Come November 6 the latest in Bob Dylan’s Bootleg Series sets, The Cutting Edge 1965-1966: The Bootleg Series Volume 12 , will be released.
Today we get a taste with this previously unreleased version of “Sitting on a Barbed Wire Fence,” a track cut in 1965. The song never made an official Dylan album until 1991, when a different version was included on the first Bootleg Series set.
This is quite awesome. Dig the great Michael Bloomfield on lead guitar.
Here’s Bob Dylan singing “Yestersay” with George Harrison on guitar.
This was recorded May 1, 1970 at Columbia Studios in New York.
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[I just published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of my book in a recent issue. Read it here. There’s info about True Love Scars here.]
On The Veronicas’ new self-titled album, released this past week, is a song called “Born Bob Dylan.”
The Veronicas are identical twin sisters Lisa Origliasso and Jessica Origliasso.
They’re from Brisbane, Australia, and based on this song, they’re got a bombastic pop sound.
Their third album has been released by Sony, which, of course, owns the label Dylan records for, Columbia.
Musically, this song has nothing in common with Dylan, but I think the sincerity of the lyrics is cool.
“Born Bob Dylan” lyrics:
If I don’t say anything it’s wrong
If I said it wouldn’t come out right
It’s been keeping me up all night
Half my life I’ve been told to shut up
So how am I gonna open up?
Wish you could just read my mind
If I shared all of me
Would you run away?
If I sugarcoat what I had to say in poetry
Would it make you stay?
I wish I was born bob dylan
Had all the words to speak my feelings
I wish I stood up like rosa parks
And follow my heart and free the truth
Even if I stood alone
I didn’t know how it was gonna go
Even if the water was cold
I’d take a deep breath and get it off my chest
I wish I was born bob dylan
I wish I was born bob dylan
I wish I was born bob dylan
I wish I was born bob dylan
I wish I was born bob dylan
I wish I was born bob dylan
They say either way you win
If you’re feeling it right gotta hold it in
What is meant to be will be
But all the wisdom doesn’t help me now
I’m scared and I gotta find out how to speak my mind
If metaphors are frozen
I’m still making mine
I hope you know what I mean when I’m mad at me
Cause I don’t see what I’m in when I’m caught in between
I’m afraid the real you is alluring me
I wish I was born bob dylan
Had all the words to speak my feelings
I wish I stood up like rosa parks
And follow my heart and free the truth
Even if I stood alone
I didn’t know how it was gonna go
Even if the water was cold
I’d take a deep breath and get it off my chest
I wish I was born bob dylan
I wish I was born bob dylan
I wish I was born bob dylan
With you I’m ripped wide open at the seams
I’m not that tough
But you could hear the song inside of me
But it’s not enough
All the things I wanna say to you
Read it on my face
I wish I was born bob dylan
Had all the words to speak my feelings
I wish I stood up like rosa parks
And follow my heart and free the truth
Even if I stood alone
I didn’t know how it was gonna go
Even if the water was cold
I’d take a deep breath and get it off my chest
I wish I was born bob dylan
Even if I stood alone
Didn’t know how it was gonna go
Gotta get it off my chest
And hope for the best
I wish I was born bob dylan
I wish I was born bob dylan
I wish I was born bob dylan
I wish I was born bob dylan
I wish I was born bob dylan
I wish I was born bob dylan
I wish I was born bob dylan
I wish I was born bob dylan
I wish I was born bob dylan
I wish I was born bob dylan
I wish I was born bob dylan
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[I just published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of my book in a recent issue. Read it here. There’s info about True Love Scars here.]
Page one of Bob Dylan’s 1967 lyrics to “Liberty Street.”
Yesterday I got access to a copy of Bob Dylan’s two pages of handwritten lyrics for “Liberty Street,” a song completed by Taylor Goldsmith of the band Dawes for the album Lost On the River: The New Basement Tapes (produced by T Bone Burnett).
I like what Dawes has done with the song, creating a piano ballad along the lines of “Dear Landlord.” Dawes’ voice is too smooth for me, and I’d love to hear Dylan sing this one (and bring his distinctive, bluesy approach to the piano part).
Dawes took quite a few liberties with Dylan’s words, only using a portion of the original lyrics, and by leaving out some key lines, turns it into a very different song, which is fine. I’m sure Dylan would dig that. Still, it’s worth noting a few of the missing lines. Dawes used some lines from these verses, as you’ll see:
In one verse, Dylan writes:
“6 months in Kansas City, can’t find no room and board,
6 months in Kansas City, what can’t lead to what kind of reward,
All my friends in jail lost out,
Some who ain’t got no bail bust out, but then find the tracks did make you come back,
Down on your knees, ain’t it a pity, not even a breeze,
6 months in Kansas City, make a man ready to do anything.”
And the one that follows:
“6 months in Kansas City! Woe! Can’t be begging for no last meal,
Things sure don’t look too pretty! Cause a man to rob and steal
All my friends confounded, indeed
Some lost and some drown and some turn to greed.”
Elvis Costello also took a shot at this one, and I do prefer his version, which he calls “Six Months In Kansas City (Liberty Street),” but that may be because I’m a big Elvis fan. Soon enough you’ll be able to decide for yourself, as the album will be out on November 10.
Goldsmith starts the song with Dylan’s second line, “He came from the old religion, but possessed no magic skill, Descending from machinery, he left nothing in his will.”
He also uses Dylan’s next two lines — “The crops are failing, the women wailing” — before rewriting Dylan’s first line — “I see by the papers that” — to complete the verse with “it’s in the paper at your feet.”
Although Dylan wrote a couple of possible choruses, Goldsmith made his own using Dylan’s title for the song which appears to have been “Liberty Street (Six Months In Kansas City).”
Goldsmith’s chorus: “Six months in Kansas City, down on Liberty Street.”
The strangest thing Goldsmith does is leave out what to me is a really key pair of lines: “Thank you for not helping me out, for not treating me like a fool.”
Instead, for his next verse Goldsmith jumps to the bottom of the first page and slightly changes Dylan’s lyric to: “It was sad to see it, that little lady goin’ in, arrested for arson, once they’d asked her where she’d been.”
The second page of Dylan’s “Liberty Street” lyrics.
Then he grabs a line from later in the song — “Down on your knees, ain’t it a pity, not even a breeze — and turns it into: “Down on her knees, not even a breeze, another victim of the heat.”
And back to the chorus: “Six months in Kansas City, down on Liberty Street.”
For his final verse, Goldsmith goes to Dylan’s final verse for the lines “Things sure don’t look too pretty, cause a man to rob and steal, I got [unintelligible word] six more months out here, can’t be begging for my meals.”
And turns some lines from the first page — “Now look here Baby Snooks, don’t matter how many books, you got underneath your thumb” — into “Now look here Baby Snooks, doesn’t matter what books, you got underneath your seat,” before ending with “Six months in Kansas City, down on Liberty Street.”
About the song, Goldsmith says in a press release:
“Liberty Street” was one of the last songs I put together for the record. We didn’t see the lyrics for this song until we got into the studio. Bob Dylan has a way of saying lines like ‘Six months in Kansas City down on Liberty Street’ and it having an immediate, yet sometimes ineffable, power. When I started putting these words to music, the structure of the words dictated the way the chords rolled out so it came together really fast. And the recording of it was our first take.”
“Liberty Street”:
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[I just published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of my book in the new issue. Read it here. There’s info about True Love Scars here.]
One of my favorite bands of all time, and one of the most important to emerge during the ’90s, Sleater-Kinney are back from an eight-year hiatus and will release a new album, No Cities To Love, on January 20, 2015.
During the break Corin Tucker has released to Corin Tucker Band albums and devoted time to her family. Most recently she was recording and performing as part of a supergroup with R.E.M.’s Peter Buck that they were calling super-Earth. Carrie Brownstein played in Wild Flag and co-created and co-starred in “Portlandia.” Weiss has played drums in a number of situations including Stephen Malkmus and the Jicks.
First song to be released is “Bury Our Friends,” with a lyric video featuring director and longtime Sleater-Kinney friend, Miranda July.
“Bury Our Friends”:
In an email to NPR, guitarist/singer Carrie Brownstein wrote:
“I feel like creativity is about where you want your blood to flow. Because in order to do something meaningful and powerful there has to be life inside of it. Maybe after The Woods that blood had thinned; we felt enervated, the focus had become disparate and diffuse. We drifted apart in order to concentrate on other elements of our lives and careers. Sleater-Kinney isn’t something you can do half-assed or half-heartedly. We have to really want it. And you have to feed that hunger and have the energy to. I’m not saying we need to be in a dark place to be in Sleater-Kinney. In fact, we could be in the best places in our lives. But we have to be willing to push, because the entity that is this band will push right back.
“We had no desire to revisit sounds and styles and paths we had treaded before. But in order to move forward, Corin and I worked together in a way that was more reminiscent of earlier albums like Dig Me Out. Meaning that we would write just the two of us and then bring songs to Janet later on in the process. I think we had to go back to an earlier model of writing in order to reacquaint ourselves with the language of the band. It’s a sonic vernacular that isn’t easily translated into other contexts in which we’ve played. This was a very deliberate writing process, there were many edits and iterations of the songs. We thought a lot about melody and structure.
“I spent a lot of time writing choruses for this record. Melody is what I was most picky about. I really drove Corin crazy sometimes. We would have choruses that we would work on for hours, days, maybe on and off over a matter of weeks. And we’d think we had solved it, but then I would listen to it later on and decide to discard it, that it wasn’t good enough. I did that with my guitar parts too. In the end we were all more scrutinizing with our own parts than we ever have been. I think we didn’t want to take any second of the song for granted, everything had to have an intention and earn its place.”
No Cities To Love Track List:
1. Price Tag
2. Fangless
3. Surface Envy
4. No Cities To Love
5. A New Wave
6. No Anthems
7. Gimme Love
8. Bury Our Friends
9. Hey Darling
10. Fade
And there will be a tour:
2015 Tour Dates:
02-08-15 Spokane, WA @ Knitting Factory
02-09-15 Boise, ID @ Knitting Factory
02-10-15 Salt Lake City, UT @ The Depot
02-12-15 Denver, CO @ Ogden Theater
02-13-15 Omaha, NE @ Slowdown
02-14-15 Minneapolis, MN @ First Avenue
02-15-15 Milwaukee, WI @ Turner Hall
02-17-15 Chicago, IL @ Riviera
02-22-15 Boston, MA @ House of Blues
02-24-15 Washington, DC @ 9:30 Club
02-26-15 New York, NY @ Terminal 5
02-28-15 Philadelphia, PA @ Union Transfer
03-01-15 Pittsburgh, PA @ Stage AE
03-18-15 Berlin, Germany @ Postbahnhof
03-19-15 Amsterdam, The Netherlands @ Paradiso
03-20-15 Paris, France @ Cigale
03-21-15 Antwerp, Belgium @ Trix
03-23-15 London, UK @ Roundhouse
03-24-15 Manchester, UK @ Albert Hall
03-25-15 Glasgow, UK @ O2 ABC
03-26-15 Dublin, Ireland @ Vicar Street
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[I just published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of my book in a recent issue. Read it here. There’s info about True Love Scars here.]
As we get closer to the November 4 release of The Basement Tapes Complete: The Bootleg Series Vol. 11, a previously unheard recording, “Dress It Up, Better Have It All,” has been released and you can check it out below.
The song is rockabilly raveup with Dylan sounding very loose. “One time for Bozo,” Dylan says at one point in the song as Robbie Robertson fires off a short hot solo.
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[I just published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of my book in a recent issue. Read it here. There’s info about True Love Scars here.]
Here is “Spanish Mary,” the latest song off Lost On The River: The New Basement Tapes to be made available prior to the album release on November 10, 2014.
In a press release, Giddens, who wrote the music for the song and sings the lead vocal, says of the track:
“Out of all the lyrics I looked through for the New Basement Tapes project, the one for ‘Spanish Mary’ attracted me first – here was a ballad, and I know ballads! It’s also set in the Caribbean, so I felt the deep African sound of the minstrel style banjo (circa 1856) was appropriate. It was an absolute thrill to get to set music to Dylan’s lyrics, what an opportunity! This project is marked with utter generosity from everyone involved.”
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[I just published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of my book in a recent issue. Read it here. There’s info about True Love Scars here.]
In his new film, “St. Vincent,” Bill Murray sings along to a recording of Bob Dylan singing “Shelter From The Storm.”
St. Vincent opens in a limited engagement on Oct. 10, and then everywhere Oct. 24.
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[I just published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of my book in the new issue. Read it here. There’s info about True Love Scars here.]
