Continue reading March 4: Bob Dylan in concert Tokyo, Japan – 2001
To see and hear how the band looked and sounded in February 1991, you just need to view television footage of the Grammy awards ceremony from New York on the 20th , when Dylan was given a Grammy Lifetime Achievement Award. Dylan’s appearance caused a media stir par excellence on two counts. Talking point one was his performance; number two was his acceptance speech.
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Dylan performed his damning anti-war3 indictment, “Masters Of War” – a striking choice given that the Gulf War was still going on and hawkish jingoism was rife. However, since he chose to sing it without a pause for breath, and backed by this hapless/hamstrung band, no-one who did not already know the song would have got the message. In fact, many who were familiar with the song did not even recognise it. Not only did Dylan’s nasal passages sound blocked (he later revealed he’d had a cold) but it seemed he had swallowed a burst of helium before starting to sing. Some observers thought he was singing in Hebrew. The tuxedoed crowd looked on in utter bewilderment. The next day’s newspapers marvelled how only Dylan had performed a song with any meaning and purpose, but then, being Dylan, he had made it completely incomprehensible.
~Andrew Muir (One More Night: Bob Dylan’s Never Ending Tour)
Bob Dylan receives his Lifetime Achievement Award. The award is presented by Jack Nicholson.
“We haven´t played this in.. we haven´t played this in.. how many years? … 6 years we haven´t played this song, 16 years”
-Bob Dylan @ Academy of Music, New York in 1971
Well it was actually 2 years and 4 months, Dylan & The Band played “Like A Rolling Stone” @ Isle Of Wight, England – 31 August 1969.
Oh, the ragman draws circles
Up and down the block
I’d ask him what the matter was
But I know that he don’t talk
And the ladies treat me kindly
And furnish me with tape
But deep inside my heart
I know I can’t escape
Oh, Mama, can this really be the end
To be stuck inside of Mobile
With the Memphis blues again
Continue reading October 6: Bob Dylan Stuck Inside Of Mobile, London, England 2000 (video)
Painting By Joachim Patinir, Landscape with The Destruction of Sodom and Gomorrah
I will not pretend to know what Bob Dylan’s exact meaning with this song is but I will offer my thoughts on what I consider the second best song on Tempest.
Scarlet Town from the Bob Dylan album Tempest (with film footage from Masked & Anonymous):
The song feels like a mash of several songs, and that’s actually what it is. He draws inspiration from the old ballad Barbara Allen, but he just uses it as a framework to tell an even more sinister tale. The new parts of the song also feels like a split between two different songs, one set in biblical times and the other addressing the state of USA/The Western world today.
Lyrics Barbara Allen (The three first verses):
In younder town where I was born
There was a fair maid dwell’n
Made every youth cry well away
Her name was Bar-bry Ellen
Was in th merry month of May
When greenbuds they were swell’n
Sweet William come from th western state
An’ courted Bar-bry Ellen
Was all in the month o’ June
When everything was blooming
Sweet William on his death bed lay
For th love of Bar-bry Ellen
Bob Dylan has a long lasting relationship with Barbara Allen (the song) and I’ve included some versions here just as a reference.
Here is a wonderful separate post concerning Barbara Allen from Egil.
The first two verses from the Gaslight tapes (it’s eight minutes and has a lot of verses):
In Charlotte town, not far from here,
There was a fair maid dwellin.’
Had a name was known both far and near,
An’ her name was Barb’ry Allen.
‘Twas in the merry month of May,
Green buds they were swellin’,
Poor William on his death-bed lay,
For the love of Barb’ry Allen.
1988 live:
The first two verses in the -88 version:
In Scarlet Town where I was born
there was a fair maid dwelling,
and her name was known both far and near,
and they called her Barbara Allen.
T’was in the merry month of may
the green buds they were swelling,
sweet William on his death bed lay
for the love of Barbara Allen.
Two other artist that has used this song as a basis for an entirely new song are Gillian Welch and David Rawlings:
Not at all like the original Barbara Allen and the only two things it has in common with Bob Dylan’s song are, the title and it’s origin. The melody is different and the “story”/text is completely different (even if both have a distictly sombre tone). Gillian Welch/David Rawlings have more folksy/appalachian feel, while Dylan sings in a more talking blues style.