Great thanks Cristiano

Nate

Nice to revisit. Great stuff

ROCKMAN

Saw him last night in Lund. M I N D B L O W I N G! He just gets better and better and better.

The songs from Tempest are so close to the bone it's ridiculous! I got married in september 2012 (divorced 6 months later) and got Tempest the day before the wedding. Duchesne Whistle, the opening song, just reminds me about my ex-wife so when he played Love Sick right after it's just a reminder that His Bobness can read minds. Only our boys can match him live. Brilliant. As usual.

Bob Dylan - Copenhagen, Denmark, Opera House (6th April 2017) [Full Audio Concert]
[www.youtube.com]

1. Things Have Changed (Bob on piano)
2. To Ramona (Bob on piano)
3. Highway 61 Revisited (Bob on piano)
4. Beyond Here Lies Nothin'
5. Why Try To Change Me Now (Bob center stage)
6. Pay In Blood (Bob on piano)
7. Melancholy Mood (Bob center stage)
8. Duquesne Whistle (Bob on piano)
9. Love Sick (Bob center stage)
10. Tangled Up In Blue (Bob center stage then piano)
11. Early Roman Kings (Bob on piano)
12. Spirit On The Water (Bob on piano)
13. Scarlet Town (Bob center stage)
14. All Or Nothing At All (Bob center stage)
15. Desolation Row (Bob on piano)
16. Soon After Midnight (Bob on piano)
17. That Old Black Magic (Bob center stage)
18. Long And Wasted Years (Bob center stage)
19. Autumn Leaves (Bob center stage)

Encore
20. Blowin' In The Wind (Bob on piano)
21. Ballad Of A Thin Man (Bob on piano)

Bob Dylan - Stockholm, Sweden, Waterfront Auditorium (2nd April 2017) [Full Audio Concert]
[www.youtube.com]
I love how he ends with "Why Try To change me now" in this show...

"...So, let people wonder, let 'em laugh, let 'em frown

You know I'll love you till the moon's upside down

Don't you remember I was always your clown?

Why try to change me now?"

Willie Nelson, Bob Dylan, Jason Isbell Set for Outlaw Music Festival Tour

Nelson will headline all shows, with Dylan, Isbell, Sheryl Crow, My Morning Jacket, the Avett Brothers and other artists on various dates

Willie Nelson is assembling a genre-defying roster of artists for a new summer package tour. The Outlaw Music Festival Tour will kick off July 1st in New Orleans with Sheryl Crow, the Avett Brothers and Lukas Nelson & Promise of the Real. Bob Dylan, Jason Isbell, My Morning Jacket, Margo Price, Hayes Carll, and Nathaniel Rateliff and the Night Sweats will appear on select dates of the six-city run. Additional shows and artists are forthcoming.

Tickets for the Outlaw Music Festival Tour go on sale April 21st at 10:00 a.m. local time.

July 1 – New Orleans @ Shrine on Airline
Willie Nelson & Family
The Avett Brothers
Sheryl Crow
Lukas Nelson & Promise of the Real
More TBA

July 2 – Dallas @ Starplex Pavilion
Willie Nelson & Family
Sheryl Crow
The Avett Brothers
Hayes Carll
Margo Price
Lukas Nelson & Promise of the Real

July 6 – Rogers, AR @ Walmart Arkansas Music Pavilion
Willie Nelson & Family
Jason Isbell and the 400 Unit
Sheryl Crow
Margo Price
Lukas Nelson & Promise of the Real

July 8 – Detroit @ Joe Louis Arena
Willie Nelson & Family
Bob Dylan and His Band
Jason Isbell and the 400 Unit
Sheryl Crow
Lukas Nelson & Promise of the Real

July 9 – Milwaukee @ Summerfest
Willie Nelson & Family
Bob Dylan and His Band
Sheryl Crow
Jason Isbell and the 400 Unit
Nathaniel Rateliff & the Night Sweats
Margo Price
Lukas Nelson & Promise of the Real

July 16 – Syracuse, New York @ Lakeview Amphitheater
Willie Nelson & Family
My Morning Jacket
Sheryl Crow
Margo Price

[www.rollingstone.com]

ROCKMAN

Thanks for the tip and inspiration Rockman; I would have missed this and I really love this kinda stuff; another grand surprise and dimension to the guy.

"REVISIONIST ART: THIRTY WORKS BY BOB DYLAN
Gagosian Gallery is pleased to present new work by Bob Dylan.
With a keen sense of awareness of everyday phenomena, in his Revisionist art Bob Dylan has transformed popular design elements—from Bondage Magazine to Baby Talk—by reconsidering the purposes of each: the graphics, syntax and chromatic content, enlarging them into silkscreened images that measure more than four feet in height. He combines a wide range of popular styles, the sources of which he has reshaped to produce new conflations of image and meaning.
Dylan has long been a willful contextualizer of his own source material. All personas are interchangeable. His diverse musical output spans a wealth of genres. His Revisionist art provides a glimpse of an artistic process that is equally maverick and elusive.
The most celebrated singer-songwriter of our time, Bob Dylan’s visual art is marked by the same constant drive for renewal that characterizes his legendary music. Although he has been making art since the 1960s, his work was not publicly exhibited until 2007 when an exhibition of “The Drawn Blank Series” was held in Chemnitz, Germany, followed by “The Brazil Series” at the Statens Museum, Copenhagen, in 2010–11. “The Asia Series” was presented at Gagosian New York in 2011."
___________________________________
You can scroll through some pix at the exhibition here:
[www.gagosian.com]


[www.gagosian.com]

_____________________________________
I did find a review that's interesting. The link is black type on a real dark grey background and hard to read so I'm pasting it; I'm not sure the writers name. It's from longandwastedyear.com ...

"Here’s something that I never anticipated contemplating this year: Did Richard Prince paint paintings under the pseudonym Bob Dylan?
To answer that, let’s take another trip into the land of Bob Dylan, Painter.
Having written about a couple of Dylan museum shows, I skipped over Dylan’s first significant gallery show in 2011 because I didn’t have a copy of the catalogue and I didn’t see the show myself – I had too little to go on. Let’s do a little resumé of that show now.

In 2011, Dylan showed work at Gagosian Gallery. Larry Gagosian, of course, is one of the biggest names in contemporary art. He has eleven galleries, including three in New York and two in London. He is a worldwide art-dealing phenomenon. After moving from LA to New York in the 1980s, he became the dealer for many of the best known artists of that decade, including Eric Fischl, Jean-Michel Basquiat, and David Salle. Since then he has expanded backwards in time to venerated minimalists (Richard Serra) and abstract expressionists (Willem de Kooning, Jackson Pollock) and internationally. If you go to the wikipedia page for his galleries and scroll down to the artists represented section it is literally a who’s who of 20th – and 21st – century art. Oh, and also Bob Dylan is listed there.

Dylan’s first show with Gagosian was his “Asia series”. Ostensibly painted from life while he was on tour in Asia, in reality the paintings were copied from photos. I’m not sure how long it took for this to come out – here’s a Rolling Stone article about it – because these are based on very well-known photos. Like, there’s no attempt to hide this fact, any more than Duchamp was trying to hide the inspiration for L.H.O.O.Q. Anyway, art reporting being what it is, people went bonkers saying that the Dylan was a plagiarist, and others pointing out that he was just doing what artists have been doing since, well, Duchamp, and certainly since the 1980s at galleries like Gagosian’s.

Here’s Dylan from the 2012 Rolling Stone interview with Mikal Gilmore on the topic:
MG: Before we end the conversation, I want to ask about the controversy over your quotations in your songs from the works of other writers, such as Japanese author Junichi Saga’s “Confessions of a Yakuza,” and the Civil War poetry of Henry Timrod. Some critics say that you didn ‘t cite your sources clearly. Yet in folk and jazz, quotation is a rich and enriching tradition. What’s your response to those kinds of charges?

BD: Oh, yeah, in folk and jazz, quotation is a rich and enriching tradition. That certainly is true. It’s true for everybody, but me. I mean, everyone else can do it but not me. There are different rules for me. And as far as Henry Timrod is concerned, have you even heard of him? Who’s been reading him lately? And who’s pushed him to the forefront? Who’s been making you read him? And ask his descendants what they think of the hoopla. And if you think it’s so easy to quote him and it can help your work, do it yourself and see how far you can get. Wussies and pussies complain about that stuff. It’s an old thing – it’s part of the tradition. It goes way back. These are the same people that tried to pin the name Judas on me. Judas, the most hated name in human history! If you think you’ve been called a bad name, try to work your way out from under that. Yeah, and for what? For playing an electric guitar? As if that is in some kind of way equitable to betraying our Lord and delivering him up to be crucified. All those evil @#$%& can rot in hell.

Ok, so that goes a little off the rails at the end. I’m not sure if it’s the person who yelled “Judas!” in 1966 that is actually out there criticizing Dylan for plagiarism, but is interesting to hear Dylan equate the two.

So, in 2012, along comes his second Gagosian show: “Revisionist Art”. This is a major aesthetic change from the earlier shows. Dylan isn’t painting here – he’s using appropration techniques (self-evidently) and silkscreen. All of the images are collages of well-known magazine covers – Rolling Stone, Playboy, Architectural Digest – that have been detourned with unlikely text and even more unlikely imagery. Photos of bleeding professional wrestlers and female nudes adorn the covers of Time, with non-sequitur headlines. For the most part the women are sexualized and the men are beaten up. The images themselves run to the garish. These are not images that I enjoy (I wouldn’t want one in my house) but I get them – or at least I get the trajectory of art history that they come from.

Since the work is so different than what Dylan has previously done – sketchy modernist portraits – it’s not surprising that there was some question about the work. Some critics suggested that perhaps the works weren’t even by Dylan, they could be by Richard Prince (who has worked this line for a long time). Prince, after all, is a Gagosian artist who wrote the catalogue essay for the “Asia Series”, so maybe it is an elaborate hoax?

Maybe it is. All of the coverage of the show indicated that Gagosian didn’t even price these Dylans – if they were even for sale we don’t know what was being asked. Prince commands a high price in the contemporary art world – probably even more than Dylan would, so I’m not sure what the benefit of this hoax would be, unless it is just to pull off a hoax, which, of course, would be a work itself. I just sort of doubt it.

The Revisionist Art catalogue has a nonsensical (deliberately so) essay by Luc Sante, and is annoying laid out since the images are inset on pages that are smaller than the rest of the book. Dylan (or Prince? or Whomever?) has continued to work in this style. His show at the Halcyon Gallery in London offered a greater number of works – and, I think, many that were a lot better. As a visual artist Dylan is becoming more interesting all the time."

__________________



Edited 3 time(s). Last edit at 2017-04-14 12:07 by hopkins.

....it's been out for some time but too many bucks until the boys
at the local book shop scored a new copy for me for about a third of original $$$$$ price ...



ROCKMAN

ROCKMAN

There were two different "Revisionist Art" exhibitions by Bob Dylan. The first took place at the Gagosian Gallery in New York in 2012 (see catalogue above in the post by Rockman). Then in 2013/2014 a second batch of "Revisionist Art" works were exhibited at the Halcyon Gallery in London. There was a catalogue for that exhibition, too, but it was published in a very limited edition. For the Revisionist Art pieces Dylan took old magazine covers and then removed the old text and added new texts in Photoshop. The files were then printed on canvas. The results were hilarious parodies of magazine journalism and a great example of Dylan's humour.

Keith Richards faxes – and more things we want to see from Bob Dylan’s archive in Oklahoma

An archive full of personal effects from Bob Dylan’s life has been sold to the University of Tulsa and the Kaiser Family Foundation — and is now accessible to approved scholars. Though much remains to be cataloged, a 39-page document details some of the archive’s interesting contents. If we were able to see the archive for ourselves, here are a few of the many things we would love to check out.

(...)

Dylan’s faxes

Among the correspondence that’s been cataloged so far: faxes from Keith Richards, Johnny Cash, Joe Strummer, and — wait for it — Jimmy Carter.

What does Keith Richards fax to Bob Dylan? What does that cover sheet look like?

[blog.thecurrent.org]

ROCKMAN

"RIP Bruce Langhorne,
Who In The Smoke Rings Of Our Mind May Have Been Mr. Tambourine Man"
__________________________________________________________________

from huffpo, linked at the end of this paste:
___ ___ ___ ___


"But even if Langhorne’s great big old tambourine was the Eureka moment for one of Dylan’s most soaring, elusive and altogether wonderful songs, that wasn’t close to the most impressive thing about Bruce Langhorne’s life, or musical life.

Langhorne died Friday at the age of 78, two years after suffering a debilitating stroke. He leaves behind a remarkable body of session work that in the 1960s helped move what we call folk music into the electric age.

There are still purists who think that was an act of musical heresy. But the transition was going to happen anyway, and what the Bruce Langhornes did was ensure that the music maintained its beauty and its relevance.

Langhorne was primarily a guitarist in the 1960s, though he played multiple instruments, and his guitar can be heard on a number of early Dylan tracks, particularly for the Bringing It All Back Home album.

“Maggie’s Farm” may be the most prominent, but he’s also a critical musical part of, among others, “She Belongs To Me,” “Love Minus Zero/No Limit,” “It’s All Over Now Baby Blue,” “Subterranean Homesick Blues” and, yes, “Mr. Tambourine Man.”

The tambourine connection is that Langhorne was well-known for showing up at sessions with a tambourine the size of a pizza. It had metallic things on the side that made it, yes, jingle jangle.

Dylan said in an interview for his Biograph package that he was inspired to write the song after producer Tom Wilson had Langhorne play the tambourine on a session track.

As Michael Gray points out in The Bob Dylan Encyclopedia, however, Dylan had written the song at least a year earlier, before any session where Wilson was producing and Langhorne was playing.

When Richie Unterberger asks Langhorne about the story in an interview on Langhorne’s website, Langhorne seems to say he finds it flattering and endearing and that it’s also important to remember this is Dylan.

“He has a wonderful sense of humor,” Langhorne said. “He has a wonderful ability to let people just let out enough rope to hang themselves. I think if he thought I was attached to being Mr. Tambourine Man . . . if you get attached to anything, he’ll run the rope out for you.”

Good attitude, and probably one of the reasons Langhorne sounded so good on those Bringing It All Back Home sessions.

He told Unterberger that they didn’t go into those sessions with any plan, just followed Dylan’s lead – and since that lead was so strong and true, the songs came out the same way.

Langhorne likened those sessions, and a lot of his other playing, to the call-and-response style he loved in gospel music. In this case, the singer called and the guitar answered.

As the gospel connection suggests, Langhorne had no trouble helping ease folk music into the electric era because he never considered himself strictly a “folk” musician in the first place.

It was all music, he told Unterberger, recalling that the first record with which he was ever obsessed was Ruth Brown’s “Mama He Treats Your Daughter Mean.” That helped steer him to a lifelong affair with rhythm and blues, which is why, while he was backing Richard and Mimi Farina or Tom Rush in the 1960s, he was also loving Wilson Pickett.

His first break in the business came when he arrived in New York around 1960 and played mostly gospel songs behind Brother John Sellers at Gerde’s Folk City.

He told Unterberger about getting an education in classical music from Judy Collins, and finding himself awed by the country-flavored sound of the great session guitarist James Burton.

After 1965 Langhorne only did one more project with Dylan, the Pat Garrett soundtrack. Dylan went through a lot of superb session players in those years, and after Bringing It All Back Home he went looking for musicians with a harder electric rock sound.

Langhorne said he never had that sound, partly because of a childhood accident in which he held a lit cherry bomb a little too long and blew off parts of three fingers on his right hand.

That did help him develop a unique style, but it was a limited style. Flamenco and classical guitar, for instance, were out.

In any case, Langhorne had no trouble finding other work. Besides the Farinas and Rush, his resume includes work with the likes of Richie Havens, Collins, Joan Baez, John Sebastian, Eric Andersen, Mike Bloomfield, Gordon Lightfoot, Hugh Masakela, Peter Paul and Mary, Buffy Sainte-Marie and the Clancy Brothers.

At the 1963 March on Washington, he accompanied Odetta on “Oh, Freedom.”

till, music has never been an easy way to make a living even for the talented, and over the years Langhorne took work where he found it or created it.

As electric music became electronic music and sounds evolved, he branched out into other areas, composing music for films and TV ads. He played live accompanist gigs. He developed Brother Bru-Bru’s African Hot Sauce, which he sold on his website next to his music.

He didn’t stop playing that music until the stroke. The rest of us are still playing it.

He didn’t have to be Mr. Tambourine Man. If he was, that’s a very very cool bonus."

[www.huffingtonpost.com]

___________________________________________________________________________

5 Stories You Didn’t Know About Bob Dylan, As Told By ‘Mr. Tambourine Man’
[www.huffingtonpost.com]


Pic of Bruce w a personal note handwritten to him from Bob:
[i.huffpost.com]

[i.huffpost.com]
a local hereabouts; RIP B.L.

Check this, great stuff. A live take of Cold Irons Bound
for Masked&Anonymous. Filmed with one camera. A great band.

[www.youtube.com]

Quote
Rockman

Its amazing how effortlessly cool Bob has been throughout all of history.

Quote
RollingFreak
Its amazing how effortlessly cool Bob has been throughout all of history.

Indeed!

[lens.blogs.nytimes.com]

Quote
Nate

Quote
gotdablouse
Sounds good, we should try to grab a beer before/at the show!

Yep for sure

Nate

It's tomorrow ! Just sent you en email ;-)

--------------
IORR Links : Essential Studio Outtakes CDs : Audio - History of Rarest Outtakes : Audio

If you don't want to shell out $30 US for a VHS tape (the only legitimate copies available), here is a Facebook page showing the entirety of the infamous 1987 flop Hearts of Fire, marketed as Dylan's Purple Rain, but instead is the Fiona (Flanagan) and Rupert Everett (in ludicrous mullet and painfully affected voice) show that Dylan hovers around. Not to mention it is full of nonsensical and idiotic vulgar innuendoes just for the sake of having them, as befitting a script written by Joe Eszterhas. Look for Ronnie Wood as a bassist for a show Dylan's character gives at the Hammersmith Odeon.

[www.facebook.com]

Thanks for sharing.

I guess I was one of those rock n roll singers who was never gonna win any Nobel prize ..... Hearts Of Fire



ROCKMAN

Apologies if already posted. Some cool early Bob pics from this exhibit in NYC:

[www.stevenkasher.com]





Edited 1 time(s). Last edit at 2017-04-20 03:41 by bleedingman.

Quote
bleedingman
Apologies if already posted. Some cool early Bob pics from this exhibit in NYC:

[www.stevenkasher.com]

cannabis?
wine?
both?

Wynonna, Elle King, Boz Scaggs Set for Nashville Bob Dylan Tribute
[www.rollingstone.com]


Last May, Jason Isbell, Kacey Musgraves, Cory Chisel and Brothers Osborne celebrated Bob Dylan turning 75 at the Ryman Auditorium with interpretations of the bard's varied catalogue. This year, the Best Fest will make heralding Dylan's birthday in Nashville an annual tradition, with Dylan Fest: A Celebration of Bob Dylan's 76th Birthday set for May 23rd and 24th. The two-night concert event will recruit everyone from Wynonna & the Big Noise, Shakey Graves and Anderson East to Elle King and local rockers the Weeks to tackle tracks from the now Noble Laureate.

Other acts paying tribute to Dylan include guitar great Duane Eddy, Boz Scaggs, Valerie June, Hamilton Leithauser, Moon Taxi, Richard Hawley, Shooter Jennings, Erika Wennerstrom of Heartless Bastards, Butch Walker, Karen Elson, Langhorne Slim, John Paul White, Rayland Baxter, Bones Owens, Danny Masterson, the Whigs, the Watson Twins, Jonathan Tyler, Paul Cauthen, Gill Landry, Lauren Shera, the Texas Gentlemen, Eric Pulido of Midlake, Shelly Colvin and Odessa, as well as special guests.

Dylan Fest's hosts and ringleaders will be the Cabin Down Below Band – named after the Tom Petty song, and, in part, for the East Village bar co-owned by Jesse Malin and occasional Ryan Adams band mate Johnny T. Yerington – which comprises Austin Scaggs, Alex Levy, Matt Romano, Dave Moose Sherman, Reno Bo, Sadler Vaden, and Liam O’Neil.

The two-day celebration will benefit the Refuge Foundation for the Arts, a converted monastery in Appleton, Wisconsin, that now functions as a recording space, artist residence and creative sanctuary. Co-founded by Chisel and his partner Adriel Denae, the non-profit space is where Traveller (Chisel, Robert Ellis and Jonny Fritz) made their forthcoming debut LP, and embarks on a slew of innovative work to support and reinvent the musical community and how albums are created.

Tickets for Dylan Fest, which will also mark the anniversary of 1967's John Wesley Harding, recorded 50 years ago at Columbia's Studio A in Nashville, are on sale this Friday, April 21st, at 10 am CT.

Photos: A Disarmingly Happy Bob Dylan Inside His First NYC Apartment
[gothamist.com]

some great pix here I'd never seen before ^^

(I'm having difficulties opening that Kasher link bleedingman left us.
That great pic he posted is covered in this series but there are several more.)



Edited 1 time(s). Last edit at 2017-04-20 07:26 by hopkins.

Quote
gotdablouse

Quote
Nate

Quote
gotdablouse
Sounds good, we should try to grab a beer before/at the show!

Yep for sure

Nate

It's tomorrow ! Just sent you en email ;-)

Hi gotdablouse
Yes let's try and meet for a couple of beers before the concert
I can't access my emails on my phone left my iPad at home
I will be going up to the zenith area about 6pm is there a bar up there to meet in?
I will try and find a computer this afternoon to read your email
Are you on Facebook?

Nate

Quote
bleedingman
[www.stevenkasher.com]

Very cool photos !
































(Courtesy Ted Russell/Polaris/Steven Kasher Gallery)