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A guitar used by Bob Dylan during his 1975 Rolling Thunder Revue tour has been sold at an auction $396,000.
The auction for the 1963 Martin D-28 acoustic guitar the estimate by nearly $100,000, and was sold by Dylan’s guitar repairman, Larry Cragg who had purchased it from the man in 1977. The guitar was also notably played by Dylan during George Harrison’s a Concert For Bangladesh in New York.
"I Shall Be Released" Dylan with Happy Traum [recorded 24 Oct. 1971, "Columbia Studio "B"", West 54th St. New York City]
A Recording Session with Bob Dylan
Happy Traum - Wednesday, October 21, 2015
Just about 40 years ago, in October of 1971, I got a call from Bob Dylan asking me if I'd like record some songs with him for his "Greatest Hits, Volume II" compilation. Could I do it tomorrow, and would I bring my guitar and banjo -- and, oh yeah, how about a bass, too? (Never mind that I didn't own a bass, and had never played one in public before. I borrowed one -- fast.)
Now I realize that for most fair-to-middlin' guitar fingerpickers the odds of getting a call like this are about as likely as John Glenn calling to see if you'd like a seat on the next space shuttle, but I was fairly casual about the whole thing. You see, I had been friends with Bob since the early sixties, and had already recorded a song with him on a Folkways recording called "Broadsides, Vol. I." Of course, that was when he was recording his first lp for Columbia; now he was the best-known singer/songwriter in the world! Nevertheless, as neighbors in Woodstock, NY, we often picked together informally, so it wasn't a great leap to take what we had been doing in the living room into the studio. But was I excited? You bet I was!
So, laden with all sorts of instruments, I took the bus from Woodstock to New York City and made my way to the Columbia studios on West 54th Street. To my surprise, the entire session consisted of just Bob and me (and the engineer) in the big, nearly-empty studio. The first song Bob suggested was "Only a Hobo," one of the tunes he had recorded eight years earlier (as "Blind Boy Grunt") on our "Broadsides" session. The machines were turned on, Bob started playing, and I followed along as best I could. After two takes it was obvious that it wasn't coming together, so Bob dropped the song.
Fortunately, the next one, "I Shall Be Released," immediately caught the right spirit and we relaxed into the music. We started the song with a slightly more bouncy feel than I had heard on the Band's famous recording of the song, and it fit right into the bluesy fingerpicking style that I have always favored. Bob played it in A, so I capoed up to the fifth fret and played out of the E position, accenting the ends of lines with bass note hammer-ons and sliding 6ths and pull-offs in the treble. I joined in singing on the chorus, and before I knew it Bob was grinning and we were on to the next song. Now I was starting to have a good time!
I had heard "Down in the Flood" in bits and pieces during the Basement Tapes sessions, but the version that we did at this recording was totally impromptu -- at least for me. It's a blues in G, so it wasn't hard to find some things to play. Again, Bob was strumming the rhythm with his flatpick, so I just tried to compliment his singing with some sliding licks and bluesy, fingerstyle fills on the high strings. The whole thing went by so fast that I didn't realize it was a take until we played it back.
Finally, we cut what turned out to be my favorite of that day's session, "You Ain't Going Nowhere." Bob set the pace with a strong rhythmic strum, and I tried to give the tune a rollicking, joyous feel with a frailing banjo part. I think it worked. We nailed it in two takes, singing and playing together, again with no previous rehearsal. After listening to it we decided it needed a little extra kick, so I made my debut as a bassist. I must admit it was a pretty visible way to start playing in public, but Bob and the engineer seemed to like what I did so my part stayed in. Not long after that session, Bob invited me to play bass on a date he was producing for Allen Ginsberg, so my career as a bassist stayed high-profile for a little while longer before disappearing into a merciful obscurity.
As I re-listen to the CD today I can still hear the informal, home-style picking that so many listeners have told me they like about those particular performances. There's a relaxed intimacy there that I like to think is partly due to our friendship, and to the many occasions in which we sat around the house playing the old songs. Of course, much of it was due to Bob's studio technique at the time: establish a good "feel," play the song as if you really mean what you're singing about, and get it in one or two takes. If you need more than that, it's not happening, so move on. It's a way of working that has created some unbelievably great recorded performances over the years, and I have always been incredibly proud to have been a part of these three.
Dylan / Traum "You Ain't Goin' Nowhere" outtake: [24 Oct. 1971 - Columbia Studio B - New York, NY]
BOB DYLAN: "Visions of Johanna" + "Like a Rolling Stone" + great book WATCH
what a great book!! scores of articles from luminaries such as John Peel [reporting on BD's Oct. '87 Wembley, UK gig] to Allen Ginsberg [3 poems].
#wikileaksBob Dylan ignoring his Nobel Prize is a fabulous statement on Sweden (Assange persecutor) + politically motivated Nobel Peace Prize
BOB DYLAN LIVE 1966 "LIKE A ROLLING STONE" 17 MAY 1966
Once upon a time you dressed so fineThrew the bums a dime in your prime, didn't you? People call say 'beware doll, you're bound to fall' You thought they were all kidding you You used to laugh about Everybody that was hanging out Now you don't talk so loud Now you don't seem so proud About having to be scrounging your next meal
How does it feel, how does it feel? To be without a home Like a complete unknown, like a rolling stone
Ahh you've gone to the finest schools, alright Miss Lonely But you know you only used to get juiced in it Nobody's ever taught you how to live out on the street And now you're gonna have to get used to it You say you never compromise With the mystery tramp, but now you realize He's not selling any alibis As you stare into the vacuum of his eyes And say do you want to make a deal?
How does it feel, how does it feel? To be on your own, with no direction home A complete unknown, like a rolling stone
Ah you never turned around to see the frowns On the jugglers and the clowns when they all did tricks for you You never understood that it ain't no good You shouldn't let other people get your kicks for you You used to ride on a chrome horse with your diplomat Who carried on his shoulder a Siamese cat Ain't it hard when you discovered that He really wasn't where it's at After he took from you everything he could steal
How does it feel, how does it feel? To have you on your own, with no direction home Like a complete unknown, like a rolling stone
Ahh princess on a steeple and all the pretty people They're all drinking, thinking that they've got it made Exchanging all precious gifts But you better take your diamond ring, you better pawn it babe You used to be so amused At Napoleon in rags and the language that he used Go to him now, he calls you, you can't refuse When you ain't got nothing, you got nothing to lose You're invisible now, you've got no secrets to conceal
How does it feel, ah how does it feel? To be on your own, with no direction homeLike a complete unknown, like a rolling stone
"Visions of Johanna"is a song written and performed by Bob Dylan on his 1966 album Blonde on Blonde. Dylan first recorded the song in New York City in November 1965, under the working title of "Freeze Out", but was dissatisfied with the results. When the Blonde on Blonde recording sessions moved to Nashville in February 1966, Dylan attempted the composition again with different musicians, and decided to release this performance. All the alternate versions of the song have been officially released, but some only on a limited edition collectors set: many of them are November 1965 or later 1966 studioouttakes, and two others live performances from his 1966 world tour. Several critics have acclaimed "Visions of Johanna" as one of Dylan's highest achievements in writing, praising the allusiveness and subtlety of the language. Rolling Stone included "Visions of Johanna" on their list of the 500 Greatest Songs of All Time. In 1999, Sir Andrew Motion, poet laureate of the UK, listed it as his candidate for the greatest song lyric ever written. Numerous artists have recorded cover versions of the song, including the Grateful Dead, Marianne Faithfulland Robyn Hitchcock. continues @ https://en.wikipedia.org/wiki/Visions_of_Johanna
From the most bootlegged concert of all time - The Royal Albert Hall Concert, with Bob Dylan and members of "The Band", actually recorded on May 17th, 1966 at Free Trade Hall in Manchester, England, a legendary concert and a landmark in Dylan's career as a document of his making the bold move from acoustic folk music to electric rock. The move was controversial, the audience response was mixed, but above all, the performances were riveting. Famous for the often angry response of the crowd, this recording captures all of the stomping, booing and even the now famous cry of "Judas" from the audience (and Dylan's equally famous retort) in "Ballad of a Thin Man", below...
2 BOB DYLAN LIVE 1966 "BALLAD OF A THIN MAN" MAY 17 1066
You walk into the room With your pencil in your hand You see somebody naked And you say, "Who is that man ?" You try so hard But you don't understand Just what you'll say When you get home.
Because something is happening here But you don't know what it is Do you, Mister Jones ?
You raise up your head And you ask, "Is this where it is ?" And somebody points to you and says "It's his" And you says, "What's mine ?" And somebody else says, "Where what is ?" And you say, "Oh my God Am I here all alone ?"
But something is happening here But you don't know what it is Do you, Mister Jones ?
You hand in your ticket And you go watch the geek Who immediately walks up to you When he hears you speak And says, "How does it feel To be such a freak ?" And you say, "Impossible" As he hands you a bone.
And something is happening here But you don't know what it is Do you, Mister Jones ?
You have many contacts Among the lumberjacks To get you facts When someone attacks your imagination But nobody has any respect Anyway they already expect you To all give a check To tax-deductible charity organizations. You've been with the professors And they've all liked your looks With great lawyers you have Discussed lepers and crooks You've been through all of F. Scott Fitzgerald's books You're very well read It's well known.
But something is happening here And you don't know what it is Do you, Mister Jones ?
Well, the sword swallower, he comes up to you And then he kneels He crosses himself And then he clicks his high heels And without further notice He asks you how it feels And he says, "Here is your throat back Thanks for the loan".
And you know something is happening But you don't know what it is Do you, Mister Jones ?
Now you see this one-eyed midget Shouting the word "NOW" And you say, "For what reason ?" And he says, "How ?" And you say, "What does this mean ?" And he screams back, "You're a cow Give me some milk Or else go home".
Because something is happening But you don't know what it is Do you, Mister Jones ?
Well, you walk into the room Like a camel and then you frown You put your eyes in your pocket And your nose on the ground There ought to be a law Against you comin' around You should be made To wear earphones.
Does something is happening And you don't know what it is Do you, Mister Jones
VISIONS OF JOHANNA LIVE 17 MAY 1966
"Visions Of Johanna"
Ain't it just like the night to play tricks when you're tryin' to be so quiet ? We sit here stranded, though we're all doing our best to deny it And Louise holds a handful of rain, tempting you to defy it Lights flicker from the opposite loft In this room the heat pipes just cough The country music station plays soft But there's nothing really nothing to turn off Just Louise and her lover so entwined And these visions of Johanna that conquer my mind.
In the empty lot where the ladies play blindman's bluff with the key chain And the all-night girls they whisper of escapades out on the D-train We can hear the night watchman click his flashlight Ask himself if it's him or them that's really insane Louise she's all right she's just near She's delicate and seems like the mirror But she just makes it all too concise and too clear That Johanna's not here The ghost of electricity howls in the bones of her face Where these visions of Johanna have now taken my place.
Now, little boy lost, he takes himself so seriously He brags of his misery, he likes to live dangerously And when bringing her name up He speaks of a farewell kiss to me He's sure got a lotta gall to be so useless and all Muttering small talk at the wall while I'm in the hall Oh, how can I explain ? It's so hard to get on And these visions of Johanna they kept me up past the dawn.
Inside the museums, Infinity goes up on trial Voices echo this is what salvation must be like after a while But Mona Lisa musta had the highway blues You can tell by the way she smiles See the primitive wallflower frieze When the jelly-faced women all sneeze Hear the one with the mustache say, "Jeeze I can't find my knees." Oh, jewels and binoculars hang from the head of the mule But these visions of Johanna, they make it all seem so cruel.
The peddler now speaks to the countess who's pretending to care for him Saying, "Name me someone that's not a parasite and I'll go out and say a prayer for him." But like Louise always says "Ya can't look at much, can ya man."
As she, herself prepares for him And Madonna, she still has not showed We see this empty cage now corrode Where her cape of the stage once had flowed The fiddler, he now steps to the road He writes everything's been returned which was owed On the back of the fish truck that loads While my conscience explodes The harmonicas play the skeleton keys and the rain And these visions of Johanna are now all that remain.
BOB DYLAN "ITS ALL OVER NOW BABY BLUE""SHE BELONGS TO ME" LIVE UK 1966
Track Listing of official Vol. 4 dcd:
Disc 1 acoustic
1 She Belongs To Me 2 Fourth Time Around 3 Visions Of Johanna 4 It's All Over Now, Baby Blue 5 Desolation Row 6 Just Like A Woman 7 Mr. Tambourine Man
Disc 2 electric
1 Tell Me, Momma 2 I Don't Believe You (She Acts Like We Never Have Met) 3 Baby, Let Me Follow You Down 4 Just Like Tom Thumb's Blues 5 Leopard-Skin Pill-Box Hat 6 One Too Many Mornings 7 Ballad Of A Thin Man 8 Like A Rolling Stone
Friday, 5 May 2017
8pm BOB DYLAN BOURNEMOUTH UK 4 MAY 2017 + leaving LONDON PALLADIUM 30 April 17
8pm BOB DYLAN BOURNEMOUTH UK 4 MAY 2017
and that was that!!!from dlp Greatest Hits Vol. 2, 1972 [the blue cover one] - see more rare Dylan, inc. him leaving the London Palladium [below] during this same UK Spring 2017 tour - i tried to film his 4 May 17 Bournemouth gig, but the wanna-be security oafs were so useless they tried to throw me out when i tried to record. £85 - for what? i began listening to Dylan when i was 12 years old, buying his 1st greatest hits lp costing 13 shillings and sixpence - and they try to tell a life long Dylan fan he can't record a few songs at an expensive concert?> WTF?
below: Dylan's 2nd encore 4 May 17, at the Bournemouth B.I.C.: "Ballad of a Thin Man" =
...the 3rd encore, same song, the sound as bad as it was at Bournemouth as shown here 3 May @ Cardiff =
Bob Dylan - Ballad Of A Thin Man - Encore (Live 3rd May 2017, Cardiff)
Bob Dylan's group arriving at The London Palladium 30 04 2017 . John Denny TV John Denny TV
Bob Dylan and his group leaving London Palladium 30 04 2017 fair use policy (1)
"Greatest Hits Vol. 2", 1972
what a great book!! scores of articles from luminaries such as John Peel [reporting on BD's Oct. '87 Wembley, UK gig] to Allen Ginsberg [3 poems].
