Category Archives: Great albums

Bob Dylan, Bob Dylan albums, Great albums, Music Calendar

Today: Bob Dylan released “Love And Theft” in 2001, 12 years ago

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bob dylan love & theft

” ‘Love & Theft’ is not an album I’ve recorded to please myself. If I really wanted to that, I would have recorded some Charley Patton songs.”
~Bob Dylan

“All the songs are variations on the 12-bar theme and blues-based melodies. The music here is an electronic grid, the lyrics being the substructure that holds it all together. The songs themselves don’t have any genetic history. Is it like Time Out Of Mind, or Oh Mercy, or Blood On The Tracks, or whatever? Probably not. I think of it more as a greatest hits album, Volume 1 or Volume 2. Without the hits; not yet, anyway”
~Bob Dylan (“Love & Theft” press release, June 2001)

The old Chess records, the Sun records. . . I think that’s my favorite sound for a record . . . I like . . . the intensity The sound is uncluttered. There’s power and suspense. The whole vibration feels like it could be coming from inside your mind. It’s alive. It’s right there.
~Bob Dylan, to Bill Flanagan, 2009

High Water (for Charley Patton):

High water risin’—risin’ night and day
All the gold and silver are bein’ stolen away
Big Joe Turner lookin’ east and west
From the dark room of his mind
He made it to Kansas City
Twelfth Street and Vine
Nothin’ standing there
High water everywhere

From Wikipedia:

Released September 11, 2001
Recorded May 2001
Genre Folk rock, blues, roots rock,Americana
Length 57:25
Label Columbia
Producer Jack Frost (Bob Dylan’s pseudonym)

Love and Theft is the thirty-first studio album by American singer-songwriter Bob Dylan, released in September 2001 by Columbia Records. It featured backing by his touring band of the time, with keyboardist Augie Meyers added for the sessions. It peaked at #5 on the Billboard 200, and has been certified with a gold album by the RIAA. A limited edition release included two bonus tracks on a separate disc recorded in the early 1960s, and two years later, on September 16, 2003, this album was one of fifteen Dylan titles reissued and remastered for SACD hybrid playback.

The album continued Dylan’s artistic comeback following 1997’s Time Out of Mind, and was given an even more enthusiastic reception. Though often referred to without quotations, the correct title is “Love and Theft”. The title of the album was apparently inspired by historian Eric Lott’s book Love & Theft: Blackface Minstrelsy and the American Working Class, which was published in 1993. “Love and Theft becomes his Fables of the Reconstruction, to borrow an R.E.M. album title”, writes Greg Kot in The Chicago Tribune (published September 11, 2001), “the myths, mysteries and folklore of the South as a backdrop for one of the finest roots rock albums ever made.”

bob dylan 2001

…. “Love and Theft is, as the title implies, a kind of homage,” writes Kot, “[and] never more so than on ‘High Water (for Charley Patton),’ in which Dylan draws a sweeping portrait of the South’s racial history, with the unsung blues singer as a symbol of the region’s cultural richness and ingrained social cruelties. Rumbling drums and moaning backing vocals suggest that things are going from bad to worse. ‘It’s tough out there,’ Dylan rasps. ‘High water everywhere.’ Death and dementia shadow the album, tempered by tenderness and wicked gallows humor.”

–

In an interview conducted by Alan Jackson for The Times Magazine in 2001, before the album was released, Dylan said “these so-called connoisseurs of Bob Dylan music…I don’t feel they know a thing, or have any inkling of who I am and what I’m about. I know they think they do, and yet it’s ludicrous, it’s humorous, and sad. That such people have spent so much of their time thinking about who? Me? Get a life, please. It’s not something any one person should do about another. You’re not serving your own life well. You’re wasting your life.”

Reception:

4 important opinions……

  • Clinton Heylin (from “Still On The Road…”):
    … Not for the first time, his ambition proved greater than his artistry – “Love and Theft” was a patchwork quilt of borrowed ideas, and Dylan knew it. Hence, the little in-jokes with which he littered the lyrical trail. On the other hand, one has to acknowledge the bravura with which he approached his task. Previously, the editing process – before and during sessions – had generally expunged more derivative, less interesting debts. The reverse was now true. This time, Dylan positively celebrated every aspect of his cut-up canvas, even taking the album title from a 1993 book, Love & Theft: Blackface Minstrelsy and the American Working Class by Eric Lott. He even bookended the collection with two tracks that copped not only their melodies, but also their arrangements from earlier recordings.
    –
  • Paul Williams (from “Bob Dylan: Performance Artist 1986-1990 And Beyond”):
    Language. I’ve read close to a hundred reviews of “Love And Theft” by now, and yet Bob Dylan sums it up best, puts into words how I feel about this new and fabulous verbomusical experience. Says what I wanna say to you on this 7th day of November, 2001: “I know a place where there’s still somethin’ going on.” Yeah! Wow. He does, when so few seem to, and he takes me there. Over and over, whenever I listen to this album. And now I too know such a place, thank you very much. And then how about this (not just the words but the sound of his voice and the music that floats around it) as a description of the L&T experience?: “Another one of them endless days …” Oh yes.
    It’s such a listenable record. The sound, the melodies, the feel, the variety, the connectedness of it all. Each song, I find myself lingering in the car or wherever it’s playing so I can hear it to the end. I get caught by each of ‘em again and again in quite a number of pleasing and satisfying ways. And like I say, I like the wholeness, the connectedness, of the album, the way it all hangs together and becomes a single experience, single narrative, in some mysterious and pleasing way that’s not easily pointed to or articulated.
    –
  • Michael Gray (Bob Dylan Encyclopedia):
    The Dylan world seemed at once to divide into those finding it much less substantial and those taking to it far more wholeheartedly. All agreed that the two albums differ in nearly every respect.
    DANIEL LANOIS’ fingerprints are nowhere on ‘‘Love and Theft’’; the musicians used are, for the first time, Dylan’s Never-Ending Tour Band of the day, augmented by AUGIE MEYERS and his brother; there are no obviously great songs—no equivalent
    of ‘Not Dark Yet’ or ‘Highlands’. But on ‘‘Love and Theft’’ a tumult of generously packed minor songs bump up boisterously against each other, like tuba players in a charabanc bouncing off on the excursion of a lifetime, calling to and fro amongst themselves in excited dialogue about everything under the sun. Dylan’s voice is almost completely shot here, yet what he does with it is most subtlely nuanced and shrewdly judged. And he is in such a good mood! This is the warmest, most outgoing, most good-humoured Bob Dylan album since Nashville Skyline, if not The Basement Tapes.
    –
  • Robert Christgau:
    Before minstrelsy scholar Eric Lott gets too excited about having his title stolen–“He loves me! Honey, Bob Dylan loves me!”–he should recall that Dylan called his first cover album Self-Portrait. Dylan meant that title, of course, and he means this one too, which doesn’t make “Love and Theft” his minstrelsy album any more than Self-Portrait’s dire “Minstrel Boy” was his minstrelsy song. All pop music is love and theft, and in 40 years of records whose sources have inspired volumes of scholastic exegesis, Dylan has never embraced that truth so warmly. Jokes, riddles, apercus, and revelations will surface for years, but let those who chart their lives by Dylan’s cockeyed parables tease out the details. I always go for tone, spirit, music. If Time Out of Mind was his death album–it wasn’t, but you know how people talk–this is his immortality album. It describes an eternal circle on masterful blazz and jop readymades that render his grizzled growl as juicy as Justin Timberlake’s tenor–Tony Bennett’s, even. It’s profound, too, by which I mean very funny. “I’m sitting on my watch so I can be on time,” he wheezes, because time he’s got plenty of. A+

bob-dylan-love-and-theft-2001-inside-cover

In 2012, the album was ranked #385 on Rolling Stone’s 500 Greatest Albums of All Time, while Newsweek magazine pronounced it the second best album of its decade. In 2009, Glide Magazine ranked it as the #1 Album of the Decade. Entertainment Weekly put it on its end-of-the-decade, “best-of” list, saying, “The predictably unpredictable rock poet greeted the new millennium with a folksy, bluesy instant classic.”

Track listing:

All songs written and composed by Bob Dylan.

1. “Tweedle Dee & Tweedle Dum” 4:46
2. “Mississippi” 5:21
3. “Summer Days” 4:52
4. “Bye and Bye” 3:16
5. “Lonesome Day Blues” 6:05
6. “Floater (Too Much to Ask)” 4:59
7. “High Water (For Charley Patton)” 4:04
8. “Moonlight” 3:23
9. “Honest With Me” 5:49
10. “Po’ Boy” 3:05
11. “Cry a While” 5:05
12. “Sugar Baby” 6:40

–

My fav songs from L&T:

  • Mississippi
  • High Water (For Charley Patton)
  • Po’ Boy
  • Sugar Baby
  • Lonesome Day Blues

–

Personnel

  • Bob Dylan – vocals, guitar, piano, production
Additional personnel
  • Larry Campbell – guitar, banjo, mandolin, violin
  • Tony Garnier – bass guitar
  • David Kemper – drums
  • Augie Meyers – accordion, Hammond B3 organ, Vox organ
  • Clay Meyers – bongos
  • Chris Shaw – recording engineering
  • Charlie Sexton – guitar

Mississippi – Live 2002:

High Water (For Charley Patton) – Orlando – 10/10/10:

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Bob Dylan, Bob Dylan albums, Great albums, Music Calendar

Today: Bob Dylan released “Under The Red Sky” in 1990, 23 years ago

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bob dylan under the red sky

“It’s just another record,” [Dylan says of Red Sky] “You can only make the records as good as
you can and hope they sell.”
~Bob Dylan (to Edna Gundersen, Aug 1990)

I made this record, Under the Red Sky, with Don Was, but at the same time I was also doing the Wilburys record. I don’t know how it happened that I got into both albums at the same time.
~Bob Dylan (to Jonathan Lethem, Aug 2006)

Anyway, Leadbelly did most of those kind of songs. He’d been out of prison for some time when he decided to do children’s songs and people said oh, why did Leadbelly change? Some people liked the old ones, some people liked the new ones. Some people liked both songs. But he didn’t change, he was the same man! Anyway, this is a song called …, It’s a new song I wrote a while back. I’m gonna try and do it as good as I can. there’s somebody important here tonight who wants to hear it, so we’ll give it our best …
– preface to ‘Caribbean Wind’, Warfield Theatre, San Francisco, November 12, 1980

Born In Time:

–

From wikipedia:

Released September 10, 1990
Recorded Early 1990
Genre Rock
Length 35:21
Label Columbia
Producer “Jack Frost” (Bob Dylan), Don Was, and David Was

Under the Red Sky is the twenty-seventh studio album by American singer-songwriter Bob Dylan, released in September 1990 by Columbia Records.

The album was largely greeted as a strange and disappointing follow-up to 1989’s critically acclaimed Oh Mercy. Most of the criticism was directed at the slick sound of pop producer Don Was, as well as a handful of tracks that seem rooted in children’s nursery rhymes. It is a rarity in Dylan’s catalog for its inclusion of celebrity cameos, by Slash, Elton John, George Harrison, David Crosby, Stevie Ray Vaughan and Bruce Hornsby.

Reception:

Dylan has echoed most critics’ complaints, telling Rolling Stone in a 2006 interview that the album’s shortcomings resulted from hurried and unfocused recording sessions, due in part to his activity with the Traveling Wilburys at the time. He also claimed that there were too many people working on the album, and that he was very disillusioned with the recording industry during this period of his career.

  • Dylan critic Patrick Humphries, author of The Complete Guide to the Music of Bob Dylan, was particularly harsh in his assessment of Under the Red Sky, stating the album “was everything Oh Mercy wasn’t—sloppily written songs, lazily performed and unimaginatively produced.
  • The album did have some critical support, particularly from Robert Christgau of The Village Voice, who wrote “To my astonishment, I think Under the Red Sky is Dylan’s best album in 15 years, a record that may even signal a ridiculously belated if not totally meaningless return to form…It’s fabulistic, biblical…the tempos are postpunk like it oughta be, with [Kenny] Aronoff’s sprints and shuffles grooving ahead like ’60s folk-rock never did.”
  • Paul Nelson, writing for Musician, called the album “a deliberately throwaway masterpiece.”

More opinions:

  • Clinton Heylin (from “Still On The Road…”):
    under the red sky seems to oppress an awful lot of Dylan fans. Some particularly infantile criticism has been directed at its self conscious use of nursery rhyme-like constructions, largely from people entirely ignorant of nursery rhymes’ centuries-old role in the folk tradition. Dylan certainly received little credit for daring to make a gut-bustin’ R&B record less than a year after leaving the swamplands of Lanoisville. Whatever its failings, the album conveys a real unity of purpose. What it lacked was one song that raised things to a higher plane, preferably at the expense of an album-opener that went, ‘Wiggle wiggle wiggle, like a bowl of soup.’
    –
  • Robert Christgau:
    This Was Bros. pseudothrowaway improves on the hushed emotion, weary wisdom, and new-age “maturity” of the Daniel Lanois-produced Oh Mercy even if the lyrics are sloppier–the anomaly is what Lanois calls Oh Mercy’s “focused” writing. Aiming frankly for the evocative, the fabulistic, the biblical, Dylan exploits narrative metaphor as an adaptive mechanism that allows him to inhabit a “mature” pessimism he knows isn’t the meaning of life. Where his seminal folk-rock records were cut with Nashville cats on drums–Kenny Buttrey when he was lucky, nonentities when he wasn’t–here Kenny Aronoff’s tempos are postpunk like it oughta be, springs and shuffles grooving ever forward. The fables are strengthened by the workout, and as a realist I also treasure their literal moments. I credit his outrage without forgetting his royalty statements. I believe he’s gritted his teeth through the bad patches of a long-term sexual relationship even if he still measures the long term in months. And when he thanks his honey for that cup of tea, I melt. A-
    –
  • Michael Gray (Bob Dylan Encyclopedia):
    The first Dylan album after Oh Mercy shows Dylan characteristically retreating from that album’s mainstream production values and safe terrain, and refusing to offer a
    follow-up. Nevertheless his penchant for recently modish producers has him turn this time to DAVID & DON WAS of Was Not Was, who offer a rougher and less unified sound. It’s a pity Dylan pads out the album with some sub-standard rockism(‘Wiggle Wiggle’ and ‘Unbelievable’) and the ill-fitting, foggy pop of ‘Born in Time’, because the core of the album is an adventure into the poetic
    possibilities of nursery rhyme that is alert, fresh and imaginative, and an achievement that has gone largely unrecognised.
    –
  • Paul Williams (from “Bob Dylan: Performance Artist 1986-1990 And Beyond”):It’s a magnificent album, really, and I love every performance on it. Oh, there have been times over the years when I’ve had my doubts about “10,000 Men” or “2×2,” but as with a good concert, each performance in sequence opens doors in listener and singer and musicians and, because the whole is greater than the sum of the parts, the parts are elevated in dignity and expressive power just by their connectedness to that whole. So I find myself getting into the groove of “10,000 Men,” the easy flow of the language, the surprising shouts and whispers of the vocal, the irrepressible Under the Red Sky humor that chugs along throughout (and catches my attention at different moments every time I listen).
    –
  • Stephen Thomas Erlewine (allmusic.com):
    Dylan followed Oh Mercy, his most critically acclaimed album in years, with Under the Red Sky, a record that seemed like a conscious recoil from that album’s depth and atmosphere. By signing Don Was, the king of mature retro-rock, as producer, he guaranteed that the record would be lean and direct, which is perhaps exactly what this collection of simplistic songs deserves. Still, this record feels a little ephemeral, a collection of songs that Dylan didn’t really care that much about. In a way, that makes it a little easier to warm to than its predecessor, since it has a looseness that suits him well, especially with songs this deliberately lightweight. As such, Under the Red Sky is certainly lightweight, but rather appealing in its own lack of substance, since Dylan has never made a record so breezy, apart from (maybe) Down in the Groove. That doesn’t make it a great, or even good, record, but it does have its own charms that will be worth searching out for Dylanphiles.

Track listing:

All songs written by Bob Dylan.

  1. “Wiggle Wiggle” – 2:09
  2. “Under the Red Sky” – 4:09
  3. “Unbelievable” – 4:06
  4. “Born in Time” – 3:39
  5. “T.V. Talkin’ Song” – 3:02
  6. “10,000 Men” – 4:21
  7. “2 × 2” – 3:36
  8. “God Knows” – 3:02
  9. “Handy Dandy” – 4:03
  10. “Cat’s in the Well” – 3:21

–

My fav songs from the album:

  1. Born In Time
  2. God Knows
  3. Under The Red Sky

–

Personnel

  • Bob Dylan – acoustic and electric guitar, piano, accordion, harp, vocals, production
Additional musicians
  • Kenny Aronoff – drums
  • Sweet Pea Atkinson – backing vocals
  • Rayse Biggs – trumpet
  • Sir Harry Bowens – backing vocals
  • David Crosby – backing vocals
  • Paulinho Da Costa – percussion
  • Robben Ford – guitar
  • George Harrison – slide guitar
  • Bruce Hornsby – piano
  • Randy “The Emperor” Jackson – bass guitar
  • Elton John – piano
  • Al Kooper – organ, keyboards
  • David Lindley – bouzouki, guitar, slide guitar
  • David McMurray – saxophone
  • Donald Ray Mitchell – backing vocals
  • Jamie Muhoberac – organ
  • Slash – guitar
  • Jimmie Vaughan – guitar
  • Stevie Ray Vaughan – guitar
  • Waddy Wachtel – guitar
  • David Was – backing vocals, production
  • Don Was – bass guitar, production
Technical personnel
  • Dan Bosworth – assistant engineering
  • Marsha Burns – production coordination
  • Ed Cherney – engineering, mixing
  • Steve Deutsch – assistant engineering
  • Judy Kirshner – assistant engineering
  • Jim Mitchell – assistant engineering
  • Brett Swain – assistant engineering

It’s Unbelievable:

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Great albums, Music Calendar, Ryan Adams

Today: Ryan Adams released “Heartbreaker” in 2000 – 13 years ago

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ryan adams heartbreaker

“On Heartbreaker, I had to sing those songs. I drank the way I did those songs. I ate the way I did those songs. I communicated the way I did those songs”
~Ryan Adams – Spin Dec 2003

“I don’t know if Heartbreaker was influential as a record so much as the idea of it. There weren’t a lot of people out there doing that kind of thing. That’s all. But it was a terrible price to pay because I’ve never lived it down. I don’t regard that record as great art. I’m not even sure I put the right songs on the record. There are a lot of tracks that didn’t make it which with hindsight should have been on there.”
~Ryan Adams – Uncut Jan 2004

Come Pick Me Up @ KCRW:

Come pick me up
Take me out
Fuck me up
Steal my records
Screw all my friends
They’re all full of shit
With a smile on your face
And then do it again
I wish you would

From Wikipedia:

Released September 5, 2000
Recorded Woodland Studios, Nashville,Tennessee
Genre Alternative country, country
Length 51:57
Label Bloodshot
Producer Ethan Johns

Heartbreaker is the debut studio album by alternative country musician Ryan Adams, released September 5, 2000 on Bloodshot Records. The album was recorded over fourteen days at Woodland Studios in Nashville, Tennessee. It was nominated for the 2001 Shortlist Music Prize. The album is said to be inspired by Adams’ break-up with music-industry publicist Amy Lombardi.

According to Adams, the album’s title originates from a poster of Mariah Carey: “My manager called and said, ‘You have 15 seconds to name this record,’ “My eyes focused on this poster of Mariah wearing a T-shirt that said HEARTBREAKER. I just shouted, ‘Heartbreaker!'”

ryan adams

Critical reception:

The album was considered to be a fresh start for Ryan Adams after the demise of his previous band Whiskeytown.

  • Allmusic’s Mark Derning wrote that the album “is loose, open, and heartfelt in a way Whiskeytown’s admittedly fine albums never were, and makes as strong a case for Adams’ gifts as anything his band ever released”, concluding that “the strength of the material and the performances suggest Adams is finally gaining some much-needed maturity, and his music is all the better for it.” 
  • A.V. Club’s Keith Phipps wrote: “Adams has recorded an intimate, largely quiet record that indisputably establishes his identity as an independent singer-songwriter”. 
  • Pitchfork Media’s Steven Byrd called it “an album of astonishing musical proficiency, complete honesty and severe beauty.”
  • Rolling Stone’s Anthony Decurtis was less enthusiastic, stating that “Adams’ songs too often fail to rise above their plain-spoken details to take on the symbolic power he yearns for”.

 

From pitchfork’s review (Steven Byrd):

…. Heartbreaker is the soundtrack to the last ten minutes of any relationship you’ve ever watched crumble before your eyes. It’s music for the ruined romantic in all of us. Usually, that little romantic simply sits quietly, tearfully watching everything disappear without so much as a single complaint. But on Heartbreaker, Ryan Adams has not only convinced that voice to speak, he’s taught it to sing. The result is an album of astonishing musical proficiency, complete honesty and severe beauty.
Read more over @ pitchfork 

Track listing:

1. “(Argument with David Rawlings Concerning Morrissey)” (An argument regarding the Morrissey track “Suedehead”.)
2. “To Be Young (Is to Be Sad, Is to Be High)” Ryan Adams and David Rawlings
3. “My Winding Wheel”
4. “AMY”
5. “Oh My Sweet Carolina”
6. “Bartering Lines” Ryan Adams and Van Alston
7. “Call Me On Your Way Back Home”
8. “Damn, Sam (I Love a Woman That Rains)”
9. “Come Pick Me Up” Ryan Adams and Van Alston
10. “To Be the One”
11. “Why Do They Leave?”
12. “Shakedown on 9th Street”
13. “Don’t Ask for the Water”
14. “In My Time of Need”
15. “Sweet Lil Gal (23rd/1st)”

Musicians

  • Ryan Adams – vocals, acoustic guitar, electric guitar, harmonica, piano, banjo
  • Ethan Johns – drums, bass, glockenspiel, B-3, Chamberlain, vibes
  • David Rawlings – backing vocals, acoustic guitar, electric guitar, banjo, tambourine
  • Gillian Welch – backing vocals, acoustic guitar, electric bass, banjo, “voice of Lucy”
  • Pat Sansone – piano (5, 9, 11), Chamberlain and organ (6), backing vocals (2)
  • Emmylou Harris – backing vocals (5)
  • Kim Richey – backing vocals (9)
  • Allison Pierce – backing vocals (11)

—

Uncut Magazine (UK) listed Heartbreaker as no.9 on their “Top 150 Albums of the Decade List”

–

Oh My Sweet Carolina:

I went down to Houston
And I stopped in San Antone
I passed up the station for the bus
I was trying to find me something
But I wasn’t sure just what
Man I ended up with pockets full of dust
So I went on to Cleveland and I ended up insane
I bought a borrowed suit and learned to dance
I was spending money like the way it likes to rain
Man I ended up with pockets full of cane

Album of the day – Heartbreaker (2000):

Other September-05:

  • Freddie Mercury (born Farrokh Bulsara (5 September 1946 – 24 November 1991) was a British musician, singer and songwriter, best known as the lead vocalist and lyricist of the rock band Queen. As a performer, he was known for his flamboyant stage persona and powerful vocals over a four-octave range. As a songwriter, Mercury composed many hits for Queen, including “Bohemian Rhapsody”, “Killer Queen”, “Somebody to Love”, “Don’t Stop Me Now”, “Crazy Little Thing Called Love” and “We Are the Champions”. In addition to his work with Queen, he led a solo career, and also occasionally served as a producer and guest musician (piano or vocals) for other artists. He died of bronchopneumonia brought on by AIDS on 24 November 1991, only one day after publicly acknowledging he had the disease.
  • Loudon Snowden Wainwright III (born September 5, 1946) is a Grammy Award-winning American songwriter, folk singer, humorist, and actor. He is the father of musicians Rufus Wainwright, Martha Wainwright and Lucy Wainwright Roche, brother of Sloan Wainwright, and the former husband of the late folk singer Kate McGarrigle.

  • Joshua Daniel White (February 11, 1914 – September 5, 1969), better known as Josh White, was an American singer, guitarist, songwriter, actor, and civil rights activist. He also recorded under the names “Pinewood Tom” and “Tippy Barton” in the 1930s.

-Egil

Bob Dylan, Bob Dylan albums, Great albums

August 30: Bob Dylan released Highway 61 Revisited in 1965

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Redirecting to a newer version of this post….

 

August 30: Bob Dylan released Highway 61 Revisited in 1965

“I never wanted to write topical songs, have you heard my last two records, Bringing It All Back Home and Highway 61? It’s all there. That’s the real Dylan.”
~Bob Dylan (Frances Taylor Interview, Aug 1965)

[Highway 61] Oh yes, it goes from where I used to live… I used to live related to that highway. It ran right through my home town in Minnesota. I traveled it for a long period of time
actually. It goes down the middle of the country, sort of southwest…. lot of famous people came off that highway.
~Bob Dylan (John Cohen And Happy Traum Interview, June/July 1968)

Dylan’s sixth album and his first fully fledged eagle-flight into rock. Revolutionary and stunning, not just for its energy, freshness and panache but in its vision: fusing radical electric music—electric music as the
embodiment of our whole out-of-control, nervouenergy-fuelled, chaotic civilization—with lyrics that were light-years ahead of anyone else’s, Dylan here unites the force of blues-based rock’n’roll with the power of poetry.
~Michael Gray (Bob Dylan Encyclopedia)

Like a Rolling Stone:

How does it feel
How does it feel
To be without a home
Like a complete unknown
Like a rolling stone?

From Wikipedia:

Released August 30, 1965
Recorded Columbia Studio A, 799 Seventh Avenue, New York, June 15 – August 4, 1965
Genre Rock, folk rock
Length 51:26
Label Columbia
Producer Bob Johnston, Tom Wilson on “Like a Rolling Stone”

Highway 61 Revisited is the sixth studio album by singer-songwriter Bob Dylan. It was released in August 1965 by Columbia Records. On his previous album, Bringing It All Back Home, Dylan devoted Side One of the album to songs accompanied by an electric rock band, and Side Two to solo acoustic numbers. For Highway 61 Revisited, Dylan used rock backing on every track, except for the closing 11-minute acoustic song, “Desolation Row”. Critics have written that Dylan’s ability to combine driving, complex, blues-based rock music with the power of poetry made Highway 61 Revisited one of the most influential albums ever recorded.

bob dylan highway 61 album

Leading off with his hit single of that summer, “Like a Rolling Stone”, the album features many songs that have been acclaimed as classics and that Dylan has continued to perform live over his long career, including “Highway 61 Revisited”, “Ballad of a Thin Man”, and “Just Like Tom Thumb’s Blues”. Dylan named the album after one of the great North American arteries, which connected his birthplace in Minnesota to southern cities famed for their musical heritage, including St. Louis, Memphis, and New Orleans.

Highway 61 Revisited peaked at number three in the United States charts and number four in the United Kingdom. The album has received multiple accolades and was ranked number four on Rolling Stone‘s 500 Greatest Albums of All Time. The single “Like a Rolling Stone” reached number two in the US charts and number four in the UK. It has been described by critics as Dylan’s magnum opus and was number one on Rolling Stone‘s 500 Greatest Songs of All Time list. Two further songs, “Desolation Row”, and “Highway 61 Revisited”, were listed at number 185 and number 364 respectively.

bob dylan 1965 highway 61

Ballad of a Thin Man:

Because something is happening here
But you don’t know what it is
Do you, Mister Jones?

Background:

In May 1965, Dylan returned from his tour of England feeling tired and dissatisfied with his material. “I was going to quit singing. I was very drained… I was playing a lot of songs I didn’t want to play,” Dylan told Nat Hentoff in 1966.

“It’s very tiring having other people tell you how much they dig you if you yourself don’t dig you.”

Out of this dissatisfaction, Dylan wrote an extended piece of verse which Dylan described as a “long piece of vomit”. He refined this long poem into a song consisting of four verses and a chorus—”Like a Rolling Stone”. 

Dylan told Hentoff that the process of writing and recording “Like a Rolling Stone” washed away this dissatisfaction, and renewed his enthusiasm for creating music. Speaking of the breakthrough of writing that song, forty years later, Dylan told Robert Hilburn in 2004,

“It’s like a ghost is writing a song like that… You don’t know what it means except the ghost picked me to write the song.”

Highway 61 Revisited was recorded in two blocks of recording sessions, which took place in Studio A of Columbia Records in New York City, located at 799 Seventh Avenue, just north of West 52nd Street. The first session, June 15 and June 16, was produced by Tom Wilson and resulted in the single, “Like a Rolling Stone”. On July 25, Dylan performed his controversial electric set at the Newport Folk Festival, where some sections of the crowd booed his performance. Four days after Newport, Dylan returned to the recording studio. From July 29 to August 4, Dylan and his band completed recording Highway 61 Revisited, but under the supervision of a new producer, Bob Johnston.

bob dylan highway 61 studio

Track listing:

Side one
1. “Like a Rolling Stone” 6:09
2. “Tombstone Blues” 5:58
3. “It Takes a Lot to Laugh, It Takes a Train to Cry” 4:09
4. “From a Buick 6” 3:19
5. “Ballad of a Thin Man” 5:58

Side two
6. “Queen Jane Approximately” 5:31
7. “Highway 61 Revisited” 3:30
8. “Just Like Tom Thumb’s Blues” 5:31
9. “Desolation Row”

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My ratings (0-10):

Bob_Dylan studio 1965

Reception:

  • Singer-songwriter Phil Ochs told Broadside magazine, immediately after the record’s release, that Dylan had “produced the most important and revolutionary album ever made”. Speaking to Anthony Scaduto five years later, Ochs said, “I put on Highway 61 and I laughed and said it’s so ridiculous. It’s impossibly good, it just can’t be that good. How can a human mind do this?“
  • The album cemented Dylan’s mastery of a new genre—combining verbal complexity with a hard rock sound. One 1965 reviewer wrote: “Bob Dylan used to sound like a lung cancer victim singing Woody Guthrie. Now he sounds like a Rolling Stone singing Immanuel Kant“.
  • The album was a hit, peaking at number 3 on the Billboard 200 chart of top albums. In August 1967, Highway 61 was certificated as a gold record.
  • Highway 61 Revisited has remained among the most highly acclaimed of Dylan’s works. Scaduto, Dylan’s first serious biographer, wrote that it may be “one of the most brilliant pop records ever made. As rock, it cuts through to the core of the music—a hard driving beat without frills, without self-consciousness.” Commenting on Dylan’s imagery, Scaduto wrote: “Not since Rimbaud has a poet used all the language of the street to expose the horrors of the streets, to describe a state of the union that is ugly and absurd.”
  • Dylan critic Michael Gray called Highway 61 “revolutionary and stunning, not just for its energy and panache but in its vision: fusing radical, electrical music … with lyrics that were light years ahead of anyone else’s; Dylan here unites the force of blues-based rock’n’roll with the power of poetry. Rock culture, in an important sense, the 1960s, started here.”
  • In 1995 Highway 61 Revisited was named the fifth greatest album of all time in a poll conducted by Mojo magazine. 
  • In 2001, the TV network VH1 placed it at number 22. 
  • In 2003, Rolling Stone magazine, describing Highway 61 as “one of those albums that, quite simply, changed everything”, placed it at number four in its list of the greatest albums of all time. 
  • The Rolling Stone list of the 500 greatest songs of all time ranked “Highway 61 Revisited”, “Desolation Row” and “Like a Rolling Stone” at #364, #185 and #1, respectively.

…. The whole rock culture, the whole post-BEATLE pop-rock world, and so in an important sense the 1960s, started here. It isn’t only ‘Like a Rolling Stone’ and the unprecedentedly long Armageddon epic ‘Desolation Row’: it’s every song. It’s the carving out of a new emotional correspondence with a new chaos-reality. There it all was in one bombshell of an album, for a generation who only recognized what world they were living in when Dylan illuminated it so piercingly.
~Michael Gray (Bob Dylan Encyclopedia)

Desolation Row:

And the riot squad they’re restless
They need somewhere to go
As Lady and I look out tonight
From Desolation Row

Personnel:

  • Bob Dylan – guitar, harmonica, piano, vocals, liner notes, police siren
Additional musicians
  • Mike Bloomfield – guitar
  • Harvey Brooks – bass guitar
  • Bobby Gregg – drums
  • Paul Griffin – organ, piano
  • Al Kooper – organ, piano (Hohner pianet)
  • Sam Lay – drums
  • Charlie McCoy – guitar
  • Frank Owens – piano
  • Russ Savakus – bass guitar
Technical personnel
  • Bob Johnston – production
  • Daniel Kramer – cover photographer
  • Tom Wilson – production on “Like a Rolling Stone”

—

Album of the day – Highway 61 Revisited (1965):

Other August 30:

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Great albums, Music Calendar, Singer Songwriter, Warren Zevon

August 29: Warren Zevon released Sentimental Hygiene in 1987

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warren_zevon-sentimental_hygiene(virgin)

“I read things I didn’t know I’d done,
It sounded like a lot of fun.”
– Warren Zevon

“I write each song individually and each one calls for individual musicians, You sit around and wonder who can we get to play a Neil Young solo, and then you realize there`s a good chance you can get Neil himself.”
– Warren Zevon

Warren Zevon fell off the wagon after the release of The Envoy, he waited five years before releasing an album, the pause seemed to have done him good, as Sentimental Hygiene (released 29. August 1987) was one of his strongest albums.

Sentimental Hygiene was my first Warren Zevon record, I have since gotten everything I could find by him and about him, official as well as “un-official” releases, vhs, dvds and books. Warren Zevon has been a favorite of mine since Sentimental Hygiene met my ears.

There are lots of guests on the album, Bob Dylan, David Lindley, Neil Young, Brian Setzer, Don Henley and George Clinton, but the main players here are Peter Buck, Mike Mills, and Bill Berry of R.E.M. (and Michael Stipe also guested on a song…I think). They provide Zevon with a very solid back-up band, he sounds fresh and invigorated through the whole record. Warren Zevon sounded more rock’n roll than in quite a while, and he was introduced to a new audience (me included).

As always he was funny as hell!

Not on Spotify, but here’s a fine collection of songs off the album from YouTube.

Sentimental Hygiene (official video):

Continue reading August 29: Warren Zevon released Sentimental Hygiene in 1987 →