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PostPosted: Wed June 17th, 2015, 07:26 GMT 

Joined: Wed April 11th, 2007, 04:15 GMT
Posts: 1496
Location: City of Angels
I've been listening to some shows from that great year of 2000 and this particular rendition
has stood out among the greats...
Bob is so beautifully expressive here. I love that point a few years after performing a new song when Bob just starts saying lines in key instead
of hewing to the melody or the original phrasing...
This version offers a breakthrough of the simple quality of breathing the lyrics instead of singing them...
This song is beautiful and this version is gorgeous and dare I say sexy:)

Paris France
October 13 2000
http://www.mediafire.com/listen/01f4361 ... y_Love.mp3

A month later, Bob returned to the song in Atlantic City and we find just the opposite performance than the one in Paris...
It's like the drunken version, it's fun and funny and Bob looks like he's having a blast....which doesn't quite match the power and
immediacy of the October version....but it's enjoyable nevertheless:)

Atlantic City NJ
November 18 2000
https://youtu.be/YnbtPpGsQ8A?t=49m59s


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PostPosted: Wed June 17th, 2015, 23:23 GMT 
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Joined: Tue May 8th, 2007, 14:17 GMT
Posts: 67
Location: Wuthering Heights
I've whiled away many an hour (as a play-at-home amateur) learning this cool acoustic instrumental version by Sungha Jung:
https://www.youtube.com/watch?v=h_v4w__YvUY


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PostPosted: Thu June 18th, 2015, 06:15 GMT 

Joined: Fri October 26th, 2012, 18:10 GMT
Posts: 179
Here's a little something I wrote up about this song awhile back:

This sounds like such a simple love song at first, but when you really look at it there are a lot of hidden layers.

Dylan is a master at hiding multiple layers of depth behind words that the casual listener will assume to be either hyperbole or trite colloquialisms ("greeting card lyrics"). The key to getting to the deeper layers of the song is to start with a bit of faith that his words have been chosen very carefully and intentionally. They are MEANT to appear to be hyperbole and to be easily overlooked, but also to reveal deeper layers to the one who consciously pushes aside these automatic assumptions and listens with an ear ready to hear something new.

In Make You Feel My Love, the key to seeing what Dylan is trying to express is to actually take the auxiliary verbs that he uses literally. “I COULD offer you a warm embrace”; “I COULD hold you”; “I [would] go hungry…”; “I COULD make you happy…”

These aren't hyperboles meant to convince the beloved of the narrators sincerity. These are statements.

The narrator (A) desires for the beloved to feel his love for her (“I would”) and (B) has the ability to make her feel his love (“I could”).

If He “would” and “could” why hasn’t he? What is preventing Him from doing what he wants to do and is able to do? More to the point, if doing these things would make her feel his love for her, and he could do them, why doesn't he just do them?

Because no matter how powerful Love is, nobody can be “made” to feel it. Love invites, it calls, it draws, but it never demands. The moment love demands to be recognized or forces itself upon another it has become something else. Something evil and self-centered.

She cannot feel His love because she refuses to let him embrace her until after all her doubts have been erased. She won't welcome his love until she feels it, but he knows that despite the infinite power of his love, he is nevertheless powerless to make her feel it. His love is there, waiting and longing for her to feel it, but he can't give it until she makes her mind up WITHOUT feeling it.

Dylan, I think, is making a point about the nature of Love itself: in order to feel another's love, one believe in it and open oneself up to it BEFORE one knows/feels that it is safe to do so.

He is able to “make” her feel his Love, but not until after she has chosen to believe in the love that he has for her despite a lack of proof.

So in having chosen her, he has promised his love (and life) to her based on nothing except the beauty he sees in her and the hope that she will open her ears to hear, believe, and receive his Love based on nothing but his promise. Until she chooses to have FAITH in His love for her they will both suffer alone for eternity.

At the heart of this deceptively simple love song then, I think, is the idea that Love (whether human or divine) cannot be proven to be true until the beloved chooses to believe that it’s true without any proof. Love is fundamentally a union between two based on promise and faith rather than feelings and proof.


1 John 4:16
So we have come to know and to believe the love that God has for us. God is love, and whoever abides in love abides in God, and God abides in him.


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PostPosted: Thu June 18th, 2015, 12:09 GMT 

Joined: Fri January 5th, 2007, 23:38 GMT
Posts: 1923
Location: Ireland
^
Sublime.


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PostPosted: Wed August 16th, 2017, 02:42 GMT 

Joined: Wed April 11th, 2007, 04:15 GMT
Posts: 1496
Location: City of Angels
I think I found this particular version from a collection of live TOOM cuts from Goodnitesteve
and its just a great rendering. He opens with a terrific harp solo and then moves into a very
casual deliverance of this love poem. It's quite touching.
I really miss Denny Freeman, such an expressive player with such an assured way of playing without being
too garish or 'out there'
But this song also moves me every time I listen to it. I think the chord structure and melody
are up there with Bob's best. I've always loved that bridge...

Anyways, check this one out. It's got something special:

Gothenburg Sweden
October 21 2005
http://www.mediafire.com/file/x02u3txj5 ... _05%5D.mp3


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