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So I am beginning in poetry, my spoken-sung litany with Dylan - as I listen to him; I write and read between the lines for specific songs. I feel we've had this dialogue for years anyway, he and I (which is really between "I and I") so why not make it official more than it is - which again is between the self and the self, for that is what Dylan does best, a reflection of the self allowing us to see deeper and then deeper, almost insisting on it. I am reflecting back to him; saying, Now you look here.... So here is one - this one is Sad-Eyed Lady of the Lowlands. I'm gathering them all together for what I pray will be a good and solid collection, an excellent book I hope - but here is the beginning, or the first that I am sharing. I listened to the song while I wrote - you could listen to the song while you read or have it in the background.
Thanks for reading
TD Bank sits atop Boston’s old North Station from where you can catch a trains to just about anywhere on the Northern Shore of Massachusetts. The station and the venue on top of it (which has been there for years: the name just keeps changing) lies on the fringe of Boston’s North End, known for great Italian restaurants and culture and festivals. North Station isn’t in the North End, but just outside of it and it’s there that Bob Dylan and Mark Knopler are playing tonight in about two and half hours. As Dylan says, It’s not dark yet, but it’s getting there. The sky is dipping into a darker winter blue and I’m sitting in Caffe Vittorria which is already decked for Christmas, large windows adorned with red and white candy cane streamers and pinwheel wreaths. When I take a photo of one and message it to a friend he writes back, “I think the photo you sent is hypnotizing me…”
You'll find it all here on Dylan's new album, "Tempest", about which much has already been said about the pre-release of the video for Duquesne Whistle video and the other video, also pre-release, New Roman Kings. Whatever you read or think or decided about either, try to listen to the music and the lyrics without those images and listen anew because it's Dylan and it's always worth a fresh look again and again. You'll find the moon shines bright on this album, appearing all over the place lyrically. This latest, aptly named Tempest, is really not for the faint of heart. In fact, some of it is frankly a little scary. He is the raconteur and cowboy. He is Dylan who is of course saved, and he is Dylan who is pissed off again and in love and is both judge and outlaw. He is all. Or he plays all by virtue of being our narrator. An album that at first seems variable in sound, from smooth velvety love-songs to outright rollicking (Narrow Way), it all hangs together beautifully and the sequence of the songs makes perfect sense. So many angels (or Angels, could it be Precious Angel again who has changed form?) and so much judgment. Dylan leads us once again through our landscape, through history, through a desert. He won't say a word till he's in his "right mind" (of course) and he tells us our Now and in this way, perhaps some oblique reference to the future - though he's no prophet as we all know and as he has told us time and again. Listener beware, take heed, and enjoy… As he tells us, his bell still rings. Calling Dylan.
Duquesne Whistle has already had a lot written about it, mostly about the really graphically violent video which I guess people didn't really expect from Dylan - though I'm not quite sure why not. He can be pretty seriously surly when he wants to be and pretty upset (think Masters of War). Duquesne may refer to Fort Duquesne which was actually very historically important in US history and the "whistle" Dylan talks about (which here is decidedly a train whistle) but could also refer to another kind of whistle. Fort Duquesne was a trading post and the site of a major battle (French English) and George Washington fought there. It is in what is now today Pittsburgh (where was the video shot, I wonder). It may not relate at all or it might. Either way, the name comes from somewhere and if it relates at all to that place and that time and is some hark back; Well, what on earth did you expect? It was a pretty bloody battle (read about it here).
I like the opening, "Can you hear that…" but then of course it's the "Duquesne Whistle blowing", but I immediately hear "Can you hear that rooster crowing…" and think New Morning (I'm so happy just to be with you: Theme Time). Lyrically it's an explosion, an absolute time-bomb of a song. A little love madness, a little slap-happy, a nod to the old oak tree that "we used to climb" ("Oh tie a yellow ribbon round the old oak tree…") Moonlight blinking. Lovers winking through the fence. It's gonna blow his and your blues away.
Soon After Midnight
The first thought is, This sounds like vinyl. That's the first thing you get or I get when I listen to this song which is cut one. It is smooth and lilting and romantic the way old records used to be and sound. We have Dylan here who tells us that "soon after midnight" he has a date with a fairy queen. Of course he does. But as he goes on he tells some Other, off screen, that he don't want nobody but her. It's a beautiful song and maybe she's the fairy queen of his dreams or his wakeness - because we don't know if this is Dylan at work or Dylan with insomnia (a whole new take on "Tomorrow Is A Long Time"). Here, Time Passes Slowly, only a little differently now. And we like it.
It's gonna hit you harder after the first cut and isn't that the point. It rocks right out from the start, no hesitation just booms right out. First, Dylan tells us that he isn't going to do or say anything until he has walked across the desert and is "in his right mind," an echo back to A Hard Rain's A Gonna Fall and all that this entails. More, if you want to go there, Narrow Way takes you to the Bible (see: here). Whether Dylan means is that way or not, I don't know - but what I can say is that the line he uses, "til I'm in my right mind" harks back to a song that many said was prophetic - and that this passage of the Bible is cross-referenced with another passage that warns us, take heed, "Watch out for false prophets…" hasn't Dylan always warned us of such. Did we listen? Didn't he tell us he was no prophet?
Here, he addresses an angel or his Angel once again (is it the same Angel, we wonder, from Precious Angel, or is this some other Angel (or a lowercase angel?) Or simply a classic Dylanesque term of endearment; a cheeky come hither. He tells her cockily, "If I can't work up to you, you're surely have to work down to me some day."
It's a "narrow way" indeed and it's Dylan's way. They'll both have to bend to a certain will, whosoever's that is and meet in the middle perhaps. There is fate and inevitability at work here. But that's so Blues, isn't it. The woman put down (why isn't she shot, I wonder… that will come later on the album. He'll jail her, but he'll stone her first. You'll see...)
It's a pulsing song really. It has immediacy and is vivid and graphic. Dylan doesn't shy away from anything and he never really has been timid. It's Dylan's always inner cowboy made manifest; the bad-good boy. He's so good at being bad. And that's why we love him. He'll still pray and why not: he hears a voice "at the dusk of day / saying "Be gentle brother, be gentle and pray.") Only Dylan could talk to an angel this way. Him and maybe Robert Johnson.
Long & Wasted Years
Regret. Slow and sexy Dylan with his "Oh, Baby…" His lover has been talkin' in her sleep, saying things she shouldn't say, he tells us (since when did Dylan believe that, I wonder, that there are things we ought not say). She just might have to go to jail someday, he says. I want to know, What did she do or what is she saying? It's coy and seductive and draws you in, both in sound and lyrically.
Here's a story bout his family long gone and dead etc etc (insert rest, you'll hear it). Dylan's clever toss in of Beatle covers and song titles album names (Shake It Up, Baby, Twist And Shout) abound. Dylan throwing us back our culture - as I've said before and as journalist Phil Gounis and I discussed. Dylan even tells us why he wears his dark glasses. His eyes give away too much (though he is careful not to tell us what). What is really interesting to me is the very last line of the song. It all sounds so good, the "…Comeback, baby…" the sort of Awww, baby, don't go. Does he mean it? We cried on a cold and frosty morn/We cried because our souls were torn/So much for tears." Winterlude Revisited.
Pay In Blood
Ah rock 'n roll, softer here. This just sounds like rock 'n roll to me. He'll pay in blood but not his own, he tells us. This guy is a little scary really, and this is the guy I was talking about earlier who'd perhaps jail his angel or Angel or anyone really because, as he tells us, he'll stone us first and then he'll jail us. Not only are we beaten first, we are jailed for something and we know nothing of it. Or maybe it's two voices and it's Dylan himself... I'm not sure. It's the law of Dylan (assuming he speaks for himself here). Someone else said to me that they thought New Roman Kings could be a sort of take on Masters of War and I can go there: I understand what they mean. It follows. Pay In Blood could be an echo to both songs, really; to Masters of War and to New Roman Kings - but it's Dylan's law or maybe it is Dylan's understanding of the Master's of War. I'm not sure.
Listen to the lyrics and see what you see. As usual with Dylan, I don't think there is any one correct answer (one is perhaps more right and only he knows that). He tells us he will play this hand whether he likes it or not, which makes me think of the great Christian writer (and author of beloved Narnia series of children's books, but who was a great Christian scholar) C.S. Lewis, who suffered a crisis of faith and wrote the books A Grief Observed and The Problem of Pain among many other tremendous works, who said of life, "You play the hand you're dealt: in the end, I still think the game's still worthwhile…"
Either way there is an echo to an echo. More than one voice here, classic narrative with dialogue-Dylan. You have to understand, "He's drenched in the light that shines from the sun". He's the Sun King.
This is where he was born, he tells us. A banjo begins the tale, where you think from the start as it clip-clops on, you certainly don't want to be or go. Except maybe you are already there, you fear as you listen on, only you had not quite seen it quite so dire as this. That's Dylan, isn't it. A prism and a lens on our society. Scarlet Town is "under the hill", he tells us, which provides no clues as to whether this place is real or fictional… It's a child ballad, fictional, dated circa 1690 called "The Ballad Of Barbara Allen" (which Dylan has played before live in concert, so this is not news here - again following in blues tradition, as he has long said and we ought know by now...).
According to Wikipedia, the earliest mention of the song is in Samuel Pepy's diary - an English Member of Parliament who kept a private diary for the English Restoration period and wrote about the Great Plague, The Great Fire of London (1666), among other things. Why Dylan chose the title he did, who knows but Dylan. Likely he knows the song's origin and of Pepys. Think Great Fire of London and you think of course red sky. And of course, it's initially Under The Red Sky.
What's going on here, in Scarlet Town? Nothing less than the end of days. It's really very Kula Shaker: "Everybody remain calm. Don't Panic. It's just the end of the world…." (from the song "Mystical Machine Gun"). We're told that here, good and evil exist side-by-side, gold is down to a quarter of an ounce, beggars crouch at the gate, the end is near, and The Seven Wonders of the world are in this place.
As he tells us about his hometown, Dylan confides, "You'd wish to God that you stayed right here." How so, I wonder; are we not already in this Scarlet Town? Haven't we always been under the red sky anyway, and didn't he Dylan always know it.
The reference to the Seven Wonders of the World is a little slippery for surely Dylan knows this is changeable and has changed throughout time (or does he mean the Seven Wonders of the Ancient World, compiled by Herodotus (484 ca-425 BCE). According to Herodotus they were; The Colossus of Rhodes, The Great Pyramid of Giza, The Hanging Gardens of Babylon, The Lighthouse of Alexandria, The Mausoleum at Halicarnassus, The Statue of Zeus at Olympia, The Temple of Artemis at Ephesus.)
Today, lists vary depending on who is doing the marveling. If it's the American Society for Civil Engineers you'll get one story (and note this is widely accepted) or if another group, you'll find other wonders (the society for Civil Engineers left out the Taj Mahal on their list). Also, the Seven Wonders of the World have naturally changed throughout time and there is of course some disagreement on what is marvelous and what is not. Most agree the Taj Mahal is pretty marvelous. The Great Wall of China, the Leaning Tower of Pisa, Stonehenge, all these and more have made lists past and present. Which of these Dylan is speaking of we cannot know. What we can know however is that at least one Wonder of the World remains consistent and that is the Great Pyramid at Giza. And anyway, regardless what you decide as your final list of wonderment, isn't there enough in the song to convince you that Scarlet Town is the here and now? The hic et nunc? After all, aren't we all existing side-by-side as he tells us they do in Scarlet Town; the white and the black, the yellow and the brown. Where else are we if not already there?
Note, John Jacob Niles made a recording of "The Ballad of Barberry Ellen" (from the original source on which this is sort of based) You can find the lyrics here; video not working, alas: ) and you can buy the song so take a listen on iTunes as "The Ballad of Barberry Ellen" on the album by Niles, "Child Ballads." John Travolta also did a version of the song, though I have not heard that (of the root source). Dylan's is of course his own take... and will doubtless be covered.
Early Roman Kings
It begins with Romulus, if you want to know, historically speaking. He is one of the legendary early Roman Kings (753-717). Dylan describes the "new" Early Roman Kings for us; they are bow-tied and brassed and booted and blinged and essentially spatted. They are the guys that all the girls want to be with. You see them coming. They are sluggers and muggers, lecherous and treacherous, he warns yet still all of us women are just still going crazy for these new early Roman Kings. Just what has come over us, I wonder. Is it the bling, the boots, the costume, the outfit, what? Surely not the criminal element, or what sounds to be criminal (I don't want no mugger, thanks you can keep it anyway). These guys are decked out. As to Dylan, he may or may not be one of them - I can't tell. He tells us, "I ain't dead yet. My bell still rings. I keep my fingers crossed like the early Roman kings." In other words, if you cross your fingers, you don't really mean it. Or maybe it's a finger-crossing of a promise ("I'll keep my fingers crossed and wish for the best" sort of thing). Who knows. He's either hoping or fibbing or both or hoping he doesn't get caught in a fib.
What about the real first Early Roman Kings: They were basically final arbiter in all - they could judge, legislate, officiate, they were head of state, commander in chief, owner of the law who worked with the help of two criminal detectives (back when). These "new" Early Roman Kings about whom Dylan uses the work "muggers and sluggers" (maybe these are his hired thugs, his two detectives). Well, he could mean that any number of ways: you can mug someone in a more civilized legal way and get away with it as anyone who has been to court well knows. It all depends on how things go. Here Dylan makes himself final arbiter. He has the power. He will decide just as the early Roman (and new) kings decide and decided. Note, the king was also head of the national religion and so was also Chief Priest. Here is Dylan laying down the law of the land and his own special brand of voodoo…
A ballad, a love song story in three parts and of course a love triangle. There are meetings and arguments and duels and husbands shot and, in the end, a wife who shoots herself after killing her husband's murderer. It's really decidedly Celtic in a way but it could be anywhere for doesn't this happen all of the time in some way or another? We may not be so literal, but we all fall in love, we are all wounded, we all fall down … sometime. It's very Romeo and Juliet meets Summer Lovers in terms of simple love plot line (the play meets the movie). Of course they can't be together and co-exist. Someone one must die or they all must die. It follows. All or one have been wronged. And it fits the movement of the music and frankly mood of the song, which leads us into a wooded place that could be anywhere, anytime.
The title Tin Angel could have come from anywhere and could reference any number of things but it happens to be the name of an Odetta album released in 1954 as "Odetta & Larry" (ref. Larry Mohr). Note there was also a Tin Angel nightclub in San Francisco, though it might be more interesting to hear the Odetta album given the play between Odetta and Dylan (if you've heard her covers of his songs you follow) and apparently Odetta was quite influential in Dylan's musical development, which I fully believe according to Yaffe who mentions her in his book Like A Complete Unknown. Odetta's album Tin Angel has traditional songs and original songs and is often said to be her first solo album. The following album, "Odetta Sings Ballads and Blues" released in 1956 could well apply to this album for Dylan: Dylan Sings Ballads and Blues. Dylan always spins it a little differently, but it has the seed in it. You'll find it.
Dylan tells us a story - which he's done forever ("ripped straight out of the newspaper again… and nothing has been changed - except the words…"). The thing that's interesting here is that Dylan has us down for a little chat about the sinking of the Titanic, a real event, and then he moves on and references the James Cameron 1997 film Titanic (a fictionalized version, which while I am sure was well-researched, surely takes much poetic license.) It's an interesting construct but nothing new for Dylan, just longer here. Here is BD again re-telling something us a story that we already should know only this time, we didn't read it in the newspaper like he usually does (or used to tell us) - we saw it in the theatre (or most of us did and if not this one then maybe the '53 version). But he's not talking about that. It's all about Leo (DeCaprio).
If you don't know Leo DiCaprio or haven't seen the film then that inevitably changes your experience of this song. It's Dylan interpreting what he saw in the film, what he read and in turn, we re-interpret what we have seen, what we know (or think we know) though Dylan. It's a meta-reality really. We know what happened or think we know - but how we actually see it and experience it will depend on who is doing the telling (re-telling as the case may be) and what we bring to the table ourselves.
It's a long song and it has a natural movement to it. A side-to-side rocking song, but be in the mood for a long story because if you're not, this won't fly. If you are, then it does fly. What is most interesting to me is nearing the end of the song where Dylan talks about the Reaper who comes to claim the lives of all souls. This Reaper, Dylan tells us, does not discriminate. As one crew member reads the Book of Revelations, the ship is sinks, which the Watchman knew all along (he dreamt it, Dylan says - he knew…) It's facts and cinema: Dylan-verite. As to the event itself, "There is no understanding G-d's judgment," Dylan sings. Meanwhile, the Watchman is still dreaming that the ship is sinking as the ship is sinking… Nobody is talking in his watchtower. He is dreaming now and it is all too true. According to Dylan, the Reaper comes and it is God's judgment, perhaps a reference to the word's of a Titanic deckhand who said, "God himself cannot sink this ship." It is God's judgement that these ill-fated passengers cannot escape, and there is no understanding of it, Dylan tells us. As to the Reaper and the rest … Let us not talk falsely now. Note: After this review, Dylan said in a Rolling Stone interview (september 27, 2012 with Mikal Gilmore) that he absolutely does not make any judgment himself about the Titanic etc etc - so it's likely he's referring to the quote from the deckhand as cited above, as originally noted. Decide for yourself. Or take the man's word....
Roll On John
Nothing less than the shot that took John Lennon's life is how this song opens.. Nothing simple about it. This song is full of references as you would expect for a song about John Lennon. "I Heard The News Today, Oh Boy…" We all heard that news and if you weren't there you certainly know it now. And there is yet more news and we hear that as well. What news Dylan is talking about or is this a nod to John pure and simple? Lennon's darker days and the "trade winds" Dylan sings of bring to my mind the footage from Imagine for the song "God" in which we see Lennon on a boat, seated in profile, lyrically himself of everything except for Yoko and himself. He even divests himself of "Zimmerman." This is Dylan's sung vespers for Lennon, pure and simple. It's soft-sounding yet remains lyrically jarring. After all, it has all of the ingredients that make it jarring - a murder, the mere mention of John Lennon's name, the hard time Lennon had before he died (which we all know about), and Lennon's eventual peace that he found when all that was over and then in a flash it and he were gone. That John burned so bright, a candle a spark some thing we couldn't quite grasp, Dylan tells us but wanted to contain that was uncontainable. That may just have been both Lennon's gift and his albatross. Note, some really interesting details/specifics about this song that you may already well know (I did not) are in the RS article (that Strawberry Fields was actually behind Lennon's childhood home, for example) - and Dylan mentions this in the song, so the Rolling Stone article is absolutely worth buying. As usual.
Thanks for listening,
I've often thought of becoming a foreign correspondent/journalist, for my love of the world, my sense of adventure. My trouble perhaps, or my strength, depending on who would or would not hire me, would be that I would become involved with my subject. I would be in the trenches. I would "Deal with dying" which is exactly what Dylan advises us not to do in his song "To Ramona", although he "cannot explain that in rhyme." I know that, regardless of what he says, I would make some attempt to make sense of it. That no, I would not try to make "rhyme" of it: not that. I would try to explain it in lines. Yet I would absolutely try to extrapolate some theorem or some equation: I would try to find the variables and plug them in and any missing variables, those I would seek out.
I have long liked Dylan's song, Mr. Tambourine Man, in particular the Royal Albert Hall recording of it, which, I heard an ethereal echo of it drifting out the windows of a car in the underground parking lot as I was leaving a Dylan show at Foxwood's MGM Grand several years
To note from the start, I have always been drawn to this particular song ("A song about marriage," Dylan says before performing it at The Rolling Thunder Revue - "This is a song about marriage - ". I connect fully because of the notion of reuniting (which is the legend of Osiris and Isis) with one who is in some way kindred and part of us is really what marriage is all about in Kabbalistic terms and ideally, what marriage is about. The other half.
Perhaps it has to do with the hat that I am wearing around those days. Those early Spring days. It is a straw hat but it is a cowboy hat with a rope draw and leather pull. Or perhaps it is that I wear this with my ultra suede skirt and my suede boots and my long ponytails. Perhaps it is that i feel like a cowgirl and I feel part angel too. No matter what we believe in, how vivid our visions, and I have had some lately that are so intense, I do realize that they all fall with a "crashing but meaningless blow" because as Dylan tells us, "No sound ever comes from the Gates of Eden." And of course, there are no truths outside the Gates of Eden. All of our vision and sound then outside of this place amounts to naught. I'm also well aware that to a great many the Cowboy Angel is none other than the Holy Ghost. Well, I make no claims on holiness. Ghost, perhaps. Holiness no. Angelic, at times. Cowgirl, at times. These days, Cowgirl Angel - "Most of the Time" and all of the words that are in that song apply likewise.
I want to write a whole piece about one piece of music. I want to write a whole piece about one track labelled, or mislabeled, (whichever the case may be - either iTunes is right and the bootleg printing is wrong, I don't really know) but the track is on the bootleg, "Now Your Mouth Cries Wolf", the track labelled "CO81315", or on iTunes (corrected by iTunes) the track is "CO83185", which is how I've always known it. I still don't know which is correct.
Here we go. I’ve been grossly unfair, but I have to cut myself some slack for my pissiness and unfairness was dictated by mood. In a recent article that I wrote and that was featured on bobdylan.com, a late review of Dylan’s Christmas album, Christmas In The Heart, I wrote (and I believe) that Dylan’s album skipped all of the steps and went straight from pressing to being an instant classic. I think he knew it would. In the same article I said that I felt Aimee Mann’s Christmas album, Another Drifter In The Snow, was not the sound of Christmas at all. It was not, I wrote, in my view the sound of “rockin’ around the Christmas tree.” It was, I wrote, the sound of my maybe-future-would-be could-be suicide.
Friday November 13th, The Wang Theater, Boston
This is not intended as a timely review of Bob Dylan’s show at Boston’s Wang Theater on Friday, November 13th 2009.
When pondering what Dylan album might be crying out in the wilderness for celebration, reappraisal and re-imagining, Nashville Skyline very well might not register much of a blip on the radar screen. Its relative brevity and generalized Music City tone make it easy to overlook despite its genuine moments of poetry, pathos and paradox. Certainly, Dylan’s earlier catalogue or a smattering from the middle or late career suggest themselves as ripe pickins for a semi-major overhaul in the hands of a smart musician and producer.
Why is is that we cannot get enough of Bob Dylan? Why are we such voracious consumers of all that he produces – hell, even if we loathe the vehicle, even if, like me, you saw a CD of songs sold through Starbucks that has, we are told, influenced Dylan, you bought it anyway, maybe hating yourself the whole time for buying into anything that had anything to do with Starbucks and music, and in particular with Dylan - not because he’s some saint, but because part of you somehow figured he was above that fray. Mind you, if you’re in there in the first place, the question to ask yourself is why the hell he should be “above” something that clearly you are not. You are there: you are buying it while you sip your chai latte. Or maybe you did not. Maybe you’re above all that. I’m not.
Walking north chasing the ghosts of my city and cities past
Strange addresses on yellow post-its lead me to forgotten backwater haunts
You may never find this but right now that’s not important. The important thing is that I get this down on paper, filed away somewhere because otherwise, the historical record will be inaccurate and that pisses me off and frankly, it just seems wrong and I hate that. I studied ethics and philosophy. It bothers me that something that ought be said would be left unsaid. This may or may not be of import.
Bob Dylan and the Cultural Loop | An Interview with Journalist Phil Gounis by Sadi Ranson-Polizzotti
Interview Date: August 7, 2008
An Interview with Poet, Critic, Publisher, the popular and the always waxing poetic, especially on all matters Dylan, Phil Gounis.
Phil Gounis was first drawn toward the songs of Bob Dylan in the early 1960's and never lost interest. Dylan’s work through its many changes has continued to intrigue him and influence his oeuvre as it has that of millions of inspired artists worldwide. Gounis is an American poet, novelist, archivist, filmmaker, publisher and critic. His work has been published in various media, and Gounis is well known for his Blues radio program that was popular during the 1970s, “Crackerbox” on KCLC. In the 1980s, Gounis co-founded a magazine of politics and popular culture – Steamshovel Press – with the impetus of publishing an interview with Ram Dass. His work has also appeared in River Styx Magazine. You can find out more about Phil Gounis on Wikipedia by typing in “Philip Gounis”.
For reasons unknown, and while I was almost all alone this New Year's Eve, I found myself listening, between doses of Handel and Beethoven countdowns on the radio, to my vinyl copy of Planet Waves.
It’s not a surprise to anyone who knows Dylan or has seen him live that he has now, and always has had, a playful side. It’s there in person, and it’s clearly very present in his lyrics. I could name many, but right now, I have one song in mind, and that is One More Weekend. If you’ve read me before, then you already know the disclaimer, which is that I never try to interpret Dylan’s lyrics or seek any hidden meaning because I’m not Dylan and I hate that shit – and it’s been done to death. So I’m just me, and I hear what I hear and I see what I see, so it’s what Dylan means to me. That’s the best I can offer; the best, the most, I can do.
So you want to know if it’s worth buying the boxed set Tell-Tale Signs? It’s worth every penny and not simply for a die-hard Dylan fan, but if you don’t know bootlegs or like the rest of us until now, know the alternate takes of many of the songs (particularly from Oh Mercy), then you’re in for a real treat. Buy it. Get it. This is worth the time because it’s Dylan at his recent best, covering the 90s through the recent-present.
Someone asked if I knew the significance of Dylan’s eye logo/banner that drops down in concert and has for sometime now and that is likewise widely branded on a lot of Dylan merchandise at shows and the like.
My site has a backend search engine query, so it’s easy for me to see how people find Tant Mieux, what they searched for, and what they found. It’s interesting to see what people are searching for when it comes to Dylan. Today, I came upon, horror of horrors, “When did Bob Dylan die in a motorcycle accident?” Obviously, not a query by someone who knows a whole lot (of recent news anyway) about Dylan, but a question that begs to be addressed. I’ll tell you now,