Bob Dylan "Shadows in the Night"

The speech is pretty consistent with that last big Rolling Stone interview, where he hit some of the same petty grievances. Difference this time is naming so many names. (And weird ones, too -- I would've figured him for a Tom T. Hall fan, but maybe he never listened deeper than "I Love.") Anyway, hard to be surprised that the guy who wrote "Positively 4th Street" 50 years ago has grown into a surly old man.

Well, he's got Bob Lefsetz on his side, so...

He also takes on two ILM sacred cows, ABBA and Steeely Dan. I don't think he's a fan of them being in the rock and roll hall of fame.

The song choices were confounding. A track from “Saved”? Another from “Oh Mercy”? Even the most dedicated Dylanologist would not only be disappointed, but would struggle to know the lyrics of these obscurities.

so what kind of Dylan fan would you be if you didn't applaud these choices?

Kiki from Brooklyn, NY comments in the nytimes:

"Dylan was always just himself."
I strongly disagree. Robert Zimmerman has NEVER been himself in public, always appearing in character as Bob Dylan, and, really, that has been a key to his greatness. He plays the character of an idealized, oracular, mysterious poet, ever speaking truth in riddles and indirection. He has acted in movies, but he only plays the Bob Dylan character. He plays is so well, that most people don't even realize he's in character all the time when he's in public. I'm sure if we'd known the inside details of the middle class kid from Hibbing, or the details of where his lyrics came from, it would diminish our ability to take the character seriously. I suspect that there is a highly analytical and ambitious man behind the character, but we'll probably never know.

Sam Cooke said this when told he had a beautiful voice: He said, "Well that's very kind of you, but voices ought not to be measured by how pretty they are. Instead they matter only if they convince you that they are telling the truth." Think about that the next time you [inaudible].

i just died laughing at this

Kiki otm

Right. It's not like the clear demarcation between, say, Jim and Iggy.

many lols, especially at

"Y'know I never cared what people thought of my tunes but I gotta say everyone who dug me was outstanding and everyone who didn't was ok at best."

― da croupier, Saturday, February 7, 2015 2:05 PM (4 days ago)

I don't find this boring. I just want more. I'm glad that a Rogers & Hammerstein tune gets play, and I've always been a fan of 'Lucky Old Sun.' Frankie Laine due for some sort of revival. There's something so chill about this album. I had it shuffled with a Buddy Guy antholgoy and the new Father John Misty and it sort of felt like some sort of cranky-classy mdidle ground.

I want more score-settling with fellow musicians for perceived slights.

Dylan needs to do series of McConaughey-style car ads were he throws other musicians out of said cars.

Merle Haggard just knows what you need
But Buck Owens knows what you want

follow up to the musicares speech
www.bobdylan.com/news/conversation-bill-flanagan

or:
Holland-Dozier-Holland said Bob Dylan was just an illusion but Bill "Smokey" Robinson said his talent was growing, like the size of a fish that a man claims broke his reel, and we know who America's greatest living poet was, don't we?

(xp obv) thanks for link for weekend reading

Bob Dylan has second album of standards, says Daniel Lanois

stadowing e-40 on the day shift

I'll take another volume. I love this one.

yeah i think it said early on that he had recorded something upwards of 22 tracks... yeah, i'll take another volume, I'm really enjoying this album. wonder if the stuff he left off of Shadows is different in tone or the same general mellow vibe.
new noir-y video (starring robert davi!)
https://www.youtube.com/watch?v=iOxy_hy22CA

good video, needs more davi

god, both dylan and davi look like they're in warren beatty's dick tracy, but they don't actually need a bunch of makeup/prosthetics

still laughing at that video, especially bob's period-appropriate hair styling

kind of violent though (again)

still disappointed this isn't called Stadows in the Night

what do you mean, it is

I thought it was Saddos in the Night

This is a pretty cool performance

http://www.youtube.com/watch?t=157&v=u_djZiswcrQ

yeah sounded great...
he added autumn leaves to his set on the most recent neverending tour jaunt.

man he looks spooked tho, give the man a guitar to at least hold or something

This is my most played record of 2015 thus far. I truly adore it.

I guess I should get around to listening to it. The only post-2000 Dylan albums I don't own are this one and the Christmas one.

It's a great record for late night listening

gave it a spin sunday and lots of tunes now stuck in my head

RUMORS!!!!!!!
Bob Dylan's next album is called "Fallen Angels." Four-song 7" is coming out for Japanese tour and Record Store Day. Side A: Melancholy Mood, All or Nothing at All. Side B: Come Rain or Come Shine, That Old Black Magic.

Cool! Forgot to paste this, from Rolling Country 2015 & Nashville Scene ballot comments (now archived on thefreelancementalists.blogspot.com)
Bob Dylan's Shadows In The Night tracks a worn but sometimes surprisingly poised, limber, white-bluesy growl---in effect like the later Sinatra's shrewd conservation and investment of remaining resources (look for the 1980s cable concert from Wolf Trap, for inst) through the moonlight, with acoustic bass and steel guitar navigating, Cap'n D always at the wheel. The romantic ritualism could just seem like the "elaborate sentimentality" tag twhich young Nik Cohn applied in passing, but this is the sound of conviction, beyond excuses for getting wasted: the opener, "I'm a Fool To Want You" is spooked realization--this time is like the first time, and now he can't shake the chil. Ditto matter how many times those "Autumn Leaves" have drifted by, and how mellow the sadness they can bring, he dreads the the sign of their coming once more(oops, spoiler, but I never noticed the dramatic climax written in before, maybe because I never listened to the end before, so give the grizzled tones more points for that).
And love songs can be like work songs here---another old-school country association---nevertheless, somehow he gets into a drift that gradually spins him around, in his spacey, autumn leafy way---"I go away for the weekend, and leave my keys in the door"---which leads to a happier realization, "I've always been your clown"---happier because, hey "Why try to change me now." He enjoys the quest, the cruise, the growlin' prowl in the blue moonlight (and shadows, yes)! So the second half reflects this, at least 'til "That Lucky Ol' Sun" flips the light on: more work ahead, but he sounds ready for it, even if complaining and jealous of the Sun (can't get too happy, or it wouldn't be country).

"Elaborate sentimentality" tag which young Nik Cohn applied in passing to country music as a whole; in his 60s collection Rock From The Beginning, AKA A Whop-Bop-A-Loo-Bop-A-Lop-Bam-Boom and maybe other titles.

Sounds cool, is it presumably outtakes from Stadows sessions?

is this out or what?

https://www.youtube.com/watch?v=xBbyRmtFrcg

was a RSD thing right? album is out in a couple weeks, i think.

was just checking out a recent show: http://bigozine2.com/roio/?p=2855

http://exclaim.ca/images/16worst.jpg

^^mentioned in a "worst covers of 2016" listicle... gotta say, it is very uninspired...

From wiki entry for "Amour Fou" (Season 3) episode of the Sopranos:

The music played when Ralph returns home to comfort Rosalie is a Bob Dylan cover of a Dean Martin song, "Return To Me". It was recorded for this episode at Dylan's request, as he is an admitted fan of the series [David Chase mentions this in the DVD/Blu-ray audio commentary for this episode].

this is really odd and I never noticed it before. Was this the beginning of his American songbook phase?

that one is pretty nice -- he was doing a handful of old crooner tunes throughout the neverending tour, though -- http://www.bobsboots.com/CDs/cd-g41_6.html

that's interesting!

there is of course also "Blue Moon" on Self Portrait, really it's probably an interest of his that's been there all along - reading Chronicles it's interesting to see how many artists from different genres (even different art forms) Dylan (at least retrospectively) identifies with