DOCSLIB.ORG

Still on the Road 1991 Fall Sessions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Still on the Road 1991 Fall Sessions STILL ON THE ROAD 1991 FALL SESSIONS SEPTEMBER 15 Los Angeles, California KCOP TV Studios OCTOBER 17 Seville, Spain Auditorio de la Cartuja Bob Dylan 1991: Fall Sessions 12625 KCOP TV Studios Los Angeles, California 15 September 1991 1. Sold American (Kinky Friedman) Kinky Friedman (vocal, acoustic guitar), Bob Dylan (electric guitar). Studio talk Bob: What do you want me to say? Rabbi Shlomo Boruch Cunin: Help to give back the books. Bob: Oh, yeah, give back the books, and give plenty of money to Chabad, It's my favourite organisation in the whole world, really. They do nothing but good things with all the money, and-a the more you can give, the more it's going to help everybody. Rabbi Shlomo Boruch Cunin: I wanna say something, Bob, if I might. I think the people out there, millions of people that are watching us, that heard us talk about the cry of these books. These are books that have suffered for seventy years behind those bars of the Lenin library. Mr. Gorbachev had said he's going to give it back, Mr. Yeltsin says he's gonna give them back, everybody says he's going to give it back. Bob, tell them to give it back! Bob: Yeah, give it back! Give the books back! Rabbi Shlomo Boruch Cunin: OK, if Bob Dylan says they'll give it back, they'll give it back! … Please go to your phones and call and call and call. Bob, tell them what to do. Bob Dylan: Call and call and call some more until you get somebody to answer - and give what you can. and thanks for inviting me down here. Rabbi Shlomo Boruch Cunin: God bless you, Bob, a healthy and happy new year! Let's have a big hand for Bob Dylan! Rabbi Shlomo Boruch Cunin: Very important ladies and gentlemen, we have here dear friends of mine whom you saw before, the illustrious, the wonderful Bob Dylan and Kinky Friedman! Notes Broadcast live in the TV program L'Chaim – To Life, Telethon '91. Stereo TV broadcast, 5 minutes. Session info updated 15 November 2014. Bob Dylan 1991: Fall Sessions 12630 Auditorio de la Cartuja Seville, Spain 17 October 1991 Leyendas de la Guitarra 1. All Along The Watchtower 2. Boots Of Spanish Leather 3. Across The Borderline (Ry Cooder/John Hiatt/Jim Dickinson) 4. Answer Me, My Love (Gerhard Winkler/Fred Rauch/Carl Sigman) 5. Shake, Rattle And Roll (C. Calhoun) 6. I Can't Turn You Loose (Otis Redding) 1 Bob Dylan (guitar & vocal) backed by Phil Manzanera Richard Thompson (guitar), Jack Bruce (bass), Ray Cooper (percussion), Simon Phillips (drums): 2-4 Bob Dylan (acoustic guitar & vocal), Richard Thompson (acoustic guitar) 5 Bob Dylan (guitar & vocal) backed by Keith Richards (guitar), Steve Cropper (guitar), Edward Manion (saxophone), Chuck Leavell (keyboards), Charlie Drayton (bass), Steve Jordan (drums). 6 Bob Dylan (guitar) together with the other performers this evening, among them Dave Edmonds, Steve Cropper and Ray Cooper. Unauthorized Release (The release is unauthorized and is not associated with or approved by Bob Dylan or his current recording label). 1 released in the UK on Bob Dylan Transmissions, Storming Music Company, SMC 2520 , 3 December 2007. Notes Broadcast worldwide on television and FM radio. Live debut of Answer Me, My Love . Stereo FM broadcast, 25 minutes. Session info updated 17 March 2014. Bob Dylan 1991: Fall Sessions .
Load more

Recommended publications
  • The Fingerprints of the “5” Royales Nearly 65 Years After Forming in Winston-Salem, the “5” Royales’ Impact on Popular Music Is Evident Today
    The Fingerprints of the “5” Royales Nearly 65 years after forming in Winston-Salem, the “5” Royales’ impact on popular music is evident today. Start tracing the influences of some of today’s biggest acts, then trace the influence of those acts and, in many cases, the trail winds back to the “5” Royales. — Lisa O’Donnell CLARENCE PAUL SONGS VOCALS LOWMAN “PETE” PAULING An original member of the Royal Sons, the group that became the The Royales made a seamless transition from gospel to R&B, recording The Royales explored new terrain in the 1950s, merging the raw emotion of In the mid-1950s, Pauling took over the band’s guitar duties, adding a new, “5” Royales, Clarence Paul was the younger brother of Lowman Pauling. songs that included elements of doo-wop and pop. The band’s songs, gospel with the smooth R&B harmonies that were popular then. That new explosive dimension to the Royales’ sound. With his guitar slung down to He became an executive in the early days of Motown, serving as a mentor most of which were written by Lowman Pauling, have been recorded by a sound was embraced most prominently within the black community. Some his knees, Pauling electrified crowds with his showmanship and a crackling and friend to some of the top acts in music history. diverse array of artists. Here’s the path a few of their songs took: of those early listeners grew up to put their spin on the Royales’ sound. guitar style that hinted at the instrument’s role in the coming decades.
    [Show full text]
  • Sweet and Dirty a Collaboration of Sweet Brenda and Dirty Red Band Bios
    Sweet and Dirty A collaboration of Sweet Brenda and Dirty Red Band Bios When Dirty Red – Eric McDaniel – leader of modern day powerhouse band, Dirty Red and the Soul Shakers invited legendary Oklahoma Blues Singer, Sweet Brenda – Bren Severson – on stage the first time to sit in with the band, a lightning bolt of electricity melded them together and shot their sound and energy into an unsuspecting blues audience that soaked it up like fireball whiskey on freaky Saturday night. From that moment this energetic collaboration has caused quite a stirring in the blues scene. Both musicians have made a name for themselves across the blues nation with experience and expertise that speaks for itself. When all of that is combined with the background and expertise of the rest of the band, a stage full of all-stars is born. Besides the giant personalities of Dirty Red and Sweet Brenda, the scary tight rhythm section of Cliff the “Iron Man” Belcher and Forrest Worrell, both of Watermelon Slim and the Workers fame, and the lonesome but ripping tasty blues guitar of Big Robb Hibbard, former lead for Miss Blues and the Blue Notes, put the icing on the cake. Add to all of that, the fact that Dirty Red and Sweet Brenda both write all the songs with soulful and pertinent lyrics written for all people, and a jolting beat that never stops, the dance floor is full and crazy, the room is packed with a punch of energy and the blues appetite is wildly satisfied. Sweet and Dirty is a collaboration of blues monsters bragging over 130 years of performance altogether culminating into this fabulous high- energy show.
    [Show full text]
  • Star Shines at Shell
    May 24, 2014 Star Shines at Shell PHOTO BY YOSHI JAMES Homage to cult band’s “Third” kicks off Levitt series By Bob Mehr The Levitt Shell’s 2014 summer season opened Friday night, with a teeming crowd of roughly 4,000 who camped out under clear skies to hear the music of Memphis’ greatest cult band Big Star, in a show dedicated to its dark masterpiece, Third. Performed by an all-star troupe of local and national musicians, it was yet another reminder of how the group, critically acclaimed but commercially doomed during their initial run in the early 1970s, has developed into one of the unlikeliest success stories in rock and roll. The Third album — alternately known as Sister Lovers — was originally recorded at Midtown’s Ardent Studios in the mid-’70s, but vexed the music industry at the time, and was given a belated, minor indie-label release at the end of the decade. However, the music and myth of Third would grow exponentially in the decades to come. When it was finally issued on CD in the early ’90s, the record was hailed by Rolling Stone as an “untidy masterpiece ... beautiful and disturbing, pristine and unkempt — and vehemently original.” 1 North Carolina musician Chris Stamey had long been enamored of the record and the idea of recreating the Third album (along with full string arrangements) live on stage. He was close to realizing a version of the show with a reunited, latter- day Big Star lineup, when the band’s camp suffered a series of losses: first, with the passing of Third producer Jim Dickinson in 2009, and then the PHOTO BY YALONDA M.
    [Show full text]
  • Steve Cropper | Primary Wave Music
    STEVE CROPPER facebook.com/stevecropper twitter.com/officialcropper Image not found or type unknown youtube.com/channel/UCQk6gXkhbUNnhgXHaARGskg playitsteve.com en.wikipedia.org/wiki/Steve_Cropper open.spotify.com/artist/1gLCO8HDtmhp1eWmGcPl8S If Yankee Stadium is “the house that Babe Ruth built,” Stax Records is “the house that Booker T, and the MG’s built.” Integral to that potent combination is MG rhythm guitarist extraordinaire Steve Cropper. As a guitarist, A & R man, engineer, producer, songwriting partner of Otis Redding, Eddie Floyd and a dozen others and founding member of both Booker T. and the MG’s and The Mar-Keys, Cropper was literally involved in virtually every record issued by Stax from the fall of 1961 through year end 1970.Such credits assure Cropper of an honored place in the soul music hall of fame. As co-writer of (Sittin’ On) The Dock Of The Bay, Knock On Wood and In The Midnight Hour, Cropper is in line for immortality. Born on October 21, 1941 on a farm near Dora, Missouri, Steve Cropper moved with his family to Memphis at the age of nine. In Missouri he had been exposed to a wealth of country music and little else. In his adopted home, his thirsty ears amply drank of the fountain of Gospel, R & B and nascent Rock and Roll that thundered over the airwaves of both black and white Memphis radio. Bit by the music bug, Cropper acquired his first mail order guitar at the age of 14. Personal guitar heroes included Tal Farlow, Chuck Berry, Jimmy Reed, Chet Atkins, Lowman Pauling of the Five Royales and Billy Butler of the Bill Doggett band.
    [Show full text]
  • SOUTHERN AVENUE Southern Avenue March 2016
    SOUTHERN AVENUE Southern Avenue March 2016 If Memphis music is a genre, this is it. One part virtuosic blues guitar, one part powerhouse gospel vocals. Season with soul, jazz, and of course – a whole lot of rock’n’roll. This is Southern Avenue, and they’re serving up a sampling with their debut EP this spring. The band takes its name from a Memphis street that runs from the eastern-most part of the city limits all the way to Soulsville. It’s a fitting moniker for this diverse four-piece: two sisters whose musi- cal education came from the Church (Tierinii and TK Jackson), a jazz bassist (Daniel McKee) and an Israeli-born guitarist who grew up a student of the blues (Ori Naftaly). Southern Avenue’s self-titled EP – which the band will indepen- dently release first to local fans in February, followed by a na- February 1, 2016 tional release in the spring – is a “true debut,” says lead guitarist Lead single “What Did I Do?” Naftaly. Indeed, these five songs provide a glimpse of Southern Full EP out this spring Avenue’s range and an introduction to the band’s point of view. They take on a diverse mix of styles with ease, an indication of the myriad sounds that may be to come. From the swinging rock and soul of lead single “What Did I Do” to the blissed-out, jam-band feel of “Wild Flower” to the traditional blues on “80 Miles From Memphis,” at the center of it all is the electric interplay between Naftaly’s guitar and the rich gospel vo- cal of Tierinii Jackson.
    [Show full text]
  • SOUL ASYLUM Biography by Arthur Levy
    SOUL ASYLUM biography by Arthur Levy “It’s a crazy mixed up world out there, Someone’s always got a gun and it’s all about money You live with loneliness, or you live with somebody who’s crazy It’s just a crazy mixed up world …” (“Crazy Mixed Up World”) Chapter 1. Every Cloud Has One Renewed and revitalized, Soul Asylum founders Dave Pirner and Dan Murphy return to rock’s front line with THE SILVER LINING, their first new studio release since 1998’s Candy From a Stranger. That album inadvertently kicked off a seven-year sabbatical for the group, which telescoped into the death of bassist Karl Mueller in June 2005, the other founding member of the triumvirate that has steered Soul Asylum through rock’s white water for the past two decades plus. The re-emergence of the group on THE SILVER LINING is as much a reaffirmation of Soul Asylum’s commitment to the music as it is a dedication to Karl, who worked and played on the album right up until the end. They were joined in the studio by not-so-new heavyweight Minneapolis drummer Michael Bland (who has played with everyone from Paul Westerberg to Prince). The band is now complemented by Tommy Stinson on bass, a member of fellow Twin Cities band the Replacements since age 13, and a pal of Dan’s since he was in high school and Tommy in junior high. Tommy was the only friend that Karl could endorse to replace himself in the band. This hard-driving lineup was introduced for the first time in October 2005, when they played sold-out showcase dates at First Avenue in Minneapolis and the Bowery Ballroom in New York – within three days.
    [Show full text]
  • North Mississippi Allstars: up and Rolling
    North Mississippi Allstars: Up and Rolling A forgotten roll of film inspired a musical accompaniment, the North Mississippi Allstars’ new record Up and Rolling. Shot before the turn of the century, the photographs resonate with the music of four families from the Mississippi hills. The album captures the communal spirit upon which the band was founded. In 1996, a photographer from Texas, Wyatt McSpadden, traveled to North Mississippi looking to photograph local musicians. Brothers Luther and Cody Dickinson had grown up just south of Memphis and cut their teeth playing experimental rock & roll together, as well as the roots repertoire pioneered by their father, Jim Dickinson, a legendary producer (Big Star, the Replacements) and session player (Rolling Stones, Bob Dylan). Their feet were firmly planted in the North Mississippi mud and music scene, and they were excited to show Wyatt around their community, to introduce him to the musical families of Otha Turner, RL Burnside and Junior Kimbrough. Their first stop was Otha Turner’s farm. Then in his late eighties, he was the last living fife and drum musician in the hills—“and a friend to all,” Luther exclaims. “He looked sharp that day, still in his Sunday best and ready for a good time.” They all sat together on Otha’s fabled front porch, which was something like a classroom for the elder Dickinson brother. The two would sit for hours, the kid playing guitar while the old man made up lyrics on the spot. That’s how “Call That Gone” came into the world, decades before the Allstars recorded it for Up and Rolling.
    [Show full text]
  • BIO (EN) | Tom Ganter | Drummer
    PERFORMER EDUCATING ARTIST Last u pda te: 0 4/02 /2020 TOM GANTER Professional Drummer www.tomganter.com Address: Tölzer Str. 2, D-83607 Holzkirchen Email: [email protected] Phone: 0049 (0)176 5074 8000 Nationality: German Date of birth: July 15th, 1986 Place of birth: Prien am Chiemsee, Germany Musical Career With the far too long name Thomas Andreas Ganter, Tom was born in the south of Germany (mid-eighties) and still lives in the south of Munich at the German- Austrian border. Tom is on the r oad as on e of the spe cial live and studi o drummer s - influence d by song-friendly and solid beats. Consistently modern drumming, at the right moment alway s wi th the nec essary emp ha sis t o stay in rememb ran c e for a long time . With his man y yea rs on sta ge an d in recording stud io experien ce (sin ce t he a ge of 16 ) and the numer ous professio nal educat ion and traini ngs in N ew Y ork C ity, T om off ers the maxim um scrupulousne ss an d saf ety beh ind the dru ms for y our l ive sho ws an d studio sessions. His specialization is mainly in the styles of pop, hip-hop, funk, soul, blues and rock. Tom successfully completed his full-time (performance) scholarship in the summer of 2018 with the primary focus on 'New Musical Concepts' at the prestigious Drummers Collective (The Collective School of Music) in Manhattan, New York City.
    [Show full text]
  • Maynard Ferguson
    SELLING POINTS: Sam Samudio • After Sam the Sham & the Pharaohs Folded in the Sam, Hard and Heavy Late ‘60s, Lead Singer and Front Man Domingo “Sam” Samudio Recorded This Collector’s Dream of a Solo STREET DATE: June 3, 2016 Album in 1971 for Atlantic Records • Produced by the Legendary Jerry Wexler and Tom Dowd After the late-‘60s collapse of Sam the Sham & the Pharaohs, the band’s front man and lead singer Domingo “Sam” Samudio • Includes Such Hallowed Sidemen as Duane Allman, TRACKS: The Sweet Inspirations, The Memphis Horns, and The signed a solo deal with Atlantic and recorded this 1971 slice of Dixie Flyers Led by Jim Dickinson collector nirvana. Why nirvana? Well, aside from Sam’s 1. HOMEWORK estimable vocal and songwriting contributions, the album 2. RELATIVITY • A Little Hard Rock, a Little Tex-Mex, a Little Blues, and 3. LONELY AVENUE boasted contributions from, oh, about a half-dozen different Always Rockin’ 4. I KNOW IT’S TOO LATE/STARCHILD flat-out legends, including producers Tom Dowd and Jerry 5. LET’S BURN DOWN THE CORNFIELD • Won a Grammy for Samudio’s Hilarious, Stream-of- Wexler and sidemen the Dixie Flyers (led by Jim Dickinson), the 6. SWEET RELEASE Consciousness Liner Notes, Reproduced Here 7. KEY TO THE HIGHWAY Memphis Horns, the Sweet Inspirations, and some session 8. DON’T PUT ME ON • Also Includes Additional Liner notes by Richie guitarist named Duane Allman! Sam’s born-to-be-wild pose on 9. 15º CAPRICORN ASC Unterberger the front cover tips you off to the sound; this album updated 10.
    [Show full text]
  • HOUSE JOINT RESOLUTION 1023 by Coley a RESOLUTION to Honor
    HOUSE JOINT RESOLUTION 1023 By Coley A RESOLUTION to honor the memory of legendary musician and songwriter Alex Chilton. WHEREAS, it is fitting that this General Assembly should honor the memory of a legendary entertainer, artist, and permanent fixture of American music, Alex Chilton; and WHEREAS, an accomplished musical icon, Alex Chilton was a folk troubadour, blues singer, songwriter, guitarist, master musician, voice of a generation, and godfather of American indie-rock, whose influence has been felt by generations of artist, musicians, and loyal fans; and WHEREAS, born in Memphis, Tennessee, on November 28, 1950, his musical destiny was shaped by the influence of his father, Sidney Chilton, a popular Memphis jazz musician; and WHEREAS, taking up guitar at age thirteen, he was recognized early on for his soulful voice and distinctive style, and as a teenager in 1966, Alex Chilton was asked to join the Devilles, a popular local Memphis band; and WHEREAS, building on their tremendous local popularity, the group was renamed the Box Tops and began to perform nationally with sixteen-year-old Alex Chilton as the lead singer; and WHEREAS, combining elements of soul music and light pop, the Box Tops enjoyed a hit single “The Letter,” which reached number one on the charts in the U.S. and abroad in 1967, and was followed by several other major chart toppers, including “Cry Like a Baby” in 1968, and “Soul Deep” in 1969; and WHEREAS, in early 1970, the members of the Box Tops decided to disband and pursue independent careers, and after moving to New York City, Mr.
    [Show full text]
  • BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
    BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] ARTIST James Luther Dickinson TITLE Dixie Fried LABEL Bear Family Productions CATALOG # BAF 18037 PRICE-CODE BAF EAN-CODE ÇxDTRBAMy180378z FORMAT VINYL album • 180g Vinyl GENRE Rock, Funk/Soul, Country TRACKS 9 PLAYING TIME 38:37 G Vinyl re-issue of first album by legendary Memphis rock producer and musician. G Masterpiece of southern boogie, blues, soul, and country music. G 1972 ATLANTIC album, recorded with the Dixie Flyers as his backing band. G Featuring Eric Clapton on guitar – uncredited on the sleeve. G Carefully re-mastered for your best listening pleasure. Original album artwork. G James Luther 'Jim' Dickinson played piano on the Rolling Stones' Wild Horses. G His kids, Luther and Cody Dickinson, are founding members of the North Mississippi Allstars INFORMATION Born in Little Rock, Arkansas, James Luther 'Jim' Dickinson (1941 - 2009) was a record producer, piano player, singer and in- demand session musician who played piano on the Rolling Stones' 1969 album cut Wild Horses, and contributed to the Flamin' Groovies' 'Teenage Head' in 1971. With the Dixie Flyers, a band he formed in the late sixties, he backed Aretha Franklin, Sam & Dave and countless other recording artists at ATLANTIC's Miami-based studio. The Dixie Flyers were guitarist Charlie Freeman, key- boardist Mike Utley, bassist Tommy McClure and drummer Sammy Creason. In Memphis he later led a band called Mud Boy & The Neutrons. By the time Jim Dickinson recorded his first album in 1972, he had already been well-established as a musician and producer.
    [Show full text]
  • Books-A-Million Will Face Throughout the Departments Were Year
    University of South Carolina Scholar Commons September 2006 9-20-2006 The aiD ly Gamecock, Wednesday, September 20, 2006 University of South Carolina, Office oftude S nt Media Follow this and additional works at: https://scholarcommons.sc.edu/gamecock_2006_sep Recommended Citation University of South Carolina, Office of Student Media, "The aiD ly Gamecock, Wednesday, September 20, 2006" (2006). September. 13. https://scholarcommons.sc.edu/gamecock_2006_sep/13 This Newspaper is brought to you by the 2006 at Scholar Commons. It has been accepted for inclusion in September by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. dailygamecock.com The University of South Carolina Wednesday, September 20, 2006 Vol. 100, No. 11 ● Since 1908 Under rule, cigarettes piling up Smoking policy outside USC buildings causes mix of appreciation, anger, ashtrays year elementary education Kathleen Kemp student, said he has THE DAILY GAMECOCK noticed that the litter is everywhere. Since the new smoking The smoking ban policy went into effect prohibits smoking within Aug. 1, a marked increase 25 feet of university in cigarette butts left buildings; in outdoor on the ground has been seating areas (such as the noticed. Russell House patio); in Around noon Monday, ATM, ticket and bus lines 11 cigarette butts were on campus; in outdoor on the ground between fixed seating venues the Humanities classroom (such as Williams-Brice building and the Welsh Stadium) and outdoor humanities building. events. Several trashcans (some The ban also prohibits outfitted with ashtrays) the sale and advertisement were in sight; however, of tobacco on campus under the new policy, or through university a person smoking a publications.
    [Show full text]