Suddenly, Elvis had to be taken seriously because, suddenly, Elvis was taking the music seriously again. He was expressing his soul, which was plenty deep.
In The Ghetto:
From Elvis in Memphis is the ninth studio album by American rock and roll singer Elvis Presley, released on RCA Victor. The recording took place at American Sound Studio in Memphis in January and February 1969 under the direction of producer Chips Moman and with the backing of the house band, informally known as “The Memphis Boys”. A direct consequence of the success of Presley’s 1968 Christmas television special and its soundtrack, the recording marked the definite return of Presley to non-soundtrack albums after the completion of his movie contract with Paramount Pictures.
….when we recorded Bringing It All Back Home, that was like a break through point, it’s the kind of music I’ve been striving to make and I believe that in time people will see that. It’s hard to explain it, it’s that indefinable thing..
~Bob Dylan (Paul Gambaccini Interview, June 81)
This is the point where Dylan eclipses any conventional sense of folk and rewrites the rules of rock, making it safe for personal expression and poetry, not only making words mean as much as the music, but making the music an extension of the words. A truly remarkable album.
~Stephen Thomas Erlewine (allmusic.com)
#1 – Subterranean Homesick Blues
Johnny’s in the basement
Mixing up the medicine
I’m on the pavement
Thinking about the government
The man in the trench coat
Badge out, laid off
Says he’s got a bad cough
Wants to get it paid off
Look out kid
It’s somethin’ you did
God knows when
But you’re doin’ it again
You better duck down the alley way
Lookin’ for a new friend
The man in the coon-skin cap
By the big pen
Wants eleven dollar bills
You only got ten
A lot of people tell me they enjoy that album. It’s hard for me to relate to that. I mean, you know, people enjoying the type of pain, you know.
~Bob Dylan (to Mary Travers April 1975)
In stunning, total contrast to the previous album, Before the Flood, this 16th Dylan album triumphantly shows more subtlety and nuance than anything he’d ever done, and as honed a use of understatement as on John Wesley Harding. At the time this was the most unexpected leap of Dylan’s career. After years of comparatively second-rate work and a considerable decline in his reputation, here was an album to stand with Highway 61 Revisited and Blonde on Blonde.
~Michael Gray (The Bob Dylan Encyclopedia)
Blood on the Tracks is the fifteenth studio album by American singer-songwriter Bob Dylan, released on January 20, 1975by Columbia Records.
Full Dylan Album Covered: Bob Dylan – Blood On The Tracks
Blood on the tracks is my favourite Bob Dylan album, and it is the one of his albums I play most often. I love it, one of the best albums ever recorded.
This is a post where I have dug out some cover versions of the songs on the record, none of them are as good as the originals, but they’re good and they are interesting. Let us do it the old fashion vinyl way.
This is side one:
1. Jerry Garcia Band – Tangled Up in Blue – 7/9/1977 – Convention Hall:
The message isn’t in the words, …. I don’t do anything with a sort of message.
I’m just transferring my thoughts into music. Nobody can give you a message like that.
~Bob Dylan (to Ray Coleman, May 1965)
Dylan’s third album reflects his mood in August-October 1963. It is also a product for his need to live up to and expand on the role he found himself in, topical poet, the restless young man with something to say, singing to and for a new generation.
~Paul Williams (Bob Dylan Performing Artist I: The Early Years 1960-1973)
Released January 13, 1964 – 57 years ago today.
“The Times They Are A-Changin'” @ The White House in Feb 2010:
“Oh Mercy (1989) is a collection of 10 songs, best listened to at night, if you’re inclined to take that gypsy caravan down into a mythic Louisiana bayou, a world conjured up by Bob Dylan and producer Daniel Lanois. Virtually every song is a highlight, from “Political World” (which sounds just as immediate today) to the bittersweet “Shooting Star.” It’s quite an ethereal voyage from beginning to end and should withstand the test of time.”
– Josh Downham (user review, Amazon)
It is a great collection of songs and there are many artists that have tried their luck in singing them, none as good as Dylan’s original versions (as usual) but there are some good ones out there. I have tried to collect some of the best.
My favourites are Ron Sexsmith, Gordon Lightfoot, Tom Jones and Willie Nelson.