Tag Archives: John Hammond

In The News: Tom Waits, Squarepusher, Johnny Cash, AC/DC, Trash Talk, The Notwist & More

Music for Robots is a new EP that Squarepusher made with robots. “The Z-Machines are three robots created by Japanese roboticists with the purpose of performing music that’s too advanced for the most skilled human musicians,” Pitchfork reports. “There’s a guitarist robot with 78 fingers and a drummer with 22 arms.” About working with the Z-Machines, Squarepusher said in a statement: “In this project the main question I’ve tried to answer is ‘can these robots play music that is emotionally engaging?’ I have long admired the player piano works of Conlon Nancarrow and Gyorgy Ligeti. Part of the appeal of that music has to do with hearing a familiar instrument being ‘played’ in an unfamiliar fashion. For me there has always been something fascinating about the encounter of the unfamiliar with the familiar. I have long been an advocate of taking fresh approaches to existing instrumentation as much as I am an advocate of trying to develop new instruments, and being able to rethink the way in which, for example, an electric guitar can be used is very exciting. Each of the robotic devices involved in the performance of this music has its own specification which permits certain possibilities and excludes others – the robot guitar player for example can play much faster than a human ever could, but there is no amplitude control. In the same way that you do when you write music for a human performer, these attributes have to be borne in mind – and a particular range of musical possibilities corresponds to those attributes. Consequently, in this project familiar instruments are used in ways which till now have been impossible.” — Pitchfork

AC/DC Heading Into the Studio: AC/DC singer Brian Johnson told a Florida radio station that the band will be going into the studio in Vancouver this May. The band is also planning a 40th anniversary tour for later this year. — Rolling Stone

Tom Waits Pens Song For Bluesman John Hammond: John Hammond’s new album is called Timeless and includes a song Tom Waits wrote specifically for Hammond called “No One Can Forgive Me But My Baby.” “He came to a recording date I was doing in San Francisco in 1992,” Hammond said. “John Lee Hooker had sat in to do a duet with me, and Tom Waits appeared out of nowhere and said, ‘I have a song for you, man.’ It was about 20 minutes long, with everybody in the Bible coming down to the river. I said, ‘Gee, you know, it’s a great song, but I don’t think I could do anything like that.’ He said, ‘Oh, you don’t like that one?’ So he goes into the control room.” About ten minutes later, according to Hammond, Waits returns with a new song he’d just written. “So I did it,” Hammond said. “He had left by the time we completed it, and so I sent him a cassette of it. And I hadn’t heard from him for a while, so I called — and he had it on his answering machine. I guess he liked it.” — NPR

Spoon’s Britt Daniel Has A Second Side Project: Britt Daniel isn’t content to Lead Spoon and play guitar in Divine Fits. Now he’s got a third band, Split Single that includes Daniel on bass and backing vocals, frontman Jason Narducy (ex-Verbow, also of Bob Mould’s band) and Superchunk/Mountain Goats drummer Jon Wurster. The group’s debut album, Fragmented World, will be out April 1, 2014. Check out a trailor for the album below. — Pitchfork

Lost album from Johnny Cash: As I previously reported, Johnny Cash recorded an album with producer Billy Sherrill in the early ’80s but the album was shelved when Cash left Columbia Records in 1986. That will change on March 25, 2014 when the album, Out Among the Stars, will finally be released. Here’s another track off it. “I’m Moving On” Bincludes vocals from Waylon Jennings:

The Notwist Return With New Album: Close To The Glass is the new album from the German electro-pop band, The Notwist. Read more about it and listen to the whole thing at NPR’s First Listen. — NPR

Hip-Hop Collaboration: New song, “97.92,” from Sacramento’s Trash Talk and Brooklyn rappers Flatbush Zombies. — Stereogum

Plus a mini-documentary on Trash Talk from Pitchfork:

-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-

Audio: The Second Session for Bob Dylan’s ‘Bringing It All Back Home’ — Jan. 14, 1965

On January 14, 1965, Bob Dylan returned to Columbia’s Studio A in New York for his second day of sessions for Bringing It All back Home.

Unlike the previous session, this time, Dylan and producer Tom Wilson had assembled a group of musicians to record with Dylan.

On hand were Al Gorgoni (guitar), Kenneth Rankin (guitar), Bruce Langhorne (guitar), Joseph Macho Jr. (bass), William E. Lee (bass), Bobby Gregg (drums), Paul Griffin (piano), John Sebastian (bass) and John Boone (bass).

As photographer Daniel Kramer recalled in his book, “Bob Dylan: A Portrait of the Artist’s Early Years,” “Between takes, Dylan would work individually with the musicians until he was satisfied with what was happening. He was patient with them and they were patient with him. His method of working, the certainty of what he wanted kept things moving. He would listen to the playbacks in the control booth, discuss what was happening with Tom Wilson, and move on to the next number. If he tried something that didn’t go well, he would put if off for another session. In this way, he never bogged down — he just kept on going.”

Eight songs were recorded that day. Five of them — “Love Minus Zero/No Limit,” “Subterranean Homesick Blues,” “Outlaw Blues,” “She Belongs To Me,” and “Bob Dylan’s 115th Dream” — were used on Bringing It All Back Home. A version of “I’ll Keep It With Mine” was eventually released on Biograph.

While Dylan’s previous albums are amazing — I’ve been listening to them for decades — it was with Bringing It All Back Home that Dylan made his (post-success) move into making what Greil Marcus called “noisy rock ‘n’ roll songs” at the same time his songwriting and lyrics took yet another leap forward. In retrospect, it is incredible that Dylan could record all of the tracks for Bringing It All back Home in two sessions — this one and another on the following day.

In his book, “Like A Rolling Stone: Bob Dylan At The Crossroads,” Marcus summed up side one of Bringing It All Back Home. “It [‘Subterranean Homesick Blues’] was followed on the album by ‘She Belongs To Me,’ ‘Maggie’s Farm,’ ‘Love Minus Zero/No Limit,’ ‘Outlaw Blues,’ ‘On the Road Again’ and ‘Bob Dylan’s 115th Dream,’ most of them scratchy, clanging, written with flair, sung with glee, Dylan and his backing musicians in moments thrilled at their own new clatter.”

If you have not read Marcus’ book, I suggest you do. Among the many amazing passages are six pages devoted to “Bob Dylan’s 115th Dream.”

Marcus says of the song: “It is a protest song about a country that is ridiculous before it is anything else. It is, among other things, a rewrite of Ralph Ellison’s 1952 novel, ‘Invisible Man,’ a comic version of the story Dylan would tell a few months later in ‘Like a Rolling Stone,’ and a picture of a life that hasn’t changed — a common, modern story that doesn’t make any more or less sense than it did when it was first told.”

What would be even more mind-blowing than Dylan’s accomplishments with Bringing It All Back Home, during the next seven months he would record both Highway 61 Revisited and Blonde On Blonde and do significant touring.

And so, in a little over seven months — just 25 actual days in the studio — Bob Dylan recorded three of the greatest albums.

(Check out my other posts on the Bringing It All Back Home sessions: January 13, 1965 and January 15, 1965.)

Below are some of the outtakes from the January 14 session, along with the tracks that ended up on Bringing It All Back Home:

“Love Minus Zero/No Limit” (outtake):

Love Minus Zero/No Limits #1 (Mono Mix) by Bob Dylan on Grooveshark

“Love Minus Zero/No Limit” (official release, Bringing It All Back Home):

Love Minus Zero/No Limit by Bob Dylan on Grooveshark

“Subterranean Homesick Blues” (official release, Bringing It All Back Home):

Subterranean Homesick Blues by Bob Dylan on Grooveshark

“Outlaw Blues” (official release, Bringing It All Back Home):

Outlaw Blues by Bob Dylan on Grooveshark

“She Belongs To Me (outtake):

She Belongs To Me #1 (Mono Mix) by Bob Dylan on Grooveshark

“She Belongs To Me” (official release, Bringing It All Back Home):

She Belongs to Me by Bob Dylan on Grooveshark

“Bob Dylan’s 115th Dream” (official release, Bringing It All Back Home):

Bob Dylan's 115th Dream by Bob Dylan on Grooveshark

“On The Road Again” (official release, Bringing It All Back Home):

On the Road Again by Bob Dylan on Grooveshark

“I’ll Keep It With Mine” (eventually released on Biograph):

I'll Keep It With Mine [#] by Bob Dylan on Grooveshark

“I’ll Keep It With Mine” (instrumental):

I'll Keep It With Mine #2 (Instrumental – Stereo Acetate Mix) by Bob Dylan on Grooveshark

If you liked this post, check out my previous post on the first Bringing It All Back Home sessions here.

Here’s some info about the session from www.bjorner.com:

Studio A
Columbia Recording Studios
New York City, New York
January 14, 1965

The 2nd Bringing It All Back Home recording session, produced by Tom Wilson.

1. Love Minus Zero/No Limit
2. Love Minus Zero/No Limit — used on Bringing It All Back Home .
3. Love Minus Zero/No Limit
4. Subterranean Homesick Blues
5. Subterranean Homesick Blues
6. Subterranean Homesick Blues — used on Bringing It All Back Home .
7. Outlaw Blues
8. Outlaw Blues
9. Outlaw Blues
10. Outlaw Blues — used on Bringing It All Back Home .
11. She Belongs To Me
12. She Belongs To Me — used on Bringing It All Back Home .
13. Bob Dylan’s 115th Dream — intro used on Bringing It All Back Home .
14. Bob Dylan’s 115th Dream — used on Bringing It All Back Home .
15. On The Road Again
16. On The Road Again
17. On The Road Again
18. On The Road Again
19. Love Minus Zero/No Limit
20. I’ll Keep It With Mine — used on Biograph.
21. It’s All Over Now, Baby Blue
22. Bob Dylan’s 115th Dream
23. She Belongs To Me
24. Subterranean Homesick Blues

1-18 Bob Dylan (guitar, harmonica, vocal), Al Gorgoni (guitar), Kenneth Rankin (guitar), Bruce Langhorne (guitar), Joseph Macho
Jr. (bass), William E. Lee (bass), Bobby Gregg (drums),
Paul Griffin (piano).

19-24 Bob Dylan (guitar, harmonica, vocal), John Hammond Jr. (guitar), Bruce Langhorne (guitar), John Sebastian (bass), John
Boone (bass).

There’s more into here.

-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-