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PostPosted: Sun October 11th, 2015, 19:21 GMT 

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Ack!! Here is the actual download!!

Fairfax VA
November 17 2006
http://www.mediafire.com/download/cdw73 ... e+Sick.mp3


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PostPosted: Mon October 12th, 2015, 01:59 GMT 

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Love'n these! Does anybody find the penchant for the "my girl" vibe (not just Bob) gets a bit tiring? Am I Just old? cheerie!


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PostPosted: Mon October 12th, 2015, 13:22 GMT 
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bella wrote:
Love'n these! Does anybody find the penchant for the "my girl" vibe (not just Bob) gets a bit tiring? Am I Just old? cheerie!


where is the "my girl" vibe in that song?


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PostPosted: Mon October 12th, 2015, 13:33 GMT 

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In the last verse, he sings "I'd give anything to be with you" -- the "you" is the "girl" here, I am thinking?


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PostPosted: Mon October 12th, 2015, 13:39 GMT 
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bella wrote:
In the last verse, he sings "I'd give anything to be with you" -- the "you" is the "girl" here, I am thinking?


not necessarily.
could be any love.


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PostPosted: Mon October 12th, 2015, 13:51 GMT 

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Oh, ok I get it -- that's like just love generally, or the memory of a past "girl(s)". Ah ha!


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PostPosted: Mon October 12th, 2015, 14:17 GMT 
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Maybe "this kind of love" that we have for him.


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PostPosted: Mon October 12th, 2015, 16:40 GMT 

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Right?! It's so boring!
All variations of "my girl...",
and some are darker than others.
boring!


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PostPosted: Mon October 12th, 2015, 19:54 GMT 
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The presence of "you" in Love Sick is well-timed, and illustrative of Dylan's genius for structure.
It's a song of 24 lines. In the first 18 lines, "you" occurs only once, a cameo in a dream. In that opening three-quarters of the song, the impression given is of a detachment from love and an obsession with love that seems general and pervasive. The terrain is haunted, not only by near-absences (silhouettes, a shadow and silence like thunder), but also an unnerving lack of specificity : "someone" possibly lying, "someone" possibly crying. The double use of "someone" is twinned in a later verse with two uses of "sometimes". So it's starkly cut, Love Sick, with a telling lack of detail. It relies on repetition rather than description to build atmosphere. I'm not sure if this is an original observation, or a remembered one, but it often uses the repeated tick-tock of two syllables : walking ... walking ... walking/ Did I? ... Did I?/I see, I see ... I see, I see/Sometimes ... Sometimes.
Then, in the last quarter of the song, the narrator's attention turns, unswerving and obsessive, to "you". In those concluding six lines the word "you" appears five times, and gets the final say four times. This is how those last half a dozen lines end : you/wonder/you/you/do/you. It's remorseless, and almost incantatory. For three quarters of the song, the narrator has been in a sparsely sketched but deeply inscribed world of denial : and then he summons the presence ("I look at you") of the woman who this song is for.


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PostPosted: Mon October 12th, 2015, 20:06 GMT 
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Trev wrote:
The presence of "you" in Love Sick is well-timed, and illustrative of Dylan's genius for structure.
It's a song of 24 lines. In the first 18 lines, "you" occurs only once, a cameo in a dream. In that opening three-quarters of the song, the impression given is of a detachment from love and an obsession with love that seems general and pervasive. The terrain is haunted, not only by near-absences (silhouettes, a shadow and silence like thunder), but also an unnerving lack of specificity : "someone" possibly lying, "someone" possibly crying. The double use of "someone" is twinned in a later verse with two uses of "sometimes". So it's starkly cut, Love Sick, with a telling lack of detail. It relies on repetition rather than description to build atmosphere. I'm not sure if this is an original observation, or a remembered one, but it often uses the repeated tick-tock of two syllables : walking ... walking ... walking/ Did I? ... Did I?/I see, I see ... I see, I see/Sometimes ... Sometimes.
Then, in the last quarter of the song, the narrator's attention turns, unswerving and obsessive, to "you". In those concluding six lines the word "you" appears five times, and gets the final say four times. This is how those last half a dozen lines end : you/wonder/you/you/do/you. It's remorseless, and almost incantatory. For three quarters of the song, the narrator has been in a sparsely sketched but deeply inscribed world of denial : and then he summons the presence ("I look at you") of the woman who this song is for.


Thanks, it's often interesting to look at the mechanics of what Dylan does. As far as who the "you" is, ever since It Ain't Me Babe many Dylan love songs it seems like they could be to his audience, to God, to this or to that or even strictly to a woman but not so often conclusively and consistently (through a song) to any one thing.


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PostPosted: Mon October 12th, 2015, 20:13 GMT 
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smoke wrote:
Trev wrote:
The presence of "you" in Love Sick is well-timed, and illustrative of Dylan's genius for structure.
It's a song of 24 lines. In the first 18 lines, "you" occurs only once, a cameo in a dream. In that opening three-quarters of the song, the impression given is of a detachment from love and an obsession with love that seems general and pervasive. The terrain is haunted, not only by near-absences (silhouettes, a shadow and silence like thunder), but also an unnerving lack of specificity : "someone" possibly lying, "someone" possibly crying. The double use of "someone" is twinned in a later verse with two uses of "sometimes". So it's starkly cut, Love Sick, with a telling lack of detail. It relies on repetition rather than description to build atmosphere. I'm not sure if this is an original observation, or a remembered one, but it often uses the repeated tick-tock of two syllables : walking ... walking ... walking/ Did I? ... Did I?/I see, I see ... I see, I see/Sometimes ... Sometimes.
Then, in the last quarter of the song, the narrator's attention turns, unswerving and obsessive, to "you". In those concluding six lines the word "you" appears five times, and gets the final say four times. This is how those last half a dozen lines end : you/wonder/you/you/do/you. It's remorseless, and almost incantatory. For three quarters of the song, the narrator has been in a sparsely sketched but deeply inscribed world of denial : and then he summons the presence ("I look at you") of the woman who this song is for.


Thanks, it's often interesting to look at the mechanics of what Dylan does. As far as who the "you" is, ever since It Ain't Me Babe many Dylan love songs it seems like they could be to his audience, to God, to this or to that or even strictly to a woman but not so often conclusively and consistently (through a song) to any one thing.


I see that similar, smoke


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PostPosted: Mon October 12th, 2015, 20:28 GMT 
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I'd have thought that It Ain't Me, Babe and Love Sick were really pretty obviously directed to women - however, that doesn't mean they can't also be directed to other concerns. I'd say there is a woman in Love Sick, though, whatever else she may represent.


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PostPosted: Mon October 12th, 2015, 20:31 GMT 
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The 'love' in Love Sick is his love for peanut butter.


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PostPosted: Mon October 12th, 2015, 22:24 GMT 
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bella wrote:
Love'n these! Does anybody find the penchant for the "my girl" vibe (not just Bob) gets a bit tiring? Am I Just old? cheerie!


Maybe you're "sick of love"?

This is not a sentimental love song. If it's about a woman, it's just as likely regret for not having that special person to wipe his arse for him when he's no longer able to do it himself.

Phrases such as "Sometimes the silence can be like thunder", "Could you ever be true" and "I'd give anything to Be with you" could refer to his God, interspersed with a frisson of doubt.


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PostPosted: Sun April 17th, 2016, 14:44 GMT 

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After a couple years playing the song mostly as it's done on the record,
Bob and Co. decided to slow down the song a bit more allowing Bob to dig deeper into these
lyrics and find nuances not heard yet. The band is so strong and mighty here, you forget how great Larry was.
From that incredible concert from Santa Cruz, here's a dirge-like Love Sick that slays like no other....

Santa Cruz CA
March 15 2000
http://www.mediafire.com/download/b885b ... e_Sick.mp3

And to show how cool Bob looked at the time as well as to highlight how
truly incredible the Santa Cruz performance is,
here's Bakersfield from a couple days earlier:

https://youtu.be/bY0v3N8eQL8?t=24m27s


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PostPosted: Sun April 17th, 2016, 20:46 GMT 
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I'd like to have heard Sinatra sing this. And then Dylan sing it like Sinatra.


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PostPosted: Thu April 21st, 2016, 14:06 GMT 

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bella wrote:
In the last verse, he sings "I'd give anything to be with you" -- the "you" is the "girl" here, I am thinking?


Probably, I doubt he's that sore over his missing drinking buddy, otherwise he'd be staring at bottles instead of "lovers in the window."

Great song, the singer really wallows in the muck, entirely decrepit. Abased, that's the best word.


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PostPosted: Fri April 22nd, 2016, 07:29 GMT 
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In this post, I will combine two subjects that many people (myself included) don't like:
a) Bob's eventual death
b) the notion that (many of) Bob's love songs are religious
So skip this one if you're tired of reading about either one. ;)

Prince's death made me think about Bob dying in the (hopefully far away) future. The way people might react, the way I might react.
One thing I do after artists die is look at their last set list. Which songs did they play? Which was the final song they performed?
If we assume that the set list doesn't change anymore, Bob's last song would be Love Sick. The last line he'd ever sing would be "I'd give anything to be with you".
I think Bob has put a lot of thought into "The SET", he has refined it many times and now repeats it night after night. I think it's no accident that he ends it with this song, this line.
So, who is the "you" that Bob would give anything to be with? Some random woman? A specific woman? Or is he thinking more spiritually, does "you" stand for humanity, the universe or God?


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PostPosted: Sat August 13th, 2016, 16:18 GMT 

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From one of Bob's greatest shows ever, this version of Love Sick
is just ridiculously good. I still contend that 1998-2000 are Bob's best years of his career...
Bob chilled this song out a bit within its first year on the road but
it didn't diminish its intensity...if anything, it made the song more intense
and portentous....

From The Globe in
Stockholm Sweden
June 9 1998
http://www.mediafire.com/download/816jb ... -98%29.mp3

And here's vid from the last night of his England tour a couple weeks later:
https://youtu.be/olbTPItvjHg?t=1h14m52s


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PostPosted: Sat August 13th, 2016, 20:20 GMT 
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^Perfetto!
98-00, undoubtedly the best NET years!


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PostPosted: Mon August 15th, 2016, 15:02 GMT 
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Location: Lincoln County Road . . . (or Armageddon?)
I won't call it the best, but this version from Bamberg Germany in 2015 explodes with energy.
George Receli's snare shots sound like gun shots -- the band is so tight.

https://www.youtube.com/watch?v=AghxGfooTPg

You can get a download of this show almost anywhere, but if you really want a treat, check out HungryHoss' remaster of the 2015 Detroit show. Love Sick is better in Bamberg (because it's the set closer?), but the rest of Detroit is the finest performance/recording I've heard in years.


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PostPosted: Mon August 15th, 2016, 17:38 GMT 

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song of solomon 5:8
i charge you, o daughters of jerusalem,
if ye find my beloved, that ye tell him, that
i am sick of love


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PostPosted: Tue April 4th, 2017, 11:06 GMT 
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Listening to the Fort Lauderdale 2015 version of Love Sick, it made me curious: What's the best performance of the song during the last few tours?
(And by the by, Charlie Sexton rocks!)


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PostPosted: Sun September 10th, 2017, 05:28 GMT 

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This version from 2011 (a new recent favorite year) is just plain bad-ass.
I love how raw and dirty these shows were as compared to where Bob & Co. is at these days.
This version sums up the dark soul of 2011 better than any other IMO
Just check out this bitter rendering to see what I mean....amazing harp solo here!!

Oberhausen Germany
October 23 2011
http://www.mediafire.com/file/36bhtc6mm ... 011%29.mp3


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PostPosted: Mon September 11th, 2017, 02:06 GMT 

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^^^ steely and savage,
both at the same time


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