From: zureick@ucunix.san.uc.edu (John H. Zureick)
Newsgroups: rec.music.dylan
Subject: Re: The new album
Date: 6 Nov 92 14:04:12 GMT
Organization: University of Cincinnati

In article <1992Nov5.192235.18416@riacs.edu> howells@pioneer.arc.nasa.gov (John Howells) writes:
>I was all set to be disappointed in this album, and in fact was a
>little unimpressed upon first listening, but after a few more
>listenings it really grew on me. The first thing that struck me was how

This is the exact response I had when I first played THE BASEMENT TAPES.
Now, of course, it is among my favorites.  I had the same response with
this album--especially side one.  Side two I kind of warmed too.  Now
I have listened to both sides several times with my enthusiasm growing 
with each hearing.  I noticed that I liked this tape better with 
less volume.  Anyone else have this reaction?

>The singing, on the other hand, is magnificent. Just as fine is the
>song selection, which seem particularly well chosen for their variety.
>It appears that these songs are particular favorites of Bob's and he
>does them with enthusiasm. Another thing that strikes me is the way in
>which these songs evolved into other more famous songs, not just those
>written by Bob. "Blackjack Davy", for instance, is very similar to
>Woody Guthrie's "Gypsy Davy". "Sittin' On Top of the World", I'd always
>thought was a Howlin' Wolf original, but he isn't credited here at
>all.  Then there's "Froggie Went A-Courtin'" - has anyone else noticed
>the similarity to Dylan's "Apple Suckling Tree"?
>

I remember Cream doing 'Sitting on Top of The World' on one of their
obscure albums.  I noticed through many of the songs that words or
phrases would appear that also appeared in later Dylan works.  The
word 'leather' figures prominently in 'Blackjack Davy' though I am 
not sure if 'Spanish Leather' is mentioned.  In one song there are
whole phases that also appeared in 'Moonshiner' though I realize 
that this is not a Dylan song.  I can see why Dylan mined all these
traditional songs. 

Does anyone remember 'Bob Dylan's Dream' where he
talks about singing after hours with his friends from the village
'By the old wooden stoves where our hats were hung'?  To me this
album has the feel of such a session.  

>I've read a few conflicting reviews, one which claims that this is a
>commercial move on his part to tap into the "Unplugged" trend in the
>wake of successful MTV appearances and subsequent releases by Eric
>Clapton and Mariah Carey, and another that says the album is a
>non-commercial move on Dylan's part. So which is it? Is he selling out
>or thumbing his nose? :-) Totally ridiculous conjectures. Dylan just
>felt like doing some a little different this time. I'm surprised that
>it actually worked out so well and wouldn't be surprised if the album
>went gold.
>
>--
>                                        John Howells

I have thought about this and I also have questions about the Unplugged
commercial move.  If it was such a blatant move wouldn't Dylan have
played acoustic versions of his classics--for instance Clapton did
Layla.  I think the genesis of this project can be found in two places.
Several years back Van Morrison did an album of Irish Folk Songs with
the Chieftans.  I can't help but think that Dylan was familiar
with this album which, by the way, is fantastic.  The other source 
might be the old blues albums which Dylan listened to when he was
first entering the music scene.  This album definitely has the same feel
as those old Robert Johnson and Leadbelly records even more so than
Dylan's first album.  In this day I can't help but think that there
had to be a conscious effort to get this sound.  Isn't it ironic that
Dylan used to say of bootleggers that they set up a machine under a
hotel bed and record you and then issue it.  This is exactly how Robert
Johnson was recorded--in a hotel room.
-- 
John H. Zureick					zureick@ucunix.san.uc.edu
Newsgroups: rec.music.dylan