourine Man” #6-Albums/ From Bringing It All Back Home. 1965 03B Brothers Four “Mr. Tambourine Man” #118-Albums/ Recorded in1964, but not issued until 1965.The 1965 Brothers Four had some management connection with Bob Dylan and had even shared some gigs. In late 1963, following JFK's assassination, the Brothers Four began looking at more serious material and were presented with some Bob Dylan demos. Among his songs the group chose to record was Mr. Tambourine Man. Bob Dylan has say over who first releases one of his songs and, since he didn't care for the Brothers Four's arrangement, it wasn't immediately issued. It appeared on their The Honey Wind Blows album following the Byrds' hit and Bob Dylan's own version. 04 Byrds “All I Really Want To Do” #40/1965 A-side of I’ll Feel A Whole Lot Better. 04A Cher “All I Really Want To Do” #15/1965 Cher’s first solo hit single. 04B Bob Dylan “All I Really Want To Do” #43-Albums/ From Another Side Of Bob Dylan. 1964 05 Byrds “I’ll Feel A Whole Lot Better” #103/1965 B-side of All I Really Want To Do. -
More Than a Touch of Madness Below Performance (1970)
Articles More Than a Touch of Madness Below Performance (1970) On its release in the United States in 1970, Life magazine critic Richard Schickel described Don- More Than ald Cammell and Nicolas Roeg’s debut filmPerfor - mance as ‘the most completely worthless film I have seen since I began reviewing’ (Schickel 1970). Pretty a Touch of harsh words from Schickel who, along with Andrew Sarris and Pauline Kael, had embraced much of the new American and European cinema and had railed Madness against the New York Times critic Bosley Crowther for denouncing as trash Arthur Penn’s breakthrough The flawed brilliance of Nicolas Roeg film, Bonnie and Clyde (1967). One can only guess that watching a couple of bodies being riddled with and Donald Cammell’s debut film bullet holes must have been easier to digest than Performance watching three hippies taking a bath in a tub of dirty water. But whatever his cinematic politics, Schickel was not alone. John Simon, then writing in the New By Dean Goldberg York Times, wrote: You do not have to be a drug addict, ped- Keywords Nicolas Roeg, Donald Cammell, erast, sado-masochist, or nitwit to enjoy Performance, 1960s, Mick Jagger, Anita Performance, but being one or more of these Pallenberg things would help […] [It’s] a prime example of the Loathsome Film, a genre that sub- sists purely on shock value, cheap thrills, decadent artiness, glorification of amoral- ity, and sheer mystification […] And there is the supreme horror of the film, Mick Jagger, whose lack of talent is equaled only by a repulsiveness of epic proportions […] It is all mindless intellectual pretension and patho- logically reveled-in gratuitous nastiness, and it means nothing.