Amazing interview from February 1966 that Bob Dylan did for Playboy magazine. I’ve previously posted some of the transcript but now you can hear the interview.
Nat Hentoff, who had profiled Dylan for the New Yorker in 1964, is the interviewer.
By the way, interesting to hear Dylan praise Buck Owens in this interview, given his recent MusicCares speech.
Part One:
-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –-
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[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.]
Sleater-Kinney played their first live show in years on February 8, 2015 in at the Knitting Factory in Spokane, Washington.
From the clips you can see what an incredible show it was. The group is as impassioned as ever.
I saw them at a number of shows first time around, from one at the Bottom of the Hill in San Francisco, to an all-ages show in Olympia, Washington to a great night at Irving Plaza in New York. Plus shows at the Great American Music Hall and The Fillmore.
They were all incredible. Check out these clips from a few nights ago to see and hear how amazing this band is right now.
“Price Tag”:
“Get Up” (partial):
“Sympathy”:
“Jumpers”:
Encore
“Dig Me Out”:
“Turn It On” (partial):
“Modern Girl”:
Don’t know what song this fairly short clip is from:
Setlist:
‘Price Tag’
‘Fangless’
‘Start Together’
‘Oh!’
‘No Anthems’
‘Get Up’
‘Ironclad’
‘One Beat’
‘Bury Our Friends’
‘What’s Mine Is Yours’
‘One More Hour’
‘No Cities to Love’
‘Surface Envy’
‘Words and Guitar’
‘Sympathy’
‘A New Wave’
‘Entertain’
‘Jumpers’
‘Gimme Love’
‘Dig Me Out’
‘I Wanna Be Your Joey Ramone’
‘Turn It On’
‘Modern Girl’
Improbable as it might seem at first, Dylan has recorded Shadows In The Night, an album of songs associated with Frank Sinatra – and it’s damn good.
By Michael Goldberg.
I hated Frank Sinatra. As a teenager, Sinatra, who was my mother’s favorite singer, represented my parents’ middle class world, a world I was desperate to escape. I wrote Sinatra off as one of those puppets, a Hollywood-invented pop star who sang Tin Pan Alley love songs, the kind that rhymed moon and June.
Silly love songs. That was what Frank Sinatra was all about. Trivial.
And worse still, I read that he hated rock ‘n’ roll.
In 1957, in the Paris magazine Western World, Sinatra called rock ‘n’ roll “the most brutal, ugly, degenerate, vicious form of expression it has been my displeasure to hear … It fosters almost totally negative and destructive reactions in young people. It smells phony and false. It is sung, played and written for the most part by cretinous goons and by means of its almost imbecilic reiterations and sly, lewd—in plain fact dirty—lyrics, and as I said before, it manages to be the martial music of every sideburned delinquent on the face of the earth. This rancid smelling aphrodisiac I deplore.”
So yeah, for me Sinatra was Public Enemy #1.
Sinatra was, in my opinion, the polar opposite of my idol, Bob Dylan, the brainy rock ‘n’ roll star who had in rapid succession released three of the greatest albums ever: Bringing It All Back Home, Highway 61 Revisited and Blonde On Blonde.
Dylan wrote his own songs, sang with a voice like no other, was a poet, brought the art of songwriting to a level it had never previously reached and was the hippest of the hip.
In 1965, while Sinatra was singing retro pop like “The September Of My Years” and “Last Night When We Were Young,” Dylan was spitting out such modern cubist masterpieces as “Ballad Of A Thin Man,” “Subterranean Homesick Blues” and “Like A Rolling Stone.”
Sinatra was ancient history, the pop singer my mother’s heart beat fast for during her teenage years as a bobby soxer.
I had no interest and no time for Frank Sinatra.
But 23 years later, in 1988, thanks to Beach Boy Brian Wilson, my attitude towards Sinatra changed. I was on assignment for Rolling Stone, writing a feature story about Wilson, who had a debut solo album about to be released. I was hanging out with Wilson at his townhouse in Malibu, and I was checking out some of his favorite CDs, which included recordings by Randy Newman and Phil Spector. There was one by Frank Sinatra, possibly In the Wee Hours or it might have been September Of My Years. Whichever it was, I listened to it there at Wilson’s place, and I opened up to Sinatra. I heard him for the first time.
I came to appreciate Sinatra, and the songs he sang, and I came to dig the often sentimental arrangements provided by Nelson Riddle and others.
Still, when I learned that Bob Dylan, BOB DYLAN, had recorded Shadows In The Night, a full album of songs previously recorded by Sinatra, my initial reaction was that of my 15-year-old self: horror.
Dylan singing those songs? Those corny Tin Pan Alley songs? How could he?
[Last August I published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of the book. Read it here. There’s info about True Love Scars here.]
Bob Dylan at the Beacon Theater, New York, October 17, 1990.
The concert begins 30 seconds into the video clip.
Set list
Absolutely Sweet Marie
Man In The Long Black Coat
Willin’
T.V. Talkin’ Song
Simple Twist Of Fate
Wiggle Wiggle
Man Of Constant Sorrow
It’s All Over Now, Baby Blue
A Hard Rain’s A-Gonna Fall
The Lonesome Death Of Hattie Carroll
Tangled Up In Blue
Joey
What Good Am I?
It Takes A Lot To Laugh, It Takes A Train To Cry
In The Garden
Like A Rolling Stone
The Times They Are A-Changin’
Highway 61 Revisited
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[Last August I published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of the book. Read it here. There’s info about True Love Scars here.]
This weekend I’ve been celebrating the 54th anniversary of Bob Dylan’s arrival in New York on January 24, 1961.
Toward the end of that year, after he’d been gigging around, after he’d met John Hammond and been signed to Columbia Records, but prior to recording his first album, on September 6, 1961, Bob Dylan performed at the Gaslight in New York.
His set, which included an appearance by Dave Van Ronk playing guitar and singing harmony vocals on “Car, Car,” was recorded on a reel-to-reel and you can hear it right now.
Some of these songs appeared on the first official Bootleg series set. Others have yet to be officially released.
The order of the songs has apparently been rearranged by whoever put up this YouTube clip.
Set List (apparently the songs have been ordered differently than when they were performed).
He Was A Friend Of Mine
Car, Car
Man On The Street
Song To Woody
Talkin’ Bear Mountain Picnic Massacre Blues
Pretty Polly
This is the correct order of the set according to www.BobDylan.com:
Man On The Street
He Was A Friend Of Mine
Talkin’ Bear Mountain Picnic Massacre Blues
Song To Woody
Pretty Polly
Car, Car
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[Last August I published my rock ‘n’ roll novel, True Love Scars.” Rolling Stone has a great review of the book. Read it here. There’s info about True Love Scars here.]
Fifty-four years ago, on January 24, 1961, Bob Dylan arrived in New York, where within a few months he would not only get a rave review in the New York Times and meet the legendary record man and producer, John Hammond, but would be signed by Hammond to Columbia Records and by the end of the year he’d record his first album, Bob Dylan.
Dylan recorded his first six albums in New York, and the city was his base of operations from ’61 into ’66.
I thought I’d pull together some of Bob’s recordings that are either about or take place in New York in some way, or were recorded in New York.
“Talkin New York” live at Town Hall, April 12, 1963:
“Song To Woody”:
“Hard Times In New York” recorded by Cynthia Gooding, March 11, 1962:
“Spanish Harlem Incident,” alternate take:
“Ballad In Plain D,” alternate take 2 (partial):
“She Belongs To Me,” Free Trade Hall, Manchester, May 7, 1965:
“It’s All Over Now, Baby Blue,” Free Trade Hall, Manchester, May 7, 1965:
“Freeze Out 1,” (“Visions Of Johanna” outtake):
ttp://youtu.be/WYifDaD96rM
“Love Minus Zero/ No Limit” and “Can You Please Crawl Out Your Window” and “From A Buick 6” (alternate takes):
Bob Dylan and his band at the Madison Square Garden Theater, January 20 1998.
Set List:
Absolutely Sweet Marie
Tonight I’ll Be Staying Here With You
Cold Irons Bound
Born In Time
Silvio
A Hard Rain’s A-Gonna Fall
Girl From The North Country
Tangled Up In Blue
Million Miles
Positively 4th Street
‘Til I Fell In Love With You
Highway 61 Revisited
Don’t Think Twice, It’s All Right
Love Sick
Rainy Day Women #12 & 35
Pushed It Over The End (AKA Citizen Kane Jr. Blues)
Long May You Run
Greensleeves
Ambulance Blues
Helpless
Revolution Blues
On The Beach
Roll Another Number
Motion Pictures
Pardon My Heart
Dance Dance Dance
Some months back the extraordinary experimental guitarist Henry Kaiser dropped an advance of his upcoming collaboration with free jazz guitarist Ray Russell, The Celestial Squid.
The album is a free jazz mindblower.
Today a 12 minute promo video for the album was released:
I’ve been digging Kaiser’s music since the late ’70s when I wrote a short article about him for New West magazine. We subsequently became friends. Recently, in December, we collaborated when Henry improvised as i read from my novel, True Love Scars, at Down Home Music in El Cerrito, CA.
Here’s info on the album direct from Cuneiform Records, which will release it on February 3, 2015.
Guitar summits don’t ascend higher than when legendary British free-jazz pioneer and longtime session ace Ray Russell meets the brilliant California avant-improv overachiever and Antarctic diver Henry Kaiser in the realm of The Celestial Squid. With more than countless session and soundtrack performances to his credit, including the early James Bond film scores, Russell is returning to his bone-rattling, noise-rocking roots for the first time since the very early 70s. You’ll be shaken and stirred as Kaiser, Russell and eight super friends deliver a no-holds-barred, free-range sonic cage match.
Russell created some of the early ’70s’ most outrageously outside music, releasing hallmark works of guitar shock-and-awe. Russell’s “stabbing, singing notes and psychotic runs up the fretboard have nothing to do with scalular architecture,” wrote All Music’s Thom Jurek, “but rather with viscera and tonal exploration.” Russell anticipated the wildest and most intrepid vibrations of Terje Rypdal, Dave Fuzinski, Sonic Youth, Keiji Haino, Tisziji Muñoz and their boundary-dissolving ilk. Russell is hardly a niche performer, though. Untold millions of music and film fans have actually, if unknowingly, already enjoyed Russell’s riffs – at least if they saw any of the James Bond films that John Barry scored, beginning with Dr. No in 1962.
For over 40 years, Russell would not make such exploratory music until West Coast guitar experimentalist Henry Kaiser called him out of the blue and asked if he would be interested in co-leading an ensemble in the style of his ’71 masterpiece, Live at the ICA: June 11th 1971. Russell was surprised and delighted by the offer, and readily accepted. Why had he waited so long to once again explore the free-jazz spaceways you might well wonder? Simple – no one had asked him to do so!
So on April 12, 2014, Henry Kaiser and Ray Russell – along with drummers Weasel Walter and William Winant, bassists Michael Manring (electric) and Damon Smith (acoustic), and saxophonists Steve Adams, Joshua Allen, Phillip Greenlief, and Aram Shelton – entered Berkeley, California’s Fantasy Studios for a day-long session that resulted in The Celestial Squid, a nearly eighty-minute embryonic journey through the deepest waters and most cosmic heights of improvised music. Except for melodic heads and compositional structures, everything on The Celestial Squid is improvised, down to some astonishing extemporaneous horn arrangements. While The Celestial Squid echoes the raw energy and youthful bravado of Russell’s earliest achievements, this music synergizes the combined power and imagination of all ten of these musical masters into a force to be reckoned with.
guitars: Henry Kaiser, Ray Russell
saxophones: Steve Adams, Joshua Allen, Phillip Greenlief, Aram Shelton
electric bass: Michael Manring
acoustic bass: Damon Smith
drums: Weasel Walter, William Winant
recorded live by Adam Munoz at Fantasy Studios, Berkeley, CA on April 12, 2014
mixed by Henry Kaiser, Adam Munoz, Weasel Walter at Fantasy Studios, Berkeley, CA
mastered by Paul Stubblebine
artwork and art direction by Brandy Gale
production by Henry Kaiser
