Tag Archives: Stay WIth Me

Audio: Bob Dylan Sings ‘Blowin’ In The Wind’ – May 5, 2015 – Houston, Texas

Previously three full songs – “Things Have Changed,” “Workingman’s Blues #2” and “Stay With Me” – plus some of “She Belongs To Me,” all from Bob Dylan’s show at the Bayou Music Center in Houston, Texas on May 5, 2015, were posted at YouTube.

A few hours ago another song, “Blowin’ In The Wind,” from that show went online.

Here it is:

“Blowin’ In The Wind”:

If you missed the others, here they are:

“Things Have Changed” and some of “She Belongs To Me”:

“Workingman’s Blues #2”:

“Stay With Me”:

– A Days Of the Crazy-Wild blog post –

Audio: Bob Dylan Live At The Majestic Theatre, May 7, 2015 – ‘Stay With Me’

Old photos NOT from the San Antonio gig.

One song from Bob Dylan’s performance at the Majestic Theatre, May 7, 2015, in San Antonio Texas.

“Stay With Me”:

– A Days Of The Crazy-Wild blog post –

Audio: Bob Dylan Does ‘Things Have Changed,’ ‘Stay With Me’- April 25, 2015

This is an older photo – it’s NOT from the gig.

Three songs from Bob Dylan’s performance at Durham Performing Arts Center, Durham, NC, on April 25, 2015.

“Things Have Changed”:

“Blowin’ In The Wind”:

“Stay With Me”:

– A Days Of The Crazy-Wild blog post –

Behind the Songs On Bob Dylan’s ‘Shadows In The Night’

On Bob Dylan’s Facebook page, info about the songs he covers on Shadows In The Night has been posted.

Here are excerpts from what’s there so far with links to each entire post:

Song written in 1951
Joel S Herron, Frank Sinatra, Jack Wolf

Many came to know the song from Billie Holiday’s last sessions for Columbia Records, Lady in Satin, released in 1958. Also recorded by Chet Baker, The Four Freshmen, Billy Eckstine, Sergio Franchi, Sammy Davis Junior, Helen Merrill, Dinah Washington, Dionne Warwick, Robert Goulet, Tony Bennett, Shirley Bassey, Hadda Brooks, Peggy Lee and Steve Lawrence.

Joel Herron was the musical director of the famous Copacabana nightclub during the 1940s. He also was a pianist, arranger and accompanist. Lyricist, Jack Wolf was a close friend. Herron had been using Brahms’ Third Symphony as his theme song at the Copa, when Wolf suggested using the Andantino section from the same symphony as a melody for a song. Together they created a composition that Frank Sinatra recorded in 1950, entitled TAKE MY LOVE. Released as a single during 1951, a low point in Sinatra’s recording career, TAKE MY LOVE failed to chart. At that time, Mitch Miller, who was the head of A&R at Columbia Records had lost faith in Frank’s ability to sell records. Indeed, many consider the absolute nadir in Sinatra’s career was when Miller forced him to record the novelty song, MAMA WILL BARK. Ironically, eleven short years later Miller also showed complete indifference to John Hammond’s new signing to Columbia Records, Bob Dylan…

Read more here.

The Night We Called It a Day
Song written 1941
Matt Dennis, Tom Adair

Doris Day, Chris Connor, June Christy, Chet Baker, Diana Krall, The Hi-Lo’s, Frank Sinatra.

Matt Dennis was a singer, pianist, bandleader, arranger and songwriter. Born in Seattle to a musical Vaudevillian family, he formed his own band in the mid-30s with Dick Haymes as vocalist. Dennis also worked as vocal coach and arranger for big band singers and popular recording artists including Martha Tilton and Jo Stafford. When Stafford joined the Tommy Dorsey Band in 1939, she persuaded Dorsey to hire Dennis as an arranger. Along with lyricist Tom Adair, Dennis wrote fourteen songs in one year alone including EVERYTHING HAPPENS TO ME – a hit for the band with lead vocalist Frank Sinatra…

Read more here.

Song written in 1963
Carolyn Leigh, Jerome Moross

The song is best known as its alternate title, “Theme Song from The Cardinal,” as sung by Frank Sinatra. The Cardinal was a 1963 Otto Preminger film which follows the journey of a young Boston priest as he climbs the hierarchy of the Catholic Church during the rise of Fascism in Europe.

Carolyn Leigh was a New York born lyricist who wrote for Broadway, movies and popular music. After graduating New York University, Leigh began her career as a copywriter for radio stations and advertising agencies. She transitioned to writing lyrics for Broadway musicals including “Peter Pan,” “Wild Cat,” ” Little Me” and “How Now Dow Jones.” Her biggest successes came in partnership with Cy Coleman in the early 60s. Together they penned such notable hits as, WITCHCRAFT, HEY LOOK ME OVER, and THE BEST IS YET TO COME…

Read more here:

Song written in 1945, English lyrics written in 1947
Joseph Kosma, Jacques Prevert , Johnny Mercer

Jo Stafford, Edith Piaff (in French), Tom Jones, Mel Torme, Sarah Vaughn, Nat King Cole, Bing Crosby, Frank Sinatra, Paul Anka, Tony Bennett, Louis Prima. The song has long been a favorite of jazz musicians with over 1400 cover versions from Paul Whiteman, to Ben Webster, to Cannonball Adderly, Bill Evans, Charles Lloyd and Coleman Hawkins.

Joseph Kosma was born in Budapest in 1905. A musical prodigy, he began piano lessons at age 5 and composed his first opera at age 11. He studied at the Liszt Academy with Bela Bartok. He emigrated to Paris in 1933 where he met poet and screenwriter Jacques Prevert, who in turn introduced him to filmmaker, Jean Renoir. During World War II, Kosma was placed under house arrest and was banned from composing music. However, Prevert arranged for him to continue composing for films using other musicians as a front. It was in this way that he wrote the music for Les Enfants du Paradis (Children of Paradise) in 1945. His other film credits include La Grand Illusion (1937), La Bete Humaine (The Human Beast) (1938) and La Regle du Jeu (The Rules of the Game) (1939) all directed by Jean Renoir. Although he did not write many songs he is legendary for composing the melody to the Jacques Prevert poem Les Feuilles Mortes, which would eventually become Autumn Leaves…

Read more here.

Why Try To Change Me Now
Song written in 1952
Cy Coleman, Joseph Allen McCarthy

Frank Sinatra had the first recording. Other covers include Sammy Davis Jr., Fionna Apple, Jimmy Scott, and Nancy Wilson.
Born Seymour Kaufman in The Bronx in 1929, Cy Coleman was a composer, songwriter and jazz pianist. He was a child prodigy who gave piano recitals at Town Hall and Carnegie Hall between the ages of 6 and 9. Prior to beginning his Broadway career he led a trio which became a successful nightclub attraction. Success on Broadway first came as a composer in collaboration with Joseph McCarthy, Jr. But his biggest successes started in 1960 once he paired with lyricist Carolyn Leigh. Together they wrote WITCHCRAFT and THE BEST IS YET TO COME, HEY LOOK ME OVER, among many others…

Read more here.

Some Enchanted Evening
Song written in 1949
Oscar Hammerstein II, Richard Rodgers

Bing Crosby, Barbara Streisand, Al Jolson, Andy Williams, Jo Stafford, Perry Como, Ezio Pinza, Harry Connick, Jr., Art Garfunkel, Jay & the Americans, Frank Sinatra.

From the musical South Pacific, SOME ENCHANTED EVENING is considered the single biggest popular hit to come out of any Rodgers and Hammerstein show. In the original Broadway Production, the song was sung by former Metropolitan Opera bass, Ezio Pinza.
Oscar Hammerstein was born in New York City in 1895, the grandson of a Jewish theater impresario. His father was a Vaudeville theater manager and producer. He attended Columbia University and studied at Columbia Law School, but would soon quit the study of law to pursue theater. For the next 40 years he would be one of the most successful and prolific lyricist and theatrical producers of musicals in America…

Read more here.

Song written in 1945
Buddy Kaye, Ted Mossman

Robert Goulet, Sarah Vaughn, Jerry Vale, Eddie Fisher, Donna Brooks. Best known version is by Frank Sinatra.

This song is based on Sergei Rachmaninoff’s Piano Concerto No.2, written between 1900 and 1901. It became Rachmaninoff’s most popular composition and built his reputation as a concerto composer. Born to an aristocratic family in Russia in 1873, Rachmaninoff’s first success came as a pianist – giving his first concert by the age of nineteen. In that same year he composed and performed an opera based on a poem by Alexander Pushkin, which became an immediate success in Moscow. The Russian Revolution forced him to leave the country in 1917. Eventually he emigrated to the United States in 1918 after receiving several lucrative performance offers. He supported himself and his family as a world renown concert pianist until his death, in Beverly Hills, in 1943…

Read more here.

Where are You?
Song written in 1937
Harold Adamson, Jimmy McHugh

Mildred Bailey, Chris Connor, Shirley Bassey, Aretha Franklin, Brenda Lee, Julie London, Frank Sinatra, Dinah Washington.

Jimmy McHugh was one of the most prolific songwriters from the 1920s through the 1950s. Born in Boston in 1894, McHugh struggled in a variety of odd jobs including work as a rehearsal pianist at the Boston Opera House and as a pianist/song plugger for Irving Berlin’s music publishing company. At the age of 26, he relocated to New York City, finding work as a song plugger with the Jack Mills publishing company. It was there that he teamed up with future Duke Ellington manager Irving Mills to form the Hotsy Totsy Boys, writing and recording their hit song, EVERYTHING IS HOTSY TOTSY NOW…

Read more here.

What’ll I do?
Song written in 1923
Irving Berlin

Julie London, Anne Murray, Lou Rawls, Rosemary Clooney, Nat King Cole, Chet Baker, Cher, Perry Como, Tommy Dorsey, Judy Garland, Dinah Shore, Eydie Gorme, Linda Ronstadt, Sarah Vaughan, Paul Whiteman, Lena Horne, Alison Krauss, Dick Haymes, Georgia Gibbs and Alvin and the Chipmunks.

Born in Russia in 1888, Berlin was one of eight children. His father was a cantor in a synagogue who uprooted the family in 1893 and moved to New York in order to escape the Russian pogroms against Jews so rampant in Eastern Europe. They settled on Cherry Street on the Lower East Side in a cold water basement flat with no windows. His father, unable to find work as a cantor, labored at a meat market and gave Hebrew lessons on the side. He died when Irving was thirteen years old. With only a few years of schooling, Irving found it necessary to take to the streets to help support his family. His first job was as a newspaper boy – hawking the Evening Journal. Meanwhile the rest of the family scrounged for work; his mother as a midwife, his three sisters wrapping cigars in a factory and his older brother assembling shirts in a sweatshop…

Read more here.

That Lucky Old Sun
Song written in 1949
Haven Gillespie, Beasley Smith

Biggest hit version was by Frankie Lane, which reached number one in 1949. Other chart hits were by Vaughan Monroe, Louis Armstrong and Frank Sinatra, all in 1949. Other covers include Ray Charles, Dean Martin, Leon Russell, Johnny Cash, Aretha Franklin, Willie Nelson, The Isley Brothers, Pat Boone, Sarah Vaughan, LaVerne Baker, Sammy Davis Junior and Bing Crosby…

Read more here.

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

[I published my novel, True Love Scars, in August of 2014.” Rolling Stone has a great review of my book. Read it here. And Doom & Gloom From The Tomb ran this review which I dig. There’s info about True Love Scars here.]

Audio/Video: Bob Dylan at the Beacon – ‘Pay In Blood,’ ‘Early Roman Kings’ & 6 More

Murky, but it is Dylan.

Bob Dylan performed in New York at the Beacon Theater over the course of the last week or so.

Here are audio/video files from a few shows. The audio is quite good.


“Beyond Here Lies Nothing,” Nov. 29, 2014 show:

Another fan video.

“Beyond Here Lies Nothing,” Nov. 29, 2014 show:

“Early Roman Kings,” Nov. 29, 2014 show (note that the video itself is mislabeled):

“Waiting For You” (excerpt), Nov. 29, 2014 show:

“Pay In Blood,” Dec. 2014 show:

“Tangled Up In Blue,” Nov. 29, 2014 show:

“Love Sick,” Dec. 2014 show:

“Simple Twist Of Fate,” Nov. 29, 2014 show:

Another fan video:

“Simple Twist Of Fate,” Nov. 29, 2014 show:

“Forgetful Heart,” Nov. 29, 2014 show:

“Long And Wasted Years”:

“Blowin’ In The Wind,” Nov. 29, 2014 show:

“Blowin’ In The Wind,” Dec. 2, 2013 show:

“Stay With Me,” Nov. 29, 2014 show:

“Stay With Me,” December 3, 2014 show:

Review: Bob Dylan & Band In Top Form at Oakland’s Paramount Theater, Oct. 30, 2014

Bob Dylan and his band at the Paramount Theater. Photo by Michael Goldberg.

The clang of an ancient gong announced that Bob Dylan was in the house, and that his first set for the final night of a three-night gig (October 30, 2014) at the beautifully restored Paramount Theater in downtown Oakland, CA, had begun.

Was I excited, yeah baby! Yet I was worried too. How could he compare to the Dylan of old?

“Ah, but I was so much older then/ I’m younger than that now,” he once sang, though not on this night.

And it was good he didn’t. Those lines made sense when he wrote them, when he was in his early 20s.

But Dylan is 73, he’s so much older now.

I last saw him live at the Greek Theater in Berkeley in June of 1986, and it wasn’t the best show. Frankly, it was a shadow of the show I saw in 1974 when Dylan and The Band played the Oakland Coliseum and tore the place up. That was incredible.

Think about it though. 1986. That was nearly 30 years ago. Ancient history. Another lifetime.

Bob Dylan, age 73. What would that be like? I’d seen John Lee Hooker perform at the Sweetwater when he was past 80 and he was fantastic. And I saw Muddy Waters when he was 65, and he was damn good too. There’s a wisdom that sometimes comes with age.

But Dylan? With his ragged frog of a voice. And no guitar, ’cause he doesn’t play guitar anymore. How’s that gonna work?

Whatever my pre-show worries, as soon as the band kicked off with “Things Have Changed” I relaxed.

This was gonna be good.

Dylan came onto the stage, a character out of one of his more surreal songs. The flat-brimmed white hat, something a Spanish Don wore in the ’20s perhaps. And a black frock coat with white trim. Dylan was dressing up for us. He wasn’t showing up in his streetwear — jeans and a hoodie. No way, he was here in a grand old theater and he had dressed the part.

A band leader. A performer. An artist.

Dylan is the master of great looks.

He still has style. And you know what, Dylan dressing up the way he does each night, sends the audience a message before he even sings a note. This isn’t gonna be Chuck Berry doing just another gig. This is special. Bob Dylan got dressed up on this night for this crowd. He cares.

I was there with a long time friend, and later during the show he asked me how this show compared to when I’d seen Dylan in 1974.

Well you can’t compare the Dylan of the past and the Dylan of today, I said. It’s like he’s a different person now. It’s like the folkie protest Dylan was one guy, and the Highway 61 Revisited Dylan was another, and the man who recorded the Basement tapes and John Wesley Harding was someone else again.

The Dylan of 2014 is yet another Dylan.

The show.

First of all, I thought Dylan was in great voice, and having listened to a recording of the show I can say that with even more force. Sure his voice is different. More Tom Waits than Woody Guthrie. But if you give it a chance, it grows on you and pretty soon you find yourself totally digging it. And it’s totally Dylan’s voice. On this night he was a live wire.

Dylan as piano man. He’s always had his own bluesy piano style, and over the years he’s gotten even better. So while I miss Dylan on guitar, his whorehouse piano on numerous songs including the snaky tango, “Beyond Here Lies Nothing,” was just right. And while some have derided his harmonica playing since the early days, I’ve always been a huge fan. On this night his harp breaks were dead-on perfect.

He seemed totally in-the-moment and with us as he sang his songs — all but one being his own compositions.

But what knocked me out the most was the set list. Of the 18 songs Dylan sang, 14 were ‘new’ songs, written in the 21st century. Only one, “She Belongs To Me,” was written in the ’60s, and two, “Simple Twist Of Fate” and “Tangled Up In Blue,” came from the mid-’70s. The final song of the night was Dylan’s version of a song Frank Sinatra made famous, “Stay With Me.”

That’s gutsy. That’s self-confidence. And you know what? These 21st century Bob Dylan songs are killer.

While Paul McCartney and the Rolling Stones go out and play oldie-but-goodie greatest hits shows, Bob Dylan plays material from his most recent albums.

Dylan these days comes across onstage as a working musician. He doesn’t talk to the audience. He’s there to play music.

“He’s a real song and dance man,” my friend said.

Dylan was either at the piano, standing fairly still before the microphone as he sang, or swaying in place as one of his band members took a killer solo.

And speaking of the band, another thought I had as I took in the music was that this current band are as good as The Band.

Dylan has assembled his version of Bob Wills and the Texas Playboys, or Merle Haggard and the Strangers.

What I mean is, this band is like those great country-western bands, musicians who play with soul and really have their chpps down. Now I’ve been cheering the raw, imperfect sound of punk bands since the early days of The Stooges and the MC5, and if I’ve got to choose between soul and spirt, or musician ship, I’ll take soul and spirit every time.

But Dylan’s guys, they are some of the best musicians you’ll ever hear; they’ve got a total feel for Dylan’s music. As used to be said of a great jazz band, they swing.

Bassist Tony Garnier (on upright), drummer George Receli and rhythm guitarist Stu Kimball are a rock solid rhythm section. They ground the songs and let Dylan, lead guitarist Charlie Sexton and mutli-instrumentalist Donnie Herron (pedal steel, lap steel, electric mandolin, banjo, violin) add beautiful texture and solos.

Both Sexton and Herron are simply incredible. I love pedal steel guitar and Herron added hip country riffs to “Things Have Changed,” “Workingman’s Blues #2,” “Duquesne Whistle,” and others.

Meanwhile Sexton added electrifying riffs and solos.

Dylan has become a great band leader. Years on the road, and certainly his perfectionist demands, have turned this band into one of the best.

Highlights? The beautiful ballad “Forgetful Heart” was love on a moonlit night, with rhapsodic violin from Herron, and a mournful harmonica solo from Dylan. “Long And Wasted Years” was a triumph, from that unforgettable opening riff and Dylan’s defiant vocal, to the final lines:

“So much for tears
So much for these long and wasted years.”

There were many other highlights. “Early Roman Kings,” “Simple Twist Of Fait,” “Scarlet Town,” “Pay In Blood,” “High Water (For Charley Patton)” — I could go on.

After nearly two hours of listening to Dylan’s new music, it’s clear that just as Dylan and the Hawks had a very unique sound in the ’60s, so too do Dylan and his current band.

Leaving the Paramount, I said to my friend, the music Bob Dylan now makes is totally its own thing. It has nothing to do with current trends, and it’s not some retro trip either. The only reference point for Dylan’s new music is Dylan. He’s created something unique that works for him in 2014, and his fans love it. Dylan being Dylan, and nothing could be better.

You could call the music Dylan and the band make Americana, an umbrella term that covers blues, rock, rockabilly, jazz, folk, country, western swing and more, but if were going to name Dylan’s sound, I’d want to come up with something more unique. But really, what’s the point.

It’s 2014 Bob Dylan music, a thing all its own.

The musicians:

Bob Dylan — vocal, piano, harmonica
Stu Kimball — rhythm guitar
Donnie Herron — pedal steel, lap steel, electric mandolin, banjo, violin
Charlie Sexton — lead guitar
Tony Garnier — bass guitar
George Receli — drums, percussion

Set List:

Set I
Things Have Changed
She Belongs to Me
Beyond Here Lies Nothin’
Workingman’s Blues #2
Waiting for You
Duquesne Whistle
Pay in Blood
Tangled Up in Blue
Love Sick

Set II
High Water (For Charley Patton)
Simple Twist of Fate
Early Roman Kings
Forgetful Heart
Spirit on the Water
Scarlet Town
Soon after Midnight
Long and Wasted Years

Stay With Me

[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.]

— A Days Of The Crazy-Wild blog post —

Bob Dylan’s ‘Shadows In The Night’ – An Album of Frank Sinatra Covers

Back of insert in Basement Tapes Complete box.

Bob Dylan’s next album of new studio recordings will be all covers of songs Frank Sinatra recorded, a source told Billboard.

Two days ago I broke the news that the album, titled Shadows In The Night, would be released during 2015.

Front of insert.

The only other detail yet revealed about the album is that it will include Dylan’s cover of Frank Sinatra’s 1945 hit, “Full Moon and Empty Arms.” A source told that to Rolling Stone back in May of this year, when the album was scheduled for a 2014 release. The release date apparently changed when it was decided to release the Basement Tapes this year.

“Full Moon and Empty Arms”:

Now that we know the entire album will consist of songs associated with Sinatra, it’s near certain that “Stay With Me,” another song associated with Sinatra that Dylan is now using for an encore, will be on the album, although that has not been officially confirmed.

“Stay With Me” as performed at the Dolby Theater, October 26, 2014.

[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.]

— A Days Of The Crazy-Wild blog post —

Bob Dylan To Release New Album, ‘Shadows In The Night,’ in 2015

Cover of Bob Dylan’s upcoming 2015 album.

Bob Dylan’s next album will be titled Shadows In The Night, and released in 2015, according to an insert included in Dylan’s new boxed set, The Basement Tapes Complete: The Bootleg Series Vol. 11.

In May of this year, Bob Dylan released a cover of Frank Sinatra’s 1945 hit “Full Moon and Empty Arms” on his website.

“Full Moon and Empty Arms”:

“Full Moon and Empty Arms” was written by Ted Mossmann and Buddy Kaye and based around Sergei Rachmaninoff’s 1901 composition “Piano Concert No. 2 in C Minor.”

Also on Dylan’s site was what looked like an album cover, a mostly black and blue image with a picture of Dylan and the words: “Bob Dylan Shadows In The Night.”

The retro nature of “Full Moon And Empty Arms,” sparked speculation that Dylan’s next studio album of new recordings would be a cover album of standards.

​”This track [“Full Moon And Empty Arms”] is definitely from a forthcoming album due later on this year,” a spokesperson for the singer who wouldn’t confirm the title told Rolling Stone in May.

A month later a source who has heard the album enthused about it to me. “It really is a great album,” my source said, offering no additional details.

Obviously plans changed, and it was announced earlier this year that most of Dylan and The Band’s Basement Tapes recordings would be released as Dylan’s next album. The Basement Tapes Complete: The Bootleg Series Vol. 11, a 6-CD set (as well as a 2-CD version of highlights), will be released on Tuesday, November 4.

Now, based on an insert in the box that The Basement Tapes Complete: The Bootleg Series Vol. 11, comes in, I can tell you that the title of Dylan’s next album is Shadows In The Night,, that it will be released in 2015 and that for now at least, the Shadows In The Night image seen on Dylan’s website is the cover (unless of course something changes).

No track listing has been released.

In addition to “Full Moon and Empty Arms,” which is still expected to be on the album, Jerome Moross and Carolyn Leigh’s “Stay With Me,” which was recorded by Frank Sinatra in December 1963 and released a month later, could be included.

Dylan performed “Stay With Me” for the the first time the other night at the Dolby Theater in Los Angeles. So this is speculation. There is no confirmation that “Stay With Me” will be on the album. “Stay With Me” was the main theme of the Otto Preminger film “The Cardinal.”

“Stay With Me” as performed at the Dolby Theater, October 26, 2014.

[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.]

— A Days Of The Crazy-Wild blog post —