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2 episodes with Rolling Thunder Revue
2 episodes with Rolling Thunder Revue
3 episodes with Rolling Thunder Revue
2 episodes with Rolling Thunder Revue
Hablar del Cielo es para la mayoría, una forma de escapismo o mera especulación. En la Biblia, el cielo es la atmósfera, donde están las aves y las nubes, o el firmamento de planetas y estrellas, pero también al lugar al que se refiere Jesús en el capítulo 14 de la Buena Noticia según Juan: allí donde Dios está. Nuestra sintonía de "Ruta 66" está, esta vez. a cargo de una cantante y bailarina afroamericana ya fallecida, Othella Dallas (1925-2020), que fue del sur de Estados Unidos a Basilea en Suiza, donde murió y fundó una escuela de danza. Robert Smith escribió en el sur de Francia para su grupo, The Cure, la canción "Tal y como en el Cielo" (Just Like Heaven) en 1987. Habla de un viaje a la costa con la que será luego su esposa. Expresa como estar en el Cielo es unirte a la persona que amas. El argentino Kevin Johansen nació en Alaska cuando su padre huía del Vietnam con una mujer argentina. Tras su separación, Kevin vive con su madre entre Buenos Aires y Montevideo, hasta casarse con una bailarina argentina e irse a vivir a Nueva York. Allí el escocés David Byrne hizo en 1979 para su grupo Talking Heads, la canción que Johansen canta en castellano en 2022, "El Cielo". Ese mismo título tiene la canción que grabó en 1984, el grupo inglés The Psychedelic Furs (Heaven). Hay pocas películas que se atrevan a imaginar la vida después de la muerte. Una de las más curiosas es la del cómico judío Albert Brooks, que llamamos en España, "El Cielo... próximamente" y en Hispanoamérica; "Visa al Paraíso", pero su verdadero título es "Defendiendo tu vida". La hizo en 1991 con él como un publicista de Los Ángeles que muere en un accidente de coche, el día de su cumpleaños y va a la Ciudad del Juicio, donde encuentra a Meryl Streep. Escuchamos varias escenas de la versión doblada al castellano con los comentarios de José de Segovia sobre la banda sonora original de Michael Gore. La canción "Llamando a las Puertas del Cielo" (Knockin´On Heaven´s Door) es una de las más populares del actual Premio Nobel de Literatura, Bob Dylan. La escribió para el western de Sam Peckinpah, Pat Garrett y Billy The Kid en 1973. La han cantado muchos después, pero pocas versiones están tan logradas como la que hizo el propio Dylan hace medio siglo en el teatro de la plaza de la universidad de Harvard en la Rolling Thunder Revue con el violín de Scarlet Rivera y la guitarra de T-Bone Burnett. El auténtico góspel, la música de la iglesia afroamericana, aparece de forma renovada en las canciones del pastor de Los Ängeles, Deitrick Haddon, que en su visión del Cielo (Well Done 2011), recuerda a la música de Prince con la claridad del Evangelio.
Aunque la piscología lleva tiempo intentando que nos libremos del sentimiento de culpa, seguimos escuchando la voz de la conciencia que nos dice que no somos cómo debieramos ser. Nuestro temor más profundo es que un día se haga evidente la realidad de todo aquello que logramos ocultar con nuestras palabras y disimulos. Jesús anuncia al final del capítulo 12 del Evangelio según Juan que ha llegado la Luz que pondrá en evidencia todo lo que está en tinieblas (vv. 44-50). Tras la sintonía de nuevo a cargo de Depeche Mode, el grupo británico que José de Segovia conoció cuando dos de sus miembros iban a un festival cristiano a principios de los años 80. Esta vez escuchamos su versión de Ruta 66 en vivo en Pasadena (California) en 1988. Otro de los grupos que unía los sintetizadores a las melodías pop en aquella época desde la fe cristiana era Vector. Formada en Sacramento (California) escuchamos la canción de su primer albúm, "La virtud del maniquí" (Mannequin Virtue 1983) que nos habla de la necesidad de esa Luz (All Around The Word). A ese momento de revelación se refiere también el granadino José Ignació Lapido, que después de 091 sigue escribiendo canciones tan sugerentes como ésta de su último álbum (Curado de espanto). José Moreno Berrocal habla de cómo el escritor checo Franz Kafka (1883-1924) "nos enseña la realidad de ser humano, que arrojado a la existencia en un mundo que no asimila, carece de rumbo". De Segovia habla a raíz de los comentarios de su amigo Moreno Berrocal, por el centenario de este escritor judío, sobre su libro "El Proceso", publicado de modo postumo en 1925 por su amigo Max Brod. Escuchamos escenas de la película de Orson Welles en 1962, después de la canción del grupo británico The Cure inspirada en su obra (At Night 1980). La música instrumental de fondo es de la película "Kafka" (1991) por Cliff Martínez y "El inquilino" (1976) de Polanski por Philippe Sarde. La canción de "blues" del Ciego Willie Johnson, "No es culpa de ningún otro, sino mía" (It´s Nobody´s Fault But Mine) en 1927 fue llevada al "rock" por el grupo Led Zeppelin. La grabaron varias veces. La escuchamos en la reciente versión que volvieron a hacer juntos, Jimmy Page y Robert Plant. No es tarde para el arrepentimiento. Vivimos todavía un tiempo de gracia. El guitarrista de Bob Dylan en la Rolling Thunder Revue, T-Bone Burnett, tiene toda una carrera en solitario y como productor, que une su fe cristiama a la música americana con raíces. El nieto del pator, secretario de la Convención Bautista del Sur, criado en la iglesia episcopal, nos dice que "No es demasiado tarde" (It´s Not Too Late) en el álbum en que confiesa ser "El criminal bajo su propio sombrero" (The Criminal Under My Own Hat 1992).
Bob Dylan i vitmålat ansikte, en oskyldig boxare bakom galler och Allen Ginsberg som en vandrande haiku med finger cymbals. Rolling Thunder Revue, Desire och låten som försökte befria Rubin Carter – plus en mahjongturnering för 80-åringar ingen såg komma, men alla borde ha sett.Musikpodden finns även på:Instagram: Musik_poddenSpotify: Musikpodden med Arvid BranderApple podcast: Musikpodden med Arvid BranderKontakt: podcastarvid@gmail.comKällförteckningBöckerShelton, R. (1987). No Direction Home: The Life and Music of Bob Dylan. New York: William Morrow & Company.Sounes, H. (2011). Down the Highway: The Life of Bob Dylan. New York: Grove Press.Artiklar och webbpubliceringarLofthouse, A. (2019, 3 april). Hurricane. BBC.co.uk. Producerad av P. Dawkes, redigerad av R. Killworth. Hämtad från: www.bbc.co.ukVon Tunzelmann, A. (2014, 24 april). The Hurricane: The Facts of Rubin Carter's Life Story Are Beaten to a Pulp. The Guardian. Hämtad från: www.theguardian.comBaker, K. (2015, 18 maj). ‘Welcome to Fear City' – The Inside Story of New York's Civil War, 40 Years On. The Guardian. Hämtad från: www.theguardian.comFilmer och dokumentärerScorsese, M. (Regissör). (2019). Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese. Netflix.YouTube-videorOkänd originalkälla. (1975). New York City asks for a bailout (1975). Uppladdad av Mike Gardner, 1 februari 2011. Hämtad från: YouTubeCBC News. (1991). Rubin "Hurricane" Carter (1991) – The Fifth Estate. Uppladdad av CBC News, 30 mars 2015. Hämtad från: YouTubeÖvriga källorWikipedia. (2025, 23 februari). Rubin Carter. Hämtad från: www.wikipedia.org Hosted on Acast. See acast.com/privacy for more information.
Si hay algo que persiguen todas las ideologías e individuos, es la libertad, pero ¿cómo poder alcanzarla? Mucha supuesta libertad nos lleva a una mayor esclavitud. Jesús dice en el octavo capítulo de la Buena Noticia según Juan que es la Verdad, que es Él mismo, la única que puede liberarnos. La "Metadona" es usada como sustituto de la heroína, para intentar librarse de la adicción a la droga. El grupo Pistones hizo un tema con este título, que se se convirtió en todo un himno en la Movida madrileña de los años 80, cuando muchos se vieron cautivos de la esclavitud que estaba acabando con toda una generación. "No sé cómo voy a escapar", dice la canción. Sobre "La Verdad" (The Truth) que nos libera, que es Cristo Jesús, hizo Donald Hooker una composición en 1972 (Forge Your Own Chains), al dejar la droga al encontrar la fe en plena era psicodélica, cuando muchos hippies llegan al cristianismo en la Revolución por Jesús. La grabó con músicos de estudio en un disco que publicó él mismo y ahora tiene cifras astronómicas. Aunque no seamos adictos a alguna sustancia, Jesús nos dice que somos esclavos de lo que la Biblia llama el pecado. El escocés Kenny Anderson no es conocido por su fe cristiana, pero ha grabado en 2023 una canción que incluye la voz del predicador Phil Crowter, cuyos sermones circulaban en cassettes desde Londres a finales del siglo pasado. "Es el pecado el que nos tiene atrapados", reconoce King Creosote (It´s Sin That Got Its Hold Upon Us). Los periodistas que forman el equipo de investigación del periódico que sacó a la luz en el 2002, las asombrosas cifras de abuso infantil que había en la archidiócesis católica de Boston, un millar de niños por nada menos que 249 curas, fue llevada al cine en una modesta producción independiente de Tom McCarthy, que ganó el Oscar a la mejor película de 2015. Escuchamos diálogos de la versión doblada del film con los comentarios de José de Segovia sobre la música de la banda sonora original de Howard Shore. El grupo D. C. Talk, formado en la universidad conservadora evangélica de Liberty a finales de los 80, se hizo famoso por una combinación de rap y rock, muy popular en circulos cristianos en los años 90. Su canción sobre "La Verdad" (The Truth) apareció en su álbum "Sobrenatural" (Supernatural) de 1998. Más intererante nos parece el sonido de los 77, la banda de Mike Roe formada en Sacramento, que grabó las sugerentes letras del poeta británico Steve Scott en el disco que produjo en 1982, "Ping Pong sobre el abismo", uno de los músicos que acompañaba a Bob Dylan en la Rolling Thunder Revue y llegó a la fe con él a finales de los 70. "Bla bla bla" (Ba Ba Ba) habla de las palabras vacías con las que a menudo escondemos nuestra esclavitud. Van Morrison vio como la Luz brillaba en su vida de "Los ojos del Maestro" (The Master´s Eyes) al volver en 1985 a la fe que conoció en la Asamblea de Hermanos donde le enseñaron la Biblia de niño al este de Belfast.
Johnny Cash had a long-time affinity for the work of — and for his friendship with — Bob Dylan.In his book Cash: The Autobiography, Johnny wrote of being on the road in the early ‘60s. “I had a portable record player that I'd take along on the road, and I'd put on Freewheelin' Bob Dylan backstage, then go out and do my show, then listen again as soon as I came off.“After a while at that, I wrote Bob a letter telling him how much of a fan I was,” he said. “He wrote back almost immediately, saying he'd been following my music since I Walk the Line, and so we began a correspondence.” The two finally met in person during the 1964 Newport Folk Festival. They remained close friends for the remaining 40 years of John's life. When his friend died in 2003, Dylan wrote, “In plain terms, Johnny was — and is — the North Star; you could guide your ship by him, the greatest of the greats, then and now.”“Truly he is what the land and country is all about,” continued Dylan, “the heart and soul of it personified and what it means to be here; and he said it all in plain English. I think we can have recollections of him, but we can't define him, any more than we can define a fountain of truth, light and beauty.”Despite their mutual admiration, Dylan and Cash collaborated only one time. That was on Dylan's landmark 1969 recording of the Nashville Skyline album, produced by Bob Johnston.Johnston also had produced Cash's At Folsom Prison the year earlier, and he hoped he could get the two artists to record an entire album together. To that end, Cash and Dylan recorded 15 songs together at the Nashville sessions, but ended up keeping only one of those tracks, “Girl from the North Country.”About This SongAmong those 15 tracks was one of Cash's all-time favorite Dylan compositions, the wistful “One Too Many Mornings,” which Bob wrote for his third studio album, The Times They Are a-Changin'.As noted here recently, the song was famously among a series of tunes Dylan wrote after his breakup with his lover Suze Rotolo. After its album release in 1964, the song sometimes pops up on Dylan's set lists, notably during his 1966 world tour and then, 10 years later, in his second Rolling Thunder Revue tour.But Johnny Cash embraced the song even more, covering it numerous times, including on the album Johnny & June in 1978.He recorded it again in 1986 as a duet with Waylon Jennings for their Heroes album. In 2012, a remix combining Cash's original vocals with new recordings by the Avett Brothers was included on the benefit album Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International.Meanwhile, Johnny and Waylon's vocals on that original Heroes rendition later were augmented by Willie Nelson and Kris Kristofferson when the four of them created the supergroup The Highwaymen in the 1990s.Our Take on the TuneCharlie Bowen started doing this song back in college to have something to sing and play to the jam sessions in the dorms. It then was one of the songs Charlie brought along in that summer and fall of 1974 when Dave Peyton, Roger Samples and he started The Flood. And this lonely, lovely Dylan tune is still welcome at Flood gatherings, as you can heard on this track from last week's rehearsal.Want More Bob?By the way, if you'd like a little more Dylan in your diet, The Flood has an entire Bob-centric playlist set in up the free Radio Floodango music streaming service. Click here to read all about it. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com
Music's most famous breakup in the late 20th century was surely the failed love affair of youngsters Suze Rotolo and Bob Dylan. Or at least it was the most productive parting on record.Following their split, 20-year-old Dylan wrote some his most plaintive songs of the era. “Don't Think Twice, It's All Right” and “Boots of Spanish Leather,” “Tomorrow is a Long Time” and “One Too Many Mornings, “Ballad in Plain D” and more were all clearly about Suze.One of the lesser known of Bob's breakup ballads from the same period was “Mama, You Been on My Mind.” EuropeIn mid-May 1964, Dylan completed a concert tour of England, afterward vacationing in France, Germany and Greece. During his ramble abroad, he wrote several songs for his upcoming album, Another Side of Bob Dylan.Then back in the States, he went into Columbia's Studio A and in a single night (June 9, 1964) he recorded 14 new songs, including one take of "Mama, You Been on My Mind.” When the album was released two months later, though, the song was not included. However, a few years later, “Mama, You Been on My Mind” became one of the earliest outtakes widely circulated on bootleg albums. The boots documented the two drafts of "Mama, You Been on My Mind" that Dylan wrote on notepaper from the May Fair Hotel where he had stayed in London during the tour.Dylan biographer Howard Sounes called it "one of the finest love songs he ever wrote.” Saying Dylan took responsibility for making a mess of his relationship with Rotolo, Sounes said the song showed Bob “could express himself with delicacy and maturity.”PerformancesIn concerts over the years, Dylan has performed the song hundreds of times, most notably in duets with his erstwhile post-Suze squeeze, Joan Baez. Their first duet was at Baez's concert at Forest Hills tennis stadium in Queens, NY, on Aug. 8, 1964. It was repeated a couple of months later, on Oct. 31, during Dylan's show at New York City's Philharmonic Hall. The two reprised their performance a decade later during Bob's 1975-76 Rolling Thunder Revue tour.Baez put a solo version — as “Daddy, You Been on My Mind” — on her 1965 Farewell, Angelina album.Meanwhile, the song has had some superstar coverage over the years, by the likes of Judy Collins and by Johnny Cash, by Rick Nelson and by George Harrison, by Linda Ronstadt and by Rod Stewart, and by everyone from The Kingston Trio to Dion and The Belmonts.Our Take on the TuneFlood founders Dave Peyton, Roger Samples and Charlie Bowen all started listening to the music of Bob Dylan 60 years ago, so it is little wonder that his songs are deeply woven in the band's fabric. Still today, whenever The Flood gets feeling folkie — as the guys were at this rehearsal a week or so ago — it's likely a Dylan tune will be the first to come to mind.Do More Dylan?Evidence of the band's delight in doing Dylan is the fact that one of the first special playlists created for the free Radio Floodango music streaming service a few years ago was this one done to celebrate Bobby's birthday. For more of The Flood's spin on Dylan tunes, give it a listen by clicking here. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com
En el corazón del cristianismo hay una gran simplicidad. Nos presenta quiénes somos y quién es Dios en Cristo Jesús, ya que no descubrimos cómo es Dios, sin ver la realidad de nuestro pecado. Sólo le podemos "adorar en espíritu y verdad" (Juan 4:24) cuando "nacemos de nuevo" (3;7) y comprendemos la necesidad de la muerte de Cristo (3:14). En esta parada en nuestro viaje por la vida a la luz del Buen Libro, la sintonía de Ruta 66, esta vez está a cargo de un grupo de Minneapolis en los 80, The Replacements. Muchos confunden la fe cristiana con otro tipo espiritualidad. Ese es "Un tipo diferente de luz" (A Different Kind of Light), dice el poeta inglés Steve Scott en la canción que abre el álbum de presentación del grupo de Mike Roe en Sacramento, los 77´s en 1982. Fue producido por uno de los músicos de la banda de Dylan que llegó a la fe evangélica, Steven Soles. Junto con los otros dos músicos que se hicieron cristianos cuando acompañaron al Premio Nobel de Literatura en la gira de la Rolling Thunder Revue, David Mansfield y T-Bone Burnett, formaron la Banda Alpha. Escuchamos su canción de "Desconcierto" (Mystified) en 1977 sobre la confusa Nueva Era de espiritualidad que entonces comienza. El cristianismo no está libre de esa falsa religiosidad. La película de Berlanga, "Los jueves milagro" fue destrozada por la censura en 1956, pero en la primera mitad todavía se reconoce el cuadro demoledor que hace de esa milagrería que confunde la fe con el negocio. Escuchamos diálogos de esa parte con los comentarios de José de Segovia sobre el fondo de la banda sonora original de la película "Camino" de Javier Fesser en 2008, sobre la enfermedad y la muerte de una niña en el entorno del Opus Dei, al que pertenecía también el productor del film de Berlanga, que acaba escribiendo un sacerdote de la censura, la segunda parte. El cantautor canadiense Bruce Cockburn llegó a la fe cristiana a principios de los 70. Aunque no ha asistido regularmente a la iglesia durante más de cuarenta años, ha vuelto ahora a adorar en una comunidad evangélica, donde expresa lo que ocurre "Cuando el Espíritu entra en la habitación" (When The Spirit Walks In The Room, 2023). Tres de los miembros de la banda irlandesa U2 llegaron también a una comunidad cristiana a finales de esa década. El tema que abría su segundo álbum en 1981, "Gloria", es una de los mayores cánticos de alabanza cristiana contemporánea que hay en la música popular. Ese mismo año 81, el ahora fallecido Norman Barratt publica un disco con el grupo que lleva su nombre, tras su conversión a la fe evangélica, después de formar la banda de "rock progresivo" Gravy Train a finales de los 60 y acompañar al músico cristiano Alwyn Wall, al convertirse a Cristo. Para Él, Dios es "El Único" (The Only One) en Cristo Jesús. Por Él da la "Gloria a Dios" también en 1986, Matthew Ward, el músico pionero de la Revolución por Jesús en el Segundo Capítulo de Hechos (2nd Chapter of Acts), cuando tantos "hippies" llegaron a la fe cristiana en California.
Las continuas preguntas del ser humano sobre de dónde venimos y por qué tenemos que morir, buscan su respuesta más allá de las estrellas. La ciencia-ficción en el cine desde el "2001" de Kubrick en 1968 ha adquirido un sentido cada vez más teológico y metafísico. Así Ridley Scott se preguntaba en 1979 en "Alíen" si "en el espacio nadie puede oír tus gritos" y en 1982 en "Blade Runner" si el Creador puede darnos inmortalidad. De esto trata también el prólogo del Evangelio según Juan en su primer capítulo. Antes de analizar la película, escuchamos la canción del antiguo monaguillo inglés que quiso ser cura, Sting, sobre el "Amor sagrado" (Sacred Love 2003). La pregunta de si Dios está ahí te lleva inevitablemente a la cuestión de si es un Dios personal, porque sólo así puede amarnos. No sería la Fuerza o la Energía. lo que daría sentido al universo, sino un Amor Eterno, que merece toda nuestra admiración. El líder de The Police lo contrasta con la tragedia del 11-S y el amor que siente todavía por su mujer, Trudie, pero también lo que aprendió en el colegio católico de Newcastle. El compositor de "Jesucristo Superstar" y "Evita", Andrew Lloyd Webber escribió un "Requiem" en 1985 para su padre, un organista de iglesia que hizo música sacra, cuando lee en el New York Times sobre un un niño camboyano capturado por los Jemeres Rojos, que le dan la opción de matarse él, o a su hermana mutilada. El horror le inspira el "Pie Jesu" que canta Sarah Brightman, su esposa entonces. La oímos esta vez en una versión en vivo en 2008 en Viena. Este "Misericordioso Jesús" viene del lenguaje de los tradicionales "Agnus Dei" (El Cordero de Dios), el mensaje de Juan el Bautista al principio del Evangelio, sobre el único que puede quitar el pecado del mundo. Escuchamos algunos diálogos de la versión doblada de "Blade Runner" con los comentarios de José de Segovia sobre la música de Vangelis. Después oímos una canción del poeta y cantautor inglés Steve Scott sobre la Encarnación, "Flesh & Blood" en 1983, producido por Steven Soles, uno de los músicos de Dylan en "Desire" y la Rolling Thunder Revue, convertido al cristianismo en esos años. Para acabar con la exuberante declaración del propio Nobel de Literatura de que había sido "Salvado" (Saved) en una grabación en vivo en Santa Mónica en 1979, antes de que apareciera el disco del mismo título. Tras una larga introducción que traducimos, Dylan confiesa que sólo hay salvación por la sangre del Cordero.
Kinky Friedman, the singer, songwriter, humorist and sometime politician who with his band, the Texas Jewboys, developed an ardent following among alt-country music fans with songs like “They Ain't Makin' Jews Like Jesus Anymore” — and whose biting cultural commentary earned him comparisons with Will Rogers and Mark Twain — died on Thursday at his ranch near Austin, Texas. He was 79.The writer Larry Sloman, a close friend, said the cause was complications of Parkinson's disease.Mr. Friedman occupied a singular spot on the fringes of American popular culture, alongside acts like Jello Biafra, the Dead Milkmen and Mojo Nixon. He leered back at the mainstream with songs that blended vaudeville, outlaw country and hokum, a bawdy style of novelty music typified by tracks like “Asshole From El Paso” and “We Reserve the Right to Refuse Service to You.”He toured widely in the 1970s, with his band and solo, including on the second leg of Bob Dylan's Rolling Thunder Revue in 1976. He performed on “Saturday Night Live” and at the Grand Ole Opry — Mr. Friedman claimed to be the first Jewish musician to do so (though in fact others, including the fiddler Gene Lowinger, had beat him to it).Another performance, recorded for the TV show “Austin City Limits,” was reported to be so profane that it has never been aired.In the 1980s, after the band broke up, Mr. Friedman turned to writing detective novels, using the same casual irreverence that he brought to the stage in books like “Kill Two Birds and Get Stoned” (2001) and “God Bless John Wayne” (1995)Yet there was a surprising earnestness behind his weirdness. Mr. Friedman founded a ranch for rescue animals. He and his sister, Marcie, ran Echo Hill Camp, which they inherited from their parents and which they offered, free of charge, to children of parents killed while serving in the U.S. military.He spent an increasing amount of time on his ranch. The Echo Hill camp closed in 2013, but three years ago, he and his sister revived it, this time with a focus on helping the children of fallen service members as well as the children of refugee families from Afghanistan.“There was a volunteer who fixed a water heater who I went over to thank,” he told Texas Highways magazine in 2023. “He said, ‘You're welcome. I'm doing it for Jesus.' I told him, ‘I'm doing it for Moses.'”Clay RisenNew York Times
"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
T Bone Burnett is one of the most accomplished music producers of the past 50 years. He sits down with Guy to talk about buying a recording studio at age 17; being pushed out of his creative comfort zone by Bob Dylan on the Rolling Thunder Revue tour; building soundtracks for the Coen Brothers and True Detective; and why, at age 76, he's the happiest and most creative he's ever been.T Bone's new album, The Other Side, is available here: https://shop.tboneburnett.com/Links from the Show: Rolling Thunder Revue documentary on NetflixTrue Detective Season 1 soundtrackBig Lebowski soundtrackInside Llewyn Davis soundtrackGeorge Clooney performing I Am a Man of Constant Sorrow in O Brother Where Art Thou? Los Lobos: How Will the Wolf Survive? AlbumT Bone's InstagramFor more conversations like this – with guests ranging from Diplo to Jewel to Andy Garcia to Tom Hanks – go to https://www.thegreatcreators.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Si alguna certeza traemos a este mundo es que algún día tenemos que dejarlo. No queremos pensar en ello, pero tenemos una fecha de caducidad. El problema es que no sabemos cuándo es, Es una cita ineludible para la que tenemos que estar preparados, como nos advierte Jesús en las historias que cuenta en el capitulo 12 de la Buena Noticia según Lucas. Si esto es así individualmente, lo es también para la humanidad. Jesús nos advierte que vendrá ese día cuando menos lo pensemos. Es la "Venida del Hijo del Hombre" anunciada por el profeta Daniel y cantada por Norman Barratt (Coming of The Man 1981), el músico de la banda de rock progresivo Gravy Train convertido a la fe evangélica en los años 70 y ahora en la presencia de su Señor desde el 2011. "Aunque los cielos parecen tan lejos / mañana puede ser el Día del Juicio", dice el grupo cristiano formado en el sur de California en 1987, Enfadado con el mundo (Mad At The World) en su esperanza de "Bailar sobre su propia tumba" (Dancing At Your Own Grave 1988). La extraña parábola del mayordomo infiel nos llama con las palabras de Jesús a ser "Sabios como serpientes" en la canción de Gerry Rafferty (As Wise as Serpent 1982), el músico escocés atraído por la espiritualidad cristiana oriental. La película del sudafricano Oliver Hermanus, "Living" (2022) retoma el clásico japonés de Kurosawa, "Vivir", inspirado en la novela de Tolstoi, "La muerte de Ivan Illich". Nos presenta ahora a un gris funcionario londinense de los años 50, magistralmente interpretado por Bill Nighy, que escucha el más temido diagnóstico a su enfermedad. Tiene los días contados. José de Segovia comenta algunas escenas dobladas del film con el fondo de la banda sonora original de Emilie Levinaise-Farrouch. Muerto en extrañas circunstancias a sus 61años, el inquieto y siempre atormentado músico cristiano Michael Knott, expresó sinceramente sus dificultades para vivir la fe desde sus primeros grupos de "punk" en los años 80 como Lifesavers Underground. "La sombra del dolor" (Shaded Pain) le acompaña sumergiéndole a menudo en el alcohol. Escuchamos en su memoria la canción que da título al álbum de 1987, recordando a la hija que deja de tan trágica manera. Stormie. "El tiempo se nos va" (Time Is Slipping Away) canta Michael Roe con los 77s, el grupo formado en una iglesia a final de esa década en Sacramento, en el disco producido por Steven Soles, uno de los tres músicos que se convirtió con Bob Dylan en la Rolling Thunder Revue, que formaron la Alpha Band. Las palabras de Jesús al principio del capítulo 13 del Evangelio según Lucas nos llaman a volvernos a Dios, ahora que hay tiempo, "arrepentirse o perecer".
Au menu du débat ciné. Par Vincent Adatte et Stéphane Gobbo. -"Godzilla x Kong" de Adam Wingard. -"Et plus si affinité" de Olivier Ducray et Wilfried Méance. -"Joan Baez: I am noise" documentaire de Miri Navasky, Maeve OʹBoyle et Karen OʹConnor. Conseils: "Levante" de Lillah Halla (autre sortie de la semaine). Par Vincent Adatte. "Rolling Thunder Revue" de Martin Scorsese (à voir sur Netflix). Par Stéphane Gobbo.
Det här är berättelsen om en av världens mest inflytelserika musiker, som slog igenom som folksångare redan på 60-talet och som ständigt gjort sina fans besvikna. Lyssna på alla avsnitt i Sveriges Radio Play. Mörkret har lagt sig över Newport Folk Festival. I strålkastarnas sken står han, deras frälsare. Folkmusikern som på bara något år gått från helt okänd, till att bli den störste. Det bruna håret är lika lockigt som vanligt, men mycket annat är nytt, som skinnjackan över skjortan och dom svarta tajta jeansen. När dom sista tonerna av låten Maggies Farm klingar ut står det klart att Bob Dylan inte heller låter som han brukar, den här varma sommarkvällen 1965.Den upprörda publiken busvisslar, buar och skriker. Men den 24-årige musikern tycks helt oberörd av protesterna. Han nickar kort mot folkhavet och säger tack, innan han testar några ackord på sin nya elgitarr. När bandet börjar spela nästa Like A Rolling Stone och en elektrisk orgel kommer in i ljudbilden råder det inte längre några tvivel. Bob Dylan har lämnat den akustiska folkmusiken bakom sig och publikens burop stiger till nya nivåer.Medverkande: Erika Hallhagen, Lena Bendrik och Manfred PiltorpProgrammet är gjort av Filip Bohm i januari 2024Producent var Joanna KorbutiakExekutiv producent Lars TruedsonSlutmix Fredrik NilssonProgramledare Siri HillBöckerna Memoarer. Första delen av Bob Dylan och Dylan. Dylan. Dylan av Howard Sounes har varit viktiga källor till den här dokumentären.Ljudklippen i programmet kommer från dokumentärfilmerna No Direction home (2005), Joan Baez I am a noise (2023), Rolling Thunder Revue (2019) The Greatest Night in Pop (2024) och The other side of the mirror (2007), inslag i Ekot och Sveriges Radio (1966 och 1997), Nobelprize.org (2016) och youtubekontona US National Archives, That's a nice sunrise, JasonHi och Rusty Chalfont.
Rob Stoner has an amazing life making music. I met Rob around 2010 when we both recorded tracks on a Robert Gordon record produced by Quention Jones. I found him to be a a genuinely good dude and super bassist. I found out that session that he played bass on Don McLean's hit American Pie but he also sings back up with the track. He was the band leader of Bob Dylan's Rolling Thunder Revue. Which was a stellar band the included Rob, Nick Ronson. Howie Wyeth,Scarlet Rivera.
Es ist endlich so weit! It was not a hoax! Die seit 10 (oder so) Folgen versprochene Episode über die Musikdokus finally arrived! Heute geht's um Lieblingsdokus, alte Schmankler, neue Banger von Beyoncés Renaissance Kinofilm, über die Oasis-Doku bis hin zur Whitney Houston oder Milli Vanilli Biopic. Dazwischen streuen Christl & Peter auch noch die neue Thriller, die Demi Lovato- und die Lady Gaga-Doku ein. Ach ja, Robbie Williams, Tina Turner und Milli Vanilli nicht zu vergessen. Ein buntes Potpourrie an Musik-TV-Empfehlungen für die Feiertage und beyond.
Rob welcomes back fellow BobCat Omar Uddin to discuss the Rolling Thunder Revue version of "Tonight I'll Be Staying Here With You." Have a question or comment? Contact: https://fmpods.com/podcasts/poddylan Follow us on Twitter: @Pod_Dylan POD DYLAN "Jukebox" T-Shirt now available: https://www.etsy.com/shop/RobKellyCreative Complete list of all songs covered so far: Pod Dylan Songs This podcast is part of the FM Podcast Network. Thanks for listening!
Joni Mitchell's songs have soundtracked our lives and her pioneering work changed music forever. Jesca Hoop explores her extraordinary story to reveal the life behind the legend.In episode four we follow Joni from 1974 through to 1978. In 1974 Court and Spark is released to huge acclaim but already Joni is heading in new directions musically. This is the era of The Hissing of Summer Lawns, Hejira and Don Juan's Reckless Daughter. Through '74 and '75 she tours extensively and joins Bob Dylan's Rolling Thunder Revue. Her creative restlessness and refusal to be put in a box take her in new directions, but also into controversial territory. “I've always been a creature of change” – Joni MitchellThrough archive, fresh interviews, narration, immersive sound design and an original score, we trace the story of an extraordinary life and explore what makes Joni Mitchell a singular artist: the genius of her lyrics; her incredible talent as guitarist, painter and producer; and her restless drive for innovation.In Legend, we follow Joni from her ‘flatlander' childhood on the Canadian prairies, through the folk clubs of Toronto and Detroit, to a redwood cottage in L.A.'s Laurel Canyon, to a cave in Crete, to a deserted desert highway, to recording studios and stages around the world. From her earliest home recordings to masterpieces like Blue, Court and Spark, and Hejira, we explore some of the stories behind her best-loved songs and celebrate her remarkable return to live performance in 2023: “like seeing, in the wild, a rare bird long feared extinct” (Lindsay Zoladz). Our guide through the series is the California-born, Manchester-based musician, Jesca Hoop. Jesca speaks to musicians like Blake Mills, Allison Russell, Holly Laessig and Jess Wolfe, who have played alongside Joni, and we hear tributes from those, like musician John Grant, who have been inspired and influenced by her music. We also hear from Joni's friends, including Larry Klein and Graham Nash; and from music critics and biographers, including Ann Powers, David Yaffe, Lindsay Zoladz, Kate Mossman, Barney Hoskyns, Miles Grier and Jenn Pelly.The Joni Mitchell Story comes from the production team behind BBC Radio 4's award-winning podcast Soul Music – “… the gold standard for music podcasts…” (Esquire).Producers: Mair Bosworth and Eliza Lomas Production Coordinator: Andrew Lewis Editor: Chris Ledgard Story Editor: Emma Harding Story Consultant: John Yorke Sound Design and Original Music: Hannis Brown Studio Engineers: Ilse Lademann and Michael Harrison Commissioning Editor: Daniel Clarke
In the winter of 1969, Bob Dylan arrived in Tennessee with only four songs completed for his Nashville Skyline recording sessions. Over the next few days at the Columbia studio and in his rooms at the Ramada Inn, he composed another five pieces, including this stunning tune that he used as the album's closing track.“Tonight I'll be Staying Here with You” was the third single to be released from Nashville Skyline (after “I Threw It All Away” and “Lay Lady Lay.”) It reached #50 on the US Billboard Hot 100 chart and the top 20 in other countries.Critical response was positive. Cash Box said that, unlike previous Dylan singles, "this ballad is honed to a fine edge and further sharpened through excellent production touches.” Record World concurred, calling it “another classic from the master.”MilestoneDylanologists, meanwhile, found the song insightful, because the lyrics seemed to mark a change from the angst of Bob's earlier love songs, many of which told of restless searches.In contrast, "Tonight I'll Be Staying Here with You" finds Dylan devoted to his lover and willing to settle down (at least for the nonce). Some fans waxed poetic at the thought of Bob as a family man, happy to be quietly living with Sara and the kids.Dylan himself seemed to like that image. Soon after Nashville Skyline's release, he told Rolling Stone‘s Jann Wenner, “I was on the road for almost five years. It wore me down. I was on drugs, a lot of things. … I don't want to live that way anymore.” TrainsTrain imagery, by the way, runs throughout the song.But unlike his earlier lyrics, in this song, even though he "can hear that whistle blowin'," he wants to "throw my ticket out the window" and let "a poor boy on the street" have his seat.On the album, the song showcases Dylan's then-new smooth country croon between twangy guitar fills. A more raucous version, though, became a live highlight a few years later when Bob was — yes — back on the road with the Rolling Thunder Revue. Our Take on the TuneThere's a reason why The Flood's rendition of this Dylan classic sounds different from Bobby's version (or from anyone else's take on the tune, for that matter). That's because back in the early 1980s, when Roger and Charlie started playing around with opening chord progression here, they thought they were writing an original song of their own. But then Rog and the Samples family moved away — leaving West Virginia for the green hills of Kentucky — and the piece they were working on was left an orphan. It didn't even have a name or the first hints of a lyric. Only a year or so later, when Charlie was noodling with it during the warmup at a jam session, did Dave Peyton say, “Hey, you know what? If you tweaked the chords a bit and added the bridge, you could sing that Dylan thing over that!” Right there and then an arrangement was born, and we've been playing it like this ever since.Meanwhile….By the way, if you'd like more Floodified Dylan tunes, check out this special playlist we constructed for Bobby's birthday a Spring or two ago: This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com
This month, we're thrilled to have David Mansfield on the show, a composer, multi-instrumentalist, producer, and arranger with a long and storied career. We have each worked with David for a long time, and know firsthand the talent and depth he brings to all the music he touches. Growing up in New Jersey and beginning his career in local bands, he started playing with Bob Neuwirth at The Bitter End and, at 18, joined Bob Dylan's Rolling Thunder Revue. From there, he went on to tour and record with Dylan over many albums, and in his 50-year career has worked with an endless variety of artists, including Sting, Van Morrison, Johnny Cash, Emmylou Harris, Bobby McFerrin, David Byrne, The Wainwrights, The Roches, really the list goes on and on. He's also composed an equally extensive list of music for film and television, including The movies “Heaven's Gate” and “The Apostle” and, most recently the Showtime Limited Series “George & Tammy”. In this episode, David discusses his early career and influences, touring with Dylan, his scoring and composition work, and demonstrates the Psaltery, one of the more unique of his many instruments.
Jonathan Demme and the Talking Heads' concert film classic Stop Making Sense is back in theaters for a 40th anniversary revival, so Brad saw it in IMAX at Jake's request. Brad and Jake talk about the delightful addition of David Byrne solo and Tom Tom Club songs, Bryne's insane stamina, and propose a revival for concert films in the wake of this and Taylor Swift's new juggernaut movie. The talk then shifts to Brad's assignment for Jake, the four-hour epic and final Sergio Leone film, Once Upon a Time in America. They talk about enduring Robert De Niro's despicable protagonist Noodles, wrestling with James Woods's problematic real-life personality in light of his terrific performance here, the production struggles the movie had upon its release, and the raw deal that composer Ennio Morricone was served up in 1984. Other movies discussed in this episode: The Last Waltz (1978), True Stories (1986), Tanner '88 (1988), Tanner on Tanner (2004), Shine a Light (2008), Beyonce: Lemonade (2016), Rolling Thunder Revue (2019), American Utopia (2020), Taylor Swift: The Eras Tour (2023).
San Francisco movie and media critic Pam Grady joins us and she finally brings Westerns into OMFYS with ZACHARIAH (1971), a homoerotic oater starring John Rubenstein and a very young Don Johnson as star-crossed gunslingers who just can't quit each other on their road to hippy-dippy enlightenment. Billed as "The First Electric Western," Country Joe & the Fish, the James Gang and the New York Rock Ensemble show up with their late-1960s Gibson guitars and Fender stacks even though everything else about the movie takes place in the 19th Century. John Coltrane drummer Elvin Jones nearly steals the show by shooting a dude and then playing a kick-ass drum solo. ZACHARIAH is streaming on YouTube but this DVD-rip on Archive is far superior so Airplay that to your flat screen: https://archive.org/details/zachariah-1971-dvdrip-xvi-d Our second feature is the very-noir psychological western PURSUED from tough guy director Raoul Walsh in 1947. The Hollywood pothead par excellence ROBERT MITCHUM plays Jeb Rand who struggles to recall the massacre of his family through repressed memories and expressionist dream sequences. Making the past more than prologue is that the people who slaughtered the Rands are still plotting to finish the job. Also starring Teresa Wright as Jeb's love interest and sister-by-adoption (ew); Judith Anderson as the matriarch who's definitely keeping secrets; and the Skipper's dad, Alan Hale Sr. New Mexico's landscapes are brought to life in PURSUED by the breathtaking cinematography of James Wong Howe and it's all set to a sweeping Max Steiner score. Bob and Cory also discuss how Raoul Walsh got his eyepatch plus the ghastly prank the great director played on Errol Flynn, so wait for that. PAM GRADY will be introducing Scorsese's Dylan near-mockumentary, ROLLING THUNDER REVUE, on Sunday, Sept. 24th at the 4 Star Theater (2200 Clement Street, San Francisco). Go here for tickets and info: https://www.4-star-movies.com/calendar-of-events/scorsese-more-than-a-gangster-rolling-thunder-revue-a-bob-dylan-story-live-music-500-pm You can follow Pam on X (Twitter) @cinepam and read many of her latest reviews on the #AWFJ site: https://awfj.org/blog/author/pam-grady/ OMFYS Hosts: Bob Calhoun, Cory Sklar and Greg Franklin Philena Franklin is on strike but her dad did the TikTok Report. Philena will return later this month for our PUBLIC DOMAIN ZOMBIE episode with MESSIAH OF EVIL (1974) and Bela Lugosi in WHITE ZOMBIE (1932). MUSIC Theme song: Chaki the Funk Wizard "Pray for the Flying J" courtesy of Count Dante & the Black Dragon Fighting Society. "Royale" by Josh Lippi & the Overtimers and "Les-ly" by Mini Vandals courtesy of the YouTube Audio Archive. Trailer audio courtesy of Archive.org Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com
Ray Padgett lives in Vermont, first discovered Dylan when he was 16 in the 21st Century and was fascinated and besotted, later launching the newsletter ‘Flagging Down the Double E's' and now publishing the enthralling ‘Pledging My Time', a collection of his interviews with over 40 people who've worked, performed and recorded with the inscrutable old rogue. Both the book and this fast-moving, whip-smart and very funny conversation are revelatory and highly recommended, the podcast shedding light on … … the daily life of Bob Dylan – eg the piles of gifts he routinely receives and the security men who scour his vacated hotel rooms to remove anything that could be nicked and put on eBay. … the only friend who seemed to co-exist with him on “an equal footing”. ... an eye-witness account of his first performance (aged 13) at a Jewish summer camp in Minnesota. … the childhood friend who owned a fish business in Duluth and ended up running the Rolling Thunder Revue - as Dylan enigmatically put it, “if you can sell fish, you can sell tickets”. ... the time he went to a business conference and nobody recognised him. … how he tells musicians to “never play the same thing twice”. … the chance meeting with Scarlet Rivera – two hours later she was onstage as “my violinist” with Dylan and Muddy Waters. … multiple examples of his love of spontaneity and the extraordinary way he hires musicians. … a rare moment when his career seemed to stall. … and honourable mentions of Richard Thompson, Paul Stookey, Jim Keltner, Stan Lynch and Jeff Bridges. Pledging My Time …https://www.amazon.co.uk/Pledging-My-Time-Conversations-Members/dp/B0C6VRBZQC Flagging Down the Double E's newsletter …https://dylanlive.substack.com/aboutTickets for Word In Your Ear live at 21Soho on September 25th here: https://www.tickettext.co.uk/1SwIYJWoHKSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/woridinyourear https://www.covermesongs.com/about-ray-padgett Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Ray Padgett lives in Vermont, first discovered Dylan when he was 16 in the 21st Century and was fascinated and besotted, later launching the newsletter ‘Flagging Down the Double E's' and now publishing the enthralling ‘Pledging My Time', a collection of his interviews with over 40 people who've worked, performed and recorded with the inscrutable old rogue. Both the book and this fast-moving, whip-smart and very funny conversation are revelatory and highly recommended, the podcast shedding light on … … the daily life of Bob Dylan – eg the piles of gifts he routinely receives and the security men who scour his vacated hotel rooms to remove anything that could be nicked and put on eBay. … the only friend who seemed to co-exist with him on “an equal footing”. ... an eye-witness account of his first performance (aged 13) at a Jewish summer camp in Minnesota. … the childhood friend who owned a fish business in Duluth and ended up running the Rolling Thunder Revue - as Dylan enigmatically put it, “if you can sell fish, you can sell tickets”. ... the time he went to a business conference and nobody recognised him. … how he tells musicians to “never play the same thing twice”. … the chance meeting with Scarlet Rivera – two hours later she was onstage as “my violinist” with Dylan and Muddy Waters. … multiple examples of his love of spontaneity and the extraordinary way he hires musicians. … a rare moment when his career seemed to stall. … and honourable mentions of Richard Thompson, Paul Stookey, Jim Keltner, Stan Lynch and Jeff Bridges. Pledging My Time …https://www.amazon.co.uk/Pledging-My-Time-Conversations-Members/dp/B0C6VRBZQC Flagging Down the Double E's newsletter …https://dylanlive.substack.com/aboutTickets for Word In Your Ear live at 21Soho on September 25th here: https://www.tickettext.co.uk/1SwIYJWoHKSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/woridinyourear https://www.covermesongs.com/about-ray-padgett Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Ray Padgett lives in Vermont, first discovered Dylan when he was 16 in the 21st Century and was fascinated and besotted, later launching the newsletter ‘Flagging Down the Double E's' and now publishing the enthralling ‘Pledging My Time', a collection of his interviews with over 40 people who've worked, performed and recorded with the inscrutable old rogue. Both the book and this fast-moving, whip-smart and very funny conversation are revelatory and highly recommended, the podcast shedding light on … … the daily life of Bob Dylan – eg the piles of gifts he routinely receives and the security men who scour his vacated hotel rooms to remove anything that could be nicked and put on eBay. … the only friend who seemed to co-exist with him on “an equal footing”. ... an eye-witness account of his first performance (aged 13) at a Jewish summer camp in Minnesota. … the childhood friend who owned a fish business in Duluth and ended up running the Rolling Thunder Revue - as Dylan enigmatically put it, “if you can sell fish, you can sell tickets”. ... the time he went to a business conference and nobody recognised him. … how he tells musicians to “never play the same thing twice”. … the chance meeting with Scarlet Rivera – two hours later she was onstage as “my violinist” with Dylan and Muddy Waters. … multiple examples of his love of spontaneity and the extraordinary way he hires musicians. … a rare moment when his career seemed to stall. … and honourable mentions of Richard Thompson, Paul Stookey, Jim Keltner, Stan Lynch and Jeff Bridges. Pledging My Time …https://www.amazon.co.uk/Pledging-My-Time-Conversations-Members/dp/B0C6VRBZQC Flagging Down the Double E's newsletter …https://dylanlive.substack.com/aboutTickets for Word In Your Ear live at 21Soho on September 25th here: https://www.tickettext.co.uk/1SwIYJWoHKSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/woridinyourear https://www.covermesongs.com/about-ray-padgett Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Roger McGuinn is best known as the driving force behind The Byrds. But McGuinn is also a preservationist of traditional folk music. For the past 27 years he's been re-recording traditional folk songs and sharing them on a section of his website called The Folk Den. On today's episode Rick Rubin talks to Roger McGuinn about his decades-long career, which started in the early ‘60s at Greenwich Village cafes where he played with the likes of Bob Dylan and Richie Havens. McGuinn reminisces about the vibrant music scene in LA, and he also talks about meeting his Byrd's bandmate David Crosby. We'll also hear Roger McGuinn play his guitar throughout the interview, and talk about how playing basketball with Bob Dylan helped inspire Dylan's storied tour, the Rolling Thunder Revue. You can hear a playlist of some of our favorite Roger McGuinn and The Byrds songs HERE.See omnystudio.com/listener for privacy information.
O Brother, Phil and David had an absolutely fantastic, fascinating and far-ranging "Lunch" with the great T Bone Burnett while in Nashville recently -- so much so that none of them actually ate their delicious breakfast sandwiches from @hseanbrock's Joyland until after this conversation stopped. So you will hear no chewing here, yet there is a lot to chew on. The Oscar and Grammy winning Burnett goes deep about not just his own remarkable career -- from early life-changing experiences on Bob Dylan's legendary Rolling Thunder Revue and being a musician in the infamous yet artful big screen "fiasco" known as "Heaven's Gate" to his extraordinary work on soundtracks like "O Brother, Where Art Thou" and "Crazy Heart" right until today, including some notable recent recording with Dylan that reflects Burnett's deep thinking about the value of music, and the place in our world today. Phil and David want to thank T Bone -- who's produced everyone from Roy Orbison to Los Lobos to Elton John to Robert Plant and Alison Krauss to Counting Crows and The Wallflowers -- and Michelle Freetly for setting up their mics at East Iris Studios and making this "Lunch" far and away our coolest and most atmospheric recording yet. To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com.
Rob welcomes back fellow Bobcat Melissa Tomczak to discuss Martin Scorsese's 2019 pseudo-documentary ROLLING THUNDER REVUE: A BOB DYLAN STORY BY MARTIN SCORSESE. Have a question or comment? E-MAIL: firewaterpodcast@comcast.net Follow POD DYLAN on Twitter: @Pod_Dylan POD DYLAN "Jukebox" T-Shirt now available: https://www.etsy.com/shop/RobKellyCreative You can find POD DYLAN on these platforms: Apple Podcasts: https://itunes.apple.com/us/podcast/pod-dylan/id1095013228 Amazon Music Spotify Stitcher Complete list of all songs covered so far: http://fireandwaterpodcast.com/podcast/pod-dylan-the-songs 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!
Rob welcomes back fellow Bobcat Melissa Tomczak to discuss Martin Scorsese's 2019 pseudo-documentary ROLLING THUNDER REVUE: A BOB DYLAN STORY BY MARTIN SCORSESE. Have a question or comment? E-MAIL: firewaterpodcast@comcast.net Follow POD DYLAN on Twitter: @Pod_Dylan POD DYLAN "Jukebox" T-Shirt now available: https://www.etsy.com/shop/RobKellyCreative You can find POD DYLAN on these platforms: Apple Podcasts: https://itunes.apple.com/us/podcast/pod-dylan/id1095013228 Amazon Music Spotify Stitcher Complete list of all songs covered so far: http://fireandwaterpodcast.com/podcast/pod-dylan-the-songs 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!
Jeremy & Eric discuss the 2019 film "Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese" Go to patreon.com/ericandjeremy for bonus stuff!
Marty continues documenting the career of Bob Dylan and his mythologized 1970s tour with a group of Trav's favorite artists!
We try to separate fact from fiction in Martin Scorsese's pseudo-documentary about Bob Dylan's 1975 Rolling Thunder Revue tour. Will we ever know the real Dylan? Robert Bound discusses with Liv Siddall, Tim Robey and Will Hodgkinson. See omnystudio.com/listener for privacy information.
Join Dr. Sara Martinez for a summary of her scholarly work on Dylan, which includes her dissertation on how Dylan's work from 1962-1970 upends traditional masculine roles of breadwinner and soldier and also her current work on the Rolling Thunder Revue. We also play some music from some of her favorite performers. In "20 Pounds of Headlines," we round up news from the world of Bob Dylan, including rumors pertaining to both the James Mangold GOING ELECTRIC film and the next volume of the Bootleg Series. In "Who Did It Better?" we ask you to tell us who did "One More Cup of Coffee (Valley Below)" better, The White Stripes or Robert Plant? Listen to the episode, then go to our Twitter page @RainTrains to vote!
PART ONE:We pay tribute to Songcraft friend and legendary songwriter Lamont Dozier, who passed away recently at the age of 81. In happier news, we discuss Paul's recent nomination for a GMA Dove Award for Songwriter of the year before diving into the Ringo Starr Instagram foot controversy. PART TWO (14:39):We make an important announcement about the future of Songcraft, reveal the winner of our Dave Alvin book giveaway, and share all the details on the brand new Byrds coffee table book. PART THREE (22:13):Our in-depth interview with Roger McGuinnABOUT ROGER McGUINN:Our guest on this episode of Songcraft is Rock & Roll Hall of Famer Roger McGuinn. Best known for his work with The Byrds, Roger's distinctive 12-string electric guitar style helped propel the singles “Mr. Tambourine Man” and “Turn! Turn! Turn!” to the top of the charts. As a songwriter, Roger wrote or co-wrote many of the band's classics, including “Eight Miles High,” “5D,” “Mr. Spaceman,” “So You Want to Be a Rock ‘n' Roll Star,” “Drug Store Truck Drivin' Man,” “Ballad of Easy Rider,” “Chestnut Mare,” and others. He launched a solo career in the 1970s, releasing albums that explored new musical territory, and touring as part of Bob Dylan's Rolling Thunder Revue. By the end of the decade, Roger had reunited with former Byrds bandmates Chris Hillman and Gene Clark as a trio known as McGuinn, Clark & Hillman, which yielded the McGuinn-penned Top 40 single “Don't You Write Her Off.” His 1991 comeback album, Back from Rio, included the Billboard Mainstream Rock hits “King of the Hill” and “Someone to Love,” and featured songs co-written with Tom Petty, Dave Stewart, Jeff Lynne, Mike Campbell, and McGuinn's wife Camilla, who has since become his primary songwriting partner. A lifelong folk music enthusiast, McGuinn has recorded hundreds of songs as part of his online Folk Den project. A compilation album, Treasures from the Folk Den, earned Roger his third Grammy nomination. Most recently, the three surviving founding members of The Byrds—McGuinn, Hillman, and David Crosby—have put together an oversized 400-page coffee table book of photographs and oral history called The Byrds: 1964-1967, which is available for order in both standard and limited-edition autographed versions at www.byrdsbook.com.
Tous les amateurs de Bob Dylan ont leur petite histoire à raconter sur le Nez Chantant. La publication chez Nouvelles Editions Place de Bob Dylan et le cinéma par Angel Quintana est l'occasion pour nous de nous épancher sur notre idylle avec le Prix Nobel, via Peckinpah, Pennebaker, Scorsese ou Haynes, en passant par l'unique réalisation du génie, Renaldo & Clara, qui reste le Fear and Desire de Dylan tourné pendant la Rolling Thunder Revue. La moitié poilue de l'émission étant peut friande d'harmonica, c'est l'Iznogoud d'En Attendant Godard, Thomas, qui met de côté ses futiles occupations pour enfin aborder un sujet qui vaut la peine d'être écouté tous les matins au réveil et qui accompagne la moitié imberbe de l'émission pour une présentation sommaire de l'œuvre du plus grand artiste en activité, en attendant une future actualité qui nous permettra d'en remettre une couche .
Tous les amateurs de Bob Dylan ont leur petite histoire à raconter sur le Nez Chantant. La publication chez Nouvelles Editions Place de Bob Dylan et le cinéma par Angel Quintana est l'occasion pour nous de nous épancher sur notre idylle avec le Prix Nobel, via Peckinpah, Pennebaker, Scorsese ou Haynes, en passant par l'unique réalisation du génie, Renaldo & Clara, qui reste le Fear and Desire de Dylan tourné pendant la Rolling Thunder Revue. La moitié poilue de l'émission étant peut friande d'harmonica, c'est l'Iznogoud d'En Attendant Godard, Thomas, qui met de côté ses futiles occupations pour enfin aborder un sujet qui vaut la peine d'être écouté tous les matins au réveil et qui accompagne la moitié imberbe de l'émission pour une présentation sommaire de l'œuvre du plus grand artiste en activité, en attendant une future actualité qui nous permettra d'en remettre une couche .
We've all seen rock music on screen – movies, TV, documentaries, cable/streaming - purely rock music and musicians or simply featuring music or a notable performance. Sometimes it's rock music as the soundtrack – setting the mood, making a comment. Mick and Jeff have a look at some fun examples - both good and bad!We take an in-depth look at "Sticky Fingers" by The Stones, and talk about getting out to see local bands like the Sun Bears or 19-Twenty. References: Sun Bears, 19-Twenty, Rage Against the Machine, Alexei Sayle, 1001 Albums You Must Hear before You Die”, Rolling Stones, Sticky Fingers, Mick Taylor, Get Yer Ya-Yas Out, Exile on Main Street, Goodbye Cream, Ziggy Stardust - The Motion Picture, Woodstock, Monterey Pop, Stop Making Sense, Talking Heads, The Last Waltz, The Band, Martin Scorsese, Concert for Bangladesh, Ravi Shankar, Rust Never Sleeps, Shine a Light, The Bridge Schools Concert, Big Easy Express, Black Sabbath, The Song Remains the Same, Led Zeppelin, Bohemian Rhapsody, Rocketman, Pink Floyd, The Beatles, The Who, Tommy, Spinal Tap, Rob Reiner, Bob Dylan, Rolling Thunder Revue, A Bob Dylan Story, Velvet Underground, Brian Eno, 1971-1977: The Man Who Fell to Earth, Let It Be, Get BackGreat Southern Mead and HoneyStream and RentNetflixRolling Thunder Apple The Bridge SchoolThe Big Easy Express1971The Velvet UndergroundShine a Light DisneyMcCartney 321StanAlexei Sayle19-TwentyThe Sun Bears
Danny and Dylan are joined by friend of the pod Nick Semaan to talk Animal Collective's latest LP, Time Skiffs, and their thoughts on the Collective's work on the whole. Danny continues to quiz Dylan on Animal Collective, and Doc Rock returns to recommend Rolling Thunder Revue, the 2nd Martin Scorsese documentary on Bob Dylan.
Rock Docs: A Podcast About Movies About Music Episode 1: Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese In which we review this movie. Is this even a rock doc? Hosted by David Lizerbram & Andrew Keatts Twitter: @RockDocsPod Instagram: @RockDocsPod Cover Art by N.C. Winters - check him out on Instagram at @NCWintersArt
Gene LaFond shares stories from his life as it's intertwined with Bob's through their mutual best friend Larry Kegan. Geno talks about music, friendship and inspiration as he takes us from Dinkytown, to Guadalajara, Belize, the Rolling Thunder Revue, the Infidels sessions, the Bridge School Benefit, and Bob's farm in Minnesota. Geno's website: http://genelafond.com/ For Geno and Amy's schedule, check out their facebook page: https://www.facebook.com/GeneandAmy --- Support this podcast: https://anchor.fm/the-bobcats/support
Enjoy a short bonus episode with the iconic (and iconoclastic) Kinky Friedman...country music legend, best-selling novelist, and sometimes political candidate. Kinky talks through some of his political heroes, his favorite political stories, his time in the Peace Corps, his friendship with both Bill Clinton and George W Bush.,.& and closes the episode with one of his songs - that was a favorite of Nelson Mandela.IN THIS EPISODE...Kinky talks about the politician that spoke to him most as a kid....Kinky tells the story of Texas political legend Barbara Jordan's famous speech at the 1976 Democratic Convention...Kinky's time in the Peace Corps in Borneo...Kinky tells the story of a lunch involving Bob Dylan and his father...The story of one of Kinky's songs being played regularly by Nelson Mandela in his prison cell...Kinky writes the "first pro-choice" country song...Kinky talks through his early days as a musician in Nashville...Kinky's time around Bill Clinton and George W. Bush (both big fans of his novels)Kinky visits the White House...Kinky's current passion project of the Echo Hill Ranch, providing a summer camp experience for kids of Gold Star families...AND...Barrabas, George W. Bush, Bill Clinton, Marcie Friedman, Professor Tom Friedman, John Glenn, Hill Country Motors, Molly Ivins, Barbara Jordan, JFK, Moses, Dolly Parton, Rick Perry, Ann Richards, Rolling Thunder Revue, Mark Twain, Tokyo Sexwale, Shel Silverstein, Adlai Stevenson, Robert Strauss, Helen Suzman, Billy Swann, the White Horse Saloon, Hank Williams, Warren Zevon, and MORE!
Scarlet Rivera was a rock violin goddess even before Bob Dylan discovered her walking down the street in the Village. From her first night improvising on stage with Dylan and Muddy Waters to the Rolling Thunder Revue, jazz fusion, Celtic music and now a solo career as a singer-songwriter, Scarlet gives Cheryl an inside look at how music has given her life purpose and direction, and how she has no interest in ever slowing down.
The band discusses Bob Dylan's Rolling Thunder Revue and performs their own year in review of fun new stories.
Rolling Thunder Revue bass player and bandleader Rob Stoner on Jacques Levy, Emmylou Harris, Sam Shepard and how he “made out with Joan Baez on a motel room balcony” for Renaldo & Clara. Rob also sets the record straight on the Scorsese Netflix film: “I got a beef with that Van Dorp character!” and alerts us to his uncredited harmony vocal on Abandoned Love.What was it like playing live with Bob? “Sink or swim. If you're good enough, you ought to be able to swim”. Did Bob actually never speak to Mick Ronson on the Rolling Thunder tour? “It was written into the contract”. The Fort Collins concert, where Hard Rain was recorded? “Bob was in a foul mood, man.”Other insights include how Elvis miffed Bob, rehearsal details for the 1978 Alimony Tour and John Lennon's “Dylan imitation” on Ticket To Ride. Roll up, roll up - for an historic episode.While still in school, Rob Stoner was signed to a songwriting contract by Leiber and Stoller. As a session musician, he played and sang on classic recordings including American Pie. His albums with Dylan include Desire, Hard Rain, Bob Dylan At Budokan and Live 1975. Following his stint with Bob, Rob released a critically-acclaimed album of original songs on MCA Records. He also became the first non-Southerner to release an album on Sun Records. His songs have been recorded by Link Wray, Johnny Winter and Robert Gordon. He has played with Chuck Berry, Ringo Starr, Bruce Springsteen, Stevie Ray Vaughan and countless others. Rob lives in Rockland County, New York, where he remains active on the music scene.WebsiteFacebookTwitterTrailerSpotify playlistListeners: please subscribe and/or leave a review and a rating.Twitter @isitrollingpodRecorded 3rd June 2020This show is part of Pantheon Podcasts.
Rolling Thunder Revue bass player and bandleader Rob Stoner on Jacques Levy, Emmylou Harris, Sam Shepard and how he “made out with Joan Baez on a motel room balcony” for Renaldo & Clara. Rob also sets the record straight on the Scorsese Netflix film: “I got a beef with that Van Dorp character!” and alerts us to his uncredited harmony vocal on Abandoned Love.What was it like playing live with Bob? “Sink or swim. If you're good enough, you ought to be able to swim”. Did Bob actually never speak to Mick Ronson on the Rolling Thunder tour? “It was written into the contract”. The Fort Collins concert, where Hard Rain was recorded? “Bob was in a foul mood, man.”Other insights include how Elvis miffed Bob, rehearsal details for the 1978 Alimony Tour and John Lennon's “Dylan imitation” on Ticket To Ride. Roll up, roll up - for an historic episode.While still in school, Rob Stoner was signed to a songwriting contract by Leiber and Stoller. As a session musician, he played and sang on classic recordings including American Pie. His albums with Dylan include Desire, Hard Rain, Bob Dylan At Budokan and Live 1975. Following his stint with Bob, Rob released a critically-acclaimed album of original songs on MCA Records. He also became the first non-Southerner to release an album on Sun Records. His songs have been recorded by Link Wray, Johnny Winter and Robert Gordon. He has played with Chuck Berry, Ringo Starr, Bruce Springsteen, Stevie Ray Vaughan and countless others. Rob lives in Rockland County, New York, where he remains active on the music scene.WebsiteFacebookTwitterTrailerEpisode playlist on Apple Episode playlist on SpotifyListeners: please subscribe and/or leave a review and a rating.Twitter @isitrollingpodRecorded 3rd June 2020This show is part of Pantheon Podcasts.
Will, Sammy and Av unveil their movie DNA, discussing Toy Story 4 before diving into the three movies that shaped their childhoods. June movies we recommend, besides Toy Story 4: The Last Black Man in San Francisco; Woman at War; Rolling Thunder Revue; Diamantino. Classics Corner: The Lord of the Rings Trilogy (2001-2003); Knock Knock […] Learn more about your ad choices. Visit megaphone.fm/adchoices
Will, Sammy and Av unveil their movie DNA, discussing Toy Story 4 before diving into the three movies that shaped their childhoods. June movies we recommend, besides Toy Story 4: The Last Black Man in San Francisco; Woman at War; Rolling Thunder Revue; Diamantino. Classics Corner: The Lord of the Rings Trilogy (2001-2003); Knock Knock (2015)
In episode 60 UNP founder and curator Grant Scott is in his shed considering photography and its relationship with the creative arts, the importance of knowing and breaking rules and Martin Scorsese, Bob Dylan and the Rolling Thunder Revue. Plus this week photographer Chris Floyd takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Chris Floyd is a British photographer born in Welwyn Garden City, Hertfordshire. He started taking photographs when he was 14 and moved to London in 1990 to pursue a career in photography having completed a BTec Photography course. As a young photographer, he took photographs of The Orb, which appeared in the music magazine Select. In 1994, he started working for Loaded magazine as well as The Face and Dazed & Confused as his photography began to become strongly associated with the era of 'Britpop'. He is known chiefly for his celebrity portraiture and reportage, although he also works creating short films. His photographic work has been published in The Sunday Times Magazine, The New York Times Magazine, American and British Esquire, Vogue, Vanity Fair, The New Yorker, Harpers Bazaar, GQ, Wallpaper* and The Guardian Weekend magazine. He was selected for the National Portrait Gallery, London Taylor Wessing Photographic Portrait Prize in 2008 and 2013. In 2011, he exhibited and self-published his series of 140 portraits of Twitter users, One Hundred and Forty Characters. Chris has also photographed advertising campaigns for international brands such as Apple, British Airways, Sony and Philips. As a director he has produced moving image work for Avis, Anthropologie, Mr Porter, Space NK, Topshop, UBS, The Smithsonian and a Christmas TV campaign for Debenhams. www.chrisfloyd.com Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His next book New Ways of Seeing: The Democratic Language of Photography will be published by Bloomsbury Academic in 2019. He is currently work on his next documentary film project Woke Up This Morning: The Rock n' Roll Thunder of Ray Lowry. His documentary film, Do Not Bend: The Photographic Life of Bill Jay can now be seen at www.youtube.com/watch?v=wd47549knOU&t=3915s. © Grant Scott 2019
REPOST JUNE 10, 2019: Bill Frost (SLUGMag.com & X96 Radio From Hell) and Tommy Milagro (patrolling the mean streets of West Jordan) talk Listener Mailbag, R.I.P. Happy! and Deadly Class and Swamp Thing, catching up on Good Omens, Fleabag, NOS4A2 and muthafuckin' Doom Patrol, who's Ashley Tisdale?, Kevin Bacon sez come get these Tremors and check out his City on a Hill copstache, One Day at a Time: not dead yet, 'member Men In Trees?, Rassling News, good Veronica Mars news/bad Good Place news and What to Watch Harder (Doom Patrol, A.P. Bio, Abby's, Martha & Snoop, Pose, The Rolling Thunder Revue, Krypton, Younger, Alien Highway, Strange Angel, Baskets, iZombie, Jessica Jones, Jett and City on a Hill). Drinking: Bloody Marys made with vodka and fixin's from OFFICIAL TV Tan sponsors Sugar House Distillery and Boozetique.
Growing up in Texas, young Joseph Henry Burnett first experienced musical transportation while listening to records of Cole Porter and Ella Fitzgerald. He developed into not just a versatile musician and producer, but an obsessive archivist and student of music history. T Bone tells Marc about his days traveling with Bob Dylan's Rolling Thunder Revue, his collaborations with the Coen Brothers for their films, and his production work on the late-career albums of artists like Gregg Allman and BB King. T Bone also explains why he's taking a break from production to release his first album in 11 years. This episode is sponsored by ZipRecruiter. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.
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