-
Beiträge
-
nikodemusOh, spring Ol‘ Bob jetzt auch noch auf den springsteenschen Zug gen Obama auf?
Cool, freue mich schon auf ein kitschig buntes Cover mit Bob unterm Sternenhimmel. :lol:
--
Highlights von Rolling-Stone.deOh, du Hässliche! Die 25 schrecklichsten Weihnachtsalben-Cover
Legendäre Konzerte: The Concert For Bangladesh 1971
„Kevin allein zu Haus“: Ein Familienfilm ohne Familie
The Beatles: Wie die Aufnahmen zu „Let It Be“ zum Fiasko wurden
Taylor Swift: Alle 274 Songs im Ranking
Stephen King: Die besten Bücher – Plätze 10-01
Werbungfrankie lee“I Feel A Change Coming On“
Auf jeden Fall der blödeste Dylan-Album-Titel seit „Oh Mercy“ (die ja dann aber doch klasse war).
--
Staring at a grey sky, try to paint it blue - Teenage BlueFantastischer Albumtitel.
--
Ohne Musik ist alles Leben ein Irrtum.Naja. Bissi arg plakativ.
--
Bis eine(r) heult.............. Contre la guerreBob Dylan hat das Plakative ja immer abgelehnt…
--
Ohne Musik ist alles Leben ein Irrtum.Mojo Preview:
New Dylan Album: Our First Listen!
ESTERDAY, MOJO HEARD seven of what may turn out to be ten or eleven Bob Dylan originals to be released by Columbia Records in April, possibly the week of the 27th in the U.S. and Europe. The album is not yet titled and final track selection, sequence and artwork are still being finalized. Sources confirm what many have already heard: French filmmaker Olivier Dahan, who directed La Vie En Rose, the blood-on-the-tracks biopic of Edith Piaf, asked Dylan to contribute something to My Own Love Song, a road movie starring Forest Whitaker and Renee Zellweger about a wheelchaired singer and pal who travel cross-country to Memphis. Bob offered up Life Is Hard, a gorgeous ballad with a descending melody line that is reminiscent of the Bing Crosbyish, early 20th Century pop that Bob displayed on both „Love And Theft“ and Modern Times.
Although the facts remain a mystery, evidently Dylan had more to say, more to write, or simply had accumulated enough songs for a new album. It took him four years to follow 1997’s Time Out Of Mind with 2001’s „Love And Theft“, and five twixt Love… and ’06’s Modern Times, so no-one expected a new one so quickly. Details are sketchy about precise recording dates and personnel but sources say that Jack Frost (Dylan’s nom de studio) produced and the line-up features Bob on guitar and keys as well as his road band and David Hidalgo from Los Lobos on accordion. Other possible contributors have been floated but have not been confirmed.
Your correspondent first heard of the possible existence of an album of new material on Dylan encyclopaedist Michael Gray’s blog on January 22. The rumour quickly made the rounds of Bobsites, forcing sceptics to point to the alleged April release date as proof that this was an April Fool’s joke. As recently as March 10, one naysayer posted on the New Yorker website that guesswork about the album’s title was „the strongest evidence there won’t be an album.“ After checking with a friend of Bob’s who confirmed the rumour, arrangements were made with the appropriate gatekeepers. Drugged, blindfolded, and forced to switch transportation periodically, I awoke on a tropical island in a bamboo hut, sparsely outfitted with a lone stereo. Here’s what I heard:
1) Beyond Here Lies Nothin‘ – A minor chord mid-tempo rocker. Like all the tracks and like Bob’s last two albums, it’s got a big, full, raucous, rocking sound, making the case that Jack Frost is indeed Bob Dylan’s finest producer since the ’60s and ’70s. Likewise, his voice packs a punch; not the thin, reedy instrument that occasionally detracts during live sets. He’s enunciating the lyrics with a fire and intensity we didn’t hear on Modern Times. Hidalgo’s soulful squeezebox is omnipresent here – and everywhere else.
2) Life Is Hard – The song that possibly buzzed his muse and encouraged him to write the others. „I need strength to fight that world outside,“ and „I’m on my guard / Admitting life is hard / Without you baby“ are lines that leapt out in a paean to the notion that two are better equipped to weather tragedy than one. A forlorn twinkling mandolin and mournful pedal steel accentuate the deep blue lyrics.
3) My Wife’s Hometown – Chicago blues has always been a huge influence on Dylan. From Bringing It All Back Home up through his most recent work, the ghosts of Chess Studios lurk inside the man from Minnesota. This one’s reminiscent of Muddy Waters‘ I Love The Life I Live, I Live The Life I Love. Job loss is referenced (a topical theme, you may have heard), but Bob’s black humour is in cheeky abundance: „I just want to say that hell’s my wife’s hometown“ and „I’m pretty sure she’ll make me kill someone,“ Bob sings and then laughs demonically at the end. Man, he’s enjoying himself.
4) Forgetful Heart – Lots of tunes in minor keys on this record, including this one. A neat banjo barely audible in the mix and one of The Master’s best lines ever: „The door is closed for evermore / If indeed there ever was a door.“
5) Shake Shake Mama – More Chi-town chugga-lugga. Some artists retreat to servile reasonableness and bourgeois banality as they get older. Not Bob. He got Las Vegas out of his system at Budokan. „I’m motherless / I’m fatherless / Almost friendless too,“ he growls and you believe him.
6) I Feel A Change Coming On – Like Spirit On the Water from Modern Times, this one possesses a blithe jaunt and gorgeous melody. As in all his recent work, there are intimations of mortality („And the last part of the day is already gone“) but there’s a devil-may-care wistfulness and a frisky sexuality in both lyrics and phrasing. Best lines: „I’m listening to Billy Joe Shaver / I’m reading James Joyce / Some people they tell me / I’ve got the blood of the land in my voice.“
7) It’s All Good – Propelled by a John Lee Hooker boogie rhythm with a stinging slide guitar, here’s Dylan taking on human woes: social, political, personal. He itemizes crimes ranging from „politicians tellin‘ lies“ to environmental illness („a teacup of water is enough to drown“), urban degradation, murder and adultery and sarcastically and scathingly responds to each in the chorus with that hideous New Age cliché referenced in the title. More proof that Bob never really stopped writing „protest songs“.
Other song titles that I didn’t hear but have been mentioned elsewhere include If You Ever Go To Houston and This Dream Of You. Yet what I heard offered ample proof of an artist steeped in the past but thoroughly living in the present, cognizant of everything, not afraid to point fingers or laugh at fools or fall in love.
It’s a powerful personal work by a man who still thinks for himself in an era of fear, conformity, and dehumanization. That it rocks mightily makes the message even more compelling. Whatever the hell it gets called, it’ll be in the running for Best Album Of 2009.
Michael Simmons
--
Yes!
Das klingt doch vielversprechend!Ich hoffe allerdings auch auf ein paar ruhige Nummern. Die waren zuletzt immer besonders stark!
--
Eigentlich bin ich anders, ich komme nur selten dazu.Der Titel des neuen Albums wird übrigens „TOGETHER THROUGH LIFE“ heißen. Wurde soeben auf amazon.com bestätigt.
--
Slightly better!
--
Staring at a grey sky, try to paint it blue - Teenage BlueclintDer Titel des neuen Albums wird übrigens „TOGETHER THROUGH LIFE“ heißen. Wurde soeben auf amazon.com bestätigt.
Auf ISIS wird es auch kolportiert:
http://www.bobdylanisis.com/Dylan%20Digest.htmEindeutiges wohl erst Anfang nächster Woche. Dann wissen wir auch,
wie das Teil aussehen wird und wieviel verschiedene Versionen auf den
Markt kommen. Ein Fan mutmaßt Folgendes: „A two-disc “deluxe edition”
is promised. Perhaps the extra disc is a DVD of Bob sitting around and
wondering what to name the thing.“ :lol:Jetzt könnte man übrigens auch den Thread-Titel anpassen, oder?!
--
Free Jazz doesn't seem to care about getting paid, it sounds like truth. (Henry Rollins, Jan. 2013)j.w.Slightly better!
Schade. Der andere Titel hätte mir deutlich besser gefallen.
--
Lately I've been seeing things / They look like they float at the back of my head room[/B] [/SIZE][/FONT]
--
i bleed green[/I][/SIZE] [/FONT]Ja, der andere Titel war eindeutig besser.
--
Krimis, Thriller und Urban Fantasy - weitere Infos unter www.soeren-prescher.deBob Dylan talks about the new album with Bill Flanagan
A lot of this album feels like a Chess record from the fifties. Did you have that sound in your head going in or did it come up as you played?
Well some of the things do have that feel. It’s mostly in the way the instruments were played.
You like that sound?
Oh yeah, very much so. . . the old Chess records, the Sun records. . . I think that’s my favorite sound for a record.
What do you like about that sound?
I like the mood of those records – the intensity. The sound is uncluttered. There’s power and suspense. The whole vibration feels like it could be coming from inside your mind. It’s alive. It’s right there. Kind of sticks in your head like a toothache
Do you think the Chess brothers knew what they were doing?
Oh sure, how could they not? I don’t think they thought they were making history though.
Did you ever meet Howlin’ Wolf? Muddy Waters?
I saw Wolf perform a few times but never met him. Muddy I knew a little bit.
I suspect that a lot of men will identify with MY WIFE’S HOME TOWN. Do you ever get in hot water with your in-laws over your songs?
No not really. The only person it could matter to gets a kick out of it. That song is meant as a compliment anyhow.
Do relatives come up to you at cookouts and ask when you’re going to write a song for THEM?
Oh yeah, one of my uncles’ wives used to pester me all the time, “Bobby, when are you gonna write a song about me … put me on the radio?” It would make me uncomfortable.
How would you get out of it?
I’d say, „I already did Auntie. You’re just not listening to the right stations.“
Do you have a picture in your head of where these songs take place? Where is the guy in LIFE IS HARD standing when he sings that song?
Well the movie’s kind of a road trip from Kansas City to New Orleans. The guy’s probably standing along the way somewhere.
Movie?
Yeah.
Right, you mentioned something about that before. How did you get involved?
The French director, Olivier Dahan, approached me about composing some songs for a film he was writing and directing.
When was that?
I can’t remember exactly, it was sometime last year.
What did you find intriguing about that? You must get approached for movie songs all the time.
I had seen one of his other movies, the one about the singer Edith Piaf, and I liked it.
What’s this new one about?
It’s kind of a journey. . . a journey of self discovery. . . takes place in the American South
Who’s in it?
At the time we were talking I didn’t know who was going to be in it. I think Forest Whitaker and Renee Zellweger are in it now.
And he wanted you to do the soundtrack?
Yeah, pretty much. But he wasn’t too specific. The only thing he needed for sure was a ballad for the main character to sing towards the end of the movie. And that’s the song LIFE IS HARD.
Were all the songs on this record written for the movie then?
Well no, not really. We started off with LIFE IS HARD and then the record sort of took its own direction.
The new record’s very different from Modern Times which was a number one hit. It seems like every time you have a big hit, the next time out you change things around. Why don’t you try to milk it a little bit?
I think we milked it all we could on that last record and then some. We squeezed the cow dry. All the Modern Times songs were written and performed in the widest range possible so they had a little bit of everything. These new songs have more of a romantic edge.
How so?
These songs don’t need to cover the same ground. The songs on Modern Times songs brought my repertoire up to date, and the light was directed in a certain way. You have to have somebody in mind as an audience otherwise there’s no point.
What do you mean by that?
There didn’t seem to be any general consensus among my listeners. Some people preferred my first period songs. Some, the second. Some, the Christian period. Some, the post Colombian. Some, the Pre-Raphaelite. Some people prefer my songs from the nineties. I see that my audience now doesn’t particular care what period the songs are from. They feel style and substance in a more visceral way and let it go at that. Images don’t hang anybody up. Like if there’s an astrologer with a criminal record in one of my songs it’s not going to make anybody wonder if the human race is doomed. Images are taken at face value and it kind of freed me up.
In what way?
Well for instance, if there are shadows and flowers and swampy ledges in a composition, that’s what they are in their essence. There’s no mystification. That’s one way I can explain it.
Like a locomotive, a pair of boots, a kiss or the rain?
Right. All those things are what they are. Or pieces of what they are. It’s the way you move them around that makes it work.
http://www.bobdylan.com/#/conversation?page=1--
:sonne:Yippie-ay-yeah…endlich gute Nachrichten.:sonne: Komme ich vielleicht aus dem winterlichen dunklen Doom-Loch wieder raus.:sonne:
--
So mister D. J. ...play just one for me. You know the one...with the crashin' and the screams.[/FONT][/FONT]
Du musst angemeldet sein, um auf dieses Thema antworten zu können.