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Seven Days: March 18 – 24, 2024 (Bonus)

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Dylan.FM

[vc_row full_width=”stretch_row” css=”.vc_custom_1654295754149{margin-top: -40px !important;border-top-width: 1px !important;border-right-width: 1px !important;border-bottom-width: 1px !important;border-left-width: 1px !important;}”][vc_column width=”2/3″][vc_custom_heading text=”March 18 – 24, 2024″ font_container=”tag:h2|font_size:38|text_align:left|color:%23aaaaaa” google_fonts=”font_family:Open%20Sans%3A300%2C300italic%2Cregular%2Citalic%2C600%2C600italic%2C700%2C700italic%2C800%2C800italic|font_style:300%20light%20regular%3A300%3Anormal” css=”.vc_custom_1711317249837{margin-top: 20px !important;}”][vc_custom_heading text=”Seven Days (Bonus)” font_container=”tag:h1|font_size:38|text_align:left” google_fonts=”font_family:Open%20Sans%3A300%2C300italic%2Cregular%2Citalic%2C600%2C600italic%2C700%2C700italic%2C800%2C800italic|font_style:700%20bold%20regular%3A700%3Anormal” css=”.vc_custom_1691342510626{margin-top: 5px !important;}”][/vc_column][vc_column width=”1/3″][/vc_column][/vc_row][vc_row full_width=”stretch_row” gap=”35″ css=”.vc_custom_1669589654602{margin-top: -20px !important;border-top-width: 1px !important;border-right-width: 1px !important;border-bottom-width: 1px !important;border-left-width: 1px !important;}”][vc_column width=”3/4″][vc_column_text css=”.vc_custom_1695580670799{margin-bottom: 20px !important;padding-top: 5px !important;padding-right: 5px !important;padding-bottom: 5px !important;padding-left: 5px !important;background-color: #eaeaea !important;}”]This Bonus Edition is for Premium members only and includes the complete collection of links for the week, plus additional videos.[/vc_column_text][vc_separator][vc_custom_heading text=”Tour News” font_container=”tag:h1|font_size:26|text_align:left” google_fonts=”font_family:Open%20Sans%20Condensed%3A300%2C300italic%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_column_text css=”.vc_custom_1711337371086{margin-top: 20px !important;padding-left: 30px !important;}”]

  • Notes from the Road in North Carolina (Flagging Down) [8]
    • “One of the benefits of being so close to the stage on Sunday was getting to see how Dylan directs his band. Mostly, it was subtle head nods signaling who he wanted to take a solo. But every once in a while, there was a forceful finger point to bring down the musical intensity. “
  • Dylan Celebrates St. Patrick’s Day With 1st Performance Of Irish Folk Song In 24 Years (Jambase) [3]
    • “The esteemed singer-songwriter celebrated the occasion by performing Irish folk song, “The Roving Blade,” for the first time in 24 years. As with most folk songs, the exact origins of “The Roving Blade” are unclear although it appears to have emerged in written form in the late-18th Century.”
  • Bob Dylan at Fayetteville, North Carolina’s Crown Theatre (The Paul Leslie Hour) [3]
    • “I was glad Robert mentioned the lyrics. I’ve felt that although Bob Dylan composes out-of-this-world melodies, he’s known for his lyrics. I found myself focusing on the words like never before. They’re almost like the star of the show.”
  • Rough and Rowdy Ways, Athens Review (Cult Following) [3]
    • “Expectedly tight work from a man who has proven all he needed was a swing to rhythm and blues. With swinging new sounds for the likes of Most Likely You Go Your Way (And I’ll Go Mine), the intensity for classics brings about reinvention.”

[/vc_column_text][vc_separator][vc_custom_heading text=”News Items About Bob Dylan” font_container=”tag:h1|font_size:26|text_align:left” google_fonts=”font_family:Open%20Sans%20Condensed%3A300%2C300italic%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_column_text css=”.vc_custom_1711337529591{margin-top: 20px !important;padding-left: 30px !important;}”]

  • For Great Musicals, New York’s Public Theater is the Room Where it Happens (WBUR) [3]
    • “Dylan had nothing to do with the 2018 musical other than picking McPherson to do whatever he wanted with his catalogue. And what a job he did. Taking much of the music from lesser-known and lesser-regarded Dylan albums as well as from his bigger hits, McPherson weaves a story in which each of the characters fights a Depression-era battle in which yearning and loss, both spiritual and financial, threaten to bury them alive.”
  • Bob Dylan Plays Letterman With Unknown Punk Band The Plugz (MoJo) [5]
    • “He never told us once what to play. He just let us do our thing. One day Bob came in and asked us if we had ever heard of David Letterman and would we want to perform on his show. It didn’t take long to answer that question.”
  • Huey Lewis Admits Bob Dylan Wrote Him a Song in the ’80s, but He Can’t Find It: ‘Big Mistake’ (People) [3]
    • “He sent me a cassette and a lovely note saying he liked the last record and here’s a song of mine,” Lewis said of the gift from Dylan, who is generally regarded as one of the greatest songwriters in the history of music. Lewis’ story got worse from there. “Not only did I not cut it, I don’t know where the cassette is,” he admitted.”
  • Inside Bob Dylan’s NuLu Bourbon Bar (The Business Journals) PAYWALL
    • “It’s hard to see what’s going on behind the walls of the building that is now known as The Last Refuge in NuLu, but we’ve got a first look — and a targeted opening date.”
  • Dylan Center to Host Mavis Staples Essay Contest (Tulsa World) [3]
    • “The essay contest is open to 11th and 12th grade students enrolled in Tulsa Public Schools. Entrants must write a 500-word essay that reflects on themes of social justice as it is shaped and influenced by music.”

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  • Will Timothée Chalamet Be Good At Playing Bob Dylan? (Uproxx) [8]
    • “As I see it, he faces two major challenges. The first challenge is Bob Dylan’s contradictory nature. He is one of the most charismatic and inviting performers in rock history, and also one of the most awkward and surly. He has a formidable presence, and also a comically slight body.”
  • Sean Latham on Timothée on BBC Radio (BBC) [8]
    • Audio begins at 2:22
  • What We Know About ‘A Complete Unknown’ (BBC) [5]
    • “Playing a living musician – particularly one whose aesthetic evolution has been as well-documented as Dylan’s – is a particular challenge, Maggie Flanigan, a theatre costume designer who frequently works on period pieces, tells BBC Culture. That’s because “there is a photographic record to pull from”, she explains. And, often, those iconic images continue to “live in the public psyche”.”
  • Why We Can’t Get Enough Of Biopics About Musicians (Elle) [3]
    • “When the first images of Timothée Chalamet playing Bob Dylan in upcoming A Complete Unknown were released earlier this week, it set the internet alight. Chalamet was pictured carrying a guitar in a baker boy hat, prompting a swathe of ‘memeable’ comparisons to an eclectic range of figures including Keira Knightley’s character in Love Actually and a cartoon mouse named Fievel Mousekewitz. “
  • Are Music Biopics the New Superhero Films? (The Guardian) [3]
    • “They also create space for more experimental cinema such as Todd Haynes’ Bob Dylan biopic, I’m Not There (with Cate Blanchett’s performance representing a template for how a successful performance need not be a perfect imitation). And just like a superhero, music stars can be recast and reconfigured. Timothée Chalamet’s take on Bob Dylan is just around the corner.”

[/vc_column_text][vc_separator][vc_custom_heading text=”Blog Posts About Bob Dylan” font_container=”tag:h1|font_size:26|text_align:left” google_fonts=”font_family:Open%20Sans%20Condensed%3A300%2C300italic%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_column_text css=”.vc_custom_1711337623684{margin-top: 20px !important;padding-left: 30px !important;}”]

  • Guitarist JJ Holiday Talks Bob Dylan’s Iconic Letterman Performance 40 Years Ago (Flagging Down) [10]
    • “I have a distinct memory of asking one day, after jamming on a particular groove for a while, what it was called. He quietly said “Destiny.” That music may or may not have been recorded on any of the boombox tapes. At this point, I frankly don’t recall how it sounded. Just a title, “Destiny.” I like it. Nice mystery. It stuck with me somehow.”
  • Where Are The Other Bob Dylan Remasters (Peter Stone Brown) [5]
    • “The most controversial CD reissue would have to be Blonde On Blonde. On the initial CD, songs were cut, most notably “Sad Eyed Lady of the Lowlands,” and it took three more tries to get it approaching being close to correct on the “gold” CD.”
  • Late Cold War Style in Songwriting: 1978-1984 (Aquarium Drunkard) [8]
    • “There’s a sweeping nature to these lines as Dylan’s titular wind encompasses and impacts everyone within the region, naming the “iron waves” found in the Caribbean as the presence of the Iron Curtain of the Soviet Union. This image is juxtaposed with the “ships of liberty” that could represent American forces, working to counteract the USSR’s actions.”
  • Bootleg Vol. 9 – Witmark Demos (1962-64) (Dylan.FM) [8]
    • “After Bob Dylan fired Grossman in 1971, the Witmark deal emerged a major bone of contention. Dylan alleged that his manager had a secret stake in any money Witmark earned from his artists. Not only was Grossman splitting the contracted royalties with his songwriter, he was also earning a share of the publishing house’s income.”
  • Time Is An Ocean: Love Songs from Desire (Chris Gregory) [3]
    • “The material on Desire is heavily influenced by cinematic tropes and themes. The conception of the songs from the album and of the subsequent Rolling Thunder tour are strongly linked to Dylan’s ambitious project to make the part-concert, part-dramatic movie that eventually became Renaldo and Clara.”
  • High Water Pt. 23: Love and Theft – Pt.22 (Untold Dylan) [5]
    • “How the backwater rose at Sumner and drove poor Charley down the line. You hear a lot of scratching and hiss on these records. They were so popular they were played to death, and the master recordings were sold for scrap.”
  • Cover a Day: When I Paint My Masterpiece (Untold Dylan)
    • “the fact that “When I Paint My Masterpiece” actually survives the approach taken by Warboys US, tells us a lot about the song. Delicacy and nuance is not actually part of music here.”
  • Lyrics and Music: Mississippi (Untold Dylan) [5]
    • “In the breaks between the verses the guitar starts out by playing the melody but then reverts to accompaniment.  It leaves the listener slightly uncertain, and this uncertainty is emphasised by the totally unexpected pause between the verses.”
  • Cover a Day: “What Was it You Wanted?” (Untold Dylan) [5]
    • “Indeed it is very easy to lose the thoughts behind these lyrics as the singer loses track not only of what was wanted but who the person is that he is confronting.  This version re-finds that spookiness and delivers it as the main part of the message. There is also a gorgeous background to the last few seconds that leaves me with a shiver.”
  • Rough and Rowdy Ways Tour 2021: Pt. 10 – To Be Alone With You (Untold Dylan) [3]
    • “It’s a fairly simple three chord song, although not in the format of the 12 bar blues, with a middle 8 that modulates for a moment to a new key before taking us straight back. There’s not too much evolution of the song, which overall in this performance lasts four and a half minutes.”

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  • OTD 1965: Bob Dylan ‘went electric’ with Bringing It All Back Home (Hot Press) [3]
    • “I remember arguing with one of the more liberal and intelligent English teachers in school that someone like Bob Dylan should be on the English curriculum. I quoted ‘Mr. Tambourine Man’ enthusiastically to him and he acknowledged that it had a poetic quality, before insisting that we return to our contemplation of ‘The Lady of Shalott’, by Alfred Lord Tennyson.”
  • Bob Dylan’s Bringing It All Back Home Revisited (Mojo) [5]
    • “On January 13, 1965, Dylan returned to New York’s Columbia Studios with 18 songs written from within the whirlwind, energised by media overload and lubricated by red wine, weed, speed and acid, then still legal.”
  • House of the Rising Sun Review (Cult Following) [5]
    • “Staggered, gasping and crying out for a break – Dylan sounds desperate for something, anything, to land at this stage. A song popularised by The Animals but adapted long before their version is his salvation for this 1987 show. Utterly triumphant.”
  • Positively 4th Street: The Lives and Times of Joan Baez, Bob Dylan, Mimi Baez Fariña and Richard Fariña (Peter Stone Brown) [5]
    • “Not surprisingly, Dylan comes off as elusive. While he probably was every bit as manipulative as Fariña, like a true Mafia Don, he didn’t get caught. Throughout the book, he appears and disappears, saying very little with the exception of a rather vicious attack on virtually every other songwriter near the book’s conclusion.”
  • Robbie Robertson ‘TESTIMONY’ AUTOBIOGRAPHY (Music Connection) [5]
    •  “Then, the other door was Bob Dylan. Who it wasn’t about that. It was about emotion and an energy. But it was really about saying something. It wasn’t about ‘these words could be anything.’ No. No. It was specific. So to me it was rebelling in a beautiful way against this other thing.”
  • ‘Girl From the North Country’ Review: Moving Songs, Stationary Dialogue (The Harvard Crimson) [5]
    • “A piano sits on stage right and a drum set on stage left, to be used by various actors and instrumentalists. The nonchalant manner with which the players pick them up conveys the boarding house’s communal yet brusque atmosphere, amplifying the beatnik roots of Dylan’s work.”
  • Bob Dylan’s Music Comes to the Boston Stage in “Girl From The North Country” (CBS) [1]
    • “Van Velzer went on to say, “You don’t have to be a Bob Dylan fan in order to enjoy it. And if anything, this will turn you into more of a Bob Dylan fan, or at least a Bob Dylan admirer.”

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Article/Link Quality Ranking

Each link has a ‘quality score’ listed as [#] with a 1-3-5-8 after the publication name. This is designed to help you choose articles and links worth reading.

Simply put, higher numbers reflecting better content and writing. At each of these levels, the quality should be more than twice as high. One way to translate the values is:

1 = Limited Value
3 = Minor
5 = Substantial
8 = Outstanding

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