Dylan returns to Sony Studios in New York, with Don Was producing, to cut three songs for a possible Elvis Presley tribute CD. The versions of “Lawdy Miss Clawdy” & “Money Honey” are fairly nondescript. However the final vocal take of “Anyway You Want Me (Is How I Will Be)” is really quite spectacular, Dylan delivering one of his most convincing vocals in years.
~Clinton Heylin (Bob Dylan: A Life in Stolen Moments Day by Day: 1941-1995)
A real gem this one…
Sony Music Studios New York City, New York 30 September 1994
Bob Dylan (guitar & vocal) backed by unidentified musicians.
All audio ar grooveshark embed’s.. they might not work for Ipad’s or iphone. I’ve included a link below that will take you to an HTML5 version of the best song among these 3: “Anyway You Want Me”.
Lawdy, Miss Clawdy (Lloyd Price)
Money Honey (Jesse Stone)
Anyway You Want Me (That’s How I Will Be) (Schroeder/Owens)
On the 3th recording session for Blood On The Tracks on September 18th, Dylan only tried 2 takes on Buckets of Rain. The 4th recording session (on September 19, 1974) was a way more important story….
Here are some quotes, facts & music….
If any of Dylan’s record albums deserve to be singled out as a “masterpiece” (and I’ve avoided this because how can one leave out ‘Blonde On Blonde’? ‘Highway 61 Revisited’? ‘Hard Rain’?), it is the one that most successfully combines conscious, deliberate creation (composition) with spontaneous expression (performance) – 1974’s ‘Blood On The Tracks’
~Paul Williams (Performing Artist 74-86)
..Dylan.. succeeded in producing an album that stoked up his genius quotient nearly ten years after he was thought to have left it by the roadside. And he had done it by reinventing his whole approach to language. Gone were the surrealistic turns of phrase on Blonde On Blonde, gone was the ‘wild mercury sound’ surrounding those mystical words. In their place was a uniformity of mood, a coherence of sound, and an unmistakable maturity to the voice…. He had never sung better.
~Clinton Heylin (Behind The Shades)
Blood On The Tracks
The Bootleg Series Volumes 1–3
(Rare & Unreleased) 1961-1991
A very good 88-concert and the sound on the circulating soundboard tape is incredible.
It is concert #15 of the Never Ending Tour & this tour is “labeled” the Interstate 88 Tour, part 1.
Jones Beach Theater Jones Beach State Park Wantagh, New York 30 June 1988
Wantagh, New York
Wantagh (pronounced /WAHN-taw/) is a hamlet and census-designated place (an unincorporated section of the town of Hempstead) in Nassau County on Long Island, New York, United States. The population of Wantagh was 18,871 at the time of the 2010 census.
One chord is fine. Two chords are pushing it. Three chords and you’re into jazz.
I think that everything happens for a reason, everything happens when it’s going to happen.
Lou Reed always makes a great record
~Bob Dylan (to Don McLeese, Jan 1986)
…he’s often cited as punk’s most important ancestor. It’s often overlooked, though, that he’s equally skilled at celebrating romantic joy, and rock & roll itself, as he is at depicting harrowing urban realities.
Sad news today: Lou Reed has died.
We’ll honor this great artist with a profile post here at JV.
Patti Smith inducts Velvet Underground Rock and Roll Hall of Fame 1996:
Sweet Jane (@ Letterman 1993):
Lewis Allan Reed
March 2, 1942 (age 71)
Brooklyn, New York
Rock, experimental rock, art rock, protopunk, noise music, drone music, psychedelic rock, folk rock, glam rock, blue-eyed soul, spoken word
Lewis Allan “Lou” Reed (born March 2, 1942) is an American rock musician, songwriter, and photographer. He is best known as guitarist, vocalist, and principal songwriter of The Velvet Underground, and for his solo career, which has spanned several decades. Though the Velvet Underground were a commercial failure in the late 1960s, the group has gained a considerable cult following in the years since its demise and has gone on to become one of the most widely cited and influential bands of the era. As the Velvet Underground’s principal songwriter, Reed wrote about subjects of personal experience that rarely had been examined so openly in rock and roll, including sexuality and drug culture.
After his departure from the group, Reed began a solo career in 1971. He had a hit the following year with “Walk on the Wild Side”, although he subsequently lacked the mainstream commercial success its chart status seemed to indicate. Reed’s work as a solo artist frustrated critics wishing for a return of the Velvet Underground. In 1975, Reed released a double album of feedback loops, Metal Machine Music, upon which he later commented, “No one is supposed to be able to do a thing like that and survive.”