Bob Dylan and the Band the Basement Tapes Zip
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1974 Tour with the Band
BOB DYLAN / THE BAND (a collectors guide to the 74 Tour) BOB DYLAN / THE BAND - a collectors guide to the 74 Tour “There are two problems with the 1974 tour: the tapes are crap and Dylan‟s performances are crap.” – C. Heylin, Telegraph 32 pg 86. Introduction This booklet / File (like the anonymous companion volume “Songs of the Underground” for RTR) is intended to document the audio resources available to collectors concerning the 1974 tour with the Band. It is intended to supplement and possibly correct the three major resources available to collectors (Krogsgaard, Dundas & Olof‟s files). Several PA tapes have emerged since Krogsgaard was last updated, and (I believe) there are errors in Dundas (concerning the PA tapes from 11 Feb 1974) that I wished to address. Additionally, none of these references (except for one full listing in Krogsgaard) include the Band sets. While details are difficult to obtain, I have included details of about three- quarters of the Band sets. It is hoped that readers on the web may contribute more information. I believe that the Band was a significant contributor to the 1974 Tour and should be included in any 1974 Tour documentation. I have also identified the sources for the Vinyl and CD bootlegs, where my resources allowed. Often the attributions on Bootlegs are misleading, incomplete or wrong. As an example „Before and After the Flood‟ claims to be from MSG NYC 30.1.1974 when it is actually a combination of the PA tapes from 31.1.74 (evening) and 11.2.74 (evening). -
Bob Dylan and the Reimagining of Woody Guthrie (January 1968)
Woody Guthrie Annual, 4 (2018): Carney, “With Electric Breath” “With Electric Breath”: Bob Dylan and the Reimagining of Woody Guthrie (January 1968) Court Carney In 1956, police in New Jersey apprehended Woody Guthrie on the presumption of vagrancy. Then in his mid-40s, Guthrie would spend the next (and last) eleven years of his life in various hospitals: Greystone Park in New Jersey, Brooklyn State Hospital, and, finally, the Creedmoor Psychiatric Center, where he died. Woody suffered since the late 1940s when the symptoms of Huntington’s disease first appeared—symptoms that were often confused with alcoholism or mental instability. As Guthrie disappeared from public view in the late 1950s, 1,300 miles away, Bob Dylan was in Hibbing, Minnesota, learning to play doo-wop and Little Richard covers. 1 Young Dylan was about to have his career path illuminated after attending one of Buddy Holly’s final shows. By the time Dylan reached New York in 1961, heavily under the influence of Woody’s music, Guthrie had been hospitalized for almost five years and with his motor skills greatly deteriorated. This meeting between the still stylistically unformed Dylan and Woody—far removed from his 1940s heyday—had the makings of myth, regardless of the blurred details. Whatever transpired between them, the pilgrimage to Woody transfixed Dylan, and the young Minnesotan would go on to model his early career on the elder songwriter’s legacy. More than any other of Woody’s acolytes, Dylan grasped the totality of Guthrie’s vision. Beyond mimicry (and Dylan carefully emulated Woody’s accent, mannerisms, and poses), Dylan almost preternaturally understood the larger implication of Guthrie in ways that eluded other singers and writers at the time.2 As his career took off, however, Dylan began to slough off the more obvious Guthrieisms as he moved towards his electric-charged poetry of 1965-1966. -
What DO the Students Think?
THrough a gla What DO the students think? lyM . William Lutholti (6 people did not respond to group to support some form concensus in the entire equal representation in What do the students of the question) of autonomy survey policy making The IU PU I think” On January 27, The second question asked remainder fell into ^n almost Of the remainder of the the Sagamore posed that the people to indicate how FORK ION LANGUAGE Bell-curve with 121 favoring people replying to the question to its readers in the majority control. 134 favoru* important the issue of in The third question asked if question. 56 were uncertain. form of a page-one less than 50 per cent control. dependence was to them *the person supported or 41 indicated they were not Questionnaire What were 14 in support of total control, Two-hunred and twenty-eight opposed the foreign language affected by it, and 2 people their opinions on in and 14 for no control at all people described the issue as requirement for degree did not reply dependence for IU P U I” How "im portant,” and 332 con completion important do they copsidw sjdered it ‘ ‘very important ” STUDENT CONTROL that issue” Do they support or Fifty-five people indicated While 137 people supported FROtLiM ARIAS oppose the foreign language that they felt the issue was the foreign language The fourth question asked The fifth question asked requirements” How much unimportant and 31 were requirement. an over people how much control they control should students have uncertain whelming majority of 420 felt students should have in people Jo indicate which aspects of university life had in formulating university Of those who felt that the registered opposition The tqrmulating university given them the greatest policies” Which areas of issue was either important or opposition to the foreign policy dissatisfaction university life give them the very important, there was language requirement was. -
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. -
Scobie on I'm Not There
I’M NOT THERE (1956-2007) Stephen Scobie Je est un autre—Arthur Rimbaud I’m Not There (2007) In this autumn season of 2007, I can see that I am going to be thinking a lot about the Bob Dylan song known as “I’m Not There (1956).” At least, that is the title given to it on most of its early, bootleg appearances. Now that it has finally been officially released, the sub-title date has been dropped—which is a pity (since it added an element of mystery to the song) but also understandable (since no good explanation of the date has ever been given). “I’m Not There” is perhaps the ultimate Dylan bootleg, and has always been a subject for cult idealization as the most obscure of Dylan’s “lost” songs: a major master- piece that almost no one knows, and which indeed seems to conspire actively against being known. Now, it has become the title of Todd Haynes’s movie I’m Not There, “inspired by the music and many lives of Bob Dylan”—“many” being the operative word. The film is already famous for casting six different actors to play aspects of Dylan at different points in his career. If this strategy is a gimmick, it is a successful one: the film is generating vast amounts of advance publicity, much of it based on the photographs of Cate Blanchett looking, uncannily and androgynously, like 1966 Bob. The film is not due for North American release until late November, though it has played in prestigious festivals like Toronto, New York, and Venice. -
Colin Linden – Blow Biography
Colin Linden – bLOW Biography “Got a coin in my pocket heavy and gold/It don’t own me I need to let it go/Cause having is wanting/Desire can make you weep” – “bLOW” Colin Linden’s tale is the stuff of legend, the kind told in the Coen brothers’ O Brother Where Art Thou or Inside Llewyn Davis, both of which featured his guitar playing on the soundtracks. That film would begin with an 11-year-old meeting his musical idol Howlin’ Wolf at a matinee show in his native Toronto, accompanied by his mom, who took a picture of the two during a nearly two-hour long conversation before the gig, the legendary bluesman idling over coffee and cigarettes. “I’m an old man now, and I won’t be around much longer,” Wolf told him. “It’s up to you to carry it on.” Linden still carries that frayed photograph in his wallet, along with a Sears 5/8” socket wrench in his pocket to play slide guitar. He has taken Wolf’s plea seriously, performing since he was 12 years old, leaving home as a teenager to travel the south at the invitation of Mississippi Sheiks delta blues guitarist Sam Chatmon which took him to Detroit, Chicago, Indianapolis, St. Louis, Memphis and Hollandale, Mississippi, meeting and visiting the sites of his heroes – Brownie McGhee, Muddy Waters, Sippie Wallace, Tampa Red, Blind John Davis, the Rev. Robert Wilkins, Sleepy John Estes and Son House, visiting the landmarks and juke joints, many of which he’s played in during the course of a 45-year career producing and playing blues and roots music. -
The Cambridge Companion to Bob Dylan Kindle
THE CAMBRIDGE COMPANION TO BOB DYLAN PDF, EPUB, EBOOK Kevin J. H. Dettmar | 204 pages | 20 Apr 2009 | CAMBRIDGE UNIVERSITY PRESS | 9780521714945 | English | Cambridge, United Kingdom The Cambridge Companion to Bob Dylan PDF Book Was he dying? There can be no doubt that Dylan saw Another Side as marking a shift in his career. At 65, Bob Dylan becomes the oldest living artist to hit the top spot. This song still feels contemporary in its sarcasm, and all the more devastating for its brightness. The conventional wisdom of the music business in the s and s was that artists toured only to support new albums. Tambourine Man. Their touchstones are the musicians, musical styles, and values of a folkloric past, all made relevant by the sheer conviction with which they are evoked. And why should there be? Moreover, he evades history by cloaking his songs in the avowedly timeless music of blues, ballads, and gospel. But he was also living in a moment of plagiarism — accused of plagiarizing Homer, in a culture that was generally plagiarizing ancient Greece — and, at 60, in the same age group as the Dylan of Modern Times, railed against the unfair forces that cast him away. The feeling of these arrangements, however, was closer to latter- day Elvis whose death in shook Dylan badly and interrupted the writing of the Street Legal songs or even Neil Diamond whose manager, Jerry Weintraub, was working with Dylan at the time. While his musical range shows the influence of virtually every sort of American popular music, he found this material more than sufficient for his purposes. -
Elvis Costello Began Writing Songs at the Age of Thirteen. 2017 Marked the 40Th Anniversary of the Release of His First Record Album, My Aim Is True
Elvis Costello began writing songs at the age of thirteen. 2017 marked the 40th anniversary of the release of his first record album, My Aim Is True. He is perhaps best known for the songs, “Alison”, “Pump It Up”, “Everyday I Write The Book” and his rendition of the Nick Lowe song, “(What’s So Funny ‘Bout) Peace Love and Understanding”. His record catalogue of more than thirty albums includes the contrasting pop and rock & roll albums: This Year’s Model, Armed Forces, Imperial Bedroom, Blood and Chocolate and King Of America along with an album of country covers, Almost Blue and two collections of orchestrally accompanied piano ballads, Painted From Memory - with Burt Bacharach and North. He has performed worldwide with his bands, The Attractions, His Confederates - which featured two members of Elvis Presley’s “T.C.B” band - and his current group, The Imposters – Steve Nieve, Pete Thomas and Davey Faragher - as well as solo concerts, most recently his acclaimed solo show, “Detour”. Costello has entered into songwriting collaborations with Paul McCartney, Burt Bacharach, the Brodsky Quartet and with Allen Toussaint for the album The River In Reverse, the first major label recording project to visit New Orleans after Hurricane Katrina and completed there while the city was still under curfew. In 2003, Costello acted as lyrical editor of six songs written with his wife, the jazz pianist and singer Diana Krall for her album, The Girl In The Other Room. He has written lyrics for compositions by Charles Mingus, Billy Strayhorn and Oscar Peterson and musical settings for words by W.B. -
Forever Young – Bob Dylan – Notes
Forever Young – Bob Dylan – Notes Activity types: Speaking, listening for specific words, gap fill, vocabulary, writing Language: Expressing wishes with the modal verb may; word formation Level: Intermediate Notes: The American singer-songwriter Bob Dylan wrote Forever Young for one of his children. It was released on the 1973 album “Planet Waves”. According to the British literary critic Christopher Ricks in his work Dylan’s Visions of Sin (2003), the title echoes John Keats “Ode on a Grecian Urn”, which contains the line “For ever panting, and for ever young”. _________________________________________________________________________________ 1. To introduce the song, write MAY YOU … on the board and explain to students you are going to wish them something. For example, you can say “May you pass your exam”, “May your dreams come true”, etc. Make sure students infer the pattern MAY + SUBJECT + BASE FORM OF THE VERB. 2. Write the following verbs on the board: be – bless – build – climb – come – do – grow up – have keep – know – let – see – stay – stand 3. Invite students to work in pairs or in groups for some minutes, exchanging wishes using the verbs above. Possible wishes: “May you climb the highest mountain in the world”, “May you see your best friend become famous”, “May you know everything you need to know” 4. Explain they are going to listen to a song from a father to his child, which contains a lot of wishes. Students listen for the verbs above and number the verbs in the order they hear them (if they appear more than once, refer to the first time). -
Ain't Goin' Nowhere — Bob Dylan 1967 Page 1
AIN 'T GOIN ' NOWHERE BOB DYLAN 1967 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES , RELEASES , TAPES & BOOKS . © 2001 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. Ain't Goin' Nowhere — Bob Dylan 1967 page 1 CONTENTS: 1 INTRODUCTION..................................................................................................................... 2 2 THE YEAR AT A GLANCE ................................................................................................... 2 3 CALENDAR .............................................................................................................................. 2 4 RECORDINGS ......................................................................................................................... 3 5 JOHN WESLEY HARDING ................................................................................................... 3 6 SONGS 1967 .............................................................................................................................. 5 7 SOURCES .................................................................................................................................. 6 8 SUGGESTED READINGS ...................................................................................................... 7 8.1 GENERAL BACKGROUND ..................................................................................................... -
Eric Garth Hudson Years: August 2, 1937- Present Residence
6. Name: Eric Garth Hudson Years: August 2, 1937- Present Residence: West Saugerties, New York near Woodstock Brief Biography: Born in Windsor, Ontario, Hudson was the son of musicians. He attended University of Western Ontario for music. As a child he played organ during services at St. Luke’s Anglican Church. He found a niche when he joined a rock and roll group, the Capers, from 1958 through 1961. From 1961 till 1963 he became the music consultant, organist, and saxophonist for Ronnie Hawkins and the Hawks. Hawkins split from the group in ’63. In 1966 the Hawks were introduced to Bob Dylan and accompanied him on a tour. At the conclusion of the long tour the band bought and lived in a pink house in West Saugerties, New York near Woodstock. By 1968 the Hawks became known as The Band and released their debuted album Music From Big Pink. Up until 1976, the Band toured and recorded around the world. This final concert was recorded in Martin Scorsese’s film, “The Last Waltz.” After the split, Hudson collaborated with many musicians to make albums as well as directors on soundtracks such as “The Right Stuff” and Martin Scorsese’s films “Raging Bull”. The Band often reunited in the 80s and 90s. In 1991, he moved back to Woodstock and recorded three more albums with the Band. In 2001 he released his first solo album. Major Achievements: Garth was inducted into the JUNO Hall of Fame (The Band), 1989, The Rock and Roll Hall of Fame (The Band), 1994, Hamilton Dofasco Lifetime of Achievement Award (The Band), 2007, and Grammy Lifetime of Achievement Award (The Band), 2008. -
8123 Songs, 21 Days, 63.83 GB
Page 1 of 247 Music 8123 songs, 21 days, 63.83 GB Name Artist The A Team Ed Sheeran A-List (Radio Edit) XMIXR Sisqo feat. Waka Flocka Flame A.D.I.D.A.S. (Clean Edit) Killer Mike ft Big Boi Aaroma (Bonus Version) Pru About A Girl The Academy Is... About The Money (Radio Edit) XMIXR T.I. feat. Young Thug About The Money (Remix) (Radio Edit) XMIXR T.I. feat. Young Thug, Lil Wayne & Jeezy About Us [Pop Edit] Brooke Hogan ft. Paul Wall Absolute Zero (Radio Edit) XMIXR Stone Sour Absolutely (Story Of A Girl) Ninedays Absolution Calling (Radio Edit) XMIXR Incubus Acapella Karmin Acapella Kelis Acapella (Radio Edit) XMIXR Karmin Accidentally in Love Counting Crows According To You (Top 40 Edit) Orianthi Act Right (Promo Only Clean Edit) Yo Gotti Feat. Young Jeezy & YG Act Right (Radio Edit) XMIXR Yo Gotti ft Jeezy & YG Actin Crazy (Radio Edit) XMIXR Action Bronson Actin' Up (Clean) Wale & Meek Mill f./French Montana Actin' Up (Radio Edit) XMIXR Wale & Meek Mill ft French Montana Action Man Hafdís Huld Addicted Ace Young Addicted Enrique Iglsias Addicted Saving abel Addicted Simple Plan Addicted To Bass Puretone Addicted To Pain (Radio Edit) XMIXR Alter Bridge Addicted To You (Radio Edit) XMIXR Avicii Addiction Ryan Leslie Feat. Cassie & Fabolous Music Page 2 of 247 Name Artist Addresses (Radio Edit) XMIXR T.I. Adore You (Radio Edit) XMIXR Miley Cyrus Adorn Miguel Adorn Miguel Adorn (Radio Edit) XMIXR Miguel Adorn (Remix) Miguel f./Wiz Khalifa Adorn (Remix) (Radio Edit) XMIXR Miguel ft Wiz Khalifa Adrenaline (Radio Edit) XMIXR Shinedown Adrienne Calling, The Adult Swim (Radio Edit) XMIXR DJ Spinking feat.