I'm glad he's returned to his own stuff, and excised the Great American songbook, in concert. Does this mean that he could, possibly, be returning to writing some fresh material ?

Look's like Stu Kimball Bob's guitar player in the band has left....I hope it was on friendly terms and Stu is well..1,323 shows from 2004-2018 wow! and people go wow when i've seen Bob 40 times....Out of the 40 Stu did 12....Always like the way he started the show's playing solo acoustic then Bob and his Band hit the stage...will be missed....Bob does change up his band now and again...M

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RollingFreak
Solid additions with Like A Rolling Stone and It Takes A Train! Haven't seen those listed previously.

While every song in Phoenix (except "Love Sick") was re-arranged, the significant re-working of "Like A Rolling Stone" with a double-bass was an especially brilliant highlight.

This never-need-to-hear-it-again warhorse took on a whole new life. I found myself singing along to the chorus.

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mikey C
Look's like Stu Kimball Bob's guitar player in the band has left....

Biil Pagel's site tells us he split at the end of the "Down Under" tour. His last show was on 2018-08-28 in NZ.

As long as Sexton doesn't resign...



Edited 1 time(s). Last edit at 2018-10-10 23:01 by dcba.

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mikey C
Look's like Stu Kimball Bob's guitar player in the band has left....I hope it was on friendly terms and Stu is well..1,323 shows from 2004-2018 wow! and people go wow when i've seen Bob 40 times....Out of the 40 Stu did 12....Always like the way he started the show's playing solo acoustic then Bob and his Band hit the stage...will be missed....Bob does change up his band now and again...M

Stu Kimball has played more shows with Dylan than any other guitar player ever.

First reports from those who were able to attend pre-release listening sessions of "More Blood, More Tracks" (Blood On The Tracks sessions) the upcoming volume of Dylan's Bootleg Series indicate that Mick Jagger attended one of the recording sessions and can be heard talking on one of the session tapes. He does not play or sing on any of the tracks, though.

Introducing the new Uncut… and our free 12-track Bob Dylan CD!

So the cat’s finally out of the bag. Welcome to the new issue of Uncut which, I hope you’ve noticed by now, comes with a very special CD…

November sees the release of the latest, lavish archeological survey of Bob Dylan’s archive – The Bootleg Series Vol. 14: More Blood, More Tracks, devoted solely to his 1975 masterpiece, Blood On The Tracks. To celebrate this momentous event, I’m delighted to unveil this month’s free CD – Dylan: The Best Of The Bootleg Series, a unique 12-track compilation featuring a track from each instalment in the Bootleg Series and an exclusive preview of More Blood, More Tracks. I humbly think it’s one of the best CDs we’ve ever produced and I’m thrilled to finally be able to share it with you. This issue is in shops from Thursday, October 18 – but you can order a copy here to be delivered to you at home.

What else? Well, we dig deep to bring you the definitive review of this latest motherlode from Dylan’s vaults. Dylan, of course, never had a set idea of how a song should work; his music has always been in a state of flux – and the work we encounter in The Bootleg Series Vol. 14: More Blood, More Tracks captures his restlessly creative mind at full tilt. Just when you think he’s nailed the definitive version of “Idiot Wind”, another killer take comes along that opens up yet a different perspective on the song.

We also talk to the surviving musicians from the original Blood On The Tracks sessions in New York and Minneapolis and hear the secrets of Dylan’s capricious working practices. There are revelations aplenty – Mick Jagger, who knew? – as well as some beautiful, rarely seen images of Dylan from this period. We also take a look inside Dylan’s fabled red notebooks. All I’ll say is you’ll need to pick up the issue to find out more…

Incidentally, on the subject of Dylan’s writing, I can’t recommend highly enough Mondo Scripto – a new exhibition currently running at London’s Halcyon Gallery until November 30. Here, Dylan has assembled handwritten lyrics to 60 of his most famous songs accompanied by new pencil drawings that offer additional explorations of their themes. Meanwhile, fans of the “Subterranean Homesick Blues” clip will be in for a treat; others might wonder what happens if you dial the phone number printed at the bottom of each lyric page…



[www.uncut.co.uk]

Love me some Bob Dill.
Bring it.
amytime.
any era.
just bring it.
love me some Bob Dill. everybody everybody loves bob dill.
not joni but everybody else. joni's a loss but little richard loves him,
has known him closely when he needed a pal, and really, if Little Richard
says the cats good to go, it's best to leave it at that....

I recall reading some rumours a while back that there was some talk about making Blood on the Track into an actual movie w/actors playing the roles.
Can't recall where I read it, but anybody else heard of this, or know anything about it?

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

There are many Dylan songs that could be made into great movies given the right people working on it.

Nate

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Nate
There are many Dylan songs that could be made into great movies given the right people working on it.

Nate

Yes indeed, and to correct my above post - I clearly meant Blood on the Tracks as in plural!
From what I recall, it was the entire album to possibly be made into a movie - not any individual tracks from it - and yes I know there's no single track titled Blood on the Track, though it would be a great title for one of them!
He could have even titled the tunes on the album Blood on the Track 1, Blood on the Track 2, Blood on the Track 3, and so on, but then we wouldn't have had great titles like Tangled Up in Blue, Shelter From the Storm, etc....

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Anyone here ever see "Renaldo and Clara," including the director's cut? I'm not sure about Dylan potentially being the source of great movies.

What I read was to be completely different than that - a movie based on songs already written w/ outside director, actors, etc.
vs. Dylan specifically writing a movie script (with Sam Shepard) in which he also stars and directs.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

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Hairball
I recall reading some rumours a while back that there was some talk about making Blood on the Track into an actual movie w/actors playing the roles.
Can't recall where I read it, but anybody else heard of this, or know anything about it?

Times are a-changin' as Dylan's Blood on the Tracks spills on to the screen

By dramatising the classic 70s album, Call Me By Your Name’s Luca Guadagnino is taking the movies in a new direction

[www.theguardian.com]

Thanks Cristiano - looks like it's actually going to become a reality!

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

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marianna
Anyone here ever see "Renaldo and Clara," including the director's cut? I'm not sure about Dylan potentially being the source of great movies.

In order to fully understand what Dylan's movie “Renaldo And Clara” (filmed on the 1975 Rolling Thunder Review Tour) is all about, you need to know the film that inspired it: the French movie “Les Enfants du Paradis/Children Of Paradise” (1945).

Both films are about relationships, love and its many facets. Both films use stage performances to comment on the relationships between the protagonists. "Renaldo And Clara" takes place in the world of rock music, "Children Of Paradise" takes place in the world of theatre, but "Renaldo And Clara" is not "about" rock music, just as "Les Enfants du Paradis/Children Of Paradise" is not "about" theatre.

"Renaldo And Clara" is a very long movie (240 mins), “Les Enfants du Paradis/Children Of Paradise” also is a very long movie (approx. 200 mins). The famous “Rolling Thunder Revue” logotype was inspired by the opening title card of “Les Enfants du Paradis/Children Of Paradise”. Both films feature one of the leading characters in whiteface (and sometimes wearing a wide-brimmed hat adorned by flowers), both have a “woman in white”, both repeatedly use flowers as a prominent symbol, both alternate between on-stage, back-stage and “real life” scenes, the dialogue in “Renaldo And Clara” shares similarities with the dialogue in “Les Enfants du Paradis/Children Of Paradise” and both films use a cubist approach in that they present the main characters as seen from the differing perspectives of the other characters.

"Renaldo And Clara" is like Dylan's "cover version" of the French movie “Les Enfants du Paradis/Children Of Paradise". Unfortunately people still expect the film to be about the Rolling Thunder Review Tour, which it is not, even though it was filmed on that tour.

Epic post MrEcho! Agree on everything you pointed out -- Dylan tried to make that clear in contemporaneous interviews (I'm thinking "Playboy" here).

I was literally just about to mention earlier when are we gonna get a re-release of Renaldo And Clara? Yeah it kinda sucks but the concert stuff is great and the whole movie is an interesting document that shouldn't be lost. Honestly, in this age of the internet, there's an appreciation for everything. Nothing should be hidden, and nothing really is. Just release it so its preserved somewhere, it'll find an audience. Same with Let It Be, @#$%& Blues, come on, its been long enough. Release it quietly. Its out there anyway for those that want it. Make it easier.

Bob doesn't want it, or so I read. It might be costly to restore, plus costs for the music rights aren't cheap.

“Les Enfants du Paradis/Children Of Paradise” one of the greatest films ever … if not thee greatest French film ….. mime.. villians … clowns
jugglers... beautiful women … rogues … beggars and a love story ….

I once carried it all the way to Smoootcheeeeeeeee for her to watch....
but I doubt she ever did …. most likely threw it in the bin … she lost so much



ROCKMAN

buster keaton - the general - 1926. don't know the outtake, sounds like the album sessions.

[www.youtube.com]

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Cristiano Radtke
Bob Dylan - You're a Big Girl Now (Take 2) (Audio)

Lovely... Irresistible! As much as I love the Stones I must admit Dylan is the best.

First Listen: Bob Dylan, 'More Blood, More Tracks: The Bootleg Series Vol. 14'
Stream a 10-track sampler from the 'Blood On the Tracks' sessions

[www.npr.org]

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Cristiano Radtke
First Listen: Bob Dylan, 'More Blood, More Tracks: The Bootleg Series Vol. 14'
Stream a 10-track sampler from the 'Blood On the Tracks' sessions

[www.npr.org]

Thanks Cristiano, great write-up and will delve into the sampler tunes later when I have some free space in my mind.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

[www.rollingstone.com]

There's more than this in the piece, but here's the first chunk
to see if you're interested:

Real Life Rock Top Ten: All-Bob Dylan Edition
Going deep on a forthcoming reissue of ‘Blood on the Tracks,’
taste-testing Dylan’s new brand of whiskey
and checking out a cover of “Maggie’s Farm” that’ll make you hear the song in a whole new way.


1. “Nobel Prize winner Bob Dylan plays River Spirit Casino Resort,” Tulsa World (October 13th). Though it does carry an echo of the Cheek to Cheek Lounge of Winter Park, Florida, where in 1986, after a show by a reconstituted version of the Band, pianist Richard Manuel went back to his motel and hanged himself, better this than the White House. I hope he wore his medal.

2. Bob Dylan, More Blood, More Tracks: The Bootleg Series Vol. 14 (Columbia Legacy, November 2nd). The six-CD, 87-cut set — complete recordings in New York in September 1974, some with Eric Weissberg’s Deliverance band, mostly solo or with bass accompaniment, and the five surviving numbers made in Minnesota three months later with local musicians— is the only way to go if you want to hear what the 1975 Blood on the Tracks almost was, and how it was saved from itself. Suspect aspects of an album that has been overpraised and over-fetishized for more than 40 years are made clear. The fetishism is devoted to the New York sessions, which at one point resulted in a finished-album acetate that was circulated and then bootlegged. Especially once the Weissberg outfit was out of the room, with their eight consecutive takes on the stupid hoedown “You’re Gonna Make Me Lonesome when You Go” — yeah, that’s a real heartbreaker of a breakup song, especially if you can’t remember the name of the person you’re supposedly breaking up with — the New York performances are pure, real, acoustic, searching, pure, anguished, soulful, unencumbered and pure. You can see right through them, to the person who’s singing! It’s like reading his autobiography! This is the truth!

It’s also, with many exceptions — when a song that seems to be fading away is found, sometimes only for a moment — tiresome and monotonous. It’s not the boredom of sitting in a studio listening to someone do a song over and over until it’s right. It’s the songs themselves that bring these qualities to the surface. Though there are lyric changes here and there — most noticeably the “Tangled Up in Blue” verse “He was always in a hurry/Too busy or too stoned/And everything that she ever planned/Just had to be postponed/He thought they were successful/She thought they were blessed/With objects and material things/But I never was impressed” which luckily didn’t make the transition from New York to Minnesota — these numbers are very carefully crafted; in terms of their formal parts they’re all but nailed down from the start. They’re so crafted that a certain slickness curdles the most well-made of the tunes. Five of the 10 songs on the Blood on the Tracks album (plus the sharp “Up to Me,” left off but released much later on the Biograph compilation) work off tag lines: the coy device where the title of the song is also the last line of every verse. The song has to fit itself, and often it can’t breathe. You might hear this most vividly in “Shelter from the Storm.” Everything is in perfect balance. The lines “In a little hilltop village/They gambled for my clothes” seem almost biblical. But listen too closely, and it begins to sound far too contrived, and the emotion begins to feel phony. “ ‘Come in,’ she said, ‘I’ll give ya/Shelter from the storm’” — would any real person give that too down-home “ya” such a jocular lift? This is less bad singing than bad acting — and if you start to hear it this way, that “gambled for my clothes” feels much too self-consciously mythic, and of course it would have to be in a little hilltop village, instead of Eighth Avenue, where in 1974 people probably did gamble for their clothes. Maybe the true story in this set comes in those takes when you can hear Bob Dylan slide away from the songs, when you can hear him give up ownership of them, listen to them, and hear the songs tell him how they want to be played.

For me, the great drama comes with “Tangled Up in Blue.” The first time Dylan tries it (Disc 3, Track 1), in New York, with only Tony Brown on bass at his side, it’s in a drawl with words cut off, somehow the essence of hard-boiled. Musically it’s a mess, it wears out, but as with any hard-boiled detective novel you want to know what happens next. Is that why the song is so appealing, one long, snaking, beckoning finger? That feeling is there from the start. Then after two takes of “You’re a Big Girl Now,” there’s a confusion of attitudes, the perspectives of the “he” and the “I” almost not so much tangled as random, with the song not talking but organ from Paul Griffin loosening it up, trying to find room in it (Disc 3, Tracks 4-5). After five takes on other songs, they try it again (Disc 3, Track 11), looking for momentum. The song is falling short of itself. You can hear it; you can almost hear the musicians hearing it, but the charm of the song, the story it’s throwing out in pieces that don’t exactly match, with then and now and a farther then so scrambled that a swirling, all-encompassing present dissolves its riddles, is always there. On the last of the four days of New York sessions, 14 songs in, Dylan and Brown go after it again, three times in a row (Disc 5, Tracks 1-3). The first time is a breakdown, but before they put the song back together a faraway, completely different melody rises out of the song, a reverie, as if the singer is for a moment not telling a story but remembering it in a dream. It’s stunning — a glimpse of another world in a closed book. And they try again, in the last moments of the last New York day (Disc 6, Tracks 2-3). First there’s a wordless vocal, and then the voice is strong, confident, aggressive, coming down on “In the 13th cen-tury” as if the last syllables are an inside joke. And it’s still a sketch.

In Minnesota, with guitarists Chris Weber and Kevin Odegard, keyboard player Greg Inhofer, mandolinist Peter Ostroushko, bassist Billy Peterson and drummer Bill Berg, the music explodes — you can hear the songs getting what they wanted. In New York, “Idiot Wind” was an essay; here it’s a tornado, leveling a whole town and then coming back to destroy anything it missed the first time around. “Lily, Rosemary and the Jack of Hearts,” which in New York was a ballad, is now the big crowd-pleaser at the Virginia City opera house in 1878. And “Tangled Up in Blue,” with the band playing hurdy-gurdy, carries the thrill you get at a show when the band hits the first note of the song you came to hear, a song you’ve heard hundreds of times, the thrill of hearing something that’s become part of you, less part of your mind than your reflexes. It’s as if the new musicians were there for all the previous attempts at the songs, carrying with them the frustration of not getting it into the take (Disc 6, Track 6) that will be the claim of these unknown, forgotten people on history, on time. With the song underway, Berg makes a tap, and you can feel the hesitation, not his, but the song’s, and then a final determination, a wrangler saying, “All right, ’round ’em up, we’ve waited long enough.”

The result is joyous. Dylan sounds like he’s singing with whips. He tears through the story, tearing it up as he goes, dropping the pieces like Hansel’s bread crumbs, circling back, plowing them under, leaving another trail. The performance builds up a momentum, never rushed but unstoppable, with Dylan singing and the band members playing as if they can’t wait to get to the end, not to get it over with, but in an anticipation of how satisfying it will be when the song, finally, finishes itself. It’s music where the fanfare comes at the end — the only song on Blood on the Tracks with a classic ending. The three hard breaths: two short, one long. An exhalation that says the last word as if it were the first.

Like all the master takes that eventually made up Blood on the Tracks, it sounds different from what you’ve heard before, even if you’ve heard the album those hundreds of times. As it was released in 1975, the record was washed with echo; here that’s gone. You don’t hear a fated work of art; you hear people trying to get something done.

3. Heaven’s Door Tennessee Straight Bourbon Whiskey (Heaven’s Door Spirits, Columbia, Tennessee). The striking bottle comes emblazoned with one of Dylan’s ironworks designs, and despite the odd name — drink this and die? — what’s inside lives up to it. It’s rich, full, most of all smoky. You can’t taste it all at once. It seems to change from sip to sip.

It reminded me of the bourbon my grandfather Isaac Gerstley made in Philadelphia before Prohibition — Rosskam Gerstley & Co. Old Saratoga. With friends, we did a taste test, and no, Heaven’s Door’s three or four levels didn’t match the ladder of sensations floating in the dark thimbles of Old Saratoga. But Heaven’s Door, the label says, “is aged for a minimum of 6 ½ years.” Old Saratoga has passed a hundred. What if Heaven’s Door makes it that far, well after Bob Dylan and anyone else alive to try it now will be beyond knowing if it did or not?

.........