butlincat's blog - a blog...a seeker of the truth, the whole truth, and nothing but the truth...

butlincat's blog...a seeker of the truth, the whole truth, and nothing but the truth...

This site is shadowbanned, as daily viewing figures prove since March 2018, when before then the figures were 10 times as much as they have been since. "Shadowbanning" is the act of blocking or partially blocking a user or their content from an online community - see more: What is SHADOWBANNING: Twitter: are you shadowbanned? - truther sites are targeted, eg: NewsGuard Launches War on Alternative Media - "Censorship is the tool of those who have the need to hide actualities from themselves and from others." - Charles Bukowski

“As long as justice is postponed we always stand on the verge of these darker nights of social disruption”...so said Martin Luther King Jr. in a speech on March 14, 1968, just three weeks before he was assassinated.

...hello + welcome!....FAIR USE NOTICE: This site may contain copyrighted (© ) material. Such material is made available to advance understanding of ecological, political, human rights, economic, democracy, scientific, moral, ethical, and social justice issues. This constitutes a 'fair use' of any such copyrighted material as provided for in section 107 of the US Copyright Law. In accordance with Title 17 U.S.C. Section 107, this material is distributed for analysis, commentary, educational and intellectual purposes. In some cases comedy and parody have been recognized as fair use.

Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License..... For more information please visit:

http://www.law.cornell.edu/uscode/text/17/107

Targeted? victimised?...been dealt particularly "rough justice"? meet some who have, and still are! VICTIMS OF THE STATE https://butlincat.com/

This blog is for regular updates + info connected to the ILLUMINATI, 911, 7/7, recent UFO sightings, CHEMTRAILS, MORGELLONS [98% OF WORLDS POPULATION HAS MORGELLONS DISEASE, they claim - see #Morgellons & #SmartDust Infect Individuals to be Tracked via Satellite https://www.youtu.be/RvNDk2t8TGk], MIND CONTROL {MK ULTRA.MANNEQUIN etc.}, ELECTRONIC SURVEILLANCE, JOHN LEAR, ALEX COLLIER, PROJECT CAMELOT, PROJECT AVALON, MICHAEL TSARION, JORDAN MAXWELL, PRESTON NICHOLS, AL BIELEK, STEWART SWERDELOW, DUNCAN CAMERON, WILLIAM COOPER, PHIL SCHNEIDER, David Wilcock, FRITZ SPRINGMEIER, BILLY MEIER, MAX IGAN, STEW WEBB, "Democracy Now!", Henry Makow, Linda Moulton-Howe, Dan Burisch, Webster Tarpley, Brother Nathanael, Timothy Good, Miles Johnson, Jim Marrs, John Hutchison, Wikileaks, Julian Assange, Dr. John Hall, Edward Snowden, Vladimir Putin, John Lennon, Bob Zimmerman + many more who can only be described as heroes...

Wordpress: VICTIMS OF THE STATE https://butlincat.com/

Twitter: http://www.twitter.com/butlincat

facebook: https://www.facebook.com/#!/butlin.cat.9

"Do not be deceived, God is not mocked; for whatever a man sows, this he will also reap." Galatians 6:7

......Namaste.....John Graham - butlincat

Jai guru deva om जय गुरुदेव ॐ


Wednesday, 15 November 2017

the great Bob DYLAN - 1975 "ROLLING THUNDER REVUE" GUITAR SELLS FOR $396000 + "I SHALL BE RELEASED" w/Happy Traum + VISIONS etc LIVE + VIDEO

Bob Dylan’s historic 1963 Martin acoustic guitar debuts sell at auction for $396000 - 
 Nov. 11, 2017



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.  
"Greatest Hits Vol. 2", 1972

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].





 Bob 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

From Wikipedia, the free encyclopedia
Jump to: navigationsearch
"Visions of Johanna"
Song by Bob Dylan from the album Blonde on Blonde
ReleasedMay 16, 1966
RecordedFebruary 14, 1966
GenreFolk rock
Length7:30
LabelColumbia
Writer(s)Bob Dylan
Blonde on Blonde track listing
"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 studio outtakesand 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 Motionpoet 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 DeadMarianne 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)       



Published on 30 Apr 2017

.


Thanks to all.

FAIR USE NOTICE: This item may contain copyrighted (© ) material. Such material is made available to advance understanding of ecological, political, human rights, economic, democracy, scientific, moral, ethical, and social justice issues. This constitutes a 'fair use' of any such copyrighted material as provided for in section 107 of the US Copyright Law. In accordance with Title 17 U.S.C. Section 107, this material is distributed for analysis, commentary, educational and intellectual purposes. In some cases comedy and parody have been recognized as fair use.
 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. For more information please visit: 
http://www.law.cornell.edu/uscode/text/17/107
NB: Everything posted on this site conforms to the meaning of the word “alleged” as defined under UK and US Laws and Statutes.