Tag Archives: bob dylan

No Phones at Concerts? Bob Dylan May Be Onto Something (via The Loop / Golf Digest)

“Stop tweeting already”

 

The Loop / Golf Digest — Bob Dylan did a weird thing at his concert Monday night at the IU Auditorium in Bloomington, Ind. Well, he did a ton of weird things. He did nothing but weird things. He played a mostly spoken-word version of “Tangled Up in Blue,” then warmly growled half-dozen old-timey Sinatra standards from the back of the stage while wearing a white dinner jacket. It was a curious evening, is what I’m saying. We never had this problem at Jimmy Buffett.

But the most weirdest of weird things was that Dylan issued a comprehensive cell phone ban and dispatched a surprisingly remorseless staff of IU sophomore volunteers to enforce it with the militant fire you usually only associate with students smuggling flasks of Mad Dog into football games (which actually doesn’t happen at IU, they’re just happy to have people there). These security people were ON IT. I tried to take a picture of the stage — just the stage, with nobody on it, with the house lights on — and two red-shirted valkyries descended on me like I’d just tried to jack Dylan’s trunk of bolo ties. In short, the ban worked — there was nary a telltale blue light in sight. It was impossibly odd to scan the crowd and see actual blackness, a bracingly strange moment of nostalgia, like being in a restaurant where people are smoking.

Which led us to wonder: Is Bob Dylan onto something?

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Slightly Confused Review: Bob Dylan and Mavis Staples at the IU Auditorium (via Indianapolis Monthly)

Indianapolis Monthly — A longtime Bob Dylan–fan friend of mine recently made this very good point: For all of Dylan’s reputation as an inscrutable recluse, a sly mystery, some mythic brand of unknowable stringy-haired wraith, he’s not that hard to catch.

I don’t have the exact math on this—God save anyone who does—but Dylan is on the road so much that everyone gave up and started calling it the “Never-Ending Tour.” He releases an album maybe every other year; the most recent is a set of three CDs. He’s up to 13 editions of his ample “Bootleg Series,” the latest of which comprises eight discs chronicling his still-not-unweird Christian-flavored “Gospel Tour.” (It accompanies the just-released documentary “Trouble No More,” which features gobs of new footage.) To recap: That’s eight archive CDs for a weird spell that produced two albums that people mostly did not like. And while he’s hardly a cover model or anything, he’s good for a major interview or two every year, which was at one time considered an appropriate amount to hear from famous singers.

Point is, if you’re looking, Dylan is about as hard to find as a bag of Doritos. Armed with this revisionist knowledge, I attended my first Dylan concert in 12 years on Sunday night at the IU Auditorium, and found him … pretty much an inscrutable recluse. The full review at Indianapolis Monthly. 

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Interview: John Mellencamp on “No Better Than This,” his unusual fall tour and what the blank he was doing in the ’80s

Rolling Stone — Bob Dylan and John Mellencamp’s tour wraps in September, but Mellencamp will continue on this fall with sixteen Midwestern dates in support of No Better Than This.

Unlike his immaculately produced ’80s albums, Mellencamp wrote this record quickly, on acoustic guitar, and recorded it in mono on a 55-year-old Ampex tape recorder. “I looked at T Bone and I said, ‘What the fuck were we doing in the ’80s?'” Mellencamp told RS. “I made a record once that took almost a year. I spent millions of dollars dicking around with songs, and in the long run it paid off because it sold millions of copies. But I go back and I listen to the record today, and it was…more of a craftsman thing.” Read the full story at Rolling Stone.

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  • Stream the title track from “No Better Than This” at mellencamp.com

Martin Scorsese, Bob Dylan and “No Direction Home”: How does it feel?

Florida Times-Union — The first thing music fans will notice in watching Martin Scorsese’s Bob Dylan documentary No Direction Home is that Dylan is talking.

On camera. In person.

Chatty, conversational, mischievous. Funny, even.

For longtime Dylanphiles, this is sort of like J.D. Salinger doing a signing at Barnes & Noble.

Only Dylan knows what’s compelled him to embark on this recent surge of self-revelation, which includes last fall’s best-selling memoir Chronicles: Volume I, and a coffee-table book of bric-a-brac that’s been released to accompany the film, but one thing’s for sure: It’s not to definitively clear the cobwebs out of the dusty and more impenetrable corners of the Bard’s psyche.

If anything, the black-clad Dylan who stars here does more of his pathologically addictive dance, dropping hints about truths, then stepping back to distance himself from anything too revealing. Of his early development, Dylan rasps, “Well, it didn’t happen in any of the ways I read about.” A great answer, if you’re John Roberts.

Peppered with many rare and previously unearthed live performances, home demos and session work (though none presented in complete form, unless you buy the DVD, where you’ll find some in the bonus materials), No Direction Home sticks to the period between Dylan’s 1961 arrival in Greenwich Village through his uncomfortable deification by the folk-rock establishment and ending with the 1966 motorcycle accident that kept him off the road and holed up in upstate New York for eight years. It’s bookended by his legend-building performance in Manchester, England — what was long mislabeled in bootlegs as the “Royal Albert Hall” concert — the second-most-famous of his chaotic “electric” performances and the gig where bitter, confused fans stung the singer with cries of “traitor!” and “Judas!”

On those bootlegs, such vitriolic bullets sounded as though they were spat on stage; in the film, they’re almost played as punchlines to a media/fan/counterculture machine that had gotten totally out of hand. “To be on the side of people struggling against something doesn’t mean you’re political,” he says, introducing With God on Our Side, and the movie, like Dylan or anyone, leaves the issue dangling of what a “protest song” is and whether he ever wrote one anyway.

Manchester is the main course of Scorsese’s film, the apex in which the evolution of Robert Zimmerman of Hibbing, Minn., (where Dylan plays down his youth by claiming “it was too cold to be bad”) into some folk-rock Jesus reaches its most absurd, and, according to Scorsese’s storytelling, damning point. The 1966 Dylan bristles at angry, take-take-take fans. He dryly jousts with combative and comically square reporters, many of whom speak in 1950s-propaganda-movie voices and can be easily imagined wearing short-sleeved buttoned-up shirts — the most fantastic example of which is a Swedish guy who admits to having “never heard him sing.”

And he reflexively builds up an ironic-but-uncomfortable line of defense at a nutty state that his then-drummer, Mickey Jones, ably sums up: “Here was someone who everybody loved, and they didn’t like what he was doing. And they were showing it.” (“How can they buy tickets up so fast?” Dylan wonders, not entirely jokingly.) Modern-day Dylan regards it all in hindsight with a detached demurring, but what else would you expect?

What begins as a biographical walk through New York’s folk/beat/hippie scene in Part 1 turns into something more tragic, and Scorsese and Dylan both making the point that when Dylan was christened as a savior, he grew instantly weary of the ludicrousness of it and fled pretty literally into the hills.

There are other telling quotable nuggets scattered throughout — such as Dylan’s claims that “very few of my [ideal performances] could be found on any of my records” and that he still considers his mates in the Band “gallant knights” for their loyalty on those electric shows.

But if there’s any truth, any moral to be found here, it’s how impossibly huge Dylan got, despite what appear to be herculean efforts to the contrary, and how it visibly turned his original resolve into a pathological need for change (and may help explain what he’s doing on Victoria’s Secret commercials now). Moreover, No Direction Home shows us the beginning chapters of what’s turned into drooling celebrity culture being written, intercut with clips of Dylan and Johnny Cash harmonizing on I’m So Lonesome I Could Cry, and the jarring shift between purity and noise is telling and scary to watch.

But as with all Dylan lore, that truth is shifting, amorphous, written in comically overlapping fashion by the thousands upon thousands of folks who have either been part of the story, or claimed to. The best evidence of this is the 1965 Newport Folk Festival segment, wherein Pete Seeger, and a half-dozen folks who aren’t Pete Seeger, recount the story in which Seeger was rumored to threaten to hack Bob’s electric cords to pieces with an axe. (For his part, Dylan doesn’t even seem to have figured it out entirely.)

The various tales are stacked up like planes landing at an airport, never making any sense, really. But they’re note-perfect indicators of how history and hand-me-downs have clouded the Dylan myth, fueled not least of all by the man himself, who’s never done a thing to quash it. In a couple of glinting expressions glimpsed by the camera, Dylan seems to enjoy offering no closure. This many years into a career of incalculable influence, there’s probably no definitive Dylan tale to tell, and the words of Bob himself don’t get us any nearer to a gospel truth. But Scorsese and No Direction Home have come about as close as anyone ever has.


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