Monday, June 29, 2009
*Solidarity- Defend The Iranian Protesters-U.S. Hands Off Iran!
Click On To Title To Link To Associated Press Article On The Latest Demonstrations In Iran. Information is sketchy, the motives of the protesters are varied but this we know- we stand with the people in the streets as they struggle for some form of democratic voice on this one. Needless to say though at the governmental level-Obama-U.S. Hands Off Iran!
*Guest Commentary-"The Future Of Same-Sex Marriage"- A "New York Review Of Books" Article By David Cole
Click On Title To Link To July 2, 2009 "New York Review Of Books" Article Entitled "The Same-Sex Future" By David Cole That Gives An Update On This Struggle And A Capsule Of The Various Positions On The Issue.
Sunday, June 28, 2009
*The Other “Milk” Film- “The Times Of Harvey Milk”
Click On Title To Link To Wikipedia's Entry On Harvey Milk.
The Other “Milk” Film- “The Times Of Harvey Milk”
Originally reviewed in 2009 on the 25th Anniversary of “The Times Of Harvey Milk” documentary.
DVD Review
The Times Of Harvey Milk, Harvey, George Moscone and others, 1984
In the recent hoopla over the commercial film “Milk”, about the political rise and assassination (along with the Mayor, George Moscone) of the first acknowledged openly gay politician, San Francisco Supervisor Harvey Milk and the Oscar-worthy performance by actor Sean Penn this little film documentary has been overshadowed. This is unfortunate on two counts. First, this film won, on its own merits, an Oscar, as well, for the Best Documentary of 1984. Secondly, for those with a political perspective, especially those with a leftist perspective, this documentary is a more satisfying and instructive film about the limitations of electoral politics as a vehicle for the advancement of any oppressed sector of society.
(See "Honor Stonewall" headline on this date for the following article.)Below the headline for this review I have placed a link to a 2009 review of “Milk” by Amy Rath, editor of the Women and revolution pages of the working class newspaper “Workers Vanguard”. The points made there about the limitations of sectoral politics by segments of the oppressed are close to my own views and therefore I will merely make a few comments here about some other points of interest in the film.
This documentary is driven by footage of the events that led up to Harvey Milk’s political victory, his term of office, short as it was, the events surrounding the trial of his murderer, fellow Supervisor Dan White
And the outrage, justifiably so, of the gay community and others, over the jury verdict in the case (manslaughter). As is the nature of such efforts there are the inevitable “talking heads” who give their take on Milk, the meaning of his political life, some personal observations and comments by those who were influenced by, or worked politically with, Milk.
Two of the commentators stick out. One, a lesbian professor from San Francisco State (I think) gives an overview of what the Milk campaign meant for the gay community and the struggle for political power in one city. The other, an old time local labor leader (important in a big labor town, at least at that time), who, seemingly kicking and screaming, came to admire Harvey Milk. One should pay careful attention to his comments even a quarter of a century later as, despite some real gains made by the gay and lesbian rights movement, there is nevertheless still a ”culture gap” that he expressed very well about his attitude toward gays before working with Milk and that is not uncommon, if politically incorrect, in many neighborhoods today.
Twenty five years after the release of this film how does the legacy of Harvey Milk’s work stand up? I don’t mean the limitations of the parliamentary (and legal) road to social reform. That is covered in the Rath article on “Milk”. I have also dealt with the question in other contexts around the women’s liberation struggle, the black liberation struggle and other questions of strategic importance to the struggle for a more just society. Rather I want to finish here with a little comment about Harvey Milk, the gay man. From this documentary it is clear that he was very political, very committed to the struggle for gays rights, not afraid, as in the case of Proposition 6 (the 1978 effects by some right-wingers to exclude homosexuals from the public teaching profession), to tackle the yahoos and had a certain charisma. In short, all the attributes of any politico (at least a potentially successful one). But that is neither here nor there. What I think Milk’s short political life ultimately means was caught in the speech included in the film that he made after that Proposition 6 defeat where he called on all gays and lesbians to “come out of the closet’’ ( as seemingly quaint term now but very advanced then) and fight the yahoos wherever they are and wherever you are. That, my friends, despite my differences of political strategy with the late Harvey Milk is very good advise indeed.
The Other “Milk” Film- “The Times Of Harvey Milk”
Originally reviewed in 2009 on the 25th Anniversary of “The Times Of Harvey Milk” documentary.
DVD Review
The Times Of Harvey Milk, Harvey, George Moscone and others, 1984
In the recent hoopla over the commercial film “Milk”, about the political rise and assassination (along with the Mayor, George Moscone) of the first acknowledged openly gay politician, San Francisco Supervisor Harvey Milk and the Oscar-worthy performance by actor Sean Penn this little film documentary has been overshadowed. This is unfortunate on two counts. First, this film won, on its own merits, an Oscar, as well, for the Best Documentary of 1984. Secondly, for those with a political perspective, especially those with a leftist perspective, this documentary is a more satisfying and instructive film about the limitations of electoral politics as a vehicle for the advancement of any oppressed sector of society.
(See "Honor Stonewall" headline on this date for the following article.)Below the headline for this review I have placed a link to a 2009 review of “Milk” by Amy Rath, editor of the Women and revolution pages of the working class newspaper “Workers Vanguard”. The points made there about the limitations of sectoral politics by segments of the oppressed are close to my own views and therefore I will merely make a few comments here about some other points of interest in the film.
This documentary is driven by footage of the events that led up to Harvey Milk’s political victory, his term of office, short as it was, the events surrounding the trial of his murderer, fellow Supervisor Dan White
And the outrage, justifiably so, of the gay community and others, over the jury verdict in the case (manslaughter). As is the nature of such efforts there are the inevitable “talking heads” who give their take on Milk, the meaning of his political life, some personal observations and comments by those who were influenced by, or worked politically with, Milk.
Two of the commentators stick out. One, a lesbian professor from San Francisco State (I think) gives an overview of what the Milk campaign meant for the gay community and the struggle for political power in one city. The other, an old time local labor leader (important in a big labor town, at least at that time), who, seemingly kicking and screaming, came to admire Harvey Milk. One should pay careful attention to his comments even a quarter of a century later as, despite some real gains made by the gay and lesbian rights movement, there is nevertheless still a ”culture gap” that he expressed very well about his attitude toward gays before working with Milk and that is not uncommon, if politically incorrect, in many neighborhoods today.
Twenty five years after the release of this film how does the legacy of Harvey Milk’s work stand up? I don’t mean the limitations of the parliamentary (and legal) road to social reform. That is covered in the Rath article on “Milk”. I have also dealt with the question in other contexts around the women’s liberation struggle, the black liberation struggle and other questions of strategic importance to the struggle for a more just society. Rather I want to finish here with a little comment about Harvey Milk, the gay man. From this documentary it is clear that he was very political, very committed to the struggle for gays rights, not afraid, as in the case of Proposition 6 (the 1978 effects by some right-wingers to exclude homosexuals from the public teaching profession), to tackle the yahoos and had a certain charisma. In short, all the attributes of any politico (at least a potentially successful one). But that is neither here nor there. What I think Milk’s short political life ultimately means was caught in the speech included in the film that he made after that Proposition 6 defeat where he called on all gays and lesbians to “come out of the closet’’ ( as seemingly quaint term now but very advanced then) and fight the yahoos wherever they are and wherever you are. That, my friends, despite my differences of political strategy with the late Harvey Milk is very good advise indeed.
*From The Archives Of "Women And Revolution"-In Defense of Homosexual Rights: The Marxist Tradition
Click on the headline to link to a "Wikipedia" entry for "Communism and homosexuality".
Markin comment:
The following is an article from the Summer 1988 issue of "Women and Revolution" that may have some historical interest for old "new leftists", perhaps, and well as for younger militants interested in various cultural and social questions that intersect the class struggle. Or for those just interested in a Marxist position on a series of social questions that are thrust upon us by the vagaries of bourgeois society. I will be posting more such articles from the back issues of "Women and Revolution" during Women's History Month and periodically throughout the year.
In Defense of Homosexual Rights: The Marxist Tradition
Defense of democratic rights for homosexuals is part of the historic tradition of Marxism. In the 1860s, the prominent lawyer J.B. von Schweitzer was tried, found guilty and disbarred for homosexual activities in Mannheim, Germany. The socialist pioneer Ferdinand Lassalle aided von Schweitzer, encouraging him to join Lassalle's Universal German Workingmen's Association in 1863. After Lassalle's death, von Schweitzer was elected the head of the group, one of the organizations that merged to form the German Social Democratic Party (SPD). The SPD itself waged a long struggle in the late 19th century against Paragraph 175 of the German penal code, which made homosexual acts (for males) a crime. August Bebel and other SPD members in the Reichstag attacked the law, while the SPD's party paper Vorwarts reported on the struggle against state persecution of homosexuals.
In 1895 one of the most infamous anti-homosexual outbursts of the period targeted Oscar Wilde, one of the leading literary lights of England (where homosexuality had been punishable by death until 1861). Wilde had some socialist views of his own: his essay, "The Soul of Man Under Socialism," was smuggled into Russia by young radicals. When the Marquess of Queensberry called him a sodomist, Wilde sued for libel. Queensberry had Wilde successfully prosecuted and sent to prison for being involved with Queensberry's son. The Second International took up Wilde's defense. In the most prestigious publication of the German Social Democracy, "Die Neue Zeit", Eduard Bernstein, later known as a revisionist but then speaking as a very decent Marxist, argued that there was nothing sick about homosexuality, that Wilde had committed no crime, that every socialist should defend him and that the people who put him on trial were the criminals.
Upon coming to power in 1917 in Russia, the Bolshevik Party began immediately to undercut the old bourgeois prejudices and social institutions responsible for the oppression of both women and homosexuals— centrally the institution of the family. They sought to create social alternatives to relieve the crushing burden of women's drudgery in the family, and abolished all legal impediments to women's equality, while also abolishing all laws against homosexual acts. Stalin's successful political counterrevolution rehabilitated the reactionary ideology of bourgeois society, glorifying the family unit. In 1934 a law making homosexual acts punishable by imprisonment was introduced, and mass arrests of homosexuals took place. While defending the socialized property forms of the USSR against capitalist attack, we Trotskyists fight for political revolution in the USSR to restore the liberating program and goals of the early Bolsheviks, including getting the state out of private sexual life. As Grigorii Batkis, director of the Moscow Institute of Social Hygiene, pointed out in "The Sexual Revolution in Russia," published in the USSR in 1923:
"Soviet legislation bases itself on the following principle:
'It declares the absolute non-interference of the state and society into sexual matters so long as nobody isinjured and no one's interests are encroached upon
"Concerning homosexuality, sodomy, and various other forms of sexual gratification, which are set down in European legislation as offenses against public morality—Soviet legislation treats these exactly the same as so-called 'natural' intercourse. All forms of sexual intercourse are private matters." [emphasis in original]
—quoted in John Lauritsen and David Thorstad, The Early Homosexual Rights Movement 1864-1935
Markin comment:
The following is an article from the Summer 1988 issue of "Women and Revolution" that may have some historical interest for old "new leftists", perhaps, and well as for younger militants interested in various cultural and social questions that intersect the class struggle. Or for those just interested in a Marxist position on a series of social questions that are thrust upon us by the vagaries of bourgeois society. I will be posting more such articles from the back issues of "Women and Revolution" during Women's History Month and periodically throughout the year.
In Defense of Homosexual Rights: The Marxist Tradition
Defense of democratic rights for homosexuals is part of the historic tradition of Marxism. In the 1860s, the prominent lawyer J.B. von Schweitzer was tried, found guilty and disbarred for homosexual activities in Mannheim, Germany. The socialist pioneer Ferdinand Lassalle aided von Schweitzer, encouraging him to join Lassalle's Universal German Workingmen's Association in 1863. After Lassalle's death, von Schweitzer was elected the head of the group, one of the organizations that merged to form the German Social Democratic Party (SPD). The SPD itself waged a long struggle in the late 19th century against Paragraph 175 of the German penal code, which made homosexual acts (for males) a crime. August Bebel and other SPD members in the Reichstag attacked the law, while the SPD's party paper Vorwarts reported on the struggle against state persecution of homosexuals.
In 1895 one of the most infamous anti-homosexual outbursts of the period targeted Oscar Wilde, one of the leading literary lights of England (where homosexuality had been punishable by death until 1861). Wilde had some socialist views of his own: his essay, "The Soul of Man Under Socialism," was smuggled into Russia by young radicals. When the Marquess of Queensberry called him a sodomist, Wilde sued for libel. Queensberry had Wilde successfully prosecuted and sent to prison for being involved with Queensberry's son. The Second International took up Wilde's defense. In the most prestigious publication of the German Social Democracy, "Die Neue Zeit", Eduard Bernstein, later known as a revisionist but then speaking as a very decent Marxist, argued that there was nothing sick about homosexuality, that Wilde had committed no crime, that every socialist should defend him and that the people who put him on trial were the criminals.
Upon coming to power in 1917 in Russia, the Bolshevik Party began immediately to undercut the old bourgeois prejudices and social institutions responsible for the oppression of both women and homosexuals— centrally the institution of the family. They sought to create social alternatives to relieve the crushing burden of women's drudgery in the family, and abolished all legal impediments to women's equality, while also abolishing all laws against homosexual acts. Stalin's successful political counterrevolution rehabilitated the reactionary ideology of bourgeois society, glorifying the family unit. In 1934 a law making homosexual acts punishable by imprisonment was introduced, and mass arrests of homosexuals took place. While defending the socialized property forms of the USSR against capitalist attack, we Trotskyists fight for political revolution in the USSR to restore the liberating program and goals of the early Bolsheviks, including getting the state out of private sexual life. As Grigorii Batkis, director of the Moscow Institute of Social Hygiene, pointed out in "The Sexual Revolution in Russia," published in the USSR in 1923:
"Soviet legislation bases itself on the following principle:
'It declares the absolute non-interference of the state and society into sexual matters so long as nobody isinjured and no one's interests are encroached upon
"Concerning homosexuality, sodomy, and various other forms of sexual gratification, which are set down in European legislation as offenses against public morality—Soviet legislation treats these exactly the same as so-called 'natural' intercourse. All forms of sexual intercourse are private matters." [emphasis in original]
—quoted in John Lauritsen and David Thorstad, The Early Homosexual Rights Movement 1864-1935
*Hollywood's "Harvey Milk" vs. The Other Milk Film- “The Times Of Harvey Milk”
Click on title to link to a left wing review of the Hollywood-produced film starring Oscar-winner Sean Penn by Amy Rath in the "Women And Revolution" of "Workers Vanguard".
Markin comment:
I have decided to let the comments below stand for my appreciation of the Hollywood production of "Milk" starring Sean Penn. Politically there is much more to learn from the "other" Milk film although "Milk" had some interesting points and Penn certainly earned his Oscar.
************
The Other “Milk” Film- “The Times Of Harvey Milk”
Originally reviewed in 2009 on the 25th Anniversary of “The Times Of Harvey Milk” documentary.
DVD Review
The Times Of Harvey Milk, Harvey, George Moscone and others, 1984
In the recent hoopla over the commercial film “Milk”, about the political rise and assassination (along with the Mayor, George Moscone) of the first acknowledged openly gay politician, San Francisco Supervisor Harvey Milk and the Oscar-worthy performance by actor Sean Penn this little film documentary has been overshadowed. This is unfortunate on two counts. First, this film won, on its own merits, an Oscar, as well, for the Best Documentary of 1984. Secondly, for those with a political perspective, especially those with a leftist perspective, this documentary is a more satisfying and instructive film about the limitations of electoral politics as a vehicle for the advancement of any oppressed sector of society.
(See "Honor Stonewall" headline on this date for the following article.)Below the headline for this review I have placed a link to a 2009 review of “Milk” by Amy Rath, editor of the Women and revolution pages of the working class newspaper “Workers Vanguard”. The points made there about the limitations of sectoral politics by segments of the oppressed are close to my own views and therefore I will merely make a few comments here about some other points of interest in the film.
This documentary is driven by footage of the events that led up to Harvey Milk’s political victory, his term of office, short as it was, the events surrounding the trial of his murderer, fellow Supervisor Dan White
And the outrage, justifiably so, of the gay community and others, over the jury verdict in the case (manslaughter). As is the nature of such efforts there are the inevitable “talking heads” who give their take on Milk, the meaning of his political life, some personal observations and comments by those who were influenced by, or worked politically with, Milk.
Two of the commentators stick out. One, a lesbian professor from San Francisco State (I think) gives an overview of what the Milk campaign meant for the gay community and the struggle for political power in one city. The other, an old time local labor leader (important in a big labor town, at least at that time), who, seemingly kicking and screaming, came to admire Harvey Milk. One should pay careful attention to his comments even a quarter of a century later as, despite some real gains made by the gay and lesbian rights movement, there is nevertheless still a ”culture gap” that he expressed very well about his attitude toward gays before working with Milk and that is not uncommon, if politically incorrect, in many neighborhoods today.
Twenty five years after the release of this film how does the legacy of Harvey Milk’s work stand up? I don’t mean the limitations of the parliamentary (and legal) road to social reform. That is covered in the Rath article on “Milk”. I have also dealt with the question in other contexts around the women’s liberation struggle, the black liberation struggle and other questions of strategic importance to the struggle for a more just society. Rather I want to finish here with a little comment about Harvey Milk, the gay man. From this documentary it is clear that he was very political, very committed to the struggle for gays rights, not afraid, as in the case of Proposition 6 (the 1978 effects by some right-wingers to exclude homosexuals from the public teaching profession), to tackle the yahoos and had a certain charisma. In short, all the attributes of any politico (at least a potentially successful one). But that is neither here nor there. What I think Milk’s short political life ultimately means was caught in the speech included in the film that he made after that Proposition 6 defeat where he called on all gays and lesbians to “come out of the closet’’ ( as seemingly quaint term now but very advanced then) and fight the yahoos wherever they are and wherever you are. That, my friends, despite my differences of political strategy with the late Harvey Milk is very good advise indeed.
Markin comment:
I have decided to let the comments below stand for my appreciation of the Hollywood production of "Milk" starring Sean Penn. Politically there is much more to learn from the "other" Milk film although "Milk" had some interesting points and Penn certainly earned his Oscar.
************
The Other “Milk” Film- “The Times Of Harvey Milk”
Originally reviewed in 2009 on the 25th Anniversary of “The Times Of Harvey Milk” documentary.
DVD Review
The Times Of Harvey Milk, Harvey, George Moscone and others, 1984
In the recent hoopla over the commercial film “Milk”, about the political rise and assassination (along with the Mayor, George Moscone) of the first acknowledged openly gay politician, San Francisco Supervisor Harvey Milk and the Oscar-worthy performance by actor Sean Penn this little film documentary has been overshadowed. This is unfortunate on two counts. First, this film won, on its own merits, an Oscar, as well, for the Best Documentary of 1984. Secondly, for those with a political perspective, especially those with a leftist perspective, this documentary is a more satisfying and instructive film about the limitations of electoral politics as a vehicle for the advancement of any oppressed sector of society.
(See "Honor Stonewall" headline on this date for the following article.)Below the headline for this review I have placed a link to a 2009 review of “Milk” by Amy Rath, editor of the Women and revolution pages of the working class newspaper “Workers Vanguard”. The points made there about the limitations of sectoral politics by segments of the oppressed are close to my own views and therefore I will merely make a few comments here about some other points of interest in the film.
This documentary is driven by footage of the events that led up to Harvey Milk’s political victory, his term of office, short as it was, the events surrounding the trial of his murderer, fellow Supervisor Dan White
And the outrage, justifiably so, of the gay community and others, over the jury verdict in the case (manslaughter). As is the nature of such efforts there are the inevitable “talking heads” who give their take on Milk, the meaning of his political life, some personal observations and comments by those who were influenced by, or worked politically with, Milk.
Two of the commentators stick out. One, a lesbian professor from San Francisco State (I think) gives an overview of what the Milk campaign meant for the gay community and the struggle for political power in one city. The other, an old time local labor leader (important in a big labor town, at least at that time), who, seemingly kicking and screaming, came to admire Harvey Milk. One should pay careful attention to his comments even a quarter of a century later as, despite some real gains made by the gay and lesbian rights movement, there is nevertheless still a ”culture gap” that he expressed very well about his attitude toward gays before working with Milk and that is not uncommon, if politically incorrect, in many neighborhoods today.
Twenty five years after the release of this film how does the legacy of Harvey Milk’s work stand up? I don’t mean the limitations of the parliamentary (and legal) road to social reform. That is covered in the Rath article on “Milk”. I have also dealt with the question in other contexts around the women’s liberation struggle, the black liberation struggle and other questions of strategic importance to the struggle for a more just society. Rather I want to finish here with a little comment about Harvey Milk, the gay man. From this documentary it is clear that he was very political, very committed to the struggle for gays rights, not afraid, as in the case of Proposition 6 (the 1978 effects by some right-wingers to exclude homosexuals from the public teaching profession), to tackle the yahoos and had a certain charisma. In short, all the attributes of any politico (at least a potentially successful one). But that is neither here nor there. What I think Milk’s short political life ultimately means was caught in the speech included in the film that he made after that Proposition 6 defeat where he called on all gays and lesbians to “come out of the closet’’ ( as seemingly quaint term now but very advanced then) and fight the yahoos wherever they are and wherever you are. That, my friends, despite my differences of political strategy with the late Harvey Milk is very good advise indeed.
Saturday, June 27, 2009
*T For Texas- The Blues Of Lightnin' Hopkins
Click On Title To Link To YouTube's Film Clip Of Lightnin' Hopkins Doing A Couple Of Songs.
DVD/CD Reviews
This review has been used to cover several Lightning Hopkins CDs and a DVD review of an instructional film, "The Guitar Of Lightnin' Hopkins", directed and taught by Ernie Hopkins, Stephan Grossman Studio Workshop, 2004, on learning his guitar style. I might add that this film makes abundantly clear that learning Lightning's eccentric style is definitely not for beginners. Go to the Willie Dixon song book for that.
Lightning Hopkins & The Blues Summit, Lightning Hopkins, Sonny Terry, Brownie McGhee, Big Joe Williams, EMI-Capitol Records, 2001
I have spilled plenty of ink in this space tracing the main line of the blues from its acoustic origins down in the plantation South up river through the way station of Memphis and then to the electric "Mecca of Chicago. Along the way I have occasionally mentioned some of the other branches of the blues line like the North Carolina pick. I have not spent nearly enough time on some of the other important branches of the blues expansion, especially in the post World II period such as the West Coast blues and, as will be noted here, Texas blues.
DVD/CD Reviews
This review has been used to cover several Lightning Hopkins CDs and a DVD review of an instructional film, "The Guitar Of Lightnin' Hopkins", directed and taught by Ernie Hopkins, Stephan Grossman Studio Workshop, 2004, on learning his guitar style. I might add that this film makes abundantly clear that learning Lightning's eccentric style is definitely not for beginners. Go to the Willie Dixon song book for that.
Lightning Hopkins & The Blues Summit, Lightning Hopkins, Sonny Terry, Brownie McGhee, Big Joe Williams, EMI-Capitol Records, 2001
I have spilled plenty of ink in this space tracing the main line of the blues from its acoustic origins down in the plantation South up river through the way station of Memphis and then to the electric "Mecca of Chicago. Along the way I have occasionally mentioned some of the other branches of the blues line like the North Carolina pick. I have not spent nearly enough time on some of the other important branches of the blues expansion, especially in the post World II period such as the West Coast blues and, as will be noted here, Texas blues.
*T For Texas- The Blues Of Lightnin' Hopkins
Click On Title To Link To YouTube's Film Clip Of Lightnin' Hopkins Doing "Mojo Hand".
DVD/CD Reviews
This review has been used to cover several Lightning Hopkins CDs and a DVD review of an instructional film, "The Guitar Of Lightnin' Hopkins", directed and taught by Ernie Hopkins, Stephan Grossman Studio Workshop, 2004, on learning his guitar style. I might add that this film makes abundantly clear that learning Lightning's eccentric style is definitely not for beginners. Go to the Willie Dixon song book for that.
Blue Lightning, Lightning Hopkins, Paula Records, 1995
I have spilled plenty of ink in this space tracing the main line of the blues from its acoustic origins down in the plantation South up river through the way station of Memphis and then to the electric "Mecca of Chicago. Along the way I have occasionally mentioned some of the other branches of the blues line like the North Carolina pick. I have not spent nearly enough time on some of the other important branches of the blues expansion, especially in the post World II period such as the West Coast blues and, as will be noted here, Texas blues.
DVD/CD Reviews
This review has been used to cover several Lightning Hopkins CDs and a DVD review of an instructional film, "The Guitar Of Lightnin' Hopkins", directed and taught by Ernie Hopkins, Stephan Grossman Studio Workshop, 2004, on learning his guitar style. I might add that this film makes abundantly clear that learning Lightning's eccentric style is definitely not for beginners. Go to the Willie Dixon song book for that.
Blue Lightning, Lightning Hopkins, Paula Records, 1995
I have spilled plenty of ink in this space tracing the main line of the blues from its acoustic origins down in the plantation South up river through the way station of Memphis and then to the electric "Mecca of Chicago. Along the way I have occasionally mentioned some of the other branches of the blues line like the North Carolina pick. I have not spent nearly enough time on some of the other important branches of the blues expansion, especially in the post World II period such as the West Coast blues and, as will be noted here, Texas blues.
*T For Texas- The Blues Of Lightnin' Hopkins
Click On Title To Link To YouTube's Film Clip Of Lightnin' Hopkins Doing "Goin' Down Slow".
DVD/CD Reviews
This review has been used to cover several Lightning Hopkins CDs and a DVD review of an instructional film, "The Guitar Of Lightnin' Hopkins", directed and taught by Ernie Hopkins, Stephan Grossman Studio Workshop, 2004, on learning his guitar style. I might add that this film makes abundantly clear that learning Lightning's eccentric style is definitely not for beginners. Go to the Willie Dixon song book for that.
Free Form Patterns, Lightning Hopkins, Fuel 2000 Records, 2003
I have spilled plenty of ink in this space tracing the main line of the blues from its acoustic origins down in the plantation South up river through the way station of Memphis and then to the electric "Mecca of Chicago. Along the way I have occasionally mentioned some of the other branches of the blues line like the North Carolina pick. I have not spent nearly enough time on some of the other important branches of the blues expansion, especially in the post World II period such as the West Coast blues and, as will be noted here, Texas blues.
DVD/CD Reviews
This review has been used to cover several Lightning Hopkins CDs and a DVD review of an instructional film, "The Guitar Of Lightnin' Hopkins", directed and taught by Ernie Hopkins, Stephan Grossman Studio Workshop, 2004, on learning his guitar style. I might add that this film makes abundantly clear that learning Lightning's eccentric style is definitely not for beginners. Go to the Willie Dixon song book for that.
Free Form Patterns, Lightning Hopkins, Fuel 2000 Records, 2003
I have spilled plenty of ink in this space tracing the main line of the blues from its acoustic origins down in the plantation South up river through the way station of Memphis and then to the electric "Mecca of Chicago. Along the way I have occasionally mentioned some of the other branches of the blues line like the North Carolina pick. I have not spent nearly enough time on some of the other important branches of the blues expansion, especially in the post World II period such as the West Coast blues and, as will be noted here, Texas blues.
*T For Texas- The Blues Of Lightnin' Hopkins
Click On Title To Link To YouTube's Film Clip Of Lightnin' Hopkins Doing "Baby Please Don't Go".
DVD/CD Reviews
This review has been used to cover several Lightning Hopkins CDs and a DVD review of an instructional film, "The Guitar Of Lightnin' Hopkins", directed and taught by Ernie Hopkins, Stephan Grossman Studio Workshop, 2004, on learning his guitar style. I might add that this film makes abundantly clear that learning Lightning's eccentric style is definitely not for beginners. Go to the Willie Dixon song book for that.
Lightnin'!, Lightning Hopkins, Arhoolie Records, 1993
I have spilled plenty of ink in this space tracing the main line of the blues from its acoustic origins down in the plantation South up river through the way station of Memphis and then to the electric "Mecca of Chicago. Along the way I have occasionally mentioned some of the other branches of the blues line like the North Carolina pick. I have not spent nearly enough time on some of the other important branches of the blues expansion, especially in the post World II period such as the West Coast blues and, as will be noted here, Texas blues.
DVD/CD Reviews
This review has been used to cover several Lightning Hopkins CDs and a DVD review of an instructional film, "The Guitar Of Lightnin' Hopkins", directed and taught by Ernie Hopkins, Stephan Grossman Studio Workshop, 2004, on learning his guitar style. I might add that this film makes abundantly clear that learning Lightning's eccentric style is definitely not for beginners. Go to the Willie Dixon song book for that.
Lightnin'!, Lightning Hopkins, Arhoolie Records, 1993
I have spilled plenty of ink in this space tracing the main line of the blues from its acoustic origins down in the plantation South up river through the way station of Memphis and then to the electric "Mecca of Chicago. Along the way I have occasionally mentioned some of the other branches of the blues line like the North Carolina pick. I have not spent nearly enough time on some of the other important branches of the blues expansion, especially in the post World II period such as the West Coast blues and, as will be noted here, Texas blues.
*T For Texas- The Blues Of Lightnin' Hopkins
Click On Title To Link To YouTube's Film Clip Of Lightnin' Hopkins Doing "Lonesome Road".
DVD/CD Reviews
This review has been used to cover several Lightning Hopkins CDs and a DVD review of an instructional film, "The Guitar Of Lightnin' Hopkins", directed and taught by Ernie Hopkins, Stephan Grossman Studio Workshop, 2004, on learning his guitar style. I might add that this film makes abundantly clear that learning Lightning's eccentric style is definitely not for beginners. Go to the Willie Dixon song book for that.
Lightnin'!, Lightning Hopkins, Arhoolie Records, 1993
Free Form Patterns, Lightning Hopkins, Fuel 2000 Records, 2003
Blue Lightning, Lightning Hopkins, Paula Records, 1995
Lightning Hopkins & The Blues Summit, Lightning Hopkins, Sonny Terry, Brownie McGhee, Big Joe Williams, EMI-Capitol Records, 2001
I have spilled plenty of ink in this space tracing the main line of the blues from its acoustic origins down in the plantation South up river through the way station of Memphis and then to the electric "Mecca of Chicago. Along the way I have occasionally mentioned some of the other branches of the blues line like the North Carolina pick. I have not spent nearly enough time on some of the other important branches of the blues expansion, especially in the post World II period such as the West Coast blues and, as will be noted here, Texas blues.
If the blues is synonymous with the black struggle to get by day to day, to make ends meet and to make it to Saturday night and some relieve then the very big locale of Texas and its harsh hard scrabble life and strict Jim Crow laws hardly seems out of place as a key blues outpost. From the days, in the 1920's and 1930's, of Blind Lemon Jefferson working the streets of rural small town Texas, cup in hand, up to the artist under review, Lightning Hopkins, working the small black clubs and "juke joints" of the cities (like Houston) and beyond to the sounds of blues revivalists like Stevie Ray Vaughn and his brother there has been more than enough misery to create a separate Texas blues tradition.
Moreover, Brother Hopkins brings a distinctive guitar pick of his own to the "dance". He is famous, above all, for what is called the E shuffle sound as he works the guitar to create a sound that is a little "happier" than the forlorn one of the Delta or the "amped up" one of Chicago. I, unfortunately, did not get a chance to hears Lightning live until late in his career in the early 1970's when he had lost a little of his fine-toned edge. One can recapture some of that though through some of these earlier recordings from a tie when he was in full blown Lightning form. Listen up if you want to learn a different way to run a guitar from that of Muddy Waters, Bukka White, B.B. King or, for that matter, Eric Clapton
Needless to say Lightning had covered most of the known blues classics of his time as well as his own material. The borderlines of what is one's own material and what one has reworked from the blues pool is not always clear but you need to hear, for starters, "Mojo Hand", "Hello Central", "Little Girl" and "Rock Me Baby" to get a feel for his sound. Add on such classics as "Wig Wearing Woman", "Lonesome Dog Blues" (with an eerie dog bark included free), "Back Door Friend" and you are ready to become an aficionado. Throw in the talking blues-styled "Mr. Charlie", "Baby Child" and "Cooking Done" for good measure. Finally, team up Lightning with the likes of Sonny Terry and Brownie McGhee and the amazing Big Joe Williams (especially on Hopkins' "Ain't Nothing Like Whiskey" and "Chain Gang Blues") at the famous 1960"blues summit" and you are ready for the graduate course.
Blues Lyrics - Lightnin' Hopkins
Back Door Friend
What you gonna do with a woman, yeah, when she got a
back do' friend
What are you gonna do with a woman, yes, when she got a back do' friend?
She just prayin' for you to move out, so her back do' friend can move in
Yes, it's hard to love a woman, yes, you know she got a back do' friend
Yes, it's hard to love a woman, oh Lord, yes, you know she got a back do' friend
Yes, when she prayin' for you to move out, so her back do' friend can move in
Yeah, you know I bought that woman a diamond ring, I thought that she would change
I went home one morn' and I caught her doin', whoa, that same old thing
Now what you gonna do with a mad woman, oh, when she got a back do' friend
When she prayin' all the time for you to move out, so her back do' friend, he can move in
__________
Note: this song is also known under the title "Letter To My (Back Door Friend)" on Charly Blues Masterworks Vol. 8, recording of 1963, Houston
Blues Lyrics - Lightnin' Hopkins
Coffee Blues
Mama got mad at papa 'cause he didn't bring no coffee home
Mama got mad at papa 'cause he didn't bring no coffee home
She begin to wonder what is going on wrong
Papa said, "Mama, I ain't mad with you, now, don't you get mad with me
Baby, I ain't mad with you, now, don't you get mad with me"
Papa must have been teasing mama 'cause she said, "I ain't mad with you"
Papa must have been teasing mama 'cause she said, "I ain't mad with you"
She said, "Everything's all right; don't make no difference what you do"
(Spoken: You know papa got good with mama somehow)
And I was crying for bread, and yes, I,
baby, I was crying for bread; and these are the words I said
(Spoken: Now look at mama, just trying to shout)
It was early one evening but papa came home late at night
It was early one evening but papa came home late at night
That's when mama was mad and her and papa began to fight
Blues Lyrics - Lightnin' Hopkins
Little School Girl
Little school girl,
let me tote
your books to school today
Please, little school girl,
let me tote your books to school today
She said, "I says you's a bad boy,
mama said please keep you away"
(spoken: That's what she said about Lightnin')
Mama want to know what you're doin',
yes, after you get out of her sight
She said "If I let you tote my books,
still I know, Sam, that ain't right"
When I get back home with my mother and dad,
that's where I might have a fight
I told the school teacher,
little school girl carryin' too heavy a load
Yes, I told that school teacher,
little girl was carryin' too heavy a load
She say, "You better get your big, bare feets,
Lightnin', make it down the road"
(spoken: That little school girl was all right in her place,
but she got me, so I walked away and I say...)
Good mornin', little school girl,
how have you been today?
Good mornin' little school girl,
how have you been today?
I say I'll tote your books, I'll tote your books,
darlin', 'cause you are goin' my way
__________
Note 1: tote, to carry by hand.
Blues Lyrics - Lightnin' Hopkins
One Kind Favor I Ask Of You
There's one kind favor I'll ask of you
There's one kind favor I'll ask of you
There's one kind favor I'll ask of you
See that my love will come thru
I was down last night on my bended knee
I was down last night on my bended knee
I was down last night on my bended knee
No people in the world seems to care for me
That's all I know darlin' what to do
That's all I know darlin' what to do
That's all I know darlin' what to do
I wouldn't be here worryin' if it hadn't been for you
Wish I had-a died when I was young
Wish I had-a died when I was young
Wish I had-a died when I was young
Wouldn't be here today with my head hung
DVD/CD Reviews
This review has been used to cover several Lightning Hopkins CDs and a DVD review of an instructional film, "The Guitar Of Lightnin' Hopkins", directed and taught by Ernie Hopkins, Stephan Grossman Studio Workshop, 2004, on learning his guitar style. I might add that this film makes abundantly clear that learning Lightning's eccentric style is definitely not for beginners. Go to the Willie Dixon song book for that.
Lightnin'!, Lightning Hopkins, Arhoolie Records, 1993
Free Form Patterns, Lightning Hopkins, Fuel 2000 Records, 2003
Blue Lightning, Lightning Hopkins, Paula Records, 1995
Lightning Hopkins & The Blues Summit, Lightning Hopkins, Sonny Terry, Brownie McGhee, Big Joe Williams, EMI-Capitol Records, 2001
I have spilled plenty of ink in this space tracing the main line of the blues from its acoustic origins down in the plantation South up river through the way station of Memphis and then to the electric "Mecca of Chicago. Along the way I have occasionally mentioned some of the other branches of the blues line like the North Carolina pick. I have not spent nearly enough time on some of the other important branches of the blues expansion, especially in the post World II period such as the West Coast blues and, as will be noted here, Texas blues.
If the blues is synonymous with the black struggle to get by day to day, to make ends meet and to make it to Saturday night and some relieve then the very big locale of Texas and its harsh hard scrabble life and strict Jim Crow laws hardly seems out of place as a key blues outpost. From the days, in the 1920's and 1930's, of Blind Lemon Jefferson working the streets of rural small town Texas, cup in hand, up to the artist under review, Lightning Hopkins, working the small black clubs and "juke joints" of the cities (like Houston) and beyond to the sounds of blues revivalists like Stevie Ray Vaughn and his brother there has been more than enough misery to create a separate Texas blues tradition.
Moreover, Brother Hopkins brings a distinctive guitar pick of his own to the "dance". He is famous, above all, for what is called the E shuffle sound as he works the guitar to create a sound that is a little "happier" than the forlorn one of the Delta or the "amped up" one of Chicago. I, unfortunately, did not get a chance to hears Lightning live until late in his career in the early 1970's when he had lost a little of his fine-toned edge. One can recapture some of that though through some of these earlier recordings from a tie when he was in full blown Lightning form. Listen up if you want to learn a different way to run a guitar from that of Muddy Waters, Bukka White, B.B. King or, for that matter, Eric Clapton
Needless to say Lightning had covered most of the known blues classics of his time as well as his own material. The borderlines of what is one's own material and what one has reworked from the blues pool is not always clear but you need to hear, for starters, "Mojo Hand", "Hello Central", "Little Girl" and "Rock Me Baby" to get a feel for his sound. Add on such classics as "Wig Wearing Woman", "Lonesome Dog Blues" (with an eerie dog bark included free), "Back Door Friend" and you are ready to become an aficionado. Throw in the talking blues-styled "Mr. Charlie", "Baby Child" and "Cooking Done" for good measure. Finally, team up Lightning with the likes of Sonny Terry and Brownie McGhee and the amazing Big Joe Williams (especially on Hopkins' "Ain't Nothing Like Whiskey" and "Chain Gang Blues") at the famous 1960"blues summit" and you are ready for the graduate course.
Blues Lyrics - Lightnin' Hopkins
Back Door Friend
What you gonna do with a woman, yeah, when she got a
back do' friend
What are you gonna do with a woman, yes, when she got a back do' friend?
She just prayin' for you to move out, so her back do' friend can move in
Yes, it's hard to love a woman, yes, you know she got a back do' friend
Yes, it's hard to love a woman, oh Lord, yes, you know she got a back do' friend
Yes, when she prayin' for you to move out, so her back do' friend can move in
Yeah, you know I bought that woman a diamond ring, I thought that she would change
I went home one morn' and I caught her doin', whoa, that same old thing
Now what you gonna do with a mad woman, oh, when she got a back do' friend
When she prayin' all the time for you to move out, so her back do' friend, he can move in
__________
Note: this song is also known under the title "Letter To My (Back Door Friend)" on Charly Blues Masterworks Vol. 8, recording of 1963, Houston
Blues Lyrics - Lightnin' Hopkins
Coffee Blues
Mama got mad at papa 'cause he didn't bring no coffee home
Mama got mad at papa 'cause he didn't bring no coffee home
She begin to wonder what is going on wrong
Papa said, "Mama, I ain't mad with you, now, don't you get mad with me
Baby, I ain't mad with you, now, don't you get mad with me"
Papa must have been teasing mama 'cause she said, "I ain't mad with you"
Papa must have been teasing mama 'cause she said, "I ain't mad with you"
She said, "Everything's all right; don't make no difference what you do"
(Spoken: You know papa got good with mama somehow)
And I was crying for bread, and yes, I,
baby, I was crying for bread; and these are the words I said
(Spoken: Now look at mama, just trying to shout)
It was early one evening but papa came home late at night
It was early one evening but papa came home late at night
That's when mama was mad and her and papa began to fight
Blues Lyrics - Lightnin' Hopkins
Little School Girl
Little school girl,
let me tote
your books to school today
Please, little school girl,
let me tote your books to school today
She said, "I says you's a bad boy,
mama said please keep you away"
(spoken: That's what she said about Lightnin')
Mama want to know what you're doin',
yes, after you get out of her sight
She said "If I let you tote my books,
still I know, Sam, that ain't right"
When I get back home with my mother and dad,
that's where I might have a fight
I told the school teacher,
little school girl carryin' too heavy a load
Yes, I told that school teacher,
little girl was carryin' too heavy a load
She say, "You better get your big, bare feets,
Lightnin', make it down the road"
(spoken: That little school girl was all right in her place,
but she got me, so I walked away and I say...)
Good mornin', little school girl,
how have you been today?
Good mornin' little school girl,
how have you been today?
I say I'll tote your books, I'll tote your books,
darlin', 'cause you are goin' my way
__________
Note 1: tote, to carry by hand.
Blues Lyrics - Lightnin' Hopkins
One Kind Favor I Ask Of You
There's one kind favor I'll ask of you
There's one kind favor I'll ask of you
There's one kind favor I'll ask of you
See that my love will come thru
I was down last night on my bended knee
I was down last night on my bended knee
I was down last night on my bended knee
No people in the world seems to care for me
That's all I know darlin' what to do
That's all I know darlin' what to do
That's all I know darlin' what to do
I wouldn't be here worryin' if it hadn't been for you
Wish I had-a died when I was young
Wish I had-a died when I was young
Wish I had-a died when I was young
Wouldn't be here today with my head hung
Friday, June 26, 2009
*Bob Dylan's Bootleg Legacy- "To Be Young Was Very Heaven"- The 1964 Concert At The Philharmonic Hall
Click On Title To Link To YouTube's Film Clip Of Bob Dylan Doing "Gates Of Eden".
CD REVIEW
The 1964 Dylan At The Philharmonic Concert, Bootleg Series Volume 6, Sony Records, 2004
As of late I have been railing against various secondary Bob Dylan materials that are mainly of historical interest. In those cases I was describing my reactions to a two-disc set "The Basement Tapes" of about twenty songs and another five volume set entitled "The `Genuine" Basement Tapes of about one hundred songs both done with The Band in 1967 while he was "hiding" out in rural New York after his motorcycle accident. I dubbed both items as strictly for aficionados. I also noted that I was less than enamored of the virtual cottage industry that has grown up around various bootleg, basement, cellar, barn, attic or other odd versions of Dylan's work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan's usually well-produced mainline albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, moreover, somehow left to feel that one has missed something without this other more esoteric material in one's collection. Having said that, I am now have to eat a little crow and recommend one bootleg volume that is a notch above the others- the famous October 1964 Philharmonic Concert.
Of course this concert falls into the above-mentioned categories of being for aficionados and music historians. But this one also, unlike some others in these series, gives a glance at what Bob Dylan was like as a performer as he was rising to the top of the folk world before the old electric/acoustic controversy fouled the air. I would draw the reader's attention to a sharp contrast between carefree, light-hearted stage presence and response to his audience here and the later 1966 Prince Albert Royal Hall Concert (Bootleg Volume 4) where he is on the defensive with his British audience and at the end of it practically ignores that audience as a result of their negative response to his going `electric'. I would also note the distant and mumbled answers of his interview style noted in Martin Scorsese's documentary "No Direction Home" of a few years ago. Here, though add his duos on Disc Two with his `paramour', folk queen Joan Baez, and the mixture is practically irresistible.
Again, virtually all the material in this set is available in more polished and technically proficient studio performances and if one has to choose, or is a Dylan rookie, then that is the place to look for his copies of his work. However, for those of us who are aficionados (Hey, I never said I wasn't, did I?) then here are some things to look for: "Gates Of Eden"; "Hard Rain's A Gonna Fall"; "It All Right, Mama" (remember that classic line "even the President must sometimes have to stand naked" as we enter the Obamian `new age'); and "Mr. Tambourine Man". Some of the more topical songs of the time (part of the true folk tradition and what keeps this genre moving forward) like "Talking World War III Blues" and "John Birch Blues" will require a translator or a click to Wikipedia to 'get' the references in those pieces. So do a little homework. That's okay here.
BALLAD OF HOLLIS BROWN
Words and Music by Bob Dylan
1963 Warner Bros. Inc
Renewed 1991 Special Rider Music
Hollis Brown
He lived on the outside of town
Hollis Brown
He lived on the outside of town
With his wife and five children
And his cabin fallin' down
You looked for work and money
And you walked a rugged mile
You looked for work and money
And you walked a rugged mile
Your children are so hungry
That they don't know how to smile
Your baby's eyes look crazy
They're a-tuggin' at your sleeve
Your baby's eyes look crazy
They're a-tuggin' at your sleeve
You walk the floor and wonder why
With every breath you breathe
The rats have got your flour
Bad blood it got your mare
The rats have got your flour
Bad blood it got your mare
If there's anyone that knows
Is there anyone that cares?
You prayed to the Lord above
Oh please send you a friend
You prayed to the Lord above
Oh please send you a friend
Your empty pockets tell yuh
That you ain't a-got no friend
Your babies are crying louder
It's pounding on your brain
Your babies are crying louder now
It's pounding on your brain
Your wife's screams are stabbin' you
Like the dirty drivin' rain
Your grass it is turning black
There's no water in your well
Your grass is turning black
There's no water in your well
You spent your last lone dollar
On seven shotgun shells
Way out in the wilderness
A cold coyote calls
Way out in the wilderness
A cold coyote calls
Your eyes fix on the shotgun
That's hangin' on the wall
Your brain is a-bleedin'
And your legs can't seem to stand
Your brain is a-bleedin'
And your legs can't seem to stand
Your eyes fix on the shotgun
That you're holdin' in your hand
There's seven breezes a-blowin'
All around the cabin door
There's seven breezes a-blowin'
All around the cabin door
Seven shots ring out
Like the ocean's pounding roar
There's seven people dead
On a South Dakota farm
There's seven people dead
On a South Dakota farm
Somewhere in the distance
There's seven new people born
DON'T THINK TWICE, IT'S ALL RIGHT
Words and Music by Bob Dylan
1963 Warner Bros. Inc
Renewed 1991 Special Rider Music
It ain't no use to sit and wonder why, babe
It don't matter, anyhow
An' it ain't no use to sit and wonder why, babe
If you don't know by now
When your rooster crows at the break of dawn
Look out your window and I'll be gone
You're the reason I'm trav'lin' on
Don't think twice, it's all right
It ain't no use in turnin' on your light, babe
That light I never knowed
An' it ain't no use in turnin' on your light, babe
I'm on the dark side of the road
Still I wish there was somethin' you would do or say
To try and make me change my mind and stay
We never did too much talkin' anyway
So don't think twice, it's all right
It ain't no use in callin' out my name, gal
Like you never did before
It ain't no use in callin' out my name, gal
I can't hear you any more
I'm a-thinkin' and a-wond'rin' all the way down the road
I once loved a woman, a child I'm told
I give her my heart but she wanted my soul
But don't think twice, it's all right
I'm walkin' down that long, lonesome road, babe
Where I'm bound, I can't tell
But goodbye's too good a word, gal
So I'll just say fare thee well
I ain't sayin' you treated me unkind
You could have done better but I don't mind
You just kinda wasted my precious time
But don't think twice, it's all right
GATES OF EDEN
Words and Music by Bob Dylan
Of war and peace the truth just twists
Its curfew gull just glides
Upon four-legged forest clouds
The cowboy angel rides
With his candle lit into the sun
Though its glow is waxed in black
All except when 'neath the trees of Eden
The lamppost stands with folded arms
Its iron claws attached
To curbs 'neath holes where babies wail
Though it shadows metal badge
All and all can only fall
With a crashing but meaningless blow
No sound ever comes from the Gates of Eden
The savage soldier sticks his head in sand
And then complains
Unto the shoeless hunter who's gone deaf
But still remains
Upon the beach where hound dogs bay
At ships with tattooed sails
Heading for the Gates of Eden
With a time-rusted compass blade
Aladdin and his lamp
Sits with Utopian hermit monks
Side saddle on the Golden Calf
And on their promises of paradise
You will not hear a laugh
All except inside the Gates of Eden
Relationships of ownership
They whisper in the wings
To those condemned to act accordingly
And wait for succeeding kings
And I try to harmonize with songs
The lonesome sparrow sings
There are no kings inside the Gates of Eden
The motorcycle black madonna
Two-wheeled gypsy queen
And her silver-studded phantom cause
The gray flannel dwarf to scream
As he weeps to wicked birds of prey
Who pick up on his bread crumb sins
And there are no sins inside the Gates of Eden
The kingdoms of Experience
In the precious wind they rot
While paupers change possessions
Each one wishing for what the other has got
And the princess and the prince
Discuss what's real and what is not
It doesn't matter inside the Gates of Eden
The foreign sun, it squints upon
A bed that is never mine
As friends and other strangers
From their fates try to resign
Leaving men wholly, totally free
To do anything they wish to do but die
And there are no trials inside the Gates of Eden
At dawn my lover comes to me
And tells me of her dreams
With no attempts to shovel the glimpse
Into the ditch of what each one means
At times I think there are no words
But these to tell what's true
And there are no truths outside the Gates of Eden
A HARD RAIN'S A-GONNA FALL
Words and Music by Bob Dylan
1963 Warner Bros. Inc
Renewed 1991 Special Rider Music
Oh, where have you been, my blue-eyed son?
Oh, where have you been, my darling young one?
I've stumbled on the side of twelve misty mountains,
I've walked and I've crawled on six crooked highways,
I've stepped in the middle of seven sad forests,
I've been out in front of a dozen dead oceans,
I've been ten thousand miles in the mouth of a graveyard,
And it's a hard, and it's a hard, it's a hard, and it's a hard,
And it's a hard rain's a-gonna fall.
Oh, what did you see, my blue-eyed son?
Oh, what did you see, my darling young one?
I saw a newborn baby with wild wolves all around it,
I saw a highway of diamonds with nobody on it,
I saw a black branch with blood that kept drippin',
I saw a room full of men with their hammers a-bleedin',
I saw a white ladder all covered with water,
I saw ten thousand talkers whose tongues were all broken,
I saw guns and sharp swords in the hands of young children,
And it's a hard, and it's a hard, it's a hard, it's a hard,
And it's a hard rain's a-gonna fall.
And what did you hear, my blue-eyed son?
And what did you hear, my darling young one?
I heard the sound of a thunder, it roared out a warnin',
Heard the roar of a wave that could drown the whole world,
Heard one hundred drummers whose hands were a-blazin',
Heard ten thousand whisperin' and nobody listenin',
Heard one person starve, I heard many people laughin',
Heard the song of a poet who died in the gutter,
Heard the sound of a clown who cried in the alley,
And it's a hard, and it's a hard, it's a hard, it's a hard,
And it's a hard rain's a-gonna fall.
Oh, who did you meet, my blue-eyed son?
Who did you meet, my darling young one?
I met a young child beside a dead pony,
I met a white man who walked a black dog,
I met a young woman whose body was burning,
I met a young girl, she gave me a rainbow,
I met one man who was wounded in love,
I met another man who was wounded with hatred,
And it's a hard, it's a hard, it's a hard, it's a hard,
It's a hard rain's a-gonna fall.
Oh, what'll you do now, my blue-eyed son?
Oh, what'll you do now, my darling young one?
I'm a-goin' back out 'fore the rain starts a-fallin',
I'll walk to the depths of the deepest black forest,
Where the people are many and their hands are all empty,
Where the pellets of poison are flooding their waters,
Where the home in the valley meets the damp dirty prison,
Where the executioner's face is always well hidden,
Where hunger is ugly, where souls are forgotten,
Where black is the color, where none is the number,
And I'll tell it and think it and speak it and breathe it,
And reflect it from the mountain so all souls can see it,
Then I'll stand on the ocean until I start sinkin',
But I'll know my song well before I start singin',
And it's a hard, it's a hard, it's a hard, it's a hard,
It's a hard rain's a-gonna fall.
TALKIN' JOHN BIRCH PARANOID BLUES
Words and Music by Bob Dylan
1970, 1973 Special Rider Music
Well, I was feelin' sad and feelin' blue,
I didn't know what in the world I was gonna do,
Them Communists they wus comin' around,
They wus in the air,
They wus on the ground.
They wouldn't gimme no peace. . .
So I run down most hurriedly
And joined up with the John Birch Society,
I got me a secret membership card
And started off a-walkin' down the road.
Yee-hoo, I'm a real John Bircher now!
Look out you Commies!
Now we all agree with Hitlers' views,
Although he killed six million Jews.
It don't matter too much that he was a Fascist,
At least you can't say he was a Communist!
That's to say like if you got a cold you take a shot of malaria.
Well, I wus lookin' everywhere for them gol-darned Reds.
I got up in the mornin' 'n' looked under my bed,
Looked in the sink, behind the door,
Looked in the glove compartment of my car.
Couldn't find 'em . . .
I wus lookin' high an' low for them Reds everywhere,
I wus lookin' in the sink an' underneath the chair.
I looked way up my chimney hole,
I even looked deep inside my toilet bowl.
They got away . . .
Well, I wus sittin' home alone an' started to sweat,
Figured they wus in my T.V. set.
Peeked behind the picture frame,
Got a shock from my feet, hittin' right up in the brain.
Them Reds caused it!
I know they did . . . them hard-core ones.
Well, I quit my job so I could work alone,
Then I changed my name to Sherlock Holmes.
Followed some clues from my detective bag
And discovered they wus red stripes on the American flag!
That ol' Betty Ross . . .
Well, I investigated all the books in the library,
Ninety percent of 'em gotta be burned away.
I investigated all the people that I knowed,
Ninety-eight percent of them gotta go.
The other two percent are fellow Birchers . . . just like me.
Now Eisenhower, he's a Russian spy,
Lincoln, Jefferson and that Roosevelt guy.
To my knowledge there's just one man
That's really a true American: George Lincoln Rockwell.
I know for a fact he hates Commies cus he picketed the movie Exodus.
Well, I fin'ly started thinkin' straight
When I run outa things to investigate.
Couldn't imagine doin' anything else,
So now I'm sittin' home investigatin' myself!
Hope I don't find out anything . . . hmm, great God!
TALKIN' WORLD WAR III BLUES
Words and Music by Bob Dylan
1963, 1966 Warner Bros Inc
Renewed 1991 Special Rider Music
Some time ago a crazy dream came to me,
I dreamt I was walkin' into World War Three,
I went to the doctor the very next day
To see what kinda words he could say.
He said it was a bad dream.
I wouldn't worry 'bout it none, though,
They were my own dreams and they're only in my head.
I said, "Hold it, Doc, a World War passed through my brain."
He said, "Nurse, get your pad, this boy's insane,"
He grabbed my arm, I said "Ouch!"
As I landed on the psychiatric couch,
He said, "Tell me about it."
Well, the whole thing started at 3 o'clock fast,
It was all over by quarter past.
I was down in the sewer with some little lover
When I peeked out from a manhole cover
Wondering who turned the lights on.
Well, I got up and walked around
And up and down the lonesome town.
I stood a-wondering which way to go,
I lit a cigarette on a parking meter
And walked on down the road.
It was a normal day.
Well, I rung the fallout shelter bell
And I leaned my head and I gave a yell,
"Give me a string bean, I'm a hungry man."
A shotgun fired and away I ran.
I don't blame them too much though,
I know I look funny.
Down at the corner by a hot-dog stand
I seen a man, I said, "Howdy friend,
I guess there's just us two."
He screamed a bit and away he flew.
Thought I was a Communist.
Well, I spied a girl and before she could leave,
"Let's go and play Adam and Eve."
I took her by the hand and my heart it was thumpin'
When she said, "Hey man, you crazy or sumpin',
You see what happened last time they started."
Well, I seen a Cadillac window uptown
And there was nobody aroun',
I got into the driver's seat
And I drove down 42nd Street
In my Cadillac.
Good car to drive after a war.
Well, I remember seein' some ad,
So I turned on my Conelrad.
But I didn't pay my Con Ed bill,
So the radio didn't work so well.
Turned on my record playerÑ
It was Rock-A-Day, Johnny singin',
"Tell Your Ma, Tell Your Pa,
Our Loves Are Gonna Grow Ooh-wah, Ooh-wah."
I was feelin' kinda lonesome and blue,
I needed somebody to talk to.
So I called up the operator of time
Just to hear a voice of some kind.
"When you hear the beep
It will be three o'clock,"
She said that for over an hour
And I hung it up.
Well, the doctor interrupted me just about then,
Sayin, "Hey I've been havin' the same old dreams,
But mine was a little different you see.
I dreamt that the only person left after the war was me.
I didn't see you around."
Well, now time passed and now it seems
Everybody's having them dreams.
Everybody sees themselves walkin' around with no one else.
Half of the people can be part right all of the time,
Some of the people can be all right part of the time.
But all of the people canÕt be right all of the time.
I think Abraham Lincoln said that.
"I'll let you be in my dreams if I can be in yours,"
I said that.
CD REVIEW
The 1964 Dylan At The Philharmonic Concert, Bootleg Series Volume 6, Sony Records, 2004
As of late I have been railing against various secondary Bob Dylan materials that are mainly of historical interest. In those cases I was describing my reactions to a two-disc set "The Basement Tapes" of about twenty songs and another five volume set entitled "The `Genuine" Basement Tapes of about one hundred songs both done with The Band in 1967 while he was "hiding" out in rural New York after his motorcycle accident. I dubbed both items as strictly for aficionados. I also noted that I was less than enamored of the virtual cottage industry that has grown up around various bootleg, basement, cellar, barn, attic or other odd versions of Dylan's work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan's usually well-produced mainline albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, moreover, somehow left to feel that one has missed something without this other more esoteric material in one's collection. Having said that, I am now have to eat a little crow and recommend one bootleg volume that is a notch above the others- the famous October 1964 Philharmonic Concert.
Of course this concert falls into the above-mentioned categories of being for aficionados and music historians. But this one also, unlike some others in these series, gives a glance at what Bob Dylan was like as a performer as he was rising to the top of the folk world before the old electric/acoustic controversy fouled the air. I would draw the reader's attention to a sharp contrast between carefree, light-hearted stage presence and response to his audience here and the later 1966 Prince Albert Royal Hall Concert (Bootleg Volume 4) where he is on the defensive with his British audience and at the end of it practically ignores that audience as a result of their negative response to his going `electric'. I would also note the distant and mumbled answers of his interview style noted in Martin Scorsese's documentary "No Direction Home" of a few years ago. Here, though add his duos on Disc Two with his `paramour', folk queen Joan Baez, and the mixture is practically irresistible.
Again, virtually all the material in this set is available in more polished and technically proficient studio performances and if one has to choose, or is a Dylan rookie, then that is the place to look for his copies of his work. However, for those of us who are aficionados (Hey, I never said I wasn't, did I?) then here are some things to look for: "Gates Of Eden"; "Hard Rain's A Gonna Fall"; "It All Right, Mama" (remember that classic line "even the President must sometimes have to stand naked" as we enter the Obamian `new age'); and "Mr. Tambourine Man". Some of the more topical songs of the time (part of the true folk tradition and what keeps this genre moving forward) like "Talking World War III Blues" and "John Birch Blues" will require a translator or a click to Wikipedia to 'get' the references in those pieces. So do a little homework. That's okay here.
BALLAD OF HOLLIS BROWN
Words and Music by Bob Dylan
1963 Warner Bros. Inc
Renewed 1991 Special Rider Music
Hollis Brown
He lived on the outside of town
Hollis Brown
He lived on the outside of town
With his wife and five children
And his cabin fallin' down
You looked for work and money
And you walked a rugged mile
You looked for work and money
And you walked a rugged mile
Your children are so hungry
That they don't know how to smile
Your baby's eyes look crazy
They're a-tuggin' at your sleeve
Your baby's eyes look crazy
They're a-tuggin' at your sleeve
You walk the floor and wonder why
With every breath you breathe
The rats have got your flour
Bad blood it got your mare
The rats have got your flour
Bad blood it got your mare
If there's anyone that knows
Is there anyone that cares?
You prayed to the Lord above
Oh please send you a friend
You prayed to the Lord above
Oh please send you a friend
Your empty pockets tell yuh
That you ain't a-got no friend
Your babies are crying louder
It's pounding on your brain
Your babies are crying louder now
It's pounding on your brain
Your wife's screams are stabbin' you
Like the dirty drivin' rain
Your grass it is turning black
There's no water in your well
Your grass is turning black
There's no water in your well
You spent your last lone dollar
On seven shotgun shells
Way out in the wilderness
A cold coyote calls
Way out in the wilderness
A cold coyote calls
Your eyes fix on the shotgun
That's hangin' on the wall
Your brain is a-bleedin'
And your legs can't seem to stand
Your brain is a-bleedin'
And your legs can't seem to stand
Your eyes fix on the shotgun
That you're holdin' in your hand
There's seven breezes a-blowin'
All around the cabin door
There's seven breezes a-blowin'
All around the cabin door
Seven shots ring out
Like the ocean's pounding roar
There's seven people dead
On a South Dakota farm
There's seven people dead
On a South Dakota farm
Somewhere in the distance
There's seven new people born
DON'T THINK TWICE, IT'S ALL RIGHT
Words and Music by Bob Dylan
1963 Warner Bros. Inc
Renewed 1991 Special Rider Music
It ain't no use to sit and wonder why, babe
It don't matter, anyhow
An' it ain't no use to sit and wonder why, babe
If you don't know by now
When your rooster crows at the break of dawn
Look out your window and I'll be gone
You're the reason I'm trav'lin' on
Don't think twice, it's all right
It ain't no use in turnin' on your light, babe
That light I never knowed
An' it ain't no use in turnin' on your light, babe
I'm on the dark side of the road
Still I wish there was somethin' you would do or say
To try and make me change my mind and stay
We never did too much talkin' anyway
So don't think twice, it's all right
It ain't no use in callin' out my name, gal
Like you never did before
It ain't no use in callin' out my name, gal
I can't hear you any more
I'm a-thinkin' and a-wond'rin' all the way down the road
I once loved a woman, a child I'm told
I give her my heart but she wanted my soul
But don't think twice, it's all right
I'm walkin' down that long, lonesome road, babe
Where I'm bound, I can't tell
But goodbye's too good a word, gal
So I'll just say fare thee well
I ain't sayin' you treated me unkind
You could have done better but I don't mind
You just kinda wasted my precious time
But don't think twice, it's all right
GATES OF EDEN
Words and Music by Bob Dylan
Of war and peace the truth just twists
Its curfew gull just glides
Upon four-legged forest clouds
The cowboy angel rides
With his candle lit into the sun
Though its glow is waxed in black
All except when 'neath the trees of Eden
The lamppost stands with folded arms
Its iron claws attached
To curbs 'neath holes where babies wail
Though it shadows metal badge
All and all can only fall
With a crashing but meaningless blow
No sound ever comes from the Gates of Eden
The savage soldier sticks his head in sand
And then complains
Unto the shoeless hunter who's gone deaf
But still remains
Upon the beach where hound dogs bay
At ships with tattooed sails
Heading for the Gates of Eden
With a time-rusted compass blade
Aladdin and his lamp
Sits with Utopian hermit monks
Side saddle on the Golden Calf
And on their promises of paradise
You will not hear a laugh
All except inside the Gates of Eden
Relationships of ownership
They whisper in the wings
To those condemned to act accordingly
And wait for succeeding kings
And I try to harmonize with songs
The lonesome sparrow sings
There are no kings inside the Gates of Eden
The motorcycle black madonna
Two-wheeled gypsy queen
And her silver-studded phantom cause
The gray flannel dwarf to scream
As he weeps to wicked birds of prey
Who pick up on his bread crumb sins
And there are no sins inside the Gates of Eden
The kingdoms of Experience
In the precious wind they rot
While paupers change possessions
Each one wishing for what the other has got
And the princess and the prince
Discuss what's real and what is not
It doesn't matter inside the Gates of Eden
The foreign sun, it squints upon
A bed that is never mine
As friends and other strangers
From their fates try to resign
Leaving men wholly, totally free
To do anything they wish to do but die
And there are no trials inside the Gates of Eden
At dawn my lover comes to me
And tells me of her dreams
With no attempts to shovel the glimpse
Into the ditch of what each one means
At times I think there are no words
But these to tell what's true
And there are no truths outside the Gates of Eden
A HARD RAIN'S A-GONNA FALL
Words and Music by Bob Dylan
1963 Warner Bros. Inc
Renewed 1991 Special Rider Music
Oh, where have you been, my blue-eyed son?
Oh, where have you been, my darling young one?
I've stumbled on the side of twelve misty mountains,
I've walked and I've crawled on six crooked highways,
I've stepped in the middle of seven sad forests,
I've been out in front of a dozen dead oceans,
I've been ten thousand miles in the mouth of a graveyard,
And it's a hard, and it's a hard, it's a hard, and it's a hard,
And it's a hard rain's a-gonna fall.
Oh, what did you see, my blue-eyed son?
Oh, what did you see, my darling young one?
I saw a newborn baby with wild wolves all around it,
I saw a highway of diamonds with nobody on it,
I saw a black branch with blood that kept drippin',
I saw a room full of men with their hammers a-bleedin',
I saw a white ladder all covered with water,
I saw ten thousand talkers whose tongues were all broken,
I saw guns and sharp swords in the hands of young children,
And it's a hard, and it's a hard, it's a hard, it's a hard,
And it's a hard rain's a-gonna fall.
And what did you hear, my blue-eyed son?
And what did you hear, my darling young one?
I heard the sound of a thunder, it roared out a warnin',
Heard the roar of a wave that could drown the whole world,
Heard one hundred drummers whose hands were a-blazin',
Heard ten thousand whisperin' and nobody listenin',
Heard one person starve, I heard many people laughin',
Heard the song of a poet who died in the gutter,
Heard the sound of a clown who cried in the alley,
And it's a hard, and it's a hard, it's a hard, it's a hard,
And it's a hard rain's a-gonna fall.
Oh, who did you meet, my blue-eyed son?
Who did you meet, my darling young one?
I met a young child beside a dead pony,
I met a white man who walked a black dog,
I met a young woman whose body was burning,
I met a young girl, she gave me a rainbow,
I met one man who was wounded in love,
I met another man who was wounded with hatred,
And it's a hard, it's a hard, it's a hard, it's a hard,
It's a hard rain's a-gonna fall.
Oh, what'll you do now, my blue-eyed son?
Oh, what'll you do now, my darling young one?
I'm a-goin' back out 'fore the rain starts a-fallin',
I'll walk to the depths of the deepest black forest,
Where the people are many and their hands are all empty,
Where the pellets of poison are flooding their waters,
Where the home in the valley meets the damp dirty prison,
Where the executioner's face is always well hidden,
Where hunger is ugly, where souls are forgotten,
Where black is the color, where none is the number,
And I'll tell it and think it and speak it and breathe it,
And reflect it from the mountain so all souls can see it,
Then I'll stand on the ocean until I start sinkin',
But I'll know my song well before I start singin',
And it's a hard, it's a hard, it's a hard, it's a hard,
It's a hard rain's a-gonna fall.
TALKIN' JOHN BIRCH PARANOID BLUES
Words and Music by Bob Dylan
1970, 1973 Special Rider Music
Well, I was feelin' sad and feelin' blue,
I didn't know what in the world I was gonna do,
Them Communists they wus comin' around,
They wus in the air,
They wus on the ground.
They wouldn't gimme no peace. . .
So I run down most hurriedly
And joined up with the John Birch Society,
I got me a secret membership card
And started off a-walkin' down the road.
Yee-hoo, I'm a real John Bircher now!
Look out you Commies!
Now we all agree with Hitlers' views,
Although he killed six million Jews.
It don't matter too much that he was a Fascist,
At least you can't say he was a Communist!
That's to say like if you got a cold you take a shot of malaria.
Well, I wus lookin' everywhere for them gol-darned Reds.
I got up in the mornin' 'n' looked under my bed,
Looked in the sink, behind the door,
Looked in the glove compartment of my car.
Couldn't find 'em . . .
I wus lookin' high an' low for them Reds everywhere,
I wus lookin' in the sink an' underneath the chair.
I looked way up my chimney hole,
I even looked deep inside my toilet bowl.
They got away . . .
Well, I wus sittin' home alone an' started to sweat,
Figured they wus in my T.V. set.
Peeked behind the picture frame,
Got a shock from my feet, hittin' right up in the brain.
Them Reds caused it!
I know they did . . . them hard-core ones.
Well, I quit my job so I could work alone,
Then I changed my name to Sherlock Holmes.
Followed some clues from my detective bag
And discovered they wus red stripes on the American flag!
That ol' Betty Ross . . .
Well, I investigated all the books in the library,
Ninety percent of 'em gotta be burned away.
I investigated all the people that I knowed,
Ninety-eight percent of them gotta go.
The other two percent are fellow Birchers . . . just like me.
Now Eisenhower, he's a Russian spy,
Lincoln, Jefferson and that Roosevelt guy.
To my knowledge there's just one man
That's really a true American: George Lincoln Rockwell.
I know for a fact he hates Commies cus he picketed the movie Exodus.
Well, I fin'ly started thinkin' straight
When I run outa things to investigate.
Couldn't imagine doin' anything else,
So now I'm sittin' home investigatin' myself!
Hope I don't find out anything . . . hmm, great God!
TALKIN' WORLD WAR III BLUES
Words and Music by Bob Dylan
1963, 1966 Warner Bros Inc
Renewed 1991 Special Rider Music
Some time ago a crazy dream came to me,
I dreamt I was walkin' into World War Three,
I went to the doctor the very next day
To see what kinda words he could say.
He said it was a bad dream.
I wouldn't worry 'bout it none, though,
They were my own dreams and they're only in my head.
I said, "Hold it, Doc, a World War passed through my brain."
He said, "Nurse, get your pad, this boy's insane,"
He grabbed my arm, I said "Ouch!"
As I landed on the psychiatric couch,
He said, "Tell me about it."
Well, the whole thing started at 3 o'clock fast,
It was all over by quarter past.
I was down in the sewer with some little lover
When I peeked out from a manhole cover
Wondering who turned the lights on.
Well, I got up and walked around
And up and down the lonesome town.
I stood a-wondering which way to go,
I lit a cigarette on a parking meter
And walked on down the road.
It was a normal day.
Well, I rung the fallout shelter bell
And I leaned my head and I gave a yell,
"Give me a string bean, I'm a hungry man."
A shotgun fired and away I ran.
I don't blame them too much though,
I know I look funny.
Down at the corner by a hot-dog stand
I seen a man, I said, "Howdy friend,
I guess there's just us two."
He screamed a bit and away he flew.
Thought I was a Communist.
Well, I spied a girl and before she could leave,
"Let's go and play Adam and Eve."
I took her by the hand and my heart it was thumpin'
When she said, "Hey man, you crazy or sumpin',
You see what happened last time they started."
Well, I seen a Cadillac window uptown
And there was nobody aroun',
I got into the driver's seat
And I drove down 42nd Street
In my Cadillac.
Good car to drive after a war.
Well, I remember seein' some ad,
So I turned on my Conelrad.
But I didn't pay my Con Ed bill,
So the radio didn't work so well.
Turned on my record playerÑ
It was Rock-A-Day, Johnny singin',
"Tell Your Ma, Tell Your Pa,
Our Loves Are Gonna Grow Ooh-wah, Ooh-wah."
I was feelin' kinda lonesome and blue,
I needed somebody to talk to.
So I called up the operator of time
Just to hear a voice of some kind.
"When you hear the beep
It will be three o'clock,"
She said that for over an hour
And I hung it up.
Well, the doctor interrupted me just about then,
Sayin, "Hey I've been havin' the same old dreams,
But mine was a little different you see.
I dreamt that the only person left after the war was me.
I didn't see you around."
Well, now time passed and now it seems
Everybody's having them dreams.
Everybody sees themselves walkin' around with no one else.
Half of the people can be part right all of the time,
Some of the people can be all right part of the time.
But all of the people canÕt be right all of the time.
I think Abraham Lincoln said that.
"I'll let you be in my dreams if I can be in yours,"
I said that.
Thursday, June 25, 2009
*The Struggle In Iran 2009- The View Of The Internationalist Group
Click on title for a leftist perspective on the situation in Iran in the aftermath of the "elections" there from the Internationalist Group.
Markin comment:
The article is placed here for informational purposes as I am not that familiar with the politics of the group (other than that it split from the International Communist League a number of years ago). This article makes several interesting points. The most important, thirty years after the overthrow of the Shah in 1979, is that leftists can give no political support to any of the various religious factions in Iran. A whole generation of Iranian leftists and working class militants paid with their lives and their blood for that serious mistake in the struggle against the Shah. Learn the lessons of history, damn it.
Markin comment:
The article is placed here for informational purposes as I am not that familiar with the politics of the group (other than that it split from the International Communist League a number of years ago). This article makes several interesting points. The most important, thirty years after the overthrow of the Shah in 1979, is that leftists can give no political support to any of the various religious factions in Iran. A whole generation of Iranian leftists and working class militants paid with their lives and their blood for that serious mistake in the struggle against the Shah. Learn the lessons of history, damn it.
Wednesday, June 24, 2009
*Poet's Corner- Dylan Thomas' "Do Not Go Gentle Into That Good Night"
Click On Title To Link To Dylan Thomas' Web Page.
Guest Commentary
Do Not Go Gentle Into That Good Night
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.
Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on that sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
Dylan Thomas
Refusal To Mourn The Death, By Fire, Of A Child In London
Never until the mankind making
Bird beast and flower
Fathering and all humbling darkness
Tells with silence the last light breaking
And the still hour
Is come of the sea tumbling in harness
And I must enter again the round
Zion of the water bead
And the synagogue of the ear of corn
Shall I let pray the shadow of a sound
Or sow my salt seed
In the least valley of sackcloth to mourn
The majesty and burning of the child's death.
I shall not murder
The mankind of her going with a grave truth
Nor blaspheme down the stations of the breath
With any further
Elegy of innocence and youth.
Deep with the first dead lies London's daughter,
Robed in the long friends,
The grains beyond age, the dark veins of her mother,
Secret by the unmourning water
Of the riding Thames.
After the first death, there is no other.
In My Craft Or Sullen Art
In my craft or sullen art
Exercised in the still night
When only the moon rages
And the lovers lie abed
With all their griefs in their arms,
I labour by singing light
Not for ambition or bread
Or the strut and trade of charms
On the ivory stages
But for the common wages
Of their most secret heart.
Not for the proud man apart
From the raging moon I write
On these spindrift pages
Nor for the towering dead
With their nightingales and psalms
But for the lovers, their arms
Round the griefs of the ages,
Who pay no praise or wages
Nor heed my craft or art
Guest Commentary
Do Not Go Gentle Into That Good Night
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.
Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on that sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
Dylan Thomas
Refusal To Mourn The Death, By Fire, Of A Child In London
Never until the mankind making
Bird beast and flower
Fathering and all humbling darkness
Tells with silence the last light breaking
And the still hour
Is come of the sea tumbling in harness
And I must enter again the round
Zion of the water bead
And the synagogue of the ear of corn
Shall I let pray the shadow of a sound
Or sow my salt seed
In the least valley of sackcloth to mourn
The majesty and burning of the child's death.
I shall not murder
The mankind of her going with a grave truth
Nor blaspheme down the stations of the breath
With any further
Elegy of innocence and youth.
Deep with the first dead lies London's daughter,
Robed in the long friends,
The grains beyond age, the dark veins of her mother,
Secret by the unmourning water
Of the riding Thames.
After the first death, there is no other.
In My Craft Or Sullen Art
In my craft or sullen art
Exercised in the still night
When only the moon rages
And the lovers lie abed
With all their griefs in their arms,
I labour by singing light
Not for ambition or bread
Or the strut and trade of charms
On the ivory stages
But for the common wages
Of their most secret heart.
Not for the proud man apart
From the raging moon I write
On these spindrift pages
Nor for the towering dead
With their nightingales and psalms
But for the lovers, their arms
Round the griefs of the ages,
Who pay no praise or wages
Nor heed my craft or art
Monday, June 22, 2009
*The Way Forward In Iran- A Guest Commentary By Alan Woods
Click On Title To Link To Alan Wood's Guest Commentary On The Situation In Iran That I Thought May Be Of Interest To The Radical (And Progressive) Public. Some Points I Would Agree With, Others Not. One Thing Is Sure. We Have To Defend Those Who Today Are Fighting On The Streets Against The Mullahs. This Seems To Be The Dividing Line (Fight Or Conciliate With The Mullahs) Between The Murkily Defined Factions That Are Emerging From The Opposition.
* Studs Terkel Potpourri
Click On Title To Link To Studs Terkel's Web Site.
BOOK REVIEW
My American Century, Studs Terkel, The New Press, New York, 1997
As I have done on other occasions when I am reviewing more than one work by an author I am using some of the same comments, where they are pertinent, here as I did in earlier reviews. In this series the first Studs Terkel book reviewed was that of his “The Good War”: an Oral History of World War II".
Strangely, as I found out about the recent death of long time pro-working class journalist and general truth-teller "Studs" Terkel I was just beginning to read his "The Good War", about the lives and experiences of, mainly, ordinary people during World War II in America and elsewhere, for review in this space. As with other authors once I get started I tend to like to review several works that are relevant to see where their work goes. I have thus read and reviewed individually the six oral histories that make up this book elsewhere. In the present case My Century serves rather nicely to put in one place the best of Terkel’s interviews, or at lest the ones of continuing interest. Thus from the approximately one thousand interviews that have seen the light of day in those six books here we have about fifty to marvel at again.
As part of my reflecting what to write for this review I was struck by the range of subjects, although in some places tied together and repeated, that interested Studs. Most famously, that of the what makes people tick and get out of bed each day of “Working”; the strong sense of social solidarity that binds those who fought World War II in “The Good War”; that same sense of solidarity and grit for those who survived the Great Depression in” Hard Times”; the unstated but ever present sense of class that animates “Division Street”; the not so unstated sense of race that clouds the fight for a just society in “Race”; and, the sense of longing and lost of his fellow survivors of the Depression and World War II expressed in “Coming Of Age”. What a mix and what a masterful job of having the ear and eye to put it together.
As always, the one thing that I noticed immediately after reading this book, and as is true of the majority of Terkel’s interview books, is that he is not the dominant presence but is a rather light, if intensely interested, interloper in these stories. For better or worse the interviewees get to tell their stories, unchained. In this age of 24/7 media coverage with every half-baked journalist or wannabe interjecting his or her personality into somebody else’s story this was, and is, rather refreshing. Of course this journalistic virtue does not mean that Studs did not have control over who got to tell their stories and who didn’t to fit his preoccupations and sense of order. He has a point he wants to make and that is that although most “ordinary” people do not make the history books they certainly make history, if not always of their own accord or to their own liking. Again, kudos and adieu Studs.
BOOK REVIEW
My American Century, Studs Terkel, The New Press, New York, 1997
As I have done on other occasions when I am reviewing more than one work by an author I am using some of the same comments, where they are pertinent, here as I did in earlier reviews. In this series the first Studs Terkel book reviewed was that of his “The Good War”: an Oral History of World War II".
Strangely, as I found out about the recent death of long time pro-working class journalist and general truth-teller "Studs" Terkel I was just beginning to read his "The Good War", about the lives and experiences of, mainly, ordinary people during World War II in America and elsewhere, for review in this space. As with other authors once I get started I tend to like to review several works that are relevant to see where their work goes. I have thus read and reviewed individually the six oral histories that make up this book elsewhere. In the present case My Century serves rather nicely to put in one place the best of Terkel’s interviews, or at lest the ones of continuing interest. Thus from the approximately one thousand interviews that have seen the light of day in those six books here we have about fifty to marvel at again.
As part of my reflecting what to write for this review I was struck by the range of subjects, although in some places tied together and repeated, that interested Studs. Most famously, that of the what makes people tick and get out of bed each day of “Working”; the strong sense of social solidarity that binds those who fought World War II in “The Good War”; that same sense of solidarity and grit for those who survived the Great Depression in” Hard Times”; the unstated but ever present sense of class that animates “Division Street”; the not so unstated sense of race that clouds the fight for a just society in “Race”; and, the sense of longing and lost of his fellow survivors of the Depression and World War II expressed in “Coming Of Age”. What a mix and what a masterful job of having the ear and eye to put it together.
As always, the one thing that I noticed immediately after reading this book, and as is true of the majority of Terkel’s interview books, is that he is not the dominant presence but is a rather light, if intensely interested, interloper in these stories. For better or worse the interviewees get to tell their stories, unchained. In this age of 24/7 media coverage with every half-baked journalist or wannabe interjecting his or her personality into somebody else’s story this was, and is, rather refreshing. Of course this journalistic virtue does not mean that Studs did not have control over who got to tell their stories and who didn’t to fit his preoccupations and sense of order. He has a point he wants to make and that is that although most “ordinary” people do not make the history books they certainly make history, if not always of their own accord or to their own liking. Again, kudos and adieu Studs.
Sunday, June 21, 2009
*Defend The Iranian Demonstrators- Thirty Years Is Enough-Down With The Mullahs
Click On Title To Link To Associated Press Article, Dated June 20, 2009, Concerning The Continuing Demonstrations Against The Allegedly Fraudulent Recent Electoral Results In The Iranian Presidential Elections.
Commentary
From this distance it is hard to tell exactly what the aims of the demonstrators are other than to change the electoral results in favor of their candidate, Mousavi. The question of bringing down the Islamic Republic, at least by the main factions and certainly by Mousavi's actions, does not appear to be a goal today. However, the information coming out of Tehran is confusing at best and, moreover, coming from sources of unknown reliability (for us, not for the traditional world media).
One thing is clear though. We defend these demonstrators against the batons of the Iranian state, its religious hierarchy and its military and para-military agents. To the extend that these demonstrators, at least some of them, are calling for an end to the Islamic Republic we support that demand. Back in 1979 we called, at least those of us who were fighting against the Western leftist and progressive camp's illusions in the mullahs then, for "Down With The Shah and Down With The Mullahs!" Today's cry is "Down With The Mullahs!". For a Socialist Iran as part of a regional socialist federation! More, much more on this as events unfold.
Commentary
From this distance it is hard to tell exactly what the aims of the demonstrators are other than to change the electoral results in favor of their candidate, Mousavi. The question of bringing down the Islamic Republic, at least by the main factions and certainly by Mousavi's actions, does not appear to be a goal today. However, the information coming out of Tehran is confusing at best and, moreover, coming from sources of unknown reliability (for us, not for the traditional world media).
One thing is clear though. We defend these demonstrators against the batons of the Iranian state, its religious hierarchy and its military and para-military agents. To the extend that these demonstrators, at least some of them, are calling for an end to the Islamic Republic we support that demand. Back in 1979 we called, at least those of us who were fighting against the Western leftist and progressive camp's illusions in the mullahs then, for "Down With The Shah and Down With The Mullahs!" Today's cry is "Down With The Mullahs!". For a Socialist Iran as part of a regional socialist federation! More, much more on this as events unfold.
Saturday, June 20, 2009
*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes- "The Basement Tapes"
Click On Title To Link To YouTube's Film Clip Of Bob Dylan Doing "Tears Of Rage"
CD Review
Strictly For Aficionados
The Basement Tapes, Bob Dylan and The Band (1967 members), CBS Records, 1975
Parts of this review were used in a review of The “Genuine” Basement Tapes. I make most of the same objections here for this set as I did their, except if you need to choose between the two the quality of the production values here is greater than on the former. Although the more I listen to Volume 5 of the “genuine” with that “Joshua Gone Barbados” and the hard to hear but mesmerizing cover of “ I Forgot To Remember to Forget” and a couple of others I am starting to waver.
In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:
“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”
And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. That same sentiment applies to the virtuoso work of The Band in their heyday. And certainly to their joint work In short, this two disc set of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.
That said, for those who insist on getting their little hands on this material here is the “scoop”. “Tears Of Rage” ; “You Ain’t Going Nowhere”; “Yazoo Street Scandal” and “Goin' To Acapulco" are what you are getting this CD for. That does not seem like enough given what I mentioned above.
CD Review
Strictly For Aficionados
The Basement Tapes, Bob Dylan and The Band (1967 members), CBS Records, 1975
Parts of this review were used in a review of The “Genuine” Basement Tapes. I make most of the same objections here for this set as I did their, except if you need to choose between the two the quality of the production values here is greater than on the former. Although the more I listen to Volume 5 of the “genuine” with that “Joshua Gone Barbados” and the hard to hear but mesmerizing cover of “ I Forgot To Remember to Forget” and a couple of others I am starting to waver.
In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:
“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”
And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. That same sentiment applies to the virtuoso work of The Band in their heyday. And certainly to their joint work In short, this two disc set of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.
That said, for those who insist on getting their little hands on this material here is the “scoop”. “Tears Of Rage” ; “You Ain’t Going Nowhere”; “Yazoo Street Scandal” and “Goin' To Acapulco" are what you are getting this CD for. That does not seem like enough given what I mentioned above.
*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes, Volume Five
Click On Title To Link To YouTube's Film Clip Of Bob Dylan Doing "Spanish Is The Loving Tongue"
CD REVIEWS
As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.
Dylan 'Exotica'
The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002
In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:
“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”
And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.
That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.
CD REVIEWS
As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.
Dylan 'Exotica'
The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002
In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:
“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”
And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.
That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.
*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes, Volume Four
Click On Title To Link To YouTube's Film Clip Of Bob Dylan Doing "You Aint Going Nowhere"
CD REVIEWS
As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.
Dylan 'Exotica'
The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002
In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:
“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”
And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.
That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.
CD REVIEWS
As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.
Dylan 'Exotica'
The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002
In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:
“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”
And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.
That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.
*The Bob Dylan Bootleg Legacy- "Genuine" And "Fake" Basement Tapes, Volume Three
Click On Title To Link To YouTube's Film Clip Of Bob Dylan Doing "Tiny Montgomery"
CD REVIEWS
As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.
Dylan 'Exotica'
The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002
In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:
“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”
And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.
That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.
CD REVIEWS
As noted below in the reviews below as of late I have been railing against the deluge of Bob Dylan secondary material that has come on the market over the past few years, probably as a result of the Internet’s ability to tap targeted audiences for some of this more esoteric music. Given that imperative and in order to ‘enhance’ my self-described role as Dylan aficionado I have decided to make a separate entry in this space to review the various bootleg, basement and other exotic products of the man’s long career.
Dylan 'Exotica'
The “Genuine” Basement Tapes”, Volumes 1-5, Bob Dylan and The Band (1967 members), Alternate Edge Productions, 2002
In a review of Bob Dylan’s “The Freewheeling Bob Dylan” elsewhere in this space I noted:
“In reviewing Bob Dylan’s 1965 classic album “Bringing All Back Home” (you know, the one where he went electric) I mentioned that it seemed hard to believe now that both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). I further pointed out that it is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.”
And I am still glad of that fact. What I am less enamored of is the virtual cottage industry that has grown up around various, bootleg, basement, cellar, barn, attic or other odd locations versions of Dylan’s work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan’s usually well-produced albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, somehow, left to feel that one has missed something without this other more esoteric material. In short, these five volumes of practice, outtakes, cuts, etc. done with The Band while he was “hiding” out in rural New York after his motorcycle accident are strictly for aficionados.
That said, for those who insist on getting their little hands on this material here is the “scoop”. From Volume One- “Odds And Ends” and "Goin' To Acapulco". From Volume Two- “Quinn The Eskimo”. From Volume Three-“Tiny Montgomery”, “Santa Fe” and “Sign Of The Cross (excellent)”. From Volume Four- “You Ain’t Going Nowhere”, “Confidential To Me” and “Bring It On Home”. From Volume Five (the album to get if you get just one)-“Four Strong Winds”, Joshua Gone Barbados” “I Forgot To Remember To Forget”, “Bells Of Rhymney”, “Spanish Is The Loving Tongue”, “Cool Water”, “Banks Of The Royal Canal”. These are all covers and very nicely done.
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