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PostPosted: Mon May 14th, 2012, 16:37 GMT 
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So, I was down this past weekend for the Great Escape (http://escapegreat.com/) - a cool festival of new music in London-by-the-Sea, AKA Brighton.

The festival is about new bands and artists and features various stages and venues all over town. It really is a vibrant, fun place to spend a weekend with musicians, critics and punters literally all over the place. At one point I saw a young singer/guitar player named Katie Malco (http://www.myspace.com/katiemalcomusic) play a great version of Tomorrow Is A Long Time at the Royal Pavilion Tavern in the center of town. Afterwards I spoke with her and commended her on her choice of cover. She said that she had never actually heard a recorded version of the tune and had started playing it from the sheet music. I proudly told her that it was the only Dylan tune that Elvis Presley had ever covered and that she might want to look that up. She then gave me a funny look (nerd alert!) and said that she had to pop out for a cigarette… Anyway she was quite good and I’ll try to catch her again some time soon.

Most of the stages are curated by music magazines (NME, etc.), media outlets like the Guardian or labels like Rough Trade. Over the past few years of going to the Great Escape I've found that the Pavilion Theatre nights hosted by UNCUT magazine (http://www.uncut.co.uk/) are a great place to hear and see interesting bands in what's probably the best venue in town. Previously I've seen White Denim (http://whitedenimmusic.com/), The Acorn (http://www.theacorn.ca/shows), Three Trapped Tigers (http://www.myspace.com/threetrappedtigers/music) and some other groups that went on to bigger and better things.

This year I saw Django Django (highly recommended http://www.djangodjango.co.uk/) and a new London band called TOY, who sound like a dronier version of The Horrors (http://en.wikipedia.org/wiki/Toy_(band)).

For the first time this year, I happened to also run into the editor of UNCUT Magazine, Mr Allan Jones (http://en.wikipedia.org/wiki/Allan_Jones_(editor)) himself. For anyone who has met him or seen a picture of him, he's an unmistakable character to be sure with his long, curly hair and ample physique. I ended up speaking with him on two different occasions over the course of the weekend, after I initially approached him to thank him for the work that his magazine does and tell him that I appreciate the UNCUT nights during the Great Escape.

As I know that he's a huge Dylan aficionado, I pushed our conversation over to his Bobness. (He liked Together Through Life a lot more than me but was less than impressed by the shows at the Hammersmith Apollo last October). He also told me that he’d had the privilege of being to able to listen to cuts from Tell Tale Signs months prior to its release after being contacted by Bob’s record label back in mid-2008.

Which brings me to the juicy part of the story… That first night Mr Jones told me that he had just been contacted (that day I think, which was Thursday) by Sony/Columbia Records regarding the newly recorded Dylan album. It was ready, they had told him, and the label was planning a "test listen" to be held in London this Wednesday night for "sympathetic ears". He said that the listening was going to happen at a theater in Leicester Square but that he didn’t know much more than that. I tried not to look/sound too overeager (pant, pant, pant – can I come?) and thanked him for letting me know. He said that they hadn’t shared any information with him about how the record sounded or who played on it, etc. I said that I hoped to see him later on in the festival and bade him a good night.

On Saturday night, just before seeing Beth Jeans Houghton and The Hooves of Destiny (can’t recommend them but certainly enjoy typing and saying their name - http://www.bbc.co.uk/music/reviews/x8pn), I ran into Mr Jones again.

Thankfully he remembered me and after a little while I managed to ask him about the “test listen”. He told me that he’d since been contacted by the office of Jeff Rosen (Dylan’s manager as I’m sure you all know) and that they had told him that the listening party had been cancelled. He said that now, as it stood, he alone had been granted the opportunity to listen to the album next week and that they would be in touch with the details. He said that this was similar to what had happened prior to the release of Tell Tale Signs – which was that it was going to be him, a Dylan-managerial type and the record (on vinyl? he sadly didn’t elaborate…) in an empty room somewhere in central London.

I then asked him if that meant that UNCUT would be the first magazine granted permission to review the album in print. He said he wasn’t sure about that but that he would certainly not be publishing anything in relation to the album until “they tell me that I can". He also said that he probably wouldn’t review the album directly himself but would give it to someone else to review – and that he wasn’t sure if he would actually get a copy of the album to take with him. I thanked him again for his excellent work with UNCUT, we said our goodbyes and I went away with my wife to see Midwestern female neo-grunge sensation EMA (http://cameouttanowhere.com/).

So what are the facts?

1. There is definitely a new Dylan album recorded - presumably mixed and mastered and ready to go – with a release date that can’t be too far away.
2. Dylan’s management and his label don’t always see eye-to-eye (but we already knew that, right?).
3. Allan Jones and UNCUT magazine have a “place of importance” at the table of the Dylan powers-that-be.
4. Trying to impress a young female singer/guitarist with your knowledge of rock history will usually leave you talking to thin air…

One question that might provoke discussion is how the favourable treatment of rock publications (in this case UNCUT) by management groups and labels influences their reviews? Could Mr Jones, having been granted this “privilege” yet again by Sony/Rosen, possibly condone UNCUT granting a three-star (or worse) review of the next album?

The UNCUT review of Together Through Life in 2009 was written by Alan Jones himself (http://www.uncut.co.uk/bob-dylan/bob-dylan-together-through-life-review) and it seems to show (down there at the bottom) that he gave it 5 out of 10 stars.

Surely that was meant to be 5 out of 5? Hope Jeff Rosen doesn’t see that, otherwise he might have some more listening parties to cancel…


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PostPosted: Mon May 14th, 2012, 16:48 GMT 
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well that did make me salivate...but now i need to go eat some oatmeal.... :!:


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PostPosted: Mon May 14th, 2012, 16:54 GMT 
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Interesting :)


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PostPosted: Mon May 14th, 2012, 16:57 GMT 
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Looks like a september release then.

Bob Dylan Wants You To Be Uncut.

Oh that delicious ironing.


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PostPosted: Mon May 14th, 2012, 17:04 GMT 
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That means there is a copy of the record in Europe.... :shock:


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PostPosted: Mon May 14th, 2012, 17:18 GMT 
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Johanna Parker wrote:
That means there is a copy of the record in Europe.... :shock:


Awesome! So close, yet so far away. 8)


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PostPosted: Mon May 14th, 2012, 17:27 GMT 
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Great news!


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PostPosted: Mon May 14th, 2012, 17:34 GMT 
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seanbev1 wrote:
So, I was down this past weekend for the Great Escape (http://escapegreat.com/) - a cool festival of new music in London-by-the-Sea, AKA Brighton.

The festival is about new bands and artists and features various stages and venues all over town. It really is a vibrant, fun place to spend a weekend with musicians, critics and punters literally all over the place. At one point I saw a young singer/guitar player named Katie Malco (http://www.myspace.com/katiemalcomusic) play a great version of Tomorrow Is A Long Time at the Royal Pavilion Tavern in the center of town. Afterwards I spoke with her and commended her on her choice of cover. She said that she had never actually heard a recorded version of the tune and had started playing it from the sheet music. I proudly told her that it was the only Dylan tune that Elvis Presley had ever covered and that she might want to look that up. She then gave me a funny look (nerd alert!) and said that she had to pop out for a cigarette… Anyway she was quite good and I’ll try to catch her again some time soon.

Most of the stages are curated by music magazines (NME, etc.), media outlets like the Guardian or labels like Rough Trade. Over the past few years of going to the Great Escape I've found that the Pavilion Theatre nights hosted by UNCUT magazine (http://www.uncut.co.uk/) are a great place to hear and see interesting bands in what's probably the best venue in town. Previously I've seen White Denim (http://whitedenimmusic.com/), The Acorn (http://www.theacorn.ca/shows), Three Trapped Tigers (http://www.myspace.com/threetrappedtigers/music) and some other groups that went on to bigger and better things.

This year I saw Django Django (highly recommended http://www.djangodjango.co.uk/) and a new London band called TOY, who sound like a dronier version of The Horrors (http://en.wikipedia.org/wiki/Toy_(band)).

For the first time this year, I happened to also run into the editor of UNCUT Magazine, Mr Allan Jones (http://en.wikipedia.org/wiki/Allan_Jones_(editor)) himself. For anyone who has met him or seen a picture of him, he's an unmistakable character to be sure with his long, curly hair and ample physique. I ended up speaking with him on two different occasions over the course of the weekend, after I initially approached him to thank him for the work that his magazine does and tell him that I appreciate the UNCUT nights during the Great Escape.

As I know that he's a huge Dylan aficionado, I pushed our conversation over to his Bobness. (He liked Together Through Life a lot more than me but was less than impressed by the shows at the Hammersmith Apollo last October). He also told me that he’d had the privilege of being to able to listen to cuts from Tell Tale Signs months prior to its release after being contacted by Bob’s record label back in mid-2008.

Which brings me to the juicy part of the story… That first night Mr Jones told me that he had just been contacted (that day I think, which was Thursday) by Sony/Columbia Records regarding the newly recorded Dylan album. It was ready, they had told him, and the label was planning a "test listen" to be held in London this Wednesday night for "sympathetic ears". He said that the listening was going to happen at a theater in Leicester Square but that he didn’t know much more than that. I tried not to look/sound too overeager (pant, pant, pant – can I come?) and thanked him for letting me know. He said that they hadn’t shared any information with him about how the record sounded or who played on it, etc. I said that I hoped to see him later on in the festival and bade him a good night.

On Saturday night, just before seeing Beth Jeans Houghton and The Hooves of Destiny (can’t recommend them but certainly enjoy typing and saying their name - http://www.bbc.co.uk/music/reviews/x8pn), I ran into Mr Jones again.

Thankfully he remembered me and after a little while I managed to ask him about the “test listen”. He told me that he’d since been contacted by the office of Jeff Rosen (Dylan’s manager as I’m sure you all know) and that they had told him that the listening party had been cancelled. He said that now, as it stood, he alone had been granted the opportunity to listen to the album next week and that they would be in touch with the details. He said that this was similar to what had happened prior to the release of Tell Tale Signs – which was that it was going to be him, a Dylan-managerial type and the record (on vinyl? he sadly didn’t elaborate…) in an empty room somewhere in central London.

I then asked him if that meant that UNCUT would be the first magazine granted permission to review the album in print. He said he wasn’t sure about that but that he would certainly not be publishing anything in relation to the album until “they tell me that I can". He also said that he probably wouldn’t review the album directly himself but would give it to someone else to review – and that he wasn’t sure if he would actually get a copy of the album to take with him. I thanked him again for his excellent work with UNCUT, we said our goodbyes and I went away with my wife to see Midwestern female neo-grunge sensation EMA (http://cameouttanowhere.com/).

So what are the facts?

1. There is definitely a new Dylan album recorded - presumably mixed and mastered and ready to go – with a release date that can’t be too far away.
2. Dylan’s management and his label don’t always see eye-to-eye (but we already knew that, right?).
3. Allan Jones and UNCUT magazine have a “place of importance” at the table of the Dylan powers-that-be.
4. Trying to impress a young female singer/guitarist with your knowledge of rock history will usually leave you talking to thin air…

One question that might provoke discussion is how the favourable treatment of rock publications (in this case UNCUT) by management groups and labels influences their reviews? Could Mr Jones, having been granted this “privilege” yet again by Sony/Rosen, possibly condone UNCUT granting a three-star (or worse) review of the next album?

The UNCUT review of Together Through Life in 2009 was written by Alan Jones himself (http://www.uncut.co.uk/bob-dylan/bob-dylan-together-through-life-review) and it seems to show (down there at the bottom) that he gave it 5 out of 10 stars.

Surely that was meant to be 5 out of 5? Hope Jeff Rosen doesn’t see that, otherwise he might have some more listening parties to cancel…





excellent work, i have some sympathetic ears right here that are available.


Last edited by goombay on Mon May 14th, 2012, 17:37 GMT, edited 1 time in total.

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PostPosted: Mon May 14th, 2012, 17:37 GMT 
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Johanna Parker wrote:
That means there is a copy of the record in Europe.... :shock:


If Jeff Rosen holds true to form, there is exactly one copy of the album which does not leave his sight when it's out of the Brooklyn vault. One of the reasons that JR has lasted in Mr. D.'s employ as long as he has it that he has been able (in great measure, if not completely) to put the kibosh on Dylan studio material being leaked to the outside world. Even in the case of TTRH, JR went to extraordinary lengths -- and forced XM to the same lengths -- to ensure that no show would be in the wild before it's "official" air date. Once it was aired, the TTRH team could care less about it being bootlegged since it was XM's problem, not theirs.

When I started seanbev1's excellent report, I was thinking, "No, there's something wrong here. That's not how Mr. D. operates." When I got to the part about the listening party being cancelled and JR's involvement, it started ringing very true. :D If you go back to reports on how TTL and CitH were provided to reviewers, it's roughly the same scenario. In the case of TTL, the Dylan manager who had the "empty room" listening party was again, Jeff Rosen, who also stage-managed the various CitH listening parties.


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PostPosted: Mon May 14th, 2012, 17:38 GMT 
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Thank you seanbev1, sounds like this is starting to get juicy!!!! 8)


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PostPosted: Mon May 14th, 2012, 17:43 GMT 
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Thanks, sean and Fred.
Beside Tell Ol' Bill, did any studio stuff get away since the handed out those pre-release TOOM tapes in '97?


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PostPosted: Mon May 14th, 2012, 17:50 GMT 
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Fred@Dreamtime wrote:
Johanna Parker wrote:
That means there is a copy of the record in Europe.... :shock:


If Jeff Rosen holds true to form, there is exactly one copy of the album which does not leave his sight when it's out of the Brooklyn vault. One of the reasons that JR has lasted in Mr. D.'s employ as long as he has it that he has been able (in great measure, if not completely) to put the kibosh on Dylan studio material being leaked to the outside world. Even in the case of TTRH, JR went to extraordinary lengths -- and forced XM to the same lengths -- to ensure that no show would be in the wild before it's "official" air date. Once it was aired, the TTRH team could care less about it being bootlegged since it was XM's problem, not theirs.

When I started seanbev1's excellent report, I was thinking, "No, there's something wrong here. That's not how Mr. D. operates." When I got to the part about the listening party being cancelled and JR's involvement, it started ringing very true. :D If you go back to reports on how TTL and CitH were provided to reviewers, it's roughly the same scenario. In the case of TTL, the Dylan manager who had the "empty room" listening party was again, Jeff Rosen, who also stage-managed the various CitH listening parties.

Yeah, I thought the same thing when I first started reading....... They are going to let a bunch of people hear a new album!?!?!?! :shock: Last year there was a 'poetry reading' here in Austin..... an open thing with some recordings (some bootleg, some album stuff).... anyway, there was a lecture along with it..... (place was packed by the way)..... It started off by the MC talking about "just getting off the phone with Jeff Rosen"..... and I thought .... "Geeze that guy has his ears our all over the place, keeping track of anything going on"...... It seems he is a good keeper of the keys to the vault.....

Hey, JR, about that tape of the SLC show back in '76.... :P


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PostPosted: Mon May 14th, 2012, 18:01 GMT 
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So, the UK gets first dibs. He knows where the centre of his fanbase universe resides, does our Bob. :mrgreen:


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PostPosted: Mon May 14th, 2012, 18:03 GMT 
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I guess they just want a five-star review for the album, whatever it is, and they can count on Mr Jones in that respect. He'll give everything Bob does five stars.


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PostPosted: Mon May 14th, 2012, 18:09 GMT 

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Love and Theft was circulated in late August before it's September release.


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PostPosted: Mon May 14th, 2012, 18:09 GMT 
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And here is the man himself, ladies an' gen'lmen, Mr Jones:

Image

Great, great guy. Met him on a train once.


Last edited by Train-I-Ride on Mon May 14th, 2012, 18:36 GMT, edited 1 time in total.

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PostPosted: Mon May 14th, 2012, 18:21 GMT 
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A very nice man, it must be said.
And a man who - if he (or any of his staff) read this forum - will probably consider never speaking to me again.
Such is the price you pay for notoriety here in the world of the ER discussion groups!
By the way, it'd be great if at least a few of you check out some of the other groups/bands that I link to in the post. There is some seriously good new music around these days if you know where to look...
Cheers,
Sean


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PostPosted: Mon May 14th, 2012, 18:23 GMT 
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seen Django Django live, they have great potential.


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PostPosted: Mon May 14th, 2012, 19:00 GMT 
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Johanna Parker wrote:
That means there is a copy of the record in Europe.... :shock:


Someone send out a posse!


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PostPosted: Mon May 14th, 2012, 19:02 GMT 
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GREAT GREAT BOBALOOZA JOURNO WORK SEANBEV - KEEP IT UP, THIS PLACE NEEDS YA!

To quote the dear mickey newbury who's spirit's been wafting through these boards lately, and who seanbev should check out if he really wants to see the diamond chain of musical beauty -

all's i ever wanted to be...
was locked up in that room...
listening to bob sail us out
upon our new rough sea

CORNBALL HUH!!

Colonel's got the Gold dudes! let's Rock!


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PostPosted: Mon May 14th, 2012, 19:07 GMT 
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Train-I-Ride wrote:
So, the UK gets first dibs. He knows where the centre of his fanbase universe resides, does our Bob. :mrgreen:


this turf war is stoopid. (but you're probably joking). i'd say his fanbase is whomever doesn't give him a hard time about being Bob (not a large part of the UK track record) and is willing to give him a listen at his next local stop of the NET. As if he would feel there weren't any 'real fans' on the South American tour.

Fred, thank you and welcome to the moderator club! (if you are new)

TTRH --> Theme Time Radio Hour


Last edited by Troubadour64 on Mon May 14th, 2012, 19:11 GMT, edited 2 times in total.

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PostPosted: Mon May 14th, 2012, 19:08 GMT 

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At last, some news! Many thanks for the update. So he said on Saturday that he would be listening "next week" which presumably means sometime this week assuming it was a direct quote?

Met Mr Jones myself in The 02 and Roundhouse in 09- a very nice man. Interesting that he didn't think that much of Hammersmith last year (I'd agree regarding the 1st 2 shows I was at- both Glasgow shows were much sharper). Why interesting? Because if memory serves he wrote a positive review of the first gig online for Uncut...


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PostPosted: Mon May 14th, 2012, 19:10 GMT 
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Fred@Dreamtime wrote:
If Jeff Rosen holds true to form, there is exactly one copy of the album which does not leave his sight when it's out of the Brooklyn vault. One of the reasons that JR has lasted in Mr. D.'s employ as long as he has it that he has been able (in great measure, if not completely) to put the kibosh on Dylan studio material being leaked to the outside world. Even in the case of TTRH, JR went to extraordinary lengths -- and forced XM to the same lengths -- to ensure that no show would be in the wild before it's "official" air date. Once it was aired, the TTRH team could care less about it being bootlegged since it was XM's problem, not theirs.

Sorry Fred... is TTRH Together Through Life?

thanks!

EDIT:

Theme Time Radio Hour

Got it. Thanks!


Last edited by dgsvoboda on Mon May 14th, 2012, 19:13 GMT, edited 1 time in total.

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PostPosted: Mon May 14th, 2012, 19:13 GMT 
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Theme Time Radio Hour


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PostPosted: Mon May 14th, 2012, 19:13 GMT 
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Quote:

Sorry Fred... is TTRH Together Through Life?

thanks![/quote][/quote]
Hi there - when Fred says TTRH he's referring to Theme Time Radio Hour.


Last edited by seanbev1 on Mon May 14th, 2012, 19:15 GMT, edited 1 time in total.

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