It ain’t no use to sit and wonder why, babe
It don’t matter, anyhow
An’ it ain’t no use to sit and wonder why, babe
If you don’t know by now
When your rooster crows at the break of dawn
Look out your window and I’ll be gone
You’re the reason I’m trav’lin’ on
Don’t think twice, it’s all right
Manchester Evening News Arena
Manchester, England
9 May 2002
Bob Dylan (vocal & guitar)
Charlie Sexton (guitar)
Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar)
They’re selling postcards of the hanging
They’re painting the passports brown
The beauty parlor is filled with sailors
The circus is in town
Here comes the blind commissioner
They’ve got him in a trance
One hand is tied to the tight-rope walker
The other is in his pants
And the riot squad they’re restless
They need somewhere to go
As Lady and I look out tonight
From Desolation Row
I still write songs the same way I always did: I get a first line, the words and the tune together, and then I work out the rest wherever I happen to be, whenever I have time. If it’s really important, I’ll just make the time and try to finish it.
~To John Rockwell, Jan 1974
The saddest thing about songwriting is when you get something really good and you put it down for a while, and you take for granted that you’ll be able to get back to it with whatever inspired you to do it in the first place – well, whatever inspired you to do it in the first place is never there anymore. So then you’ve got to consciously stir up the inspiration to figure what it was about. Usually you get one good part and one not-sogood part, and the not-so-good wipes out the good part.
~To Bill Flanagan March 1985
Do you know, it’s funny, but I never thought of being blind as a disadvantage, and I never thought of being black as a disadvantage.
~Stevie Wonder
“If anybody can be called a genius, he can be. I think it has something to do with his ear, not being able to see or whatever. I go back with him to about the early ‘60s, when he was playing at the Apollo with all that Motown stuff. If nothing else, he played the harmonica incredible, I mean truly incredible. Never knew what to think of him really until he cut Blowin’ In The Wind. That really blew my mind, and I figured I’d better pay attention. I was glad when he did that Rolling Stones tour, cuz it opened up his scene to a whole new crowd of people, which I’m sure has stuck with him over the years. I love everything he does. It’s hard not to. He can do gut-bucket funky stuff really country and then turn around and do modern-progressive whatever you call it. In fact, he might have invented that. he is a great mimic, can imitate everybody, doesn’t take himself seriously and is a true roadhouse musician all the way, with classical overtones, and he does it all with drama and style. I’d like to hear him play with an orchestra. He should probably have his own orchestra.”
~Bob Dylan (Feb 1989, Rolling Stone Mag. – featurette on Stevie Wonder)
Oh, I’m sailin’ away my own true love
I’m sailin’ away in the morning
Is there something I can send you from across the sea
From the place that I’ll be landing?
No, there’s nothin’ you can send me, my own true love
There’s nothin’ I wish to be ownin’
Just carry yourself back to me unspoiled
From across that lonesome ocean
Labatts Apollo
Manchester, England
3 April 1995
Bob Dylan (vocal & guitar)
Bucky Baxter (pedal steel guitar & electric slide guitar)
