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PostPosted: Fri October 27th, 2017, 21:25 GMT 

Joined: Thu March 26th, 2009, 21:31 GMT
Posts: 242
The
Ever changing warhorse

Initially ny sessions was
The one off the stage

Then I heard real live
84.

Then I heard marseille 93

Then I heard
Oslo 96 and Shortly
After Berlin from same tour.

Fall 96 added the kemper drums
And the raucousness picked
Up a new element

Then I started following bob on the
Road And the glory of 97-02 versions

But I really really think my go to is
From feb 02. Sunrise/Tampa. Has all the elements that make tangled just right for me


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PostPosted: Sat October 28th, 2017, 05:51 GMT 

Joined: Wed May 31st, 2017, 00:56 GMT
Posts: 240
I agree with marker, this is definitely Dylan's masterpiece. It's probably my favorite song of his and in general, and there's been so many great versions.

BUT

The album version is the perfect version of the song. It can't be topped in my mind. The music, lyrics, and vocal on that take are perfect to me and there's no topping it. I think it's one of his best recordings. Even though that song can be tweaked very easily, and there's a ton of amazing versions, the album version is the best.


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PostPosted: Tue October 31st, 2017, 00:39 GMT 
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The current versions on the Fall 2017 Tour are certainly unique.


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PostPosted: Tue October 31st, 2017, 20:02 GMT 
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I think so to, I like how he changes up the lyrics a little bit like "yesterdays xead and gone ,tommorrow might as well be now". In addition the tempo is slower more grunge ballad like and thats nice. Some of his early acoustic live tracks I enjoy more than the album recordings because they seem more raw and at least for me, feels more effortless than album versions. Anyways its nice to hear new renditions. Thanks marker for sharing


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PostPosted: Sat December 16th, 2017, 13:16 GMT 
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Joined: Mon March 16th, 2009, 10:46 GMT
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Location: London
Read something in the new David Yaffe bio of Joni Mitchell.
Just wanted to ask if this is common knowledge among some
here.

It's fairly well known that part of Dylan's inspiration of BOOT
was Joni's BLUE album, which had come out in 1971. Apparently
the album could be heard playing frequently in Dylan's NY apartment.
Mitchell dealt with break-up and heartbreak in a transparent
confessional way which in part jump-started the singer-songwriter
culture.

But Yaffe points out that the title 'Tangled up in Blue' refers
to the album Blue: caught up, tangled up in 'Blue'.
Needless to say, the BOOT has more than enough of Blue(s)
of its own, but apparently the song title was born as a reference
to Dylan's preoccupation with that album. Interesting, could be true?


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PostPosted: Sun December 17th, 2017, 00:10 GMT 

Joined: Wed May 31st, 2017, 00:56 GMT
Posts: 240
gerardv wrote:
Read something in the new David Yaffe bio of Joni Mitchell.
Just wanted to ask if this is common knowledge among some
here.

It's fairly well known that part of Dylan's inspiration of BOOT
was Joni's BLUE album, which had come out in 1971. Apparently
the album could be heard playing frequently in Dylan's NY apartment.
Mitchell dealt with break-up and heartbreak in a transparent
confessional way which in part jump-started the singer-songwriter
culture.

But Yaffe points out that the title 'Tangled up in Blue' refers
to the album Blue: caught up, tangled up in 'Blue'.
Needless to say, the BOOT has more than enough of Blue(s)
of its own, but apparently the song title was born as a reference
to Dylan's preoccupation with that album. Interesting, could be true?


You could probably make a case for that, but I think it's more related to what his painting instructor allegedly used to say , how Dylan was too focused on using that color ("you're too tangled up in blue") than anything. It's possible he was thinking of both when he wrote the song though.

The new live version is something. I think it could be toyed with again, I'm not sure the current pace helps it much. Then again we had the '94/'95 versions where he's cramming everything into one sentence. I like that version, though. That's what's so good about this song. The original is perfect, and he can mess with it all he wants because he already made it to the top of the mountain.


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PostPosted: Sun December 17th, 2017, 10:31 GMT 
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ShotofMercy wrote:
You could probably make a case for that, but I think it's more related to what his painting instructor allegedly used to say , how Dylan was too focused on using that color ("you're too tangled up in blue") than anything. It's possible he was thinking of both when he wrote the song though.

The new live version is something. I think it could be toyed with again, I'm not sure the current pace helps it much. Then again we had the '94/'95 versions where he's cramming everything into one sentence. I like that version, though. That's what's so good about this song. The original is perfect, and he can mess with it all he wants because he already made it to the top of the mountain.

It must be his most malleable song. I actually quite like the current version.
Not as much as '84 acoustic and '78 glad ballad, but it's ok for a tour.

I did not know about the Norman Raeben comment. Was browsing around for
a reference for the comment, but can't find it. That would make perfect sense
though, thanks.


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PostPosted: Sun December 17th, 2017, 12:25 GMT 
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I have no idea where or how to find the quote, but I am certain I heard or read Dylan specifically saying that the title referred to the Joni Mitchell record, not that long after release. Of course it doesn't have to do so anymore.

I wonder if any other songwriter had the, presumably deliberate, cheek to let a terrible line like "keep on keeping on like a bird that flew" remain in a song beyond the most basic home demo - it is a terrible line, about as bad as could be, but in allowing it to remain he's almost taking the piss out of himself (and us) - like a badly made B movie, it is so bad it is great. But it really does suck,

I've always gone for the New York studio session myself - pretty much the only time he's openly admitted smoking dope, and there's quite a bit of dope in that song one way or another.


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PostPosted: Tue December 19th, 2017, 05:38 GMT 

Joined: Wed May 31st, 2017, 00:56 GMT
Posts: 240
Just listened to a version he did with the Grateful Dead, I was surprised by how good it was. The pace the Dead set kind of force Dylan to keep up with them, which I imagine wasn't easy for him in '87 but they all did a great job. I have to collect the good performances from those dates and put 'em all together, 'cause I doubt they'll be releasing another Dylan and the Dead album anytime soon.


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PostPosted: Tue December 19th, 2017, 06:44 GMT 

Joined: Sun November 13th, 2016, 02:00 GMT
Posts: 371
It's a masterpiece (of course). I love the New York versions too as someone else had mentioned loving them.
This evening I heard my favorite live version to date of it: Chicago, 10/18/78.
INCREDIBLE. I got chills up my spine from hearing it.


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PostPosted: Tue December 19th, 2017, 07:35 GMT 
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Joined: Sat September 10th, 2016, 12:46 GMT
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slimtimslide wrote:
I have no idea where or how to find the quote, but I am certain I heard or read Dylan specifically saying that the title referred to the Joni Mitchell record, not that long after release. Of course it doesn't have to do so anymore.

I wonder if any other songwriter had the, presumably deliberate, cheek to let a terrible line like "keep on keeping on like a bird that flew" remain in a song beyond the most basic home demo - it is a terrible line, about as bad as could be, but in allowing it to remain he's almost taking the piss out of himself (and us) - like a badly made B movie, it is so bad it is great. But it really does suck,

I've always gone for the New York studio session myself - pretty much the only time he's openly admitted smoking dope, and there's quite a bit of dope in that song one way or another.


Sorry Tim, I disagree - it's a beautifully evocative line. Birds are characterized by their flight, so Dylan is here underlining the narrator's almost mindless drive to be himself and keep moving through circumstance. That he then has the bird flying through blue (sky) seals the bitter-sweet metaphor of the song's genius motif: being simultaneously tied up and liberated by the blues....

The line has also always been a kind of callback for me to another of his 'doomed affair' song lyrics - "are birds free from the chains of the skyway?". Yeah so that's one of his most shite songs but hey...

Or maybe you are right and it is just ubercheese on toast, dunno.


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PostPosted: Wed December 20th, 2017, 23:00 GMT 

Joined: Wed May 31st, 2017, 00:56 GMT
Posts: 240
"Keep on keeping on like a bird that flew/ Tangled Up in Blue" is a great line! And I liked McG's interpretation of it, the fact that there's constant forward motion despite setbacks. The bird keeps flying even if it struggles sometimes, much like the man himself at various parts of his career.

I played this for my girlfriend after we had seen him back in 2016, he played it live but of course it was altered pretty heavily. It still was great, but I had to show her the album version since she never heard it before. That particular line stuck out to me that night.


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