BoB X 2 ?
Young A B 8939055
early hours.
Does anybody know if the backround vocals in BoB's cover of Simon&Garfunkel's
The Boxer, in Self Portait, are done by BoB. The voice seems very much like his
and it could easily be another recording recorded in parallel with the foreground vocals to produce BoB in fore & backround.
By the way, can anyone supply me with titles to the Wallflower's CD's. They are
unknown in South Africa & I'd like to source them in the US if I can get a titleor two (a recommended title will help).
Dylan Rules,
Sandy Young
Stellenbosch
South Africa
"Strike another match girl, start anew... cause its all over now Baby Blue"
Michael A. Hall
>The Boxer, in Self Portait, are done by BoB. The voice seems very much like his
>and it could easily be another recording recorded in parallel with the foreground vocals to produce BoB in fore & backround.
>
himself.
This has reminded me that, with all the discussion of Nashville Skyline
going on, someone should put in a good word for Self-Portrait.
It took me about a year to really "get" Self-Portrait, but I
think now that I do I'm enlightened.
Here's what I like: Bob tried to make an album (ala Nashville)
that sounded as impossibly different from B on B and Hiway 61 as it
could. In this, I believe, he succeeded. In addition, I don't believe
the title was incidental. I think he wanted to show off his influences
and his thoughts at the time. The fact that the cover is one of his own
paintings (one can't really tell if it's a "self-portrait" or not) sets
the mood of the album as beautifully nostalgic and insightful.
It doesn't succeed completely. I find some of the songs on here
terrible. The Gordon Lightfoot cover is a joke (although I imagine
it really WAS intended to be a joke) along with some others. I would
have liked it better if it had been a single album. there are certainly
enough good songs to pull a single decent CD issuing out of it (sacrelidge,
I know, but its a thought...).
Little Sadie is great. I think the Boxer is brilliant, if not a
bit scathing (I'm assuming it was meant as a slam toward Simon, another
bit I picked up from Shelton. Let me know if I'm way off base). The
live version of Rolling Stone is another perfect example of how a song
of Dylan's will change over just a few years of performance. It's
fairly well-known how influenced Dylan was by the heroes of the old
West, and that shows through alot on this album (Days of '49, Take a
Message to Mary). Also, the simplicity of the country sound appears to
give Dylan comfort, as on Nashville Skyline (Livin' the Blues, and
almost everything else on the album).
In short, while Self-Portrait isn't my FAVORITE Dylan album, I
think it accomplishes what it sets out to do, i.e. to be just that: A
Self-Portrait.
=========================================================================
"WHEN HE DIED I WAS HOPIN'
THAT IT WASN'T CONTAGIOUS" -B. DYLAN
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Michael Alan Hall Hal...@cda.mrs.umn.edu
OR Hal...@cab.mrs.umn.edu
===========================================================================
Chris Sherpitis
>
>This has reminded me that, with all the discussion of Nashville Skyline
>going on, someone should put in a good word for Self-Portrait.
> It took me about a year to really "get" Self-Portrait, but I
>think now that I do I'm enlightened.
> Here's what I like: Bob tried to make an album (ala Nashville)
>that sounded as impossibly different from B on B and Hiway 61 as it
>could. In this, I believe, he succeeded. In addition, I don't believe
>the title was incidental. I think he wanted to show off his influences
>and his thoughts at the time. The fact that the cover is one of his own
>paintings (one can't really tell if it's a "self-portrait" or not) sets
>the mood of the album as beautifully nostalgic and insightful.
> It doesn't succeed completely. I find some of the songs on here
>terrible. The Gordon Lightfoot cover is a joke (although I imagine
>it really WAS intended to be a joke) along with some others. I would
>have liked it better if it had been a single album. there are certainly
>enough good songs to pull a single decent CD issuing out of it (sacrelidge,
>I know, but its a thought...).
>
>think it accomplishes what it sets out to do, i.e. to be just that: A
>Self-Portrait.
>
Without defending the music on this album in the least, I agree with others
that Dylan set out to make something that was the polar opposite of what
was expected of him.
Compare: Pablo Picasso's Self-Portrait of 1901, painted during his blue
period, this self-portrait looks NOTHING like the physical reality of Picasso.
The portrait reflects (pure speculation here) how he'd like to look,
or how he felt, or maybe a different, darker version of his psyche.
Whatever he did, he definitely broke all the rules of self portraits.
Perhaps Dylan too, created a work so completely different from (or alternate to)
the reality of his self that we will never hear the likes of it again.
HOPEFULLY.
Chris Sherpitis
c32...@hawk.depaul.edu
(for a while at least)
John Howells
Rolling Stone 1985 interview that the purpose of releasing the album was
to test the limits of audience adulation and hopefully trim down the
size of his following, which he perceived to be out of hand. These
weren't his words, but the gist of it is that he really wanted to be
left alone and he figured that if he came out with an album that nobody
wanted to buy, all of those people who were expecting great statements
from him at all times would say "there's nothing here. Better move on to
the next guy". Instead, as he admitted, the stunt backfired and he only
succeeded in making everyone mad at him. I believe this experience
convinced him that his appeal and influence were not soft, and may have
ultimately led him to the great mid-70s work for which he is rightly
celebrated.
--
John Howells
how...@pioneer.arc.nasa.gov
how...@earth.arc.nasa.gov
Michael A. Hall
>Rolling Stone 1985 interview that the purpose of releasing the album was
Is this interview archived in Vienna or anywhere else? I'd
very much like to take a look at it.
I could n't find it in the Vienna archives, but that doesn't
prove much, as it goes by the names of the interviewers and not by
publication...
=========================================================================
"It's kinda funny. When I see my name anywhere, it's (often) the
'60's this or the '60's that. I can't figure out sometimes if people
think I'm dead or alive"
-Bob Dylan
==========================================================================
Michael Alan Hall Hal...@cda.mrs.umn.edu
OR Hal...@cab.mrs.umn.edu
===========================================================================
John Howells
<>[...] he stated in the
<>Rolling Stone 1985 interview that the purpose of releasing the album was
<>to test the limits of audience adulation [...]
<
< Is this interview archived in Vienna or anywhere else? I'd
<very much like to take a look at it.
< I could n't find it in the Vienna archives, but that doesn't
<prove much, as it goes by the names of the interviewers and not by
<publication...
I don't know about that, but I'm pretty sure you can find this interview
reprinted in the hardcover/softcover Rolling Stone retrospective "20
years of Rolling Stone: What a Long Strange Trip It's Been".
Robert Schurko
:I'm new to this group. Reading through the material has kept me up until the
:early hours.
:
:Does anybody know if the backround vocals in BoB's cover of Simon&Garfunkel's
:The Boxer, in Self Portait, are done by BoB. The voice seems very much like his
:and it could easily be another recording recorded in parallel with the foreground vocals to produce BoB in fore & backround.
: Dylan Rules,
: Sandy Young
: Stellenbosch
: South Africa
:
: "Strike another match girl, start anew... cause its all over now Baby Blue"
Yes, the background vocals are his own voice dubbed in. Do you want
the Wallflowers CD? If you want to arrange something, write me back.
See ya.
Rob
sch...@ccu.umanitoba.ca
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Robert Schurko
Chemistry Department
University of Manitoba
Winnipeg, MB, CANADA
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