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PostPosted: Thu April 16th, 2009, 01:43 GMT 

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This song kicks major ass.. and should be played at every concert.. period.


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PostPosted: Thu April 16th, 2009, 01:44 GMT 
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Some very fine versions of this.

Rochester 2004 & Brixton 2005 come to mind.


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PostPosted: Thu April 16th, 2009, 01:49 GMT 
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i agree----it was one of the LT songs that took me awhile to get into but i cant get enough of it these days

but i do like the album version better than any of the live versions ive heard


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PostPosted: Thu April 16th, 2009, 02:18 GMT 
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A heavy, heavy song. Stunning on the album - still haven't heard a live version that properly lives up to the steam-rollin' power of the studio version.


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PostPosted: Thu April 16th, 2009, 02:19 GMT 
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I never ever mind hearing this one. What makes it so great is hard to pin down, it just kicks ass.

Favorite unheralded live version (great sound too):

Madison 2006 ("Ahhhhh, Po' Me!")


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PostPosted: Thu April 16th, 2009, 02:35 GMT 
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My favorite song on the album. Just makes me want to drive fast!


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PostPosted: Thu April 16th, 2009, 02:57 GMT 
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Richard Thomas wrote an interesting essay that begins with an appreciation of "Lonesome Day Blues" called The Streets of Rome: The Classical Dylan, you can find it at http://journal.oraltradition.org/issues/22i/thomas

Here are the first few paragraphs:

For those of us––and there are a few of us in my neck of the woods––
interested in the Roman poet Virgil and in the art of Bob Dylan, the strange
days that followed September 11, 2001 were particularly memorable.
Dylan’s two-year stint in the Hibbing High Latin Club was at that point
unknown to me. In the summer of 2005 a trip to the Seattle Music
Experience revealed his early interest, set out on the page of the Hibbing
High School yearbook, the Hematite, as it is called. The page is also featured
in Scorsese’s No Direction Home. But even on the first time through Love
and Theft
, even before we had noted the quotes around the title that drew
attention to the theft of Eric Lott’s title, before we had been handed the
snippets of Confessions of a Yakuza, transformed into Appalachian and other
vignettes, there was Virgil, loud and clear, in the tenth verse of “Lonesome
Day Blues” (itself a Blind Willie McTell title):

I’m gonna spare the defeated, I’m gonna speak to the crowd / I’m gonna
spare the defeated, boys, I’m going to speak to the crowd / I am goin’ to
teach peace to the conquered / I’m gonna tame the proud // (“Lonesome
Day Blues”)

But yours will be the rulership of nations, / remember Roman, these will
be your arts: / to teach the ways of peace to those you conquer, / to spare
defeated peoples, tame the proud // (Virgil, Aeneid 6.851-53, [trans.
Mandelbaum])

Teaching peace, sparing the defeated, and taming the proud. Too much
precision there for accident, even without the album’s title or Junichi Saga’s
presence...


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PostPosted: Thu April 16th, 2009, 06:05 GMT 
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"Today has been a saaaad and lonesome day!", just gotta love it.

Great song indeed. :)


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PostPosted: Thu April 16th, 2009, 06:08 GMT 
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This is the one song that I think absolutely needs the old ruined Dylan voice. There could be arguments made that other songs would benefit from a "better maintained" voice, but this works great.


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PostPosted: Thu April 16th, 2009, 06:24 GMT 

Joined: Fri March 27th, 2009, 18:59 GMT
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I love this song, too, and was very happy to hear the live version that Bob and the boys nailed on Tell-Tale Signs -- tracks like that are the reason I can't take any of the "NET"-haters seriously. that's Dylan and the band in '66 levels of LOUD that show how Dylan as a rock-n-roller can still keep up with Jimi, Zeppelin, Cream, etc in their prime

I've got an Odetta record with a song that "Lonesome Day Blues" obviously borrows a LOT from
I'll try to find it and see what the name of the song and album are


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PostPosted: Thu April 16th, 2009, 06:28 GMT 
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Unfortuantely, the only show I've ever seen it at happened to be the show w/ the worst sound :? I agree though, excellent song, both on the album and live


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PostPosted: Thu April 16th, 2009, 08:41 GMT 
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workingmanblues wrote:
My favorite song on the album. Just makes me want to drive fast!


I can't believe you wrote that: the ONLY time i had speed ticket i was listening to THAT song. 8)


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PostPosted: Thu April 16th, 2009, 08:46 GMT 
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One of his best blues.


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PostPosted: Thu April 16th, 2009, 09:14 GMT 
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P.Jekk wrote:
One of his best blues.


Totally agree. And on his best album!


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PostPosted: Thu April 16th, 2009, 09:25 GMT 
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Man, this is a great song!
8)
The finest one Ive heard live, is probably the one on Tell Tale Signs.


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PostPosted: Thu April 16th, 2009, 10:30 GMT 
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A mighty song. One of his best.


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PostPosted: Thu April 16th, 2009, 14:33 GMT 
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To me this is THE song on L&T... even though I love "Mississippi" also. The lyrics blow my mind EVERY time.

"Don't know what it looked like to other people/I never slept with him EVEN once."

"You're gonna need my help sweetheart/You can't make love ALL by yourself."

Brilliant words & sexy groove.


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PostPosted: Thu April 16th, 2009, 14:49 GMT 
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Jack-Fate wrote:
Man, this is a great song!
8)
The finest one Ive heard live, is probably the one on Tell Tale Signs.

The TTS version rocks. Even though he flubs the lyric at one point. The part about the wind whispering and trying to make out what it "was", he says "says" and then corrects himself pretty quickly. :wink:


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PostPosted: Thu April 16th, 2009, 15:09 GMT 

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Hamburg 2002 - his phrasing is unbelievable. I see your lover-man comin' - comin' 'cross the
B A A A A AA R R E N FIELD - I always understod Battlefield - sends shivers down every time I listen to that version. Great song!!


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PostPosted: Thu April 16th, 2009, 15:36 GMT 
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The studio track gets over on the music. The lyrics aren't particularly good and go on much too long. It's interesting to see how the song compares with two predecessors, both much shorter. I like the song for the playing behind the vocal. It works in the album context. Good guitar riff and drumming.

Lonesome Day Blues

Well, today has been a sad ol' lonesome day
Yeah, today has been a sad ol' lonesome day
I'm just sittin' here thinking
With my mind a million miles away (takes Carter first verse and varies it with a phrase reminiscent of his song Million Miles but still trite)

Well, they're doing the double shuffle, throwin' sand on the floor
They're doing the double shuffle, they're throwin' sand on the floor
When I left my long-time darlin'
She was standing in the door (trite door/floor rhyme, little connection between a and b lines)

Well, my pa he died and left me, my brother got killed in the war
Well, my pa he died and left me, my brother got killed in the war
My sister, she ran off and got married
Never was heard of any more (repeats rhyme of prior verse)

Samantha Brown lived in my house for about four or five months
Samantha Brown lived in my house for about four or five months
Don't know how it looked to other people
I never slept with her even once (character appears once, remains undeveloped)

Well, the road's washed out - weather not fit for man or beast
Yeah the road's washed out - weather not fit for man or beast
Funny, how the things you have the hardest time parting with
Are the things you need the least (cliché in line 1 has no connection to aphorism in line 3, might be best understood as self-referential--Dylan doesn't need to sing this way but can't/won't stop himself)

I'm forty miles from the mill - I'm droppin' it into overdrive
I'm forty miles from the mill - I'm droppin' it into overdrive
Settin' my dial on the radio
I wish my mother was still alive (random emotional revelation)

I see your lover-man comin' - comin' 'cross the barren field
I see your lover-man comin' - comin' 'cross the barren field
He's not a gentleman at all - he's rotten to the core
He's a coward and he steals (cliché in line 3 adds little or nothing, addressee is vague and undeveloped)

Well my captain he's decorated - he's well schooled and he's skilled
My captain, he's decorated - he's well schooled and he's skilled
He's not sentimental - don't bother him at all
How many of his pals have been killed (repeats negative rhetoric of prior verse with no detail or development—captain of what? Skilled at what?)

Last night the wind was whisperin', I was trying to make out what it was
Last night the wind was whisperin' somethin' - I was trying to make out what it was
I tell myself something's comin'
But it never does (thwarted expectation and disappointment)

I'm gonna spare the defeated - I'm gonna speak to the crowd
I'm gonna spare the defeated, boys, I'm going to speak to the crowd
I am goin' to teach peace to the conquered
I'm gonna tame the proud (braggadocio has little connection to any other verse)

Well the leaves are rustlin' in the wood - things are fallin' off of the shelf
Leaves are rustlin' in the wood - things are fallin' off the shelf
You gonna need my help, sweetheart
You can't make love all by yourself (trite image followed by undeveloped “things” and his favorite shopworn shelf/self rhyme)

Dylan's practice of overloading lines with syllables and singing in triplets seems to be one of the sole unifying elements in this lyric, that is, the song is about his own mannerism and exists as an excuse to display it. Behind that lurks his obsessive alienation. The characters lack dimension or substance, and the lyrics seem hastily strung together with little attention or care. It's about as good as any other Dylan blues, and about as bad. In some ways, the song might be read as symptomatic of Dylan's deteriorating creative powers and mental acuity.


Sad and Lonesome Day Blues by the Carter Family, a variation on Two White Horses in a Line by Two Poor Boys and See My Grave Is Kept Clean by Blind Lemon Jefferson

Today has been a lonesome day
Today has been a lonesome day
Today has been a lonesome day
And tomorrow 's gonna be the same old way

Oh, they carried my mother to the burying ground
Oh, they carried my mother to the burying ground
Oh, they carried my mother to the burying ground
I watched as the bearers let her down

Did you ever hear a church bell tone
Did you ever hear a church bell tone
Did you ever hear a church bell tone
You may know by that she's dead and gone

Oh, dig my grave with a silver spade
Oh, dig my grave with a silver spade
Oh, dig my grave with a silver spade
And mark the place where I must lay

There's one kind favor I ask of you
There's one kind favor I ask of you
There's one kind favor I ask of you
See that my grave is kept green

A nearly perfect lyric, no matter who wrote it, but A.P. Carter's lines appear to be the final ones to each verse and are simple, lovely, moving.

So Sad to Be Lonesome by Sonny Boy Williamson II

It's so sad to be lonesome, too much inconvenient to be alone
You know it's so sad to be lonesome, but it's too much inconvenient to be alone
You know it makes a man feel so good when his baby's lying down in his arms

I received a letter from my baby, I received a telegram
I received a letter from my baby, and I received a telegram
Then the little girl called me long distance, she wants to know just where I am

When you miss your baby, you look around can't see nothing but just your shade on the ground
So sad to be lonesome, I know it's too much inconvenient to be alone
But I declare you feel good when your baby come back home

Met the Greyhound bus, met the train
She wasn't on either one, I want to know what was to blame
So sad to be lonesome, too much inconvenient to be alone

But it make you feel so good when your baby come back home

Sonny Boy may have largely improvised this curiosity--the word "inconvenient" corresponds to his singing "unconvinyon" in a nearly unintelligible manner, and the rhyming is stretched beyond conventional limits. Like Dylan, he works in a lot of syllables to some lines, but usually in the A lines, not the B. Sonny Boy portrays dislocation, loneliness and alienation much more succinctly than Dylan--no distractions, no "things" where actual images are called for. And he's a much superior blues singer than Dylan.


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PostPosted: Thu April 16th, 2009, 16:06 GMT 
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Quote:
I'm gonna spare the defeated - I'm gonna speak to the crowd
I'm gonna spare the defeated, boys, I'm going to speak to the crowd
I am goin' to teach peace to the conquered
I'm gonna tame the proud.


I love the song only (almost) for this quote. Because I love the Aeneid, and this phrase, a lot. I never expected to hear that in a blues song. I know that has little connection to the other verses, but I just love it.


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PostPosted: Thu April 16th, 2009, 16:25 GMT 

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My favorite line (and I assume also Dylan's; it's always the best-delivered line):

He's not gentleman at all
He's ROTTEN to the CORE
He's a COWARD and he...
STEAAALLLSSS


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PostPosted: Thu April 16th, 2009, 16:39 GMT 
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Every version I've heard he sings "he's a coward and he's steel". Check it out sometime.


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PostPosted: Thu April 16th, 2009, 16:40 GMT 
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ClaudioEz22 wrote:
Quote:
I'm gonna spare the defeated - I'm gonna speak to the crowd
I'm gonna spare the defeated, boys, I'm going to speak to the crowd
I am goin' to teach peace to the conquered
I'm gonna tame the proud.


I love the song only (almost) for this quote. Because I love the Aeneid, and this phrase, a lot. I never expected to hear that in a blues song. I know that has little connection to the other verses, but I just love it.

Same! It's quite weird actually because my set text for latin this year is from book 6 and includes this little bit, when Anchises is speaking to Aeneas in the underworld. When we were translating it in class my ears pricked up and I though "hang on a minute, I've heard this before..." it was quite bizarre.


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PostPosted: Thu April 16th, 2009, 16:44 GMT 
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Great song. And one where his ravaged voice works brilliantly.


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