DOCSLIB.ORG

Olof's Files. Volume 1: Bob Dylan 1958-1969

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Olof's Files. Volume 1: Bob Dylan 1958-1969 TRUE CONFESSIONS BOB DYLAN 1986 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, RELEASES, TAPES & BOOKS. © 2004 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. CONTENTS 1 INTRODUCTION .............................................................................................................................................. 3 2 1986 AT A GLANCE .......................................................................................................................................... 3 3 THE 1986 CALENDAR ..................................................................................................................................... 4 4 KNOCKED OUT LOADED .............................................................................................................................. 6 5 HARD TO HANDLE ......................................................................................................................................... 7 6 SUPERSTAR CONCERT SERIES .................................................................................................................. 8 7 THE TRUE CONFESSIONS TOUR ................................................................................................................ 8 7.1 INTRODUCTION ............................................................................................................................................ 8 7.2 THE MUSICIANS ........................................................................................................................................... 8 7.3 THE SHOW ................................................................................................................................................... 9 7.4 PART ONE: DOWN UNDER ......................................................................................................................... 10 7.4.1 The dates .............................................................................................................................................. 10 7.4.2 The songs ............................................................................................................................................. 11 7.4.3 Statistics ............................................................................................................................................... 13 7.4.4 Comments ............................................................................................................................................ 14 7.5 PART TWO: US .......................................................................................................................................... 15 7.5.1 The dates .............................................................................................................................................. 15 7.5.2 The songs ............................................................................................................................................. 17 7.5.3 Statistics ............................................................................................................................................... 27 7.5.4 Comments ............................................................................................................................................ 27 7.6 TRUE CONFESSIONS SUMMARY .................................................................................................................. 29 7.6.1 Show Statistics ..................................................................................................................................... 29 7.6.2 Song statistics ....................................................................................................................................... 29 7.6.3 Album statistics .................................................................................................................................... 30 7.6.4 Alphabetical song list ........................................................................................................................... 31 7.6.5 Ten most played songs in 1986 ............................................................................................................ 33 7.6.6 Live debuts 1986 .................................................................................................................................. 33 7.6.7 Played only once in 1986 ..................................................................................................................... 34 8 SONGS 1986 ..................................................................................................................................................... 34 9 SUGGESTED READINGS .............................................................................................................................. 34 10 SOURCES ......................................................................................................................................................... 35 11 BIBLIOGRAPHY............................................................................................................................................. 35 12 THE 1986 SETLISTS ....................................................................................................................................... 37 True Confessions – Bob Dylan 1986 1 INTRODUCTION Another year of extreme activity. A new tour in two parts, a new record, and on top of it, leading role in a film. For the return to the concert scene, Dylan chose to appear as the rejuvenated legend, rather punkish, in sleeveless shirts and leather vests, lots of amulets and one eardrop. The tour was a result of his collaboration with Tom Petty & The Heartbreakers at the Farm Aid benefit in September 1985. It was a tour that featured many of the new songs from Empire Burlesque as well as songs from his entire career and then also a lot of rock 'n' roll covers. True confessions? 2 1986 AT A GLANCE Jan Febr March April May June July August Sept October Nov December Martin Luther King Day concert True Confessions pt 1: Australia & Japan recording of Band Of The Hand Kurtis Blow recording session Knocked Out Loaded recording sessions release of Band Of The Hand single Amnesty International Benefit Concert True Confessions pt 2: US release of Hard To Handle video release of Knocked Out Loaded Hearts Of Fire recording sessions Jan Febr March April May June July August Sept October Nov December 3 True Confessions – Bob Dylan 1986 3 THE 1986 CALENDAR January Dylan is interviewed by Don McLeese for Chicago Sun-Times. January Telephone interview with Dylan by Toby Croswell for the Australian Rolling Stone. January Rehearsals continue at Soundstage 41, Universal Studios. According to Tom Petty some sixty songs are rehearsed. Among them All My Tomorrows and This Was My Love. 20 January Dylan performs with Stevie Wonder at the Martin Luther King Day concert at the John F. Kennedy Performing Arts Center in Washington, DC. 25 January Albert Grossman dies of a heart attack on a flight to London. 27 January Bob Dylan gives a congratulations speech to Willie Nelson, when he receives the First Annual Award of Appreciation. The event is broadcast by the ABC-TV Network Late January George Negus interviews Dylan in Malibu for the Australian TV-program Sixty Minutes, broadcast 10 February. 5 February The new tour named True Confessions with Tom Petty & The Heartbreakers starts in Wellington, New Zealand. 8 February Dylan is interviewed by Stuart Coupe for The Age. 9 February A new Dylan song, Band Of The Hand, written for a film with the same name, is recorded by Dylan and Petty at Festival Studios in Sydney, Australia. An alternate title is It's Hell Time, Man! 10 February Dylan gives a press conference at Brett Whitley's Studio in Sydney. 19 February Dylan appears at a Dire Straits concert in Melbourne and sings four songs. 20 February Dylan is interviewed at the poolside of the Rockman’s Regency Hotel in Melbourne. The interview is broadcast on EON – FM radio 21 February. 22 February Dylan is interviewed by Maurice Parker in a hotel room in Melbourne. The interview is broadcast by Channel 7, Brisbane, 24 February in the program State Affairs. 24, 25 February The two shows in Sydney are recorded and released in parts in Westwood One's Superstar Concert Series. The shows are also filmed and 10 songs are released on the Hard To Handle video. 4 March Richard Manuel hangs himself in a motel room in Florida. 10 March Last show of the Down Under Tour is played in the Budokan Hall in Tokyo. 31 March Dylan receives yet another award, this time the American Society of Composers, Authors and Publishers Founder's Award. Press conference and acceptance speech at Chasen's Restaurant in Los Angeles are broadcast by CNN in Showbiz Today. Dylan is also interviewed briefly by Dick Shoemaker, and this is broadcast by ABC in Entertainment Tonight. 1 April Dylan contributes vocal to Street Rock, recorded by Kurtis Blow at the Greene Street Recording Studios in New York City, New York. The song is released on Kingdom Blow in September. April Release of the Band Of The Hand single with non Dylan B-side. 28 April – 19 May Recording sessions for Knocked Out Loaded in Skyline Recording Studios in Topanga Park, California. May Release of the Band Of The Hand soundtrack. 15 May Lorimar Productions announces
Load more

Recommended publications
  • 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.
    [Show full text]
  • 1987 Determined to Stand LETTER.Pdf
    DETERMINED TO STAND BOB DYLAN 1987 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, RELEASES, TAPES & BOOKS. © 2004 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. Determined To Stand – Bob Dylan 1987 CONTENTS 1 INTRODUCTION .............................................................................................................................................. 3 2 1987 AT A GLANCE .......................................................................................................................................... 3 3 THE 1987 CALENDAR ..................................................................................................................................... 3 4 DOWN IN THE GROOVE ................................................................................................................................ 4 5 SUMMER TOUR WITH THE GRATEFUL DEAD ...................................................................................... 6 5.1 INTRODUCTION ............................................................................................................................................ 6 5.2 THE MUSICIANS ........................................................................................................................................... 6 5.3 THE SHOW ...................................................................................................................................................
    [Show full text]
  • Aint Gonna Study War No More / Down by the Riverside
    The Danish Peace Academy 1 Holger Terp: Aint gonna study war no more Ain't gonna study war no more By Holger Terp American gospel, workers- and peace song. Author: Text: Unknown, after 1917. Music: John J. Nolan 1902. Alternative titles: “Ain' go'n' to study war no mo'”, “Ain't gonna grieve my Lord no more”, “Ain't Gwine to Study War No More”, “Down by de Ribberside”, “Down by the River”, “Down by the Riverside”, “Going to Pull My War-Clothes” and “Study war no more” A very old spiritual that was originally known as Study War No More. It started out as a song associated with the slaves’ struggle for freedom, but after the American Civil War (1861-65) it became a very high-spirited peace song for people who were fed up with fighting.1 And the folk singer Pete Seeger notes on the record “Waist Deep in the Big Muddy and Other Love Songs”, that: "'Down by the Riverside' is, of course, one of the oldest of the Negro spirituals, coming out of the South in the years following the Civil War."2 But is the song as we know it today really as old as it is claimed without any sources? The earliest printed version of “Ain't gonna study war no more” is from 1918; while the notes to the song were published in 1902 as music to a love song by John J. Nolan.3 1 http://myweb.tiscali.co.uk/grovemusic/spirituals,_hymns,_gospel_songs.htm 2 Thanks to Ulf Sandberg, Sweden, for the Pete Seeger quote.
    [Show full text]
  • Bob Dylan's Conversions: the “Gospel Years” As Symptom And
    chapter 6 Bob Dylan’s Conversions: The “Gospel Years” as Symptom and Transition Gisle Selnes Professor i allmenn litteraturvitenskap, universitetet i Bergen. Professor in Comparative Literature, University of Bergen, Norway. Abstract: This contribution analyzes Bob Dylan’s evangelic conversion in light of other conversions throughout his oeuvre, emphasizing the theological moment of the event of conversion as such. Two important aspects of conversion inaugurate Dylan’s born-again output: on the one hand, the isolation and purification of the figure of Christ as the all-pervading “object” of his quest; on the other, the “re- coding” of a series of figures and motifs from his earlier work, most of them derived, of course, from the proverbial American songbook. Before and after Dylan’s evan- gelical ruse, the legacy of 18th Century American Transcendentalism as well as Christ as an emblem of the rebel and/or artist constitute two relatively stable reli- gious aspects of his art. Keywords: conversions, Dylan’s born-again period, gospel, the Christ Event, Saint Paul, transcendentalism Sammendrag: Dette bidraget analyserer Bob Dylans evangeliske omvendelse i lys av andre vendinger i forfatterskapet, med hovedvekt på det religiøse momen- tet ved omvendelsen som sådan. To aspekter ved den evangeliske perioden frem- heves: isoleringen av Jesu kroppslige nærvær som absolutt mål for eksistensiell og kunstnerisk søken – og omkodingen av figurer og topoi fra den store amerikanske sangtradisjonen slik at de får en udiskutabel kristologisk valør. På begge sider av Dylans evangeliske raptus undersøkes arven etter den amerikanske transcendenta- lismen og Kristus som opprørs- og kunstnerskikkelse som to relativt stabile religiøse uttrykksformer.
    [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]
  • Wavelength (June 1983)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 6-1983 Wavelength (June 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (June 1983) 32 https://scholarworks.uno.edu/wavelength/32 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. DEVELOPING THE NEW LEADERSHIP IN NEW ORLEANS MUSIC A Symposium on New Orlea Music Business Sponsored by the University of New Orleans Music Department and the Division of Continuing Education and wavelength Magazine. Moderator John Berthelot, UNO Continuing Education Coordinator/Instructor in the non-credit music business program. PROGRAM SCHEDULE How To Get A Job In A New Orleans Music Club 2 p.m.-panel discussion on the New Orleans club scene. Panelists include: Sonny Schneidau, Talent Manager. Tipitina's, John Parsons, owner and booking manager, Maple Leaf Bar. personal manager of • James Booker. one of the prcx:lucers of the new recording by James Booker. Classified. Jason Patterson. music manager of the Snug Harbor. associate prcx:lucer/consultant for the Faubourg Jazz Club, prcx:lucer for the first public showing of One Mo· Time, active with ABBA. foundation and concerts in the Park. Toulouse Theatre and legal proceedings to allow street music in the French Quarter. Steve Monistere, independent booking and co-owner of First Take Studio.
    [Show full text]
  • Hello and Good Bye Lyrics
    Hello and Good Bye Lyrics Hello Songs I Like You (Silly Songs) (Tune: “Skip to My Lou”) I like you, there’s no doubt about it. (Point to self and then to a friend.) I like you, there’s no doubt about it. I like you, there’s no doubt about it. You are my good friend. You like me, there’s no doubt about it. (Point to a friend and then to self.) You like me, there’s no doubt about it. You like me, there’s no doubt about it. You are my good friend. Activities: Ask the children to draw pictures of all the people who like them or love them. Label their pictures. Make a language experience story by having each child complete this sentence: “A friend is...” Hello Song (Silly Songs) (Tune: “Skip to My Lou”) Hello, how are you? (Wave hand.) Hello, how are you? Hello, how are you? How are you this morning? I am fine, and I hope you are, too. (Point to self, then a friend.) Turn to your neighbor, and shake their hand. (Shake hands.) Activities: Make up new verses, such as “turn to your neighbor and give “high five,” or “turn to your neighbor and give them a hug.” Sing children’s names in the song. For example, “Hello Pepo, how are you? Hello Jan, how are you? Hello Marcus, how are you? How are you this morning?” Hello, Neighbor! (Keep on Singing) (Tune: “Good Night, Ladies”) Hello, neighbor. (Wave to partner.) What do you say? (Give high five.) It’s going to be a (Slap thighs, clap hands, Happy day.
    [Show full text]
  • Bob Dylan Musician, Keith Negus. This File Contains the Pre-Proof
    Bob Dylan Musician, Keith Negus. This file contains the pre-proof versions of Chapter One and Chapter Five from Bob Dylan, presented here in this format with the permission of Equinox Publishing. I have called this text Bob Dylan Musician because this was the original agreed title of the book right up to the moment just before publication when pressure from the US publisher resulted in the term ‘musician’ being reluctantly (from my perspective) expunged from the title. That word – musician – was there to concisely signal how my approach differs from most other books on Bob Dylan. I am interested in his work and practice as a musician, rather than his lyrics as poetry or the relationship between his biography and musical art. The book contains five chapters, so these two chapters introduce and conclude the study. If anyone would like electronic copies of additional chapters I am happy to provide these, as long as they are used only for research and teaching. Keith Negus June 2013 CHAPTER ONE Surroundings On 31 October 1964 Bob Dylan performed at the Philharmonic Hall in New York City, just two years after signing a recording contract and with four albums already released. Having quickly gained recognition as a folk ‘protest singer’ he was rapidly moving away from songs of social commentary and ‘finger pointing’. Dylan was beginning to use the popular song in a new and radical manner to explore more internal or subjective experiences, whilst experimenting with the sound, meaning and rhythm of words. Within three months, when recording his fifth album, no longer performing alone with acoustic guitar and harmonica, he was beginning to create an abrasive yet ethereal sonority, mixing the acoustic and electric textures of folk, electric blues, rock’n’roll, gospel, country and pop.
    [Show full text]
  • Keep on Keepin' On
    KEEP ON KEEPIN ’ ON BOB DYLAN 1994 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. Keep On Keepin’ On — Bob Dylan 1994 CONTENTS 1 A SHORT SUBJECTIVE RETROSPECTIVE ................................................................................ 4 2 THE YEAR AT A GLANCE .............................................................................................................. 4 3 CALENDAR ......................................................................................................................................... 5 4 RECORDINGS..................................................................................................................................... 9 5 NEW TAPES ........................................................................................................................................ 9 5.1 GENUINE BOOTLEG SERIES ............................................................................................................. 9 5.2 INFIDELS SESSIONS .......................................................................................................................... 9 6 THE NEVER-ENDING TOUR CONTINUES ............................................................................... 11 6.1 INTRODUCTION ............................................................................................................................
    [Show full text]
  • JAMES BROWN Tennessee (1928) Or Georgia (1933) ¡©Si
    r ; k Jf ||p ji „ > ■ Ip > V - » I ■ JAMES BROWN Tennessee (1928) or Georgia (1933) ¡©Si- James Brown once said of Elvis Presley, “He recorded at Harlem’s Apollo Theater on September taught white America to get down.” Brown himself 24th, 1962, sold a million copies and remained on did Elvis one better in that regard: he encouraged ev­ the Billboard charts for more than a year, an unprec­ eryone to do it. Brown, an indefatigable performer edented achievement for a hard-core R&B album. In who still maintains a grading touring schedule for has 1965, with the success of “Papa’s Got a Brand New fine-tuned funk revue, has earned many tides over the Bag” and “I Got You (I Feel Good),” Brown proceed­ years. ed to break his sound down to a groove as basic and He’s been called “the Hardest-Working Man in bad as you could get. That same year, rock and roll Show Business.” As an impoverished child of the De­ fans were willingly hoodwinked by the slickly re ­ pression, Brown picked cotton, shined shoes and hearsed drama of Brown’s fainting-and-reviving ritual danced for spare change on the streets. He also during “Please Please Please” in The TAJUJ. Show. served time in a reform atory and tried his hand at He’s been called “Soul Brother Number One” for boxing and baseball. When a leg injury put an end to his willingness to “say it loud, I’m black and I’m his big-league pitching aspirations, Brown turned to proud.” In 1968, when he was addressing black so­ music.
    [Show full text]
  • Señor (Tales of Yankee Power)”: a Window Into Bob Dylan’S Existential and Religious World
    chapter 1 “Señor (Tales of Yankee Power)”: A Window into Bob Dylan’s Existential and Religious World Reidar Aasgaard Professor, idéhistorie, IFIKK, Universitetet i Oslo Professor of History of Ideas, IFIKK, University of Oslo Abstract: “Señor (Tales of Yankee Power)” is a central song on Street-Legal, the album Bob Dylan released in 1978, a short time before his Christian conversion experience and the so-called Christian album trilogy of 1979–1981. Within the set- ting of a journey through a half-real, half-mythical landscape, the song describes an encounter between an I-figure, the singer, and his travel companion, a mysterious, silent “señor”, with the singer going through a process of growing frustration lead- ing to a state of existential despair. The article gives a close, narrative reading of the lyrics and analyzes the song within the contexts of the album, of the development of Dylan’s religious language, of his performances of the song from 1978 to 2011, and of his own comments on it. The main conclusion is that “Señor” can be read in different ways, but that religion, and Christianity in particular, plays an important and integral part in the various readings. The song reflects Dylan’s artistic and per- sonal situation at the time, also by foreshadowing his conversion experience, but at the same time belongs within a long trajectory of Dylan songs from the 1960s until today which deal with fundamental human themes related to history, society, social relations, religion, and life in general. Keywords: Bob Dylan, Christianity, Bible, literary analysis, contextual analysis Samandrag: «Señor (Tales of Yankee Power)» er ein sentral song på Street-Legal, albumet Bob Dylan gav ut i 1978, kort tid før sitt kristne gjennombrot og den såkalla kristne albumtrilogien frå 1979–81.
    [Show full text]
  • “Sólo Soy Un Guitarrista”: Bob Dylan in the Spanish-Speaking World–– Influences, Parallels, Reception, and Translation
    Oral Tradition, 22/1 (2007): 112-133 “Sólo Soy Un Guitarrista”: Bob Dylan in the Spanish-Speaking World–– Influences, Parallels, Reception, and Translation Christopher Rollason “Sólo soy un guitarrista” - Bob Dylan, Tarantula (1966) “La guitarra. como la tarántula, teje una gran estrella” - Federico García Lorca, “Las seis cuerdas,” (1931) Spanish Manners: An Introduction This paper aims to examine the relationship between Bob Dylan’s work and the cultures, literatures, and musics of the Spanish-speaking world. The relationship is bidirectional, taking in Spanish and Latin American influences and themes in Dylan’s production, as well as the influence and reception of that work in the Hispanophone universe. I further consider not only direct influences but also literary and musical parallels, and also briefly examine the translation of Dylan into Spanish. What I am offering is a case- study in intercultural relations, not an excursion into theory, and I shall not be explicitly entering into issues of ethnoliterature, ethnomusicology, cultural studies, or translation studies. I do, however, stress by way of introduction that I believe Dylan’s work is a particularly interesting case of a hybrid cultural object, the result of a fusion, not so much between a bipolarised “high” and “low” culture as between three different cultures–– intellectual culture, mass culture, and folk or traditional culture. Much in Spanish and Latin American cultures, both literary and musical, is similarly– –and fecundly––hybrid in its make-up, building bridges between
    [Show full text]