He had this streak of classic albums between 65 and 66 with Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. For me his catalog after that was somewhat uneven in quality, with gems in between like Modern Times.
As for him being legit, he's one of the greatest American songwriters ever, and arguably the most influential. SO yeah, he's more than legit.
Bob is adventurous if nothing else. He changed his sounds a few times. Went from folk to Electric with the Butterfield Blues band backing him at Newport and his fans hated it. Then he had a good run with the Band who were great in their own right. But one of my favorite periods we're the album's with the Rolling Thunder Review was Blood on the Tracks. Great album great sound. Street Legal was pretty awesome as well IMO.
It's been at least a decade since I've heard reference to Paul Butterfield
big fan of Chicago blues having grown up just outside Chicago and a longtime fan of Paul's having lived just south of Butterfield rd.
I was able to see some great blues harp players in the day. He was one of the best caught his act with his Better Days band at the old Golden Bear in HB. It was a great show
He had this streak of classic albums between 65 and 66 with Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. For me his catalog after that was somewhat uneven in quality, with gems in between like Modern Times.
As for him being legit, he's one of the greatest American songwriters ever, and arguably the most influential. SO yeah, he's more than legit.
Bob is adventurous if nothing else. He changed his sounds a few times. Went from folk to Electric with the Butterfield Blues band backing him at Newport and his fans hated it. Then he had a good run with the Band who were great in their own right. But one of my favorite periods we're the album's with the Rolling Thunder Review was Blood on the Tracks. Great album great sound. Street Legal was pretty awesome as well IMO.
It's been at least a decade since I've heard reference to Paul Butterfield
big fan of Chicago blues having grown up just outside Chicago and a longtime fan of Paul's having lived just south of Butterfield rd.
I was able to see some great blues harp players in the day. He was one of the best caught his act with his Better Days band at the old Golden Bear in HB. It was a great show
I saw him at the Kinetic Playground in Chicago in 73...fantastic!
I wore out my brothers album...
Love his harp playing...it's what I liked most about early Zeppelin's blues cuts
He had this streak of classic albums between 65 and 66 with Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. For me his catalog after that was somewhat uneven in quality, with gems in between like Modern Times.
As for him being legit, he's one of the greatest American songwriters ever, and arguably the most influential. SO yeah, he's more than legit.
Bob is adventurous if nothing else. He changed his sounds a few times. Went from folk to Electric with the Butterfield Blues band backing him at Newport and his fans hated it. Then he had a good run with the Band who were great in their own right. But one of my favorite periods we're the album's with the Rolling Thunder Review was Blood on the Tracks. Great album great sound. Street Legal was pretty awesome as well IMO.
It's been at least a decade since I've heard reference to Paul Butterfield
big fan of Chicago blues having grown up just outside Chicago and a longtime fan of Paul's having lived just south of Butterfield rd.
Mike Bloomfiled was also an extremely underrated guitarist. His guitar playing for Dylan's Maggie's Farm at Newport was just amazing and partly defined Dylan's music going forward. _________________ “Properly read, the bible is the most potent force for atheism ever conceived.”
― Isaac Asimov
In all 3 cases I prefer the originals. Like a Rolling Stone is one of those songs that gets covered a lot but nobody sounds as good as Bob singing it imo. I Shall Be Released probably has the best covers of all of his songs. I love the Last Waltz version (which isn't technically a cover because The Band was his band and he's on stage here but still)
I also prefer The Band doing When I Paint My Masterpiece to when Dylan does it:
tl;dr The Band is awesome.
Love The Band, they were fantastic.
Perhaps an unfair advantage since as you said technically they were Dylan's backing band for a while.
Music From Big Pink was an all time great album. It is unfortunate that they ended up in money squabbles and such, they were such a tight group. _________________ Love, Laker Lanny
I’m not much of a Dylan fan. I respect him, but his niche isn’t my cup of tea. The Band, on the other hand, is one of my favorites. Big Pink, The Band, and Stagefright was a great run of albums. The later stuff was hit and miss, but some of it was pretty good.
Joined: 10 Dec 2006 Posts: 52652 Location: Making a safety stop at 15 feet.
Posted: Thu Nov 29, 2018 7:07 pm Post subject:
[millennial]Like legit, legit?[/millennial] _________________ You thought God was an architect, now you know
He’s something like a pipe bomb ready to blow
And everything you built that’s all for show
goes up in flames
In 24 frames
He had this streak of classic albums between 65 and 66 with Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. For me his catalog after that was somewhat uneven in quality, with gems in between like Modern Times.
As for him being legit, he's one of the greatest American songwriters ever, and arguably the most influential. SO yeah, he's more than legit.
Bob is adventurous if nothing else. He changed his sounds a few times. Went from folk to Electric with the Butterfield Blues band backing him at Newport and his fans hated it. Then he had a good run with the Band who were great in their own right. But one of my favorite periods we're the album's with the Rolling Thunder Review was Blood on the Tracks. Great album great sound. Street Legal was pretty awesome as well IMO.
It's been at least a decade since I've heard reference to Paul Butterfield
big fan of Chicago blues having grown up just outside Chicago and a longtime fan of Paul's having lived just south of Butterfield rd.
Mike Bloomfiled was also an extremely underrated guitarist. His guitar playing for Dylan's Maggie's Farm at Newport was just amazing and partly defined Dylan's music going forward.
very underrated guitarist...maybe the most overlooked
AND another Chicago product AND another great musician from Chicago gone in the 80's with Butterfield and Goodman
from wiki...
In June 1965 Bloomfield had recorded with Bob Dylan, whom he had met in 1963 at a Chicago club called the Bear. The club was bankrolled by future Dylan and Butterfield manager Albert Grossman, who would play a major part in Bloomfield's career. Bloomfield's Telecaster guitar licks were featured on Dylan's "Like a Rolling Stone", a single produced by Columbia Record's Tom Wilson. Bloomfield would play on most of the tracks on Dylan's 1965 Highway 61 Revisited album, and he appeared onstage with Dylan in July at the Newport Folk Festival, where Dylan used Bloomfield and the Butterfield Band—minus Paul Butterfield—along with keyboardists Al Kooper and Barry Goldberg. The show marked Dylan's first use of an electric band in a live performance, and Bloomfield's playing on the songwriter's "Maggie's Farm" is considered a landmark electric-guitar performance.
Big Dylan fan here, my favorite artist of all time. Love his music, he has tons of great albums (and a lot of bad ones too) and there's such a different vibe to most of them, it's really astonishing. he kinda changed music in the early and mid 60s.... but his best record imho is DESIRE from 1978.
He had this streak of classic albums between 65 and 66 with Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. For me his catalog after that was somewhat uneven in quality, with gems in between like Modern Times.
As for him being legit, he's one of the greatest American songwriters ever, and arguably the most influential. SO yeah, he's more than legit.
Bob is adventurous if nothing else. He changed his sounds a few times. Went from folk to Electric with the Butterfield Blues band backing him at Newport and his fans hated it. Then he had a good run with the Band who were great in their own right. But one of my favorite periods we're the album's with the Rolling Thunder Review was Blood on the Tracks. Great album great sound. Street Legal was pretty awesome as well IMO.
It's been at least a decade since I've heard reference to Paul Butterfield
big fan of Chicago blues having grown up just outside Chicago and a longtime fan of Paul's having lived just south of Butterfield rd.
Mike Bloomfiled was also an extremely underrated guitarist. His guitar playing for Dylan's Maggie's Farm at Newport was just amazing and partly defined Dylan's music going forward.
very underrated guitarist...maybe the most overlooked
AND another Chicago product AND another great musician from Chicago gone in the 80's with Butterfield and Goodman
from wiki...
In June 1965 Bloomfield had recorded with Bob Dylan, whom he had met in 1963 at a Chicago club called the Bear. The club was bankrolled by future Dylan and Butterfield manager Albert Grossman, who would play a major part in Bloomfield's career. Bloomfield's Telecaster guitar licks were featured on Dylan's "Like a Rolling Stone", a single produced by Columbia Record's Tom Wilson. Bloomfield would play on most of the tracks on Dylan's 1965 Highway 61 Revisited album, and he appeared onstage with Dylan in July at the Newport Folk Festival, where Dylan used Bloomfield and the Butterfield Band—minus Paul Butterfield—along with keyboardists Al Kooper and Barry Goldberg. The show marked Dylan's first use of an electric band in a live performance, and Bloomfield's playing on the songwriter's "Maggie's Farm" is considered a landmark electric-guitar performance.
For those of you that appreciate Mike Bloomfield, the album Electric Flag - Long Time Comin' is a must. Nick Gravenites, Mike Bloomfield, Buddy Miles and horn players galore. it's truly a 1968 musical feast if you're into blues soul and rock fusion. I got it on my desert island list for sure.
He had this streak of classic albums between 65 and 66 with Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. For me his catalog after that was somewhat uneven in quality, with gems in between like Modern Times.
As for him being legit, he's one of the greatest American songwriters ever, and arguably the most influential. SO yeah, he's more than legit.
Bob is adventurous if nothing else. He changed his sounds a few times. Went from folk to Electric with the Butterfield Blues band backing him at Newport and his fans hated it. Then he had a good run with the Band who were great in their own right. But one of my favorite periods we're the album's with the Rolling Thunder Review was Blood on the Tracks. Great album great sound. Street Legal was pretty awesome as well IMO.
It's been at least a decade since I've heard reference to Paul Butterfield
big fan of Chicago blues having grown up just outside Chicago and a longtime fan of Paul's having lived just south of Butterfield rd.
Mike Bloomfiled was also an extremely underrated guitarist. His guitar playing for Dylan's Maggie's Farm at Newport was just amazing and partly defined Dylan's music going forward.
very underrated guitarist...maybe the most overlooked
AND another Chicago product AND another great musician from Chicago gone in the 80's with Butterfield and Goodman
from wiki...
In June 1965 Bloomfield had recorded with Bob Dylan, whom he had met in 1963 at a Chicago club called the Bear. The club was bankrolled by future Dylan and Butterfield manager Albert Grossman, who would play a major part in Bloomfield's career. Bloomfield's Telecaster guitar licks were featured on Dylan's "Like a Rolling Stone", a single produced by Columbia Record's Tom Wilson. Bloomfield would play on most of the tracks on Dylan's 1965 Highway 61 Revisited album, and he appeared onstage with Dylan in July at the Newport Folk Festival, where Dylan used Bloomfield and the Butterfield Band—minus Paul Butterfield—along with keyboardists Al Kooper and Barry Goldberg. The show marked Dylan's first use of an electric band in a live performance, and Bloomfield's playing on the songwriter's "Maggie's Farm" is considered a landmark electric-guitar performance.
For those of you that appreciate Mike Bloomfield, the album Electric Flag - Long Time Comin' is a must. Nick Gravenites, Mike Bloomfield, Buddy Miles and horn players galore. it's truly a 1968 musical feast if you're into blues soul and rock fusion. I got it on my desert island list for sure.
I'll have to check it out...thanks
I did dl an mp3 copy of the soundtrack from The Trip
He had this streak of classic albums between 65 and 66 with Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. For me his catalog after that was somewhat uneven in quality, with gems in between like Modern Times.
As for him being legit, he's one of the greatest American songwriters ever, and arguably the most influential. SO yeah, he's more than legit.
Bob is adventurous if nothing else. He changed his sounds a few times. Went from folk to Electric with the Butterfield Blues band backing him at Newport and his fans hated it. Then he had a good run with the Band who were great in their own right. But one of my favorite periods we're the album's with the Rolling Thunder Review was Blood on the Tracks. Great album great sound. Street Legal was pretty awesome as well IMO.
It's been at least a decade since I've heard reference to Paul Butterfield
big fan of Chicago blues having grown up just outside Chicago and a longtime fan of Paul's having lived just south of Butterfield rd.
Mike Bloomfiled was also an extremely underrated guitarist. His guitar playing for Dylan's Maggie's Farm at Newport was just amazing and partly defined Dylan's music going forward.
very underrated guitarist...maybe the most overlooked
AND another Chicago product AND another great musician from Chicago gone in the 80's with Butterfield and Goodman
from wiki...
In June 1965 Bloomfield had recorded with Bob Dylan, whom he had met in 1963 at a Chicago club called the Bear. The club was bankrolled by future Dylan and Butterfield manager Albert Grossman, who would play a major part in Bloomfield's career. Bloomfield's Telecaster guitar licks were featured on Dylan's "Like a Rolling Stone", a single produced by Columbia Record's Tom Wilson. Bloomfield would play on most of the tracks on Dylan's 1965 Highway 61 Revisited album, and he appeared onstage with Dylan in July at the Newport Folk Festival, where Dylan used Bloomfield and the Butterfield Band—minus Paul Butterfield—along with keyboardists Al Kooper and Barry Goldberg. The show marked Dylan's first use of an electric band in a live performance, and Bloomfield's playing on the songwriter's "Maggie's Farm" is considered a landmark electric-guitar performance.
For those of you that appreciate Mike Bloomfield, the album Electric Flag - Long Time Comin' is a must. Nick Gravenites, Mike Bloomfield, Buddy Miles and horn players galore. it's truly a 1968 musical feast if you're into blues soul and rock fusion. I got it on my desert island list for sure.
Thanks man, sounds like a precursor to Blood, Sweat & Tears and early Chicago with all those horns. _________________ “Properly read, the bible is the most potent force for atheism ever conceived.”
― Isaac Asimov
For those of you that appreciate Mike Bloomfield, the album Electric Flag - Long Time Comin' is a must. Nick Gravenites, Mike Bloomfield, Buddy Miles and horn players galore. it's truly a 1968 musical feast if you're into blues soul and rock fusion. I got it on my desert island list for sure.
I'll have to check it out...thanks
dl for that album and many others is linked on that youtube page...
Take A Moment To Enjoy Earl Scruggs & The Byrds On The Farm
In this clip, Roger McGuinn and his fellow Byrds sing one of their classics, Bob Dylan's You Ain't Going Nowhere with Earl Scruggs, the great banjo picker accompanied by his 16-year-old son guitarist, Randy Scruggs.
Dylan revolutionized rock by, among other things, bridging the gap between folk music and rock n roll.
The notion that Dylan 'can't sing' is so ironic considering that he was also a revolutionary when it came to performance. When he was signed back in the early 60's, late 50's, he looked "weird", sounded "weird", his songs didn't fit the top 40 radio format. But to the credit of John Hammond, instead of seeing Dylan as just a songwriter (because of his peculiarities), allowed Dylan to sing his own songs on records which in turn meant Dylan could perform those songs in concert. His deadpan nasally monotone actually enhanced the import of his songs because the voice never got in the way of his lyrics.
Dylan was key in the emergence of the singer songwriter in rock. His presentation was as low key as it got. People knew that the strength of his music were his lyrics, so audiences actually listened. They listened despite his weird voice and look. He proved you didn't have to look like Elvis or have the dynamism of Chuck Berry in order to move an audience.
But his most important contribution were, of course, his songs which represented some of the first in rock to address social and political issues. Just look at some of the bands he has directly influenced like the Byrds, Beatles, The Eagles, Springsteen, Tom Petty, who have in turn passed Dylan on to the nest generations, in order to get an idea of his legacy.
Dylan's monumental importance to rock music cannot be over stated.
Posted: Thu Dec 06, 2018 9:14 pm Post subject: Re: is Bob Dylan legit
PHILosophize wrote:
I mean I know his song is number 1 on Rolling Stone magazine's list of the top 500 songs but then again it can't be a coincidence that the song they chose for number 1 has their name in the song so I mean that list can't be trusted, obviously. And don't give me that whole they named their magazine after that song crap because 1) doubtful and 2) that doesn't take away the bias.
No offense, but the notion that RS Magazine would choose the no. 1 song in their list of top 500 songs of all time because the song has the magazine's name in it's title, is ridiculous. It gains the magazine nothing whatsoever to choose a song with it's name in it.
I was just listening Steve Goodman to A Dying Cubs Fan's Last Request...haven't heard it since they won
City of New Orleans is one of my favorites since like 71/72 ...junior year
Nice!
Great new interview with John just popped up in my recommended videos...
John Prine, the "Singing Mailman," delivers again
Published on Nov 25, 2018
Quote:
John Prine started writing songs while delivering mail in Chicago in the late 1960s. Over the last 50 years, classic tunes just seemed to pour out of him – some sad, like "Angel From Montgomery" and "Sam Stone"; some funny, like "Illegal Smile" and "In Spite of Ourselves." Now, after beating cancer twice, the 72-year-old Prine is back with a new album, "The Tree of Forgiveness," and it's turning into the biggest record of his career, debuting at #2 on the Billboard Rock and Country charts. Anthony Mason pays a visit to Prine (whom Rolling Stone calls the "Mark Twain of American Songwriting") at his home in Nashville.
Thanks! His interview with Marc Maron on WTF is worth a listen as well.
I came across this explanation for a line in John's song Fish and Whistle that I never gave a second thought...
On my very first job I said thank you and please
They made me scrub a parking lot down on my knees
Then I got fired for being scared of bees
And they only give me fifty cents an hour.
turns out it's about the local Drive Thru drag racing hang out Skips in Melrose Park
"The third verse came from when I was saving for my first car and my first job was at Skips Fiesta Drive Inn on North Ave. The hot rods liked to come and park their cars in the lot so Skip's had a rule that you had to buy something to park there.
The cheapest thing on the menu was frozen custard, which they'd order and then dump on the ground. My job was to come and clean it up in the morning. The bees would swarm, because they liked custard too" With a big grin he broke into Fish and Whistle
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