Moments of Bob Dylan songs that you love

schevling · **Joined:** Sat August 27th, 2011, 01:03 GMT **Posts:** 291

Yes!! I wasn't sure which verse I liked better...both have that yearning strangeness in his singing...love it.

raging_glory

How long must I suffer such abuse......

the way he punches those three words

Queen Anne Lace

and ....

" Just how much abuse will you be able to take?
Well, there’s no way to tell by that first kiss "

and this line ....

"You can be known as the most beautiful woman
Who ever crawled across cut glass to make a deal"

...i think that last one could just as well go in the thread of "Moments of Genius" . ..

tellmemomma1966

the way he pronounces the word "kerosene" in the live '66 version of desolation row

such resigned sadness but also detachment

Jal015

tellmemomma1966 wrote:

the way he pronounces the word "kerosene" in the live '66 version of desolation row

such resigned sadness but also detachment

Yes. That whole performance is so sad.

raging_glory

2:42-2:55

http://www.youtube.com/watch?v=nvPly0St ... ure=relmfu

Her skirt it swayed as the guitar played
Her mouth was watery and wet.........

Trev

On Masterpieces, Liverpool 66 Just Like Tom Thumb's Blues : how they blackmailed the sergeant-at-arms into getting up and leaving his POST

tellmemomma1966

raging_glory wrote:

2:42-2:55

http://www.youtube.com/watch?v=nvPly0St ... ure=relmfu

Her skirt it swayed as the guitar played
Her mouth was watery and wet.........

such an absolutely astounding song!

poetry brought to the pop song! fantastic!

I can't understand
She let go of my hand
An' left me here facing the wall
I'd sure like to know
Why she did go
But I can't get close to her at all
Though we kissed through the wild blazing nighttime
She said she would never forget
But now mornin's clear
It's like ain't here
She acts like we never have met.

It's all new to me
Like some mystery
It could even be like a myth
But it's hard to think on
That she's the same one
That last night I was with
From darkness, dreams're deserted
Am I still dreamin' yet ?
I wish she'd unlock
Her voice once and talk
'Stead of acting like we never have met.

If I didn't have to guess
I'd gladly confess
To anything I might've tried
If I was with her too long
Or have done something wrong
I wish she'd tell me what it is, I'll run and hide
Though her skirt it swayed as a guitar played
Her mouth was watery and wet
But now something has changed
For she ain't the same
She just acts like we never have met.

I'm leavin' today
I'll be on my way
Of this I can't say very much
But if you want me to
I can be just like you
And pretend that we never have touched
And if anybody asks me, "Is it easy to forget ?"
I'll say, "It's easily done
You just pick anyone
And pretend that you never have met".

Ace

The Judge is coming in, everybody rise
Lift up your eyes
You can do what you please, you don't need my advice
Before you call me any dirty names you better think twice

I really like the way he sings that

ghodlin

Hammersmith 1990. As the legendary Disease of Conceit ends, the transition to aborted You're a Big Girl Now (almost as much as the amazing Disease itself) and the plaintive, insecure' 'OK?' from Bob.

OK, not a moment in a song, so much as a moment in a Boot. But still, that, moment after Disease...

God I wish I had been there. I would have been 17. But I was into Ozric Tentacles and just about to get into raving. Wish I could go back and slap myself!

Giada · **Joined:** Wed May 11th, 2011, 06:31 GMT **Posts:** 4640

His singing in all of Po' Boy, but especially his delivery of the Othello & Desdemona skit.

tellmemomma1966

the way he says

"and nobody has to sink too much about desolation row"

instead of think

the_revelator

"so I can know if I am really real"

Jal015

Giada wrote:

His singing in all of Po' Boy, but especially his delivery of the Othello & Desdemona skit.

Yes! I also really love all the emotion in his voice when he sings, "Po' boy!" right before the "police at your back" line. So great.

Trev

I like it when he really stretches a line - the Po Boy bit with the poisoned wine that's been mentioned, he finishes his drink, he gets up from the table, he says ok boys I'll see you tomorrow from Handy Dandy, and Not Dark Yet's I can't even remember what it was I came here to get away from.

johnwesley61

On Hazel, this part: Oh no, I don't need any reminder. To know how much I really care.

raging_glory

Oh, you make me want to go listen to Planet Waves. I love it so.

Troubadour64

Counterfeit philosophies have polluted all of your thoughts
Karl Marx has got ya by the throat,
Henry Kissinger’s got you tied up in knots

John B. Stetson

WAhhhohhaaahhOOooAaaaaaahhhhhhaaahhhhhaaaaaaaaahhhhh

Maggie's Farm, Hard Rain.
(2:57)

carnap

First thing that comes to mind.
It was a great song, very poignant, and it begins with a wondrous voice singing this:

"He was just a blue-eyed Boston boy ..."

Giada · **Joined:** Wed May 11th, 2011, 06:31 GMT **Posts:** 4640

summerteeth wrote:

and THIS: (disclaimer: I rarely post and when I do, it's much too over-the-top)

Video of Dylan fronting a 64 piece orchestra conducted by Michael Kamen, performing A Hard Rain’s A-Gonna Fall at the Great Music Experience, Nara, Japan, May 22, 1994.
- It can’t work, can it? How can that many classically trained musicians follow the tempo changes, the extra (or dropped) measures, all with no Tony Garnier in sight. It can’t work—but it does. Dylan nails every line (well, he did drop one) and then, right at the climactic moment, just after he sings “and I’ll tell it and think it and speak it and breathe it” the director inexplicably switches from a tight shot of Bob, to a camera that is far above and behind the orchestra. The camera is moving—it is on some kind of overhead cabling system—but so slowly, too slowly, meandering above a translucent canopy that covers the orchestra, and the song is almost over! You can hear him singing, but you can’t really see him. Surely, the director has lost his mind! The camera continues on its path, now zooming in on Bob from behind to give us a majestic shot where he is framed by the crowd which is being randomly lit with circling spotlights. Great, but we need that close-up. And then, just when you think you can bear it no longer—finally—release! We get the tight shot: “it’s a hard rain’s a-gonna fa-a-a-lllll.” That's it. That's the moment.
- It’s funny. I’ve probably seen that video over 25 times, and even though I know how it ends, each time I am reminded of that first viewing when I thought: the camera's not going to make it, the director's not going to make the switch.
- Virtually flawless, Spine-tingling, Pure genius. And not just Dylan, but the director, the orchestra and Kamen as well. We are fortunate to have this video available in such good quality.

- Check it out for yourself here: http://www.dylanvideo.com/apps/videos/videos/show/12645132-the-great-music-experience-nara-japan-22-5-94

Just watched this performance for the first time. It's beautiful. :cry:

knickerless

easy. the opening line of 'tonight i'll be staying here with you' from rolling thunder.
gets me every time!

Jal015

knickerless wrote:

easy. the opening line of 'tonight i'll be staying here with you' from rolling thunder.
gets me every time!

Ahh good one! When I first got my license, and drove by myself for the first time, I blasted this song haha.

Jal015

Giada wrote:

summerteeth wrote:

and THIS: (disclaimer: I rarely post and when I do, it's much too over-the-top)

Video of Dylan fronting a 64 piece orchestra conducted by Michael Kamen, performing A Hard Rain’s A-Gonna Fall at the Great Music Experience, Nara, Japan, May 22, 1994.
- It can’t work, can it? How can that many classically trained musicians follow the tempo changes, the extra (or dropped) measures, all with no Tony Garnier in sight. It can’t work—but it does. Dylan nails every line (well, he did drop one) and then, right at the climactic moment, just after he sings “and I’ll tell it and think it and speak it and breathe it” the director inexplicably switches from a tight shot of Bob, to a camera that is far above and behind the orchestra. The camera is moving—it is on some kind of overhead cabling system—but so slowly, too slowly, meandering above a translucent canopy that covers the orchestra, and the song is almost over! You can hear him singing, but you can’t really see him. Surely, the director has lost his mind! The camera continues on its path, now zooming in on Bob from behind to give us a majestic shot where he is framed by the crowd which is being randomly lit with circling spotlights. Great, but we need that close-up. And then, just when you think you can bear it no longer—finally—release! We get the tight shot: “it’s a hard rain’s a-gonna fa-a-a-lllll.” That's it. That's the moment.
- It’s funny. I’ve probably seen that video over 25 times, and even though I know how it ends, each time I am reminded of that first viewing when I thought: the camera's not going to make it, the director's not going to make the switch.
- Virtually flawless, Spine-tingling, Pure genius. And not just Dylan, but the director, the orchestra and Kamen as well. We are fortunate to have this video available in such good quality.

- Check it out for yourself here: http://www.dylanvideo.com/apps/videos/videos/show/12645132-the-great-music-experience-nara-japan-22-5-94

Just watched this performance for the first time. It's beautiful. :cry:

His expression when he sings, "Gonna Fa-a-a-llll" is just great.

I and I

He wanted money upfront - said he was abused from Dignity

Expecting Rain

Moments of Bob Dylan songs that you love

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