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Erstaunlich, ich halte das alles für zweitklassige Touren von Dylan.
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Werbungnail75Erstaunlich, ich halte das alles für zweitklassige Touren von Dylan.
Ich hatte das Glück ihn tatsächlich noch singen zu hören dürfen…
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Staring at a grey sky, try to paint it blue - Teenage BlueWahrscheinlich kommt das alles sowieso noch.
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l'enfer c'est les autres...Bob Dylan: Rough and Rowdy Ways review – a testament to his eternal greatness
★★★★★Full of bleak and brooding rhythm and blues, Rough and Rowdy Ways reveals Dylan at his lyrical best
In recent weeks, musicians have come up with an impressive variety of ways to keep their fans amused during lockdown. There have been online listening parties and Q&As, free guitar lessons via Instagram, live performances beamed direct from bedrooms, DJ sets and kitchen discos. But no artist has risen to the task of keeping their audience occupied quite like Bob Dylan. A crowdpleaser only insofar as the crowd he attracts would be pleased whatever he did – a significant proportion of his latter-day audience are so partisan you get the feeling they’d be sent into paroxysms of ecstasy if he stood on stage with a comb and paper for two hours – it goes without saying that his approach hasn’t involved any kind of chummy online interaction: he simply released three new songs. An artist who’s quite literally said nothing new for the last eight years (his last three albums have been comprised entirely of covers from the Great American Songbook, the rest of his release schedule made up of archival recordings), he suddenly turned very loquacious indeed, unleashing a series of dense, allusive tracks packed with thorny references to art, literature and pop culture.
The first, Murder Most Foul, went on for 17 minutes and sounded unlike anything he had previously recorded, a recitation set to a haze of piano, violin and lightly struck drums. The second, I Contain Multitudes, was significantly shorter and more conventional – a delicate, percussion-free ballad – but still contained enough lyrical heft to provoke news stories: within a week of its release, the British press was triumphantly reporting that someone had cracked the mention of the Irish village of Ballinalee in its first verse, tapping a Harvard professor to attest that it was a reference to the work of a blind 18th-century poet called Antoine Ó Raifteirí. The third, False Prophet, was a ferocious blues song, the latest in a series of adaptations of other artists’ material that stretches back to the dawn of Dylan’s career: this time a 1954 B-side by Billy “The Kid” Emerson, an obscure R&B singer-songwriter once signed to Sun Records. In the lyrics, meanwhile, the search for the Holy Grail jostled for space with characters from old rock’n’roll songs – Ricky Nelson’s Mary Lou, Jimmy Wages’ Miss Pearl – recast in the role that Virgil played in Dante’s Inferno: “fleet-footed guides from the underworld”. Clearly, the task of unpicking everything that was going on in the lyrics would keep Dylanologists indoors long after lockdown ended.
Perhaps more importantly, they were the kind of Dylan songs that brooked very little argument about their quality, the kind of Dylan song you could play to a Dylan agnostic as testament to his continued greatness. This is a category of material that’s been a little thinner on the ground on his latest albums than their more hysterical reviews would suggest: for all the hosannahs thrown in its direction, it was entirely possible to listen to 2012’s Tempest and be alternately thrilled by the furious power of Pay in Blood and faintly mortified by Roll on John, a Lennon tribute that strung Beatles lyrics together in a way that would make Noel Gallagher blush.
Happily, the standard set by the three tracks that heralded its arrival is kept up all the way through Rough and Rowdy Ways. The musical abstraction of Murder Most Foul turns out to be a feint: tellingly it occupies a separate disc to the rest of the album when the whole thing could easily have fitted on one CD. The rest almost exclusively deals in music that hails from the era before Dylan showed up and changed everything: with the possible exception of the lambent penultimate track, Key West (Philosopher Pirate), which carries a faint hint of The Basement Tapes about its sound – albeit with an accordion filling the space Garth Hudson’s organ would have done – everything else feels directly rooted in the 50s or earlier. There’s a lot of rhythm and blues, while I’ve Made Up My Mind to Give Myself to You sets its utterly beautiful descending melody to a sound that carries traces of both small-hours doo-wop and pre-rock’n’roll pop. The musical inspiration behind Goodbye Jimmy Reed is obvious from its title, but by the third verse, Dylan doesn’t seem to be talking about the titular bluesman so much as himself when forced to face down the various expectations that audiences have attached to him virtually from the moment he first appeared: “They threw everything at me, everything in the book … they had no pity, they wouldn’t lend a hand, I can’t sing a song I don’t understand.”</div>
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These are musical areas in which Dylan has worked for years. What sets Rough and Rowdy Ways apart from Tempest or 2006’s Modern Times is the sheer consistency of the songwriting; there’s nothing here that sounds like dashed-off filler, nothing that doesn’t hit home. Dylan nuts have a great line in telling you how hilarious lyrics that seem capable of raising at best a wry smile are – “Freddie or not, here I come”, “I’m not dead yet, my bell still rings” etc – but My Own Version, in which the protagonist turns Frankenstein and builds himself a lover out of bits of corpses, is packed with genuinely funny lines amid the references to Shakespeare, Homer’s Iliad, Bo Diddley and Martin Scorsese, as well as a curious interlude during which Freud and Marx are depicted as “enemies of mankind” burning in hell: “All through the summers into January, I’ve been visiting morgues and monasteries … if I do it right and put the head on straight, I’ll be saved by the creature that I create.”This is obviously humour of a dark hue: if Tempest’s prevalent mood was one of murderous fury, then here it’s brooding menace and imminent doom. It’s there in the music – the weird tension in Crossing the Rubicon’s muted R&B shuffle and the way the backing on Black Rider keeps lapsing into ominous silence. You lose count of the lyrical references to judgment day and Armageddon, of the mysterious characters that keep cropping up with malevolence on their minds: “I can feel the bones beneath my skin and they’re trembling with rage, I’ll make your wife a widow, you’ll never see middle age,” he sings on Crossing the Rubicon. Of course, grouchily informing the world that everything is turning to shit has been one of Dylan’s prevalent songwriting modes for a quarter of a century – it’s the thread that binds Not Dark Yet, Things Have Changed, Ain’t Talkin’ and Early Roman Kings, among others – but this time the message seems to have shifted slightly: if you think everything has turned to shit now, Rough and Rowdy Ways keeps insisting, just you wait.
This isn’t perhaps the most comforting communique to issue in the middle of a global pandemic, but then the man behind it has seldom dealt in soothing reassurance. And besides, it doesn’t matter. For all its bleakness, Rough and Rowdy Ways might well be Bob Dylan’s most consistently brilliant set of songs in years: the die-hards can spend months unravelling the knottier lyrics, but you don’t need a PhD in Dylanology to appreciate its singular quality and power.
zuletzt geändert von livin-thing68--
nail75Ich brauche weder eine 78er noch eine 74er Box, ich wünsche mir endlich mal eine gescheit kuratierte Ausgabe der Never Ending Tour meinetwegen mit einem Multi-Disk-Set für jedes Jahr. Viel interessanter und kreativer als 74 und 78 – meiner Meinung nach.
Ich glaube, eine Box der Never Ending Tour stellst Du Dir besser selbst zusammen. Bei Expecting Rain kannst Du ja sowieso fast jeden Auftritt der letzten 30 Jahre downloaden und oft in ziemlich guter Qualität. Und einige Fans haben dort ja auch selbst Kompilationen zusammengestellt. Dylan hat im Rahmen der NET ja über 3000 Konzerte gespielt. Letztlich wird es da für eine Offizielle Bootleg Series zu unübersichtlich, fürchte ich. Aber was die Qualität angeht, gebe ich Dir Recht. Für mich sind viele Jahre, ganz besonders das Jahr 2000 um vieles besser als die alten Tourneen. Ich bin auch kein Fan von 1974 und selbst die „Rolling Thunder Revue“ Box reisst mich nicht so mit wie andere hier. Dann lieber ein paar komplette Konzerte mit den Grateful Dead (aber die gibt es ja auch in exzellenter Qualität im Netz).
Allerdings habe ich selbst erst kürzlich festgestellt, dass es 1978 wirklich tolle Auftritte gab, z.B. in Paris im Juli. Die Aufnahmen aus dem Budokan waren ja vom Tourauftakt und die finde ich ziemlich schwach.
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Allerdings habe ich selbst erst kürzlich festgestellt, dass es 1978 wirklich tolle Auftritte gab, z.B. in Paris im Juli. Die Aufnahmen aus dem Budokan waren ja vom Tourauftakt und die finde ich ziemlich schwach.Hier auch, von daher bin ich gespannt, wie Dylan 1978 wirklich geklungen hat, bzw wenn er besser drauf war als im Budokan.
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If you talk bad about country music, it's like saying bad things about my momma. Them's fightin' words.Bob Dylan ***1/2
The Freewheelin‘ Bob Dylan *****
The Times They Are A-Chanin‘ ****1/2
Another Side of Bob Dylan ****1/2
Bringing It All Back Home/Subterraean Homesick Blues *****
Highway 61 Revisited *****
Blonde on Blonde *****
The Basement Tapes ****
John Wesley Harding ****
Nashville Skyline ****1/2
Self Portrait ***1/2
New Morning ****
Planet Waves ****1/2
Blood On The Tracks *****
Hard Rain ****
Street Legal ****
At Budokan **1/2
World Gone Wrong ****
Rough & Rowdy Ways ****1/2Bootleg Series Vol. 1-3: Rare and Unreleased 1961-1991 *****
Bootleg Series Vol. 4: Live 1966 *****
Bootleg Series Vol. 9: The Witman Demos 1962-1964 *****
Bootleg Series Vol. 14 : More Blood, More Tracks *****Interessant was Du auslässt!
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h8g7f6Interessant was Du auslässt!
Bin da noch längst nicht komplett und habe nur aufgenommen, was hier auch bei mir steht.
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