― morris pavilion (samjeff), Tuesday, 17 February 2004 18:25 (twenty years ago) link
― mr. man, Tuesday, 17 February 2004 18:26 (twenty years ago) link
― pete s, Tuesday, 17 February 2004 18:26 (twenty years ago) link
― jack cole (jackcole), Tuesday, 17 February 2004 18:27 (twenty years ago) link
― My Huckleberry Friend (Horace Mann), Tuesday, 17 February 2004 18:28 (twenty years ago) link
― jody (Jody Beth Rosen), Tuesday, 17 February 2004 18:29 (twenty years ago) link
― spittle (spittle), Tuesday, 17 February 2004 18:31 (twenty years ago) link
― My Huckleberry Friend (Horace Mann), Tuesday, 17 February 2004 18:31 (twenty years ago) link
― Mr. Man, Tuesday, 17 February 2004 18:32 (twenty years ago) link
anyone with a career like that surely has to phone it in sometimes.
― jody (Jody Beth Rosen), Tuesday, 17 February 2004 18:32 (twenty years ago) link
(x-post)
― morris pavilion (samjeff), Tuesday, 17 February 2004 18:33 (twenty years ago) link
― Ned Raggett (Ned), Tuesday, 17 February 2004 18:36 (twenty years ago) link
― My Huckleberry Friend (Horace Mann), Tuesday, 17 February 2004 18:37 (twenty years ago) link
― Eisbär (llamasfur), Tuesday, 17 February 2004 18:41 (twenty years ago) link
― jody (Jody Beth Rosen), Tuesday, 17 February 2004 18:43 (twenty years ago) link
― Eisbär (llamasfur), Tuesday, 17 February 2004 18:44 (twenty years ago) link
― My Huckleberry Friend (Horace Mann), Tuesday, 17 February 2004 18:49 (twenty years ago) link
― jody (Jody Beth Rosen), Tuesday, 17 February 2004 18:50 (twenty years ago) link
― Tab25, Tuesday, 17 February 2004 18:54 (twenty years ago) link
― o. nate (onate), Tuesday, 17 February 2004 19:05 (twenty years ago) link
― morris pavilion (samjeff), Tuesday, 17 February 2004 19:07 (twenty years ago) link
― My Huckleberry Friend (Horace Mann), Tuesday, 17 February 2004 19:07 (twenty years ago) link
Self-Portrait might be the most underrated album of all time.
And I agree with Tab. Dylan as fundamentalist spitfire preacher is definitely underrated. That phase of his might be the most dramatic remove from an established image anyone's ever accomplished. It's interesting how Neil Young did his schizo albums right after, which maybe's another example of Dylan's huge sway over everybody else.
― otto, Tuesday, 17 February 2004 19:07 (twenty years ago) link
― jody (Jody Beth Rosen), Tuesday, 17 February 2004 19:10 (twenty years ago) link
― Gear! (Gear!), Tuesday, 17 February 2004 19:13 (twenty years ago) link
― o. nate (onate), Tuesday, 17 February 2004 19:13 (twenty years ago) link
― My Huckleberry Friend (Horace Mann), Tuesday, 17 February 2004 19:15 (twenty years ago) link
This is bad why?
― jody (Jody Beth Rosen), Tuesday, 17 February 2004 19:16 (twenty years ago) link
― Ned Raggett (Ned), Tuesday, 17 February 2004 19:19 (twenty years ago) link
NOT overrated -- and go ahead and strike up another vote for Self Portrait.
― christoff (christoff), Tuesday, 17 February 2004 19:33 (twenty years ago) link
Yeah buddy. I've seen him several times over the past 17 years (first in '87, most recently in '02), and the most recent show was the best hands down. His singing was so sharp and (OK, in its own way) *rich*. But the "mystic signifier" thing is true, I guess, because I think loving Dylan's singing vs. appreciating him as a songwriter or "important influence" or whatever is kind of the dividing line on really digging him or not.
― spittle (spittle), Tuesday, 17 February 2004 19:38 (twenty years ago) link
I wouldn't call it that. I just think his delivery is really funny! He has a great sense of comedic timing (even when he's being serious) and almost everything he sings is pregnant with some kind of... I don't wanna say "meaning," it's more like "presence of mind." Like you know he wrote the line to be sung a certain way and the fun of getting to sing it justifies the labor of writing it.
― jody (Jody Beth Rosen), Tuesday, 17 February 2004 19:41 (twenty years ago) link
I mean, I'd put him with Sinatra and Ella and Billie and ... not many others, maybe Elvis? Bing? Howlin' Wolf? Hank Williams? ... as great American singers of the recorded era.
But then, that's the kind of statement that makes people say he's overrated. Can't win.
― spittle (spittle), Tuesday, 17 February 2004 19:42 (twenty years ago) link
And this is important because so many "clever" singer-songwriters have no idea how to emote comedically and their jokes just don't translate well to being sung.
― jody (Jody Beth Rosen), Tuesday, 17 February 2004 19:47 (twenty years ago) link
― My Huckleberry Friend (Horace Mann), Tuesday, 17 February 2004 19:49 (twenty years ago) link
Idiot Wind: Listening to Bob Dylan
Bob Dylan turned 60 this week, and there's been a predictable wave of tributes and analysis and retrospectives and so forth. But I couldn't help noticing that, except for some puzzled mentions, nobody really talked about one of Dylan's most important contributions to American music: his singing.
I understand why, of course. That reedy, nasal, jarring voice, part sneer and part howl, has always been the dividing line between people who "get" Dylan and people who don't, between those who will allow that "he's written some really good songs" and those who consider him one of the greatest artists of the past century. And so it often goes unexplored and unexplained, either tolerated or venerated but not much examined.
So what is it with his singing? What is he up to? What's it all about?
Well, I've been listening to him for years, and I'm still trying to get a handle on it. When I was a kid, Dylan was the one major element of my dad's record collection that I resisted. I loved the Beatles; I sang along with Simon and Garfunkel; I jumped around my bedroom to The Who; I listened with a sense of daring and danger to the Rolling Stones, who seemed steeped in dark and mysterious adult things. But Dylan? He looked weird. More to the point, he sounded weird. "He can't sing," I would say to my dad, and my dad would just say something along the lines of "You'll understand it someday."
I don't know if that's quite true; Dylan to me seems like someone you don't understand so much as live with, constantly revisiting and rediscovering. But the voice does make more sense to me now. It's the kind of voice I think Walt Whitman and Carl Sandburg were looking for, a fundamentally American construction drawn from the country's deeply twined and contradictory roots.
He started out as a folk singer, more an imitator than an innovator, working squarely in white traditions drawn from European balladry and squeezed through the Appalachian hills. But once Dylan mastered that idiom—and he did master it, like no one else—he expanded it. When he went "electric," he plugged in more than his guitar. His singing opened up and got rangier and deeper, his phrasing started incorporating blues rhythms and textures. He didn't just want to be Woody Guthrie or Dock Boggs anymore; he wanted to be Howlin' Wolf, too.
I remember seeing an Esquire magazine list of the all-time greatest blues singers several years ago. Dylan was the only white singer on the list, which was exactly right. People talk about Elvis combining white singing with black music, but that's not really true. Elvis liked the feel of R&B, and he got the bump and grind, but he softened it in the process. Dylan softened nothing, not the white mountain whine or the black Delta moan. He's not comfortable to listen to, and he's not trying to be. He's the sound of cultural tectonic plates shifting and colliding, throwing up mountain ranges where they meet.
That a Jewish kid from northern Minnesota could so completely internalize the great ragged musics of the nation, and that he did it at a time when the people and places that produced them were disappearing and assimilating into the great TV monoculture, is what, as much as anything, makes Dylan a great and uniquely American artist. His voice reaches from end to end of the 20th century, echoing where we've been and calling to us from somewhere up ahead.
I saw him play at Chilhowee Park a few weeks ago. He sounded loose and confident and playful. The stage was full of great musicians. But there was no instrument anywhere to match the one Dylan has carried with him, inside his chest and throat and lungs, for 60 years.
― spittle (spittle), Tuesday, 17 February 2004 19:56 (twenty years ago) link
― spittle (spittle), Tuesday, 17 February 2004 19:58 (twenty years ago) link
― Tab25, Tuesday, 17 February 2004 20:32 (twenty years ago) link
as for his voice i'm a big fan who must attest to having trouble with his voice of late--his phrasing is still marvelous, he even does certain things better than he ever did. but there's something in the natural incapacity of his 'new' voice that i can't get past, the mountain of phlegm coughed up with each line, the range that's dwindled to a minor third or whatever...
dylan did some really interesting things with his voice 'back in the day' that don't get acknowledged; i think he really pushed the limits of his natural range for a long time (not so much with the late 60s from-the-throat stuff and the occasional falsetto but the heavy duty mid-60s singing like 'it's all over now baby blue') and that might account for his voice's character now (that and the cigarettes)
― amateur!st (amateurist), Tuesday, 17 February 2004 20:44 (twenty years ago) link
yeah, i'm not trying to convince anyone they're brilliant...
― jody (Jody Beth Rosen), Tuesday, 17 February 2004 20:47 (twenty years ago) link
seriously though i admire you a lot, for being so goddam sensible and smart when the culture here seems to mitigate against that so often
― amateur!st (amateurist), Tuesday, 17 February 2004 20:49 (twenty years ago) link
Is he still capable of doing cool things with it? Yes. Can it be an expressive tool? Yes. Has he even invented new ways of using his voice - ie., adapting his style to what's left of it? Yes. However, the main part of my criticism is that I think he still hasn't completely adapted himself to it- i.e., sometimes it sounds like he's still trying to sing as though he has his old range, and he doesn't. I think he should probably try to use more concision and brevity - do more with less - stick to a narrower range - perhaps go more bluesy - I think the bluesy numbers on Love and Theft tended to be more successful from a vocal performance standpoint. Because those epic ballads are becoming a bit tiring to listen to, and they didn't use to be.
(xpost)
― o. nate (onate), Tuesday, 17 February 2004 20:54 (twenty years ago) link
There are superstar pop-cult icons beloved by millions who were or are meaner, nastier, and more spiteful than Bob Dylan (your mom for instance - followed closely by the likes of Lucille Ball, Billy Joel, Paul Simon, and Bill Cosby), but he's within spitting distance of the head of the pack. An idiot windbag and bully from the git-go, his tooth & nail-filled words (his tongue on fire like liar's pants) simultaneously functioning as self-righteous harangues aimed at everyone who doesn't get it/ain't us/in the know, wake up calls for any Mr. or Mrs. Jones-to-be who feels that their freedom is impinged upon by the responsibilities and duties thrown at them by, you know, church/state/manifest destiny/gym teachers/etc..., and hyper-literate (though often clouded with beatnik bombast and trickster whatzits) revenge fantasies designed not only to comfort bespectacled boys wronged by girls from the right counties but also assuage the fears ofthose people who worry that the right fingers will not be pointed at people on the wrong side.Early Dylan fans, not content with the murder balladeers and chain gang troubadours of previous generations, understandably wanted a blowhard to call their own. And as the thinking person's Elvis, Dylan single-handedly trumped the Depression-era love of hard work, war wounds, craftsmanship and dirt with youth, wit, and a cool-ass hair-do. His early appropriation of a dustbowl vocalese and aesthetic (what could be more natural for a 20-year-old kid from the sticks then to sound like a black-lunged miner with miles of bad road behindhim) may have been borne out of a deep and abiding love for dead and dying rail-riding pinkos, but more realistically it was his ticket in to a burgeoning folk scene always on the lookout for sympathetic fellow travelers who would show the proper respect for the decrepit eldersand originators of La Vie de Hootenanny. Once he was through genuflecting at Woodie Guthrie's bedside (and patted on the head by the story-song master), and once he wasthrough using his Midwestern wiles to get into Joan Baez's back pages (she the shining young star pre-Bob), he had made his mark and could proceed to do what he did. Which was: ruin everything! He was too cool! He was punk as fuck! His sneer was a mile wide! He raised the bar too high! His songs were too good! He looked really cool in pointy boots! He corrupted The Beatles! He made rock "important"! And "serious"! He subjected the world to thousands of horrible singersongwritercountryrockstreamofconsciousnessbroodingbadpoetry bands! He made people who had no business playing the blues play the blues! He was too big for rock, and ever after people wanted to be bigger than rock without ever realizing that rock is plenty bigenough already for whatever they could add to it. Rock before Dylan was mostly fun and then it wasn't (because of him), and it mostly isn't now (because of him). And the rock & roll that most people love doesn't have as much to do with him (it has more to do with Chuck Berrythan Bob Dylan), thus the most popular rock & roll is usually a lot more fun to listen to. As a rule, people who don't listen to Bob Dylan are usually a lot more fun to hang out with. Having said that, everyone should own at least four Bob Dylan albums (Freewheelin', Highway 61,Blood on the Tracks, and Desire will do). It's funny that the only people who actually approached the ferocity of early pre-motorbike crash Dylan (1966 being the dividing linebetween scary can-do-no-wrong Dylan and bloody, beaten, bowed, sometimes scary & good-when-he-feels-like-it Dylan) were the artless garage and punk bands of the 60's and 70's. The artistes of those eras mainly pegged the corn pone/po'boy/nasally/fake Carterfamily/should sound like you're 60 when you're 20/spaghetti western Dylan that he could get away with because he was and is a freak of nature and because he invented the shit in the first place. That ferocity was hunger and could previously be heard on Charles Ives andEartha Kitt records, and thus it was alien to any pop or folk scene. The juvenile delinquents heard Dean and Brando in his voice, but unfortunately his words were too good and the boring people heard Shakespeare.
― scott seward (scott seward), Tuesday, 17 February 2004 21:19 (twenty years ago) link
― Old Fart!!! (oldfart_sd), Tuesday, 17 February 2004 22:07 (twenty years ago) link
― Old Fart!!! (oldfart_sd), Tuesday, 17 February 2004 22:09 (twenty years ago) link
― o. nate (onate), Tuesday, 17 February 2004 22:11 (twenty years ago) link
― chuck, Tuesday, 17 February 2004 22:14 (twenty years ago) link
Any Dylan alb is automatically 'interesting'
― Andrew L (Andrew L), Tuesday, 17 February 2004 22:45 (twenty years ago) link
If anyone else had written these albums, they'd be considered genius.
And the scary thing is, the stuff Dylan left on the floor, the outtakes, are undeniably better than the official albums!
― Tab25, Tuesday, 17 February 2004 22:50 (twenty years ago) link
― nonthings (nonthings), Tuesday, 17 February 2004 22:50 (twenty years ago) link
the first band I was ever in in NYC was led by Jeff Slate, the guy who wrote the WSJ piece.
I was 18, a few months into my freshman year at NYU, and me and some pals were the house band for a Late night/letterman style show held for the students living in Rubin hall on 5th ave and 10th st, hosted by this shithead fratboy who thought he was funny, and somehow they would book credible guests. Slate used to be the host of the show, had graduated, gone on to NYU law but showed up to watch the other guy do the show he started, which even then I thought was questionable. while neither a shithead nor a fratboy, he was careerist in a corny way that was evident immediately upon being introduced to him, which occurred cuz he wanted us to be his band, which he called SPQR. He booked gigs at Kenny's Castaways and the Bitter End at the top of 1990, and I wasn't so green that I didn't know that those places fucking sucked, booking only acts that would briefly divert the kind of people who hung out on bleecker st. But whatever, I was going to play my first shows in NYC.
He modeled his songs on…………Paul McCartney's Flowers in the Dirt era (at the very end of 1989, I saw the FitD tour at MSG, my only time seeing McC). And thus having such a servile-to-the-Beatles-and-adjacent-shit orientation to his songwriting and arranging, as well as being such a clean cut apple polisher …well me and my pals thought he was (and I'm really tired of this phrase, but it fits in this case) a douche bag and rolled our eyes when he also had us learn McC's own arrangements of "Don't Get around Much Anymore" and "Ain't that a Shame" and do them EXACTLY like he did, as well as do his own smarmy shit which emulated McC. I was pretty embarrassed to back him up, playing his corny shit at a corny club, but whatever, I shouldn't expect to play at Maxwells with Bullet Lavolta or Rapeman my first time playing in the NY area, should I?
We did the two shows, for me it was a perfectly appropriate rite of passage that…what, tens of thousands? hundreds of thousands? of small fry rock and rollers had also done, they were fine! But while the guy was not a prick, we really didn't wanna stick with him, and later I only ever saw him walking around the NYU area and did not feel like engaging with him.
I assume he became a lawyer, and I sustained an existence as a music writer, then music writer/musician, then only musician, in NYC for 20 years after 1990, and now I don't do neither. And then he emerges, getting plum gigs like this one, talking to other great men of rock. which I'm sure is indicative of his profoundly rockist POV. I really don't have anything against the guy, but just wasn't at all impressed with him and am pretty sure he is not bringing any rigor at all to these gigs, only contributing "OMG OMG you're so great, I can't believe I'm talking to you."
― veronica moser, Tuesday, 3 January 2023 20:08 (one year ago) link
^Excellent post!
― A Kestrel for a Neve (James Redd and the Blecchs), Tuesday, 3 January 2023 20:11 (one year ago) link
I actually got Jeff Slate mixed up with Jeff Stein (the director of the Who documentary, The Kids Are Alright), knowing very little of both. It looks like he just made good connections with high profile publications that don't focus on music (Esquire for starters), and after bulking up his portfolio with those freelance articles, parlayed that into the type of liner notes David Fricke would write for reissue projects, which in term got him more opportunities because he was going to be a reliable PR guy without actually being one.
― birdistheword, Tuesday, 3 January 2023 20:40 (one year ago) link
*in turn
xpost indeed great post veronica
― Blues Guitar Solo Heatmap (Free Download) (upper mississippi sh@kedown), Tuesday, 3 January 2023 20:52 (one year ago) link
booming post
― Malevolent Arugula (Alfred, Lord Sotosyn), Tuesday, 3 January 2023 20:55 (one year ago) link
it's a rockwrite tale as old as time!
― Tracer Hand, Tuesday, 3 January 2023 22:58 (one year ago) link
but v well told
The icing on the cake was the part about the" hundreds of thousands" of "small fry rock and rollers." I wanted to jump up and raise my hand and be counted.
― A Kestrel for a Neve (James Redd and the Blecchs), Tuesday, 3 January 2023 23:04 (one year ago) link
I am reluctant to be seen in any way as potentially competing with such a magisterial rendering of that ecosystem but I may have posted something about that on this other thread in my ILX infancy: I Am Never Playing Live for Somebody Else's Band Ever Again!
― A Kestrel for a Neve (James Redd and the Blecchs), Tuesday, 3 January 2023 23:10 (one year ago) link
pretty sure he is not bringing any rigor at all to these gigs, only contributing "OMG OMG you're so great, I can't believe I'm talking to you."
https://th.bing.com/th/id/OIP.uP116MshE7b7H_KR3fPVlQHaFj?pid=ImgDet&rs=1
Remember when you were in the Beatles? That was cool.
― Immodest Moose (Ye Mad Puffin), Wednesday, 4 January 2023 12:51 (one year ago) link
Lol
― A Kestrel for a Neve (James Redd and the Blecchs), Wednesday, 4 January 2023 12:54 (one year ago) link
I haven’t read any of Rob Sheffield’s interviews with the last two surviving Beatles, but I assume there is a little more depth there when he does it.
― A Kestrel for a Neve (James Redd and the Blecchs), Wednesday, 4 January 2023 12:57 (one year ago) link
But maybe I am just trying to curry favor with RS if he’s reading, although based on my knowledge of his work habits, he’s not.
― A Kestrel for a Neve (James Redd and the Blecchs), Wednesday, 4 January 2023 13:04 (one year ago) link
Elijah Wald on Facebook:
Every piece about Mack McCormick now seems to include his story about unplugging Dylan at Newport... a story that Mack told often, but cannot possibly have happened....this myth has already turned up in the NY Times and Rolling Stone, and I want to shut it down, because it's false and silly.
― curmudgeon, Wednesday, 4 January 2023 18:20 (one year ago) link
https://www.youtube.com/watch?v=WFqG1Oy-wbs
― Farewell to Evening in Paradise (James Redd and the Blecchs), Friday, 6 January 2023 22:26 (one year ago) link
this is a nice cover
https://st.cdjapan.co.jp/pictures/l/03/30/SICP-31623.jpg
https://www.cdjapan.co.jp/product/SICP-31623
― corrs unplugged, Friday, 3 March 2023 08:57 (one year ago) link
It's not overrated!
― the pinefox, Friday, 3 March 2023 10:04 (one year ago) link
The Philosophy of Modern Song is hot bullshit. Compare all the things that could be said about “Blue Suede Shoes” with what Dylan has to say about it and weep
― The land of dreams and endless remorse (hardcore dilettante), Monday, 13 March 2023 01:47 (one year ago) link
There's a funny story about "Blue Suede Shoes" in John Fogerty's autobiography, from when they were gigging around Bay Area bars before their first Fantasy record came out. In particular at a place called the Monkey Inn in Berkeley:
There was a lot of beer drinking at the Monkey Inn. In the back of the bar there was a partial wall, and over the top of it you could see the people playing shuffleboard. And whenever we played "Blue Suede Shoes", a fight would break out. You'd see the light over the shuffleboard swinging back and forth. Then the bartender would have to run back there and get everybody calmed down. Until we played "Blue Suede Shoes" again. We did it for our own amusement.
― o. nate, Monday, 13 March 2023 16:07 (one year ago) link
That’s much a more interesting take on the topic than Dylan’s incoherent noodling.
― The land of dreams and endless remorse (hardcore dilettante), Tuesday, 14 March 2023 12:37 (one year ago) link
one for songs that weren't a bands biggest hit, but have gone on to be their legacy song and biggest iTunes seller but what a terrible #1 Knockin' on Heaven's Door is, such a mediocre song and vocal delivery no fun at all
it's not even the best track on Pat Garrett & Billy the Kid!
wonder if it's the (even worse) Guns n' Roses cover...
― corrs unplugged, Monday, 20 March 2023 14:27 (one year ago) link
Another side of Bob Dylan there.
Just came across this olde saga recently, looking for background on Robertson's guitar contributions to Blonde On Blonde, which I didn't recall at all, though they were mentioned in several obits. He's briefly noted here, though mainly Daryl Sanders talks to "all but one" of the Nashville Cats who survived those sizzlin' sessions, and everything else up to 2011: https://www.nashvillescene.com/news/looking-back-on-bob-dylans-i-blonde-on-blonde-i-the-record-that-changed-nashville/article_c17cc27e-b6e4-5794-901c-e2e7ce4c5cb9.html
― dow, Thursday, 7 September 2023 19:53 (seven months ago) link
Don’t know about overrated but definitely over priced.
― Dan Worsley, Thursday, 7 September 2023 20:10 (seven months ago) link
£120! https://superdeluxeedition.com/news/bob-dylan-the-complete-budokan-1978/#comments-193466
― Dan Worsley, Thursday, 7 September 2023 20:11 (seven months ago) link
One way to avoid becoming a footnote is to outlive your critics.
― immodesty blaise (jimbeaux), Thursday, 7 September 2023 20:13 (seven months ago) link
I think I'll pay nothing and not spend four agonizing hours listening to that monstrous lump of turd. I love Dylan but I fucking hate that era, which mercifully lasted only a year or two. (Not really a fan of the evangelical era that followed, but at least it's tolerable in small doses and occasionally even great.)
― birdistheword, Friday, 8 September 2023 02:34 (seven months ago) link
the 3cd bootlegs 8 used to be insanely expensive, does contain this absolute gem (which for some reason is not on the new complete TooM sessions thing?):
https://www.youtube.com/watch?v=2U0_eQqmqzYCan't Wait (Outtake from 'Time Out Of Mind' Sessions, Version 2)
― corrs unplugged, Tuesday, 12 September 2023 08:40 (seven months ago) link
I have Fragments and double-checked - it's definitely on there.
― birdistheword, Wednesday, 13 September 2023 02:56 (seven months ago) link
my bad!
indeed it's track 10 on disc 5 (deluxe edition)
sublime
― corrs unplugged, Monday, 18 September 2023 11:55 (seven months ago) link
https://pitchfork.com/news/bob-dylan-plays-surprise-farm-aid-set-with-tom-pettys-heartbreakers-watch/ Maybe more via Rolling Stone link
― dow, Sunday, 24 September 2023 23:41 (seven months ago) link
Just How Far In Would You Like To Go: Another Book!
Bob Dylan : Mixing Up The Medicine is a career-spanning magnum opus that is the most comprehensive book yet published on the work of Nobel Prize-winning singersongwriter-poet and cultural icon Bob Dylan. It features over 1,100 images by 90 photographers and filmmakers, many never-before seen or published, as well as 30 original essays by leading artists and writers focusing on unseen treasures from the Bob Dylan Archive. The book’s introduction is by Sean Wilentz with an epilogue by Douglas Brinkley. Nearly all the materials found in the Bob Dylan Archive are unique, previously unavailable, or previously unknown. This book contains some of the best of the archive, with carefully curated Dylan draft lyrics, writings, drawings, photographs, and other ephemera. Bob Dylan : Mixing Up The Medicine covers Dylan’s life, from his childhood in Hibbing, Minnesota, and first recordings made in the 1950s, to his most recent albums and every important career milestone in between.
― dow, Wednesday, 25 October 2023 02:39 (six months ago) link
Nope
― The land of dreams and endless remorse (hardcore dilettante), Wednesday, 25 October 2023 03:29 (six months ago) link
https://www.youtube.com/watch?v=s8zu0tf8hp4
funny dylan bit here
― corrs unplugged, Thursday, 14 March 2024 07:47 (one month ago) link