HDTenEightyP/NetNews huggingface dataset:
From: hofmann@sapwdf.UUCP (Martin Hofmann)
Newsgroups: rec.music.dylan
Subject: Re: Dylan Tribute Update
Date: 28 Sep 92 12:52:48 GMT
Organization: S.A.P. AG, Walldorf Germany


>>the lineup so far:
>>Harrison
>>Petty
>>Clapton
>>Young
>>Willie Nelson
>>Shine-head O'Connor (oh, lighten up already)
>>Mellencamp
>>da house band:
>>Steve Cropper
>>Booker T
>>Duck Dunn
>>Jim Keltner
>>GE Smith (music director)

>>maybe:
>>Ringo
>>Bruce Springstreet

Where is McGuinn? Where are T-Bone-Burnett, Soles, Mansfield?
Where is Al Kooper? And has Dylan no contacts to folks like
Michelle Shocked or Suzanne Vega?

>>and! Robbie Robertson and the Band 'weren't invited' (doesn't sound right).

>Well, as Robertson and Levon Helm reportedly refuse to have anything
>to do with one another, on stage or off, it seems unlikely that they
>could get the whole gang together even had they wanted to.  (Well,
>*impossible* I guess -- R.M., sigh.)

Sorry to hear that. I have never heard that before; could you tell more on 
this group?


>>                                            Does anyone know why this tribute
>>seems to ignore the first 20 years of Dylan's career and comes at a time when
>>he will release an album of traditional songs...

>Ignoring the first 20 yrs?  I'd be surprised if even *one* Dylan song from
>the past 15 years is played by anyone present.  (Mebbe "Long Black Coat"
>gets an airing, but I don't expect anything else.)  The guests will play
>Dylan's 60's songs, Dylan will play Dylan's 60's songs, is my prediction.

I am afraid you are right.


======================================
Dr. Martin Hofmann 
SAP AG 	
Abt. SAA-C
Postfach 1461
D-6909 Walldorf (Baden)
BR Deutschland	(FRG)

Tel.: [+49/0] (6227) 34 3254
FAX : [+49/0] (6227) 34 3027

E-Mail: hofmann@sap-ag.de      
UUCP:   ..!mcsun!unido!sapwdf!hofmann
======================================
Newsgroups: rec.music.dylan
From: akp1@quads.uchicago.edu (Adam K. Powers)
Subject: Re: Dylan and Interpretation
Reply-To: akp1@midway.uchicago.edu
Organization: University of Chicago Computing Organizations
Date: Thu, 1 Oct 1992 18:24:55 GMT

	While detailed, line by line analysis of Dylan lyrics may have
value to more literary-minded types, I usually avoid that kind of stuff.
When I listen to a song like "Desolation Row," I'm *not* interested in
what "They're selling postcards of the hanging/ They're painting the
passports brown/ The beauty parlor is filled with sailors/ The circus is
in town" *means* in reference to anything in particular; instead, I
try to take it in as a free-standing, dynamic concept.  I'm just as
interested in feeling the irrational, emotional part of the song as
I am in understanding the more rational elements.  Dylan's songs are
often confusing - I find myself disturbed by words and lines that don't
seem to make sense initially - but I think that trying to pick them apart
logically sacrifices the power of the lyrics by chopping them up into
easy-to-understand bits.  Here's an analogy: If you've read books on how
a car engine works, you've taken the engine apart, you've learned how to keep
the car running properly - but you've never driven the car.  No matter how
much information you get from working with the car, you will never get
enough to describe what it feels like to drive that car; and when you
actually do drive the car, you don't really use very much of the information
that you got from just looking at the engine.  So while you probably get a
lot of information from analyzing lyrics, that doesn't really contribute
much to the experience of listening to the song. Being a good mechanic doesn't
make you a good driver, and being good at analyzing song lyrics doesn't
mean that you really understand the song as a whole.  I don't understand some
of the lines in "Desolation Row," but I can say, "yes, I think I know what
that feels like."  Since I listen to music for entertainment, that's all 
I really want from a song anyway - to understand what I am feeling by
listening to expressions of another's feelings that are as complex and 
changing as my own.  "a song is anything that can walk by itself/i am called
a songwriter. a poem is a naked person... some people say that i am a poet."
(liner notes from _Bringing it All Back Home_)

						-Adam K. Powers
						akp1@midway.uchicago.edu

Newsgroups: rec.music.dylan
From: jbrown@magnus.acs.ohio-state.edu (James S Brown)
Subject: Re: Dylan and Interpretation
Organization: The Ohio State University
Date: Mon, 5 Oct 1992 15:49:55 GMT

In article <1992Oct2.134707.12872@nsisrv.gsfc.nasa.gov> ziskin@climate.NoSubdom
ain.NoDomain (Daniel C. Ziskin) writes:
>
>1) some songs are easier to decipher then others (i.e. Masters of War)
>2) some are too powerful to digest (i.e. It's Alright Ma...)
>3) others forcefully invite interpretation by being deliciously
>   vague (i.e. I'll Keep it with Mine)
>4) others are clearly autobiographical (i.e. Sara)
>5) some lend themselves well to multiple interpretation
>   (as was discussed earlier on the net:  She Belongs to Me)
>
>In conclusion:  The lyrics were meant to be interpreted, but don't
>expect people to come to the same right answer that you have.
>
>                 -a devoted fan,
>                      Z


Well put!
-- 
Jim Brown [jbrown@magnus.acs.ohio-state.edu]
OSU English Dept.
Columbus, OH  43210                 Like Woody sez:  Take it easy--but take it.
614-292-6065
From: ben@media.mit.edu (Benjamin Kline Lowengard)
Newsgroups: rec.music.dylan
Subject: Re: JWH
Date: 6 Oct 92 13:51:18 GMT
Organization: MIT Media Laboratory

In article <ld1gogINNpjm@news.bbn.com> leekil@bbn.com (Lee Kilpatrick) writes:
>In article <1992Sep29.182653.16608@scott.skidmore.edu> afishman@scott.skidmore.edu (adam fishman) writes:
>>I recently bought a CD called "Here Comes the Groom" by John Wesley
>>Harding.  A while back I had heard an interview with him on the radio
>>that interested me.  He said that the album which inspired him to make
>>music was Dylan's JWH, and therefore decided upon that for his
>>professional name.  I was surprised that the CD sounded less like
>
>I heard him saying once tht his name was "John Wesley" but everyone he
>toured with called him "John Wesley Harding" and that sort of became
>his name.
>
>
>>dylan and almost exactly like Elvis Costello.  In fact Harding uses
>>a few members of Costello's band on this album.  One thing that I
>
>
>I thought that the only song that sounded exactly like Elvis Costello
>was "She's and Angel & You're No Good" (or "You're No Good" or
>whatever the exact title is).

>	Lee

Geez, I just picked this up in a dollar store as a cut out. John Wesley
Harding (the album) is one of my favorite dylan albums. Here Comes the
Groom, IMHO, sounds like Elvis COstello in his Imperial Bedroom era..I
was not impressed, in fact i was annoyed a bit. Bruce and Pete Thomas
play back up on this one. I don't think it has anything to do with dylan
sound or vocal-wise. Funny but I was expecting it to sound more like
Darden Smith than EC. Graham Parker's Latest album, Burning Questions,
has this same appeal-but of course, GP is much more of a singer and
lyricist-the guy who Costello tends to sound more like than vice-versa.
Parker was inspired by Dylan much more than one may think. He started
as a  street singer busking Dylan tunes and his writing,now, is quite
prolific and verbose. This could be the start of a thread about How
Dylan has infiltrated and influenced modern music. Think about all those
references to Dylan that seem to pop up everywhere. Even the Beastie Boys
threw in a Dylan sample  prominently on their last album. I'm hoping
to hear a more recent John Wesley Harding album to help me come to terms
with (what I feel is) a Costello clone in Dylanic Clothing.

-benj
From: leekil@bbn.com (Lee Kilpatrick)
Newsgroups: rec.music.dylan
Subject: Re: Dylan and Interpretation
Date: 5 Oct 1992 22:47:25 GMT
Organization: Bolt Beranek and Newman Inc., Cambridge MA
NNTP-Posting-Host: bbn.com

In article <1992Oct1.182455.20366@midway.uchicago.edu> akp1@midway.uchicago.edu writes:
>	While detailed, line by line analysis of Dylan lyrics may have
>value to more literary-minded types, I usually avoid that kind of stuff.
>When I listen to a song like "Desolation Row," I'm *not* interested in
>what "They're selling postcards of the hanging/ They're painting the
>passports brown/ The beauty parlor is filled with sailors/ The circus is
>in town" *means* in reference to anything in particular; instead, I


I don't know if this is apparent or not...  someone else mentioned
taht they didn't like "Desolation Row" because they thought that Dylan
was trying to cram lots of references in in order to confound the
interpreters (or something like that)....

I believe that many of Dylans' lyrics, and those on "Desolation Row"
for example, are not supposed to mean anything concrete, at least in
terms of the narrative of the songs.  The songs are conjuring up a
certain emotion or feeling, and do so with particular images or
vignettes or phrases.  For example, you aren't to believe that
"Desolation Row" is a place, or that all the things described in the
song are supposed to actually "take place" in this [fictional]
location, but rather the song creates an oppressive, bleak atmosphere,
and that is the point of the song (or at least an aspect of it).
Possibly in this particular song all the images are reflecting the
feelings of the narrator, who reveals himself in the final verse.

In short, many of the lyrics are meant to create an emotional
atmosphere that is not directly related, but similar to, the main focus
of the song.


	Lee
From: drchip@cup.portal.com (MYRON A LIEBERMAN)
Newsgroups: rec.music.dylan
Subject: Re: Re: Blowin' In The Wind
Date: Mon, 28 Sep 92 01:07:00 PDT
Organization: The Portal System (TM)
  <dean.717430550@paisley>




>>Hugo Montenegro - Dawn of Dylan





>Could somebody please
>provide me information regarding the label and
>year of this album, and where I might find it
>or order it.  I live in the Chicago area.
>
>thanks,
>/richard dean@rtsg.mot.com

Hugo Montenegro's LP (I don't have the CD info) was released on GWP
Records and recorded at Pye studios and Anvil studios (both in London).
The LP included Like a rolling stone, The Times They Are a Changin',
Blowin' in the Wind, She Belongs to Me, Lay Lady Lay, It Ain't Me Babe,
The Mighty Quinn, Don't Think Twice It's Alright, Mr Tambourine Man, and
My Back Pages. I don't have the year information but I have owned the
LP for a much longer period of time than CDs were available.
Newsgroups: rec.music.dylan
From: nickh@CS.CMU.EDU (Nick Haines)
Subject: Pittsburgh show
Originator: nickh@VOILA.VENARI.CS.CMU.EDU
Organization: School of Computer Science, Carnegie Mellon University
Distribution: rec
Date: Mon, 28 Sep 1992 16:57:21 GMT

Anyone know who's guesting with Dylan at the show in Pittsburgh next
week?

Nick Haines nickh@cmu.edu
From: rogers@world.std.com (roger j selverstone)
Newsgroups: rec.music.dylan
Subject: Danko and the 30th reunion
Date: 27 Sep 92 14:43:01 GMT
Article-I.D.: world.Bv8rJp.CHy
Organization: The World Public Access UNIX, Brookline, MA

Hi-

I saw Rick Danko last night at the Colonial Inn in Concord, Ma.

He looked remarkably good and sounded better than he has in quite some
time.  He sang a really nice version of Blind Willie McTell that he
followed by saying "I'm gonna sing that one with Bob at the 30th."  

According to his road manager, Danko and the band will play at the MSG
show, "possibly with Robbie Robertson."

Also the Band is starting a tour this week as part of Michelle Schocked
Arkansas Traveller roadshow.
From: Paul Schroeder
Newsgroups: rec.music.dylan
Subject: Re: Dylan covers
Date: 6 Oct 92 14:33:16 GMT
Organization: BNR

This is in rebuttal to some of the Byrd-bashing in recent posts.  Being both an
appreciator of Dylan, especially from the mid-'60s, and the Byrds, I have found
most of their renditions of his material to be excellent.  IMHO, they retained
the integrity of the songs while putting in their own twist;  of course, they
were a bit more commercial since most of their covers were electric folk-rock
versions of acoustic folk material.  McGuinn's vocal style and 12-string
ability were the main ingredients for their success.  The Byrds best covers of
Dylan were, IMHO, "Mr. Tambourine Man", "Chimes of Freedom", "My Back Pages",
and "You Ain't Goin' Nowhere" (also, McGuinn's solo version of "Up to Me" is
very fine).  Their least successful, but by no means bad, covers were "All I
Really Want to Do" and "The Times They Are A-Changin'".

In a slightly different vein, Dylan covers by early Fairport Convention
(including Thompson and Denny) of "Percy's Song" and "I'll Keep It with Mine"
are outstanding as well.
From: stevep@snowhite.cis.uoguelph.ca (Steve X. Portigal)
Newsgroups: rec.music.dylan
Subject: Dylan, Interpreation and Desolation Row
Date: 1 Oct 1992 21:11:49 -0500
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

   Well there are certainly more knowledgeable and more well-read 
individuals in this newsgroup that can freely shoot me down on this,
but after listening to Desolation Row any number of times, and thinking
about how Dylan is so incredibly over-interpreted (as earlier posts
have suggested) (by that I mean that there are those who will
 indeed examine every line for significance) that the song itself was
his response to that.  Perhaps Bob set out to deliberately create a
song that was so full of allusion, literary reference, social commentary
and so on that it would drive the "interpreters" nuts. Personally I feel
that the song is just a little heavy-handed with the references and that
it was deliberate.

 This isn't so much my opinion on interpretation itself, just that it seems
maybe it was Dylan's response to the prevalance of interpreation of his work.

Steve
-- 
/*************************************************************\
|  Steve Portigal  University of Guelph  Guelph, Ontario      |
|  stevep@snowhite.cis.uoguelph.ca (519) 824-4120 x 3580      |
\*************************************************************/

Newsgroups: rec.music.dylan
From: akp1@ellis.uchicago.edu (Adam K. Powers)
Subject: Re: Dylan covers
Reply-To: akp1@midway.uchicago.edu
Organization: University of Chicago Computing Organizations
Date: Mon, 5 Oct 1992 18:22:34 GMT

OK, here's my fave covers of Dylan songs:

1. When I Paint My Masterpiece - The Band
	complete with the bridge that Bob omits; "Oh, to be back in the
	land of Coca-Cola" always struck me as a bittersweet send-up of
	homesickness for the USA.
2. Wicked Messenger - Faces
	I like this one mostly because Rod Stewart & Co. just give it a
	straightforward, sloppy reading without trying to make it sound
	'pretty' like so many other bands do with Dylan tunes.
3. Blowin' in the Wind - Neil Young & Crazy Horse
	sounds a little too heavy on its own, but in the context of Neil's
	'91 grunge-feedback tour, this version was very appropriate.
4. Mr Tambourine Man - The Byrds
	OK, OK, I've got a weak spot for this one.  I don't like their
	version of My Back Pages, but I think McGuinn's singing does this
	one justice.
5. When I Paint My Masterpiece - The Grateful Dead
	I like the way that Weir sings this one, even tho' I think the
	Band's version is a better reading.


BTW, I was listening to Johnny Cash's _I Walk the Line_ yesterday, but
I can't seem to remember whether his "Understand Your Man" is a take-off of
Dylan's "Don't Think Twice" or the other way around.  Both are 1962
recordings, I think.  Which one was written/recorded first?

						-Adam K. Powers
						akp1@midway.uchicago.edu

Newsgroups: rec.music.dylan
From: Alan Robock <alan@atmos.umd.edu>
Subject: This Old Man
Reply-To: alan@atmos.umd.edu
Organization: The Internet
Date: Thu, 1 Oct 1992 14:37:55 GMT

In article <1992Sep30.000357.3124@col.hp.com>
judym@col.hp.com (Judy Miller) writes:
|I worry about this one ... did any of you catch his version of
|"This Old Man" on the Disney AIDS benefit album?   Not my favorite.

I loved this song.  In fact, thanks to programmable CD players, I can
put this album in and it will automatically play just this song.

I can't wait for the new album with more covers done in the manner only
a great singer like Dylan can do.

==============================================================
From:  ALAN ROBOCK          Telephone: (301) 405-5377
Department of Meteorology   Fax:       (301) 314-9482
University of Maryland      INTERNET:  alan@atmos.umd.edu
College Park, MD  20742     BITNET:    alan%atmos.umd.edu@cunyvm
USA                         Telex:     887294
       "The answer, my friend, is blowin' in the wind"
==============================================================
From: u6409886@ucsvc.ucs.unimelb.edu.au
Newsgroups: rec.music.dylan
Subject: Outlaw Blues CD
Date: 2 Oct 92 00:40:34 GMT
Organization: The University of Melbourne

I haven't seen a review of this here, so I thought I would do it.

Outlaw Blues - A Tribute to Bob Dylan
Imaginary Records ILLCD014
Made in England
Phone (061) 643 2895 Fax (061) 643 2940

This is basically a compilation of "alternative" bands doing covers of
Dylan songs, and the musical style ranges from soft, tasteful acoustic
to thrash. In each case (with the possible exception of "Mama you've
been on my mind" with a "farmyard" accompanyment) these are genuine
attempts to produce a reworking of a Dylan song, bringing something new to
it. I really like this disc, but you will need to have an ear for music
that has a few rough edges on it. (Maybe that won't be a problem in this
group :-) ). If you don't like Neil Young and Crazy Horse doing "Blowin
in the wind", don't buy this disc. If you do, you might want to check it
out.

1. Sitting On a Barbed Wire Fence (Thurston, Kim and Epic)
    (It gets better after this.)
2. Just Like Tom Thumb's Blues (The Bluebirds). Good
3. Mama you've been on my mind (Lee Ranaldo). Baaaa!
4. Tombstone Blues (Anastasia Screamed) Good, though fairly standard.
5. It Aint Me Babe (Spirea-X) Acoustic, very nice, female vocal.
6. Isis (The Poster Children) Interesting, would be great if the vocals
                                were a bit better.
7. Outlaw Blues (Thin White Rope) Ok
8. Can You...Window (The Original Sins) This one really cooks.
9. This Wheel's On Fire (The Cuckoos) Wierd but good.
10. One of Us Must Know (Sooner or Later) (The Boo Radleys)
   Pick of the bunch - cuts from acoustic countryish arrangment to grunge
   and back again. Great.

There are also some liner notes which are by Dave McGiffen, and summarize
Bob's career to 1976. There is a note saying "to be continued". These notes
will offer nothing new to SDFs. As a minor gripe, the notes overate
"New Morning", saying it "more than makes up for the previous album" (Self
Portrait), and underrates Blood on the Tracks, describing simply as
"the best album of the decade, by anyone". The "of the decade" is of course
superfluous. 

	Andrew Davies
	Melbourne Uni
From: skulick@gradient.cis.upenn.edu (Seth Kulick)
Newsgroups: rec.music.dylan
Subject: Another Dylan in music
Date: 27 Sep 92 03:19:30 GMT
Organization: University of Pennsylvania

I've been following this conference for a while but this is my first
posting - so hope this works out okay...

There's been a lot of talk about Jakob Dylan & Peter Himmelman, but
Dylans's son Samuel is also in a band - the "Supreme Dicks" - I am
NOT making this up!  I think he plays guitar, but I'm not sure.  They
were scheduled to play here in Philadelphia, opening up for another
band at a club downtown, and some friends and I went there to check it out.
However, the band showed up very late, and without Dylan.  We were told
that he "went on tour to Europe with his father this morning."  This was 
a few months ago - maybe up to a year ago, I'm not really sure.  A friend
of mine heard a tape and said they have a Velvet-Underground type of sound.

As far as the Wallflowers, I've heard their album and I think it's 
excellent, whether his name is Dylan or whatever.  It should be known that
Jakob Dylan is definitely not taking advantage of his last name for 
promotion - in fact, it's just the opposite.  The Wallflowers played
here (again, Philadelphia) opening up for Cracker, I think, and explicitly
asked for NO PUBLICITY - especially because some local music journalists
found out his family relation. 

Looking forward to the new album - I think an album of folkie covers could
be GREAT, but - where are all the oldies he's been doing in concert? -
Lakes of Ponchartrain, Two Soldiers, Little Moses, Wagoner's Lad, etc.?





----------------------------------------------------------
Seth Kulick
University of Pennsylvania
Internet: skulick@gradient.cis.upenn.edu
From: pwssab@mips2.ma30.bull.com (Pws Sablime Login)
Newsgroups: rec.music.dylan
Subject: Re: New Album on the 27th!
Date: 2 Oct 92 12:43:58 GMT
Organization: Bull HN Informations Systems Inc.

mzickar@s.psych.uiuc.edu (Mike Zickar) writes:

>Hi,

>I was just in my local record store today and they listed the new Dylan 
>album coming out on the 27th or the 29th (whichever is the Tuesday).
>Only about a month to go . . . .

That would be the 27th and since my birthday is the 28th, I find that to be
especially good news.
Newsgroups: rec.music.dylan
From: mzickar@s.psych.uiuc.edu (Mike Zickar)
Subject: New Album on the 27th!
Organization: UIUC Department of Psychology
Date: Wed, 30 Sep 1992 00:55:48 GMT

Hi,

I was just in my local record store today and they listed the new Dylan 
album coming out on the 27th or the 29th (whichever is the Tuesday).
Only about a month to go . . . .

Bye,
Mike Zickar
mzickar@s.psych.uiuc.edu

Newsgroups: rec.music.dylan
From: jbrown@magnus.acs.ohio-state.edu (James S Brown)
Subject: Re: Dylan and Interpretation
Organization: The Ohio State University
Date: Thu, 1 Oct 1992 22:26:34 GMT

In article <1992Oct1.151200.18114@ninja.zso.dec.com> farowich@hiwa61.seo.dec.co
m (Steve Farowich) writes:
>
>I just listened to a Dylan interview (what an oxymoron!) with
>Mary Travers.  I paraphrase:  "My songs are about feeling, not
>thinking.  I find that when I think I get into trouble."


It's a kind of interpretation just to apply something Dylan says in an 
interview to his music.

--
-- 
Jim Brown [jbrown@magnus.acs.ohio-state.edu]
OSU English Dept.
Columbus, OH  43210                 Like Woody sez:  Take it easy--but take it.
614-292-6065
From: gardner@haas.berkeley.edu (Curtis Gardner)
Newsgroups: rec.music.dylan
Subject: Re: Rare & unreleased vol. 4-7 in february?
Date: 6 Oct 1992 02:52:27 GMT
Organization: Haas School of Business, Berkeley
NNTP-Posting-Host: haas.berkeley.edu


Newsgroups: rec.music.dylan
From: sfy@koel.mel.dit.CSIRO.AU (Shane Youl)
Subject: Re: Song title ?
Organization: CSIRO DIT (Melb.)
Date: Sat, 3 Oct 92 05:33:20 GMT

howells@pioneer.arc.nasa.gov (John Howells) writes:

>terrapin@jessica.stanford.edu (Robert Zeien) writes:

><This doesn't really have anything to do with Dylan, but here's your
><answer...

><	Big Yellow Taxi (by Joni Mitchell)

>But it *does* have something to do with Dylan! He covered this song on
>the deplorable _Dylan_ album. :-)
     ^^^^^^^^^^
I think this is a little harsh. I quite like the second side of this.
--
  Shane Youl                                  ,-_|\    sfy@mel.dit.CSIRO.AU
  CSIRO Division of Information Technology   /CSIRO\   +61 3 282 2626
  723 Swanston Street Carlton 3053           \_,-._/
  AUSTRALIA                                       v    DoD#0504
Newsgroups: rec.music.dylan