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Beiträge
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Ich lass mich einfach überraschen.
Aber eine Frage hätte ich dann doch. Ist dieser Keyboard-Orgelsound dabei, den der Bobby auf seiner Tour hat?--
Highlights von Rolling-Stone.deSo klingen die größten Schlagzeuger ohne ihre Band
Welches Equipment verwenden eigentlich…Pink Floyd?
Musikalische Orgasmen: 6 Songs voller Höhepunkte
Dies ist (laut Fans und Kritikern) die beste Folge von „Friends“
Studio-Magier: Die 8 besten Musikproduzenten
So arbeiteten die Beatles am „Weeping Sound“ für das White Album
WerbungDanke, niko! Klappt sogar…
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Sir, I'm going to have to ask you to exit the donut!*Martin*Ich lass mich einfach überraschen.
Aber eine Frage hätte ich dann doch. Ist dieser Keyboard-Orgelsound dabei, den der Bobby auf seiner Tour hat?In den 30-Sekunden-Clips ist davon nichts zu hören.
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tina toledoDanke, niko! Klappt sogar…
Gern geschehen, bin ja selbst dankbar, dass ich sie bekommen hab…
Dass so wenig „organ“-isiert wird auf MT wundert mich sogar…ich dachte Bob dudelt öfters…und ob er selbst Gitarre spielt…Fragen über Fragen…--
and now we rise and we are everywhereCD 2 beinhaltet:
1. Blood In My Eyes
2. Love Sick – Live „Grammy?“ Version
3. Things Have Changed – „Wonder Boys“ Promo Video
4. Cold Irons Bound – Live Video„Modern Times“ erscheint parallel als CD sowie in limitierter Auflage in Deluxe-Austattung incl. Bonus-DVD und erweitertem Booklet.
Quelle: amazon.de
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Ob man diese Extra DVD braucht…alles altbekannt, oder?
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and now we rise and we are everywhere
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Sorry aber wie heisst der Link jetzt nochmal genau, unter dem man sich die Clips anhören kann?
Krieg das irgendwie nicht gebacken.--
Hätte UNCUT in den letzten Monaten nicht die mittelmäßigsten Platten mit 5 Sternen versehen, würde man die Bewertung euphorisch feiern. Und hätte ich nicht Salbe in den Augen, könnte ich wenigstens lesen, ob der Text die Vergabe rechtfertigt.
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Sir, I'm going to have to ask you to exit the donut!Also ich könnte den Text bestimmt lesen, hätte danach aber vermutlich Kopfschmerzen. Schön, dass die UNCUT * * * * * vergibt, aber wie Tina schon richtig anmerkte, dass ist dort echt nix besonderes mehr.
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and now we rise and we are everywhereMojo Track By Track Review
http://static.flickr.com/80/206365608_64487514f1_b.jpg
http://static.flickr.com/91/206382848_f09d986f08_b.jpg--
Sightings
August 10, 2006
Religion in Modern Times
— M. Cooper Harriss
University of Chicago shieldWhile it may not constitute as momentous a cultural event as it would have thirty years ago, Bob Dylan will release Modern Times, a new album of ten original songs, on August 29. Early reports and „leaked“ online audio fragments indicate that Modern Times recalls Dylan’s two recent and highly acclaimed efforts, Time Out of Mind (1997) and Love and Theft (2001), completing what one record executive calls a „trilogy“ of albums on which the aging master (now sixty-five years old) utilizes various genres of American popular song — blues, tin-pan alley, torch ballad, rockabilly, etc. — to ruminate upon the exigencies and absurdities of, well, „modern times.“
Religion looms large in Dylan’s worldview. It always has — most explicitly in his turn to evangelical Christianity in the late 1970s that yielded another „trilogy“ of albums: Slow Train Coming (1979), Saved (1980), and Shot of Love (1981). But scholars and/or practitioners of religion (especially Judaism and Christianity) should find the rest of Dylan’s career no less interesting in this regard. Through biblical allusion (among scores of examples, „All Along the Watchtower“ essentially paraphrases Isaiah 21: 5-9), eschatological orientation („The Times They Are a-Changin'“), and apocalyptic imagery („A Hard Rain’s a-Gonna Fall,“ „Desolation Row,“ and „Angelina“), Dylan has channeled American religious idioms through his words and music to manifest what critic Greil Marcus calls „the old, weird America.“ In recent years, Dylan in concert has performed hymns by Fanny Crosby; in 2000 one could expect to hear „Rock of Ages“ as well as „My Back Pages.“ As Dylan told the New York Times in 1997, „Those old songs are my lexicon and my prayerbook …. All my beliefs come out of those old songs …. I believe in Hank Williams singing ‚I Saw the Light.'“
What, then, shall be the religious orientation of Modern Times? Writer Seth Rogovoy, who attended a secretive, invitation-only „preview“ of the album in New York City, reports: „There are poetic references to prophecy; there is much talk of religion and the moral (or immoral) state of humankind; … there are references to violence, vengeance, and murder, including many phrased in the first person. Perhaps… Dylan has vengeance and murder on his mind at a time when the world is seemingly obsessed with both.“ Thematically Dylan appears to remain interested in the historical weddedness of religion and violence in the American popular imagination. For a songwriter who has engaged „topical“ themes in the past (including civil rights and the Cuban Missile Crisis) there has been no dearth of potential source-material in the form of natural and human-made disaster since the release of his last album on September 11, 2001.
But Dylan’s method has always been more expansive. As the songwriter himself has noted, he has avoided „finger-pointing“ songs in „protest“ of current events for more than forty years. Rogovoy rightly links Modern Times to the current state of domestic and world affairs — the title certainly seems to indicate such a move at first blush — but one wonders if something more is not afoot in Dylan’s reliance upon „traditional“ sources in an album with such a title. „Modern“ not only characterizes the flashing lights of up-to-the-minute Internet „news.“ According to the OED, it also concerns „the current age or period.“ In this way, „modern“ signifies the now of any moment in time, but simultaneously relates to a broader historical context that spans generations. Dylan appropriates this double meaning, giving his „modern“ album of 2006 the same title as Charlie Chaplin’s 1936 film, Modern Times. Furthermore, as recent newspaper headlines make clear, many contemporary expressions of religious violence worldwide relate to older, „traditional“ grievances.
Dylan’s aphoristic definition of „modern times“ as „the New Dark Ages“ in the liner notes to his 1993 album of traditional songs, World Gone Wrong, also conflates „old“ and „new,“ past and present, insisting with Qohelet that there is „no new thing under the sun,“ or with T. S. Eliot that the most arresting quality of the past is frequently its „presence.“ Such notions resonate even more profoundly when one recognizes that the songs slated for Modern Times include „Rollin‘ and Tumblin'“ and „The Levee’s Gonna Break“ — two of at least seven titles that allude to specific phrases from the blues and other American vernacular musical traditions often imbued with religious motifs.
The explicit religious significances of this album remain to be seen. In these weeks before the album’s release, one can only speculate as to how closely these „modern times“ will hew to Dylan’s response when asked in a 1995 interview if he still saw a „slow train coming“ — the eschatological metaphor he employed for his first gospel album of the same title. His response: „It’s picked up quite a bit of speed. In fact, it’s going like a freight train now.“
M. Cooper Harriss is a Ph.D. student in Religion and Literature at the University of Chicago Divinity School.
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Rainy day listen
Bob’s album won’t easily give up its secrets: nor will I
Paul Morley
Sunday August 13, 2006
Observer Music MonthlyI signed a contract, something to do with giving away all my hard-earned privileges and forfeiting my ears if I breathed a word to anyone about what I heard, and this gave me the permission required at this point in history to listen in a darkened room to the new Bob Dylan album.
According to the contract I signed, I’m allowed to tell you that Dylan is a legendary rocker, the album’s called Modern Times, it has 10 tracks, it’s his first new release for five years and it unofficially completes the trilogy begun with Time Out of Mind and Love and Theft. His previous album was released on 11 September 2001, so I figured it’s no wonder they want me to sign a contract before I heard his new one. If Dylan doesn’t make as much instant history as he once did, if he seems in some kind of moody exile from everything else that’s happening in rock, he remains the one true master at turning up out of the blue when the time is right, or wrong, and there’s a sudden change in the weather only he saw coming.
According to the terms of the contract I signed, I’m not allowed to tell you anything that might give the game away, but I guess I can speculate a little without ruining any secrets. Everything about the album, including the title and the cover, is thieved from some source or another, even if that source is himself. I imagine the songs are all about love and death, or the mystery of time, or the fear of loss of reputation, or the final empty monotony of the human experience. They’re probably played on instruments you’ve heard more than a million times before. He’ll be apparently shuffling the same old pack of cards, telling the same crooked story again and again, singing ‚baby‘ a lot, twanging and twitching. The calmly accrued details, the dialogue trails, the ominous warnings, the sly attempts to win some affection, to shed his confusions, to stake his claims, the abrupt way he likes to wander off the edge of a song – at first there will seem nothing new about anything to do with Modern Times
Apart from the already leaked mention of Alicia Keys, there’ll be little he mentions that couldn’t have happened a hundred years ago. Then it will hit you from high above, as Dylan, knowing what he’s up to if not where he is, advances menacingly, from the top of a mountain of memory, and quickly withdraws, round the back of his scrolling imagination, singing like he’s about to die, or about to be born. All this cliche and familiarity will rearrange itself into something diabolically unique. The whole damned thing will be disguised as quaint old yesterday but really be about today, if not tomorrow. Christ, it’s almost like I’ve already heard it, like it actually exists.
I imagine that when the album comes out, he’ll finally slip some of the new tracks into the set of his Never Ending Tour, alongside the ever-changing 15 or so great songs from the great albums that he usually plays. I imagine that the end track, ‚Ain’t Talkin“, will certainly fit in quite nicely among the classic songs he blows into his audiences‘ face like toxic smoke. Already people are talking of it as the greatest final track of all of his albums, which would place it above ‚Desolation Row‘. Just in case this really is his last complete album of songs, he’s no doubt made sure he leaves us with a roguish, indecipherable drama, as if he’s been a ghost all along, a fragmenting figment, more than a prophet, rock star or troubadour. I’m sure that at the end of the song, he’ll be walking out of sight, taking everything he’s ever done with him, rubbing away his tracks, cleaning up the fingerprints, wiping clean our memories, and the last line will be about ‚the world’s end‘.
I’ll tell you all about it when I’m allowed to tell you that I’ve heard it.
· ‚Modern Times‘ (SonyBMG) is released on 28 August
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Bei amazon.com gibt’s ein Video, dass wohl den Extra-Track von der zweiten CD darstellt: Cold Irons Bounds
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If you talk bad about country music, it's like saying bad things about my momma. Them's fightin' words.
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