As I posted last week, I did an interview with Brian Wise on Triple R radio in Australia about Bob Dylan and the Basement Tapes.
I talk about the background and context in which the Basement Tapes sessions occurred, and why they’re important. Following my interview is an interview with T Bone Burnett.
The interviews aired this past Saturday, but now they’re available on-demand.
You can now stream all of it right now online at Triple R radio right here.
—
[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.]
I’ll be discussing the Basement Tapes with DJ Brian Wise on his Melbourne, Australia radio show, Off The Record, on Triple R radio at 9:45 Australian time.
If you miss the live broadcast, the show will be available on-demand a few days after it airs and I’ll be doing a post about that with a link to the stream.
But listen live, it’s more fun.
I’ll talk about why the Basement Tapes are important, the context for their creation and more.
Following me Brian Wise will interview T Bone Burnett about the Basement Tapes and the New Basement Tapes album Burnett produced with Elvis Costello, Jim James ad others. Should make for a great show if you care about Bob Dylan.
Since the show is broadcast in Australia, those of us in the U.S. should tune in on Friday November 14 in the afternoon at 2:45 pm, and if you’re elsewhere in the world, you can figure out when to tune in easy enough. Use this time zone converter.
—
[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”:
—
[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.]
Still from video for “When I Get My Hands On You.”
The third song to be released off the upcoming album, Lost On The River: The New Basement Tapes, is called “When I Get My Hands On You” and features Marcus Mumford on lead vocal.
The album, produced by T Bone Burnett and also featuring Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes) and Jim James (My Morning Jacket), is out November 11, 2014.
“When I Get My Hands On You”:
[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.]
Copy of the handwritten lyrics to ‘Nothing To It.’
Last year a box of lyrics that Bob Dylan had written during the summer of 1967 for songs that he never wrote music for, or recorded, was given to producer T Bone Burnett.
Now, for the first time, we get to see what the original page on which Dylan wrote the lyrics to one of the songs that will appear on the Burnett-produced album Lost On The River: The New Basement Tapes, looks like.
That song, “Nothing To It,” was released as a lyric video the other day.
Examining Dylan’s page of lyrics, we can see how Jim James rearranged the order of the verses and chorus for his version of the song.
The lyrics, as written by Bob Dylan:
You don’t have to turn your pockets inside out
But I’m sure you can give me something
You don’t have to go into your bank account
but I’m sure you don’t have to give me nothing
I knew that I was young enough
And I knew there was nothing to it
for I’d already seen it done enough
And I knew there was nothing to it
There was no organization I wanted to join
So I stayed by myself and took out a coin
There I saw sat in with my eyes in my hand –
contemplating killing a man – for
Greed was one thing I just couldn’t stand
If I was you, I’d put back what I took
A guilty man has got a guilty look
Heads I will and tails I won’t
So the decision wouldn’t be my own
The lyrics as sung by Jim James:
Well I knew I was young enough
And I knew there was nothing to it
‘Cause I’d already seen it done enough
And I knew there was nothing to it
There was no organization I wanted to join
So I stayed by myself and took out a coin
There I sat with my eyes in my hand –
just contemplating killing a man – for
Greed was one thing I just couldn’t stand
If I was you, I’d put back what I took
A guilty man’s got a guilty look
Heads I will and tails I won’t
Long as the call wouldn’t be my own
Well you don’t have to turn your pockets inside out
But I’m sure you can give me something
Well you don’t have to go into your bank account
but I’m sure you can give me something
Well I knew I was young enough
And I knew there was nothing to it
‘Cause I’d already seen it done enough
And I knew there was nothing to it
Well I knew I was young enough
And I knew there was nothing to it
‘Cause I’d already seen it done enough
And I knew there was nothing to it
And I knew there was nothing to it
And I knew there was nothing to it
And I knew there was nothing to it
And I knew there was nothing to it
So the changes Jim James made amount to starting the song with the chorus, then singing what follows after the chorus, then singing what for Dylan is the first verse, and then a return to the chorus.
And there’s one other change.
As Dylan wrote it, the first verse ends with the line:
but I’m sure you don’t have to give me nothing
But James repeats the second line of the first verse instead:
but I’m sure you can give me something
Check it out:
I’m looking forward to seeing what Burnett and his crew did with the rest of the lyrics. This one is an auspicious first song.
[I just published my rock ‘n’ roll novel, True Love Scars.” I’ve got a Goodreads. book giveaway going right now. Click here and enter.]
Producer T Bone Burnett and the New Basement Tapes band.
Last November we first learned that a batch of song lyrics that Bob Dylan had written during the summer of 1967, had been turned over to producer T Bone Burnett so that Burnett could record them for an album. Dylan wrote the lyrics while the recordings that became known as the ‘Basement Tapes’ were made at the house known as ‘Big Pink.’
Since then I’ve wondered how this was going to work.
Were these lyrics finished? If not, who would have the balls to finish them? Or would the lyrics be sung as written, even if they weren’t complete?
Burnett invited Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes), Jim James (My Morning Jacket) and Marcus Mumford to be involved in writing music for the lyrics and recording the completed songs.
The album is called Lost On the River: The New Basement Tapes and it will be released on November 20, 2014.
In March of this year, Burnett said this to the L. A. Times:
“These are not B-level Dylan lyrics. They’re lyrics he just never got around to finishing.”
Aha! So the lyrics weren’t finished, I thought. Well then who was going to finish them? Or were Costello and the others musicians going to sing these unfinished lyrics, and how would that work?
As it turns out, most of the lyrics were completed by Dylan at the time he wrote them.
“When T Bone gave that quote,” said Larry Jenkins, who is involved with the project, “the context was that Dylan never got around to finishing them as full songs (with music) or recording them.”
Well it turns out that, according to both Jenkins and a second source, in some cases the musicians who wrote music to the songs also added their own words.
“In some instances, the lyrics were used verbatim,” said my second source.,”In other ones, folks have added to them.”
“Most of the lyrics appeared to be complete and were sung by the artists as they were written on the page by Bob in 1967 (maybe with a small word change here or there),” Jenkins said. “Some lyrics were unfinished and were fair game for the artists to complete if they wanted to.”
So far, I haven’t been able to get specifics regarding which songs had additional lyrics added to them, but stay tuned.
But think about what that means. Who has the guts to add their words to a Bob Dylan song? What if Dylan doesn’t like the words that were added?
“I will tell you that ‘Nothing To It’ is word-for-word as Bob wrote it on the page,” Jenkins said.
Check out this post, which contains a copy of Dylan’s hand-written lyrics for “Nothing To It.”
So give another listen to this great new Dylan song, “Nothing To It,” sung by Jim James with help from Elvis Costello and Marcus Mumford.
[I just published my rock ‘n’ roll novel, True Love Scars.” I’ve got a Goodreads. book giveaway going right now. Click here and enter.]
T Bone Burnett has produced an album based on unfinished lyrics Bob Dylan write while recording the songs that became known as the ‘Basement Tapes’ in 1967.
This song is called “Nothing To It.”
Jim James sings with musical help from Elvis Costello and Marcus Mumford.
Recording is nearing completion for Lost On The River: The New Basement Tapes, an album of songs based on lyrics that Bob Dylan wrote in 1967 during the time he recorded the original “Basement Tapes” with the future members of The Band, according to a press release from Big Hassle Media.
“These are not B-level Dylan lyrics,” T Bone Burnett, who is producing the album, told The Los Angeles Times Monday. “They’re lyrics he just never got around to finishing.”
Artists involved in the new album are Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops) Taylor Goldsmith (Dawes), Jim James (My Morning Jacket), Marcus Mumford (Mumford & Sons) and Burnett.
The album is being recorded at Capitol Studios. The musicians have had to write new music to go with the two-dozen lyrics that Dylan wrote.
As of Monday Burnett told the Times that they’d cut 48 tracks including the title song, “Lost On the River,” “Florida Key,” “Card Shark” and “Hi-De-Ho.”
Burnett said he and Costello are going for the magic of the original “Basement Tapes” sessions, which took place in a house in upstate New York, in terms of its creative process.
According to the L. A. Times:
One intriguing facet of the current project is the collaboration among the participants. Each has come up with his or her own music for many of the lyrics, resulting in multiple versions of the same songs and allowing a perspective on the ways different artists respond to Dylan’s lyrics. Each artist takes the lead on the tracking of his or her song, and all provide suggestions and whatever instrumental and vocal support the others require, with Burnett overseeing final production.
“It runs the gamut from everybody having a blast in the studio to being really serious about doing things right,” Giddens told the Times.
Dylan gave Burnett, who was part of Dylan’s Rolling Thunder Review back in 1975, his blessing to make an album with the lyrics. “Great music is best created when a community of artists gets together for the common good,” Burnett said in the press release. “There is a deep well of generosity and support in the room at all times, and that reflects the tremendous generosity shown by Bob in sharing these lyrics with us.”
There will be a Showtime documentary titled, “Lost Songs: The Basement Tapes Continued,” directed by Sam Jones (the Wilco documentary, “I Am Trying To Break Your Heart”). The film will focus on the making of Lost On The River: The New Basement Tapes and provide context regarding the original “Basement Tapes.”
“The discovery of these previously unknown Bob Dylan songs that were thought lost since 1967 is the stuff of Hollywood fiction and a find of truly historical proportions,” Jones said in the press release. “It is a unique opportunity to film T Bone and these great artists as they collaborate with a young Bob Dylan, and each other, to create new songs and recordings. These days and nights in the studio have been nothing less than magical.”
“Lost On the River,” interestingly enough, is the title of a Hank Williams song.
Dylan, of course, has long been a huge Hank Williams fan.
In “Inside Llewyn Davis” there’s a scene where Llewyn Davis records a novelty song, “Please Mr. Kennedy (Don’t Send Me Into Outer Space).”
Today The Hollywood Reporter published a fascinating piece about that song, asking the question: who really wrote it?
Here’s some of the story:
[T Bone] Burnett’s rep explains that the music maestro and the Coens adapted their song, “Please Mr. Kennedy,” from another novelty song of the same name that came out on the 1962 album Here They Are by The Goldcoast Singers. That tune depicts a comical draft-board scenario where some shaggy rock & rollers beg President John F. Kennedy not to induct them into the army. Since these lyrics were modified for the film, the new songwriting credit shows original writers Ed Rush and Ed Cromarty now accompanied by T Bone Burnett, The Coens, and Timberlake.
That’s interesting, because before that song there was a 45 single release of “Please Mr. Kennedy (I Don’t Want To Go)” by Mickey Woods in December 1961 on the Tamla-Motown label, and you can easily hear the similarity between that war-phobic plea and the Coen creation. Credits for that particular tune actually list Berry Gordy, Loucye Wakefield and Ronald Wakefield as the song’s composers — no trace of Messrs. Rush or Cromarty here.
A batch of “recently discovered” song lyrics that Bob Dylan wrote in 1967 for the recording sessions in the basement of Big Pink,The Band’s pink house in West Saugerties (near Woodstock), have been turned over to T Bone Burnett by Dylan for the purpose of making a new album.
However, Dylan himself may not appear on the album. In a press release announcing Burnett’s new Electromagnetic Recordings label, the Basement Tapes project was mentioned in a list of recordings Burnett has planned:
The Basement Tapes…Continued: Bob Dylan’s music publishing company recently discovered lyrics Dylan wrote in 1967 for informal sessions with members of The Band that later became known as The Basement Tapes. Dylan has entrusted Burnett with these lyrics, and early next year – nearly 47 years since the legendary original sessions – Burnett will assemble a select group of contemporary recording artists in the famed Capitol Studios to complete the songs and record them as a band. Fans will experience this historic creative collaboration through an album release, as well as a documentary film and book of photography by award-winning filmmaker and photographer Sam Jones (The Wilco documentary, I Am Trying To Break Your Heart, and his interview show, Off Camera with Sam Jones). Burnett’s association with Bob Dylan began in 1975 when he became a guitarist on Dylan’s famed Rolling Thunder Revue tour.
Now I’m a big T Bone Burnett fan, but this one makes me wonder. What I love about the original Basement Tapes recordings is the ragged quality, and Dylan’s voice, and how The Band supports the songs, and The Band’s background vocals, which fit perfectly with Dylan’s singing.
That said, there are amazing covers of Dylan’s Basement Tapes songs including The Band’s version of “I Shall Be Released,” and more recently, Jim James version of “Goin’ To Acupulco.” So I guess I’ll wait and see how this turns out.
And who know, maybe Dylan himself will put in an appearance.
But what I’m waiting for is an official release of all the Basement Tapes recordings. What a box set that would make. Some on Sony Legacy! Come on Bob! Come on Jeff Rosen! I’m not the only one waiting.
