Nearer to the Fire Bob Dylan 1981
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Still on the Road 1979 Slow Train Coming Recording Sessions
STILL ON THE ROAD 1979 SLOW TRAIN COMING RECORDING SESSIONS APRIL 30 Sheffield, Alabama Muscle Shoals Sound Studio, 1st Slow Train Coming session MAY 1 Sheffield, Alabama Muscle Shoals Sound Studio, 2nd Slow Train Coming session 2 Sheffield, Alabama Muscle Shoals Sound Studio, 3rd Slow Train Coming session 3 Sheffield, Alabama Muscle Shoals Sound Studio, 4th Slow Train Coming session 4 Sheffield, Alabama Muscle Shoals Sound Studio, 5th and last Slow Train Coming session Still On The Road: 1979 Slow Train Coming recording sessions 5031 Muscle Shoals Sound Studio Sheffield, Alabama 30 April 1979 1st Slow Train Coming session produced by Jerry Wexler & Barry Beckett. 1. Trouble In Mind 2. Trouble In Mind 3. Trouble In Mind 4. Trouble In Mind 5. Trouble In Mind 6. Trouble In Mind 7. Trouble In Mind 8. Trouble In Mind Bob Dylan (guitar & vocal), Mark Knopfler (guitar), Barry Beckett (piano & organ), Tim Drummond (bass), Pick Withers (drums). Bootleg CD The Genuine Bootleg Series Vol. 3 (track 7) References Michael Krogsgaard: Bob Dylan: The Recording Sessions (Part 4). The Telegraph #56, Winter 1997, pp. 150-176. Clinton Heylin: Bob Dylan. The Recording Sessions [1960 – 1994]. St. Martin’s Press December 1995, pp 129–131. Clinton Heylin: Trouble In Mind. Bob Dylan’s Gospel Years. What really happened. Chapter 2. From Sheffield to Santa Monica, (March – August 1979 & Appendix 1 The Gospel Years: A Chronology). Lesser Gods 2017. Official releases 1 released on Bob Dylan: Trouble No More. The Bootleg Series Vol. 13 1979-1981, Disc Three: Rare and Unreleased, Columbia 88985454652-2, 3 November 2017 7 released on single Columbia 1-11072, September 1979. -
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. -
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 ................................................................................................................................................... -
Scobie on I'm Not There
I’M NOT THERE (1956-2007) Stephen Scobie Je est un autre—Arthur Rimbaud I’m Not There (2007) In this autumn season of 2007, I can see that I am going to be thinking a lot about the Bob Dylan song known as “I’m Not There (1956).” At least, that is the title given to it on most of its early, bootleg appearances. Now that it has finally been officially released, the sub-title date has been dropped—which is a pity (since it added an element of mystery to the song) but also understandable (since no good explanation of the date has ever been given). “I’m Not There” is perhaps the ultimate Dylan bootleg, and has always been a subject for cult idealization as the most obscure of Dylan’s “lost” songs: a major master- piece that almost no one knows, and which indeed seems to conspire actively against being known. Now, it has become the title of Todd Haynes’s movie I’m Not There, “inspired by the music and many lives of Bob Dylan”—“many” being the operative word. The film is already famous for casting six different actors to play aspects of Dylan at different points in his career. If this strategy is a gimmick, it is a successful one: the film is generating vast amounts of advance publicity, much of it based on the photographs of Cate Blanchett looking, uncannily and androgynously, like 1966 Bob. The film is not due for North American release until late November, though it has played in prestigious festivals like Toronto, New York, and Venice. -
The Eight of Swords Sandra L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 The Eight of Swords Sandra L. Giles Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES THE EIGHT OF SWORDS By SANDRA L. GILES A Dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2008 The members of the Committee approve the dissertation of Sandra L. Giles on 6 February 2008. _________________________ Virgil Suarez Professor Directing Dissertation _________________________ Susan Nelson Wood Outside Committee Member _________________________ R. M. Berry Committee Member _________________________ Deborah Coxwell-Teague Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS Deep and sincere thanks go to my committee members: Virgil Suarez, R.M. Berry, Deborah Coxwell-Teague, Susan Nelson Wood. Thanks also go to the members of Mark Winegardner’s Fiction Writing Workshop in Fall of 2002, in which this novel began as a short story and received thoughtful critique. I received valuable advice and information from Mavis LaBounty, Sissy Taylor-Maloy, and other members of the “Goddess Group” in Tallahassee, Florida, as well as from Officer Tom King of the Tifton Police Department, the Tiftarea Writers Haven writing group, and my sister, Debra -
A MADONNA with GYPSY BLOOD the Love Ideal in Bob Dylan's Songs
A MADONNA WITH GYPSY BLOOD The love ideal in Bob Dylan ’s songs Jan-Hendrik Bakker It was during one of the Poetry International Festivals in the early nineties. Students from the academy for cinematographic art were preparing a documentary about people and their poetic favorites. Their approach was to surprise festival attendees by asking them to recite a poem they knew by heart. Later their recitations would be recorded on video. I still remember it really turned out to be a nice documentary. I happened to become one of their victims. Walt Whitman is my favorite poet, but, unfortunately in this case, I do not know by heart the huge amounts of text that this nineteenth century, bearded bard had produced. So I hesitated for awhile, but after a short time these words came up: Nobody feels any pain,/ tonight as I stand inside the rain/ Everybody knows,/ that baby ’s got new clothes/ but lately I ’ve seen her ribbons and her bows/ have fallen from her curls... One of the young men looked at me as if I had just made a joke. No sorry, this was not what he meant. I said I was sorry too, couldn ’t help it. This kind of poetry is part of my inner system, more than Nijhoff and Hendrik de Vries 1, who, I have to confess, are beautiful poets as well. It must be due to my generation; while others were exposed to the poetry of Jacques Pr évert or Jacques Brel in their childhood days, it was the songs of Bob Dylan, especially his love songs that left their imprints in my blood. -
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. -
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 ............................................................................................................................... -
The Same Man
THE SAME MAN BOB DYLAN 1980 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. The Same Man – Bob Dylan 1980 CONTENTS 1 INTRODUCTION .............................................................................................................................................. 3 2 1980 AT A GLANCE .......................................................................................................................................... 3 3 THE 1980 CALENDAR ..................................................................................................................................... 3 4 SAVED ................................................................................................................................................................ 5 5 THE GOSPEL TOURS 1980 ............................................................................................................................. 6 5.1 INTRODUCTION ............................................................................................................................................ 6 5.2 THE SHOW .................................................................................................................................................... 6 5.3 THE MUSICIANS .......................................................................................................................................... -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
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. -
Relationships of Ownership: Art and Theft in Bob Dylan’S 1960S’ Trilogy
Michael RodgeRs RElationshIpS Of OwNERShIp: Art ANd ThEfT IN BOB dylAN’S 1960S’ TRIlOGy MIchAEl ROdGERS, UNIvERSITy Of STRAThclydE Abstract Résumé Bob Dylan’s corpus is one continually engaged with L’œuvre de Bob Dylan continue à être sujette à appropriation and pilfering. This paper will look, l’appropriation et au pillage. Cet article évalue, predominantly, at three songs from his 1960s’ trilogy principalement, trois chansons qui font partie de la – ‘She Belongs To Me’ from Bringing It All Back Home trilogie d’albums parue pendant les années 60 – She (1965), ‘Visions of Johanna’ from Blonde on Blonde Belongs To Me de l’album Bringing It All Back Home (1966), and ‘Desolation Row’ from Highway 61 (1965), Visions of Johanna de Blonde on Blonde (1966), Revisited (1965) – arguing that, in these songs, Dylan et Desolation Row de Highway 61 Revisited (1965). problematizes the interrelationship between art, theft, Je cherche soutenir qu’à travers ces chansons Dylan and ownership. I argue that, similar to the urban artist propose des nouveaux problèmes quant à l’interrelation Banksy, Dylan challenges, toys with, and appropriates entre l’art, le vol et la propriété. Mon argument est que, cultural images in order to continually question the à l’instar de l’artiste urbain Banksy, Dylan joue avec concept of proprietorship whilst rescuing cultural les images culturelles et se les appropries en même images from esoterica and attempting to put them back temps qu’il les met à l’épreuve afin de mettre en doute into the public domain. le concept de propriété. À travers ses œuvres, Dylan récupère ces images à partir de leur marginalité, pour les replacer dans un espace publique.