Rolling Stone via YahooThe Band’s Garth Hudson Returns to Big Pink2 days ago
And I really like this site. It makes me feel so unalone in my obsession and private ruminations on these things. For the record, I am able to obsess while living a normal family life and having a fairly normal job and integrating with fairly normal people. Most of the time my head is on straight.. Tony: Good job with the lyrics. Thank you very much for your printthinking about the songs.
It is slightly different from yours,but he is from New York. Hello Tony, Thank you for this interesting essay. I have no idea why. A beautiful woman madly unhappily in love with somebody else is like honey for the bees for some men. The man in the song is trying to cope with the very painful feeling of being rejected of the lady he madly loves without understanding WHY.
I reviewed many many others attempts and compiled them. Your email address will not be published. Skip to content. Scherman, Tony July 29, American Heritage. Archived from the original on November 6, Retrieved June 18, Roberts, David Guinness British Hit Singles. Guinness Publishing. Sounes, Howard Grove Press. Whitburn, Joel The Billboard Book of Top 40 Hits 8th ed.
Billboard Books. External links [ edit ]. Bob Dylan. Dylan The Basement Tapes Blues. The Band. Planet Waves The Basement Tapes. Categories : collaborative albums compilation albums Bob Dylan compilation albums The Band compilation albums Columbia Records compilation albums s demo albums Grammy Award for Best Historical Album.
Hidden categories: Articles with short description Short description is different from Wikidata Articles with hAudio microformats. Toggle the table of contents. November 4, Folk roots rock. The 50th Anniversary Collection Live at the Academy of Music American Songwriter. Austin Chronicle. Under the Radar. Clarence Williams. DeWayne Blackwell.
All American Boy
Hank Cochran , Harlan Howard. Idris Davies , Peter Seeger. Toggle the table of contents. List of Basement Tapes songs. Levon Helm , who was absent for much of the Basement Tapes sessions, [ 12 ] is believed to be playing drums on both takes of this song, which makes the song one of the last recorded during the basement sessions, perhaps in late or early Griffin suggests this song features either Robertson on drums and Manuel on tambourine, or the other way around.
It is written to the tune of " Frog Went A-Courting ". A country hit duet for Melba Montgomery and Gene Pitney. Composed by Dodd, who played pedal steel in the Tex Ritter band, the song was first recorded by Little Jimmy Dickens in , and Hank Williams released the song under his " Luke the Drifter " moniker in A Johnny Cash song released in One of several Cash covers recorded during the Basement Tapes sessions.
Idris Davies , Pete Seeger. Davies, a Welsh miner, originally wrote this as a poem about the General Strike of ; it was later set to music by Seeger. One of several Johnny Cash covers from the sessions. Cash recorded the song for Sun Records in Take one breaks down. Released on The Bootleg Series Vol. Although The Hawks had played with Dylan for two years, they had never performed this classic Dylan song live.
Both Robbie Robertson and Garth Hudson take extended solos.
Bob dylan im not there basement tapes
A western song ed by Spencer Williams in Cover of a hit by Sonny Knight. This is just a fragment of a traditional song which had been recorded by both Odetta and Eric von Schmidt. A sketch for a song with half-completed lyrics with a rockabilly sound, including three guitar solos by Robbie Robertson , reminiscent of the Carl Perkins sound.
Previously unreleased on bootleg, this song was heard for the first time on The Basement Tapes Complete , and has been described as an early basement recording, made in Dylan's home in Woodstock before the move to Big Pink. Not really a cover of the song itself, it seems to be an improvisation begun by Dylan and the Hawks after being amused by Manuel playing a few seconds of "Flight of the Bumblebee", [ 23 ] with the lyrics sounding "as if it's poetry night in a San Francisco jazz club.
This was a hit for Hank Snow on the country charts in , and a number 2 pop hit for Elvis Presley in One of a number of Ian and Sylvia Tyson songs. Ian and Sylvia recorded several Basement Tapes songs as well. Another Ian and Sylvia Tyson song. Dylan would return to this in the late s while touring with The Grateful Dead.
First recorded in by Henry Whitter. By the time Dylan informally recorded it during the basement sessions, he had been playing the song for several years. A funky, bawdy groove characterizes this unfinished song. A variant of the song "On the Trail of the Buffalo.
See full list on en.wikipedia.org
This song has been recorded by Woody Guthrie , Johnny Cash , and many others. Described by Griffin as a one-chord rocker which fails to find the groove. First recorded by Hank Snow in , where it became a number one hit in the country charts. In a interview, Dylan reflected on the period: "I didn't know how to record the way other people were recording, and I didn't want to.
The Beatles had just released Sgt. Pepper which I didn't like at all. I thought that was a very indulgent album, though the songs on it were real good. I didn't think all that production was necessary. Mike Marqusee describes how the basement recordings represented a radical change of direction for Dylan, who turned his back on his reputation for importing avant-garde ideas into popular culture: "At the very moment when avant-gardism was sweeping through new cultural corridors, Dylan decided to dismount.
The dandified, aggressively modern surface was replaced by a self-consciously unassuming and traditional garb. The giddiness embodied, celebrated, dissected in the songs of the mid-sixties had left him exhausted. He sought safety in a retreat to the countryside that was also a retreat in time, or more precisely, a search for timelessness.
Dylan had married Sara Lownds in November The intense collaboration between Dylan and the Hawks that produced the basement recordings came to an end in October when Dylan relocated to Nashville to record a formal studio album, John Wesley Harding , with a different crew of accompanying musicians. They had rubbed off on him a little.
Dylan referred to commercial pressures behind the basement recordings in a interview with Rolling Stone : "They weren't demos for myself, they were demos of the songs. You know how those things go.
Top Stories: Bob Dylan · The BandThe Basement Tapes Complete: The Bootleg Series, Vol. 11℗ Originally recorded
Peter, Paul and Mary, managed by Grossman, had the first hit with a basement composition when their cover of "Too Much of Nothing" reached number 35 on the Billboard chart in late Along with "Nothing Was Delivered", [ 53 ] it appeared on their country-rock album Sweetheart of the Rodeo , released in August. As tapes of Dylan's recordings circulated in the music industry, journalists became aware of their existence.
Wenner listened to the fourteen-song demo and reported, "There is enough material—most all of it very good—to make an entirely new Bob Dylan album, a record with a distinct style of its own. Dylan brings that instinctual feel for rock and roll to his voice for the first time.
Aint No More Cane
If this were ever to be released it would be a classic. Reporting such as this whetted the appetites of Dylan fans. The double album consisted of seven songs from the Woodstock basement sessions, plus some early recordings Dylan had made in Minneapolis in December and one track recorded from The Johnny Cash Show. One of those responsible for the bootleg, identified only as Patrick, talked to Rolling Stone : "Dylan is a heavy talent and he's got all those songs nobody's ever heard.
We thought we'd take it upon ourselves to make this music available. In January , Dylan unexpectedly gave permission for the release of a selection of the basement recordings, perhaps because he and Grossman had resolved their legal dispute over the Dwarf Music s on his songs. Engineer Rob Fraboni was brought to Shangri-La to clean up the recordings still in the possession of Hudson, the original engineer.
Fraboni has described Robertson as the dominant voice in selecting the final tracks for The Basement Tapes and reported that Dylan was not in the studio very often. According to Fraboni, four new songs by the Band were also recorded in preparation for the album's official release, one of which, a cover of Chuck Berry 's "Going Back to Memphis", did not end up being included.
While Fraboni has recalled that the Band taped them in , [ 63 ] the liner notes for the reissued versions of the Band's own albums state that these songs were recorded between and In justifying their inclusion, Robertson explained that he, Hudson and Dylan did not have access to all the basement recordings: "We had access to some of the songs.
Some of these things came under the heading of 'homemade' which meant a Basement Tape to us. They were never intended to be a record, never meant to be presented. It was somewhat annoying that the songs were bootlegged. The album was finally released in the spirit of 'well, if this is going to be documented, let's at least make it good quality.
For a comprehensive list of the Basement Tapes session recordings, see List of Basement Tapes songs. See also List of Basement Tapes songs Note: The cassette version includes LP sides 1 and 2 on side 1, and LP sides 4 and 3 in that order on side 2. It poses Dylan and the Band alongside characters suggested by the songs: a woman in a Mrs.
Henry T-shirt, an Eskimo, a circus strongman and a dwarf who has been identified as Angelo Rossitto. John Rockwell of The New York Times hailed it as "one of the greatest albums in the history of American popular music. It would have been the best album of , too. Criticism of the official release of The Basement Tapes has centered on two issues: the recordings by the Band on their own, and the selection of the Dylan songs.
In his book about the basement sessions, Greil Marcus describes the album's contents as "sixteen basement recordings plus eight Band demos". He writes, "The album as released hardly gave a real idea of what they had been doing in Woodstock. The authenticity of the album was questioned by a reviewer of the remastered version of the Band's Music from Big Pink , issued in Dave Hopkins noted that "Katie's Been Gone", which appears as a bonus track on the Big Pink reissue, is the same recording that appeared on The Basement Tapes , but now "in stereo and with improved sound quality beyond what the remastering process alone would provide".
Hopkins declared, "The cat's out of the bag: 'Katie' and the other Band-only tracks on The Basement Tapes must have been intentionally muddied in the studio in so that they would fit better alongside the Dylan material recorded in the basement with a home reel-to-reel. By including eight Band recordings to Dylan's sixteen, he says, "Robertson sought to imply that the alliance between Dylan and the Band was far more equal than it was: 'Hey, we were writing all these songs, doing our own thing, oh and Bob would sometimes come around and we'd swap a few tunes.
Barney Hoskyns describes "Heylin's objections [as] the academic ones of a touchy Dylanologist: The Basement Tapes still contained some of the greatest music either Dylan or the Band ever recorded. And while a Dylan fan might understandably grumble that he wanted to hear another Bob song, a fan equally versed and interested more generally in late 20th-century American music would only smile and thank the Good Lord for the gift of this song.
But it is a song from The Basement Tapes era and it swings like a randy sailor on shore leave in a bisexual bar.
So give Robbie a break. By , Dylan showed scant interest in the discographical minutiae of the recordings. Interviewed on the radio by Mary Travers , he recalled, "We were all up there sorta drying out So, in the meantime, we made this record. Actually, it wasn't a record, it was just songs which we'd come to this basement and recorded.
Out in the woods Although The Basement Tapes reached the public in an unorthodox manner, officially released eight years after the songs were recorded, critics have assigned them an important place in Dylan's development. Michael Gray writes, "The core Dylan songs from these sessions actually do form a clear link between They evince the same highly serious, precarious quest for a personal and universal salvation which marked out the John Wesley Harding collection—yet they are soaked in the same blocked confusion and turmoil as Blonde on Blonde.
Augustine ' ". Singer-songwriter David Gray commented that the great achievement of The Basement Tapes is that Dylan found a way out of the anguish and verbal complexity that had characterized his mid-sixties albums such as Blonde on Blonde : "It's the sound of Dylan letting his guard down. The sound of the Band is so antiquated like something out of the Gold Rush and Dylan fits in because he's this storyteller with an ancient heart.
At the time everything he did was so scrutinized, yet somehow he liberated himself from all that and enjoyed making music again.
You hear an unselfconscious quality on this record which you don't ever hear again. In place of that album's strangled urgency, Dylan adopts a laconic humor, a deadpan tone that speaks of resignation and self-preservation in the face of absurdity and betrayal. Robert Shelton has argued that The Basement Tapes revolves around two sets of themes. In his sleeve notes for the release of The Basement Tapes , Greil Marcus wrote, "What was taking place as Dylan and the Band fiddled with the tunes, was less a style than a spirit—a spirit that had to do with a delight in friendship and invention.
In , after listening to more than basement recordings issued on various bootlegs, Marcus extended these insights into a book-length study, Invisible Republic reissued in under the title The Old, Weird America. In it, he quotes Robertson's memory of the recording: "[Dylan] would pull these songs out of nowhere. We didn't know if he wrote them or if he remembered them.
When he sang them, you couldn't tell. These ghosts were not abstractions. As native sons and daughters they were a community. And they were once gathered in a single place: on the Anthology of American Folk Music ". Marcus suggests that Dylan's Basement Tapes shared with Smith's Anthology a sense of alchemy, "and in the alchemy is an undiscovered country".
While removed from the public's gaze, Dylan and the Band made music very different from the recordings of other major artists. Andy Gill writes, "Musically, the songs were completely at odds with what was going on in the rest of the pop world, which during the long, hot summer of was celebrating the birth of the hippie movement with a gaudy explosion of ' psychedelic ' music—mostly facile paeans to universal love draped in interminable guitar solos.
While George Harrison was testifying that life went on within and without you , Dylan was taking his potatoes down to be mashed. While Mick Jagger was 2, light years from home , Dylan was strapping himself to a tree with roots. This aspect of the basement recordings became obvious when Dylan chose to record his next album, John Wesley Harding , in Nashville in late The songs on that record, according to Howard Sounes, revealed the influence of Dylan's daily reading of both the Bible and the Hank Williams songbook.
As producer Bob Johnston recalled, "Every artist in the world was in the studio trying to make the biggest-sounding record they possibly could.