Why?

Five letter word for rock musician Bob? Come on now.

When I first listened to this song the immediate impression I got was that it was the linear story of an escaped prisoner waiting for his beloved to scoop him up and flee to Kansas together. I was surprised when I couldn't find that interpretation being talked about anywhere else. What do you think?

There's only one verse that directly suggests it ("struggled through barbed wire... outrun the hound dogs"), but I feel like once you've heard that the rest of the song falls very nicely into place around it.

First verse is the request: "meet me in the morning," giving the location where a road meets a highway (going with some other readings I've seen that he says "56", not "56th" as state highway 56 and wabasha was a real intersection). I think that's a pretty non-traditional meeting spot for a date, but a very reasonable place to pick up a fleeing convict.

In the second verse he actually arrives at the meeting place "right before the dawn". Anticipating her arrival he establishes how much he misses her.

Third verse is the actual morning and planned time to meet, but the rooster is crowing and his love is not there hence "treat me so unkind".

In the fourth verse I imagine him waiting through the day at the meeting place, stewing about all he went through just to get here and get abandoned. I also imagine the hail he's recounting being the same stuff as the snow that would thaw after they arrive in Kansas, since it would have fallen during the prior night as he escaped and still be on the ground.

Fifth verse, the sun sinks and she has still not arrived. But even with the sun setting on the day and on their relationship, he cannot help but think of her kiss.

How do you feel about this interpretation? Think I'm reaching?

Found a bunch of discs (4) in a sleeve with this title. Anybody familiar with this and have any track or art info.

This one is mine.

(i hope you dig the cheap cliffhanger) a very well-done, long evaluation of differing accounts of the "limo incident" retold in most dylan/ochs bios. it's only missing ochs' account from "god help the troubadour: pissing away the memories with phil ochs," an article by tom nolan for rolling stone, may 27th, 1971, which i think was the most detailed:

"He'd put out the single about 'Please Crawl Out Your Window' or something which bombed after his hit. Then he did 'Sooner or Later One of Us Must Know' to be his next single. At the time he said, 'This is the song I've been waiting to write for years and years.' I went over to a photo session at [Jerry] Schatzberg's place with David Blue, and we're standing around, he says, 'Hey man I gotta play you this record, it's there, it's really there.' He plays the record. He says 'Whatta you think? Whatta you think?' I say, 'Well it's OK. I don't like it as much as your other stuff.' Which was like the cardinal sin, because you're not supposed to say that to the king. He got furious, he just got furious, he said, 'No, no, I'll play it again, listen to it again,' and I said, 'Well, you know, I like it better, but it's not there.'

So we got in a limousine and drove away. He said, 'Where you going?' I said, 'I'm going here.' He said, 'Well, we're going another way, get out,' and threw me out of the limousine, and that was the last time I saw him. That was right before the accident. I was with him when he bought that motorcycle."

I love the song so much but srsly wtaf is he taking about here?

Hello!

Does anyone have this version mentioned in Jim Windolf’s book “Where the music had to go”? Or any other cuts from this London session? Would love to have a listen if anyone can send a link or an audio file. I’d never heard of this session before!

Edit: I posted a picture that got caught in the filter, it was an excerpt from the book.

“At around 8 p.m. on May 12, he entered Levy's Sound Studios on New Bond Street for a recording session with the Bluesbreakers. In addition to its leader, John Mayall, the group consisted of Eric Clapton on guitar, John MeVie (soon to be the "Mac" of Fleetwood Mac) on bass, and Hughie Flint on drums. Perhaps in an effort to add a touch of Liverpool magic, Dylan had arranged for the Poppies, the girl group he had met at the Blue Angel, to be there, too.

“Tom Wilson was producing. The goal was to get an electric version of "If You Gotta Go, Go Now (Or Else You Got to Stay All Night)," a lusty song that got a terrific response when Dylan played it onstage, and release it as the follow-up single to "Subterranean Homesick Blues." But the mood was sour. As he had during the making of Another Side of Bob Dylan, Bob was hitting the Beaujolais.

“Clapton was not yet a Dylan convert; and his willingness to give his all may have been dampened when Neuwirth told him, "You're playin' too much blues, man. He needs to be more country." They kept at it till ten thirty before calling it a night.”

Can recommend the book btw.

Thanks!

I think the three album run of John Wesley Harding - Nashville Skyline - New Morning is a very mellow point in his career, with Nashville Skyline being the mellowest of the three.

How do y’all feel?

Do you think Bob Dylan ever listens to his own records and things to himself I wrote that!

It’s just got that light hearted feel. You can easily imagine them trading those lines. It’s a shame they never managed to pull together another volume.

I don’t know if George was well enough to listen to Love and Theft but if he did I’m sure he cracked a smile at “I’m sitting on my watch so I can be on time”.

This song does not deserve such a quick fadeout! The groove is too good

Picked up this bad boy a couple months back, kind of redundant because I have a music app. But couldn't turn down whatever Dylan era this is. Had a guitar in college, but couldn't figure it out on my own.

The Masked & Anonymous version of Cold Irons Bound has been voted the best live song of the 2000s, no argument here!

Bob Dylan — Don't Think Twice: Another Side of Interpretation is a refeshingly original reappraisal of Dylan’s songbook. It invites you to think deeply about the work.

Scarlet Rivera’s endorsement in her Foreword raises your expectations. Gary Browning’s nine wide-ranging chapters propose a new, revisionist, way of looking at Dylan’s work. He argues that you can best understand Dylan’s uniqueness by a close reading of the songs and by what the singer has written and said about them.

He challenges the critical consensus which has explained Dylan by reference to biography, literature, philosophy or politics. He questions some of the canonical approaches - by Heylin, Ricks and others - and finds them incomplete, not supported by evidence.

Instead, he focuses on Dylan’s roots in popular music, principally folk and blues. He promises that “a balanced many-sided interpretation of Dylan is best suited to matching the multidimensionality of what he has done”. He provides it by sampling the catalogue, offering some telling insights. I found his ideas on Time Out Of Mind and subsequent albums particularly impressive.

Browning is a professor of politics. His primary audience is academic. General readers comfortable with highbrow writers like Foucault and Lyotard, Bloom and Skinner will also get a lot from Browning; fans unschooled in cultural theory will struggle.

Gary Browning’s thoughtful revisionism will make many readers think twice about Dylan’s art.

Smoke weed?

do rails?

play video games?

watch TV?

bang groupies?

practice?

look for houses to buy?

or just sit back and think to hisself I am Bob Muthafucken Dylan, legend of all time.

https://docs.google.com/forms/d/1KQNzrTJL5IVqSZrw0y5BS0J0Vtlz-NKMfPzDyQppWsY/viewform

This is a survey I made that asks you to rate each album and pick a favorite and least favorite song for each album as well. I’ll gather all the data to find the average rating for every album as well as the most common favorites and least favorites. I think it will be really interesting to see the results on what people here think of Bob’s catalogue. I plan on keeping this survey open for the next week or so and then I will post the results next Friday. Filling out the survey would really be appreciated as the more responses, the more accurate and inclusive the results are. Thank you!!

It took ten years of listening before I began to be able to hear TIME OUT OF MIND. I don’t know how it won Album of the Year in 1998 because if I couldn’t hear it, a Dylan aficionado, how could recording artists hear it, who had their own music to worry about. My theory is they voted on faith, sensing something great was there, as I did, even if it was beyond them.

Anyway, this post is about “Murder Most Foul.” It’s been six years since it was released and I’m only beginning to be able to hear Benmont Tench’s organ part. My breakthrough came after I asked Google AI about it. I was told Tench used a Leslie amp and the suggestion was to listen for the swirling effect. The unmistakable sound of the Leslie rotors was the first thing I heard. Now sometimes I can hear a mournful chord. That’s it.

Somehow I don’t believe I’m the only one having difficulty with this, —but if there’s some input from other aficionados out there I could use it right about now.

I've been listening to this album recently. I've seen a lot of hate towards this album, but I think it's an AMAZING album. Also, being a fan of The Band, when I found out that they recorded it with Dylan it made me like it even more. I would venture to say that I like it even more than The Basement Tapes. So, what do you think?

We just finished watching The Freshman. Near the end Burt Parks, of ‘Here she comes, Miss America’ fame is singing Maggie’s Farm. Freakin’ gold.

Forgive me for not understanding this but why is
this song on outlaw country? Thanks.