DOCSLIB.ORG

Everything's Still the Same

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

EVERYTHING’S STILL THE SAME BOB DYLAN 2010 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 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. Everything’s Still The Same — Bob Dylan 2010 page 2 of 59 1 INTRODUCTION .............................................................................................................................. 4 2 2010 AT A GLANCE ......................................................................................................................... 4 3 THE 2010 CALENDAR ..................................................................................................................... 4 4 NEW RELEASES AND RECORDINGS........................................................................................... 6 4.1 Folksinger’s Coice ........................................................................................................................ 6 4.2 The Witmark Demos: 1962-1964. The Bootleg Series Vol. 9 ..................................................... 6 4.3 The Original Mono Recordings .................................................................................................... 7 4.4 Bob Dylan In Concert: Brandeis University 1963 ..................................................................... 8 4.5 My Own Love Song ..................................................................................................................... 8 4.6 New recordings in circulation 2010 ............................................................................................. 9 4.6.1 New Soundboards ................................................................................................................. 9 4.6.2 The 1965 Austin Press Conference ....................................................................................... 9 5 THE NEVER-ENDING TOUR CONTINUES ................................................................................ 10 5.1 Introduction ................................................................................................................................ 10 5.2 The musicians ............................................................................................................................. 10 5.3 The show .................................................................................................................................... 10 5.4 Tour of Japan .............................................................................................................................. 11 5.4.1 Dates and venues ................................................................................................................. 11 5.4.2 The songs ............................................................................................................................ 11 5.4.3 Statistics .............................................................................................................................. 14 5.4.4 Comments ........................................................................................................................... 14 5.5 Europe Summer Tour ................................................................................................................. 15 5.5.1 Dates and venues ................................................................................................................. 15 5.5.2 The songs ............................................................................................................................ 17 5.5.3 Statistics .............................................................................................................................. 23 5.5.4 Comments ........................................................................................................................... 23 5.5.5 Shows in Europe 1965-2010 ............................................................................................... 24 5.6 US Summer Tour........................................................................................................................ 25 5.6.1 Dates and venues ................................................................................................................. 25 5.6.2 The songs ............................................................................................................................ 27 5.6.3 Statistics .............................................................................................................................. 32 5.6.4 Comments ........................................................................................................................... 32 5.7 US Fall Tour ............................................................................................................................... 33 5.7.1 Dates and venues ................................................................................................................. 33 5.7.2 The songs ............................................................................................................................ 35 5.7.3 Statistics .............................................................................................................................. 42 5.7.4 Comments ........................................................................................................................... 42 5.8 Summary .................................................................................................................................... 43 Everything’s Still The Same — Bob Dylan 2010 page 3 of 59 5.8.1 Song statistics ...................................................................................................................... 43 5.8.2 Show Statistics - Summary ................................................................................................. 43 5.8.3 Album statistics ................................................................................................................... 44 5.8.4 Alphabetical song list .......................................................................................................... 45 5.8.5 Top Ten songs 2010 ............................................................................................................ 46 5.8.6 Songs played only once in 2010 ......................................................................................... 47 5.8.7 Live debuts of Dylan songs ................................................................................................. 47 5.8.8 Covers played in 2010......................................................................................................... 47 5.8.9 2010 vs 2009 ....................................................................................................................... 47 6 NEW BOOKS 2010 .......................................................................................................................... 47 7 REFERENCES & SOURCES .......................................................................................................... 48 8 APPENDIX: THE SET-LISTS ......................................................................................................... 49 Everything’s Still The Same — Bob Dylan 2010 page 4 of 59 1 INTRODUCTION The 23 rd year of The Never Ending Tour swept through seven new countries and 23 new cities in Japan, Europe and the US with 102 new shows. Same band, same songs, only 5 songs were not played last year. No live debuts, no covers, no guests. Columbia/Sony continued the mining of Dylan’s 1960s catalogue with the release of a box containing the first seven albums in mono and the 9th installment in the Bootleg Series collecting the Leeds and Witmark demos from 1962, 1963 and 1964. Nothing new here. Fortunately a new concert tape from Brandeis University 1963 was discovered and added as bonus to the Mono recordings box and/or The Bootleg Series release. 2 2010 AT A GLANCE 3 THE 2010 CALENDAR 11 February Dylan participates in the event billed Performance at the White House: A Celebration of Music From the Civil Rights Movement and performs The Times They Are A-Changin' with Patrick Warren on piano and Tony Garnier on bass. Dylan is introduced by President Barack Obama: “The man who was good enough to take time off from his never-ending tour, Mr. Bob Dylan”. 23 February Nearly 100 artworks including thirty large paintings from The Drawn Blank Series by Bob Dylan are the subject of an art exhibition which opens at the Halcyon Gallery, London, England. 28 February Dylan receives the National Medal of Art at a ceremony in The White House. Dylan did not attend. 11 March Dylan returns to Japan after nine years. The tour starts with five shows in Osaka. Excepting the last shown Seoul, South Korea, only three cities are played in Japan, Osaka, Nagoya (two shows) and Tokyo (seven shows). All shows in Japan were played in the Zepp Music Halls, owned by a subsidiary of Sony Music Entertainment Japan. 15 March At the show in Osaka, after Like A Rolling Stone but before the band credits, Dylan is presented a guitar by a number of Japanese Bobcats. Dylan’s response was “I like that guitar really. I’m gonna keep it right here, by my side … just like all you nice people”. 31 March The tour ends with a show in The Olympic Gymnastics Arena in Seoul, South Korea. Everything’s Still The Same — Bob
Recommended publications
  • I Went Down to St James Infirmary

    I Went Down to St James Infirmary

    FOLD FOLD spine = Iwent downto A goldmine of information, with an amazing cast of characters. ‘‘ The definitive statement on the subject—and a very entertaining read to boot. —Rob Walker, author of Buying In and ’’ Letters from New Orleans What better way to honor a great song than to tell a great story ST. JAMES INFIRMARY ‘‘ about it? —David Fulmer, author of The Blue Door and ’’ Chasing the Devil’s Tail Iwent down to “St. James Infirmary” is the quintessential jazz-blues song 0f the early ST. JAMES twentieth century. Major performing and recording artists have covered it, from Louis Armstrong and Jimmie Rodgers to Van Morrison and the White INFIRMARY Stripes. Infused with ego-driven angst, once considered obscene because of the lyrics’ stark depiction of death and their portrayal of a seedy underworld inhabited by gamblers, pimps, “loose” women, and every sort of rounder, the song has been adapted, rewritten, borrowed, stolen, attacked, revered, and Investigations in the shadowy loved. In its heyday of the 1920s and 30s, when recordings and sheet music of world of early jazz-blues in the “St. James Infirmary” were first packaged and marketed, the public could not get enough of it. Nearly a hundred years later, its allure remains. company of Blind Willie McTell, Robert W. Harwood follows the song as it travels from its folk origins into Louis Armstrong, Don Redman, the recording studios, performances stages, and law courts of America’s jazz era. Along the way he picks up a retinue of fascinating characters whose Irving Mills, Carl Moore, and a stories are as interesting as the song itself.
  • The Songs of Bob Dylan

    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 ...............................................................................................................................
  • JREV3.6FULL.Pdf

    JREV3.6FULL.Pdf

    KNO ED YOUNG FM98 MONDAY thru FRIDAY 11 am to 3 pm: CHARLES M. WEISENBERG SLEEPY I STEVENSON SUNDAY 8 to 9 pm: EVERYDAY 12 midnite to 2 am: STEIN MONDAY thru SATURDAY 7 to 11 pm: KNOBVT THE CENTER OF 'He THt fM DIAL FM 98 KNOB Los Angeles F as a composite contribution of Dom Cerulli, Jack Tynan and others. What LETTERS actually happened was that Jack Tracy, then editor of Down Beat, decided the magazine needed some humor and cre• ated Out of My Head by George Crater, which he wrote himself. After several issues, he welcomed contributions from the staff, and Don Gold and I began. to contribute regularly. After Jack left, I inherited Crater's column and wrote it, with occasional contributions from Don and Jack Tynan, until I found that the well was running dry. Don and I wrote it some more and then Crater sort of passed from the scene, much like last year's favorite soloist. One other thing: I think Bill Crow will be delighted to learn that the picture of Billie Holiday he so admired on the cover of the Decca Billie Holiday memo• rial album was taken by Tony Scott. Dom Cerulli New York City PRAISE FAMOUS MEN Orville K. "Bud" Jacobson died in West Palm Beach, Florida on April 12, 1960 of a heart attack. He had been there for his heart since 1956. It was Bud who gave Frank Teschemacher his first clarinet lessons, weaning him away from violin. He was directly responsible for the Okeh recording date of Louis' Hot 5.
  • Our Featured Artist, Skye, Wasn't a Fan of Bob Dylan's Music When He Burst Into Popularity in the Mid 1960S— It Was the Be

    Our Featured Artist, Skye, Wasn't a Fan of Bob Dylan's Music When He Burst Into Popularity in the Mid 1960S— It Was the Be

    Shakespeare’sin the Alley: Our featured artist, Skye, wasn’t a fan of Bob Dylan’s music when he burst into popularity in the mid 1960s— it was the Beatles who held the then teenager’s ear. Forty years later, in 2008, her viewing of the Martin Scorcese documentary about Dylan, No Direction Home, captured her attention. “I was amazed at what Dylan did at such a young age,” she A Tribute to Bob Dylan February 9-March 17 said. “His courage to speak out [about social planning a tribute concert in honor of Dylan’s change] was profound and his extreme talent 70th birthday. Titled Buckets of Rain, the was obvious.” concert was held at Woodwalk Gallery in Egg Harbor. Skye created 15 banners that served Yet, the concept for the exhibition as a backdrop for the Labor Day weekend Shakespeare’s in the Alley: A Tribute to Bob event. Dylan did not come immediately into focus for the artist. Skye had a hunger to experience Wanting to make the lyrics the focus, Skye all his music, eventually collecting 35 of his chose a simple design for the banners— 36 CDs. Only after immersing herself in both gray fabric made of recycled hemp and his sound and words, was she inspired to organic cotton with the words formed in create art honoring his influence. black, felt tip markers. After the second Buckets of Rain concert the following year, Skye had incorporated stenciled words into Skye was committed to creating an even earlier projects, but not as the main creative larger installation.
  • Sour Cider Name Time Album Artist 1. Tired of Being Alone 2:53 The

    Sour Cider Name Time Album Artist 1. Tired of Being Alone 2:53 The

    Sour Cider Name Time Album Artist 1. Tired of Being Alone 2:53 The Absolute Best Volume 1 Al Green 2. Takes Two 3:59 Living Room Anders Osborne 3. I Told Him That My Dog Wouldn't Run 3:06 À Gogo Patty Larkin 4. 1952 Vincent Black Lightning 4:20 Sail On Dick Gaughan 5. I'm Looking Through You 2:28 Rubber Soul The Beatles 6. Broadway Jungle 2:52 The Rough Guide: Reggae Toots & The Maytals 7. Rumba Makossa - Cuarteto Patria & Man... 4:35 The Rough Guide To Afro-Cuba Cuarteto Patria & Manu Dibango 8. Philosophie 2:59 Salsa Creole: Afro-Cuban Salsa Music Ralph Thamar 9. Remember 2:37 Jazz Masters 12 Billie Holiday (with Oscar Peterson) 10. County Jail Blues 2:58 The King of Chicago Blues Piano Big Maceo with Tampa Red 11. Here Comes the Sun 3:49 The Best Of Richie Havens Richie Havens 12. Follow 6:24 The Best Of Richie Havens Richie Havens 13. She 4:52 Return Of The Grievous Angel: A Tribute t... The Pretenders & Emmylou Harris 14. The Vatican Rag 2:22 The Remains of Tom Lehrer Disc 3 Tom Lehrer 15. Hokum Stomp 2:51 Early Recordings 1928-1936 Big Bill Broonzy 16. Little Delia 3:02 Twelve String (1949) Blind Willie McTell 17. Between Girl And Gone 6:01 Live At The Black Sheep Karen Savoca & Pete Heitzman 18. Streets Of Derry 4:01 American Stranger Julie Henigan 19. The Speed Of Light 2:13 Broken Things Julie Miller 20. All That you have is your Soul 5:09 Crossroads Tracy Chapman 21.
  • Bob Dylan Musician, Keith Negus. This File Contains the Pre-Proof

    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.
  • The Cultural World of Bob Dylan, Fall 2013

    The Cultural World of Bob Dylan, Fall 2013

    FS 101–26: the Cultural World of Bob Dylan Fall Semester 2013 • Time and location: MWF 9:00–9:50, Arter 213. • Instructor: Judson Herrman, [email protected]. • Office hours: every day (when classes are in session) 11:00–12:15 in Ruter 304. • Description: an examination of Dylan as a musical, literary, and general cultural phenomenon, in the context of popular and higher literary culture of the last fifty years, but also in the context of those long- lived literary and musical cultures with which he works. We trace the evolution of his songs and lyrics from their early folk, blues, rock, gospel, and protest roots, through the transition from acoustic to electric, in studio and performative contexts, and also through the many evolutions and reinventions that continue to characterize his career in music, literature, film, and painting. Coursework emphasizes the development of effective oral and written communication skills with a focus on description, summary, and critical thinking.1 • Course books: — Chronicles Bob Dylan, Chronicles: Volume One (New York, 2004). — Wilentz Sean Wilentz, Bob Dylan in America (New York, 2010). — Hacker Diana Hacker, A Writer’s Reference (Boston and New York, 7th edition, 2011). We will use this item as needed for reference regarding grammar, style, and formatting in writing and citations. Students should consult this item for questions of this sort that arise as they write. Students are also encouraged to ask in class when they have questions about this material. • Electronic resources: — http://www.expectingrain.com : a daily collection of links to all sorts of Dylan media coverage.
  • “Statesboro Blues”—Blind Willie Mctell (1928) Added to the National Registry: 2015 Essay by Brian Bader

    “Statesboro Blues”—Blind Willie Mctell (1928) Added to the National Registry: 2015 Essay by Brian Bader

    “Statesboro Blues”—Blind Willie McTell (1928) Added to the National Registry: 2015 Essay by Brian Bader Blind Willie McTell Blind Willie McTell was born May 5, 1901 in Thomson, Georgia. Though there is some uncertainty about his birth year, his comparatively long life (he died on Aug. 19, 1959, in Milledgeville, Georgia), his prolific recording career, the memories of numerous acquaintances, and McTell’s own recorded reminiscences, allow for a full picture of his life. His skillful fingerpicking guitar style ranks high with the playing of other acoustic blues artists, both blind (Blind Boy Fuller, Blind Blake, Reverend Gary Davis) and sighted (Josh White, Brownie McGhee). Hard to categorize, McTell embodied Piedmont blues, as well as ragtime, and gospel/spiritual/religious music, and may best be described as a mid-twentieth century American songster. One of his tunes--“covered,” or more accurately freely adapted, in a powerful electric blues rendition by the Allman Brothers Band-- is his legacy. This number most familiar to modern blues and rock fans: “Statesboro Blues.” Recorded by McTell and self-accompanied on twelve- string guitar in 1928 for Victor records, it showcases his distinctive voice and his talented guitar playing. The Allman Brothers later credited their cover of the song to “Will McTell” on their live two-record album “At Filmore East” released in 1971 on Capricorn Records. Guitarists Duane Allman (using a slide) and Dickey Betts cut loose with their trademark twin lead guitar line up in a memorable reading as a jumping blues shuffle. In an analysis of the history of “Statesboro Blues,” however, it is important to note that between the McTell recording and the Allman Brothers, there is a version from 1968 by Taj Mahal on his debut album.
  • Essential Blues Discography

    Essential Blues Discography

    ESSENTIAL BLUES DISCOGRAPHY ESSENTIAL BLUES DISCOGRAPHY Edited by Francesco Piccolo First Edition July2015 Second Edition May 2016 Third Edition October 2016 Reference Book Francesco Piccolo - STORIA DEL BLUES - Gli Eventi, gli Stili, i Protagonisti Web Site www.thesixstrings.com This Book is available for free download at www.thesixstrings.com Contents 1 PREFACE .......................................................................................... 3 2 WORK SONGS, BALLADS, SPIRITUALS, MINSTREL SONGS ..... 5 3 COUNTRY BLUES ............................................................................ 7 4 CLASSIC BLUES ERA .................................................................... 13 5 URBAN BLUES ............................................................................... 15 6 RHYTHM AND BLUES, ROCK 'N' ROLL ,SOUL, FUNK ................ 25 7 ROCK BLUES ................................................................................. 33 1 PREFACE The following discography has no pretensions of completeness but just wants to be a guide providing suggestions to understand the various styles of Blues. For a more complete discography please refer to the discographies of individual artists, sites and specialized publications. 3 4 2 WORK SONGS, BALLADS, SPIRITUALS, MINSTREL SONGS BALLADS Ol'Riley Frankie and Albert "Ballad of John Henry Midnight Special SPIRITUALS Go down Moses Steal Away to Jeasus Nobody knows the trouble I've seen Deep River Swing Low, Sweet Chariot Shout for Joy Joshua Fit the Battle of Jerico The Great Camp
  • Olof's Files. Volume 1: Bob Dylan 1958-1969

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

    STILL GOING BAREFOOT BOB DYLAN 1983 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. Still Going Barefoot – Bob Dylan 1983 CONTENTS 1 INTRODUCTION .................................................................................................................. 1 2 1983 AT A GLANCE ............................................................................................................. 1 3 THE 1983 CALENDAR ......................................................................................................... 1 4 INFIDELS ............................................................................................................................... 2 5 SONGS 1983 ......................................................................................................................... 11 6 SUGGESTED READINGS ................................................................................................. 12 6.1 ARTICLES ................................................................................................................... 12 6.2 INTERVIEWS .............................................................................................................. 12 6.3 LYRICS ........................................................................................................................ 12 6.4 REVIEWS
  • Freewheelin-On-Line Take Seven

    Freewheelin-On-Line Take Seven

    freewheelin-on-line take seven Freewheelin’ 205 September 2002 The French painter Pierre Bonnard (1867 – 1947) was shackled with an obsessive love for his wife. Consequently, she appears in a lot of his paintings – indeed if you look closely you can see her head, bathed in blue, in the bottom right hand corner of this cover which is taken from a painting by Bonnard. The purpose of the blue above her head is that it matches the blue of the sky and thus it places her close to heaven. The painting is however called ‘The Open Window’ so Pierre, being the jealous kind, wants to draw the viewer away from gloating at his wife towards what is going on outside his lounge in the South of France. Outside the window in my picture, I have Dylan, looking like a deranged gardener with a guitar, walking towards Bonnard’s wife with intent. Pierre won’t be too pleased about that but there is a joint obsession on display here: ours with Dylan and Bonnard’s with his wife. The difference is that our obsession cannot be as intense as Bonnard’s. Of course it can’t. Can it? But hold on a minute, Dylan isn’t looking at Pierre’s wife at all – he is looking straight at us. As Alfred Hitchcock might say: ‘It’s a take!’. 2 Freewheelin-on-line take seven (freewheelin’ 205) Page 4 Magnetic Movements by Chris Cooper 8 Fistful Of Tapes By The Two Riders 11 20 Pounds Of Headlines by Mark Carter The continuing chronicle of Bob Dylan in the Press 14 Wonder Boy by Richard Lewis 16 Hipsters, Flipsters & Finger Poppin’ Daddies by CP Lee 20 It Takes A Lot To Laugh by Mark Carter
  • The Recording Sessions

    The Recording Sessions

    Bob Dylan: The Recording Sessions by Michael Krogsgaard, compiled from files available at http://www.punkhart.com/dylan/sessions.html 1 2 Some general information regarding the different sources made available for the study: 1. The Columbia Studios Recording Diaries are books, which for each day of the year (since 1941) list every planned session in the different studios. Information includes: time of the day, name of the studio, name of the producer and the engineers and the name of the artist. For the New York studios one diary is missing, that which covers the period January 1967 to December 1970. For the Nashville studios, the diary for the period 1969 to 1971 is missing. 2. Recording Sheets are lists made during each session and put into each tape box. The sheet records the date, the studio, the artist, which tracks were recorded and the CO number (Columbia's own reference number) for each composition (of which, more later). Each recorded take is marked as complete (C), with a short false start(b) or a long false start (B). It is indicated on these sheet which takes are removed to other tapes for further use. 3. The Tape Boxes themselves also usually contain information about each take and which takes are removed for further use. 4. CO Cards contain information about the CO (CO=Columbia) number and title for each composition and usually also the recording date. The CO numbers are basically a secure identification of each composition but they are not always chronological (for instance: the CO numbers for songs recorded in Nashville are generally higher than CO numbers for songs recorded at the same time in New York), and, confusingly, sometimes one composition has several CO numbers, especially (but not always) if it has been recorded several times at different sessions.