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HonkeyTonkFlash

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Silver Dagger

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andrea66
i think that one of the most interesting things about desert trip will be dylan's setlist. i think he will play more or less the same setlist as his recent tour, but honestly everything is unpredictable.
a japanese firend of mine went to tokyo to see him few months ago he told me that almost the whole audience was around 70 years old or more ( he is 56) and that many people fell asleep during the concert. if it is true, i find this very very embarassing

I find that happening a lot a gigs now. I went to see Roy Harper in London last week and a good chunk of the audience was 60 plus. Soon it will be a case of more wheelchairs than not. Eeek.

We are entering an era that has long been joked about and had cartoons drawn about it. Ageing rockers performing for an increasingly ageing audience. Oh well, this was inevitable. You're not likely to see 75 year old performers playing to a packed crowd of 20-somethings.

Except you do. I see a ton of young people at Stones concerts, for example, and in fact at every show by artists I think of as being from the "old guard." Younger people are usually really excited to see the legends in person.

HERALD SUN -- 29 September 2016



ROCKMAN

Semi-Dylan related news....

Four New 40th Anniversary Editions Of The Band’s Historic Final Concert, The Last Waltz, Including Collector’s Edition Boxed Set Featuring Never-Before-Seen Martin Scorsese Shooting Script

The Last Waltz


On Thanksgiving Day 1976, The Band took the stage for the very last time at the Winterland Theatre in San Francisco. The concert, aptly billed as The Last Waltz, has become one of the most revered performances of all time. For the show, Rick Danko, Levon Helm, Garth Hudson, Richard Manuel, and Robbie Robertson were joined by an all-star group of music pioneers, including Eric Clapton, Neil Diamond, Bob Dylan, Ronnie Hawkins, Dr. John, Joni Mitchell, Van Morrison, Muddy Waters, and Neil Young, among others. The evening was captured on film by director Martin Scorsese. Released theatrically in April 1978 to critical acclaim, "The Last Waltz" is still considered by many to be the greatest concert film ever made.

Rhino will celebrate THE LAST WALTZ with four new 40th Anniversary Editions, including the pairing of the audio and video for the first time. All formats will be available November 11 except the COLLECTOR’S EDITION, which will be available December 9.

Available as a 4CD/Blu-ray set and — for the first time — on vinyl as a 6 LP set, the 40TH ANNIVERSARY DELUXE EDITION of the original soundtrack has 54 tracks, including the entire concert, as well as rehearsals and outtakes. Among the rarities are performances not featured in the film, such as “Furry Sings The Blues” with Joni Mitchell and “All Our Past Times” with Eric Clapton, plus rehearsals for “Caravan” with Van Morrison, “Such A Night” with Dr. John, and “King Harvest (Has Surely Come)” a song that was not performed in concert. The CD version also includes newly-penned liner notes revered music journalists David Fricke and Ben Fong-Torres along with a classic essay from 1977 written by iconic author Emmett Grogan.

The 40TH ANNIVERSARY COLLECTOR’S EDITION, limited to 2,500 copies worldwide, includes a replication of Scorsese’s original shooting script. Once the film was complete, Scorsese had two copies of the script bound in a red leather book; one copy for himself and the other a gift to Robbie Robertson, which now resides at the Rock and Roll Hall of Fame. THE COLLECTOR’S EDITION also includes a foreword by Scorsese and an essay from screenwriter Mardik Martin.

Available for PRE-ORDER

4 CD + 2 Blu-Ray - $259.98
Limited to 2,500 copies, this version includes:
•Complete audio from the concert.
•THE LAST WALTZ film on Blu-ray.
•Second Blu-Ray disc including a rarely seen interview from the 1990s with Martin Scorsese and Robbie Robertson, photo gallery, and 5.1 audio mix of the original album.
•300-page book, bound in red faux-leather with a full replication of Scorsese’s shooting script, rare and previously unseen photos, set sketches, three foldout storyboards, and a foreword by Scorsese.

6 LP - $119.98
Complete audio from the concert, including rehearsals and outtakes, pressed on 180-gram vinyl for the first time and presented in an ornate lift-top box.

4-CD + Blu-Ray - $64.98
Complete audio from the concert, including rehearsals and outtakes, plus THE LAST WALTZ film on Blu-Ray.

2 CD - $19.98
Original soundtrack with newly remastered audio from the original master tapes on two CDs.

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Interesting there's no DVD version....perhaps they're going the way of the dinosaurs.
Unfortunatelky I've yet to upgrade to Blu-Ray!

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

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dcba
Would be funny if the early 2000's Scorpio box had a better more natural sound than this one...

If only somebody would start seeding again the Scorpio box on Electric Ladyland...
or maybe reup it?!

No Direction Home: Bob Dylan, the Deluxe 10th Anniversary Edition of the film will be released on October 28th, and will mark its first release on Blu-ray (standard DVD is also available).

These 10th Anniversary Editions of the film all feature 2 1/2 hours of bonus and never-before-seen content, including extended scenes from the film and full-length interviews with Scorsese, Dave van Ronk and Liam Clancy.

Available for pre-order now at [NDH10.com]

Someone needs to make a documentary on Dylan's Gospel Tour in '79-'80.

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JimmyTheSaint
Someone needs to make a documentary on Dylan's Gospel Tour in '79-'80.

Totally agree. Everyone may not like the religious nature of the lyrics but he gave some of the most passionate performances of his life during that period. I would love to see a Bootleg Series release of live material from that era.

"Gonna find my way to heaven ..."

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HonkeyTonkFlash

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JimmyTheSaint
Someone needs to make a documentary on Dylan's Gospel Tour in '79-'80.

Totally agree. Everyone may not like the religious nature of the lyrics but he gave some of the most passionate performances of his life during that period. I would love to see a Bootleg Series release of live material from that era.

...and to that I say...AMEN!

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JimmyTheSaint
Someone needs to make a documentary on Dylan's Gospel Tour in '79-'80.

Apparently one of the next chapters of the Bootleg Series will be a dvd of the Toronto'80 show.

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loog droog

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HonkeyTonkFlash

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JimmyTheSaint
Someone needs to make a documentary on Dylan's Gospel Tour in '79-'80.

Totally agree. Everyone may not like the religious nature of the lyrics but he gave some of the most passionate performances of his life during that period. I would love to see a Bootleg Series release of live material from that era.

...and to that I say...AMEN!

Hallelujah!

The first time I saw Dylan was at the Santa Monica Civic in 1979.
It was fascinating, mystifying, satisfying, bewildering, tantalizing, and incredible all at the same time - just like most Dylan shows I've seen up to this day.

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

Seen a lot of good videos of the Stones desert set. Are there many of Dylan's set out there?

"Gonna find my way to heaven ..."

Oh yeah, there's a Bob thread here.

Here's one video. Powerful version of Masters Of War.

[www.youtube.com]


I hate to say this, but I hope he's done with the Sinatra stuff!

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Socrates1
Oh yeah, there's a Bob thread here.

Here's one video. Powerful version of Masters Of War.

[www.youtube.com]


I hate to say this, but I hope he's done with the Sinatra stuff!

Wow - Thanks for posting. Judging by that, it seems he was in good form!

"Gonna find my way to heaven ..."

Here's another Dylan video. Desolation Row:

[www.youtube.com]

I still can't imagine this going over well with this crowd. Seems totally bored. Dylan sounds good for what he is, but he's just never gonna be that guy you expect to blow you away anyway. At least not like the way he did in the 60s and 70s.

MOW is a better capture. It's hard to tell how that DR would have really sounded live. Through all the other clatter going on there, I do like the overall sound of DR.

Here's a very enjoyable excerpt from the upcoming Robbie Robertson's "Testimony" new autobiography, where he talks about the making of The Last Waltz.

[www.vanityfair.com]

Just saw a post from Rolling Stone that for the next Bootleg Series, Bob is considering music from his "gospel years," 1978 - 1981. Could be interesting...

"Gonna find my way to heaven ..."

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Socrates1

I hate to say this, but I hope he's done with the Sinatra stuff!

Bob's heard your prayer, amen! :

2016 October 19
El Paso, Texas
Abraham Chavez Theatre

1. Things Have Changed (Bob center stage)
2. Don’t Think Twice, It’s All Right (Bob on piano)
3. Highway 61 Revisited (Bob on piano)
4. It’s All Over Now, Baby Blue (Bob on piano)
5. High Water (For Charley Patton) (Bob center stage)
6. I Could Have Told You (Bob center stage)
7. Early Roman Kings (Bob on piano)
8. Love Sick (Bob center stage)
9. Tangled Up In Blue (Bob center stage with harp then on piano)
10. Lonesome Day Blues (Bob on piano)
11. Make You Feel My Love (Bob on piano)
12. Pay In Blood ( Bob center stage)
13. Desolation Row (Bob on piano)
14. Soon After Midnight (Bob on piano)
15. All Or Nothing At All (Bob center stage)
16. Long And Wasted Years (Bob center stage)
(encore)
17. Blowin' In The Wind (Bob on piano)
18. Why Try To Change Me Now (Bob center stage)

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HonkeyTonkFlash
Just saw a post from Rolling Stone that for the next Bootleg Series, Bob is considering music from his "gospel years," 1978 - 1981. Could be interesting...

Link please. I have been waiting years for this.

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JimmyTheSaint

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HonkeyTonkFlash
Just saw a post from Rolling Stone that for the next Bootleg Series, Bob is considering music from his "gospel years," 1978 - 1981. Could be interesting...

Link please. I have been waiting years for this.

[www.rollingstone.com]

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HonkeyTonkFlash
Just saw a post from Rolling Stone that for the next Bootleg Series, Bob is considering music from his "gospel years," 1978 - 1981. Could be interesting...

I, too, find this era fascinating. Will be interested to hear studio versions of "Ain't Gonna Go To Hell For Anybody" and "Coverdown Breakthrough". I wonder if there will be a studio version of "Yonder Comes Sin" other than the circulating version which I believe came from rehearsals. There is a more developed lyric for this song. I heard, and I don't know if it's true, that Bob specifically asked that "Yonder Comes Sin" not be included on the first Bootleg Series box set.

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Cristiano Radtke

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JimmyTheSaint

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HonkeyTonkFlash
Just saw a post from Rolling Stone that for the next Bootleg Series, Bob is considering music from his "gospel years," 1978 - 1981. Could be interesting...

Link please. I have been waiting years for this.

[www.rollingstone.com]

Thanks! This is fantastic news.

[www.rollingstone.com]



ROCKMAN

[www.boblinks.com] That's a good amount of Sinatra tunes. Not too many, not too few.

First Listen: Bob Dylan, 'The 1966 Live Recordings'

Note: In this First Listen, you'll hear a selection of highlights handpicked from across the full, 36-disc collection of recordings.



Before he began the tour that's documented on the 36-disc set The 1966 Live Recordings, Bob Dylan was on record as being ambivalent about the road.

His electric adventure had started months earlier, with a short, sonically flawed performance at the 1965 Newport Folk Festival. The move to electric guitar and a rock backing band brought praise from some quarters and howling derision and doubting criticism from others. By then, he was regularly hailed as an oracle, the voice of his generation — and that responsibility didn't sit well, either: Upon returning from a U.K. tour later in '65, he complained about the grind of touring, telling journalist Nat Hentoff he found it "very tiring having other people tell you how much they dig you if you yourself don't dig you."

It's unclear what, exactly, Dylan didn't dig about what he'd been doing — after all, this was the tour concurrent with Highway 61 Revisited. What is clear: During the months he spent on the road in 1966, he refined a highly individual approach to performance, a way of inhabiting (and then transforming) his songs that was different from anything he'd done before.

Dylan could be plenty compelling solo, in part because he kept the focus on the intricacies of his narratives and the graceful melodic details embedded within them. These aspects of Dylan's art, apparent from the very beginning of his career, were recently celebrated in the announcement of Dylan's Nobel Prize in Literature — his "new poetic expressions within the great American song tradition."

This box chronicles Dylan at the moment when he was expanding his own notion of what these expressions could be. It shows him stretching out and sometimes recalibrating tunes he'd written just months before. And at the same time, it shows another side of Dylan: the flowering of his confidence as a performer, bandleader and rocker. It's a deep dive into a pivotal moment in rock history, and though not all of the audio is pristine — some of the shows are audience tapes, others are soundboard recordings that may sound unbalanced to ears accustomed to digital perfection — the music is almost always thrilling, alive with the wide-eyed energy that accompanies high-wire acts and other explorations into the unknown.

The shows followed a standard format: an acoustic set, then an intermission followed by an electric set. Dylan worked from a thick songbook that included material from the just-completed Blonde On Blonde, the third landmark studio work to come from an 18-month fever burst of creativity. The acoustic sets mix older songs with pieces, like Blonde On Blonde's "Visions of Johanna," that had not yet become standards; Dylan varies the phrasing and emphasis of these newer, word-drunk gems, in search of subtle (and not-so subtle) ways to amplify their meanings. To hear him developing alternate pathways for his songs, working in real time to adjust shading and mood, check out the version of "Desolation Row" from Liverpool.

The full-band sets are more unhinged, notable for the contrast between Dylan's impulsive wildness and the low-key poise of the accompaniment. Backed by the Canadian band The Hawks (later The Band), Dylan charges right at those who wanted him to remain a folk singer. He shouts. He rips into some of his pretty melodies as though determined to destroy their contours — from one perspective, the tour registers as his long experiment in how far he can push tunes like "Ballad Of A Thin Man." He leans into some phrases until they become outrageously exaggerated, sings others with the leering, barely concealed delight of an antagonist.

There are many takeaways from a trove of this size. Among them are lessons about what it means to seek new ways to communicate at the exact moment the world is rhapsodizing about the ways that were so effective just weeks and months before. Sure, he was the Bard, in the midst of creating a string of landmark studio recordings that had a galvanic impact on the culture. That didn't stop Dylan, the Contrarian, from engaging in a thorough, exhaustive rethinking of his art — live, onstage, night after night.

[www.npr.org]

MOJO 277 --- December 2016



ROCKMAN

Just my own thing: I was driving home today on highway, and all of the sudden the whole song "A Hard Rain's Gonna Fall" popped into my head. All the lines, the whole "who did you meet my blue-eyed son" bits, and I'm realizing again what an incredible piece of writing it is.

Bob Dylan as you've never seen him before
by Gianluca Mezzofiore



1966 was certainly Bob Dylan's most pivotal year.

Following his "going electric," Dylan toured across Australia and Europe, polarising the audience, angering his strictest fans, arousing a wider public and arguably putting on the best rock 'n' roll show the world had seen.

Documentary filmmaker D.A. Pennebaker, who worked with Dylan for his groundbreaking film Don't Look Back, was commissioned to film his tour for an ABC special that never aired.

But now the world will see images from this virtually unseen footage, in the form of cover art on a 36 CD box set from Sony.

The images have been created from the documentary by Digital ReLab, a Virginia-based tech startup.

The images offer a fascinating glimpse into the golden era of a famously reticent musical genius just before he burned out from the punishing pace.

Pennebaker, pioneer of cinema verité, did all the filming on a new colour-positive film stock, even using a handmade lens for some of the shooting.

The images capture Dylan's concerts, where he would start off with a solo on acoustic guitar and harmonica followed by an electric set backed by The Hawks, later known as The Band.

Episodes of protests and heckling from some of his fans — who considered switching to a full electric set tantamount to a betrayal — went down in history, famously the Manchester Free Trade Hall one, erroneously known as "Royal Albert Hall" concert.

During the performance a member of the audience shouted "Judas," to which Dylan nonchalantly responded, "I don't believe you… You’re a liar."

"Play it @#$%& loud," he tells the band before launching himself into a dazzling electric version of "Like A Rolling Stone."

Outtakes from that particular episode were included in Martin Scorsese's No Direction Home documentary, which won the Peabody award in 2006.

But most of the footage from the 1966 tour remains unseen as Pennebaker's film, titled Eat The Document — an avant-garde "travelogue" mixing concert performances with loosely scripted scenes — was shown only twice in public.

The 36 CD box set containing every known recording from the artist's 1966 tours is set to be released by Sony on Nov. 11. The majority of tracks, drawn from soundboard, CBS recordings and audience tape, are previously unreleased in any format — even bootlegs.

Each of the individual CDs in "Bob Dylan: The 1966 Live Recordings" is housed in a custom sleeve with artwork from the color film shot by Pennebaker.

Digital ReLab dug into the documentary and created in less than one hour 60,000 never-before-used low-res stills from the concert footage.

From there, the team chose 60 frames before going back to the original film and creating hi-res .TIF files. Finally, they selected the cover art for each of the 36 albums.

That was made possible by Digital ReLab's tool called Starchive — also used by Dylan's team to assemble the CD's live set — which connects digital media using advanced metadata, the extra tags and notes computers make about every file (date, subject, etc…).

With a career spanning more than 50 years, Bob Dylan has created boxes and boxes full of his materials, including old recordings, footage in outdated format, lyrical sheets and physical mementos.

While most of the material is not available to public, interest in Dylan's archive is likely to increase after he was awarded the Nobel Prize in Literature.

This new box set and images should reveal just a little more about Dylan by focusing on the one year when he was at the apex of his career — just after the "going electric," during recordings of Blonde on Blonde and just before the motorcycle accident.

That 1966 world tour is arguably Bob Dylan at his best — bold, defiant, visionary — and the colour pictures magically capture the atmosphere of history-making as it's never been done before.

After, it was the motorcycle accident in Woodstock, the mysterious hospitalisation, the cancellation of all the engagements, the withdrawal to family life, which arguably put an end to the golden period.

It wasn't until 1974 that Dylan decided to come back — with a different style, tone, performance — to play with The Band in the Before the Flood tour.

It was never going to be the same.

[mashable.com]