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PostPosted: Wed August 7th, 2013, 07:32 GMT 

Joined: Wed April 11th, 2007, 04:15 GMT
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Location: City of Angels
Well it's alright
She'nay she's all the time in my neighborhood
She cried both day and night,
I know it because it was there.

It's a milestone
But she's down on her luck,
And she daily salutin
But to make him hard to buck,
I bevaid ...

I believe where she stopping
If she wants time to care,
I believe that she'd look upon
Deciding to care,
And I go by the Lord
In a way she's on my way,
but I don't belong there.
No I don't belong to her,
I don't belong to anybody,
she's my prize forsaken angel
but she don't hear me cry.

She's a long-hearted mystic
and she can't carry on,
when I'm there she's alright,
but she's not, when I'm gone
Heaven knows that the answer
she's don't call in no-one,
she's the way, a sailing beautiful,
she's mine, for the one,

and I loss a heavy tension,
by temptation less it runs
but she don't allah me
but I'm not there, I'm gone.
Now I've cried tonight
like I cried the night before,
and I'm knees on the hassle,
but I dream about the door.

So-long Jesus-saken,
blind fate, with a tell,
it don't hang contonation
she's my ald fare-thee-well.
Now when I'll treat the levee,
I was born to love her,
but she knows that the kingdom
weighs so high above her,

and I run but I race,
but it's not too fast a sleoun,
but I don't perceive her,
I'm not there, I'm gone.
Well it's all about deffusion
That I cry for her veil,
I don't need anybody now
beside me to tell

And it's all affirmation
I recieve, but it's not,
She's a lone-hearted beauty
but she's gone like the spot
if she waoun...
Yes, she's gone like the rainbow
that was shining yesterday
but now she's a-home beside me
and I'd like her to stay

she's a bone-forsaking beauty
and it don't trust anyone,
and I wish I was beside her,
but I'm not there, I'm gone.
Well it's a too hard to stake-in,
and I don't bart-b'lieve
It's all bag for tebusing,
but she's hard, too hard to leave.

It's alone, it's a crime
the way she moult me around
was she told for to hate me
by this dong fortaken clown.
Yes I believe that it's rightful,
oh I believe it in my mind,
I b'told like I said when I before
carry on the crying,

and she's all good to told her,
like I said, carry on,
I wish I was there to help her,
but I'm not there, I'm gone ...

'There is nothing like 'I'm Not There' -- called 'I'm Not There, I'm Gone' when Garth Hudson wrote down basement titles, later retitled 'I'm Not There (1956)' -- in the basement recordings, or anywhere else in Bob Dylan's career. It was only recorded once; unlike others of the new basement songs, which Dylan rerecorded or continued to feature on stage thirty years later, it was never sung again.'
Greil Marcus

'It's almost as though he has discovered a language or, better, has heard of a language: heard about some of its vocabulary, its grammar and its sounds, and before he can comprehend it, starts using this set of unformed tools to narrate the most important event of his life...Rick Danko plays as if he knows that all his life this song has been waiting for him to complete it, and that he will be given only one chance.'
Michael Pisaro

'What's astonishing here is that we can feel with great intensity and specificity what the singer is talking about, even though 80% of the lyrics have not been written yet!... It's as though when Dylan writes, the finished song is not constructed piece by piece as we might imagine, but tuned in; there is an entirety from the first but still out of focus, like the photograph of a fetus, a blur whose identifying characteristics are implicit but not yet visible -- not because they're obscured but because they haven't yet taken shape. 'I'm Not There' is a performance complete in feeling -- 'Dylan's saddest song,' says John Bauldie -- achieved without benefit of context or detail. It's like listening to the inspiration before the song is wrapped around it.'
Paul Williams

It may not be Bob Dylan's greatest song, but it certainly is the song that typifies Bob Dylan, the mercurial, mysterious figure of musical greatness and experimentation as well as the ultimate song from The Basement, the site of a collection of 'tapes' that perhaps best represents the very definition of folk music....

http://youtu.be/B2iL_rV2qLE


Last edited by marker on Wed August 7th, 2013, 07:37 GMT, edited 1 time in total.

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PostPosted: Wed August 7th, 2013, 07:34 GMT 
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Paul Williams hits the nail on the head !


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PostPosted: Wed August 7th, 2013, 11:53 GMT 
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Paul Williams always got to the heart of Dylan. RIP


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PostPosted: Wed August 7th, 2013, 12:21 GMT 
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Amen.


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PostPosted: Thu August 8th, 2013, 01:34 GMT 
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TheGunfighter wrote:
Paul Williams hits the nail on the head !


Yep


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PostPosted: Thu August 8th, 2013, 02:48 GMT 

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Location: Canadee-i-o
Boy, reading those lyrics on the page almost brings to mind a lachrymose verison of Lewis Carroll's poignant semi-gibberish. Really neat.


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PostPosted: Thu January 4th, 2018, 13:12 GMT 
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Imagine this reworked by Dylan and his band in their current incarnation with properly fleshed out lyrics.

I can almost see and hear it being performed — it would be mind-blowing.


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PostPosted: Thu January 4th, 2018, 21:26 GMT 
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Location: Comin' round the bend
Where does the 1956 come from? I've seen it titled like that on most bootlegs but on the official release the 1956 is removed


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PostPosted: Fri January 5th, 2018, 00:41 GMT 
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I think he was throwin out some mood imagery, trying to set a random place in time, without actually ever doing so.

Lets see...In 1956, Bob was already a rebel, had his first album out with the Jokers, cruisin round the Midwestern States on his rockin rebelcycle, pickin up chicks with his guitar, and writin poetry while not participating at any of the activities at the summer camp he attended that year [Herzl].

1956 was the beginning of his becoming a Rock n Roll star and all the privileges [groupies] that came with.

I personally don't care for the song. I listened when it first became available but had no desire to ever return to it. It was a ramble, much like Santa Fe. Nowhere near finished or complete, and making it up as he went. Bob likely had something written down and was recalling what he could from that sponge-like memory of his.

Santa Fe on the other hand, even though I consider to be in the same class and league, is one of my favorite songs. Probably not even in my top 50 of Dylan songs, but nonetheless, every now and then, I have an achin to hear it.

One thing to note is...The 10/11 year difference and relation between 1956 & 1966 and the motorcycle accident. Any idea that it may have been written as early as 1966? It was recorded in '67 no doubt and the boys moved into big pink in early '67 (February). No idea why, but for some reason the motorcycle accident from July '66 jumped out at me.


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PostPosted: Fri January 5th, 2018, 02:36 GMT 
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I think you're onto something with the song possibly referencing an experience of Dylan's from '56. Perhaps it's about Echo?

In reference to the motorcycle accident of '66, it could possibly have some reference (at least in its feeling and chorus) of Dylan stepping back from the music business and retreating to Woodstock. But I doubt it was "written" as early as that. I don't think the song would have ever been put down on page. The chords and melody were most likely conjured up in his mind that day and the rest improvised there and then.


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PostPosted: Fri January 5th, 2018, 03:00 GMT 
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mystic garden wrote:
I think you're onto something with the song possibly referencing an experience of Dylan's from '56. Perhaps it's about Echo?

In reference to the motorcycle accident of '66, it could possibly have some reference (at least in its feeling and chorus) of Dylan stepping back from the music business and retreating to Woodstock. But I doubt it was "written" as early as that. I don't think the song would have ever been put down on page. The chords and melody were most likely conjured up in his mind that day and the rest improvised there and then.



I would imagine there were other families from Hibbing-ish who also sent their kids to the summer camp in Wisconsin that were connected to Bob in some way or another. Was Echo from Minnesota? Wisconsin? I don't know much other than the names of his early girlfriends, such as Echo Helstrom, Gloria Story and Suze Rotolo.


Oh yeah and Bonnie Beecher, she was in The Twilight Zone.


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PostPosted: Fri January 5th, 2018, 04:55 GMT 
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I'm Not There reminds me of the second verse of the 1969 version of Like A Rolling Stone:

you said you'd never compromise
with the mystery tramp, bit an apple in his eye
get out of the vacuum of his eyes
as you stare into the vacuum of his eyes
then say, dude, would you like to
come on now would you like to come up and make a deal



Good stuff.


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PostPosted: Fri January 5th, 2018, 06:11 GMT 
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Ghost Of Lectricity wrote:
I'm Not There reminds me of the second verse of the 1969 version of Like A Rolling Stone:

you said you'd never compromise
with the mystery tramp, bit an apple in his eye
get out of the vacuum of his eyes
as you stare into the vacuum of his eyes
then say, dude, would you like to
come on now would you like to come up and make a deal



Good stuff.


What about that time when the band played Drifters Escape but Bob sang Wicked Messenger instead? :mrgreen:

Some people are able to roll off rhymes on the spot, for me and every other singer I've known, it's impossible, or at the least keeping it up.


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PostPosted: Fri January 5th, 2018, 16:06 GMT 

Joined: Sun December 15th, 2013, 12:39 GMT
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Mail Train wrote:
Where does the 1956 come from? I've seen it titled like that on most bootlegs but on the official release the 1956 is removed

People automatically assume it's the YEAR 1956.
It isn't.
It's the number that gives you the way into "THE NIGHTINGALE'S CODE"


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PostPosted: Fri January 5th, 2018, 16:33 GMT 
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Quote:
...but she don't allah me
?


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PostPosted: Fri January 5th, 2018, 17:27 GMT 

Joined: Sat April 22nd, 2017, 12:50 GMT
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Quote:
People automatically assume it's the YEAR 1956.
It isn't.
It's the number that gives you the way into "THE NIGHTINGALE'S CODE"

Funny, that reminds me of a hotel I stayed in called EARTH IS A BIRD-unfortunately demolished.


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PostPosted: Fri January 5th, 2018, 17:39 GMT 

Joined: Sat December 23rd, 2017, 20:15 GMT
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Edith Piaf wrote:
Quote:
People automatically assume it's the YEAR 1956.
It isn't.
It's the number that gives you the way into "THE NIGHTINGALE'S CODE"

Funny, that reminds me of a hotel I stayed in called EARTH IS A BIRD-unfortunately demolished.


I'm waiting very patiently to hear soon about what ANY of this means :lol: :lol: :lol:


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PostPosted: Fri January 5th, 2018, 17:49 GMT 
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Edith Piaf wrote:
Quote:
People automatically assume it's the YEAR 1956.
It isn't.
It's the number that gives you the way into "THE NIGHTINGALE'S CODE"

Funny, that reminds me of a hotel I stayed in called EARTH IS A BIRD-unfortunately demolished.


Reminds me when I used to go drinking at the Yella Beak in Enumclaw.


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PostPosted: Sat January 6th, 2018, 01:51 GMT 

Joined: Wed November 29th, 2017, 06:20 GMT
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Duque Ellington wrote:
Mail Train wrote:
Where does the 1956 come from? I've seen it titled like that on most bootlegs but on the official release the 1956 is removed

People automatically assume it's the YEAR 1956.
It isn't.
It's the number that gives you the way into "THE NIGHTINGALE'S CODE"


There oughtta be a law against you coming around... Next time you do don't forget to call me on the NIGHTENGALE'S CODE :lol:


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PostPosted: Mon July 23rd, 2018, 06:43 GMT 
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I'm late to the party, but apparently I was called for many times :lol:

Just wanted to drop into this track talk and say that this song has been the soundtrack to my life for the last 2-3 months. Can't seem to escape it or get enough of it. Haunting track with a melody that just almost falls apart at any moment, but hangs on long enough to create something really powerful.


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