Podcasts about Desolation Row

What's your most loved and least favorite song on Bob Dylan's Highway 61 Revisited?! Dan chose Zimmerman's acclaimed sixth album for us to rank in this fun episode about a world class wordsmith and his out-of-tune guitar. We hit the guest ranker jackpot getting singer/songwriters Lloyd Cole and the Old 97's Rhett Miller to chime in with their most and least loved songs on the album. Listen at WeWillRankYouPod.com, Apple, Spotify and Desolation Row. Follow us and weigh in with your favorites on Facebook, Instagram & Threads and Twitter @wewillrankyoupod.SPOILERS/FILE UNDER: Joan Baez, bahhhhs, Ballad of a Thin Man, Beastie Boys, the Beatles, Blonde on Blonde, Mike Bloomfield, blues, Bringing It All Back Home, Johnny Cash, Champaign, Illinois, Lloyd Cole, the Commotions, Desolation Row, Bob Dylan, Steve Earle, From a Buick 6, folk music, folk rock, going electric, Grateful Dead, Paul Griffin, harmonica, Jimi Hendrix Experience, Highway 61 Revisited, It Takes a Lot to Laugh, It Takes a Train to Cry, Juarez, Mister Jones, Judas, Just Like Tom Thumb's Blues, Al Kooper, Bruce Langhorne, Sam Lay, Gordon Lightfoot, Like a Rolling Stone, lyrics, Charlie McCoy, Meet Me In The Morning, Milk Cow Blues, Rhett Miller, Newport Folk Festival, Old 97s, out of tune guitar, Queen Jane Approximately, rap, Rolling Stone magazine, Rue Morgue Avenue, siren whistle, tack piano, Tombstone Blues, Violent Femmes, Wilco, wordsmith, 1965.US: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.comNEW! Host tips: Venmo @wewillrankyoupodhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPodhttps://www.threads.net/@WeWillRankYouPodhttp://www.twitter.com/WeWillRankYouPo http://www.YourOlderBrother.com(Sam's music page) http://www.YerDoinGreat.com (Adam's music page)https://open.spotify.com/user/dancecarbuzz (Dan's playlists)

Stuart Maconie is joined by the 41st best stand up ever to talk about his new tour 'Stewart Lee Vs The Man-Wulf', and by Philippa Dunne who plays Anne in the school gates sitcom 'Motherland'. Anne is back in the spinoff series 'Amandaland', focusing on Anne's glamorous best friend Amanda. Aysha Kala tells us how she nailed the accent to play Saima in the new Bradford set crime thriller Virdee.Music from song intrepeter Barb Jungr whose new album 'Hallelujah on Desolation Row' sees her back in the company of two songwriters whose music she has spent a lifetime alongside, Bob Dylan and Leonard Cohen as well as Irish singer and rapper Biig Piig who has just released her debut album '11:11'.Presenter: Stuart Maconie Producer: Jessica Treen

In this episode of *Listen to This*, host Eric Leckey delves into the epic world of songs that clock in at 10 minutes or longer. From rock anthems like Led Zeppelin's "Stairway to Heaven" and Pink Floyd's "Echoes" to progressive classics like Rush's "2112" and Bob Dylan's "Desolation Row," Leckey explores the stories, musicianship, and ambition behind these extended masterpieces. With deep insights into how these lengthy tracks push the boundaries of songwriting, he celebrates the art of storytelling through music that dares to take its time. Tune in for a journey through the long-playing legends of rock!

Train of Thought is a podcast hosted by Rob Tobias focusing on culture, music, interviews and society. This show features songs and comments about the songs of Bob Dylan concerning race and social justice. The Bob Dylan songs include: BLOWING IN THE WIND, A CHANGE IS GONNA COME (Sam Cooke), DESOLATION ROW, OXFORD TOWN, HURRICANE, DIGNITY, LONESOME DEATH OF HATTIE CARROLL. Rob can reached by email at: rob@robtobias.com HOME PAGE: robtobias.com TRAIN OF THOUGHT podcast: @robtobias ROB TOBIAS VIDEOS: www.youtube.com/robtobiasvideos BANDCAMP: robtobias.bandcamp.com/

The One where Dave and Rich are confused! Please support Signal of Doom & Legion Outpost on Patreon! Every single dollar helps the show! https://www.patreon.com/SignalofDoom Follow us on Instagram! Please like the Facebook Page! Follow us on X: @signalofdoom Dredd or Dead: @OrDredd Legion Outpost: @legionoutpost

"A Day on the Green: Celebrating 35 Years Since the Legendary Concert"Larry Mishkin  highlights a significant Grateful Dead concert from May 27, 1989, at Oakland Alameda County Stadium, part of an AIDS benefit organized by Bill Graham. The event featured artists like Tracy Chapman, John Fogerty, Los Lobos, Joe Satriani, and the Grateful Dead. Larry delves into Fogerty's set, backed by Jerry Garcia and Bob Weir, sharing insights and historical context. He also touches on the canceled Neil Young concert due to illness, expressing disappointment and hope for rescheduling. The episode mixes personal anecdotes, music history, and current events in the music world. Grateful DeadMay 27, 1989Oakland Alameda County StadiumOakland, CAGrateful Dead Live at Oakland-Alameda County Stadium on 1989-05-27 : Free Borrow & Streaming : Internet ArchiveA Day On The Green: Aids Benefit Concert:Tracy Chapman                an American singer-songwriter, widely known for her hit singles "Fast Car" from her debut album “Tracy Chapman” (1988) and "Give Me One Reason" from her fourth album which on that day was still a few years awat, “New Beginning” (1995).  Fast Car has enjoyed a resurgence thanks to Country star, Luke Combs, who's cover version went platinum in 2023 and by September that year was a No 1 country hit making Chapman the first black woman with a sole songwriting credit at No. 1 on the Country charts.John Fogerty                Of Credence Clearwater Revival fameLos LobosJoe Satriani              an American rock guitarist, composer, and songwriter. Early in his career he worked as a guitar instructor, with many of his former students achieving fame, including Steve Vai, Larry LaLonde, Rick Hunolt, Kirk Hammett, Andy Timmons, Charlie Hunter, Kevin Cadogan, and Alex Skolnick. Satriani went on to have a successful solo music career, starting in the mid-1980s. He is a 15-time Grammy Award nominee and has sold over ten million albums, making him the bestselling instrumental rock guitarist of all time.[3]In 1988, Satriani was recruited by Mick Jagger as lead guitarist for his first solo tour.[4] Satriani briefly toured with Deep Purple, joining shortly after another departure of Ritchie Blackmore from the band in November 1993.[5] He has worked with a range of guitarists during the G3 tour, which he founded in 1995.Tower of Power, and, last but not least Dead INTRO:                                 Althea                                                Track #3                                                4:51 – 6:21                From the Go To Heaven album (April, 1980), Garcia and Hunter masterpiece.  Always a Jerry favorite and loved by Deadheads everywhere, this was the third song of the show following the Touch of Grey opener (of course) and Greatest Story.  Great guitar work, lovely vocals, this song really launches the show and gets everyone in the groove. Played 273 timesFirst:  August 4, 1979 at Oakland Civic Auditorium, Oakland, CA, USALast:  July 8, 1995 at Soldier Field, Chicago          The weather for the Day On The Green concert was perfect. Bill Graham, apparently, had an exclusive arrangement with some greater power, so that it never, ever rained when he was having a major outdoor show, and his deal remained in place for the May '89 AIDS Benefit. Another oddity about the AIDS Benefit was that there were no less than five opening acts for the Grateful Dead, which I think was some kind of record for a Bay Area Grateful Dead show. To see that whole event would mean at least 12 hours in the sun, just to wipe yourself out for what we all really wanted to see at the very end.            It seems shocking today that a Benefit concert for a terrible disease would be seen as a progressive political act, but such was the Reagan 80s. At least in San Francisco, efforts to prevent AIDS and provide care for those suffering from it had finally expanded beyond the gay community into the general culture. Nonetheless it was still significant when major rock bands headlined a large benefit concert in the Bay Area's biggest venue. Concern for AIDS had finally reached parity with Amnesty International and the Rain Forest, which was a welcome thing. The Coliseum benefit was the largest of several events around the Bay Area, all organized by Bill Graham Presents, and meant to raise awareness as well as money.            Originally the Oakland show was supposed to have joint headliners, with both the Grateful Dead and Huey Lewis and The News. A few weeks before the show, however, Huey Lewis had to drop out of the show. Rather sheepishly, his management publicly conceded that the stadium show was cutting into ticket sales for Lewis around Northern California, and they couldn't afford to work for what was effectively nothing.             The Dead, of course, had no such concerns. At a press conference, Jerry Garcia graciously said that Huey had to listen to his management, it was part of the business.  Huey Lewis And The News were the biggest act in the Bay Area at the time with respect to record sales, and yet the Dead outdrew them by several multiples. The Dead were no longer an aging hippie band who hadn't broken up--they were the biggest draw in town.           By 1989, the Dead were huger than ever, thanks to "Touch Of Grey" – which the Dead opened with - and the Coliseum show was an opportunity for a lot of people who had always wanted to see the Dead but hadn't been been able to get tickets. Frost and Shoreline shows sold out pretty rapidly, so regular rock fans who wanted to see the Dead were out of luck. Thus the crowd was very Dead-positive, with plenty of Deadheads, but far less like the insular club of Deadhead veterans that were characteristic of Bay Area shows at the time.            There were many fascinating aspects to this event, but in retrospect the most fascinating was that former Creedence Clearwater Revival frontman John Fogerty was second on the bill, and it was known before the show that Jerry Garcia and Bob Weir would be part of his backing group.            Creedence had been hugely, titanically popular, but Fogerty had been in a bitter dispute with his record company since the mid-70s, and as a result had refused to play any of his great Creedence songs in concert. By 1989, however, although Fogerty's ire towards Fantasy Records had not subsided, for various reasons he had come to terms with his old songs, so it was widely known that not only would Garcia and Weir be backing Fogerty, but that they would be playing Creedence classics as well. Everything pointed towards an event of historic proportions.            There is a You Tube video of the entire Fogerty set that I encourage you to view.                   Fogerty had a unique status in the Bay Area at the time, and everyone was reminded of that when word was unofficially "leaked", I believe through Joel Selvin's Chronicle column, that not only would Garcia and Weir back Fogerty, but that Fogerty would be playing old Creedence songs.            John Fogerty hit the stage in the late afternoon, last up before the Grateful Dead. His band, previously announced, wasJohn Fogerty-lead guitar, vocalsJerry Garcia-guitarBob Weir-guitarRandy Jackson-bassSteve Jordan-drumsJackson and Jordan were well-known and well regarded as session players. Randy Jackson was a working member of Santana's band at the time, among many other gigs. Today, of course, Jackson is best known as a judge for the TV show American Idol, but that was far in his future. Jordan had played the Bay Area recently, on the 1988 tour with Keith Richards, whose album he had co-produced. Fogerty played 11 songs in about 45 minutes. Born On The BayouGreen RiverDown On The CornerRock And Roll GirlCenterfieldProud MaryMidnight SpecialBad Moon RisingFortunate Sonencores with Clarence Clemons-tenor saxophoneSuzie QLong Tall Sally             The question many would most like to have answered about this show is "who rehearsed?" From watching the video, it is clear that John Fogerty had run through the songs with Randy Jackson and Steve Jordan. Now, Creedence songs are delightfully basic, as well as famous worldwide, so pros like Jackson and Jordan hardly needed many takes. On every song, however, Jackson and Jordan both provide a funky bottom and plenty of accent. They knew the tunes, and they knew how to make them swing, so I think they had worked on them with Fogerty.            Jerry Garcia, however, was notorious for never wanting to rehearse. Weir is far less notorious for avoiding rehearsals, though it is also known that he is famously not on time, so it may amount to something similar. Since John Fogerty wasn't particularly close to any members of the Dead, it's clear that Bill Graham was the one who got Garcia and Weir to accompany Fogerty, and in so doing make it "an event," in classic Graham style. Could Graham have persuaded Garcia to rehearse? The alternative is strange, namely playing a show in front of 40,000 people with at least two band members completely flying blind.            On the day of the show the story is that Garcia and Weir had a dressing room run-through with Fogerty and the rhythm section, agreeing on the tempos and the intros. Sandy Rothman has described how the Jerry Garcia Acoustic Band did not really practice songs, they just agreed on an intro and tempo and sang a chorus together. Granted, Rothman, Garcia and David Nelson had played all those songs before, but it was usually twenty years earlier. Still, one chorus run through was sufficient. So I think Fogerty talked Garcia and Weir through the planned songs, but they had never really played together until they got on stage.            Creedence songs have a nice groove, but they aren't jamming platforms, so of course Garcia just plunks away through the entire show, maybe not his most memorable performance.  On one hand, Jerry Garcia's health in 1989 was as good as it had been in at least a decade, nor it would ever be that good again. Yet the stunning success of "Touch Of Grey," gratifying as it must have been, insured that the bubble of Garcia's life meant that he was more insulated than ever. Garcia wasn't just a legend to Deadheads, he was in the pantheon now, the biggest rock star in the Bay Area, in a beautiful cage with no escape.When Fogerty kicks off the familiar, booming riff of "Born On The Bayou," Garcia is tucked back on stage left, next to Steve Jordan's drums. Randy Jackson is on the other side of Jordan, and Weir is right next to Jackson. Although Garcia plays a very simple figure behind Fogerty for "Bayou," his eyes are on Jordan, and Jerry has a big, happy grin on his face. I'm not imagining this--Garcia has a big grin on his face throughout the entire set, and he mugs happily with Jordan as the drummer plays fills and accents through the set. Weir seems to be having the same kind of fun with Randy Jackson over on stage right. Fogerty is the star, front and center, but the band is getting their own groove on behind him. SHOW No. 1:                    Down On The Corner (and Band introductions)                                                John Fogerty (w. Jerry and Bobby)                                                JERRY GARCIA JOHN FOGERTY CLARENCE CLEMMONS AND BOB WEIR 5-27-1989 AIDS BENEFIT OAKLAND CA (youtube.com)                                                10:49 – 12:42                 "Down on the Corner" is a song by the American band Creedence Clearwater Revival. It appeared on their fourth studio album, Willy and the Poor Boys (1969). The song peaked at No. 3 on the Billboard Hot 100 on 20 December 1969. The flip side, "Fortunate Son", reached No. 14 on the United States charts on 22 November 1969, the week before Billboard changed its methodology on double-sided hits.           The Fogerty set isn't a big deal to Deadheads, but it's hard to get around the fact that Garcia is having a great time. Whether Fogerty was "bigger" than Garcia is beside the point. Fogerty is a genuine star, with genuine hits, so he is the center of attention while he is on stage. For any singer less important than Fogerty--as in, just about all of them--Garcia could not hang back, but he can do so here. For 45 minutes, it's like Garcia is at the Keystone Berkeley or something, hanging out with his peers, playing the guitar parts that are dictated by the music, simple though they may be. When they got to "Down On The Corner," Jerry is practically jumping up and down. In a small but fascinating moment, he steps up to the mic to sing the backing vocals. Now granted, the whole English speaking world knows that it goes "Down on the corner/Out in the street/Willie and The Poor Boys are playing/Bring a nickel, tap your feet," but Jerry actually steps up to sing. Over the years, Deadheads have seen and heard Garcia make lots of guest appearances with various artists. Yet how often did he sing the chorus of other people's hit songs? After "Down On The Corner," Fogerty introduces the band, and Garcia's back is turned when it is his turn, as he's tuning up. Fogerty says "wake him up!' and Garcia turns around. "On guitar, Jerry Garcia!" Garcia grins and goes back to tuning, and Fogerty says "Genius at work." This is just musicians goofing around, albeit goofing around on stage in front of 40,000 people, but Garcia gets to be just another dude on stage, perhaps for one of the last times. A few months later (August 2, 1989), he would share the stage with Carlos Santana and Ruben Blades but that was for a TV special where he was a featured guest. At the Oakland Coliseum, he's just a hired gun playing a bunch of top 40 songs.             As Deadheads, we always wanted certain things from Jerry. When Garcia didn't give us what we want, we grumbled, and thanks to the magic of tape and digital recording, we can collectively complain about it for decades. Good times! But we have to keep in mind that what we wanted wasn't always what Jerry wanted. For a Memorial Day Saturday, Garcia wanted to be in a band, playing songs the way they were written, singing his parts when they came around, grooving with the drummer and letting the front man do the heavy lifting. Did it ever come around again that Jerry got to play simple, popular songs with a front man with enough gravitational pull so that it wasn't All About Jerry? In that sense, Garcia's role as John Fogerty's backing musician is a last look backwards for Garcia, a time when he could just be in the band, if only for 45 minutes.             Or, as I like to think of it, the Fogerty set was a big pre-show jam session for Bobby and Jerry who soon came back out with the Dead for their standard 3+ hour performance.  However you look it at it, the Fogerty set was a fun throwback for Deadheads and a chance to see Jerry and Bobby play with another legend.  MUSIC NEWS: Neil Young show in Chicago canceled 90 minutes before show time  May 23, 2024 at Northerly Island in Chicago.Going to see Dead & Co. this Saturday, June 1, at the Sphere with a bunch of good friends including good buddy Marc from St. Louis.  I hope to be able to have a report on the show for next week's episode but with travel the next day, it may be hard to get the story ready in time.  If so, there will be a big report in two weeks.  Very excited to see the boys, the Sphere and all my good buddies.The Music Plays the Band – new Dead cover album  SHOW No. 2:                    Iko Iko w/Clarence Clemmons                                                Track #5                                                5:09 – 6:11                 The classic Dead cover of the Dixie Cups tune joined by the Big Man wailing on the sax.  Clarence had played a few tunes during Fogerty's set and joined the boys for this tune and a few others during the show.  In '89 the Boss was as big as ever and Clarence was a big part of that success.  But he enjoyed playing in the improv style embraced by the Dead.                 Clarence first played with the Dead at their New Year's run on December 27 and December 31, 1988 in Oakland and soon after this how, on June 21, 1989 at Shoreline Amphitheater.  He also played a number of times with JGB.  And it turns out that one of Clarence's final live performance was playing a show with Phil and Friends a few years back.               When the E Street Band went on hiatus at the end of the Eighties, Clemons, who by then had moved to the Bay Area, went in search of work and new musical experiences. In 1989, he toured with the first version of Ringo Starr's All Starr Band, cut an album with producer Narada Michael Walden, and — not surprisingly, given his new home base — befriended members of the Dead.Starting in early 1989, Clemons sat in with both the Dead and the Jerry Garcia Band (JGB) at several shows. With the Dead, he joined in on songs like “Estimated Prophet” and “Eyes of the World” and partook of the overall Dead vibe. “Clarence was an old pal, a soulful bro,” Bob Weir told RS in 2011, right after Clemons' death from complications of a stroke. “He was a good hang. Back in the late Eighties and early Nineties, he was living out here in Marin County. He was in moving-on mode, and he, Jerry, and I mixed it up a bit. We were dropping by clubs like Sweetwater and sitting in with various bands.”The association wasn't just musical. “Jerry and I were both single at that time, and Clarence suggested the three of us move in together and have a bachelor pad,” Weir recalled bemusedly. “Jerry and I almost went for it. It would've been a lot of fun, but I don't think anyone would have survived. Jerry was in good shape, but we were doing a little drinking.”  SHOW No. 3:                    Stuck Inside of Mobile w.the Memphis Blues Again w/Clarence                                                Track #6                                                2:26 – 3:51 "Stuck Inside of Mobile with the Memphis Blues Again" (also listed as "Memphis Blues Again") is a song by American singer-songwriter Bob Dylan from his seventh studio album, Blonde on Blonde (1966). The song was written by Dylan and produced by Bob Johnston. It has nine verses, each featuring a distinct set of characters and circumstances. All 20 takes of "Stuck Inside of Mobile with the Memphis Blues Again" were recorded in the early hours of February 17, 1966, at Columbia Records's A Studio in Nashville, Tennessee, with the last take selected for the album. This version also appears on Dylan's second compilation album, Bob Dylan's Greatest Hits Vol. II (1971). Dylan played the song live in concert 748 times from 1976 to 2010. A live version recorded in May 1976 was included on the live album from that tour, Hard Rain (1976), and was also released as a single with "Rita May" as the B-side. The first live performance was at the University of West Florida, Pensacola, on April 28, 1976,[32] during the Rolling Thunder Revue tour. Played 70 times by the Dead.  Part of Bobby's first set rotation of Dylan tunes with Queen Jane Approximately, Desolation Row, Masterpiece and Ballad of a Thin Man.First:  March 17, 1988 at Henry J. Kaiser Convention Center, Oakland, CA, USALast:  April 2, 1995 at The Pyramid Arena, Memphis, TN, USA  MJ NEWS                 SHOW No. 4:                    Blow Away                                                Track #11                                                7:37 – 9:10                 A Brent tune, lyrics by John Barlow (? – seems like a lot of Brent rapping during the song)                When you listen to (and read, thanks to the transcription efforts of careful listeners like Alex Allan of The Grateful Dead Lyric and Song Finder site) to Brent's closing rap / rant from the version of “Blow Away” captured on Dozin' at the Knick, you have to acknowledge that, whether the words were improvised or not, they come from the heart, and have a strong sense of immediacy and urgency. Played 23 timesFirst:    June 20, 1988 at Alpine Valley Music Theatre, East Troy, WI, USALast:    July 16, 1990, Rich Stadium, Orchard Park (Buffalo), NY – it died with Brent   OUTRO:                               Wharf Rat                                                Track #17                                                3:59 – 5:26                 Not the closer this night, or most nights, but it could have been a perfect closer.  Hunter/Garcia masterpiece. Wharf Rats are a group of concert-goers who have chosen to live drug and alcohol-free. They arose out of the environment around the rock group the Grateful Dead and their followers the Deadheads, both of which were rooted in the drugs-embracing counterculture of the 1960s.[1]Their primary purpose is to support other concert goers who choose to live drug-free, like themselves. They announce their presence with yellow balloons, signs, and the Wharf Rats information table. At a set break during Grateful Dead (and related) concerts they hold self help style meetings but are not affiliated specifically with any 12-Step organization and have no requirement for attendance at one of their meetings besides providing some helpful drug free fellowship.[2] Like Deadheads, members of Wharf Rats come from all walks of life.[3] By 1990, the Wharf Rats mailing list had some 3,000 names.[1]The Wharf Rats began during the early 1980s[2] as a group of Deadheads under the name "The Wharf Rat Group of Alcoholics Anonymous". The Wharf Rats originally came from a small group of Narcotics Anonymous members who went to a Grateful Dead concert in Philadelphia and located each other by their Yellow balloons with the NA symbol drawn on in Magic Marker.[4] However due to operational differences they soon split off from Narcotics Anonymous, and are not affiliated with them, AA, or any other twelve-step program (though many of members of the Wharf Rats are members of AA, NA or other 12-step programs). The Wharf Rats see themselves as "a group of friends sharing a common bond, providing support, information and some traction in an otherwise slippery environment." The relationship between the Wharf Rats and more traditional such groups has been studied in the academic journal Deviant Behavior.[1]While the Wharf Rats originated at Grateful Dead concerts, they now have a presence at other concerts as well. Similar groups include The Phellowship for Phish, The Gateway for Widespread Panic, The Jellyfish for The String Cheese Incident, Much Obliged for Umphrey's McGee, Happy Hour Heroes for moe., the Digital Buddhas for The Disco Biscuits, Better Than Before for The Werks, the Hummingbirds for Bassnectar, and the Sunny Bunny Recovery for Ween, Dustie Baggies for Billy Strings and The Hot Tea Party for Goose—all based on the Wharf Rats, which remain the best-known.[2]The name of this group comes from the 1971 Dead song "Wharf Rat" (written by Jerry Garcia and Robert Hunter and appearing on Skull & Roses), which contains the self-told story of August West, a down-and-out dockside wino Played: 399 timesFirst:      February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:      June 25, 1995 at RFK Stadium in D.C. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

"From Chicago to Egypt: Collecting Dead Memorabilia and Memories with Jay Blakesburg"Larry Mishkin features a nostalgic recounting of a Grateful Dead concert from March 11th, 1993, at the Rosemont Horizon in Rosemont, Illinois. The discussion covers various aspects of the event, including the venue's challenges, the band's performance, and reflections on specific songs played during the show. Larry also touches on recent music events, such as Phil Lesh and Friends' performances and upcoming Phish summer tour dates. It also highlights an exhibition by photographer Jay Blakesburg and his collection of Grateful Dead memorabilia, along with personal anecdotes related to Dead history.  Grateful DeadMarch 11, 1993 (31 years ago)Rosemont HorizonRosemont, Illinois (Chicago)Grateful Dead Live at Rosemont Horizon on 1993-03-11 : Free Borrow & Streaming : Internet ArchiveFinal night of 3 show run March 9 – March 11 (Tuesday – Thursday)  INTRO:                  Help On The Way                                Track #1                                :20 – 2:06                                 Released on Blues For Allah (1975)                                Played 111 times                                First time:  June 17, 1975 at Winterland, S.F.                                       Last time:  June 22, 1995 at Knickerbocker Arena, Albany, NY       SHOW No. 1:      When I Paint My Masterpiece                                Track #6                                1:36 – 3:12                 "When I Paint My Masterpiece" is a 1971 song written by Bob Dylan. It was first released by The Band, who recorded the song for their album Cahoots, released on September 15, 1971. Dylan himself first recorded the song at New York's Blue Rock Studio when he was backed by Leon Russell and session musicians, including Jesse Ed Davis on lead guitar, appeared on Bob Dylan's Greatest Hits Vol. II, released November 17, 1971, with Russell credited as the producer.             Dylan and The Band performed the song together live, in the early hours of January 1, 1972, at a New Year's Eve concert by The Band; a recording was released as a bonus track on the 2001 CD reissue of The Band's live album Rock of Ages. Douglas Brinkley, while interviewing Dylan for the New York Times in 2020, noted that "When I Paint My Masterpiece" was a song that had grown on him over the years and asked Dylan why he had brought it "back to the forefront of recent concerts". Dylan replied, "It's grown on me as well. I think this song has something to do with the classical world, something that's out of reach. Someplace you'd like to be beyond your experience. Something that is so supreme and first rate that you could never come back down from the mountain. That you've achieved the unthinkable. That's what the song tries to say, and you'd have to put it in that context. In saying that though, even if you do paint your masterpiece, what will you do then? Well, obviously you have to paint another masterpiece". According to his official website, Dylan played the song live 182 times between 1975 and 2019.[4] Five live performances of the song from Dylan's 1975 Rolling Thunder Revue tour were released on the box set The Rolling Thunder Revue: The 1975 Live Recordings in 2019. The live debut occurred at the War Memorial Auditorium in Plymouth, Massachusetts on October 30, 1975 and the most recent performances occurred on the Rough and Rowdy Ways World Wide Tour in 2023. Played 146 timesFirst: June 13, 1987 at Ventura County Fairgrounds, Ventura, CALast: July 9, 1995 at Soldier Field, Chicago My favorite Dylan cover.  Would rotate in first set with other Dylan covers including Queen Jane Approximately, Stuck Inside of Mobile With Memphis Blues Again and Desolation Row.            SHOW No. 2:      So Many Roads                                Track #7                                :39 – 2:21                 So Many Roads was first performed by the Grateful Dead on February 22, 1992. It was then played regularly through to the last performance of the song on July 9, 1995. In total the song was played just over 50 times.Jerry Garcia spoke about So Many Roads in an interview with Dave DiMartino in 1992;“It's Hunter writing me from my point of view, you know what I mean? We've been working together for so long that he knows what I know. The song is full of references to things that have to do with me.... “....Hunter is the only guy that could do that. He can write my point of view better than I can think it, you know what I mean? So that's the kind of relationship we have. And he frequently writes tunes from my point of view that are autobiographical. There actually biographical I guess. He's the one writing them, but even so they express my point of view - and more than that they express the emotional content of my soul in a certain way that only a long-term and intimate relationship with a guy as brilliant as Hunter coughs up ... I can sing that song, feel totally comfortable with it.” Robert Hunter's comments on the origins of this song in the notes in Box Of Rain: Lyrics 1965-1993; “One afternoon, Jerry was playing some unstructured changes on the piano. Figuring they might be forgotten otherwise, I clicked on my tape recorder. Ten years later I found the tape and listened to it, liked it, and set these words to it. Listening to the pitifully recorded and time-degraded tape, Jerry protested that, although he liked the words, his changes were not very good and unfinished besides. This didn't seem to be the base and I requested that he at least give it a run through. The result was one of the better received new GD songs and one that almost got away.” Never released on a Dead studio album but was a centerpiece of the Dead's first Box Set:  So Many Roads, 5 disc retrospective of the band from 1965 to 1995. Many commentators said this was the best one ever.  When I saw the show, we were still just all hearing the song fort the first few times and getting used to it.  Over time, it has become a favorite thanks to Hunter's lyrics and Jerry's playing and singing. Very emotional.    SHOW No. 3:      Iko Iko                                Track No. 9                                4:04 – 5:38                 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts.             The story tells of a "spy boy" (i.e. a lookout for one band of Indians) encountering the "flag boy" or guidon carrier for another "tribe". He threatens to "set the flag on fire". Crawford set phrases chanted by Mardi Gras Indians to music for the song. Crawford himself states that he has no idea what the words mean, and that he originally sang the phrase "Chock-a-mo", but the title was misheard by Chess Records and Checker Records president Leonard Chess, who misspelled it as "Jock-a-mo" for the record's release.             The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko". In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song. In 1972, Dr. John had a minor hit with his version of "Iko Iko".  Second set opener.  From intro, it was hard to tell if they were going into Women Are Smarter to Iko.  Really enjoyed Women Are Smarter, but always extra happy when it turns out to be Iko. Great version.  Jerry very energetic and really getting into it.                 Played 185 times                First: May 15, 1977 at The Arena in St. Louis                Last: July 5, 1995 at Riverport Amphitheater in St. Louis (first and last time in St. Louis!!)                 SHOW No. 4:      Space                                Track #15 (note that there are 2 “Space” tracks, this is the first one, Track 15)                                4:25 – 5:42 (The Island – Ken Nordine)                               Ken Nordine (April 13, 1920 – February 16, 2019) was an American voice-over and recording artist, best known for his series of word jazz albums.[2] His deep, resonant voice has also been featured in many commercial advertisements and movie trailers. One critic wrote that "you may not know Ken Nordine by name or face, but you'll almost certainly recognize his voice.”             In 1955, he provided the voiceover on Billy Vaughn's version of "Shifting Whispering Sands", which peaked at number 5 on the Billboard Hot 100. He subsequently attracted wider attention when he recorded the aural vignettes on Word Jazz (Dot, 1957). Love Words, Son of Word Jazz (Dot, 1958) and his other albums in this vein feature Nordine's narration over cool jazz by the Fred Katz Group featuring Chico Hamilton recording under an alias.             Nordine began performing and recording such albums at the peak of the beat era and was associated with the poetry-and-jazz movement. However, it has been observed that some of Nordine's writings "are more akin to Franz Kafka or Edgar Allan Poe" than to the beats.[8] Many of his word jazz tracks feature critiques of societal norms.[9] Some are lightweight and humorous, while others reveal dark, paranoid undercurrents and bizarre, dream-like scenarios. Nordine's DVD, The Eye Is Never Filled was released in 2007.[9]Nordine hosted the weekly Word Jazz program on WBEZ, also carried on other stations, from the 1970s for over forty years.In 1990, Nordine was approached by Jerry Garcia of The Grateful Dead to be the anchor for their New Year's Eve radio broadcast from Oakland, California.[13] For the broadcast he recorded some improvisations with Garcia, drummer Mickey Hart and Egyptian musician Hamza El-Din.[13] This subsequently led to an album Devout Catalyst, released on the Grateful Dead's own label in 1991[13] and Upper Limbo in 1993[14] and an appearance with the band live at a show at Rosemont, Illinois, in March 1993.            Ken Nordine died February 16, 2019.                OUTRO:                Days Between                                Track No. 18                                4:51 – 6:51                 “Days Between,” a late song in the Robert Hunter / Jerry Garcia songbook, was perhaps their last collaboration on a big, significant song, one that ranks with “Dark Star” and “Terrapin Station” as ambitious and intentionally grand. (I was talking the other day with a friend, about Garcia's playing and songwriting, and the thought came up that Garcia, like few others, was unafraid of grandeur, and could successfully pull it off. Same with Hunter.)            It appeared like the ghostly ships it describes, as if gradually from a fog and only slowly revealing itself as something very big, towering above everything around. It's hard to say it any better than Phil Lesh did in his autobiography, Searching for the Sound:“Achingly nostalgic, ‘Days Between' evokes the past. The music climbs laboriously out of shadows, growing and peaking with each verse, only to fall back each time in hopeless resignation. When Jerry sings the line ‘when all we ever wanted / was to learn and love and grow' or ‘gave the best we had to give / how much we'll never know,' I am immediately transported decades back in time, to a beautiful spring morning with Jerry, Hunter, Barbara Meier, and Alan Trist—all of us goofing on the sheer exhilaration of being alive. I don't know whether to weep with joy at the beauty of the vision or with sadness at the impassable chasm of time between the golden past and the often painful present.”            Each verse in the song contains fourteen lines, and each evokes a different season of the year, although not in sequence. The first verse contains the lines “Summer flies and August dies / the world grows dark and mean.” I can't hear that line without thinking about August West, in Wharf Rat, and, by extension, Garcia himself. “The singing man is at his song / the holy on their knees.” Who is the singing man, if not Garcia, when it comes to Hunter and his words?                Played 42 times by the band, always in the second set, almost always out of drums                First:  February 22, 1993 at the Oakland Alameda County Coliseum in Oakland, CA                Last:  June 24, 1995 at RFK Stadium, Washington, D.C. This was just the second time it was ever played “Gave the best we had to give, how much we'll never know” No chorus in this song, just verses that keep building on each other. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Greil Marcus is perhaps the world's foremost interpreter of Bob Dylan. This podcast focuses on Marcus' latest Dylan book, Folk Music: A Bob Dylan Biography in Seven Songs (Yale University Press, 2022). Marcus begins his book with a 2001 quote from Dylan: “I can see myself in others.” In this sense, Marcus writes, “the engine of his songs is empathy.” We begin our conversation with “Murder Most Foul,” from 2020, on the assassination of John F. Kennedy, with Dylan “putting on Kennedy's bloody suit.” We discuss, too, “Desolation Row,” from 1965. The opening line— “They're selling postcards of the hanging…”— could be a reference, Marcus suggests, to a lynching of three black circus workers in Duluth, Minnesota in 1920, just over twenty years before Dylan was born there. And Marcus offers insights on the five other songs covered in this volume: “Blowin' in the Wind”/1962; “The Lonesome Death of Hattie Caroll”/1964; “The Times They Are A-Changin'”/1964; “Jim Jones”/1992; and “Ain't Talkin'”/2006. Veteran journalist Paul Starobin is a former Moscow bureau chief for Business Week and a former contributing editor of The Atlantic. He has written for The New York Times, The Washington Post, The Wall Street Journal and many other publications. His latest book, Putin's Exiles: Their Fight for a Better Russia (Columbia Global Reports) will be published in January. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Greil Marcus is perhaps the world's foremost interpreter of Bob Dylan. This podcast focuses on Marcus' latest Dylan book, Folk Music: A Bob Dylan Biography in Seven Songs (Yale University Press, 2022). Marcus begins his book with a 2001 quote from Dylan: “I can see myself in others.” In this sense, Marcus writes, “the engine of his songs is empathy.” We begin our conversation with “Murder Most Foul,” from 2020, on the assassination of John F. Kennedy, with Dylan “putting on Kennedy's bloody suit.” We discuss, too, “Desolation Row,” from 1965. The opening line— “They're selling postcards of the hanging…”— could be a reference, Marcus suggests, to a lynching of three black circus workers in Duluth, Minnesota in 1920, just over twenty years before Dylan was born there. And Marcus offers insights on the five other songs covered in this volume: “Blowin' in the Wind”/1962; “The Lonesome Death of Hattie Caroll”/1964; “The Times They Are A-Changin'”/1964; “Jim Jones”/1992; and “Ain't Talkin'”/2006. Veteran journalist Paul Starobin is a former Moscow bureau chief for Business Week and a former contributing editor of The Atlantic. He has written for The New York Times, The Washington Post, The Wall Street Journal and many other publications. His latest book, Putin's Exiles: Their Fight for a Better Russia (Columbia Global Reports) will be published in January. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Greil Marcus is perhaps the world's foremost interpreter of Bob Dylan. This podcast focuses on Marcus' latest Dylan book, Folk Music: A Bob Dylan Biography in Seven Songs (Yale University Press, 2022). Marcus begins his book with a 2001 quote from Dylan: “I can see myself in others.” In this sense, Marcus writes, “the engine of his songs is empathy.” We begin our conversation with “Murder Most Foul,” from 2020, on the assassination of John F. Kennedy, with Dylan “putting on Kennedy's bloody suit.” We discuss, too, “Desolation Row,” from 1965. The opening line— “They're selling postcards of the hanging…”— could be a reference, Marcus suggests, to a lynching of three black circus workers in Duluth, Minnesota in 1920, just over twenty years before Dylan was born there. And Marcus offers insights on the five other songs covered in this volume: “Blowin' in the Wind”/1962; “The Lonesome Death of Hattie Caroll”/1964; “The Times They Are A-Changin'”/1964; “Jim Jones”/1992; and “Ain't Talkin'”/2006. Veteran journalist Paul Starobin is a former Moscow bureau chief for Business Week and a former contributing editor of The Atlantic. He has written for The New York Times, The Washington Post, The Wall Street Journal and many other publications. His latest book, Putin's Exiles: Their Fight for a Better Russia (Columbia Global Reports) will be published in January. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Greil Marcus is perhaps the world's foremost interpreter of Bob Dylan. This podcast focuses on Marcus' latest Dylan book, Folk Music: A Bob Dylan Biography in Seven Songs (Yale University Press, 2022). Marcus begins his book with a 2001 quote from Dylan: “I can see myself in others.” In this sense, Marcus writes, “the engine of his songs is empathy.” We begin our conversation with “Murder Most Foul,” from 2020, on the assassination of John F. Kennedy, with Dylan “putting on Kennedy's bloody suit.” We discuss, too, “Desolation Row,” from 1965. The opening line— “They're selling postcards of the hanging…”— could be a reference, Marcus suggests, to a lynching of three black circus workers in Duluth, Minnesota in 1920, just over twenty years before Dylan was born there. And Marcus offers insights on the five other songs covered in this volume: “Blowin' in the Wind”/1962; “The Lonesome Death of Hattie Caroll”/1964; “The Times They Are A-Changin'”/1964; “Jim Jones”/1992; and “Ain't Talkin'”/2006. Veteran journalist Paul Starobin is a former Moscow bureau chief for Business Week and a former contributing editor of The Atlantic. He has written for The New York Times, The Washington Post, The Wall Street Journal and many other publications. His latest book, Putin's Exiles: Their Fight for a Better Russia (Columbia Global Reports) will be published in January. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Greil Marcus is perhaps the world's foremost interpreter of Bob Dylan. This podcast focuses on Marcus' latest Dylan book, Folk Music: A Bob Dylan Biography in Seven Songs (Yale University Press, 2022). Marcus begins his book with a 2001 quote from Dylan: “I can see myself in others.” In this sense, Marcus writes, “the engine of his songs is empathy.” We begin our conversation with “Murder Most Foul,” from 2020, on the assassination of John F. Kennedy, with Dylan “putting on Kennedy's bloody suit.” We discuss, too, “Desolation Row,” from 1965. The opening line— “They're selling postcards of the hanging…”— could be a reference, Marcus suggests, to a lynching of three black circus workers in Duluth, Minnesota in 1920, just over twenty years before Dylan was born there. And Marcus offers insights on the five other songs covered in this volume: “Blowin' in the Wind”/1962; “The Lonesome Death of Hattie Caroll”/1964; “The Times They Are A-Changin'”/1964; “Jim Jones”/1992; and “Ain't Talkin'”/2006. Veteran journalist Paul Starobin is a former Moscow bureau chief for Business Week and a former contributing editor of The Atlantic. He has written for The New York Times, The Washington Post, The Wall Street Journal and many other publications. His latest book, Putin's Exiles: Their Fight for a Better Russia (Columbia Global Reports) will be published in January. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Greil Marcus is perhaps the world's foremost interpreter of Bob Dylan. This podcast focuses on Marcus' latest Dylan book, Folk Music: A Bob Dylan Biography in Seven Songs (Yale University Press, 2022). Marcus begins his book with a 2001 quote from Dylan: “I can see myself in others.” In this sense, Marcus writes, “the engine of his songs is empathy.” We begin our conversation with “Murder Most Foul,” from 2020, on the assassination of John F. Kennedy, with Dylan “putting on Kennedy's bloody suit.” We discuss, too, “Desolation Row,” from 1965. The opening line— “They're selling postcards of the hanging…”— could be a reference, Marcus suggests, to a lynching of three black circus workers in Duluth, Minnesota in 1920, just over twenty years before Dylan was born there. And Marcus offers insights on the five other songs covered in this volume: “Blowin' in the Wind”/1962; “The Lonesome Death of Hattie Caroll”/1964; “The Times They Are A-Changin'”/1964; “Jim Jones”/1992; and “Ain't Talkin'”/2006. Veteran journalist Paul Starobin is a former Moscow bureau chief for Business Week and a former contributing editor of The Atlantic. He has written for The New York Times, The Washington Post, The Wall Street Journal and many other publications. His latest book, Putin's Exiles: Their Fight for a Better Russia (Columbia Global Reports) will be published in January. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Episode one hundred and sixty-seven of A History of Rock Music in Five Hundred Songs looks at “The Weight" by the Band, the Basement Tapes, and the continuing controversy over Dylan going electric. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "S.F. Sorrow is Born" by the Pretty Things. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Also, a one-time request here -- Shawn Taylor, who runs the Facebook group for the podcast and is an old and dear friend of mine, has stage-three lung cancer. I will be hugely grateful to anyone who donates to the GoFundMe for her treatment. Errata At one point I say "when Robertson and Helm travelled to the Brill Building". I meant "when Hawkins and Helm". This is fixed in the transcript but not the recording. Resources There are three Mixcloud mixes this time. As there are so many songs by Bob Dylan and the Band excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two, three. I've used these books for all the episodes involving Dylan: Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties by Elijah Wald, which is recommended, as all Wald's books are. Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon is a song-by-song look at every song Dylan ever wrote, as is Revolution in the Air, by Clinton Heylin. Heylin also wrote the most comprehensive and accurate biography of Dylan, Behind the Shades. I've also used Robert Shelton's No Direction Home, which is less accurate, but which is written by someone who knew Dylan. Chronicles Volume 1 by Bob Dylan is a partial, highly inaccurate, but thoroughly readable autobiography. Information on Tiny Tim comes from Eternal Troubadour: The Improbable Life of Tiny Tim by Justin Martell. Information on John Cage comes from The Roaring Silence by David Revill Information on Woodstock comes from Small Town Talk by Barney Hoskyns. For material on the Basement Tapes, I've used Million Dollar Bash by Sid Griffin. And for the Band, I've used This Wheel's on Fire by Levon Helm with Stephen Davis, Testimony by Robbie Robertson, The Band by Craig Harris and Levon by Sandra B Tooze. I've also referred to the documentaries No Direction Home and Once Were Brothers. The complete Basement Tapes can be found on this multi-disc box set, while this double-CD version has the best material from the sessions. All the surviving live recordings by Dylan and the Hawks from 1966 are on this box set. There are various deluxe versions of Music From Big Pink, but still the best way to get the original album is in this twofer CD with the Band's second album. Transcript Just a brief note before I start – literally while I was in the middle of recording this episode, it was announced that Robbie Robertson had died today, aged eighty. Obviously I've not had time to alter the rest of the episode – half of which had already been edited – with that in mind, though I don't believe I say anything disrespectful to his memory. My condolences to those who loved him – he was a huge talent and will be missed. There are people in the world who question the function of criticism. Those people argue that criticism is in many ways parasitic. If critics knew what they were talking about, so the argument goes, they would create themselves, rather than talk about other people's creation. It's a variant of the "those who can't, teach" cliche. And to an extent it's true. Certainly in the world of rock music, which we're talking about in this podcast, most critics are quite staggeringly ignorant of the things they're talking about. Most criticism is ephemeral, published in newspapers, magazines, blogs and podcasts, and forgotten as soon as it has been consumed -- and consumed is the word . But sometimes, just sometimes, a critic will have an effect on the world that is at least as important as that of any of the artists they criticise. One such critic was John Ruskin. Ruskin was one of the preeminent critics of visual art in the Victorian era, particularly specialising in painting and architecture, and he passionately advocated for a form of art that would be truthful, plain, and honest. To Ruskin's mind, many artists of the past, and of his time, drew and painted, not what they saw with their own eyes, but what other people expected them to paint. They replaced true observation of nature with the regurgitation of ever-more-mannered and formalised cliches. His attacks on many great artists were, in essence, the same critiques that are currently brought against AI art apps -- they're just recycling and plagiarising what other people had already done, not seeing with their own eyes and creating from their own vision. Ruskin was an artist himself, but never received much acclaim for his own work. Rather, he advocated for the works of others, like Turner and the pre-Raphaelite school -- the latter of whom were influenced by Ruskin, even as he admired them for seeing with their own vision rather than just repeating influences from others. But those weren't the only people Ruskin influenced. Because any critical project, properly understood, becomes about more than just the art -- as if art is just anything. Ruskin, for example, studied geology, because if you're going to talk about how people should paint landscapes and what those landscapes look like, you need to understand what landscapes really do look like, which means understanding their formation. He understood that art of the kind he wanted could only be produced by certain types of people, and so society had to be organised in a way to produce such people. Some types of societal organisation lead to some kinds of thinking and creation, and to properly, honestly, understand one branch of human thought means at least to attempt to understand all of them. Opinions about art have moral consequences, and morality has political and economic consequences. The inevitable endpoint of any theory of art is, ultimately, a theory of society. And Ruskin had a theory of society, and social organisation. Ruskin's views are too complex to summarise here, but they were a kind of anarcho-primitivist collectivism. He believed that wealth was evil, and that the classical liberal economics of people like Mill was fundamentally anti-human, that the division of labour alienated people from their work. In Ruskin's ideal world, people would gather in communities no bigger than villages, and work as craftspeople, working with nature rather than trying to bend nature to their will. They would be collectives, with none richer or poorer than any other, and working the land without modern technology. in the first half of the twentieth century, in particular, Ruskin's influence was *everywhere*. His writings on art inspired the Impressionist movement, but his political and economic ideas were the most influential, right across the political spectrum. Ruskin's ideas were closest to Christian socialism, and he did indeed inspire many socialist parties -- most of the founders of Britain's Labour Party were admirers of Ruskin and influenced by his ideas, particularly his opposition to the free market. But he inspired many other people -- Gandhi talked about the profound influence that Ruskin had on him, saying in his autobiography that he got three lessons from Ruskin's Unto This Last: "That 1) the good of the individual is contained in the good of all. 2) a lawyer's work has the same value as the barber's in as much as all have the same right of earning their livelihood from their work. 3) a life of labour, i.e., the life of the tiller of the soil and the handicraftsman is the life worth living. The first of these I knew. The second I had dimly realized. The third had never occurred to me. Unto This Last made it clear as daylight for me that the second and third were contained in the first. I arose with the dawn, ready to reduce these principles to practice" Gandhi translated and paraphrased Unto this Last into Gujurati and called the resulting book Sarvodaya (meaning "uplifting all" or "the welfare of all") which he later took as the name of his own political philosophy. But Ruskin also had a more pernicious influence -- it was said in 1930s Germany that he and his friend Thomas Carlyle were "the first National Socialists" -- there's no evidence I know of that Hitler ever read Ruskin, but a *lot* of Nazi rhetoric is implicit in Ruskin's writing, particularly in his opposition to progress (he even opposed the bicycle as being too much inhuman interference with nature), just as much as more admirable philosophies, and he was so widely read in the late nineteenth and early twentieth centuries that there's barely a political movement anywhere that didn't bear his fingerprints. But of course, our focus here is on music. And Ruskin had an influence on that, too. We've talked in several episodes, most recently the one on the Velvet Underground, about John Cage's piece 4'33. What I didn't mention in any of the discussions of that piece -- because I was saving it for here -- is that that piece was premiered at a small concert hall in upstate New York. The hall, the Maverick Concert Hall, was owned and run by the Maverick arts and crafts collective -- a collective that were so called because they were the *second* Ruskinite arts colony in the area, having split off from the Byrdcliffe colony after a dispute between its three founders, all of whom were disciples of Ruskin, and all of whom disagreed violently about how to implement Ruskin's ideas of pacifist all-for-one and one-for-all community. These arts colonies, and others that grew up around them like the Arts Students League were the thriving centre of a Bohemian community -- close enough to New York that you could get there if you needed to, far enough away that you could live out your pastoral fantasies, and artists of all types flocked there -- Pete Seeger met his wife there, and his father-in-law had been one of the stonemasons who helped build the Maverick concert hall. Dozens of artists in all sorts of areas, from Aaron Copland to Edward G Robinson, spent time in these communities, as did Cage. Of course, while these arts and crafts communities had a reputation for Bohemianism and artistic extremism, even radical utopian artists have their limits, and legend has it that the premiere of 4'33 was met with horror and derision, and eventually led to one artist in the audience standing up and calling on the residents of the town around which these artistic colonies had agglomerated: “Good people of Woodstock, let's drive these people out of town.” [Excerpt: The Band, "The Weight"] Ronnie Hawkins was almost born to make music. We heard back in the episode on "Suzie Q" in 2019 about his family and their ties to music. Ronnie's uncle Del was, according to most of the sources on the family, a member of the Sons of the Pioneers -- though as I point out in that episode, his name isn't on any of the official lists of group members, but he might well have performed with them at some point in the early years of the group. And he was definitely a country music bass player, even if he *wasn't* in the most popular country and western group of the thirties and forties. And Del had had two sons, Jerry, who made some minor rockabilly records: [Excerpt: Jerry Hawkins, "Swing, Daddy, Swing"] And Del junior, who as we heard in the "Susie Q" episode became known as Dale Hawkins and made one of the most important rock records of the fifties: [Excerpt: Dale Hawkins, "Susie Q"] Ronnie Hawkins was around the same age as his cousins, and was in awe of his country-music star uncle. Hawkins later remembered that after his uncle moved to Califormia to become a star “He'd come home for a week or two, driving a brand new Cadillac and wearing brand new clothes and I knew that's what I wanted to be." Though he also remembered “He spent every penny he made on whiskey, and he was divorced because he was running around with all sorts of women. His wife left Arkansas and went to Louisiana.” Hawkins knew that he wanted to be a music star like his uncle, and he started performing at local fairs and other events from the age of eleven, including one performance where he substituted for Hank Williams -- Williams was so drunk that day he couldn't perform, and so his backing band asked volunteers from the audience to get up and sing with them, and Hawkins sang Burl Ives and minstrel-show songs with the band. He said later “Even back then I knew that every important white cat—Al Jolson, Stephen Foster—they all did it by copying blacks. Even Hank Williams learned all the stuff he had from those black cats in Alabama. Elvis Presley copied black music; that's all that Elvis did.” As well as being a performer from an early age, though, Hawkins was also an entrepreneur with an eye for how to make money. From the age of fourteen he started running liquor -- not moonshine, he would always point out, but something far safer. He lived only a few miles from the border between Missouri and Arkansas, and alcohol and tobacco were about half the price in Missouri that they were in Arkansas, so he'd drive across the border, load up on whisky and cigarettes, and drive back and sell them at a profit, which he then used to buy shares in several nightclubs, which he and his bands would perform in in later years. Like every man of his generation, Hawkins had to do six months in the Army, and it was there that he joined his first ever full-time band, the Blackhawks -- so called because his name was Hawkins, and the rest of the group were Black, though Hawkins was white. They got together when the other four members were performing at a club in the area where Hawkins was stationed, and he was so impressed with their music that he jumped on stage and started singing with them. He said later “It sounded like something between the blues and rockabilly. It sort of leaned in both directions at the same time, me being a hayseed and those guys playing a lot funkier." As he put it "I wanted to sound like Bobby ‘Blue' Bland but it came out sounding like Ernest Tubb.” Word got around about the Blackhawks, both that they were a great-sounding rock and roll band and that they were an integrated band at a time when that was extremely unpopular in the southern states, and when Hawkins was discharged from the Army he got a call from Sam Phillips at Sun Records. According to Hawkins a group of the regular Sun session musicians were planning on forming a band, and he was asked to front the band for a hundred dollars a week, but by the time he got there the band had fallen apart. This doesn't precisely line up with anything else I know about Sun, though it perhaps makes sense if Hawkins was being asked to front the band who had variously backed Billy Lee Riley and Jerry Lee Lewis after one of Riley's occasional threats to leave the label. More likely though, he told everyone he knew that he had a deal with Sun but Phillips was unimpressed with the demos he cut there, and Hawkins made up the story to stop himself losing face. One of the session players for Sun, though, Luke Paulman, who played in Conway Twitty's band among others, *was* impressed with Hawkins though, and suggested that they form a band together with Paulman's bass player brother George and piano-playing cousin Pop Jones. The Paulman brothers and Jones also came from Arkansas, but they specifically came from Helena, Arkansas, the town from which King Biscuit Time was broadcast. King Biscuit Time was the most important blues radio show in the US at that time -- a short lunchtime programme which featured live performances from a house band which varied over the years, but which in the 1940s had been led by Sonny Boy Williamson II, and featured Robert Jr. Lockwood, Robert Johnson's stepson, on guiitar: [Excerpt: Sonny Boy Williamson II "Eyesight to the Blind (King Biscuit Time)"] The band also included a drummer, "Peck" Curtis, and that drummer was the biggest inspiration for a young white man from the town named Levon Helm. Helm had first been inspired to make music after seeing Bill Monroe and his Blue Grass Boys play live when Helm was eight, and he had soon taken up first the harmonica, then the guitar, then the drums, becoming excellent at all of them. Even as a child he knew that he didn't want to be a farmer like his family, and that music was, as he put it, "the only way to get off that stinking tractor  and out of that one hundred and five degree heat.” Sonny Boy Williamson and the King Biscuit Boys would perform in the open air in Marvell, Arkansas, where Helm was growing up, on Saturdays, and Helm watched them regularly as a small child, and became particularly interested in the drumming. “As good as the band sounded,” he said later “it seemed that [Peck] was definitely having the most fun. I locked into the drums at that point. Later, I heard Jack Nance, Conway Twitty's drummer, and all the great drummers in Memphis—Jimmy Van Eaton, Al Jackson, and Willie Hall—the Chicago boys (Fred Belew and Clifton James) and the people at Sun Records and Vee-Jay, but most of my style was based on Peck and Sonny Boy—the Delta blues style with the shuffle. Through the years, I've quickened the pace to a more rock-and-roll meter and time frame, but it still bases itself back to Peck, Sonny Boy Williamson, and the King Biscuit Boys.” Helm had played with another band that George Paulman had played in, and he was invited to join the fledgling band Hawkins was putting together, called for the moment the Sun Records Quartet. The group played some of the clubs Hawkins had business connections in, but they had other plans -- Conway Twitty had recently played Toronto, and had told Luke Paulman about how desperate the Canadians were for American rock and roll music. Twitty's agent Harold Kudlets booked the group in to a Toronto club, Le Coq D'Or, and soon the group were alternating between residencies in clubs in the Deep South, where they were just another rockabilly band, albeit one of the better ones, and in Canada, where they became the most popular band in Ontario, and became the nucleus of an entire musical scene -- the same scene from which, a few years later, people like Neil Young would emerge. George Paulman didn't remain long in the group -- he was apparently getting drunk, and also he was a double-bass player, at a time when the electric bass was becoming the in thing. And this is the best place to mention this, but there are several discrepancies in the various accounts of which band members were in Hawkins' band at which times, and who played on what session. They all *broadly* follow the same lines, but none of them are fully reconcilable with each other, and nobody was paying enough attention to lineup shifts in a bar band between 1957 and 1964 to be absolutely certain who was right. I've tried to reconcile the various accounts as far as possible and make a coherent narrative, but some of the details of what follows may be wrong, though the broad strokes are correct. For much of their first period in Ontario, the group had no bass player at all, relying on Jones' piano to fill in the bass parts, and on their first recording, a version of "Bo Diddley", they actually got the club's manager to play bass with them: [Excerpt: Ronnie Hawkins, "Hey Bo Diddley"] That is claimed to be the first rock and roll record made in Canada, though as everyone who has listened to this podcast knows, there's no first anything. It wasn't released as by the Sun Records Quartet though -- the band had presumably realised that that name would make them much less attractive to other labels, and so by this point the Sun Records Quartet had become Ronnie Hawkins and the Hawks. "Hey Bo Diddley" was released on a small Canadian label and didn't have any success, but the group carried on performing live, travelling back down to Arkansas for a while and getting a new bass player, Lefty Evans, who had been playing in the same pool of musicians as them, having been another Sun session player who had been in Conway Twitty's band, and had written Twitty's "Why Can't I Get Through to You": [Excerpt: Conway Twitty, "Why Can't I Get Through to You"] The band were now popular enough in Canada that they were starting to get heard of in America, and through Kudlets they got a contract with Joe Glaser, a Mafia-connected booking agent who booked them into gigs on the Jersey Shore. As Helm said “Ronnie Hawkins had molded us into the wildest, fiercest, speed-driven bar band in America," and the group were apparently getting larger audiences in New Jersey than Sammy Davis Jr was, even though they hadn't released any records in the US. Or at least, they hadn't released any records in their own name in the US. There's a record on End Records by Rockin' Ronald and the Rebels which is very strongly rumoured to have been the Hawks under another name, though Hawkins always denied that. Have a listen for yourself and see what you think: [Excerpt: Rockin' Ronald and the Rebels, "Kansas City"] End Records, the label that was on, was one of the many record labels set up by George Goldner and distributed by Morris Levy, and when the group did release a record in their home country under their own name, it was on Levy's Roulette Records. An audition for Levy had been set up by Glaser's booking company, and Levy decided that given that Elvis was in the Army, there was a vacancy to be filled and Ronnie Hawkins might just fit the bill. Hawkins signed a contract with Levy, and it doesn't sound like he had much choice in the matter. Helm asked him “How long did you have to sign for?” and Hawkins replied "Life with an option" That said, unlike almost every other artist who interacted with Levy, Hawkins never had a bad word to say about him, at least in public, saying later “I don't care what Morris was supposed to have done, he looked after me and he believed in me. I even lived with him in his million-dollar apartment on the Upper East Side." The first single the group recorded for Roulette, a remake of Chuck Berry's "Thirty Days" retitled "Forty Days", didn't chart, but the follow-up, a version of Young Jessie's "Mary Lou", made number twenty-six on the charts: [Excerpt: Ronnie Hawkins and the Hawks, "Mary Lou"] While that was a cover of a Young Jessie record, the songwriting credits read Hawkins and Magill -- Magill was a pseudonym used by Morris Levy. Levy hoped to make Ronnie Hawkins into a really big star, but hit a snag. This was just the point where the payola scandal had hit and record companies were under criminal investigation for bribing DJs to play their records. This was the main method of promotion that Levy used, and this was so well known that Levy was, for a time, under more scrutiny than anyone. He couldn't risk paying anyone off, and so Hawkins' records didn't get the expected airplay. The group went through some lineup changes, too, bringing in guitarist Fred Carter (with Luke Paulman moving to rhythm and soon leaving altogether)  from Hawkins' cousin Dale's band, and bass player Jimmy Evans. Some sources say that Jones quit around this time, too, though others say he was in the band for  a while longer, and they had two keyboards (the other keyboard being supplied by Stan Szelest. As well as recording Ronnie Hawkins singles, the new lineup of the group also recorded one single with Carter on lead vocals, "My Heart Cries": [Excerpt: Fred Carter, "My Heart Cries"] While the group were now playing more shows in the USA, they were still playing regularly in Canada, and they had developed a huge fanbase there. One of these was a teenage guitarist called Robbie Robertson, who had become fascinated with the band after playing a support slot for them, and had started hanging round, trying to ingratiate himself with the band in the hope of being allowed to join. As he was a teenager, Hawkins thought he might have his finger on the pulse of the youth market, and when Hawkins and Helm travelled to the Brill Building to hear new songs for consideration for their next album, they brought Robertson along to listen to them and give his opinion. Robertson himself ended up contributing two songs to the album, titled Mr. Dynamo. According to Hawkins "we had a little time after the session, so I thought, Well, I'm just gonna put 'em down and see what happens. And they were released. Robbie was the songwriter for words, and Levon was good for arranging, making things fit in and all that stuff. He knew what to do, but he didn't write anything." The two songs in question were "Someone Like You" and "Hey Boba Lou": [Excerpt: Ronnie Hawkins and the Hawks, "Hey Boba Lou"] While Robertson was the sole writer of the songs, they were credited to Robertson, Hawkins, and Magill -- Morris Levy. As Robertson told the story later, “It's funny, when those songs came out and I got a copy of the album, it had another name on there besides my name for some writer like Morris Levy. So, I said to Ronnie, “There was nobody there writing these songs when I wrote these songs. Who is Morris Levy?” Ronnie just kinda tapped me on the head and said, “There are certain things about this business that you just let go and you don't question.” That was one of my early music industry lessons right there" Robertson desperately wanted to join the Hawks, but initially it was Robertson's bandmate Scott Cushnie who became the first Canadian to join the Hawks. But then when they were in Arkansas, Jimmy Evans decided he wasn't going to go back to Canada. So Hawkins called Robbie Robertson up and made him an offer. Robertson had to come down to Arkansas and get a couple of quick bass lessons from Helm (who could play pretty much every instrument to an acceptable standard, and so was by this point acting as the group's musical director, working out arrangements and leading them in rehearsals). Then Hawkins and Helm had to be elsewhere for a few weeks. If, when they got back, Robertson was good enough on bass, he had the job. If not, he didn't. Robertson accepted, but he nearly didn't get the gig after all. The place Hawkins and Helm had to be was Britain, where they were going to be promoting their latest single on Boy Meets Girls, the Jack Good TV series with Marty Wilde, which featured guitarist Joe Brown in the backing band: [Excerpt: Joe Brown, “Savage”] This was the same series that Eddie Cochran and Gene Vincent were regularly appearing on, and while they didn't appear on the episodes that Hawkins and Helm appeared on, they did appear on the episodes immediately before Hawkins and Helm's two appearances, and again a couple of weeks after, and were friendly with the musicians who did play with Hawkins and Helm, and apparently they all jammed together a few times. Hawkins was impressed enough with Joe Brown -- who at the time was considered the best guitarist on the British scene -- that he invited Brown to become a Hawk. Presumably if Brown had taken him up on the offer, he would have taken the spot that ended up being Robertson's, but Brown turned him down -- a decision he apparently later regretted. Robbie Robertson was now a Hawk, and he and Helm formed an immediate bond. As Helm much later put it, "It was me and Robbie against the world. Our mission, as we saw it, was to put together the best band in history". As rockabilly was by this point passe, Levy tried converting Hawkins into a folk artist, to see if he could get some of the Kingston Trio's audience. He recorded a protest song, "The Ballad of Caryl Chessman", protesting the then-forthcoming execution of Chessman (one of only a handful of people to be executed in the US in recent decades for non-lethal offences), and he made an album of folk tunes, The Folk Ballads of Ronnie Hawkins, which largely consisted of solo acoustic recordings, plus a handful of left-over Hawks recordings from a year or so earlier. That wasn't a success, but they also tried a follow-up, having Hawkins go country and do an album of Hank Williams songs, recorded in Nashville at Owen Bradley's Quonset hut. While many of the musicians on the album were Nashville A-Team players, Hawkins also insisted on having his own band members perform, much to the disgust of the producer, and so it's likely (not certain, because there seem to be various disagreements about what was recorded when) that that album features the first studio recordings with Levon Helm and Robbie Robertson playing together: [Excerpt: Ronnie Hawkins and the Hawks, "Your Cheatin' Heart"] Other sources claim that the only Hawk allowed to play on the album sessions was Helm, and that the rest of the musicians on the album were Harold Bradley and Hank Garland on guitar, Owen Bradley and Floyd Cramer on piano, Bob Moore on bass, and the Anita Kerr singers. I tend to trust Helm's recollection that the Hawks played at least some of the instruments though, because the source claiming that also seems to confuse the Hank Williams and Folk Ballads albums, and because I don't hear two pianos on the album. On the other hand, that *does* sound like Floyd Cramer on piano, and the tik-tok bass sound you'd get from having Harold Bradley play a baritone guitar while Bob Moore played a bass. So my best guess is that these sessions were like the Elvis sessions around the same time and with several of the same musicians, where Elvis' own backing musicians played rhythm parts but left the prominent instruments to the A-team players. Helm was singularly unimpressed with the experience of recording in Nashville. His strongest memory of the sessions was of another session going on in the same studio complex at the time -- Bobby "Blue" Bland was recording his classic single "Turn On Your Love Light", with the great drummer Jabo Starks on drums, and Helm was more interested in listening to that than he was in the music they were playing: [Excerpt: Bobby "Blue" Bland, "Turn On Your Love Light"] Incidentally, Helm talks about that recording being made "downstairs" from where the Hawks were recording, but also says that they were recording in Bradley's Quonset hut.  Now, my understanding here *could* be very wrong -- I've been unable to find a plan or schematic anywhere -- but my understanding is that the Quonset hut was a single-level structure, not a multi-level structure. BUT the original recording facilities run by the Bradley brothers were in Owen Bradley's basement, before they moved into the larger Quonset hut facility in the back, so it's possible that Bland was recording that in the old basement studio. If so, that won't be the last recording made in a basement we hear this episode... Fred Carter decided during the Nashville sessions that he was going to leave the Hawks. As his son told the story: "Dad had discovered the session musicians there. He had no idea that you could play and make a living playing in studios and sleep in your own bed every night. By that point in his life, he'd already been gone from home and constantly on the road and in the service playing music for ten years so that appealed to him greatly. And Levon asked him, he said, “If you're gonna leave, Fred, I'd like you to get young Robbie over here up to speed on guitar”…[Robbie] got kind of aggravated with him—and Dad didn't say this with any malice—but by the end of that week, or whatever it was, Robbie made some kind of comment about “One day I'm gonna cut you.” And Dad said, “Well, if that's how you think about it, the lessons are over.” " (For those who don't know, a musician "cutting" another one is playing better than them, so much better that the worse musician has to concede defeat. For the remainder of Carter's notice in the Hawks, he played with his back to Robertson, refusing to look at him. Carter leaving the group caused some more shuffling of roles. For a while, Levon Helm -- who Hawkins always said was the best lead guitar player he ever worked with as well as the best drummer -- tried playing lead guitar while Robertson played rhythm and another member, Rebel Payne, played bass, but they couldn't find a drummer to replace Helm, who moved back onto the drums. Then they brought in Roy Buchanan, another guitarist who had been playing with Dale Hawkins, having started out playing with Johnny Otis' band. But Buchanan didn't fit with Hawkins' personality, and he quit after a few months, going off to record his own first solo record: [Excerpt: Roy Buchanan, "Mule Train Stomp"] Eventually they solved the lineup problem by having Robertson -- by this point an accomplished lead player --- move to lead guitar and bringing in a new rhythm player, another Canadian teenager named Rick Danko, who had originally been a lead player (and who also played mandolin and fiddle). Danko wasn't expected to stay on rhythm long though -- Rebel Payne was drinking a lot and missing being at home when he was out on the road, so Danko was brought in on the understanding that he was to learn Payne's bass parts and switch to bass when Payne quit. Helm and Robertson were unsure about Danko, and Robertson expressed that doubt, saying "He only knows four chords," to which Hawkins replied, "That's all right son. You can teach him four more the way we had to teach you." He proved himself by sheer hard work. As Hawkins put it “He practiced so much that his arms swoll up. He was hurting.” By the time Danko switched to bass, the group also had a baritone sax player, Jerry Penfound, which allowed the group to play more of the soul and R&B material that Helm and Robertson favoured, though Hawkins wasn't keen. This new lineup of the group (which also had Stan Szelest on piano) recorded Hawkins' next album. This one was produced by Henry Glover, the great record producer, songwriter, and trumpet player who had played with Lucky Millinder, produced Wynonie Harris, Hank Ballard, and Moon Mullican, and wrote "Drowning in My Own Tears", "The Peppermint Twist", and "California Sun". Glover was massively impressed with the band, especially Helm (with whom he would remain friends for the rest of his life) and set aside some studio time for them to cut some tracks without Hawkins, to be used as album filler, including a version of the Bobby "Blue" Bland song "Farther On Up the Road" with Helm on lead vocals: [Excerpt: Levon Helm and the Hawks, "Farther On Up the Road"] There were more changes on the way though. Stan Szelest was about to leave the band, and Jones had already left, so the group had no keyboard player. Hawkins had just the replacement for Szelest -- yet another Canadian teenager. This one was Richard Manuel, who played piano and sang in a band called The Rockin' Revols. Manuel was not the greatest piano player around -- he was an adequate player for simple rockabilly and R&B stuff, but hardly a virtuoso -- but he was an incredible singer, able to do a version of "Georgia on My Mind" which rivalled Ray Charles, and Hawkins had booked the Revols into his own small circuit of clubs around Arkanasas after being impressed with them on the same bill as the Hawks a couple of times. Hawkins wanted someone with a good voice because he was increasingly taking a back seat in performances. Hawkins was the bandleader and frontman, but he'd often given Helm a song or two to sing in the show, and as they were often playing for several hours a night, the more singers the band had the better. Soon, with Helm, Danko, and Manuel all in the group and able to take lead vocals, Hawkins would start missing entire shows, though he still got more money than any of his backing group. Hawkins was also a hard taskmaster, and wanted to have the best band around. He already had great musicians, but he wanted them to be *the best*. And all the musicians in his band were now much younger than him, with tons of natural talent, but untrained. What he needed was someone with proper training, someone who knew theory and technique. He'd been trying for a long time to get someone like that, but Garth Hudson had kept turning him down. Hudson was older than any of the Hawks, though younger than Hawkins, and he was a multi-instrumentalist who was far better than any other musician on the circuit, having trained in a conservatory and learned how to play Bach and Chopin before switching to rock and roll. He thought the Hawks were too loud sounding and played too hard for him, but Helm kept on at Hawkins to meet any demands Hudson had, and Hawkins eventually agreed to give Hudson a higher wage than any of the other band members, buy him a new Lowry organ, and give him an extra ten dollars a week to give the rest of the band music lessons. Hudson agreed, and the Hawks now had a lineup of Helm on drums, Robertson on guitar, Manuel on piano, Danko on bass, Hudson on organ and alto sax, and Penfound on baritone sax. But these new young musicians were beginning to wonder why they actually needed a frontman who didn't turn up to many of the gigs, kept most of the money, and fined them whenever they broke one of his increasingly stringent set of rules. Indeed, they wondered why they needed a frontman at all. They already had three singers -- and sometimes a fourth, a singer called Bruce Bruno who would sometimes sit in with them when Penfound was unable to make a gig. They went to see Harold Kudlets, who Hawkins had recently sacked as his manager, and asked him if he could get them gigs for the same amount of money as they'd been getting with Hawkins. Kudlets was astonished to find how little Hawkins had been paying them, and told them that would be no problem at all. They had no frontman any more -- and made it a rule in all their contracts that the word "sideman" would never be used -- but Helm had been the leader for contractual purposes, as the musical director and longest-serving member (Hawkins, as a non-playing singer, had never joined the Musicians' Union so couldn't be the leader on contracts). So the band that had been Ronnie Hawkins and the Hawks became the Levon Helm Sextet briefly -- but Penfound soon quit, and they became Levon and the Hawks. The Hawks really started to find their identity as their own band in 1964. They were already far more interested in playing soul than Hawkins had been, but they were also starting to get into playing soul *jazz*, especially after seeing the Cannonball Adderley Sextet play live: [Excerpt: Cannonball Adderley, "This Here"] What the group admired about the Adderley group more than anything else was a sense of restraint. Helm was particularly impressed with their drummer, Louie Hayes, and said of him "I got to see some great musicians over the years, and you see somebody like that play and you can tell, y' know, that the thing not to do is to just get it down on the floor and stomp the hell out of it!" The other influence they had, and one which would shape their sound even more, was a negative one. The two biggest bands on the charts at the time were the Beatles and the Beach Boys, and as Helm described it in his autobiography, the Hawks thought both bands' harmonies were "a blend of pale, homogenised, voices". He said "We felt we were better than the Beatles and the Beach Boys. We considered them our rivals, even though they'd never heard of us", and they decided to make their own harmonies sound as different as possible as a result. Where those groups emphasised a vocal blend, the Hawks were going to emphasise the *difference* in their voices in their own harmonies. The group were playing prestigious venues like the Peppermint Lounge, and while playing there they met up with John Hammond Jr, who they'd met previously in Canada. As you might remember from the first episode on Bob Dylan, Hammond Jr was the son of the John Hammond who we've talked about in many episodes, and was a blues musician in his own right. He invited Helm, Robertson, and Hudson to join the musicians, including Michael Bloomfield, who were playing on his new album, So Many Roads: [Excerpt: John P. Hammond, "Who Do You Love?"] That album was one of the inspirations that led Bob Dylan to start making electric rock music and to hire Bloomfield as his guitarist, decisions that would have profound implications for the Hawks. The first single the Hawks recorded for themselves after leaving Hawkins was produced by Henry Glover, and both sides were written by Robbie Robertson. "uh Uh Uh" shows the influence of the R&B bands they were listening to. What it reminds me most of is the material Ike and Tina Turner were playing at the time, but at points I think I can also hear the influence of Curtis Mayfield and Steve Cropper, who were rapidly becoming Robertson's favourite songwriters: [Excerpt: The Canadian Squires, "Uh Uh Uh"] None of the band were happy with that record, though. They'd played in the studio the same way they played live, trying to get a strong bass presence, but it just sounded bottom-heavy to them when they heard the record on a jukebox. That record was released as by The Canadian Squires -- according to Robertson, that was a name that the label imposed on them for the record, while according to Helm it was an alternative name they used so they could get bookings in places they'd only recently played, which didn't want the same band to play too often. One wonders if there was any confusion with the band Neil Young played in a year or so before that single... Around this time, the group also met up with Helm's old musical inspiration Sonny Boy Williamson II, who was impressed enough with them that there was some talk of them being his backing band (and it was in this meeting that Williamson apparently told Robertson "those English boys want to play the blues so bad, and they play the blues *so bad*", speaking of the bands who'd backed him in the UK, like the Yardbirds and the Animals). But sadly, Williamson died in May 1965 before any of these plans had time to come to fruition. Every opportunity for the group seemed to be closing up, even as they knew they were as good as any band around them. They had an offer from Aaron Schroeder, who ran Musicor Records but was more importantly a songwriter and publisher who  had written for Elvis Presley and published Gene Pitney. Schroeder wanted to sign the Hawks as a band and Robertson as a songwriter, but Henry Glover looked over the contracts for them, and told them "If you sign this you'd better be able to pay each other, because nobody else is going to be paying you". What happened next is the subject of some controversy, because as these things tend to go, several people became aware of the Hawks at the same time, but it's generally considered that nothing would have happened the same way were it not for Mary Martin. Martin is a pivotal figure in music business history -- among other things she discovered Leonard Cohen and Gordon Lightfoot, managed Van Morrison, and signed Emmylou Harris to Warner Brothers records -- but a somewhat unknown one who doesn't even have a Wikipedia page. Martin was from Toronto, but had moved to New York, where she was working in Albert Grossman's office, but she still had many connections to Canadian musicians and kept an eye out for them. The group had sent demo tapes to Grossman's offices, and Grossman had had no interest in them, but Martin was a fan and kept pushing the group on Grossman and his associates. One of those associates, of course, was Grossman's client Bob Dylan. As we heard in the episode on "Like a Rolling Stone", Dylan had started making records with electric backing, with musicians who included Mike Bloomfield, who had played with several of the Hawks on the Hammond album, and Al Kooper, who was a friend of the band. Martin gave Richard Manuel a copy of Dylan's new electric album Highway 61 Revisited, and he enjoyed it, though the rest of the group were less impressed: [Excerpt: Bob Dylan, "Highway 61 Revisited"] Dylan had played the Newport Folk Festival with some of the same musicians as played on his records, but Bloomfield in particular was more interested in continuing to play with the Paul Butterfield Blues Band than continuing with Dylan long-term. Mary Martin kept telling Dylan about this Canadian band she knew who would be perfect for him, and various people associated with the Grossman organisation, including Hammond, have claimed to have been sent down to New Jersey where the Hawks were playing to check them out in their live setting. The group have also mentioned that someone who looked a lot like Dylan was seen at some of their shows. Eventually, Dylan phoned Helm up and made an offer. He didn't need a full band at the moment -- he had Harvey Brooks on bass and Al Kooper on keyboards -- but he did need a lead guitar player and drummer for a couple of gigs he'd already booked, one in Forest Hills, New York, and a bigger gig at the Hollywood Bowl. Helm, unfamiliar with Dylan's work, actually asked Howard Kudlets if Dylan was capable of filling the Hollywood Bowl. The musicians rehearsed together and got a set together for the shows. Robertson and Helm thought the band sounded terrible, but Dylan liked the sound they were getting a lot. The audience in Forest Hills agreed with the Hawks, rather than Dylan, or so it would appear. As we heard in the "Like a Rolling Stone" episode, Dylan's turn towards rock music was *hated* by the folk purists who saw him as some sort of traitor to the movement, a movement whose figurehead he had become without wanting to. There were fifteen thousand people in the audience, and they listened politely enough to the first set, which Dylan played acoustically, But before the second set -- his first ever full electric set, rather than the very abridged one at Newport -- he told the musicians “I don't know what it will be like out there It's going to be some kind of  carnival and I want you to all know that up front. So go out there and keep playing no matter how weird it gets!” There's a terrible-quality audience recording of that show in circulation, and you can hear the crowd's reaction to the band and to the new material: [Excerpt: Bob Dylan, "Ballad of a Thin Man" (live Forest Hills 1965, audience noise only)] The audience also threw things  at the musicians, knocking Al Kooper off his organ stool at one point. While Robertson remembered the Hollywood Bowl show as being an equally bad reaction, Helm remembered the audience there as being much more friendly, and the better-quality recording of that show seems to side with Helm: [Excerpt: Bob Dylan, "Maggie's Farm (live at the Hollywood Bowl 1965)"] After those two shows, Helm and Robertson went back to their regular gig. and in September they made another record. This one, again produced by Glover, was for Atlantic's Atco subsidiary, and was released as by Levon and the Hawks. Manuel took lead, and again both songs were written by Robertson: [Excerpt: Levon and the Hawks, "He Don't Love You (And He'll Break Your Heart)"] But again that record did nothing. Dylan was about to start his first full electric tour, and while Helm and Robertson had not thought the shows they'd played sounded particularly good, Dylan had, and he wanted the two of them to continue with him. But Robertson and, especially, Helm, were not interested in being someone's sidemen. They explained to Dylan that they already had a band -- Levon and the Hawks -- and he would take all of them or he would take none of them. Helm in particular had not been impressed with Dylan's music -- Helm was fundamentally an R&B fan, while Dylan's music was rooted in genres he had little time for -- but he was OK with doing it, so long as the entire band got to. As Mary Martin put it “I think that the wonderful and the splendid heart of the band, if you will, was Levon, and I think he really sort of said, ‘If it's just myself as drummer and Robbie…we're out. We don't want that. It's either us, the band, or nothing.' And you know what? Good for him.” Rather amazingly, Dylan agreed. When the band's residency in New Jersey finished, they headed back to Toronto to play some shows there, and Dylan flew up and rehearsed with them after each show. When the tour started, the billing was "Bob Dylan with Levon and the Hawks". That billing wasn't to last long. Dylan had been booked in for nine months of touring, and was also starting work on what would become widely considered the first double album in rock music history, Blonde on Blonde, and the original plan was that Levon and the Hawks would play with him throughout that time.  The initial recording sessions for the album produced nothing suitable for release -- the closest was "I Wanna Be Your Lover", a semi-parody of the Beatles' "I Want to be Your Man": [Excerpt: Bob Dylan with Levon and the Hawks, "I Wanna Be Your Lover"] But shortly into the tour, Helm quit. The booing had continued, and had even got worse, and Helm simply wasn't in the business to be booed at every night. Also, his whole conception of music was that you dance to it, and nobody was dancing to any of this. Helm quit the band, only telling Robertson of his plans, and first went off to LA, where he met up with some musicians from Oklahoma who had enjoyed seeing the Hawks when they'd played that state and had since moved out West -- people like Leon Russell, J.J. Cale (not John Cale of the Velvet Underground, but the one who wrote "Cocaine" which Eric Clapton later had a hit with), and John Ware (who would later go on to join the West Coast Pop Art Experimental Band). They started loosely jamming with each other, sometimes also involving a young singer named Linda Ronstadt, but Helm eventually decided to give up music and go and work on an oil rig in New Orleans. Levon and the Hawks were now just the Hawks. The rest of the group soldiered on, replacing Helm with session drummer Bobby Gregg (who had played on Dylan's previous couple of albums, and had previously played with Sun Ra), and played on the initial sessions for Blonde on Blonde. But of those sessions, Dylan said a few weeks later "Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that" One track from the sessions did get released -- the non-album single "Can You Please Crawl Out Your Window?" [Excerpt: Bob Dylan, "Can You Please Crawl Out Your Window?"] There's some debate as to exactly who's playing drums on that -- Helm says in his autobiography that it's him, while the credits in the official CD releases tend to say it's Gregg. Either way, the track was an unexpected flop, not making the top forty in the US, though it made the top twenty in the UK. But the rest of the recordings with the now Helmless Hawks were less successful. Dylan was trying to get his new songs across, but this was a band who were used to playing raucous music for dancing, and so the attempts at more subtle songs didn't come off the way he wanted: [Excerpt: Bob Dylan and the Hawks, "Visions of Johanna (take 5, 11-30-1965)"] Only one track from those initial New York sessions made the album -- "One Of Us Must Know (Sooner or Later)" -- but even that only featured Robertson and Danko of the Hawks, with the rest of the instruments being played by session players: [Excerpt: Bob Dylan (One of Us Must Know (Sooner or Later)"] The Hawks were a great live band, but great live bands are not necessarily the same thing as a great studio band. And that's especially the case with someone like Dylan. Dylan was someone who was used to recording entirely on his own, and to making records *quickly*. In total, for his fifteen studio albums up to 1974's Blood on the Tracks, Dylan spent a total of eighty-six days in the studio -- by comparison, the Beatles spent over a hundred days in the studio just on the Sgt Pepper album. It's not that the Hawks weren't a good band -- very far from it -- but that studio recording requires a different type of discipline, and that's doubly the case when you're playing with an idiosyncratic player like Dylan. The Hawks would remain Dylan's live backing band, but he wouldn't put out a studio recording with them backing him until 1974. Instead, Bob Johnston, the producer Dylan was working with, suggested a different plan. On his previous album, the Nashville session player Charlie McCoy had guested on "Desolation Row" and Dylan had found him easy to work with. Johnston lived in Nashville, and suggested that they could get the album completed more quickly and to Dylan's liking by using Nashville A-Team musicians. Dylan agreed to try it, and for the rest of the album he had Robertson on lead guitar and Al Kooper on keyboards, but every other musician was a Nashville session player, and they managed to get Dylan's songs recorded quickly and the way he heard them in his head: [Excerpt: Bob Dylan, "Most Likely You Go Your Way and I'll Go Mine"] Though Dylan being Dylan he did try to introduce an element of randomness to the recordings by having the Nashville musicians swap their instruments around and play each other's parts on "Rainy Day Women #12 & 35", though the Nashville players were still competent enough that they managed to get a usable, if shambolic, track recorded that way in a single take: [Excerpt: Bob Dylan, "Rainy Day Women #12 & 35"] Dylan said later of the album "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." The album was released in late June 1966, a week before Freak Out! by the Mothers of Invention, another double album, produced by Dylan's old producer Tom Wilson, and a few weeks after Pet Sounds by the Beach Boys. Dylan was at the forefront of a new progressive movement in rock music, a movement that was tying thoughtful, intelligent lyrics to studio experimentation and yet somehow managing to have commercial success. And a month after Blonde on Blonde came out, he stepped away from that position, and would never fully return to it. The first half of 1966 was taken up with near-constant touring, with Dylan backed by the Hawks and a succession of fill-in drummers -- first Bobby Gregg, then Sandy Konikoff, then Mickey Jones. This tour started in the US and Canada, with breaks for recording the album, and then moved on to Australia and Europe. The shows always followed the same pattern. First Dylan would perform an acoustic set, solo, with just an acoustic guitar and harmonica, which would generally go down well with the audience -- though sometimes they would get restless, prompting a certain amount of resistance from the performer: [Excerpt: Bob Dylan, "Just Like a Woman (live Paris 1966)"] But the second half of each show was electric, and that was where the problems would arise. The Hawks were playing at the top of their game -- some truly stunning performances: [Excerpt: Bob Dylan and the Hawks, "Just Like Tom Thumb's Blues (live in Liverpool 1966)"] But while the majority of the audience was happy to hear the music, there was a vocal portion that were utterly furious at the change in Dylan's musical style. Most notoriously, there was the performance at Manchester Free Trade Hall where this happened: [Excerpt: Bob Dylan, "Like a Rolling Stone (live Manchester 1966)"] That kind of aggression from the audience had the effect of pushing the band on to greater heights a lot of the time -- and a bootleg of that show, mislabelled as the Royal Albert Hall, became one of the most legendary bootlegs in rock music history. Jimmy Page would apparently buy a copy of the bootleg every time he saw one, thinking it was the best album ever made. But while Dylan and the Hawks played defiantly, that kind of audience reaction gets wearing. As Dylan later said, “Judas, the most hated name in human history, and for what—for playing an electric guitar. As if that is in some kind of way equitable to betraying our Lord, and delivering him up to be crucified; all those evil mothers can rot in hell.” And this wasn't the only stress Dylan, in particular, was under. D.A. Pennebaker was making a documentary of the tour -- a follow-up to his documentary of the 1965 tour, which had not yet come out. Dylan talked about the 1965 documentary, Don't Look Back, as being Pennebaker's film of Dylan, but this was going to be Dylan's film, with him directing the director. That footage shows Dylan as nervy and anxious, and covering for the anxiety with a veneer of flippancy. Some of Dylan's behaviour on both tours is unpleasant in ways that can't easily be justified (and which he has later publicly regretted), but there's also a seeming cruelty to some of his interactions with the press and public that actually reads more as frustration. Over and over again he's asked questions -- about being the voice of a generation or the leader of a protest movement -- which are simply based on incorrect premises. When someone asks you a question like this, there are only a few options you can take, none of them good. You can dissect the question, revealing the incorrect premises, and then answer a different question that isn't what they asked, which isn't really an option at all given the kind of rapid-fire situation Dylan was in. You can answer the question as asked, which ends up being dishonest. Or you can be flip and dismissive, which is the tactic Dylan chose. Dylan wasn't the only one -- this is basically what the Beatles did at press conferences. But where the Beatles were a gang and so came off as being fun, Dylan doing the same thing came off as arrogant and aggressive. One of the most famous artifacts of the whole tour is a long piece of footage recorded for the documentary, with Dylan and John Lennon riding in the back of a taxi, both clearly deeply uncomfortable, trying to be funny and impress the other, but neither actually wanting to be there: [Excerpt Dylan and Lennon conversation] 33) Part of the reason Dylan wanted to go home was that he had a whole new lifestyle. Up until 1964 he had been very much a city person, but as he had grown more famous, he'd found New York stifling. Peter Yarrow of Peter, Paul, and Mary had a cabin in Woodstock, where he'd grown up, and after Dylan had spent a month there in summer 1964, he'd fallen in love with the area. Albert Grossman had also bought a home there, on Yarrow's advice, and had given Dylan free run of the place, and Dylan had decided he wanted to move there permanently and bought his own home there. He had also married, to Sara Lowndes (whose name is, as far as I can tell, pronounced "Sarah" even though it's spelled "Sara"), and she had given birth to his first child (and he had adopted her child from her previous marriage). Very little is actually known about Sara, who unlike many other partners of rock stars at this point seemed positively to detest the limelight, and whose privacy Dylan has continued to respect even after the end of their marriage in the late seventies, but it's apparent that the two were very much in love, and that Dylan wanted to be back with his wife and kids, in the country, not going from one strange city to another being asked insipid questions and having abuse screamed at him. He was also tired of the pressure to produce work constantly. He'd signed a contract for a novel, called Tarantula, which he'd written a draft of but was unhappy with, and he'd put out two single albums and a double-album in a little over a year -- all of them considered among the greatest albums ever made. He could only keep up this rate of production and performance with a large intake of speed, and he was sometimes staying up for four days straight to do so. After the European leg of the tour, Dylan was meant to take some time to finish overdubs on Blonde on Blonde, edit the film of the tour for a TV special, with his friend Howard Alk, and proof the galleys for Tarantula, before going on a second world tour in the autumn. That world tour never happened. Dylan was in a motorcycle accident near his home, and had to take time out to recover. There has been a lot of discussion as to how serious the accident actually was, because Dylan's manager Albert Grossman was known to threaten to break contracts by claiming his performers were sick, and because Dylan essentially disappeared from public view for the next eighteen months. Every possible interpretation of the events has been put about by someone, from Dylan having been close to death, to the entire story being put up as a fake. As Dylan is someone who is far more protective of his privacy than most rock stars, it's doubtful we'll ever know the precise truth, but putting together the various accounts Dylan's injuries were bad but not life-threatening, but they acted as a wake-up call -- if he carried on living like he had been, how much longer could he continue? in his sort-of autobiography, Chronicles, Dylan described this period, saying "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race. Having children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me and I was seeing everything through different glasses." All his forthcoming studio and tour dates were cancelled, and Dylan took the time out to recover, and to work on his film, Eat the Document. But it's clear that nobody was sure at first exactly how long Dylan's hiatus from touring was going to last. As it turned out, he wouldn't do another tour until the mid-seventies, and would barely even play any one-off gigs in the intervening time. But nobody knew that at the time, and so to be on the safe side the Hawks were being kept on a retainer. They'd always intended to work on their own music anyway -- they didn't just want to be anyone's backing band -- so they took this time to kick a few ideas around, but they were hamstrung by the fact that it was difficult to find rehearsal space in New York City, and they didn't have any gigs. Their main musical work in the few months between summer 1966 and spring 1967 was some recordings for the soundtrack of a film Peter Yarrow was making. You Are What You Eat is a bizarre hippie collage of a film, documenting the counterculture between 1966 when Yarrow started making it and 1968 when it came out. Carl Franzoni, one of the leaders of the LA freak movement that we've talked about in episodes on the Byrds, Love, and the Mothers of Invention, said of the film “If you ever see this movie you'll understand what ‘freaks' are. It'll let you see the L.A. freaks, the San Francisco freaks, and the New York freaks. It was like a documentary and it was about the makings of what freaks were about. And it had a philosophy, a very definite philosophy: that you are free-spirited, artistic." It's now most known for introducing the song "My Name is Jack" by John Simon, the film's music supervisor: [Excerpt: John Simon, "My Name is Jack"] That song would go on to be a top ten hit in the UK for Manfred Mann: [Excerpt: Manfred Mann, "My Name is Jack"] The Hawks contributed backing music for several songs for the film, in which they acted as backing band for another old Greenwich Village folkie who had been friends with Yarrow and Dylan but who was not yet the star he would soon become, Tiny Tim: [Excerpt: Tiny Tim, "Sonny Boy"] This was their first time playing together properly since the end of the European tour, and Sid Griffin has noted that these Tiny Tim sessions are the first time you can really hear the sound that the group would develop over the next year, and which would characterise them for their whole career. Robertson, Danko, and Manuel also did a session, not for the film with another of Grossman's discoveries, Carly Simon, playing a version of "Baby Let Me Follow You Down", a song they'd played a lot with Dylan on the tour that spring. That recording has never been released, and I've only managed to track down a brief clip of it from a BBC documentary, with Simon and an interviewer talking over most of the clip (so this won't be in the Mixcloud I put together of songs): [Excerpt: Carly Simon, "Baby Let Me Follow You Down"] That recording is notable though because as well as Robertson, Danko, and Manuel, and Dylan's regular studio keyboard players Al Kooper and Paul Griffin, it also features Levon Helm on drums, even though Helm had still not rejoined the band and was at the time mostly working in New Orleans. But his name's on the session log, so he must have m

Helen and Gavin chat about Ruby Gillman, Teenage Kraken, Hijack, and Mission: Impossible - Dead Reckoning Part One, and it's Week 84 from the list of Rolling Stone's 500 Best Songs Ever, numbers 85 to 81; Kiss by Prince, Let's Stay Together by Al Green, Desolation Row by Bob Dylan, Rolling in the Deep by Adele, and I'm Waiting for the Man by The Velvet Underground.

בפברואר 1966 יצא בוב דילן בן ה25 למסע הופעות עולמי. יחד איתו חברים שיהוו את להקת הבּאנד המהוללה אך עדיין פעלו תחת השם The Hawks.  כזכור ב1965 כבר החל במלאכת חישמוּל שירת הפולק הכּללית ושירתו שלו בפרט. זה קרה בניפּורט וזה נשמע היטב בהקלטות. כל זאת למגינתם ליבם של הרדיקלים נאמני הבנג'ו ונבל היד. אך מעל הכל, נוכחות הגיטרות החשמליות והאורגנים הפרוגרסיביים לא היו הפתעה לאיש ב1966. בחודש מאי הגיע דילן לאנגליה. הופעותיו על פי המסורת היו מורכבות ממחצית אקוסטית כאשר בוב לבדו על הבמה עם גיטרה ומפוחית. החצי השני היה חשמלי יחד עם החברים שהצטרפו. דילן קלט כי הקהל האנגלי חצוי לכל הפחות. והחצי שלא אהב את מה הוא עשה היה קולני וזועם במיוחד. השיא הגיע במנצ'סטר ונחרת בדברי הימים כאשר אחד האנשים בקהל צעק על המשורר תמים-הדרך "ג'ודאס". כלומר יהודה איש-קריות, היינו - בוגד. על פי הרשומות דילן היה המום אך מוכן לכך מיום היוולדו. כבר בהופעות הקודמות למנצ'סטאר החלו קריאות הבוז להתהוות ולהישמע באולם. ואכן רבים שואלים מה קרה ערב ההופעה במנצ'סטר? מה הוא עשה לאנגלים? אם כן מה שקרה הוא שהיתה הופעה בשֶׁפילד. ב16 במאי 1966. ביום זה לפני 57 שנים. הופעה נדירה ומיוחדת במינה המאפשרת לעקוב אחר האופוזיציה לדילן בשנים האלו. מתנגדיו כמובן נכנעו בסופו של דבר וחזרו בהם מדבריהם. למעט כיסי התנגדות מעטים ובלתי רלבנטיים להיסטוריה המוזיקלית ששקעו בתהומות הנשייה. חברות ונאמנים - הלילה חוזרים אל יום 16 במאי. אל הערב שלפני. אל אולם התיאטרון בשפילד, אינגלאנד.  ליינאפ: 1. She Belongs To Me 2. It's All Over Now, Baby Blue 3. Desolation Row 4. Tell Me, Momma 5. Baby, Let Me Follow You Down6. Leopard-Skin Pill-Box Hat 7. One Too Many Mornings 8. Ballad of a Thin Man

This week on the Help on the Way podcast, we're in a New York State of Mind. This week our hosts Game, FiG, and Knob are truckin' up to Albany for the Grateful Dead's March 24th, 1991 show at the Knickerbocker arena. Discussions abound about Bruce Hornsby, Desolation Row, and some speculation over what D&C is going to do at Cornell... Help On The Way > Slipknot! > Franklin's Tower Wang Dang Doodle Jack A Roe Beat It On Down The Line Brown Eyed Women Desolation Row Deal Samson & Delilah China Cat Sunflower > I Know You Rider Looks Like Rain > He's Gone > Drums > Space > The Wheel > I Need A Miracle > Standing On the Moon > Good Lovin U.S. Blues 

Sam Paddor and Charlie McCoy discuss Charlie's time playing with legends like Bob Dylan, Elvis Presley, Roy Orbison and more on their songs "Desolation Row", "Oh, Pretty Woman" and more. Charlie McCoy's Website: https://www.charliemccoy.com My Back Pages Website: https://www.mybackpages.org

Jochen Markhorst is a key member of the ring of Dylanologists who help the rest of us know about the references, influences, and ideas found in Dylan's work. In hundreds of blog posts and 15 books he's shared an impressive ability to put Bob's work into context of other music, literature, poetry, and art. He joins us to share some of his findings and thoughts on Cold Irons Bound from his book: Time Out Of Mind - The Rising of an Old Master. He tells us about the songs origin with Drummer David Kemper, he lines the song borrows from Ralph Stanley and The Stanley Brothers, and more. Following his presentation, is a Q&A with Jochen on this song and they way he approaches Dylan's work. An extended version of this interview - with about 15 extra minutes of Q&A - and a video version - is available to Plus Premium Members at FreakMusic.Club. or our Substack. For as little as $8/mo you get extended versions of our podcast episodes, video versions, and many more benefits. Right now, new Annual Members get a copy of Jochen's Time Out Of Mind Book. LINKS: BOOKS:Time Out Of Mind - The Rising of an Old Master (Amazon) 15 Titles from Jochen Markhorst (Includes Blood On The Track, Bringing It All Back Home, Blonde on Blonde, John Wesley Harding, Mississippi, Desolation Row, Crossing The Rubicon, and many more. BLOG POSTS Cold Irons Bound (Pt.1 - Pt.2 - Pt.3 - Pt.4 - Pt.5 - Pt.6) More Writing at Untold Dylan FREE WEEKLY BOB DYLAN NEWSLETTER "Seven Days" is our weekly email that give you all the biggest Dylan news, links, new releases, books, podcasts and more - in a simple prioritized list every Sunday. Sign up for free at: clck.it/7days

This is the first of two conversations about the crafting of Bob Dylan's legacy.My guest is freelance writer Rebecca Slaman. Follow Rebecca on Twitter: @ithrewtheglass.The version of “Desolation Row” is from 12 April, 2009 in Amsterdam, Netherlands. You can watch it in full along with others from that year here.You can support Definitely Dylan on Patreon or with a one-off donation.For more information, see http://definitelydylan.com/.

This is the first of two conversations about the crafting of Bob Dylan's legacy.My guest is freelance writer Rebecca Slaman, with whom I talk about Dylan films, the future of Dylan fandom, and his underrated sense of humour!. Follow Rebecca on Twitter: @ithrewtheglass.The version of “Desolation Row” is from 12 April, 2009 in Amsterdam, Netherlands. You can watch it in full along with others from that year here.You can support Definitely Dylan on Patreon or with a one-off donation.For more information, see http://definitelydylan.com/.

He remembers finding someone's copy of Bob Dylan's Highway 61 Revisited. In a few days, he memorized the lyrics to "Desolation Row." It was the moment when he realized songs aren't just tunes with words: they're worlds to be inhabited fully, filled with strange characters, unexpected emotions, and lessons to be learned. Three decades and several hundred songs later, Paul Weinfield is still at work. The trajectory of his musical career has hardly been linear. A two-time survivor of cancer, he's faced a lot of setbacks, which inform the themes of his music. Weinfield's first albums (2005-2013) were released under the pseudonym “Tam Lin,” a nod to his love of folklore and magic. He then collaborated with singer-songwriter Danny Musengo in Fairytales For the Fatherless (2014-2018). The two joined David Block (The Human Experience) in founding Gone Gone Beyond, a “future-folk” project combining electronic and folk sounds. Since 2018, Weinfield has been releasing music under his own name: Music Is People (2019), Things I Should Have Told Myself Long Ago (2020), and miscellaneous singles. His latest album, Love Songs From the Tree of Life, is due out later in 2022. In addition to being a musician, Weinfield is a meditation teacher and spiritual author, and Buddhism informs a lot of his songwriting. He likes to say that music and meditation are really just one thing: listening to the voices in his head and learning to find a place for them in this world.

Highway 61 Revisited by Bob Dylan was released in 1965.Highway 61 Revisited (Andrew's Mix) includes the following songs, mixed with 19 clips:1. Like a Rolling Stone2. Tombstone Blues3. It Takes a Lot to Laugh, It Takes a Train to Cry4. From a Buick 65. Ballad of a Thin Man6. Queen Jane Approximately7. Highway 61 Revisited8. Just Like Tom Thumb's Blues9. Desolation Row

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAGH Find the pictures for chapter 14 here!

Bob Dylan cumplió 80 años.  El autor que mejor ha mezclado la música con la poesía, y el que  ha revivido la tradición de recitarla.Revisamos su carrera y su influencia en la poesía, el rock y la música folk, analizando Desolation Row,  A hard rain's a-gonna fall  y Tangled up in Blue, entre otras.(www.enelcaminopodcast.com) (@enelcaminopodcast)

Bob Dylan fylder 80 år den 24. maj. Det fejrer vi med forfatter og teolog Jakob Brønnums gennemgang af de efter hans mening ti bedste Bob Dylan-album. Og i denne POVcast - som i dagens anledning er døbt BOBcast - uddyber Brønnum sine valg i samtale med musikredaktør Jan Eriksen. Podcasten er lang, det handler om en lang karriere. 100 minutters BOBcast. 80 års levet liv. 60 år lang karriere. 40 album. Godt og vel.  At sætte sig for at udnævne de bedste ti Dylan-album kræver beslutsomhed, stor viden og et vist mod. Alt det kendetegner Dylan-eksperten Jakob Brønnum. I denne podcast taler han og værten ikke bare om de ti album på listen, men også om afgørende træk, musikalsk og teksmæssigt, der kom til at påvirke Dylan efter det store brud med folkemusikbevægelsen i begyndelsen af 60'erne. Og de taler ikke mindst om den betydning Dylan løbende har haft på den øvrige musikscene og den omgivende verden, der omvendt har påvirket Dylans sangskrivning.  På det seneste har Brønnum og Dylan-eksperten Eyolf Østrem udsendt første udgave af det, de kalder et "in-depth newsletter about Bob Dylan's music and lyrics", med andre ord et lille månedligt tidsskrift med artikler og analyser og anmeldelser og klummer, men i den nye Substack-form, hvor det går direkte i indbakken som mail og man samtidig har arkivet på hjemmesiden.  Brønnum har bl.a. skrevet bogen "Sange ved himlens port - Bob Dylans bibelske inspirationskilder". Jan Eriksen mødte Brønnum på et hotel i København, da denne var på vej hjem til Sverige. Der er lidt rumlen fra andre hotelgæster undervejs. I løbet af samtalen taler de blandt meget andet om: Robbie Robertsons indfølte guitarspil, der nærmest er et nummer i sig selv på versionen af  "Blowing in the Wind" på Before the Flood Forholdet til den daværende kone Sara Lowdes, der påvirker flere af Bob Dylans smukkeste numre. Dylans inspiration i den jødiske Kabbala-tænkning De uendelig mange oneliners i Dylans sange Dylans Nobel-pris Den evige afsøgning af eksistentielle spørgsmål i Dylans sange Forholdet mellem og folkemusikbevægelsen, der kom til at påvirke Dylans sangskrivning i mange år senere.  Dylans påvirkning af resten af musikscenen. Hvad der skete, der Dylan for første og sidste gang arbejdede sammen med en anden tekstforfatter - på albummet Desire. BOBcastens playliste: Bob Dylan Greatest Hits vol. 2, "Positively 4. Street" Before The Flood, "I Shall Be Released" Oh Mercy, "Ring them Bells", version med Joe Cocker Blood on the Tracks, "If You See Her Say Hallo" Highway 61 Revisited, "Desolation Row" Desire, "Hurricane" Time Out of Mind, "Trying to Get to Heaven" Blonde on Blonde, "Sad Eyed Lady of the Lowlands" Love and Theft, "Mississippi" Bring it All Back Home, "Love Minus Zero/No Limit"

“The Saviour King” Looking to Jesus for the Fulfillment of All Our Hopes What are your hopes? If all your hopes were fulfilled, would you be happy? Let's be honest: we've experienced fulfilled hopes only to find the happiness to wear off, even disappoint. The gospel provocatively asserts that Jesus is the one hope and fulfillment of our hopes that does not expire or disappoint. Join us Sundays 10:30 am as we learn from Matthew's gospel about how Jesus is the fulfillment of all our hopes. Speaker: Russell Sutherland

In this week’s episode we take a momentary pause from our march through the Dick’s Picks series to discuss one of the best (some would say the best) live performance of all time: Bob Dylan & The Hawks 05/17/1966 concerts from the Free Trade Hall in Manchester, UK, known throughout history as the “Royal Albert Hall” Concert. Catching Dylan in the midst of a creative peak, just weeks prior to the release of his monumental album, Blonde On Blonde, and just months before he’d disappear from live performances for 8 years, it’s an incredible peek into an artist challenging the norms of his era, battling with an audience of imbeciles, and playing some of the best rock & roll ever made with The Hawks.Disc One is a complete acoustic set, which shows Dylan playing songs from Bringing It All Back Home, Highway 61 Revisited, and the yet-unreleased Blonde On Blonde. Every song has a claim for The Greatest Dylan Song of All Time, but highlights are found in the languid “Visions Of Johanna,” the haunting “It’s All Over Now, Baby Blue,” the wild and atonal “Desolation Row,” and the stunning energy in “Mr. Tambourine Man.” Disc Two opens with stray guitar riffs before launching into “Tell Me, Momma.” From there we’re off. One of the greatest sets of rock & roll ever played. Reworking old songs like “I Don’t Believe You (She Acts Like We Never Have Met,” “Baby Let Me Follow You Down,” and “One Too Many Mornings” as well as blasting tunes from his latest releases, “Just Like Tom Thumb’s Blues” and “Leopard Skin Pill-Box Hat,” Dylan battles his audience for the whole set, chastising them “It used to be like this….now it goes like that….” “...If only you wouldn’t clap so loud…” and forcing some of the best rock music ever played upon their ears. The boo’s are hurtled from afar from a crowd of fucking morons who want Dylan to be the Dylan they want them to be, and all the while the band plays louder and tighter and groovier. The set peaks following a searing “Ballad Of A Thin Man” with an audience member calling Dylan “Judas!” before Dylan responds with: “I don’t believe you….you’re a liar,” before instructing The Hawks to “Play it fucking loud!” They do just that, and one of the greatest versions of “Like A Rolling Stone” is unleashed on the world. The show is an absolutely stunning picture of Dylan, who, at 24, was at an early creative peak - some would say his highest - and on the tail end of a 18mo dive into amphetamine abuse. Strung out, exhausted, angry, but writing some of the best music he ever will, he combines all of this into a dual performance, acoustic/electric, that showcases the sheer genius of Dylan, and the lasting legacy of his craft.36 from the Vault is production of Osiris Media. It is edited, produced and mastered by Brian Brinkman. All music composed by Amar Sastry, unless otherwise noted. Logo design by Liz Bee Art & Design. Special Curveball logo design by Mark Dowd. The executive producer of 36 from the Vault is RJ Bee. ---We’re thrilled to be sponsored by Grady’s Cold Brew. Use Promo Code: VAULTCheck out Green Future Wealth and mention OSIRIS to get a free report on your existing investmentsVisit Sunset Lake CBD and use promo code VAULT for 20% off your purchase---Please consider reviewing this podcast on

Nashville musician Charlie McCoy's Dylan-related achievements include those distinctive guitar licks on Desolation Row, that blues harmonica on Obviously Five Believers (a rare example of another person playing harp on a Dylan session) and the inventive bass lines on John Wesley Harding, Nashville Skyline and Self Portrait. His motto: “Say yes - and then figure it out!” On his work as a session musician: “The song is the picture and we are the frame”. On Dylan's harmonica style: “I've tried to do it like that and it doesn't sound as good”. On waiting until 4:00 in the morning to record Sad-Eyed Lady of the Lowlands: “How much coffee can you drink?”Charlie has played with them all: Elvis (13 albums), Jerry Lee Lewis, Roy Orbison, George Jones, Dolly Parton, Johnny Cash, Ringo Starr, Paul Simon, Kris Kristofferson, Robbie Robertson, Linda Ronstadt; even the rockers known as Ween. His tale of Leonard Cohen and the horsewhip is worth the price of admission. Any regrets? “I never played bass for Elvis” (only harmonica, organ, vibes and guitar). We are honoured to welcome the Nashville cat who has been there and done pretty much everything.In addition to being a fixture in Nashville recording studios for almost 60 years, Charlie McCoy has released 35 solo albums and served as music director for the long-running television series, “Hee Haw”. Charlie is member of the Country Music Hall of Fame. His session work includes Oh Pretty Woman by Roy Orbison, Simon and Garfunkel's The Boxer, George Jones's He Stopped Loving Her Today and Johnny Cash's Orange Blossom Special. He has played harmonica for Waylon Jennings, Steve Miller, Gordon Lightfoot, Loretta Lynn, Leon Russell, Rodney Crowell and countless others. Charlie won a Grammy for his album, The Real McCoy. He has won the CMA's Instrumentalist of the Year Award two times and the Academy Of Country Music's Specialty Instrument Award seven times. Charlie was a member of legendary Nashville band Area Code 615, whose song Stone Fox Chase was the theme tune for the BBC's Old Grey Whistle Test TV series.WebsiteTrailerSpotify playlistListeners: please subscribe and/or leave a review and a rating.Twitter @isitrollingpodRecorded 19th February 2021This show is part of Pantheon Podcasts

Nashville musician Charlie McCoy’s Dylan-related achievements include those distinctive guitar licks on Desolation Row, that blues harmonica on Obviously Five Believers (a rare example of another person playing harp on a Dylan session) and the inventive bass lines on John Wesley Harding, Nashville Skyline and Self Portrait. His motto: “Say yes - and then figure it out!” On his work as a session musician: “The song is the picture and we are the frame”. On Dylan’s harmonica style: “I’ve tried to do it like that and it doesn’t sound as good”. On waiting until 4:00 in the morning to record Sad-Eyed Lady of the Lowlands: “How much coffee can you drink?” Charlie has played with them all: Elvis (13 albums), Jerry Lee Lewis, Roy Orbison, George Jones, Dolly Parton, Johnny Cash, Ringo Starr, Paul Simon, Kris Kristofferson, Robbie Robertson, Linda Ronstadt; even the rockers known as Ween. His tale of Leonard Cohen and the horsewhip is worth the price of admission. Any regrets? “I never played bass for Elvis” (only harmonica, organ, vibes and guitar). We are honoured to welcome the Nashville cat who has been there and done pretty much everything. In addition to being a fixture in Nashville recording studios for almost 60 years, Charlie McCoy has released 35 solo albums and served as music director for the long-running television series, “Hee Haw”. Charlie is member of the Country Music Hall of Fame. His session work includes Oh Pretty Woman by Roy Orbison, Simon and Garfunkel’s The Boxer, George Jones’s He Stopped Loving Her Today and Johnny Cash’s Orange Blossom Special. He has played harmonica for Waylon Jennings, Steve Miller, Gordon Lightfoot, Loretta Lynn, Leon Russell, Rodney Crowell and countless others. Charlie won a Grammy for his album, The Real McCoy. He has won the CMA’s Instrumentalist of the Year Award two times and the Academy Of Country Music’s Specialty Instrument Award seven times. Charlie was a member of legendary Nashville band Area Code 615, whose song Stone Fox Chase was the theme tune for the BBC’s Old Grey Whistle Test TV series. Website Trailer Spotify playlist Listeners: please subscribe and/or leave a review and a rating. Twitter @isitrollingpod Recorded 19th February 2021 This show is part of Pantheon Podcasts

Nashville musician Charlie McCoy's Dylan-related achievements include those distinctive guitar licks on Desolation Row, that blues harmonica on Obviously Five Believers (a rare example of another person playing harp on a Dylan session) and the inventive bass lines on John Wesley Harding, Nashville Skyline and Self Portrait. His motto: “Say yes - and then figure it out!” On his work as a session musician: “The song is the picture and we are the frame”. On Dylan's harmonica style: “I've tried to do it like that and it doesn't sound as good”. On waiting until 4:00 in the morning to record Sad-Eyed Lady of the Lowlands: “How much coffee can you drink?”Charlie has played with them all: Elvis (13 albums), Jerry Lee Lewis, Roy Orbison, George Jones, Dolly Parton, Johnny Cash, Ringo Starr, Paul Simon, Kris Kristofferson, Robbie Robertson, Linda Ronstadt; even the rockers known as Ween. His tale of Leonard Cohen and the horsewhip is worth the price of admission. Any regrets? “I never played bass for Elvis” (only harmonica, organ, vibes and guitar). We are honoured to welcome the Nashville cat who has been there and done pretty much everything.In addition to being a fixture in Nashville recording studios for almost 60 years, Charlie McCoy has released 35 solo albums and served as music director for the long-running television series, “Hee Haw”. Charlie is member of the Country Music Hall of Fame. His session work includes Oh Pretty Woman by Roy Orbison, Simon and Garfunkel's The Boxer, George Jones's He Stopped Loving Her Today and Johnny Cash's Orange Blossom Special. He has played harmonica for Waylon Jennings, Steve Miller, Gordon Lightfoot, Loretta Lynn, Leon Russell, Rodney Crowell and countless others. Charlie won a Grammy for his album, The Real McCoy. He has won the CMA's Instrumentalist of the Year Award two times and the Academy Of Country Music's Specialty Instrument Award seven times. Charlie was a member of legendary Nashville band Area Code 615, whose song Stone Fox Chase was the theme tune for the BBC's Old Grey Whistle Test TV series.WebsiteTrailerEpisode playlist on AppleEpisode playlist on SpotifyListeners: please subscribe and/or leave a review and a rating.Twitter @isitrollingpodRecorded 19th February 2021This show is part of Pantheon Podcasts

Hello Friends, today we're taking it back to 1965 with the second LP in Bob Dylan's iconic electric trilogy, the incomparable 'Highway 61 Revisited'. Release in both Mono & Stereo mixes in 1965, the album has never been subject to a remix, and as such, these are the mixes we still reference today. So, with every track being longer in stereo, is this an easy decision to make? Let's hop in a car down Highway 61 to Desolation Row and find out! Happy Listening,  Frederick  Support the podcast on Patreon here: https://www.patreon.com/backtomono Email the show at: backtomonoradio@gmail.com Listen to companion podcast Back to Mono here: backtomono.podbean.com Join the Facebook Community here: https://www.facebook.com/groups/backtomono

Music Videos. Very few filmmakers have been as talked about online in the last ten years and fewer have engendered the visceral reaction that Zack Snyder has. Join Matthew Rushing and John Mills as The 602 Club proudly presents Snyder Cuts, a journey through the directorial works of Zack Snyder. In this first episode we begin as he did, with his work on music videos. Chapters The Genesis of the Show (00:03:19) Love is a Crime (00:16:29) You're So Close (00:21:18) Tomorrow (00:22:33) Somebody to Shove (00:27:03) World of Swirl (00:29:03) Leave Virginia Alone (00:30:39) Desolation Row (00:32:19) Hanukkah, O Hanukkah (00:37:21) Hosts Matthew Rushing and John Mills Production Matthew Rushing (Editor and Producer) C Bryan Jones (Executive Producer) John Mills (Producer) Social Twitter: @The602Club Instagram: @the602clubtfm

Music Videos. Very few filmmakers have been as talked about online in the last ten years and fewer have engendered the visceral reaction that Zack Snyder has. Join Matthew Rushing and John Mills as The 602 Club proudly presents Snyder Cuts, a journey through the directorial works of Zack Snyder. In this first episode we begin as he did, with his work on music videos. Chapters The Genesis of the Show (00:03:19) Love is a Crime (00:16:29) You're So Close (00:21:18) Tomorrow (00:22:33) Somebody to Shove (00:27:03) World of Swirl (00:29:03) Leave Virginia Alone (00:30:39) Desolation Row (00:32:19) Hanukkah, O Hanukkah (00:37:21) Hosts Matthew Rushing and John Mills Production Matthew Rushing (Editor and Producer) C Bryan Jones (Executive Producer) John Mills (Producer) Social Twitter: @The602Club Instagram: @the602clubtfm

On a day when the U.S. capitol plays host to an armed standoff with insurrectionists relentlessly egged on by the criminal-in-chief, it pays to remember that the whole world is watching. When modern liberal capitalist systems fracture, all pretense and condescension goes out the window. And the reality of force and violence that has so long been visited upon the disenfranchised peoples of the world, now ignores borders and turns its ugly face toward inward, like the Frankenstein's monster whose creators could no longer control the forces they unleashed. Join the Josh and Chris for a discussion of how coup d'etat done is done up American style.

A conversation with iconic harmonica player Charlie McCoy! Charlie has played on dozens of hit records, including Elvis Presley, Bob Dylan, Johnny Cash. George Jones, Roy Orbison, Dolly Parton, Perry Como, Joan Baez, Steve Miller Band, Kris Kristofferson, Paul Simon, Barefoot Jerry, on Ringo Starr's 'Beaucoups of Blues', and many more! At the height of his activity, McCoy played on over 400 recording sessions per year. He played guitar on Dylan's "Desolation Row", from the album Highway 61 Revisited; and "Sad Eyed Lady of the Lowlands", from the album Blonde on Blonde; bass guitar (on all the tracks from Bob Dylan's John Wesley Harding); keyboards, and drums plus several wind and brass instruments. For 19 years McCoy worked as music director for the popular television show Hee Haw and was a member of the Million Dollar Band, a group of all-star session musicians who performed on the show. The solo work of this Country Music Hall Of Fame member is contained on more than three dozen albums that Charlie has released over the past four decades.In 2009, McCoy was inducted into the Country Music Hall of Fame along with Roy Clark and Barbara Mandrell. He is also a member of the International Musicians' Hall of Fame and the West Virginia Music Hall of Fame. Charlie has performed all over America, Japan twenty times and in over two hundred cities and towns in Europe. Please check out Charlie online at https://www.charliemccoy.com where you can purchase his book, CDs, and other merch!

Desolation Row Series: Moving Through Matthew Preacher: Derek Lamont Sunday Morning Date: 11th October 2020 Time: 11:00

In episode 77 we close out our song-by-song consideration of ROUGH & ROWDY WAYS by featuring "Murder Most Foul" and other closers for Bob Dylan albums; they tend to be long, so we do not have time to play but a few of them, though. This week on "Who Did It Better?" we ask you to choose between Bob Dylan's and the Grateful Dead's versions of "Desolation Row," the closing song to Dylan's 1965 HIGHWAY 61 REVISITED. Go to our Twitter page @RainTrains and vote for who did it better! Check out our other episodes featuring songs from ROUGH AND ROWDY WAYS from 4/2/2020 up through this week: throughout 14 episodes, we explore the new Dylan album. Our 7/2/2020 episode ("I Contain...Openers!") compliments this episode by exploring songs that open Dylan albums.

Actor Rufus Jones (writer and co-star of Channel 4's Home) has hardly answered the BobPhone before he confesses that, despite his Cambridge English degree, “Dylan still scares the hell out of me”. But he's relieved that “Bob's entering a 'jolly grandpa' phase. He seems less concerned with preserving the myth”.Rufus references Beyoncé, the Eagles (“the story of the Eagles is better than the sound of the Eagles”), T.S. Eliot, Ezra Pound, Hieronymus Bosch and Christopher Ricks before moving on, via Desolation Row, to the enigma that is Murder Most Foul (“it reads like bad poetry but sings like good poetry”).In an episode recorded before the release of Rough And Rowdy Ways, theories are promulgated, lines dissected and numerology explored. Murder Most Foul is “a confounding song. He takes a piece of real life and spins it into something abstract and horrific.” Join us for a dark but enlightening day in Dallas.Rufus Jones began his career as part of the sketch comedy group Dutch Elm Conservatoire. In the West End, he appeared in the hit comedy Dead Funny. His acclaimed TV series Home was nominated for a BAFTA. Other television work includes three series as David Wilkes in W1A, Four Lives, Flack, Loaded, Stag, Fresh Meat, Trying Again, The Casual Vacancy, Bob Servant, Hunderby and Holy Flying Circus (as Terry Jones). His films include Stan And Ollie, The Foreigner, Paddington and Silent Night (due for a Christmas 2020 release).TwitterTrailerSpotify playlistListeners: please subscribe and/or leave a review and a rating.Twitter @isitrollingpodRecorded 15th June 2020This show is part of Pantheon Podcasts.

Actor Rufus Jones (writer and co-star of Channel 4’s Home) has hardly answered the BobPhone before he confesses that, despite his Cambridge English degree, “Dylan still scares the hell out of me”. But he’s relieved that “Bob’s entering a 'jolly grandpa' phase. He seems less concerned with preserving the myth”. Rufus references Beyoncé, the Eagles (“the story of the Eagles is better than the sound of the Eagles”), T.S. Eliot, Ezra Pound, Hieronymus Bosch and Christopher Ricks before moving on, via Desolation Row, to the enigma that is Murder Most Foul (“it reads like bad poetry but sings like good poetry”). In an episode recorded before the release of Rough And Rowdy Ways, theories are promulgated, lines dissected and numerology explored. Murder Most Foul is “a confounding song. He takes a piece of real life and spins it into something abstract and horrific.” Join us for a dark but enlightening day in Dallas. Rufus Jones began his career as part of the sketch comedy group Dutch Elm Conservatoire. In the West End, he appeared in the hit comedy Dead Funny. His acclaimed TV series Home was nominated for a BAFTA. Other television work includes three series as David Wilkes in W1A, Four Lives, Flack, Loaded, Stag, Fresh Meat, Trying Again, The Casual Vacancy, Bob Servant, Hunderby and Holy Flying Circus (as Terry Jones). His films include Stan And Ollie, The Foreigner, Paddington and Silent Night (due for a Christmas 2020 release). Twitter Trailer Spotify playlist Listeners: please subscribe and/or leave a review and a rating. Twitter @isitrollingpod Recorded 15th June 2020 This show is part of Pantheon Podcasts.

Actor Rufus Jones (writer and co-star of Channel 4's Home) has hardly answered the BobPhone before he confesses that, despite his Cambridge English degree, “Dylan still scares the hell out of me”. But he's relieved that “Bob's entering a 'jolly grandpa' phase. He seems less concerned with preserving the myth”.Rufus references Beyoncé, the Eagles (“the story of the Eagles is better than the sound of the Eagles”), T.S. Eliot, Ezra Pound, Hieronymus Bosch and Christopher Ricks before moving on, via Desolation Row, to the enigma that is Murder Most Foul (“it reads like bad poetry but sings like good poetry”).In an episode recorded before the release of Rough And Rowdy Ways, theories are promulgated, lines dissected and numerology explored. Murder Most Foul is “a confounding song. He takes a piece of real life and spins it into something abstract and horrific.” Join us for a dark but enlightening day in Dallas.Rufus Jones began his career as part of the sketch comedy group Dutch Elm Conservatoire. In the West End, he appeared in the hit comedy Dead Funny. His acclaimed TV series Home was nominated for a BAFTA. Other television work includes three series as David Wilkes in W1A, Four Lives, Flack, Loaded, Stag, Fresh Meat, Trying Again, The Casual Vacancy, Bob Servant, Hunderby and Holy Flying Circus (as Terry Jones). His films include Stan And Ollie, The Foreigner, Paddington and Silent Night (due for a Christmas 2020 release).TwitterTrailerEpisode playlist on AppleEpisode playlist on SpotifyListeners: please subscribe and/or leave a review and a rating.Twitter @isitrollingpodRecorded 15th June 2020This show is part of Pantheon Podcasts.

Actor Rufus Jones (writer and co-star of Channel 4’s Home) has hardly answered the BobPhone before he confesses that, despite his Cambridge English degree, “Dylan still scares the hell out of me”. But he’s relieved that “Bob’s entering a 'jolly grandpa' phase. He seems less concerned with preserving the myth”. Rufus references Beyoncé, the Eagles (“the story of the Eagles is better than the sound of the Eagles”), T.S. Eliot, Ezra Pound, Hieronymus Bosch and Christopher Ricks before moving on, via Desolation Row, to the enigma that is Murder Most Foul (“it reads like bad poetry but sings like good poetry”). In an episode recorded before the release of Rough And Rowdy Ways, theories are promulgated, lines dissected and numerology explored. Murder Most Foul is “a confounding song. He takes a piece of real life and spins it into something abstract and horrific.” Join us for a dark but enlightening day in Dallas. Rufus Jones began his career as part of the sketch comedy group Dutch Elm Conservatoire. In the West End, he appeared in the hit comedy Dead Funny. His acclaimed TV series Home was nominated for a BAFTA. Other television work includes three series as David Wilkes in W1A, Four Lives, Flack, Loaded, Stag, Fresh Meat, Trying Again, The Casual Vacancy, Bob Servant, Hunderby and Holy Flying Circus (as Terry Jones). His films include Stan And Ollie, The Foreigner, Paddington and Silent Night (due for a Christmas 2020 release). Twitter Trailer Spotify playlist Listeners: please subscribe and/or leave a review and a rating. Twitter @isitrollingpod Recorded 15th June 2020 This show is part of Pantheon Podcasts.

Kristofer Collins is a poet, a small press publisher, former bookseller, owner of the record shop Desolation Row and he writes a monthly book review column for Pittsburgh Magazine. Kris knows local books, and in this episode, he gives us some recommendations. It's National Poetry Month, and while in-person readings are canceled, there's tons of opportunity to find your new favorites online from your living room. We are highlighting a couple of small business “helpers." Operation Face Mask Pittsburgh is sewing face masks for those most in need. Plus, buy a T-shirt from Revival Print Co. and support some of your favorite local businesses.

We are celebrating both the imminent 50th episode of Hard Rain & Slow Trains and also our one-year anniversary on the air by counting down our list of Bob Dylan's 50 greatest songs. Join us for this episode wherein we play songs #50 through #42.

As we close out the month of January, I decided to feature the first show the band performed back in 1989. This one comes from the Henry J Kaiser Convention Center in Oakland California on February 5, 1989.  While there was alot of anxiety among the faithful that this might be the last time the band would be allowed to play in the relatively intimate confines of the Kaiser, the band came out this night determined to put on a show. They feature a number of relative 'new' tunes, including the first time the Brent song 'We Can Run' was played. The 'Touch of Grey' opener was a great start, then a energetic 'Stranger' into a smart 'Franklin's Tower'. I even think the 'Rooster' here is quite good with Jerry adding some really nice sounds.    We'll hear the second set next week, including another 'first time' played..      Grateful Dead Henry J. Kaiser Convention Center Oakland, CA 2/5/89 - Sunday One     Touch Of Grey Feel Like A Stranger > Franklin's Tower ; Little Red Rooster ; Althea ; We Can Run* ; Desolation Row ; Don't Ease Me In    You can listen to this week's Deadpod here:  http://traffic.libsyn.com/deadshow/deadpod013120.mp3   "Winter gray and falling rain, we'll see summer come again, Darkness falls and seasons change (gonna happen every time). Same old friends the wind and rain, Summers fade and roses die, You'll see summer come again, Like a song that's born to soar the sky."      

POD DYLAN Episode 113 - Desolation Row Rob welcomes fellow Bobcat Scott Pearson to discuss one of Bob Dylan's great masterpieces, "Desolation Row", the closing track to 1965's HIGHWAY 61 REVISITED. Have a question or comment? E-MAIL: firewaterpodcast@comcast.net Follow POD DYLAN on Twitter: @Pod_Dylan Subscribe to the show on Apple Podcasts: https://itunes.apple.com/us/podcast/pod-dylan/id1095013228 Complete list of all songs covered so far: http://fireandwaterpodcast.com/podcast/pod-dylan-the-songs Buy this song on Apple Music: https://music.apple.com/us/album/highway-61-revisited/201281514 This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Thanks for listening!

POD DYLAN Episode 113 - Desolation Row Rob welcomes fellow Bobcat Scott Pearson to discuss one of Bob Dylan's great masterpieces, "Desolation Row", the closing track to 1965's HIGHWAY 61 REVISITED. Have a question or comment? E-MAIL: firewaterpodcast@comcast.net Follow POD DYLAN on Twitter: @Pod_Dylan Subscribe to the show on Apple Podcasts: https://itunes.apple.com/us/podcast/pod-dylan/id1095013228 Complete list of all songs covered so far: http://fireandwaterpodcast.com/podcast/pod-dylan-the-songs Buy this song on Apple Music: https://music.apple.com/us/album/highway-61-revisited/201281514 This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Thanks for listening!

This month the podcast takes us to the Late Summer 1991 Run that had the band playing 6 shows in 7 nights... and they only repeated one song!   Amazing.   This is the 4th show of that run, and they are obviously trying hard not to repeat anything and came up with some interesting twists.   For half-time, "Bob" brought us in some Bob & Rob from 1991.   Good stuff.   Hope you guys are enjoyin the ride! GRATEFUL DEAD   August 16, 1991   Shoreline Amphitheater  Mountain View, CA   SET 1:  Jack Straw > Bertha, All Over Now, Ramble On Rose, Desolation Row, Dark Star > Promised Land   HALF-TIME:   Weir/Wasserman  (12/21/91  San Rafael, CA)   SET 2:   Scarlet Begonias > Victim Or The Crime > Fire On The Mountain, Truckin > Drums > Space > Playin' in the Band (Reprise) > Standing on the Moon > Good Lovin   ENCORE:   US Blues SOURCE:   Soundboard / Analog Master

Actor Michael Feast has a deep personal history with Dylan. He won a role in the landmark 1968 London production of Hair by singing Outlaw Blues and Highway 61 Revisited. His drama school years were dramatised by Camden Town flatmate Bruce Robinson in the cult film Withnail & I. “It looked pretty much like it did in the movie. Biba bags hanging over lights and all that sort of caper”. His Brighton Mod scooter and soul thing was shattered the first time he saw the cover and heard the contents of The Freewheelin’ Bob Dylan. “Whatever else I was into, like Elvis, Dylan always had a place within and yet beyond that. It always fitted in and yet it never did.” Desolation Row is dissected and applauded: “The words and images hit me straight away. I see it as a dusty street in Mexico”. The Beatles, The Band, The Rolling Stones, Gram Parsons, Muddy Waters and Robert Johnson are all name-checked by our self-confessed “musicologist geek” in this classic episode. Michael Feast is a stage and screen actor: a veteran of the Royal Exchange, The Old Vic, the National Theatre and the Royal Shakespeare Company. He worked several times with Sir John Gielgud, whom he later portrayed in the West End. Feast’s many television appearances include State of Play, Silent Witness, Vera and Game of Thrones. His film credits include roles in Franco Zeffirelli’s Brother Sun, Sister Moon as well as The Draughtsman’s Contract and Velvet Goldmine. Trailer Spotify playlist Listeners: please subscribe and/or leave a review and a rating. Twitter @istrollingpod Recorded 11th February 2019 

Our final look at this classic in our final episode of this season, thanks for listening! Desolation Row illustration: https://www.bobdylanpodcast.com/single-post/2018/09/04/Desolation-Row---Live-Blog Support the podcast, buy me a coffee: https://www.buymeacoffee.com/benburrell Or Paypal me: https://paypal.me/benburrellpodcasts instagram: https://www.instagram.com/bobdylanpodcast/?hl=en Twitter: https://twitter.com/bobdylanpodcast // https://twitter.com/benburrell Disclaimer: I do not own any of the music used in this podcast. It is used for education and discussion purposes under fair use law.

Alan Sparhawk and Mimi Parker, married founding members of Low, have quietly shattered rock music norms throughout their quarter-century career. In this episode, we join them for an interview and a walking tour of their Northern Minnesota hometown. [Songs sampled: Low - "What Part Of Me"; Low - "No Comprende"; Low - "Words"; Low - "Starfire"; Low - "Fly"; Bob Dylan - "Desolation Row"]

RELEASE Writer Jim Curtis Announces the Publication of Decoding Dylan. Making Sense of the Songs that Changed Modern Culture (ISBN 978-1-4766-7845-0), from McFarland Publishers, a book that offers a fundamentally new interpretation of the great songs from the sixties that made Bob Dylan a legend and revolutionized American popular music.   In place of the traditional image of Dylan the classic sixties rebel, Decoding Dylan draws on Dylan’s own revelations in his memoir Chronicles as well as numerous facts from the New York cultural scene to show that Dylan was a serious craftsman who worked hard at mastering songwriting. Not contend with the usual verse-and-chorus structure of rock songs, he continually experimented with stanza and rhyme forms.  Dylan’s early years in New York gave him cultural experiences that he could not have imagined while back in Minnesota. He discovered French Symbolist poets like Charles Baudelaire, whose challenging, disturbing poems made him impatient with the good-hearted but limited folk songs of people like Peter Seeger. When Suze Rotolo, Dylan’s first girlfriend in New York, took him to see Picasso’s paintings at the Museum of Modern Art, he was blown away—so much so that he says in Chronicles that he wanted to be like Picasso. Dylan has never said anything like that about any other artist. It was artists like Baudelaire and Picasso that Dylan had in mind when he called his epoch-making 1965 album Bringing It All Back Home.  As many American artists before him had done, Dylan undertook the task of assimilating European high culture and translating it into a distinctly American idiom. Many people have called Dylan a mystical poet, and with good reason. His great songs “Mr. Tambourine Man”; “Desolation Row”; and “Visions of Johanna” form a trilogy that begins on a “windy beach” and ends with the explosion of consciousness. Author Jim Curtis is a bridge-builder. He builds bridges between regions and cultures, just as Dylan does. He grew up in Tupelo, Mississippi, and saw his hometown hero Elvis perform live there. Seeing Elvis gave him a life-long commitment to rock and roll, so he wrote a book Rock Eras. Interpretations of Music and Society, 1954-1984. But rock and roll and popular culture are only part of who he is. He also has a PhD in Russian, and has written a lot about Russian literature. He can’t think of any reason not to enjoy both Leo Tolstoy and Elvis Presley, and he wants to persuade other people that they can enjoy both of them too! Curtis says, “You’ll never think about Dylan in the same way after you read this book!”

Between this world and the next, there lies the void, the twilight zone, the in between. In this episode we delve into what My Chemical Romance got up to between The Black Parade and Danger Days. Tune in to hear us cover Gerard's pirate pants in "Desolation Row," the wrong turn into Conventional Weapons, and an oddly prophetic music video. It's Avril Lavigne's world, and we're just living in it on this episode of My Chemical Fancast. CW: Alcoholism

O pesquisador Fernando Baião Viotti defendeu esse ano tese de autor da tese 'Um mundo feito de ferro: a lírica de Drummond e Bob Dylan', na Faculdade de Letras da UFMG. Ele traça um comparativo entre os dois escritores e procura iluminar a obra de um a partir do trabalho do outro. Confira, no Ondas da Ciência! Nesse programa, você ouve os poemas No meio do caminho e Viagem na Família, de Carlos Drummond de Andrade. E as músicas Visions Of Johanna, Desolation Row e Like a Rolling Stone, de Bob Dylan, e E agora José, poema de Drummond musicado por Paulo Diniz.

Episode 67 - Jeffrey Foucault Dan Sterenchuk and Tommy Estlund are honored to have as our guest, Jeffrey Foucault. Jeffrey launched his new album, BLOOD BROTHERS, the much anticipated follow-up to his critically acclaimed 2015 album Salt As Wolves (“Immaculately tailored… Close to perfection” – The New York Times; “Pure Songwriter, simple and powerful” – Morning Edition, NPR) is a collection of reveries, interlacing memory with the present tense to examine the indelible connections of love across time and distance. The poet Wallace Stevens wrote that technique is the proof of seriousness, and from the first suspended chord of “Dishes” – a waltzing hymn to the quotidian details of life, which are life itself (‘Do the dishes / With the windows open') – Foucault deftly cuts the template for the album as a whole, showing a mastery of technique as he unwinds a deeply patient collection of songs at the borderlands of memory and desire. In two decades on the road Jeffrey Foucault has become one of the most distinctive voices in American music, refining a sound instantly recognizable for its simplicity and emotional power, a decidedly Midwestern amalgam of blues, country, rock 'n' roll, and folk. He's built a brick-and-mortar international touring career on multiple studio albums, countless miles, and general critical acclaim, being lauded for “Stark, literate songs that are as wide open as the landscape of his native Midwest” (The New Yorker), and described as “Quietly brilliant” (The Irish Times), while catching the car of everyone from Van Dyke Parks to Greil Marcus, to Den Henley, who regularly covers Foucault in his live set. BLOOD BROTHERS is the sixth collection of original songs in a career remarkable for an unrelenting dedication to craft, and independence from trend. Jeffrey Foucault was 17 when he learned to play all the songs on John Prine's eponymous debut of his father's mail-order guitar, spending long evenings in his bedroom spinning piles of old records on a hand-me-down turntable, lifting the needle to transcribe every line of ‘Desolation Row'. At 19 he stole a copy of Townes Van Zandt: Live and Obscure from a friend, and a few years later, having quit school to work as a farm-hand and carpenter Foucault began writing the songs that became his first album (2001's Miles From the Lighting). Since then he's been everything from solo country-blues troubadour to front man for a six-piece rock ‘n' roll band, along the way compiling a discography notable for its visceral power and complex poetics. Yet it wasn't until he paired with drummer Billy Conway (Morphine) that the final piece fell into place and Foucault found the Luther Perkins to his Johnny Cash, the truly sympathetic collaborator to frame and fire his terse brand of Americana. See more about his bio, discography, and information about where to buy his music at his website: https://jeffreyfoucault.com/discography/ Note: guests create their own bio description for each episode. The Curiosity Hour Podcast is hosted and produced by Dan Sterenchuk and Tommy Estlund. Please visit our website for more information: thecuriosityhourpodcast.com Please visit this page for information where you can listen to our podcast: thecuriosityhourpodcast.com/listen/ If you would like to share your story or have a suggested guest, please complete the "Contact us" form: thecuriosityhourpodcast.com/contact-us/ Disclaimers: The Curiosity Hour Podcast may contain content not suitable for all audiences. Listener discretion advised. The views and opinions expressed by the guests on this podcast are solely those of the guest(s). These views and opinions do not necessarily represent those of The Curiosity Hour Podcast. This podcast may contain explicit language.

Sign on the Window is your Bob Dylan podcast! This episode features the one you've all been waiting for - 1965's Highway 61 Revisited! Because we know you may have some favorites, we've time-coded the songs below. After a special announcement, initial thoughts (5:00), context (6:00), Highway 61 (8:00), accolades (9:00), and an overview of 1965 in music (16:00), we get to the songs. "Like a Rolling Stone" (25:00) "Tombstone Blues" (30:30) "It Takes A Lot to Laugh" (34:30) "From a Buick 6" (40:00) "Ballad of a Thin Man" (43:15) We take a break there for the Harmonica Award Nominees (47:00) "Queen Jane Approximately" (49:30) "Highway 61 Revisited" (55:00) "Just Like the Tom Thumb Blues" (1:01:00) "Desolation Row" (1:06:00) And close with the final ceremonies for the Harmonica Awards (1:16:00) As always, full show notes at our website. You can also follow along with our weekly real-time Spotify playlist – See That My Playlist is Kept Clean – and join the conversation on Twitter, message us on Facebook, and like on Instagram. And if you're loving us, consider our Patreon. For as little as one dollar you get early access to every episode we do as soon as they're edited (and a dedicated feed just for you) and exclusive content that'll only ever be on Patreon. Thanks! In two weeks: I've got a date with the fairy queen

The 18th installment of Talkin’ Bob Dylan, is entitled,“'May I see your references?' Part II: Desolation Row". in the last episode we made the observation that Bob Dylan likes to refer in his songs to previously established characters, literary, historical and mythological. This week we dive into hismost extreme example and posit that the song is an apocalyptic, epic poem in which Desolation Row is perhaps an enlightened state of mind rather than a geographical place.

Comics on Consoles returns for its first new issue of 2017! In this issue, we inch the doomsday clock ever closer to midnight by profiling 2009's WATCHMEN: THE END IS NIGH. As the sole dedicated console game ever created out of the legendary limited series by Alan Moore and Dave Gibbons, THE END IS NIGH aims to tell a story worthy of the characters and setting...even though the game itself may not be a great fit for such a legendary, engaging and subversive work. Listen as host CHRIS CLOW tells the story of what led to the creation of this WATCHMEN gaming experience, and stick around for the discussion portion for an in-depth chat with this issue's special co-host PETER APERLO: an author and screenwriter who was charged, along with the WATCHMEN film director ZACK SNYDER, with creating much of what appears in the final game. So, download the show, crack open a can of your favorite beans, and listen to the latest issue of COMICS ON CONSOLES! Theme music by BenSound.com. "Desolation Row" written by Bob Dylan and performed by My Chemical Romance from Watchmen: Music from the Motion Picture.

Episode 049 - November 2016 Set 1Man Of Peace[1] (1987-07-04)Dead Man, Dead Man[1] (1987-06-01)Tomorrow Is a Long Time[1] (1987-06-01)Roll in My Sweet Baby's Arms[1] (1987-06-01)John Hardy[1] (1987-06-01)Tangled Up in Blue (1987-06-01)I Want You[1] (1987-06-01)The Ballad of Ira Hayes[1] (1987-06-01)It Takes A Lot To Laugh, A Train To Cry[1] (1982)Just Like Tom Thumb's Blues (1993-06-11)When I Paint My Masterpiece (1993-06-11)Señor (Tales of Yankee Power)[1] (1994-04-25)Desolation Row (1986-05-10)Simple Twist Of Fate (1977-12-04)Stuck Inside of Mobile with the Memphis Blues Again[1] (1988-10-16)Forever Young (1988-11-26)The Wicked Messenger[1] (1987-07-12)Heart of Mine[1] (1987-07-19)Shelter from the Storm[1] (1987-07-26)He Was a Friend of Mine-> China Cat Sunflower-> The Eleven-> Death Don't Have No Mercy (1969-05-24)It's All Over Now, Baby Blue[1] (1974-02-24)[1] Dead Fantasy Debut

Doug and Kirk wax nostalgic about the iPod classic, and other one trick pony music players. And Bob Dylan. Sponsor: Doug’s AppleScripts for iTunes. Make sure your iTunes management tools are updated for latest version of iTunes and for macOS Sierra at Doug’s AppleScripts for iTunes. Reader email: A question about earbuds and low frequencies; see the reply to a question on last week’s episode page. News: Bob Dylan wins the Nobel Prize in literature! Check out these Dylan albums to appreciate his poetry: Highway 61 Revisited, particularly Desolation Row. Blonde on Blonde, for Visions of Johanna. John Wesley Harding, a great underrated album, for All Along the Watchtower. And more: No Direction Home, documentary about Dylan’s early years. Bob Dylan, The 1966 Live Recordings Show notes: Elegy for the iPod Apple Composite AV Cable Mactracker iTrip Our next tracks: Note that Kirk recorded his next track selection before the news of Dylan winning the Nobel Prize broke. Kirk: Bob Dylan: The Bootleg Series, Vol. 9: The Witmark Demos: 1962-1964 Doug: Ron Wood: I’ve Got My Own Album To Do If you like the show, please subscribe in iTunes or your favorite podcast app, and please rate the podcast.

Episode 014 - July 2015 Set 1U.S. Blues-> Promised LandWe Can RunLibertyCalifornia EarthquakeFrom The Heart Of MeDesolation RowLazy River RoadOn The Road AgainBorn Cross-EyedEarly Morning RainBlack Throated WindLoserMe and My UncleYou Win AgainThrowing StonesWang Dang DoodleIf The Shoe FitsThe Music Never Stopped

Episode 021 - October 2015 Set 1Wake Up Little Susie 1970-02-14Don't Ease Me In 1970-03-24I'm A King Bee 1969-02-28When I Paint My Masterpiece 1991-06-17Desolation Row 1988-02-17I Second That Emotion 1971-04-29Stir It Up Jam 1991-03-21The Mighty Quinn 1985-12-30Werewolves of London 1978-07-08Baba O'Riley-> Tomorrow Never Knows 1992-05-31Knockin' On Heaven's Door 1990-10-28Dear Mr. Fantasy-> Hey Jude Reprise 1988-03-17Lucy In The Sky With Diamonds 1995-03-17All Along The Watchtower 1989-06-19The Weight 1990-04-02Man Smart (Woman Smarter) 1990-03-16Iko Iko 1990-12-12Not Fade Away-> Goin' Down The Road Feelin' Bad-> Not Fade Away 1971-11-15As always, all date information for all tracks used in all episodes can be found on the setlists page on the site -> http://deadfantasypodcast.blogspot.com/p/setlists.html

Om Bob Dylans Highway 61 Revisited och de minnen musiken väcker. Det har gått 50 år sedan Bob Dylans första LP med i huvudsak elektriskt komp - Highway 61 Revisited - hamnade i skivaffärernas skyltfönster. Med låtar som Like a Rolling Stone, Ballad of a Thin Man och Desolation Row.   Skivan låg som högst 3:a på Billboards topp100-lista och tidningen Rolling Stone hade den som nummer 4 på sin lista över tidernas viktigaste album.  Följ med till en tid när man kunde muta en telefoninstallatör med en chokladkartong och få veta allt om Dylan på köpet. Hör om  en vansinnesfärd i en Volvo Duett och hur gick det egentligen med planerna på att röva bort Bob Dylan när han besökte Stockholm 1966? Ett program av Anton Karis.

"Summer flies and August dies the world grows dark and mean"   I had a request for something from Alpine Valley, and it seemed to me that this show fit best right now, this is the last show that the band ever played at that storied venue, July 19th, 1989. Surely not the best show of the year, or even of that monstrous Summer Tour, but a show that displayed the band as it was at the end of an era of sorts. A very good show in which we see the band playing as a pretty well oiled machine.. The set starts with the always fun Hell In A Bucket, but that goes nicely into a fine Sugaree, where Jerry has a particularly  refreshing jam. The Mama Tried ->Mexicalli Blues are well played with much energy, but Althea is of course a highlight of the set at least for Jerry's vocals. I was never a huge fan of hearing the Victim or the Crime, but it certainly has its place in the band's repertoire at this point in their career. West L.A. Fadeaway follows, then a very good Desolation Row where Weir does I think a very nice job despite turning around the order of the verses. The Deal that follows is as usual during '89, very nicely jammed out.    Alpine Valley Music Theatre, East Troy WI (7/19/89) Hell in a Bucket Sugaree Mama Tried Mexicali Blues Althea Victim or the Crime West L.A. Fadeaway Desolation Row Deal   You can listen to this week's Deadpod here: http://traffic.libsyn.com/deadshow/deadpod081514.mp3   Thank you so much for your support of the Deadpod.     Heartfelt best wishes go out to Bobby Weir, feel better soon Ace..     and of course to the family of Robin Williams..

Movie Meltdown - Episode 235 This week, we're back for our annual coverage of Flyover Film Festival. It was a terrific line-up of films this year, and we continue our on-going interview series on directors as we sit down with three amazing independent filmmakers.   First we talk to David Lowery, director of "Ain't Them Bodies Saints" starring Casey Affleck, Rooney Mara, Ben Foster and Keith Carradine. Next we talk with Jillian Schlesinger about her film "Maidentrip". Her documentary features years of footage chronicling 14 year-old Laura Dekker's journey as she attempts to become the youngest person to sail around the world. And we round out the episode talking with Calvin Lee Reeder, director of "The Rambler", a surreal odyssey starring Dermot Mulroney and Lindsay Pulsipher.   And as we address the specifics of loitering around film fests, we also mention... Star Wars, furniture building, Scarecrow Video, a children's guide to film making, acid westerns, Monica Vitti, better home sound systems, America's greatest living surrealist, looking at raw footage, Labyrinth, Wild and Woolly Video, The Shooting, Pioneer, Storytelling... in all forms, digging ditches and playing rock and roll, fighting to shoot on film, the Canary Islands, The Hired Hand,trusting your instincts, evolving as a filmmaker, shredded by rats, Woody Guthrie, editing is my strong suit, the universal growing-up process, psychotronic, Desolation Row, being a schizophrenic director, Cat's Eye, Guy Clark, Repo Man, the American troubadours of the West, Monte Hellman, I Will Walk Like a Crazy Horse, I was trying to hatch a new plan, Ramblin' Jack Elliott, Videodrone, The Hustler, there's a television show... a movie... and a band within the movie, pretty faces and big explosions, fighting a Government to pursuit her dream, St. Nick, the spirit of the project, being a skater kid, 'Z for Zachariah, Don't Look Now, using a camcorder, collaborating with someone,  1 2 3 4 5 6 hamster, Walker, live your life courageously, Townes Van Zandt, Ride in the Whirlwind, David Gordon Green, an unholy pile of trash in his front room, lighting with practicals, having a very specific time period and subject, being 6'8" tall, artistic integrity, what is the narrative that naturally exists, using older equipment, Indiana Jones and the Temple of Doom, Jerry Jeff Walker, being a forklift driver and Jerkbeast.   "You walk past all the trucks and all the crew members, and it really comes down to you and the cinematographer and the actors."

This week I decided to play a show that I have some fond memories of - July 6th, 1990 at Cardinal Stadium in Louisville KY. I have vivid memories of the trip to this show (following the blistering 4th of July show in Kansas) as well as walking through this group of fundamentalists on my way to the venue (they were all carrying brooms and Bibles to sweep out Satan I guess).. the weather was HOT and they cut off beer sales right when the boys went on stage.. but still a great night of music.. The first set has a wonderful Sugaree .. although really all of these 1st set songs are well played.. Its just a fine show from a great tour - the Summer of 1990. Grateful Dead  Date:  7/6/90 - Friday  Location:  Cardinal Stadium - Louisville, KY  Set One:Hell In A Bucket >  Sugaree ;  Easy To Love You ;  Peggy-O ;  Desolation Row ;  West L.A. Fadeaway ;  Picasso Moon ;  Ramble On Rose ;  The Music Never Stopped You can listen to this week's Deadpod http://traffic.libsyn.com/deadshow/deadpod071312.mp3">here:http://traffic.libsyn.com/deadshow/deadpod071312.mp3">http://traffic.libsyn.com/deadshow/deadpod071312.mp3 My sincere thanks to those of you who are able to contribute to keep the Deadpod rolling!

This weekend Desmond attended Vancouver's first major comic convention: the Vancouver Fan Expo! Bright eyed and bushy-tailed this morning, he provides you with audio from three interviews. First up, he talks to comics legend Len Wein about his astounding career, stand-up comedy, and his upcoming series Before Watchmen: Ozymandias. Then, comic artist and filmmaker Kaare Andrews talks about graphic design, tight shooting locations, and The ABCs of Death. Finally, Jim and Kyle from nerd rock band Kirby Krackle talk about their songwriting process, gender-bending cosplay, and wrestling in mud and jello. The convention playlist is as follows: "All Along the Watchtower" by Jimi Hendrix, "Desolation Row" by My Chemical Romance, "Waydown" by Catherine Wheel, "Up, Up, Down, Down" and "Hunt 'Em All Down" by Kirby Krackle. Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Follow @dreadmedia, @LenWein, @kaareandrews, and @kirbykrackle on Twitter!

This weekend Desmond attended Vancouver's first major comic convention: the Vancouver Fan Expo! Bright eyed and bushy-tailed this morning, he provides you with audio from three interviews. First up, he talks to comics legend Len Wein about his astounding career, stand-up comedy, and his upcoming series Before Watchmen: Ozymandias. Then, comic artist and filmmaker Kaare Andrews talks about graphic design, tight shooting locations, and The ABCs of Death. Finally, Jim and Kyle from nerd rock band Kirby Krackle talk about their songwriting process, gender-bending cosplay, and wrestling in mud and jello. The convention playlist is as follows: "All Along the Watchtower" by Jimi Hendrix, "Desolation Row" by My Chemical Romance, "Waydown" by Catherine Wheel, "Up, Up, Down, Down" and "Hunt 'Em All Down" by Kirby Krackle. Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Follow @dreadmedia, @LenWein, @kaareandrews, and @kirbykrackle on Twitter!

This weekend Desmond attended Vancouver's first major comic convention: the Vancouver Fan Expo! Bright eyed and bushy-tailed this morning, he provides you with audio from three interviews. First up, he talks to comics legend Len Wein about his astounding career, stand-up comedy, and his upcoming series Before Watchmen: Ozymandias. Then, comic artist and filmmaker Kaare Andrews talks about graphic design, tight shooting locations, and The ABCs of Death. Finally, Jim and Kyle from nerd rock band Kirby Krackle talk about their songwriting process, gender-bending cosplay, and wrestling in mud and jello. The convention playlist is as follows: "All Along the Watchtower" by Jimi Hendrix, "Desolation Row" by My Chemical Romance, "Waydown" by Catherine Wheel, "Up, Up, Down, Down" and "Hunt 'Em All Down" by Kirby Krackle. Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Follow @dreadmedia, @LenWein, @kaareandrews, and @kirbykrackle on Twitter!

This weekend Desmond attended Vancouver's first major comic convention: the Vancouver Fan Expo! Bright eyed and bushy-tailed this morning, he provides you with audio from three interviews. First up, he talks to comics legend Len Wein about his astounding career, stand-up comedy, and his upcoming series Before Watchmen: Ozymandias. Then, comic artist and filmmaker Kaare Andrews talks about graphic design, tight shooting locations, and The ABCs of Death. Finally, Jim and Kyle from nerd rock band Kirby Krackle talk about their songwriting process, gender-bending cosplay, and wrestling in mud and jello. The convention playlist is as follows: "All Along the Watchtower" by Jimi Hendrix, "Desolation Row" by My Chemical Romance, "Waydown" by Catherine Wheel, "Up, Up, Down, Down" and "Hunt 'Em All Down" by Kirby Krackle. Send feedback to: feedback@dreadmedia.net, or 206.203.1213. Follow @dreadmedia, @LenWein, @kaareandrews, and @kirbykrackle on Twitter!

20/3/11 am sermon. Delight of the Lord: Part 1 "Desolation Row" sermon on Jeremiah 9: 1-22 by David Robertson

20/3/11 am sermon. Delight of the Lord: Part 1 "Desolation Row" sermon on Jeremiah 9: 1-22 by David Robertson

This week's show is a great way to welcome summer, and another listener request.. from one of my favorite tours - Summer of 1990..I think the band was firing on all cylinders for this one and hope you enjoy it as much as I do..Grateful Dead 6/15/90 Shoreline Ampitheater, Mountain View CAset 1:Help on the Way->Slipknot!->Franklin's Tower, New Minglewood Blues, Just A Little Light, Stagger Lee, Desolation Row, Ramble on Rose, Hell In a BucketNext week - set 2 and a great new CD..You can listen to this week's Deadpod here:http://media.libsyn.com/media/deadshow/deadpod062609.mp3thanks for listening and for your support!!

Who watches the Watchmen? Desmond and Darryll do in this week's episode of Dread Media! But not before Desmond reluctantly celebrates Mean-Spirited March with Gutterballs, and then cleanses his palate with the awesome Norwegian slasher Cold Prey. Tunes include: "Take the Skinheads Bowling" by Manic Street Preachers, "Balls Out" by The Bloodhound Gang, "All My Friends Are Dead" by Turbonegro, "Desolation Row" by My Chemical Romance and "The Sound of Silence" by Simon & Garfunkel. Support the show by visiting our sponsors at www.fright-rags.com and www.horror-mall.com and use the DREAD10 coupon code at Fright Rags for 10% off your entire order and get in on the Tokyo Gore Police DVD giveaway contest. Send feedback to: feedback@dreadmedia.net, or 206.203.1213.

Who watches the Watchmen? Desmond and Darryll do in this week's episode of Dread Media! But not before Desmond reluctantly celebrates Mean-Spirited March with Gutterballs, and then cleanses his palate with the awesome Norwegian slasher Cold Prey. Tunes include: "Take the Skinheads Bowling" by Manic Street Preachers, "Balls Out" by The Bloodhound Gang, "All My Friends Are Dead" by Turbonegro, "Desolation Row" by My Chemical Romance and "The Sound of Silence" by Simon & Garfunkel. Support the show by visiting our sponsors at www.fright-rags.com and www.horror-mall.com and use the DREAD10 coupon code at Fright Rags for 10% off your entire order and get in on the Tokyo Gore Police DVD giveaway contest. Send feedback to: feedback@dreadmedia.net, or 206.203.1213.