Bob Dylan, North Country Blues

Total Page：16

File Type：pdf, Size：1020Kb

Bob Dylan, North Country Blues Come gather 'round friends And I'll tell you a tale Of when the red iron pits ran empty But the cardboard filled windows And old men on the benches Tell you now that the whole town is empty. In the north end of town My own children are grown But I was raised on the other In the wee hours of youth May mother took sick And I was brought up by my brother. The iron ore poured As the years passed the door The drag lines an' the shovels they was a-humming 'Til one day my brother Failed to come home The same as my father before him. Well a long winter's wait From the window I watched My friends they couldn't have been kinder And my schooling was cut As I quit in the spring To marry John Thomas, a miner. Oh the years passed again And the givin' was good With the lunch bucket filled every season What with three babies born The work was cut down To a half a day's shift with no reason. Then the shaft was soon shut And more work was cut And the fire in the air, it felt frozen 'Til a man come to speak And he said in one week That number eleven was closin'. They complained in the East They are playing too high They say that your ore ain't worth digging That it's much cheaper down In the South American towns Where the miners work almost for nothing. So the mining gates locked And the red iron rotted And the room smelted heavy from drinking Where the sad silent song Made the hour twice as long As I waited for the sun to go sinking. I lived by the window As he talked to himself This silence of tongues it was building Then one morning's wake The bed it was bare And I's left alone with three children. The summer is gone The ground's turning cold The stores one by one they're a-foldin' My children will go As soon they grow Well there ain't nothing here now to hold them. Bob Dylan - North Country Blues w Teksciory.pl.

Copy Link

Recommended publications

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.
[Show full text]
Midwestern Isolationist
Journal of American Studies http://journals.cambridge.org/AMS Additional services for Journal of American Studies: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Bringing It All Back Home or Another Side of Bob Dylan: Midwestern Isolationist Tor Egil Førland Journal of American Studies / Volume 26 / Issue 03 / December 1992, pp 337 - 355 DOI: 10.1017/S0021875800031108, Published online: 16 January 2009 Link to this article: http://journals.cambridge.org/ abstract_S0021875800031108 How to cite this article: Tor Egil Førland (1992). Bringing It All Back Home or Another Side of Bob Dylan: Midwestern Isolationist. Journal of American Studies, 26, pp 337-355 doi:10.1017/S0021875800031108 Request Permissions : Click here Downloaded from http://journals.cambridge.org/AMS, IP address: 138.251.14.35 on 17 Mar 2015 Bringing It All Back Home or Another Side of Bob Dylan: Midwestern Isolationist TOR EGIL F0RLAND The subject of this article is the foreign policy views of singer and songwriter Bob Dylan: a personality whose footprints during the 1960s were so impressive that a whole generation followed his lead. Today, after thirty years of recording, the number of devoted Dylan disciples is reduced but he is still very much present on the rock scene. His political influence having been considerable, his policy views deserve scrutiny. My thesis is that Dylan's foreign policy views are best characterized as "isolationist." More specifically: Dylan's foreign policy message is what so-called progressive isolationists from the Midwest would have advocated, had they been transferred into the United States of the 1960s or later.
[Show full text]
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 ...............................................................................................................................
[Show full text]
"No Older 'N Seventeen": Defending in Dylan Country Abbe Smith Georgetown University Law Center
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Fordham University School of Law Fordham Urban Law Journal Volume 38 Article 11 Number 5 Symposium - Bob Dylan and the Law 2012 "No Older 'N Seventeen": Defending In Dylan Country Abbe Smith Georgetown University Law Center Follow this and additional works at: https://ir.lawnet.fordham.edu/ulj Part of the Criminal Law Commons Recommended Citation Abbe Smith, "No Older 'N Seventeen": Defending In Dylan Country, 38 Fordham Urb. L.J. 1471 (2012). Available at: https://ir.lawnet.fordham.edu/ulj/vol38/iss5/11 This Article is brought to you for free and open access by FLASH: The orF dham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Urban Law Journal by an authorized editor of FLASH: The orF dham Law Archive of Scholarship and History. For more information, please contact [email protected]. "No Older 'N Seventeen": Defending In Dylan Country Cover Page Footnote Professor of law, Director of Criminal Defense & Prisoner Advocacy Clinic, Co-Director of E. Barrett Prettyman Fellowship Program, Georgetown University Law Center. With thanks to Sophia Heller for excellent research assistance and Jordan Blumenthal for giving me a copy of Walls of Red Wing. This essay is in loving memory of my father-in-law Dr. Albert J. Greenberg, a Minneapolis internist who made house calls until he was nearly 90. He died on September 30, 2010 at 92. Although he didn't always understand criminal defense, he admired it nonetheless.
[Show full text]
Still on the Road: 1974 Tour of America with the Band
STILL ON THE ROAD 1974 TOUR OF AMERICA WITH THE BAND JANUARY 3 Chicago, Illinois Chicago Stadium 4 Chicago, Illinois Chicago Stadium 6 Philadelphia, Pennsylvania The Spectrum – Afternoon 6 Philadelphia, Pennsylvania The Spectrum – Evening 7 Philadelphia, Pennsylvania The Spectrum 9 Toronto, Ontario, Canada Maple Leaf Gardens 10 Toronto, Ontario, Canada Maple Leaf Gardens 11 Montreal, Quebec, Canada Forum de Montreal 12 Montreal, Quebec, Canada Forum de Montreal 14 Boston, Massachusetts Boston Gardens – Afternoon 14 Boston, Massachusetts Boston Gardens – Evening 15 Largo, Maryland Capital Centre 16 Largo, Maryland Capital Centre 17 Charlotte, North Carolina Coliseum 19 Hollywood, Florida Hollywood Sportatorium – Afternoon 19 Hollywood, Florida Hollywood Sportatorium – Evening 21 Atlanta, Georgia The Omni 22 Atlanta, Georgia The Omni 23 Memphis, Tennessee Mid-South Coliseum 25 Fort Worth, Texas Tarrant County Convention Center Arena 26 Houston, Texas Hofheinz Pavilion – Afternoon 26 Houston, Texas Hofheinz Pavilion – Evening 28 Nassau, New York Nassau County Coliseum 29 Nassau, New York Nassau County Coliseum 30 New York City, New York Madison Square Garden 31 New York City, New York Madison Square Garden – Afternoon 31 New York City, New York Madison Square Garden – Evening FEBRUARY 2 Ann Arbor, Michigan Crisler Arena, University Of Michigan 3 Bloomington, Indiana Assembly Hall, Indiana University 4 St. Louis, Missouri Missouri Arena – Afternoon 4 St. Louis, Missouri Missouri Arena – Evening 6 Denver, Colorado Coliseum – Afternoon 6 Denver,
[Show full text]
1990 Summer Festival Tour of Europe
1990 SUMMER FESTIVAL TOUR OF EUROPE JUNE 27 Reykjavik, Iceland Laugardalshöll 29 Roskilde, Denmark Roskilde Rock Festival, Dyrskuepladsen 30 Kalvøya, Sandvika, Norway Kalvøya-Festivalen JULY 1 Turku, Finland Ruisrock, Ruissalon Kansanpuisto 3 Hamburg, Germany Stadtpark 5 Berlin, Germany Internationales Congress Centrum 7 Torhout, Belgium Torhout-Werchter Rock Festival 8 Werchter, Belgium Torhout-Werchter Rock Festival 9 Montreux, Switzerland Montreux Jazz Festival, Casino de Montreuz Bob Dylan 1990: Summer Festival Tour of Europe 11210 Laugardalshöll Reykjavik, Iceland 27 June 1990 1. Subterranean Homesick Blues 2. Ballad Of A Thin Man 3. Stuck Inside Of Mobile With The Memphis Blues Again 4. Just Like A Woman 5. Masters Of War 6. Gotta Serve Somebody 7. It's Alright, Ma (I'm Only Bleeding) 8. It's All Over Now, Baby Blue 9. Girl From The North Country 10. A Hard Rain's A-Gonna Fall 11. Don't Think Twice, It's All Right 12. Everything Is Broken 13. Political World 14. All Along The Watchtower 15. Shooting Star 16. I Shall Be Released 17. Like A Rolling Stone — 18. Blowin' In The Wind 19. Highway 61 Revisited Concert # 202 of The Never-Ending Tour. First concert of the 1990 Summer Festival Tour Of Europe. 1990 concert # 32. Concert # 124 with the second Never-Ending Tour band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums). 7-11, 18 acoustic with the band. 2, 4, 8, 9, 11, 15, 18 Bob Dylan harmonica. 19 G.E. Smith (electric slide guitar). Note. First acoustic Hard Rain with the band.
[Show full text]
Dignity and the Nobel Prize: Why Bob Dylan Was the Perfect Choice
Dignity and the Nobel Prize: Why Bob Dylan Was the Perfect Choice Michael L. Perlin, Esq. Professor Emeritus of Law Founding Director, International Mental Disability Law Reform Project Co-founder, Mental Disability Law and Policy Associates New York Law School 185 West Broadway New York, NY 10013 212-431-2183 [email protected] [email protected] This paper is adapted from Tangled Up In Law : The Jurisprudence of Bob Dylan, 38 FORD. URB. L.J. 1395 (2011), reprinted in part, in in PROFESSING DYLAN 42 (Frances Downing Hunter ed. 2016). In awarding the Nobel Peace Prize to the International Labour Organization (ILO) in 1969, the Nobel Committee referred to the motto enshrined in the foundations of the ILO's original building in Geneva, "Si vis pacem, cole justitiam" - "If you desire peace, cultivate justice." When Elie Weisel was awarded the Nobel Peace Prize in 1986, he said, in his acceptance speech, “When human lives are endangered, when human dignity is in jeopardy, national borders and sensitivities become irrelevant.” Just last year, when Svetlana Alexievich was awarded the Nobel Prize in Literature, the journal Independence wrote, “Nobel Prize is a symbol of fighting for human dignity and freedom! Free soul and literature always combating with dictatorship!" I share this with you, because there is a theme in Nobel Prize choices, in both the peace and the literature categories: dignity and justice. I believe that the Michael Perlin, 2016 Why Bob Dylan Was the Perfect Choice 2 selection of Bob Dylan as this year’s Nobel Prize winner in literature perfectly reflects both of these themes.
[Show full text]
The Jurisprudence of Bob Dylan, 38 Fordham Urb
Fordham Urban Law Journal Volume 38 Article 9 Number 5 Symposium - Bob Dylan and the Law 2012 Tangled Up In Law: The urJ isprudence of Bob Dylan Michael L. Perlin New York law School Follow this and additional works at: https://ir.lawnet.fordham.edu/ulj Part of the Civil Rights and Discrimination Commons Recommended Citation Michael L. Perlin, Tangled Up In Law: The Jurisprudence of Bob Dylan, 38 Fordham Urb. L.J. 1395 (2012). Available at: https://ir.lawnet.fordham.edu/ulj/vol38/iss5/9 This Article is brought to you for free and open access by FLASH: The orF dham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Urban Law Journal by an authorized editor of FLASH: The orF dham Law Archive of Scholarship and History. For more information, please contact [email protected]. Tangled Up In Law: The urJ isprudence of Bob Dylan Cover Page Footnote Director, International Mental Disability Law Reform Project; Director, Online Mental Disability Law Program, New York Law School. The uthora wishes to thank Kaydi Osowski for her superb research help. This article is available in Fordham Urban Law Journal: https://ir.lawnet.fordham.edu/ulj/vol38/iss5/9 PERLIN_CHRISTENSEN 1/30/2012 10:10 AM TANGLED UP IN LAW: THE JURISPRUDENCE OF BOB DYLAN Michael L. Perlin* Introduction ........................................................................................... 1395 I. Civil Rights ...................................................................................... 1399 II. Inequality of the Criminal Justice System .................................. 1404 III. Institutions .................................................................................... 1411 IV. Governmental/Judicial Corruption ........................................... 1415 V. Equality and Emancipation ......................................................... 1417 VI. Poverty, Environment, and Inequality of the Civil Justice System .......................................................................................... 1424 VII.
[Show full text]
Bob Dylan Across the Borderline," TODD Austin 1 :3 July 2009, P
Tom Palaima, "Bob Dylan Across the Borderline," TODD Austin 1 :3 July 2009, p. 8 Gavin Lance Garcia, "Sefior Dylan Bridging the Americas," TODO Austin 1 :3 July 2009, p. 9 Paul Minor, "Bob Dylan Master of Musical Cultural Assimilation," TODO Austin 1 :3 July 2009, p. g BoeDYLAN ACROSSTHE by Tom Pataima ·rm an honorary Texan,· Bob Dylan said character named 'Alias· in "Pat Garrett and Billy recently, while discussing what gives his latest the Kid." Dylan's films have titles like 'Masked CD 'Together Through Life· its clear Texas and Anonymous," "Don't Look Back," and ·rm Mexico borderland feel. ·Irs no small thing I Not There: Small wonder then that he Is drawn take it as a high honor· 10 songs that capture the lives of men, women and children whose identities and worlds Dylan has long felt a connection with our two change when they cross the borderline. Many big parts of Nueva Espana. His sincere shout live namelessly or with false identities. fearfully out to Billy Joe Shaver on "Together Through and honestly outside the law Life's" ·1 Feel a Change Comin' on· is Just one sample of the Tex-Mex flavors in his lyrical Dylan was drawn to the borderland early on. and musical spice box When he hit New York City in 1961, the ailing Woody Guthrie was his guiding spirit. Guthrie In 1972, he played with Doug Sahm and had written a poem 'Deportee· or "Plane Band on their self-named album. helping to Wreck at Los Gatos (Deportees)" in I 948.
[Show full text]
Bob Dylan's Dream: Music and Culture in the Sixties
.,,-.. t Bob Dylan's Dream: Music and Culture in the Sixties An Honors Thesis (HONRS 499) by Melany Wessels - Thesis Advisor Ball State University Muncie, Indiana December 1997 - Graduation date: December 1997 - -, Purpose of Thesis The purpose of this thesis is to unite the music of Bob Dylan with the cultural and political events of the early 1960s. Important historical events, cultural trends, and political movements as well as events in the life of Bob Dylan are discussed to set the background for interpretations of three of his songs from the 1965 album, Bringing It All Back Home. The songs included are "Subterranean Homesick Blues," "Maggie's Farm" and "It's Alright, Ma (l'm Only Bleeding)." By interpreting these songs, it will become evident that music and culture were intertwined during the sixties. - IIi know no answers an' no truth - for absolutely no soul alive i will listen t' no one who tells me morals there are no morals an' i dream alotll (Bob Dylan, 1964, Internet 1) The decade of the sixties was an amazing time in the history of the United States. Lives were constantly changing, new doors were opening, new ideals were being born, and a new way of life was springing up from the ways of the past. Bob Dylan (b. 1941) made a great impact on these times through his music. It is widely debated as to whether Dylan actually altered the course of history by writing controversial lyrics to incite the masses or whether he simply was changing along with his generation and creating music that followed his changes and echoed the feelings of the youth.
[Show full text]
I Shall Be Released Bob Dylan 2005
I SHALL BE RELEASED BOB DYLAN 2005 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. I Shall Be Released — Bob Dylan 2005 page 2 of 69 1 INTRODUCTION ............................................................................................................................................................ 3 2 2005 AT A GLANCE ....................................................................................................................................................... 3 3 THE 2005 CALENDAR ................................................................................................................................................... 3 4 NEW RELEASES AND RECORDINGS ....................................................................................................................... 6 4.1 LIVE AT THE GASLIGHT 1962 .................................................................................................................................... 6 4.2 MUSIC FROM THE MOTION PICTURE NORTH COUNTRY .............................................................................................. 6 4.3 THE BOOTLEG SERIES VOL . 7: NEW DIRECTION HOME : THE SOUNDTRACK .............................................................. 7 4.4 LIVE AT CARNEGIE HALL .........................................................................................................................................
[Show full text]
North Country Blues Words and Music Bob Dylan Album: the Times
Free Music resources from www.traditionalmusic.co.uk for personal education purposes only North Country Blues Words and music Bob Dylan Album: The Times They Are A-changin' (1964) Capo 3rd fret Am Come gather 'round friends G And I'll tell you a tale Am G Am Of when the red iron ore pits ran a-plenty. But the cardboard filled windows G And old men on the benches Am G Am Tell you now that the whole town is empty. In the north end of town, My own children are grown But I was raised on the other. In the wee hours of youth, My mother took sick And I was brought up by my brother. The iron ore poured As the years passed the door, The drag lines an' the shovels they was a-humming. 'Til one day my brother Failed to come home The same as my father before him. Well a long winter's wait, From the window I watched. My friends they couldn't have been kinder. And my schooling was cut As I quit in the spring To marry John Thomas, a miner. Oh the years passed again And the givin' was good, With the lunch bucket filled every season. What with three babies born, The work was cut down To a half-a-day shift with no reason. Then the shaft was soon shut And more work was cut, And the fire in the air, it felt frozen. 'Til a man come to speak And he said, in one week That number eleven was closin'.
[Show full text]