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Bob Dylan Revisited
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Bob Dylan Revisited

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Victor Maymudes and Bob Dylan 1964

Woodstock, N.Y.
Photograph credit Edward A. Chavez.

"During the 1960’s, in Woodstock, where recording artist Bob Dylan had retreated to shield himself from the rigors of world fame, the singer-poet would drop by to chat with Chávez or sit wordlessly to watch the artist at work for hours at a time. There was a lot to learn from this neatly-attired man of dignified bearing; this self-assured channel of creation. Where many artists took art to be a vocation, in itself an enormously demanding dedication, Ed Chávez understood art as self-definition. It was a realization which could not be compromised or altered any more than he could have changed the date and place of his birth."
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Bob Dylan Revisited

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Folk Music Worldwide - Alan Wasser's series of interviews with folk musicians and experts, recorded in 1963-1964

"Folk music is generally simple and human and understandable."


A Radio Show from the Heyday of Hootenanny

"Radio New York Worldwide, WRUL, was a unique animal - a commercial international shortwave radio station, broadcasting all over the globe from studios in midtown Manhattan. That meant we had listeners in many, many countries but no way to get reliable ratings, so advertisers were few and far between.

"Fortunately, that happened to be a period in time when folk music was enjoying a vogue - a sort of genre du jour - with its own hit TV show called Hootenanny. So my new bosses said OK, as long as it didn't interfere with my primary duties as a newsman.

"I was also doing a weekly show called Peace Corps Report, aimed at volunteers all over the world, and frequent interviews and reports from the New York World's Fair which was open at Flushing Meadows that year.

"I recorded 29 episodes of Folk Music Worldwide in total before I moved on to a better job with ABC Radio Network News. For many years afterwards I kept the reel to reel tapes in the back of a closet. In 1991, I converted the tapes to cassettes to free up the space 29 boxes of tape took."

-- Alan Wasser


"If folk music thrills or intrigues you, then you're in for an unusual treat. From 1963 to 1964, a radio show called "Folk Music Worldwide", based in New York City, broadcast interviews of select folk music artists playing and discussing some of their best songs. Audio recordings of these historic interviews are posted below for anyone to enjoy."


Bob Dylan's fans will find references to, and recordings of, Bob Dylan included in these shows.

There are MP3s to stream of all shows, plus several full transcripts. Highlights include:

SHOW #1: Pete Seeger (25 min: 05 sec); April 30 & May 4, 1963.

SHOW #2: Paul Stookey [sic] of Peter, Paul & Mary; 1st of 2 shows (24 min:51 sec); May 7 & 11, 1963.

SHOW #3: Paul Stookey of Peter Paul & Mary; 2nd of 2 shows (23 min:30 sec); May 14, 17 & 21, 1963.…/03-Paul-Stookey-2.mp3

SHOW #7: Israel Young, Director - Folklore Center, NY (22 min:30 sec); June 15 & 18, 1963.

SHOW #9: Gerde's Folk City Hootenanny, 1st of 2 shows (22 min:30 sec); July 6 & 9, 1963. 
MUSIC: Comic folk singer Dick Glass; topical singer Phil Ochs: The Thresher, and the Ballad of William Moore.

SHOW #10: Gerde's Folk City Hootenanny, 2nd of 2 shows (22 min:30 sec); July 13 & 16, 1963. 
MUSIC: Comic folk singer Benny Berman: Two Sailors, The Barefoot King; Roger Sprung & Artie Rose: Old Joe Clark; chat with Mike Porco (owner of Gerde's Folk City); New Wine Singers: Miner's Lifeguard, Going Home.

SHOW #14: Civil Rights Movement Songs with Tom Murray of SNCC, 1st of 2 shows (25 min, 07 sec); August 10, 17 & 20, 1963. 
MUSIC: SNCC Freedom Singers: Freedom Is in the Air; Ain't Gonna Let Nobody Turn Me 'Round; Roy Wilkins' (head of the NAACP) testimony; Peter Paul & Mary: Blowing in the Wind; and Bob Dylan: Blowing in the Wind.

SHOW #17: John Cohen, New Lost City Ramblers (23 min:09 sec); September 7 & 10, 1963.

SHOW #29: Music from Dr. Martin Luther King's Civil Rights March on Washington - Aug 28th, 1963 (25 min: 52 sec); March 1964.
MUSIC: Joan Baez: All Your Trials, Lord (All My Troubles, Lord); Marion Anderson: He's Got The Whole World in His Hands; Joan Baez: We Shall Overcome; Peter Paul & Mary: Blowin' In the Wind; Bob Dylan: Pawn In Their Game; and All: Keep your Eyes on the Prize.


So put the coffee on, and hunker on down for an afternoon of good listening! :-) 
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Bob Dylan Revisited

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Full transcript of Bob Dylan's 2015 MusiCares person of the year acceptance speech

Los Angeles Convention Center, West Hall.

From EDLIS Café

Document transcript: 

"I'm glad for my songs to be honored like this. But you know, they didn't get here by themselves. It's been a long road and it's taken a lot of doing. These songs of mine, they're like mystery stories, the kind that Shakespeare saw when he was growing up. I think you could trace what I do back that far. They were on the fringes then, and I think they're on the fringes now. And they sound like they've been on the hard ground. 

I should mention a few people along the way who brought this about. I know I should mention John Hammond, great talent scout for Columbia Records. He signed me to that label when I was nobody. It took a lot of faith to do that, and he took a lot of ridicule, but he was his own man and he was courageous. And for that, I'm eternally grateful. The last person he discovered before me was Aretha Franklin, and before that Count Basie, Billie Holiday and a whole lot of other artists. All noncommercial artists. 

Trends did not interest John, and I was very noncommercial but he stayed with me. He believed in my talent and that's all that mattered. I can't thank him enough for that. Lou Levy runs Leeds Music, and they published my earliest songs, but I didn't stay there too long. 

Levy himself, he went back a long ways. He signed me to that company and recorded my songs and I sang them into a tape recorder. He told me outright, there was no precedent for what I was doing, that I was either before my time or behind it. And if I brought him a song like "Stardust," he'd turn it down because it would be too late. 

He told me that if I was before my time -- and he didn't really know that for sure -- but if it was happening and if it was true, the public would usually take three to five years to catch up -- so be prepared. And that did happen. The trouble was, when the public did catch up I was already three to five years beyond that, so it kind of complicated it. But he was encouraging, and he didn't judge me, and I'll always remember him for that. 

Artie Mogull at Witmark Music signed me next to his company, and he told me to just keep writing songs no matter what, that I might be on to something. Well, he too stood behind me, and he could never wait to see what I'd give him next. I didn't even think of myself as a songwriter before then. I'll always be grateful for him also for that attitude. 

I also have to mention some of the early artists who recorded my songs very, very early, without having to be asked. Just something they felt about them that was right for them. I've got to say thank you to Peter, Paul and Mary, who I knew all separately before they ever became a group. I didn't even think of myself as writing songs for others to sing but it was starting to happen and it couldn't have happened to, or with, a better group. 

They took a song of mine that had been recorded before that was buried on one of my records and turned it into a hit song. Not the way I would have done it -- they straightened it out. But since then hundreds of people have recorded it and I don't think that would have happened if it wasn't for them. They definitely started something for me. 

The Byrds, the Turtles, Sonny & Cher -- they made some of my songs Top 10 hits but I wasn't a pop songwriter and I really didn't want to be that, but it was good that it happened. Their versions of songs were like commercials, but I didn't really mind that because 50 years later my songs were being used in the commercials. So that was good too. I was glad it happened, and I was glad they'd done it. 

Purvis Staples and the Staple Singers -- long before they were on Stax they were on Epic and they were one of my favorite groups of all time. I met them all in '62 or '63. They heard my songs live and Purvis wanted to record three or four of them and he did with the Staples Singers. They were the type of artists that I wanted recording my songs. 

Nina Simone. I used to cross paths with her in New York City in the Village Gate nightclub. These were the artists I looked up to. She recorded some of my songs that she [inaudible] to me. She was an overwhelming artist, piano player and singer. Very strong woman, very outspoken. That she was recording my songs validated everything that I was about.

Oh, and can't forget Jimi Hendrix. I actually saw Jimi Hendrix perform when he was in a band called Jimmy James and the Blue Flames -- something like that. And Jimi didn't even sing. He was just the guitar player. He took some small songs of mine that nobody paid any attention to and pumped them up into the outer limits of the stratosphere and turned them all into classics. I have to thank Jimi, too. I wish he was here. 

Johnny Cash recorded some of my songs early on, too, up in about '63, when he was all skin and bones. He traveled long, he traveled hard, but he was a hero of mine. I heard many of his songs growing up. I knew them better than I knew my own. "Big River," "I Walk the Line." 

"How high's the water, Mama?" I wrote "It's Alright Ma (I'm Only Bleeding)" with that song reverberating inside my head. I still ask, "How high is the water, mama?" Johnny was an intense character. And he saw that people were putting me down playing electric music, and he posted letters to magazines scolding people, telling them to shut up and let him sing. 

In Johnny Cash's world -- hardcore Southern drama -- that kind of thing didn't exist. Nobody told anybody what to sing or what not to sing. They just didn't do that kind of thing. I'm always going to thank him for that. Johnny Cash was a giant of a man, the man in black. And I'll always cherish the friendship we had until the day there is no more days. 

Oh, and I'd be remiss if I didn't mention Joan Baez. She was the queen of folk music then and now. She took a liking to my songs and brought me with her to play concerts, where she had crowds of thousands of people enthralled with her beauty and voice. 

People would say, "What are you doing with that ragtag scrubby little waif?" And she'd tell everybody in no uncertain terms, "Now you better be quiet and listen to the songs." We even played a few of them together. Joan Baez is as tough-minded as they come. Love. And she's a free, independent spirit. Nobody can tell her what to do if she doesn't want to do it. I learned a lot of things from her. A woman with devastating honesty. And for her kind of love and devotion, I could never pay that back. 

These songs didn't come out of thin air. I didn't just make them up out of whole cloth. Contrary to what Lou Levy said, there was a precedent. It all came out of traditional music: traditional folk music, traditional rock 'n' roll and traditional big-band swing orchestra music. 

I learned lyrics and how to write them from listening to folk songs. And I played them, and I met other people that played them back when nobody was doing it. Sang nothing but these folk songs, and they gave me the code for everything that's fair game, that everything belongs to everyone.

For three or four years all I listened to were folk standards. I went to sleep singing folk songs. I sang them everywhere, clubs, parties, bars, coffeehouses, fields, festivals. And I met other singers along the way who did the same thing and we just learned songs from each other. I could learn one song and sing it next in an hour if I'd heard it just once.

If you sang "John Henry" as many times as me -- "John Henry was a steel-driving man / Died with a hammer in his hand / John Henry said a man ain't nothin' but a man / Before I let that steam drill drive me down / I'll die with that hammer in my hand." 

If you had sung that song as many times as I did, you'd have written "How many roads must a man walk down?" too. 

Big Bill Broonzy had a song called "Key to the Highway." "I've got a key to the highway / I'm booked and I'm bound to go / Gonna leave here runnin' because walking is most too slow." I sang that a lot. If you sing that a lot, you just might write, 

Georgia Sam he had a bloody nose
Welfare Department they wouldn’t give him no clothes
He asked poor Howard where can I go
Howard said there’s only one place I know
Sam said tell me quick man I got to run
Howard just pointed with his gun
And said that way down on Highway 61

You'd have written that too if you'd sang "Key to the Highway" as much as me. 

"Ain't no use sit 'n cry / You'll be an angel by and by / Sail away, ladies, sail away." "I'm sailing away my own true love." "Boots of Spanish Leather" -- Sheryl Crow just sung that.

"Roll the cotton down, aw, yeah, roll the cotton down / Ten dollars a day is a white man's pay / A dollar a day is the black man's pay / Roll the cotton down." If you sang that song as many times as me, you'd be writing "I ain't gonna work on Maggie's farm no more," too.

I sang a lot of "come all you" songs. There's plenty of them. There's way too many to be counted. "Come along boys and listen to my tale / Tell you of my trouble on the old Chisholm Trail." Or, "Come all ye good people, listen while I tell / the fate of Floyd Collins a lad we all know well / The fate of Floyd Collins, a lad we all know well." 

"Come all ye fair and tender ladies / Take warning how you court your men / They're like a star on a summer morning / They first appear and then they're gone again." "If you'll gather 'round, people / A story I will tell / 'Bout Pretty Boy Floyd, an outlaw / Oklahoma knew him well."

If you sung all these "come all ye" songs all the time, you'd be writing, "Come gather 'round people where ever you roam, admit that the waters around you have grown / Accept that soon you'll be drenched to the bone / If your time to you is worth saving / And you better start swimming or you'll sink like a stone / The times they are a-changing."

You'd have written them too. There's nothing secret about it. You just do it subliminally and unconsciously, because that's all enough, and that's all I sang. That was all that was dear to me. They were the only kinds of songs that made sense. 

"When you go down to Deep Ellum keep your money in your socks / Women in Deep Ellum put you on the rocks." Sing that song for a while and you just might come up with, "When you're lost in the rain in Juarez and it's Easter time too / And your gravity fails and negativity don't pull you through / Don’t put on any airs / When you’re down on Rue Morgue Avenue / They got some hungry women there / And they really make a mess outta you."

All these songs are connected. Don't be fooled. I just opened up a different door in a different kind of way. It's just different, saying the same thing. I didn't think it was anything out of the ordinary. 

Well you know, I just thought I was doing something natural, but right from the start, my songs were divisive for some reason. They divided people. I never knew why. Some got angered, others loved them. Didn't know why my songs had detractors and supporters. A strange environment to have to throw your songs into, but I did it anyway. 

Last thing I thought of was who cared about what song I was writing. I was just writing them. I didn't think I was doing anything different. I thought I was just extending the line. Maybe a little bit unruly, but I was just elaborating on situations. Maybe hard to pin down, but so what? A lot of people are hard to pin down. You've just got to bear it. I didn't really care what Lieber and Stoller thought of my songs. 

They didn't like 'em, but Doc Pomus did. That was all right that they didn't like 'em, because I never liked their songs either. "Yakety yak, don't talk back." "Charlie Brown is a clown," "Baby I'm a hog for you." Novelty songs. They weren't saying anything serious. Doc's songs, they were better. "This Magic Moment." "Lonely Avenue." Save the Last Dance for Me. 

Those songs broke my heart. I figured I'd rather have his blessings any day than theirs. 

Ahmet Ertegun didn't think much of my songs, but Sam Phillips did. Ahmet founded Atlantic Records. He produced some great records: Ray Charles, Ray Brown, just to name a few. 

There were some great records in there, no question about it. But Sam Phillips, he recorded Elvis and Jerry Lee, Carl Perkins and Johnny Cash. Radical eyes that shook the very essence of humanity. Revolution in style and scope. Heavy shape and color. Radical to the bone. Songs that cut you to the bone. Renegades in all degrees, doing songs that would never decay, and still resound to this day. Oh, yeah, I'd rather have Sam Phillips' blessing any day. 

Merle Haggard didn't even think much of my songs. I know he didn't. He didn't say that to me, but I know [inaudible]. Buck Owens did, and he recorded some of my early songs. Merle Haggard -- "Mama Tried," "The Bottle Let Me Down," "I'm a Lonesome Fugitive." I can't imagine Waylon Jennings singing "The Bottle Let Me Down." 

"Together Again"? That's Buck Owens, and that trumps anything coming out of Bakersfield. Buck Owens and Merle Haggard? If you have to have somebody's blessing -- you figure it out. 

Oh, yeah. Critics have been giving me a hard time since Day One. Critics say I can't sing. I croak. Sound like a frog. Why don't critics say that same thing about Tom Waits? Critics say my voice is shot. That I have no voice. What don't they say those things about Leonard Cohen? Why do I get special treatment? Critics say I can't carry a tune and I talk my way through a song. Really? I've never heard that said about Lou Reed. Why does he get to go scot-free? 

What have I done to deserve this special attention? No vocal range? When's the last time you heard Dr. John? Why don't you say that about him? Slur my words, got no diction. Have you people ever listened to Charley Patton or Robert Johnson, Muddy Waters. Talk about slurred words and no diction. [Inaudible] doesn't even matter.

"Why me, Lord?" I would say that to myself.

Critics say I mangle my melodies, render my songs unrecognizable. Oh, really? Let me tell you something. I was at a boxing match a few years ago seeing Floyd Mayweather fight a Puerto Rican guy. And the Puerto Rican national anthem, somebody sang it and it was beautiful. It was heartfelt and it was moving. 

After that it was time for our national anthem. And a very popular soul-singing sister was chosen to sing. She sang every note -- that exists, and some that don't exist. Talk about mangling a melody. You take a one-syllable word and make it last for 15 minutes? She was doing vocal gymnastics like she was on a trapeze act. But to me it was not funny. 

Where were the critics? Mangling lyrics? Mangling a melody? Mangling a treasured song? No, I get the blame. But I don't really think I do that. I just think critics say I do. 

Sam Cooke said this when told he had a beautiful voice: He said, "Well that's very kind of you, but voices ought not to be measured by how pretty they are. Instead they matter only if they convince you that they are telling the truth." Think about that the next time you [inaudible].

Times always change. They really do. And you have to always be ready for something that's coming along and you never expected it. Way back when, I was in Nashville making some records and I read this article, a Tom T. Hall interview. Tom T. Hall, he was bitching about some kind of new song, and he couldn't understand what these new kinds of songs that were coming in were about. 

Now Tom, he was one of the most preeminent songwriters of the time in Nashville. A lot of people were recording his songs and he himself even did it. But he was all in a fuss about James Taylor, a song James had called "Country Road." Tom was going off in this interview -- "But James don't say nothing about a country road. He's just says how you can feel it on the country road. I don't understand that."

Now some might say Tom is a great songwriter. I'm not going to doubt that. At the time he was doing this interview I was actually listening to a song of his on the radio.

It was called "I Love." I was listening to it in a recording studio, and he was talking about all the things he loves, an everyman kind of song, trying to connect with people. Trying to make you think that he's just like you and you're just like him. We all love the same things, and we're all in this together. Tom loves little baby ducks, slow-moving trains and rain. He loves old pickup trucks and little country streams. Sleeping without dreams. Bourbon in a glass. Coffee in a cup. Tomatoes on the vine, and onions.

Now listen, I'm not ever going to disparage another songwriter. I'm not going to do that. I'm not saying it's a bad song. I'm just saying it might be a little overcooked. But, you know, it was in the top 10 anyway. Tom and a few other writers had the whole Nashville scene sewed up in a box. If you wanted to record a song and get it in the top 10 you had to go to them, and Tom was one of the top guys. They were all very comfortable, doing their thing.

This was about the time that Willie Nelson picked up and moved to Texas. About the same time. He's still in Texas. Everything was very copacetic. Everything was all right until -- until -- Kristofferson came to town. Oh, they ain't seen anybody like him. He came into town like a wildcat, flew his helicopter into Johnny Cash's backyard like a typical songwriter. And he went for the throat. "Sunday Morning Coming Down." 

Well, I woke up Sunday morning
With no way to hold my head that didn't hurt.
And the beer I had for breakfast wasn't bad
So I had one more for dessert
Then I fumbled through my closet 
Found my cleanest dirty shirt
Then I washed my face and combed my hair
And stumbled down the stairs to meet the day.

You can look at Nashville pre-Kris and post-Kris, because he changed everything. That one song ruined Tom T. Hall's poker parties. It might have sent him to the crazy house. God forbid he ever heard any of my songs. 

You walk into the room
With your pencil in your hand
You see somebody naked
You say, “Who is that man?”
You try so hard
But you don’t understand
Just what you're gonna say
When you get home
You know something is happening here
But you don’t know what it is
Do you, Mister Jones?

If "Sunday Morning Coming Down" rattled Tom's cage, sent him into the looney bin, my song surely would have made him blow his brains out, right there in the minivan. Hopefully he didn't hear it. 

I just released an album of standards, all the songs usually done by Michael Buble, Harry Connick Jr., maybe Brian Wilson's done a couple, Linda Ronstadt done 'em. But the reviews of their records are different than the reviews of my record. 

In their reviews no one says anything. In my reviews, [inaudible] they've got to look under every stone when it comes to me. They've got to mention all the songwriters' names. Well that's OK with me. After all, they're great songwriters and these are standards. I've seen the reviews come in, and they'll mention all the songwriters in half the review, as if everybody knows them. Nobody's heard of them, not in this time, anyway. Buddy Kaye, Cy Coleman, Carolyn Leigh, to name a few. 

But, you know, I'm glad they mention their names, and you know what? I'm glad they got their names in the press. It might have taken some time to do it, but they're finally there. I can only wonder why it took so long. My only regret is that they're not here to see it. 

Traditional rock 'n' roll, we're talking about that. It's all about rhythm. Johnny Cash said it best: "Get rhythm. Get rhythm when you get the blues." Very few rock 'n' roll bands today play with rhythm. They don't know what it is. Rock 'n' roll is a combination of blues, and it's a strange thing made up of two parts. A lot of people don't know this, but the blues, which is an American music, is not what you think it is. It's a combination of Arabic violins and Strauss waltzes working it out. But it's true. 

The other half of rock 'n' roll has got to be hillbilly. And that's a derogatory term, but it ought not to be. That's a term that includes the Delmore Bros., Stanley Bros., Roscoe Holcomb, Clarence Ashley ... groups like that. Moonshiners gone berserk. Fast cars on dirt roads. That's the kind of combination that makes up rock 'n' roll, and it can't be cooked up in a science laboratory or a studio. 

You have to have the right kind of rhythm to play this kind of music. If you can't hardly play the blues, how do you [inaudible] those other two kinds of music in there? You can fake it, but you can't really do it. 

Critics have made a career out of accusing me of having a career of confounding expectations. Really? Because that's all I do. That's how I think about it. Confounding expectations. 

"What do you do for a living, man?"

"Oh, I confound expectations."

You're going to get a job, the man says, "What do you do?" "Oh, confound expectations.: And the man says, "Well, we already have that spot filled. Call us back. Or don't call us, we'll call you." Confounding expectations. What does that mean? 'Why me, Lord? I'd confound them, but I don't know how to do it.' 

The Blackwood Bros. have been talking to me about making a record together. That might confound expectations, but it shouldn't. Of course it would be a gospel album. I don't think it would be anything out of the ordinary for me. Not a bit. One of the songs I'm thinking about singing is "Stand By Me" by the Blackwood Brothers. Not "Stand By Me" the pop song. No. The real "Stand By Me." 

The real one goes like this:

When the storm of life is raging / Stand by me / When the storm of life is raging / Stand by me / When the world is tossing me / Like a ship upon the sea / Thou who rulest wind and water / Stand by me

In the midst of tribulation / Stand by me / In the midst of tribulation / Stand by me / When the hosts of hell assail / And my strength begins to fail / Thou who never lost a battle / Stand by me

In the midst of faults and failures / Stand by me / In the midst of faults and failures / Stand by me / When I do the best I can / And my friends don't understand / Thou who knowest all about me / Stand by me

That's the song. I like it better than the pop song. If I record one by that name, that's going to be the one. I'm also thinking of recording a song, not on that album, though: "Oh Lord, Please Don't Let Me Be Misunderstood." 

Anyway, why me, Lord. What did I do? 

Anyway, I'm proud to be here tonight for MusiCares. I'm honored to have all these artists singing my songs. There's nothing like that. Great artists. [applause, inaudible]. They're all singing the truth, and you can hear it in their voices.

I'm proud to be here tonight for MusiCares. I think a lot of this organization. They've helped many people. Many musicians who have contributed a lot to our culture. I'd like to personally thank them for what they did for a friend of mine, Billy Lee Riley. A friend of mine who they helped for six years when he was down and couldn't work. Billy was a son of rock 'n' roll, obviously.

He was a true original. He did it all: He played, he sang, he wrote. He would have been a bigger star but Jerry Lee came along. And you know what happens when someone like that comes along. You just don't stand a chance.

So Billy became what is known in the industry -- a condescending term, by the way -- as a one-hit wonder. But sometimes, just sometimes, once in a while, a one-hit wonder can make a more powerful impact than a recording star who's got 20 or 30 hits behind him. And Billy's hit song was called "Red Hot," and it was red hot. It could blast you out of your skull and make you feel happy about it. Change your life. 

He did it with style and grace. You won't find him in the Rock and Roll Hall of Fame. He's not there. Metallica is. Abba is. Mamas and the Papas -- I know they're in there. Jefferson Airplane, Alice Cooper, Steely Dan -- I've got nothing against them. Soft rock, hard rock, psychedelic pop. I got nothing against any of that stuff, but after all, it is called the Rock and Roll Hall of Fame. Billy Lee Riley is not there. Yet. 

I'd see him a couple times a year and we'd always spent time together and he was on a rockabilly festival nostalgia circuit, and we'd cross paths now and again. We'd always spend time together. He was a hero of mine. I'd heard "Red Hot." I must have been only 15 or 16 when I did and it's impressed me to this day.

I never grow tired of listening to it. Never got tired of watching Billy Lee perform, either. We spent time together just talking and playing into the night. He was a deep, truthful man. He wasn't bitter or nostalgic. He just accepted it. He knew where he had come from and he was content with who he was. 

And then one day he got sick. And like my friend John Mellencamp would sing -- because John sang some truth today -- one day you get sick and you don't get better. That's from a song of his called "Life is Short Even on Its Longest Days." It's one of the better songs of the last few years, actually. I ain't lying. 

And I ain't lying when I tell you that MusiCares paid for my friend's doctor bills, and helped him to get spending money. They were able to at least make his life comfortable, tolerable to the end. That is something that can't be repaid. Any organization that would do that would have to have my blessing. 

I'm going to get out of here now. I'm going to put an egg in my shoe and beat it. I probably left out a lot of people and said too much about some. But that's OK. Like the spiritual song, 'I'm still just crossing over Jordan too.' Let's hope we meet again. Sometime. And we will, if, like Hank Williams said, "the good Lord willing and the creek don't rise." -- Bob Dylan (MusiCares award acceptance speech)

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Bob I have loved you since the beginning. You excite me with your songs and beautiful smile.
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Finding Deeper Meaning Behind Bob Dylan's Christmas Lights

A touch of Christmas humour bringing a smile to your festive season.... ;-) 

Have a wonderful holiday! 
The single string of festive lights hung up at one of Bob Dylan's many homes has transfixed me for years.
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which house?
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Bob Dylan Revisited

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Philadelphia, Pennsylvania - Academy Of Music - afternoon show (private)

From EDLIS Parties & Gatherings via EDLIS Café:

One person in the audience - Swedish television celebrity Fredrik Wikingsson. 

Show sponsored by PAF:

Full details at EDLIS Café on Facebook: 

We were informed that Bob Dylan entered the venue at 14:57 Philadelphia time for a private concert. Bob Dylan performed the expected 4 songs in front of Fredrik Wikingsson. There was no conversation.

Tentative set list:

1. Heartbeat (Buddy Holly)
2. Blueberry Hill (Fats Domino)
3. It's Too Late (Chuck Willis) 
3. Unknown Blues... 
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Bob Dylan was a special guest at this Joan Baez concert.

Monterey Fairgrounds
Monterey, California
4 September 1964

Bob Dylan and Joan Baez (guitar and vocal).

This was a benefit concert for Pioneer House, a new inter-racial, non-profit nursery school in Seaside.
No set-list known.

Photographs - taken from the Monterey Herald and Robert Crispin. 
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Ron Chester's profile photo
These images are all gems, two young folk icons together in love. I believe these are the pictures that you could buy directly from the Monterey Herald at one time. I meant to do it, but never got around to it. I wonder whether they're still available.
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New Bob Dylan Facebook page for people attending concerts. 

Don't forget to click 'SIGN UP' for the special announcements. :-)
Bob Dylan Concerts Live performances by the Columbia Recording Artist and Song & Dance Man
Claudia Robot's profile photoJoseph Pilepic's profile photoMichel Favard's profile photoAbigail McElroy's profile photo
sorry MR Z will not ever use Facebook or twitter it is an open invitation for hackers   
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New Video - Bob Dylan - The Night We Called It A Day

Film noir style video from Bob Dylan's new album. 

With thanks to +Ed Ricardo  and EDLIS Café: 

EDLIS not only had the video up very early, but they had the photographs and information about the video shoot as early as January! 
Barbara Carl Nitsche's profile photoBen Bolsenbroek's profile photoTara Zuk's profile photoMaría del Campo Barriga's profile photo
Great pleasure ...... !
        Thank-you .
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Bob Dylan Revisited

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Merry Christmas!

Three Angels:

Three angels up above the street
Each one playing a horn
Dressed in green robes with wings that stick out
They’ve been there since Christmas morn
The wildest cat from Montana passes by in a flash
Then a lady in a bright orange dress
One U-Haul trailer, a truck with no wheels
The Tenth Avenue bus going west
The dogs and pigeons fly up and they flutter around
A man with a badge skips by
Three fellas crawlin’ on their way back to work
Nobody stops to ask why
The bakery truck stops outside of that fence
Where the angels stand high on their poles
The driver peeks out, trying to find one face
In this concrete world full of souls
The angels play on their horns all day
The whole earth in progression seems to pass by
But does anyone hear the music they play
Does anyone even try?   

-- Bob Dylan 1970


Animated video for the song


Recording information

Studio E
Columbia Recording Studios
New York City, New York
4 June 1970
5th New Morning recording session, produced by Bob Johnston.


Listen here:!/s/Three+Angels/30EmSy?src=5
Radio Kwakom's profile photoSharon Holland's profile photoJosel Tapatio's profile photo
Hear the music play.
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Bob Dylan Revisited

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Bob Dylan in Gamla Stan, the old town, 29th (or possibly 28th) April 1966.

Photographer: Björn Larsson Ask.

The full album of 8 pictures can be seen at this link:

The photos are scanned from contact copies in the possession of Åke Jonsson on Facebook.

Bob Dylan's first Sweden concert took place at the Concert Hall on April 29, 1966. The same day, Dylan visited, among other places, Gulins clothing store and Sandberg's Bookstore (he was searching for Rimbaud poems in English), but also he visited the old town. With his exceptionally hip look, Dylan must have seemed like he was from a different planet among the well-groomed Stockholmers.

Bob Dylan i Gamla Stan, 29 (eller möjligen 28) april 1966. Fotograf: Björn Larsson Ask. Fotona är skannade från kontaktkopior i min ägo. Bob Dylans första Sverigekonsert ägde rum på Konserthuset 29 april 1966. Samma dag besökte Dylan bl.a. klädaffären Gulins och Sandbergs bokhandel (han var letade efter Rimbauds dikter på engelska), men även ett besök i Gamla Stan hanns med. Den utomordentligt hippa Dylan måste ha framstått som från en annan planet bland de välkammade stockholmarna.
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Jens Fransén's profile photoKajsa Ljung's profile photoDaniel Börjesson's profile photoManei -San's profile photo
Sköna bilder. Bob Dylan var min ungdomsidol och hans texter och musik håller fortfarande.
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Chicago, Illinois
Cadillac Palace Theatre
November 8, 2014

Photos from Andrea Orlandi - Orlandi Shoots In The Dark:
Flimsy Flower's profile photomaxine monaco's profile photoPatrick Podolski's profile photoRichard Karle's profile photo
He wore the same suit in Toronto on Nov.18 great shows both nights!!!!!
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Have them in circles
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