DOCSLIB.ORG

Like a Rolling Stone: Bob Dylan at the Crossroads Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Like a Rolling Stone: Bob Dylan at the Crossroads Pdf, Epub, Ebook LIKE A ROLLING STONE: BOB DYLAN AT THE CROSSROADS PDF, EPUB, EBOOK Greil Marcus | 304 pages | 06 Jul 2006 | FABER & FABER | 9780571223862 | English | London, United Kingdom Like a Rolling Stone: Bob Dylan at the Crossroads PDF Book Instead of research, he remembers. Just as intriguing as the taped interviews up for sale are four letters Dylan wrote to Glover between and , with frank discussion of his early career and musical influences. Mar 13, C. Open Preview See a Problem? Repetitive, over the top, meandering, thin, pompous--but despite all that, it just grew on me. How Does it Feel? Bradley: Should I ask who you made the bargain with? They were just like little babies. It was shitty , is what it was. His writing is amusing in the best way of "providing interesting and enjoyable occupation," and there seem to be no limits to his curiosity or erudition. However, the literary value of the lyrics and the exactitude of the musical performance have never determined the ultimate impact of a popular song. Keeping it all over there and just going straight ahead. He went on to discuss other tidbits about his songwriting inspirations. Marcus is frequently accused of pretentiousness, and this is an accusation with which I won't argue—it's the height of artistic pretentiousness to insist, without irony or artifice, that a single song can really represent the turning point for an entire culture. Marcus is always entertaining but maybe best suited to the editorial limitations of the magazine format. I had been on a binge my whole life, you could say. Nobody ever taught you how to live out on the street. He never quite comes to the part where he satisfyingly resolves all the mounting, swelling, grandly played generalizations that link Elvis, The Sex Pistols and Cabaret Voltaire as sources of insight geared to undermine an oppressive regime, but the reader has fun along the way. Refresh and try again. Wilson was known for taking an extremely hands-off approach with his artists, at times sitting in the back of the studio reading the newspaper as the sessions were rolling. Share this: Facebook Email Pinterest Print. Logging out But what a legend it is. Still, that's part of the fun. But to me, it was just one of those things. View 2 comments. At the same time, in "Like A Rolling Stone," being invisible is not pure oppression. Parts of it I enjoyed especially the epilogue, which is basically an overview of the recording process for the song, take by take , but other parts felt rambling - and Marcus had a habit of jumping from one decade to the next. Kooper was joined by two members of what would soon be known has The Band , Levon Helm on drums and Robbie Robertson on guitar. All three had consequential careers as musicians in the Twin Cities and beyond. I don't regret that too much, because that was great music, and, besides, Dylan was my doorway to Baudelaire and Ginsberg and Howling Wolf and Hank Williams. I was high on that feeling for a long time. The closest I can come is that the song somehow captures a certain sentiment that everybody can relate to in some way. When he came back, he was doing Woody and he was doing Van Ronk and he was fingerpicking, he was playing cross harp, and this is a matter of a couple of months. Is Bobby Gregg's snare drum open the greatest open in music history? This is the Greil Marcus book you were always afraid he might write. Aug 07, Clayton Faulkner rated it really liked it. My whole life had been one big, long binge. If any song deserves it, "Like A Rolling Stone" is the one. She lived extravagantly, with little self-control, eventually falling into a long period of drug addiction and psychological problems. Whatever it is, Like a Rolling Stone has it in spades. This is NOT a book for those with a casual interest. The "you" in the song once looked pityingly at people like this, who took themselves too seriously. Think we got a ride from Madison all the way from two young New Yorkers. But on the day of the show, CBS lawyers demanded he abandon the song, in fear it would incite a defamation suit from the John Birch Society. Though the ability to put it down and walk away probably leads to a large portion of the readership never returning, this is not a book that should be read in one go. Like a Rolling Stone: Bob Dylan at the Crossroads Writer Dec 12, Brendan rated it it was amazing. On March 18th, , Bob Dylan sat down in his Manhattan office, put his feet up on a table, strummed a guitar, and opened up like he rarely, if ever, had before. Though the ability to put it down and walk away probably leads to a large portion of the readership never returning, this is not a book that should be read in one go. Dylan gives a chilling answer regarding a bargain he made with an invisible spiritual entity that he feels he must keep: Dylan: Well, it goes back to that destiny thing. Interested in song-writing, the recording process, Dylan, or America's on-going cultural hiccoughs and storms, this is a worthwhile read. Read more One of her brothers committed suicide and another had severe psychological problems. To Dylan, this was corroboration of how rotten some reporters were. No one else really meant anything as much as [Guthrie] did. Your email address will not be published. Vietnam—the society we're talking about, and you realize, as you become aware, drug aware, socially aware, the disasters of commercial society" Greil Marcus, Like A Rolling Stone: Bob Dylan At the Crossroads , p. Why are there entire bookshelves devoted to this man and so few about other poets? It's light and spends a lot of time rambling and flailing with Dylan adoration, but there are some gems among the essays. I just wish it were more organized. Or what will a man give in exchange for his soul? Jun 16, Matt rated it liked it Shelves: lit-crit , america-fuck-yeah , musique. For those who share his passion, his works are a whole lot of fun. He can say what he means, say nothing at all, and do both at the same time. Instead, Marcus, in keeping with his usual method, writes for PhD's who live in record stores, delivering a rambling metaphysical analysi Greil Marcus returns to one of his favorite subjects, Bob Dylan. Glover wondered whether that experience contributed to a newfound vitriol in the lyrics of Highway 61 Revisited, recorded during the same period. But what a legend it is. Goodreads helps you keep track of books you want to read. Originally published on the 40th anniversary of its release and recording, Greil Marcus's extraordinary book reconstructs the context in which the song first appeared, in terms of Dylan's own career his controversial transformation from folk singer into rock 'n' roll singer and the world at large Vietnam, the Watts Riots, the burgeoning counter- culture of the time. W hy's T his F unny? The lyrics, given to Glover, read:. This is NOT a book for those with a casual interest. Greil Marcus has made his name as rock critic by insisting that the tide of History is directly mirrored by the pop music of the period. After the session started, Wilson moved Paul Griffin from the organ to the piano. A binge of what, Glover wondered, nonstop travel or drug overdose or depleted constitution? Between this book and Invisible Republic alone he's added some of the most virile work yet to the flabby canon that is Dylan writing. Is Bobby Gregg's snare drum open the greatest open in music history? In the process he makes connections between the song and all manner of cultural events throughout history, some obscure, some less so. Dylan side-kick Bobby Neuwirth said Sedgwick came to meet them in a limousine her prefer mode of transportation at the Kettle of Fish , a renown folkie bar in Greenwich Village. On this whole thing? Even as a huge fan of both Dylan and music op eds, this book was way too all over the place for me! Logging out…. Dylan also made a confession about his motorcycle accident. He went on to discuss other tidbits about his songwriting inspirations. Like a Rolling Stone: Bob Dylan at the Crossroads Reviews Mostly he comes off the rails when he compares it to other songs in terms o Marcus does something unique in 'Like a Rolling Stone'. At some Acid Test, and some weirdo comes up to you, with a beard, a top hat—you stare into the vacuum of his eyes, and ask him, do you want to make a deal. At the same time, in "Like A Rolling Stone," being invisible is not pure oppression. Boy, does this guy how knows how to turn a sentence, even one with a clause in the middle of it that contains its own sentence, or two: "Singing in a voice as clear as wa One of the few subjects less interesting to me than the history of rock and roll would be the history of one particular rock and roll song. The fiercely loyal Glover, who died in , safeguarded the tapes and transcripts along with four letters and a treasure trove of other memorabilia he amassed from Dylan over the years.
Load more

Recommended publications
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • Positively Fourth Street
    Positively Fourth Street (Bob Dylan) You got a lotta nerve to say you are my friend When I was down, you just stood there grinning You got a lotta nerve to say you gotta helping hand to lend You just want to be on the side that's winning You say I let you down, you know it's not like that If you're so hurt why then don't you show it? You say you lost your faith but that's not where it's at You have no faith to lose and you know it I know the reason that you talk behind my back I used to be among the crowd you're in with Do you take me for such a fool to think I'd make contact With the one who tries to hide what he don't know to begin with? You see me on the street, you always act surprised You say, "How are you? Good luck," but you don't mean it When you know as well as me you'd rather see me paralyzed Why don't you just come out once and scream it? No, I do not feel that good when I see the heartbreaks you embrace If I was a master thief perhaps I'd rob them And now I know you're dissatisfied with your position and your place Don't you understand, it's not my problem I wish that for just one time you could stand inside my shoes And just for that one moment, I could be you Yes, I wish that for just one time, you could stand inside my shoes You'd know what a drag it is to see you 171 "Positively 4th Street" is a song written and performed by Bob Dylan, first recorded in New York City on July 29, 1965.
    [Show full text]
  • Like a Rolling Stone by Bob Dylan in C [5 Chords] Verse: C = 0003, Dm Sus4 = 0210, Em = 0432, F Sus2 = 0553, G = 0775, Interlude: G = 0232, G Sus4 = 0233
    Like A Rolling Stone by Bob Dylan in C [5 Chords] Verse: C = 0003, Dm sus4 = 0210, Em = 0432, F sus2 = 0553, G = 0775, Interlude: G = 0232, G sus4 = 0233 C Dm C Dm Once upon a time you dressed so fine Ah, you've gone to the finest school Em F Em F Threw the bums a dime in your prime, all right, Miss Lonely But you know you only used to get G G didn't you? juiced in it C Dm C Dm People'd call, say, 'Beware doll, And nobody has ever taught you how to live Em F Em F you're bound to fall' You thought they were all on the street But now you're gonna have to get G G Kiddin' you Used to it F G F G You used to laugh about You said you'd never compromise F G F G Everybody that was hangin' out With the mystery tramp, but now you realize F Em Dm C F Em Dm C Now you don't talk so loud He's not selling any alibis F Em Dm C F Em Dm C Now you don't seem so proud As you stare into the vacuum of his eyes Dm F G Dm F G About having to be scrounging your next meal. And say do you want to make a deal? G C F G G C F G How does it feel How does it feel G C F G G C F G How does it feel How does it feel G C F G G C F G To be without a home To be on your own G C F G G C F G Like a complete unknown With no direction home G C F G Gsus4 G Gsus4 G C F G Like a rolling stone? A complete unknown G C F G Gsus4 G Gsus4 Like a rolling stone? Page 1 of 2 Like A Rolling Stone by Bob Dylan in C [5 Chords] Verse: C = 0003, Dm sus4 = 0210, Em = 0432, F sus2 = 0553, G = 0775, Interlude: G = 0232, G sus4 = 0233 C C Dm Aww, You never Aww, Princess on the steeple and all the Dm
    [Show full text]
  • Still on the Road Session Pages: 1965
    STILL ON THE ROAD 1965 CONCERTS, INTERVIEWS & RECORDING SESSIONS JANUARY 13 New York City, New York Studio A, Columbia Recording Studios, The 1st Bringing It All Back Home recording session 14 New York City, New York Studio A, Columbia Recording Studios, The 2nd Bringing It All Back Home recording session 15 New York City, New York Studio A, Columbia Recording Studios, The 3rd and last Bringing It All Back Home recording session 29 Springfield, Massachusetts Municipal Auditorium FEBRUARY 10 New Brunswick, New Jersey The State College, Rutgers Gymnasium 12 Troy, New York Troy Armory 17 New York City, New York WABC TV Studios, Les Crane Show MARCH 19 Raleigh, North Carolina Reynolds Coliseum 21 Ottawa, Ontario, Canada Capitol Theatre 26 Los Angeles, California Ciro's Le Disc, Hollywood 27 Santa Monica, California Civic Auditorium APRIL 9 Vancouver, British Columbia, Queen Elizabeth Theatre Canada 24 Seattle, Washington The Arena 26 London, England Arrival Area, London Airport 26 London, England Press Conference Room, London Airport, Short interview 27 London, England Savoy Hotel 27 London, England Savoy Hotel, Interview by Jack DeManio 27 London, England Savoy Hotel, press conference 30 Sheffield, England The Oval, City Hall, press conference 30 Sheffield, England The Oval, City Hall, soundcheck 30 Sheffield, England The Oval, City Hall MAY 1 Liverpool, England Odeon 2 Leicester, England De Montfort Hall 2 Leicester, England De Montfort Hall 3 or 4 London England A Hotel Room, Savoy Hotel 5 Birmingham, England Town Hall, backstage before
    [Show full text]
  • E S349s Bob Dylan
    E s349S l Bob Dylan Instructor: Doherty, Brian Areas: Roman Numeral I–VI Unique #: 83748 Flags: Flag Name(s) Semester: Summer 2013 Restrictions: Honors, Longhorn Scholars, etc. Cross-lists: XXX ### Computer Instruction: Y/N Prerequisites: Six semester hours of upper-division coursework in English. Description: The New Criticism in literary studies propounded that it is the text alone which needs to be explored by the critic— biography, history, geography, anything outside of the text is irrelevant to criticism. While we will do quite a bit of close reading of Dylan’s songs (poems) this will not be a course fueled by the New Criticism. Dylan is emblematic of his times, of the folk tradition, of the era of rock music, of the legions of singer-songwriters who followed. He is influential to scores of artists, and was influenced by scores of artists. We will take much of this into consideration as we explore Bob Dylan, the artist, Bob Dylan, the Mythic Figure of American culture. Bob Dylan the musician. Texts: Dylan, Bob. Chronicles, Volume One. Marcus, Griel. Like a Rolling Stone Other Readings will be made available in a course reader, posted as links to online articles, or as pdf files. Requirements & Grading: Quizzes. Best 5 of 7 for grade. 10% Test on Dylan, his Times and Influences 20% Book Report on assigned Book 10% Portfolio on your assigned song. 15% Participation in discussion on blog or blackboard. 15% Formal Analytical Paper on Dylan and his work, or Analytical Reading/observation journal on your Dylan class life 30% Attendance in Class is required.
    [Show full text]
  • Gonna Buy Me a Barrel of Whiskey
    GONNA BUY ME A BARREL OF WHISKEY BOB DYLAN 2018 by Olof Björner and Daniel Mackay A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, EXHIBITIONS & BOOKS. © 2020 by Olof Björner and Daniel Mackay 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. Gonna Buy Me a Barrel of Whiskey — Bob Dylan 2018 page 2 of 47 CONTENT 1 INTRODUCTION .................................................................................................................................... 4 2 2018 AT A GLANCE ............................................................................................................................... 4 3 THE 2018 CALENDAR ........................................................................................................................... 5 4 NEW RELEASES ..................................................................................................................................... 7 4.1 United We Swing: Best of Jazz at The Lincoln Center Galas ............................................................ 7 4.2 Universal Love – Wedding Songs Reimagined ................................................................................. 7 4.3 Live 1962-1966: Rare Performances from the Copyright Collections ............................................... 8 4.4 Bootleg Series Vol. 14: More Blood, More Tracks ........................................................................... 8 4.4.1 Description
    [Show full text]
  • The Cutting Edge: New York Singles Sessions, Oct - Nov 1965
    The Cutting Edge: New York Singles Sessions, Oct - Nov 1965 by Roger Ford Dylan’s first recording session following the release of “Highway 61 Revisited” was on October 5 1965, four days after his concert with The Hawks at Carnegie Hall. At this time ‘Like a Rolling Stone’ was finally on its way down the Billboard chart at No. 33, and ‘Positively 4th Street’ was just on its way up at No. 34, but Columbia may already have been keen for Dylan to have a follow-up single ready for late autumn release.1 In fact, three days of sessions were booked in the New York studio diary, on October 4, 5 and 6, but the first and last of these were cancelled, leaving just a six-hour double session on the 5th. It seems unlikely that the studio bookings were entirely Dylan’s idea, as he evidently had no new songs finished and ready to record. But now that he had his own road band, he may have been interested to hear how they would perform in the studio, and so went ahead with the recording date anyway, maybe thinking he’d make something up on the day.2 October 5, 1965 MEDICINE SUNDAY (CO 87183) Collectors have long been familiar with a version of this fragmentary song, which was on the so-called ‘Band session’ tape of half a dozen late 1965 and early 1966 recordings, first circulated around 1971. It turns out that this was Take 2, which in fact nearly made it onto “Biograph”, and later was one of the many ‘hidden’ tracks on 1995’s “Highway 61 Interactive” CD- ROM release.
    [Show full text]
  • Hibbing Public Library Bob Dylan Collection
    Bob Dylan Collection at the Hibbing Public Library 12'' LPs • 4 Songs From "Renaldo And Clara" A Film By Bob Dylan. Columbia, 1978. (Demonstration--not for sale.) • Best of Bob's Bootlegs. Also includes 4 interviews with Dylan. Double Cross, 197?. • Biograph. Five record deluxe edition. Columbia, 1985. • Bob Dylan: Historical Archives, volume 1. Made in Italy by Go International, 1961, 1962. • Bob Dylan London Interview, July 1981. Columbia, 1981. (Demonstration --not for sale.) • Bob Dylan: the Little White Wonder, volume 3. Buhay Records, 1973. • Down in the Groove. Columbia, 1988. • Dylan & the Dead. Columbia, 1989. (Recorded live, July 1987.) • Empire Burlesque. Columbia, 1985. • Folk Jamboree. Columbia Limited Edition, 196?. • Good As I Been To You. England, Columbia, 1992. (Rare import.) • Got My Mind Made Up; Brownsville Girl. Columbia, 1986. (Demonstration--not for sale.) • Great White Wonder. A Different Kind of Music and Media Festival. Future Tense Productions, 1984. (unmarked recordings parts 1 and 2) • Great White Wonder II. 1969? (All disc labels blank.) • Hearts Of Fire. Original motion picture soundtrack. Columbia, 1987. • Historical Archives, Vol. 1. Italy, Go International, 199?. (Tracks 1-6 recorded at the Gaslight Club, NY, Sept. 6, 1961. Tracks 7-8 recorded at the Finjan Club, Montreal, July 2, 1962.) • Infidels. Columbia, 1983. • Knocked Out Loaded. Columbia, 1986. • Life Sentence. Germany, Ruthless Rhymes, Ltd., 1978? (Recorded June 2, 1978 at the Universal Amphitheater in Los Angeles.) • Little White Wonder, Volume 3. Milan, Italy, Buhay, 1973. (Songs performed by the composer and recorded in Italy.) • London Interview - July 1981. Columbia, 1981. (For promotion only. Recorded at the White House Hotel, London, England, July 2, 1981.
    [Show full text]
  • “To Live Outside the Law, You Must Be Honest”: Freedom and the Law in Dylan’S Lyrics 1964-1966
    “To live outside the law, you must be honest”: freedom and the law in Dylan’s lyrics 1964-1966 Bob Dylan stands for an ideal of personal freedom, in some sense. He (or his lyrical persona) won’t stick around in a bad situation (“Don’t Think Twice”), consent to be owned (“It Ain’t Me Babe”), be someone’s boss (“It Takes a Lot to Laugh …”), try to please (“It’s Alright Ma”), answer reporters’ clichéd questions, stick to folk songs, or work on Maggie’s farm “no more.” There are many things he won’t do: but what will he do? This is a lot of negativity: if he just keeps on keeping on, where will he end up? Starting with Another Side of Bob Dylan, Dylan turned from overtly political songs to songs of a personal nature. At a 1966 concert, someone shouted: “Play protest songs!” Dylan answered: “Oh come on, these are all protest songs. Aw, it’s the same stuff as always. Can’t you HEAR?” Then he played “Ballad of a Thin Man.”1 The “same stuff,” apparently, was an assertion of freedom. These self-expressive, iconoclastic songs, written against folky expectations, tend to harp on rejecting the influence of others – lovers, families, “everybody [who] wants you to be just like them” (“Maggie’s Farm,” “To Ramona”). Sometimes, in these songs, there is an allegory of the personal to the political (“Maggie’s Farm”). Sometimes, Dylan takes a critical view of political protest, that it remains empty so long as it remains abstract (“My Back Pages”), and that the political rhetoric of freedom can itself impede freedom.
    [Show full text]
  • Rubber Souls: Rock and Roll and the Racial Imagination
    Rubber Souls: Rock and Roll and the Racial Imagination The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Hamilton, John C. 2013. Rubber Souls: Rock and Roll and the Racial Imagination. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11125122 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Rubber Souls: Rock and Roll and the Racial Imagination A dissertation presented by Jack Hamilton to The Committee on Higher Degrees in American Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of American Studies Harvard University Cambridge, Massachusetts April 2013 © 2013 Jack Hamilton All rights reserved. Professor Werner Sollors Jack Hamilton Professor Carol J. Oja Rubber Souls: Rock and Roll and the Racial Imagination Abstract This dissertation explores the interplay of popular music and racial thought in the 1960s, and asks how, when, and why rock and roll music “became white.” By Jimi Hendrix’s death in 1970 the idea of a black man playing electric lead guitar was considered literally remarkable in ways it had not been for Chuck Berry only ten years earlier: employing an interdisciplinary combination of archival research, musical analysis, and critical race theory, this project explains how this happened, and in doing so tells two stories simultaneously.
    [Show full text]
  • All Along the Watchtower, by Bob Dylan
    All Along the Watchtower, by Bob Dylan In A Nutshell The argument over whether Bob Dylan should be considered a poet has been going on for quite a while. (You can read a good summary of the discussion on Poets.org). By treating “All Along the Watchtower” as a poem, we’re inviting two different questions, each as sticky as strawberry jam. On the one hand, why are we discussing a song by a rock musician when there are so many classic poems we haven’t even touched yet? “At least get through Shakespeare first!” you might say. On the other hand, if we’re going to start treating lyrics as poetry, why start with Dylan instead of The Rolling Stones, Chuck Berry, Woody Guthrie, Radiohead, or Nas? You might accuse us of opening Pandora’s Box and unleashing musical chaos on the ordered world of poetry. Our answer is that we’re trying to teach poetry here, not make arguments about the value of one writer over another. Dylan is a great person to teach because he’s one of the most important and influential artists of the 20th century. In our opinion, he also tends to use more – and more varied – figurative language than most songwriters. If reading our take on this song makes you think a little differently about both poetry and music, so much the better. Let's turn our attention to Dylan's "All Along the Watchtower," which he released in 1967 with the album John Wesley Harding. (No, Jimi Hendrix didn't write "All Along the Watchtower." And Jimi's version isn't necessarily the best.
    [Show full text]
  • The Cutting Edge: New York Album Sessions, Jan 1966
    The Cutting Edge: New York Album Sessions, Jan 1966 by Roger Ford Courtesy of Bill Pagel Archives Having delivered Columbia a single in the form of the re-made ‘Can You Please Crawl Out Your Window?’ Dylan’s first job in the New Year was to start work on his next album. He already had a good take of ‘Visions Of Johanna’ left over from the November singles session, and at this stage was possibly still thinking of putting it on the new album; he didn’t attempt to re-record the song until he got to Nashville and saw what the musicians there could do. In the meantime, having completed a West Coast tour with The Hawks in December, Dylan appears to have been ready to trust them in the studio again. Following the West Coast dates drummer Bobby Gregg had left the band in order to return to studio work; Robbie Robertson persuaded Sandy Konikoff, then working for The Hawks’ old bandleader Ronnie Hawkins, to come and take his place.1 A session booked for January 20 1966 was cancelled, but by the time Dylan arrived at the studio the next day he had another big new song apparently already written and ready to record. It’s worth noting here that the recording sheets for these final New York sessions are particularly unreliable. Whatever Bob Johnston’s merits as a producer, accurate record-keeping was clearly not his strong suit. His spoken ‘slates’ for the recordings (song title and take number) were often either missing or inconsistent; this meant that the engineer given the job of filling out the recording sheets had very little to go on when they listened through the tape.
    [Show full text]