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PostPosted: Mon September 16th, 2013, 03:07 GMT 

Joined: Wed April 11th, 2007, 04:15 GMT
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Location: City of Angels
It's been such a long long time
Since we loved each other and our hearts were true
One time, for one brief day, I was the man for you

Last night I heard you talking in your sleep
Saying things you shouldn't say, oh baby
You just may have to go to jail someday

Is there a place we can go, is there anybody we can see?
Maybe, It's the same for you as it is for me

I ain't seen my family in twenty years
That ain't easy to understand, they may be dead by now
I lost track of em after they lost their land

Shake it up baby, twist and shout
You know what it's all about
What are you doing out there in the sun anyway?
Don't you know, the sun can burn your brains right out

My enemy crashed into the dust
Stopped dead in his tracks and he lost his lust
He was run down hard and he broke apart
He died in shame, he had an iron heart

I wear dark glasses to cover my eyes
There are secrets in em that I can't disguise
Come back baby
If I hurt your feelings, I apologize

Two trains running side by side, forty miles wide
Down the eastern line
You don't have to go, I just came to you because you're a friend of mine

I think that when my back was turned,
The whole world behind me burned
It's been a while,
Since we walked down that long, long aisle

We cried on a cold and frosty morn,
We cried because our souls were torn
So much for tears
So much for these long and wasted years



'This song resides in that soft but certain territory beyond love and beyond hate. There are no good-guys or bad-guys, no exact right or wrong. There is no victor here spitting insults, only two incompatible losers not only stuck with regret and heartache, but also seemingly still stuck together. Featuring refined, forlorn phrasing and enunciation that skillfully convey the restrained anger and impotent sorrow (or, interchangeably, restrained sorrow and impotent anger) of a wounded marriage, it is not hard to imagine this song sequenced on Blood On The Tracks. In fact, this song fades in mid-riff as if this melancholy litany has been going on for quite some time now—far too long actually—until it all abruptly ends as Dylan arrives at the title with the lines: “So much for tears/So much for these long and wasted years.” Honest in its inability to point a finger directly at one or the other, this song perfectly captures the perplexing truth that with love-gone-wrong there is room for remorse without the definitive weight of guilt....'

A gorgeous song and one that opened my eyes to the beauty of Tempest as a whole....

http://youtu.be/8l4CAPG7AWc

What's the general feeling here of this song???


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PostPosted: Mon September 16th, 2013, 03:13 GMT 
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One of my favorites on the album.

Is there a place we can go, is there anybody we can see?
Maybe, It's the same for you as it is for me

Thought of this line yesterday. Made me think that it was gonna be

Is there a place we can go, is there anybody we can see? Maybe.
It's the same for you as it is for me

That he answers the posing question with "maybe" instead of saying "maybe it's the same for me.." etc.


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PostPosted: Mon September 16th, 2013, 08:06 GMT 
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I love this one. I rarely listen to it though, it reminds me of my last relationship and gets me in a strange mood. I usually put it on when I'm drunk and about to fall asleep. :P


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PostPosted: Tue October 15th, 2013, 00:42 GMT 
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From Stockholm 10/13 posted by Viktor.


OUTSTANDING!!! It is as good or better than the album version which I didn't think could be bested.


http://www.youtube.com/watch?v=V2bjClg7 ... e=youtu.be


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PostPosted: Tue October 15th, 2013, 00:53 GMT 
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When I hear the lines 'It's been a while / Since we walked down that long, long aisle.' and 'You don't have to go, / I just came to you because you're a friend of mine.' I can't help but think of Bob and Sara; of an old man in a deep emotional crisis calling up his ex wife that he once shared so much with but hadn't talked to in decades, a friend who was once so dear and close, the only person left to turn to who really knew him despite the years apart, but not sure if she would want to see him or not.


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PostPosted: Tue October 15th, 2013, 01:19 GMT 
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gibsona07 wrote:
When I hear the lines 'It's been a while / Since we walked down that long, long aisle.' and 'You don't have to go, / I just came to you because you're a friend of mine.' I can't help but think of Bob and Sara; of an old man in a deep emotional crisis calling up his ex wife that he once shared so much with but hadn't talked to in decades, a friend who was once so dear and close, the only person left to turn to who really knew him despite the years apart, but not sure if she would want to see him or not.


gibsona, I always get that feeling when I listen to this song.


Maybe long, long Isle...as in Long Island. Or aisle as in a wedding.


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PostPosted: Tue October 15th, 2013, 05:50 GMT 

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raging_glory wrote:
From Stockholm 10/13 posted by Viktor.


OUTSTANDING!!! It is as good or better than the album version which I didn't think could be bested.


http://www.youtube.com/watch?v=V2bjClg7 ... e=youtu.be


Yes, it is definitely enhanced live. Just fits his voice totally.


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PostPosted: Tue October 15th, 2013, 16:07 GMT 

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Beautiful song indeed.


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PostPosted: Tue October 15th, 2013, 20:30 GMT 

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I think this is a very beautiful and sad song, too. His vocal delivery is just awesome - typical Bob.

Could anyone try to explain that "talking in your sleep... you just might have to go to jail someday" line though? I really don't get that one at all.


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PostPosted: Tue October 15th, 2013, 20:38 GMT 
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The Watchman wrote:
I think this is a very beautiful and sad song, too. His vocal delivery is just awesome - typical Bob.

Could anyone try to explain that "talking in your sleep... you just might have to go to jail someday" line though? I really don't get that one at all.


My take was that she was sleep talking and he heard he say incriminating things.


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PostPosted: Wed October 16th, 2013, 05:49 GMT 
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Dramatic.


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PostPosted: Wed October 16th, 2013, 05:54 GMT 
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I'm waiting for Bob to really rock this one out, Isis 1975 style.


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PostPosted: Wed October 16th, 2013, 06:56 GMT 
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It's by far my favourite track on the album, and this wonderful live version has come like a complete bolt from the blue, restoring, at a stroke, my hitherto dwindling faith in his ability to ever perform live well again. Sensational, and as Mutabor correctly observed, it's a song that really gets across in concert. Anyone got a spare for Blackpool? :wink:


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PostPosted: Wed October 16th, 2013, 07:23 GMT 
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The Watchman wrote:
I think this is a very beautiful and sad song, too. His vocal delivery is just awesome - typical Bob.

Could anyone try to explain that "talking in your sleep... you just might have to go to jail someday" line though? I really don't get that one at all.



My take is that these two are a pair of junkies. He's estranged from his family (they're not much use to him anyway as they are broke), they exist in the darkness (nothing hurts a junkie's eyes worse than sunlight)...She is/was most likely a prostitute, turning tricks to pay for the next fix, and that's why she might have to go to jail someday. The key words are reserved for last: "wasted years". They were wasted together. That's what they had in common.


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PostPosted: Wed October 16th, 2013, 08:16 GMT 
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Long and Wasted Years has a lot of echoes of this song, and the clue to who the narrator's enemy who died in shame might be...


There’s a long-distance train rolling through the rain
Tears on the letter I write
There’s a woman I long to touch and I miss her so much
But she’s drifting like a satellite

There’s a neon light ablaze in this green smoky haze
Laughter down on Elizabeth Street
And a lonesome bell tone in that valley of stone
Where she bathed in a stream of pure heat

Her father would emphasize you got to be more than streetwise
But he practiced what he preached from the heart
A full-blooded Cherokee, he predicted to me
The time and the place that the trouble would start

There’s a babe in the arms of a woman in a rage
And a longtime golden-haired stripper onstage
And she winds back the clock and she turns back the page
Of a book that no one can write
Oh, where are you tonight?

The truth was obscure, too profound and too pure
To live it you have to explode
In that last hour of need, we entirely agreed
Sacrifice was the code of the road

I left town at dawn, with Marcel and St. John
Strong men belittled by doubt
I couldn’t tell her what my private thoughts were
But she had some way of finding them out

He took dead-center aim but he missed just the same
She was waiting, putting flowers on the shelf
She could feel my despair as I climbed up her hair
And discovered her invisible self

There’s a lion in the road, there’s a demon escaped
There’s a million dreams gone, there’s a landscape being raped
As her beauty fades and I watch her undrape
I won’t but then again, maybe I might
Oh, if I could just find you tonight

I fought with my twin, that enemy within
’Til both of us fell by the way
Horseplay and disease is killing me by degrees
While the law looks the other way


Your partners in crime hit me up for nickels and dimes
The guy you were lovin’ couldn’t stay clean
It felt outa place, my foot in his face
But he should-a stayed where his money was green

I bit into the root of forbidden fruit
With the juice running down my leg
Then I dealt with your boss, who’d never known about loss
And who always was too proud to beg

There’s a white diamond gloom on the dark side of this room
And a pathway that leads up to the stars
If you don’t believe there’s a price for this sweet paradise
Remind me to show you the scars

There’s a new day at dawn and I’ve finally arrived
If I’m there in the morning, baby, you’ll know I’ve survived
I can’t believe it, I can’t believe I’m alive
But without you it just doesn’t seem right
Oh, where are you tonight?


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PostPosted: Wed October 16th, 2013, 11:04 GMT 
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The YouTube video from Stockholm on today's main page is a must-see/hear:

http://www.youtube.com/watch?v=-kt2cntN2yw&list=PLA_oza0tthOWjRF3b6DDk0izF0PxDN_V9

Shaky camera at first, but hang with it. EXCELLENT sound.

The Best.


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PostPosted: Wed October 16th, 2013, 11:28 GMT 
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Possibly my favourite track from Tempest. Great live performances these days.


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PostPosted: Wed October 16th, 2013, 11:52 GMT 

Joined: Tue December 30th, 2008, 09:05 GMT
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Never understood the hyperbole surrounding this one. Ok, it's Bob doing his 'Luke the Drifter' thing but the lyrics are awful; the riff is almost as irritating as 'If You Ever Go To Houston', and there isn't one iota of genuine emotion in the whole thing. After the title track it is probably my least favourite song on Tempest.


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PostPosted: Wed October 16th, 2013, 12:50 GMT 
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I hear more genuine emotion in this than the last 3-4 albums combined, whatever red-herrings about jail and sunglasses the song might offer up. I don't think the woman is a junky, God knows where the narrator has been.


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PostPosted: Wed October 16th, 2013, 13:31 GMT 
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smoke wrote:
I don't think the woman is a junky, God knows where the narrator has been.




http://www.urbandictionary.com/define.php?term=wasted


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PostPosted: Wed October 16th, 2013, 13:52 GMT 
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smoke wrote:
I don't think the woman is a junky

Junky or junkie, neither do I. The song is far too recognisably universal and bittersweet in relationship trainwreck terms than to be strait-jacketed by any specific dramatis personae reading. Ever hear the one where Fourth Time Around is supposedly all about the murder of a prostitute?


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PostPosted: Wed October 16th, 2013, 14:13 GMT 
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Brian Hamilton-Smith wrote:


You can get wasted on Miller Lite, and you can waste years in all kinds of ways. Some people even say parsing the lyrics of an elderly millionaire would be one if them, but hey, we got to keep our minds limber somehow. I'm not saying they couldn't possibly by junkies, but I see no indication that they are.


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PostPosted: Wed October 16th, 2013, 14:17 GMT 
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I think they may possibly be the same couple from Brownsville Girl. I get a lot of echoes from that song too :".Strange how people who suffer together have stronger connections than people who are most content". I agree about the red herrings and deliberate lack of specifics but the 'junkie whore' from elsewhere on 'Tempest' makes me think this is the right place to be looking if you want to find these people.

I must admit that on the record Dylan hams this one up a little too much for my taste. His overacting reduces some of its emotive possibilities. I am looking forward to seeing him perform it live.


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PostPosted: Wed October 16th, 2013, 17:16 GMT 
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summerteeth wrote:
The YouTube video from Stockholm on today's main page is a must-see/hear:

http://www.youtube.com/watch?v=-kt2cntN2yw&list=PLA_oza0tthOWjRF3b6DDk0izF0PxDN_V9

Shaky camera at first, but hang with it. EXCELLENT sound.

The Best.


Agreed. Gotta go with the gringo on this:

'gringo557
After a couple views I am convinced that this is the best Bob Dylan performance since at least 1981 . . . and I've heard a lot 'em folks . . . this is more like "my" old Bob Dylan from the 1970s and early 1980s.'


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PostPosted: Wed October 16th, 2013, 19:32 GMT 

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summerteeth wrote:
The YouTube video from Stockholm on today's main page is a must-see/hear:

http://www.youtube.com/watch?v=-kt2cntN2yw&list=PLA_oza0tthOWjRF3b6DDk0izF0PxDN_V9

Shaky camera at first, but hang with it. EXCELLENT sound.

The Best.


Yes.

By now I'm convinced that it's the pleasure of doing this song that makes him looking so pleased in the pics of this tour.


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