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PostPosted: Wed October 4th, 2017, 17:10 GMT 

Joined: Sun June 3rd, 2007, 17:37 GMT
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Location: New Orleans, LA
Those bonus San Diego discs from bobdylan.com.....

They say full concerts, but.... any idea if those will include a sermon? If they will include the girls doing their songs before he comes on stage?


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PostPosted: Wed October 4th, 2017, 19:52 GMT 

Joined: Mon March 16th, 2009, 10:46 GMT
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PaxViri wrote:
Those bonus San Diego discs from bobdylan.com.....

They say full concerts, but.... any idea if those will include a sermon? If they will include the girls doing their songs before he comes on stage?


They're very unlikely to include either the girls or the song intro's I'd say,
going by how the rest of the Trouble No More material is being presented.


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PostPosted: Thu October 5th, 2017, 06:55 GMT 

Joined: Mon March 16th, 2009, 10:46 GMT
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By John DeFore, Hollywood Reporter

Jennifer Lebeau's performance film combines unseen footage from Dylan's gospel years with sermons delivered by Michael Shannon.
Diving headlong into one of the most controversial moments in Bob Dylan's storied career and paying no need to unbelievers, Jennifer Lebeau's Trouble No More unearths rare concert footage from the singer's "Christian period," when he toured small venues playing nothing but songs about his new faith. The singer's refusal to perform his hits angered fans at the time, and many critics were unkind to the new compositions. A chance for reappraisal comes next month, when Columbia/Legacy's latest Bootleg Series installment will collect many hours of live recordings from this period. Lebeau's film will be part of that set's "Deluxe Edition," and will be catnip for fans of the albums Slow Train Coming and Saved. But seen on the big screen at the New York Film Festival, it proved something of a come-to-Jesus moment for unconverted viewers as well, loaded with fine performances of songs that fit comfortably in the songwriter's canon.

Having found this rare material and helped get it into shape (shot on video in 1980, it looked surprisingly good on the big screen), Lebeau makes a bold choice in presentation: She cuts back and forth from the source material to newly shot scenes in which actor Michael Shannon plays an old-school preacher, delivering sermons to an off-camera flock.

These homilies were penned by Luc Sante, who says his homework consisted of listening to sermons by the great black preachers who made popular records in the 1920s. While some of the sermons are more true to the idiom than others (Lord, how great it would be to hear a Southern preacher actually chide his flock for eating junk food), their idiosyncrasies are enjoyable. More important, they're spiritually simpatico with Dylan, who has rarely done anything quite the way others do.

Shannon's contemplative but engaged performance is a good companion to 1980 Dylan, who in these concerts is far from standoffish. On "Saved," Dylan puts the message across as fervently as a tent-revivalist, his band chugging along like a train on straight tracks. On the rarity "Ain't Going to Hell for Anybody," he acknowledges his sinful ways and puts them behind him.

Though he has six African-American backup singers, this show doesn't evoke the sounds of the church the way, for example, Lyle Lovett does with his Large Band. Rather, it weaves them into the kind of rock music Dylan was already making at this time. Tim Drummond's bass (which cuts loose on songs like "Solid Rock") and Jim Keltner's drumming keep Spooner Oldham's organ from ever sounding churchy.

Lebeau presents the songs as intact performances, but avoids concert-film monotony by cutting back to Shannon after each one (and even giving him changes of vintage wardrobe). After the credits, she pulls up a duet shot away from the concert stage: "Abraham, Martin and John," a lament first recorded by Dion that Dylan played live many times in 1980. Tying the spiritual concerns that drove Dylan during these years with the social ones of the folk era, it's a lovely choice.


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PostPosted: Thu October 5th, 2017, 15:03 GMT 
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Quote:
Lebeau makes a bold choice in presentation: She cuts back and forth from the source material to newly shot scenes in which actor Michael Shannon plays an old-school preacher, delivering sermons to an off-camera flock.


Great - Snippets of live Dylan performances interrupted by a guy we never heard of giving sermons written by another guy we never heard of. Just what Dylan fans want! Glad they didn't blow it by giving complete songs and Bob Dylan giving his own sermons. Dylan fans wouldn't want that. :x


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PostPosted: Thu October 5th, 2017, 15:57 GMT 
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Yeah, they should have asked Scorcese to do that one as well. Who else is looking as forward to his RTR doc as I am?!


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PostPosted: Thu October 5th, 2017, 16:18 GMT 

Joined: Mon March 16th, 2009, 10:46 GMT
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bloodblondehighwayhome wrote:
Yeah, they should have asked Scorcese to do that one as well. Who else is looking as forward to his RTR doc as I am?!


I cant wait for the RTR doc. It's maybe unrealistic to expect
it to top NDH, but what if it's every bit as good? I expect
Scorsese to take up the narrative from World Tour '74 all
the way to the Last Waltz.


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PostPosted: Thu October 5th, 2017, 17:12 GMT 
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Winter Lude wrote:
Quote:
Lebeau makes a bold choice in presentation: She cuts back and forth from the source material to newly shot scenes in which actor Michael Shannon plays an old-school preacher, delivering sermons to an off-camera flock.


Great - Snippets of live Dylan performances interrupted by a guy we never heard of giving sermons written by another guy we never heard of. Just what Dylan fans want! Glad they didn't blow it by giving complete songs and Bob Dylan giving his own sermons. Dylan fans wouldn't want that. :x

There are some fans who've never been able to get around, over, or hrough that. Release of videos showing Dylan delivering his own sermons would be a painful reminder that this is a little more than just Another Side of Bob Dylan.


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PostPosted: Thu October 5th, 2017, 18:01 GMT 
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Untrodden Path wrote:
There are some fans who've never been able to get around, over, or hrough that. Release of videos showing Dylan delivering his own sermons would be a painful reminder that this is a little more than just Another Side of Bob Dylan.


There might be some truth to that. I wonder - are any of the sermons out there in sound-board quality?

If they were to release high quality audio of a Bob sermon people might make the case that he's out of his mind or ignorant, depending on their angle. They might put it to comedic backing tracks, do goofy things with his voice and words. He could be mocked. It could be embarrassing for Bob. The Bob of now would suddenly have to deal with it in one way or another. That might be the reason why the new releases omit his sermons as if they never happened. It was amazing to have him actually talking to the audience for more than a few words. That was one of the most remarkable things about the gospel tours. Bob Dylan talked! But let's pretend he didn't.


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PostPosted: Thu October 5th, 2017, 18:10 GMT 

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Winter Lude wrote:
If they were to release high quality audio of a Bob sermon people might make the case that he's out of his mind or ignorant, depending on their angle. They might put it to comedic backing tracks, do goofy things with his voice and words. He could be mocked. It could be embarrassing for Bob. The Bob of now would suddenly have to deal with it in one way or another. That might be the reason why the new releases omit his sermons as if they never happened. It was amazing to have him actually talking to the audience for more than a few words. That was one of the most remarkable things about the gospel tours. Bob Dylan talked! But let's pretend he didn't.


That's so true. Mockery would happen, especially in the age of social media.
They don't need a new downturn. I'm glad they're taking the risk of putting
this out in the first place.


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PostPosted: Thu October 5th, 2017, 18:32 GMT 

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As for the post that refers to Michael Shannon as "a guy we've never heard of", who you calling "we"?


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PostPosted: Thu October 5th, 2017, 19:22 GMT 
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gerardv wrote:
I expect Scorsese to take up the narrative from World Tour '74 all the way to the Last Waltz.


I hope he'll continue from where he let up, the Basement and the Woodstock years, New Morning etc certainly are part of the story. But, right, the Last Waltz is a logical next halt.


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PostPosted: Fri October 6th, 2017, 13:43 GMT 

Joined: Sun April 15th, 2007, 08:44 GMT
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eddiethecat wrote:
gibsona07 wrote:
The free San Diego CD loophole hasn't worked. Just got a refund from bobdylan.com


Yes, they refunded my 10 copies too.
LOL!


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PostPosted: Sat October 7th, 2017, 12:51 GMT 

Joined: Thu December 8th, 2011, 15:10 GMT
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I wonder why you do not get a Blu Ray option when ordering the set :?:


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PostPosted: Sat October 7th, 2017, 14:31 GMT 
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Why not a Betamax option. More in keeping with the times.


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PostPosted: Sat October 7th, 2017, 14:32 GMT 
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smiley wrote:
Why not a Betamax option. More in keeping with the times.


I was holding out for the laserdisc


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PostPosted: Sat October 7th, 2017, 16:12 GMT 

Joined: Sat October 7th, 2017, 16:05 GMT
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I’ve been lurking here for a while now, checking for updates on the next Bootleg Series installment and checking out the live shows area. I love love love the ‘79-‘81 era (and 80s Dylan in general) and think it’s fantastic we’re getting a release. I am OBSESSED with this era but only know it through the official studio releases (albums and Bootleg/Biograph releases). I’m really conflicted about which edition to get. I wish there wasn’t such a huge price gap between thw standard, relatively cheap 2-disc set and the deluxe set. I’m glad I’ll hear some of these songs live, like Covenant Woman (maybe my favorite of the era, along with Every Grain of Sand) and Caribbean Wind, but I’d love to hear unreleased songs and alternate takes, but absolutely can’t afford to spend $130+ on music right now. I guess I’ll have to save up and hope to find it used at Amoeba or something down the road.

Anyway this is a great forum!


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PostPosted: Sat October 7th, 2017, 18:29 GMT 
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LeftInTheFrenchQuarter wrote:
I’ve been lurking here for a while now, checking for updates on the next Bootleg Series installment and checking out the live shows area. I love love love the ‘79-‘81 era (and 80s Dylan in general) and think it’s fantastic we’re getting a release. I am OBSESSED with this era but only know it through the official studio releases (albums and Bootleg/Biograph releases). I’m really conflicted about which edition to get. I wish there wasn’t such a huge price gap between thw standard, relatively cheap 2-disc set and the deluxe set. I’m glad I’ll hear some of these songs live, like Covenant Woman (maybe my favorite of the era, along with Every Grain of Sand) and Caribbean Wind, but I’d love to hear unreleased songs and alternate takes, but absolutely can’t afford to spend $130+ on music right now. I guess I’ll have to save up and hope to find it used at Amoeba or something down the road.

Anyway this is a great forum!


I'm hardly one to welcome you, but welcome.

If you're worried about money, wait. ExpectingRainer's will dissect every track and then you'll know whether to get it or to seek out specific tracks elsewhere. The DVD promises to be great, but fairly decent copies of professionally shot footage exists of Toronto 1980, so there's that.

Personally, I get suckered in to the Deluxe packages. Tell Tale Signs disc 3 is good but definitely not worth $75. The Basement Tapes deluxe was not that much better than the old boots derived from "A Tree with Roots." The Cutting Edge monster deluxe (18 discs) is fascinating for one full listen. It tells a great story, but who wants to listen to 26 attempts of Can You Please Crawl Out Your Window? In fact, I've selected the essential tracks for myself and it's far less than even the 6-CD version.

So there you have it. And what am I doing this time? The same. I have the deluxe on order from ImportCDs for $114.


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PostPosted: Sat October 7th, 2017, 19:14 GMT 
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The 2 disc version looks amazing. And plenty good. This era is better represented through the live material, and this set looks well curated. It will replace the 3 studio releases for me, no doubt. As for the deluxe—if that 1981 show is in great sound, it sure makes it look worth it. I’ll probably wait to hear from the folks here before taking the plunge on the larger version too.


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PostPosted: Sun October 8th, 2017, 04:33 GMT 
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paid in blood wrote:
As for the post that refers to Michael Shannon as "a guy we've never heard of", who you calling "we"?


This!
Shannon is one of the most (in)famous and quirky actors of the last ten years. No one could do more justice to the disconcerning and surreal aspect of Bob Dylan preaching the gospel.


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PostPosted: Sun October 8th, 2017, 05:16 GMT 

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HuffPost Review

Gospels, Godspells and Today’s TimesThis isn’t a concert film, biopic, documentary, mockumentary or rockumentary: it’s something as unique as was the Gospel Tour itself.

“Let him drink, and forget his poverty, and remember his misery no more.” — Proverbs 31:7

“Some day baby / You ain’t gonna trouble poor me any more.” — Sleepy John Estes, Someday Baby Blues (1935), sung as Trouble No More by Muddy Waters, the Allman Brothers, and many more

Trouble No More: A Musical Film had its world premiere last Monday night at the Walter Reade Theater in Lincoln Center, as part of the 55th New York Film Festival. Released this autumn in conjunction with the next installment of Bob Dylan’s The Bootleg Series (Vol. 13 / 1979-1981), in the time of his “Gospel Tour,” Trouble No More is neither documentary nor biopic. It’s not purely a concert film, though the newly rediscovered footage from Dylan’s concerts in Toronto and Buffalo, with the camera seemingly inches from his face, is tremendous. It’s not a contemporary commentary on the Gospel Tour, though, as you quickly realize, this element has been newly made, now a part of the art.

We start as any concert tour should start, in the rehearsal studio, warming up with an old gospel standard. “Jesus Met the Woman at the Well.” Dylan is frowning in concentration, with huge fuzzy unmodulated hair, and a wild gold sequined guitar strap. Sequins will be much in evidence, as will big shoulder pads, when we come to the concert footage of the five female backup singers. It is, after all, the last gasp of the 1970s. Dylan, and the company ranged around him, end the song with huge smiles.

“Too Much Jesus for Dylan Fans,” proclaims a headline, as Dylan and his new band head out on the road for the first time. The Gospel Tour of North America and Europe is set up by stills and newspaper clips from 1979, and one filmed fan interview. All insist that Dylan is embarking upon a major departure, and fans are either disappointed not to hear his old classics, or happy just to have seen him and because the band is excellent. One thing seems to be a bottom line, as one spoken voice-over, I assume from the period, states: “He’s not the Bob that we used to know and love.”

I say “I assume from the period” because about a quarter of the screen time in this hour-long film is brand-new material. You go back and forth between concert footage, chiefly from Toronto’s Massey Hall and Buffalo’s Kleinhans Music Hall, and scenes filmed in an Episcopal church on New York City’s Upper East Side, about which more in a moment. The songs are not in the order in which they appeared in concert or concerts; they have been arranged to form a narrative, tell a story, in conjunction with the new scenes.

The leadoff song is perfect. “Are ya ready?” Dylan challenges his collective audience, past and present, and then, resplendent in leather coat and electric guitar, launches into “Are You Ready To Meet Jesus?” The question he is asking, as his eyes flash and he looks out, down, back, sounds like “am I ready to meet Jesus?” He’s still asking on behalf of himself, too.

Dylan still looks like his younger self, especially when he sits down at the piano or curls himself up around his harmonica. But he has aged, and put on weight, as do we all. His step is light and he shimmies when he dances, but there are lines on his face. It’s not 1962 and Newport. It’s not 1966 and touring with the proto-Band. Lest you forget the date, there is Fred Tackett to remind you, with his aviator glasses and Bee Gees hair and beard. 1979 has just given way to 1980. Dylan is almost alone among the men, as you look at the faces of his audience, in not having a full bushy beard or at least a walrusy, porn-star moustache, and long hair parted in the middle (which last is irrespective of gender).

Hearing Dylan sing about Armageddon, then peel off his Fender, step forward and take an offered carnation from a young woman, is a bizarre moment even when you’re expecting the evangelism, and a now-for something-completely-different look at him. It is also a strange, and wondrous, moment in which you see for the first time, and continuing throughout the footage, how happy he looks. Dylan has become famous for his alleged poker face, showing no emotion, in concert, and for not talking to his fans from the stage — he does not even introduce his band any more. Here, he’s alight, eyes constantly roving over the crowd, eager, intent, sometimes amused, feeling good and wanting to share that feeling. It’s the most generous Dylan I’ve ever seen in performance.


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PostPosted: Sun October 8th, 2017, 05:22 GMT 
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gerardv wrote:
It is also a strange, and wondrous, moment in which you see for the first time, and continuing throughout the footage, how happy he looks. Dylan has become famous for his alleged poker face, showing no emotion, in concert, and for not talking to his fans from the stage — he does not even introduce his band any more. Here, he’s alight, eyes constantly roving over the crowd, eager, intent, sometimes amused, feeling good and wanting to share that feeling. It’s the most generous Dylan I’ve ever seen in performance.


That really made my day. Can't wait to see it.


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PostPosted: Sun October 8th, 2017, 05:53 GMT 
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"Trouble No More: A Musical Film, directed by Jennifer Lebeau, has been selected to premiere at the prestigious 2017 New York Film Festival. We’ll tell you more about this when we’re allowed. Let’s just say that, as curveballs go, it’s Dylan-sized.“

It already premiered 10/2, what the heck was the curveball or did the author mean the whole project and pro shot Toronto video?


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PostPosted: Sun October 8th, 2017, 07:20 GMT 

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dylanswife wrote:
"Trouble No More: A Musical Film, directed by Jennifer Lebeau, has been selected to premiere at the prestigious 2017 New York Film Festival. We’ll tell you more about this when we’re allowed. Let’s just say that, as curveballs go, it’s Dylan-sized.“

It already premiered 10/2, what the heck was the curveball or did the author mean the whole project and pro shot Toronto video?


Who knows..they must be referring to the dramatized sequences.


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PostPosted: Sun October 8th, 2017, 07:46 GMT 
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gerardv wrote:
dylanswife wrote:
"Trouble No More: A Musical Film, directed by Jennifer Lebeau, has been selected to premiere at the prestigious 2017 New York Film Festival. We’ll tell you more about this when we’re allowed. Let’s just say that, as curveballs go, it’s Dylan-sized.“

It already premiered 10/2, what the heck was the curveball or did the author mean the whole project and pro shot Toronto video?


Who knows..they must be referring to the dramatized sequences.


I have no idea why they think that would be a good idea. Cut out the real part and replacement it with a re-enactment.


Sent from my iPhone using Tapatalk


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PostPosted: Sun October 8th, 2017, 08:01 GMT 

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dylanswife wrote:
I have no idea why they think that would be a good idea. Cut out the real part and replacement it with a re-enactment.
Sent from my iPhone using Tapatalk


This was Bob's idea apparently. The content of the preaching is
different from Dylan's talks, to be sure. From what I heard it's
inspired by one or several black preachers from the 1930s. I can't
really see it myself I must say. Then again, I haven't seen it :)


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