The Last Bass Outpost
Main Forums => The Outpost Cafe => Topic started by: hieronymous on February 05, 2014, 01:16:59 PM
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Good to see KISS expanding their horizons like in the good ol' days
(http://farm4.staticflickr.com/3723/12328790124_46aa416fc4.jpg) (http://www.flickr.com/photos/99859390@N00/12328790124/)
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Hey, we were first!
(http://www.polyvore.com/cgi/img-thing%3F.out%3Djpg%26size%3Dl%26tid%3D38144781)
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Hey, we were first!
(http://www.polyvore.com/cgi/img-thing%3F.out%3Djpg%26size%3Dl%26tid%3D38144781)
Look at the KISSers on that group!
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Pandaring to the masses...
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Ye craftsmith of words!
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Is Hello Kitty dressed up as the originals or as the imposters? ???
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The Hello Kitty "Gene" sucks, but the panda bear "Gene" is spot on, right down to the smirk!
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Is Hello Kitty dressed up as the originals or as the imposters? ???
You don´t wanna let your kids play with a ´well hung´gene kitty :sad:
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To Gene's womanizing credit: He never went just for "young", he seeks experience. "Christine Sixteen" was a Paul Stanley Song. Cher, Diana Ross and the current Ms Simmons were all not teenagers when he courted them.
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I guess he´s all right until he speaks. Ok, he´s a businessman more than a bass player.
Did anyone ever read the Bass Player interview in the late nineties (when he was on the cover)?
I think I lost the last bit of respect for him after reading that, you can´t even laugh at it. ???
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Here's the absolute worst part: it's an act, the 'face' of the Kiss brand. My buddy who knows Gene says that in real life out of public view, a nicer guy is hard to find, but Gene doesn't want anyone to know that. With that reality show of his, I think he's had to live his 'persona' so much that he can't really separate himself anymore, but he's rich so he can pay for the therapy ...if he doesn't work out some kind of licensing deal there.
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Ah, the Ziggy Stardust syndrome :)
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Gene can't be all that bad - he loves his mother :)
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I guess he´s all right until he speaks. Ok, he´s a businessman more than a bass player.
Did anyone ever read the Bass Player interview in the late nineties (when he was on the cover)?
I think I lost the last bit of respect for him after reading that, you can´t even laugh at it. ???
Ah, but how do you feel about Hello Kitty? ;D
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Ah, but how do you feel about Hello Kitty? ;D
Haven´t tried one yet. Are they furry or shaved?
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Gene can't be all that bad - he loves his mother :)
http://www.youtube.com/watch?v=mScdJURKGWM&feature=kp
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I guess he´s all right until he speaks. Ok, he´s a businessman more than a bass player.
Did anyone ever read the Bass Player interview in the late nineties (when he was on the cover)?
I think I lost the last bit of respect for him after reading that, you can´t even laugh at it. ???
Wasn't that around the Revenge album? I thought that was a good interview, he said he was a "meat and potatoes" bass player. Which isn't even true, he's more than that, but generally doesn't bother.
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Here's the absolute worst part: it's an act, the 'face' of the Kiss brand. My buddy who knows Gene says that in real life out of public view, a nicer guy is hard to find, but Gene doesn't want anyone to know that. With that reality show of his, I think he's had to live his 'persona' so much that he can't really separate himself anymore, but he's rich so he can pay for the therapy ...if he doesn't work out some kind of licensing deal there.
I always took it as an act, he gives "tough guy"-impressions. But at the core he's the kid of an Auschwitz survivor, the conviction instilled in him that only immense wealth can protect you - whether in a concentration camp or outside - if worst comes to worst. It's a well-known fact that children of concentration camp survivors have their own issues. And how could they not.
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I've always assumed the public Gene is an act, no matter what he's doing or saying.
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Wasn't that around the Revenge album? I thought that was a good interview, he said he was a "meat and potatoes" bass player. Which isn't even true, he's more than that, but generally doesn't bother.
On the contrary, he said he was not a meat and potatoes player - he somehow pointed himself out as a melodic player, and that he´s bass playing had balls. On the other hand, he seemed to dislike ´meat and potatoes´players like AC/DC which used the bass as a rhythm instrument along with the drums.
I think KISS was a good act making good pop songs, at least in the earliest days - and see the melodic bass point of view although his playing is.. well, it´s OK.. But as a bass player in a rock group saying he´s got balls and AC/DC does not?
Is he still grumpy because AC/DC blew them away as an opening act in the 70´s? :)
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I now have a distinct recollection of that article/interview and I rate it as one of his best - save for the one in Hustler (I read this publication for the interviews and kept the pictorials covered with a blank page at all times!) a few years before where he confided his backstage experience of a young Catholic novice in a habit ("she wasn't a real nun yet") asking him to take her in his stage gear (he obliged, call it monotheistic courtesy and respect ;)): "She wanted to be f***ed by this huge beast." And how it gave him tranquility/peace of mind ("I'm a jewish boy from Brooklyn and f***ed a Catholic nun, what more can you ask for?").
In my - alerted and vivid! - recollection he did say (in the BP interview) that he was a "meat & potatoes bass player", but he defined that not as "four on the floor, root note, locking in with the bass drum" (the popularity of which he drew from the advent of disco in the late seventies and how all of the sudden "producers wanted nothing else"). He mentioned that Ron Wood (Jeff Beck Group era) was among his favorite bass players (and if you listen to Hard Luck Woman you hear the nods towards what Ron Wood did in Rod Stewart's Maggie May though George will probably spoil it all for me now by chiming in "Paul Stanley played bass on that track!" :)) and that on Revenge (the then current album) he for the first time in decades took the chance to liberate his playing from the bass drum, play more riffs, slides, dead notes, and "be generally noisy on the bass". And how he enjoyed that. Together with a "Fender knock-off piece of shit" he accidentlly found on NYC's 48th Street "which sounded great for the recording" (but all other hastily procured specimen of that same model did not offer as good a tone).
And I think he's right. Simmons is not a root note thumper at all, but very much a sixties/early seventies style pentatonic riff player. In fact, on those early Kiss recordings his bass playing sounds a little old-fashioned, even quaint, and too busy even for the time (in a hard rock setting, the "tyranny of the bass drum" was just setting in). And always a bit ungainly, but then musicianly elegance doesn't rate high on the Kiss-o-meter. I hear a lot of old school rock'n'roll lines in Simmons' early playing, just listen to "Come on and Love me".
And I don't think he had any intention of knocking Cliff Williams whose playing he took as an example of root note throbbing - I'm sure he would have appreciated Williams' playing on those three Home albums before the latter got into the fangs of the Young Brothers who told him what (not) to play, paying him king's ransom for it.
AC/DC are habitual whiners when it comes to their (long gone) opening act days. The Young Bros and their goddamned underdog pretensions. According to them, they were always mistreated (no pun intended): Deep Purple, Rainbow, Kiss, you name it. But Kiss have a reputation of being one of the nicest "big" bands in the business to their opening acts as bands as diverse as the Scorpions, Judas Priest, Slade and Manfred Mann's Earth Band can attest to. You only get thrown off a Kiss tour for demolishing a hotel room (Gene doesn't like wanton destruction of values), not for playing or going down too well (no pun intended!!!). Kiss are realistic regarding their musical skills, but sufficiently self-assured about the popularity of their live act.
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AC/DC remember Gene as nice too, I think it was in '78 when Gene saw AC/DC (whisky a go-go?) , and wanted them to open for them.
Gene contacted someone in the management and asked for Angus, when Ang replied : Gene wants to see me? It should be me who wants to see him :)
I'd love to see a hungry AC/DC open for KISS, Sabbath, Thin Lizzy etc..
As for the meat and potatoes, I was quoting (found the article/issue) not remembering.
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I saw a hungry AC/DC open for Rainbow in 1976 - no one had heard of them back then. I found they sounded dim-witted and heavy-handed. In a word: hopeless.
Couple of years later I saw one of the last Bon Scott concerts before he died. In Offenbach. AC/DC fans are still in awe about that one. Me? I only went because of their opening band, a then little know Midlands outfit that nicked its name from a Bob Dylan song: Judas Priest. What did I think of AC/DC ? They were just the same as in 1976: Dim-witted and heavy-handed.
A few years ago I went to see them again: Black Ice tour. It was 1976 all over again, except that Brian Johnson was now singing (and Cliff Williams playing bass). Angus' solos sounded as in 1976, he showed his butt like in 1976, he was carried around like in 1976 ... they played "new" songs that sounded like the ones in 1976. All very dim-witted and heavy-handed. Amazing how they keep their standard.
I understand the archaic charm of AC/DC, but it quickly overstays its welcome with me - after circa three songs. AC/DC sound like overamplified Troggs to me, but how often can you hear Wild Thing consecutively? In essence they are how hard rock must sound to someone who doesn't like hard rock.
I like heavy music - always have, still do -, but I like it with some finesse. I've never found that with AC/DC. Their less is more everything approach totally confines their music to a point where they are a caricature of themselves. It's no coincidence that Butthead wears their T-shirt.
Compared to AC/DC's one-trick-ponyness, Kiss is like The Beatles and an icon of at least occasional progression.
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I saw AC/DC (more like heard from backstage) at an outdoor show in Davenport, IA. The bill that day was - TKO, AC/DC, UFO, Nazareth, Heart. We came up to the park as AC/DC was starting. Their sound was one of the best live sounds I remember. Angus cut like a knife through the air; vocals were right there. I became a fan without even knowing them. After their set, I found myself at the edge of the river, talking with Bon Scott over a beer. He was cordial and laid back. We talked for about half an hour. The highlight of their set was Angus running off the stage (and right past us, with his eyes rolled back in his head), running completely around the ball park, and getting forklifted up to the stage again during his solo on "Whole Lotta Rosie".
TKO spent their time trying to start/repair their truck after they played. UFO just plain sucked. Zal was a prick. Heart was great.
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Drinking a beer with Bon... now that's a nice memory to have...
Saw the last tour with Bon (Hammersmith) and the first few BJ tours and also MoR - enjoyed every show... (maybe I'm easy to please, Uwe ;) )
My best man remembers seeing him in a kilt, playing the bagpipes, at a pub in Hammersmith (Red Cow) and every London gig post that point... not seen him since circa '90
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Compared to AC/DC's one-trick-ponyness, Kiss is like The Beatles and an icon of at least occasional progression.
Apart from the obvious, that AC/DC is a great band that could (and can) actually play and KISS basically have businessmen posing for money - and for some not understandable reason never used a penny on band lessons so they can play a groovy rythm (rock=rythm, listen to AC/DC and you'll get it) , I agree. Hey, wait.. I don't! As I said, they have a good few songs (KISS) and their act was probably a treat in the 70's (I was so bored last time I saw KISS with Ace/makup, I left before they were finished.. bad monitoring perhaps? They were 4 people not able to play together!) while AC/DC is at least a tight good rocking group, no matter what you think of their songwriting skills. And if you do not like the songs of the heavy handed opening act, you can always go powder your nose or whatever you do whilst preparing for KISS or Brainbow or whatever posers that dares try to top them :-*
EDIT: uh.., I'll just sneak over to the gear discussion page and hide, or I'll be thrown out for good :)
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No you won't, why? It's alright to like AC/DC - I just never did whether they were a small opening act or a mega-band on their Black Ice Tour. They have a dozen or so of catchy songs and Highway to Hell and Hell's Bells are classics.
The legendary groove of AC/DC escapes me (though, within their limitations, they groove more than Kiss - Peter Criss had a Ringonesque groove at least - in various incarnations, I'll grant you that), they largely just rock, but roll very little. Nearly all their songs have an identical rhythm basis and bpm and, frankly, I don't think they would have it in them to play a quick shuffle elegantly. Even on a slow one such as The Jack they don't swing like other heavy bands could (Thin Lizzy, Deep Purple, Status Quo - Led Zep, btw, couldn't play a shuffle anything but ploddingly either, but then they largely avoided it where they could).
As for posers and non-posers: When Angus sticks his bum out isn't that posing too? Or did I miss some deeper sociological relevance of the act? ??? Let's not even talk about 60 year-olds wearing schoolboy uniforms, hardly non-posing attire for a grown man me thinks.
I like bands with a groove that swings. Ian Paice has that making Deep Purple never sound clumsy, so do the Stones. The first Dire Straits line up had it, Thin Lizzy had an impeccable shuffle groove, so does Quo, even their non-shuffle-rhythms never sounds harsh no matter how hard or fast they play.
http://www.youtube.com/watch?v=bNPJuJSVmNA
http://www.youtube.com/watch?v=1WLJub1H0XA
THAT'S A LOVELY VID THOUGH, SHOWING BON IN ALL HIS ROGUE CHARM!!!
No doubt, AC/DC have a groove too (though I preferred Chris Slade to Phil Rudd, crucify me!), but it is just one groove which they never change! And to me even Highway to Hell will forever sound stiffer and more angular than the Stones' Honky Tonk Women or Free's Alright Now, both of them very similar in structure (no bass in the verses!) and tempo to AC/DC's signature tune.
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judas priest is an old expression that means oh my god, damn it or something along those lines.
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AC/DC--never been a fan. Not in the slightest bit interested in them.
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The last AC/DC clip reminds me a lot of James Brown in the Blues Brothers movies (both of which I thoroughly enjoyed).
http://www.youtube.com/watch?v=SZVhzVTBDvA
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As for posers and non-posers: When Angus sticks his bum out isn't that posing too? Or did I miss some deeper sociological relevance of the act? ???
Phew! Don´t worry, just blowing out steam :) I must admit I like KISS, just have to defend my ´family´.
Posing, sure.. what would rock be without it? I even spent 2 years in a KISS coverband from 2000 onward, had a good time. Full makeup and everything, great fun. (and my grabber fit in)
The groove, which is the key here - luckily only a handful I´ve met holds Peter Criss as their favourite drummer. But he really ´sounds´like he´s having a good time drumming, I think he was perfect for that early KISS sound. As for AC/DC, I´m sure many would agree that they have a unique beat, even though it´s straight forward etc. Even in let there be rock, the way they build it up, well there is a swing touch. Listen to the hi-hat, it swings! Maybe a nerd thing. And for the boogie beat, the opening track for the record is really nice (go down) . Well, maybe I´m just being a nerd/fan.
I will also meet you on Ian Paice, even though not a big fan of DP 8) I love his beat. I even saw them once, a friend of mine loved them and I went along. Think it was ´93, they just had a new record. Someone said later that it was the last show that he whom I should not mention played with DP, but I can´t verify that. But It seems that Ian P just cannot play bad no matter what´s going on. We even met Roger Glover (and his girlfriend/wife?) in Oslo, a couple of hours before the show. Really a calm and friendly guy, when thinking back that evening was very nice! But the guitarist played most of the show with his back facing the audience, though..
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Honky Tonk Women and Alright Now may be comparable to Highway to Hell in structure, but those are two of my favorite songs, period. I remember an unfortunate experience with Highway to Hell, though, which certainly didn't help me like the song any. Long story, but it had to do with being in a Cleveland, Ohio motel room and having to endure hearing the song played about 50 times in a row in a nearby room. Plus, the person playing it kept coming over to bother me. I don't know what his problem was, but if he was having a nervous breakdown, playing Highway to Hell nonstop wasn't helping any. The management seemed clueless as to what to do and I checked into another motel far away from that one.
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judas priest is an old expression that means oh my god, damn it or something along those lines.
I thought it was a reference to an evil priest. But of course it sounds a bit like "Jesus Christ!!!" under your breath, so it might have been an exclamation/curse too. Judas Priest (the band) have stated that they took it from the Dylan song, after all he was a label mate!
http://www.youtube.com/watch?v=bEj_bqFnXms
"The Ballad Of Frankie Lee And Judas Priest"
Well, Frankie Lee and Judas Priest
They were the best of friends
So when Frankie Lee needed more money one day
Judas quickly pulled out a roll of tens
And placed them on a footstool
Just above the plotted plain
Sayin', "Take your pick, Frankie Boy
My loss will be your gain".
Well, Frankie Lee, he sat right down
And put his fingers to his chin
But with the cold eyes of Judas on him
His head began to spin
"Would ya please not stare at me like that", he said
"It's just my foolish pride
But sometimes a man must be alone
And this is no place to hide".
Well, Judas he just winked and said
"All right, I'll leave you here
But you'd better hurry up and choose
Which of those bills you want
Before they all disappear"
"I'm gonna start my pickin' right now
Just tell me where you''ll be".
Judas pointed down the road
And said, "Eternity"
"Eternity ?" said Frankie Lee
With a voice as cold as ice
"That's right", said Judas Priest, "Eternity
Though you might call it Paradise"
"I don't call it anything"
Said Frankie Lee with a smile
"All right", said Judas Priest
"I'll see you after a while".
Well, Frankie Lee, he sat back down
Feelin' low and mean
When just then a passing stranger
Burst upon the scene
Saying, "Are you Frankie Lee, the gambler
Whose father is deceased ?
Well, if you are
There's a fellow callin' you down the road
And they say his name is Priest".
"Oh yes, he is my friend"
Said Frankie Lee in fright
"I do recall him very well
In fact, he just left my sight"
Yes, that's the one", said the stranger
As quit as a mouse.
"Well, my message is, he's down the road
Stranded in a house".
Well, Frankie Lee he panicked
He dropped ev'rything and ran
Until he came up to the spot
Where Judas Priest did stand
"What kind of a house is this", he said
"Where I have come to roam ?"
"It's not a house", said Judas Priest
"It's not a house, it's a home".
Well, Frankie Lee he trembled
He soon lost all control
Over ev'rything which he had made
While the mission bells did toll
He just stood there starring
At that big house as bright as any sun
With four and twenty windows
And a woman's face in ev'ry one.
Well, up the stairs ran Frankie Lee
With a soulful bounding leap
And foaming at the mouth
He began to make his midnight creep
For sixteen nights and days he raved
But on the seventeenth he burst
Into the arms of Judas Priest
Which is where he died of thirst.
No one tried to say a thing
When they carried him out in jest
Except of course, the little neighbor boy
Who carried him to rest
And he just walked along alone
Whit his guilt so well concealed
And muttered underneath his breath
"Nothing is revealed".
Well, the moral of the story
The moral of the song
Is simply that one should never be
Where ones does not belong
So when you see your neighbor carryin' somethin'
Help him with his load
And don't go mistaking Paradise
For that home across the road.
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"Honky Tonk Women and Alright Now may be comparable to Highway to Hell in structure, but those are two of my favorite songs, period."
I like all three!
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"Honky Tonk Women and Alright Now may be comparable to Highway to Hell in structure, but those are two of my favorite songs, period."
I like all three!
It's possible, though, you might not like any of them so much if you had to listen to it 50 times in a row. I'm not exaggerating, either. This went on for hours.
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I think I have heard all three already enough as is! But give it one more try!!!
http://www.youtube.com/watch?v=LvfW3yMwmUU
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I thought it was a reference to an evil priest. But of course it sounds a bit like "Jesus Christ!!!" under your breath, so it might have been an exclamation/curse too. Judas Priest (the band) have stated that they took it from the Dylan song, after all he was a label mate!
http://www.youtube.com/watch?v=bEj_bqFnXms
"The Ballad Of Frankie Lee And Judas Priest"
Well, Frankie Lee and Judas Priest
They were the best of friends
So when Frankie Lee needed more money one day
Judas quickly pulled out a roll of tens
And placed them on a footstool
Just above the plotted plain
Sayin', "Take your pick, Frankie Boy
My loss will be your gain".
Well, Frankie Lee, he sat right down
And put his fingers to his chin
But with the cold eyes of Judas on him
His head began to spin
"Would ya please not stare at me like that", he said
"It's just my foolish pride
But sometimes a man must be alone
And this is no place to hide".
Well, Judas he just winked and said
"All right, I'll leave you here
But you'd better hurry up and choose
Which of those bills you want
Before they all disappear"
"I'm gonna start my pickin' right now
Just tell me where you''ll be".
Judas pointed down the road
And said, "Eternity"
"Eternity ?" said Frankie Lee
With a voice as cold as ice
"That's right", said Judas Priest, "Eternity
Though you might call it Paradise"
"I don't call it anything"
Said Frankie Lee with a smile
"All right", said Judas Priest
"I'll see you after a while".
Well, Frankie Lee, he sat back down
Feelin' low and mean
When just then a passing stranger
Burst upon the scene
Saying, "Are you Frankie Lee, the gambler
Whose father is deceased ?
Well, if you are
There's a fellow callin' you down the road
And they say his name is Priest".
"Oh yes, he is my friend"
Said Frankie Lee in fright
"I do recall him very well
In fact, he just left my sight"
Yes, that's the one", said the stranger
As quit as a mouse.
"Well, my message is, he's down the road
Stranded in a house".
Well, Frankie Lee he panicked
He dropped ev'rything and ran
Until he came up to the spot
Where Judas Priest did stand
"What kind of a house is this", he said
"Where I have come to roam ?"
"It's not a house", said Judas Priest
"It's not a house, it's a home".
Well, Frankie Lee he trembled
He soon lost all control
Over ev'rything which he had made
While the mission bells did toll
He just stood there starring
At that big house as bright as any sun
With four and twenty windows
And a woman's face in ev'ry one.
Well, up the stairs ran Frankie Lee
With a soulful bounding leap
And foaming at the mouth
He began to make his midnight creep
For sixteen nights and days he raved
But on the seventeenth he burst
Into the arms of Judas Priest
Which is where he died of thirst.
No one tried to say a thing
When they carried him out in jest
Except of course, the little neighbor boy
Who carried him to rest
And he just walked along alone
Whit his guilt so well concealed
And muttered underneath his breath
"Nothing is revealed".
Well, the moral of the story
The moral of the song
Is simply that one should never be
Where ones does not belong
So when you see your neighbor carryin' somethin'
Help him with his load
And don't go mistaking Paradise
For that home across the road.
Lately, I've been developing more of an appreciation for Bob Dylan. I'm trying to decide which CDs to buy, but with over thirty albums, it's hard to know where to begin. I used to have some cassettes and at one point someone let me borrow an album on vinyl for a few months, but none of that is of much help now. Maybe I'll start a Dylan thread sometime. I'm sure there must be some people here knowledgeable about Dylan--what's good, what's not, etc.
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Look no further ...
(http://www.jukeboxplaying.com/wp-content/uploads/2013/09/bob-dylan-box-set1.jpeg)
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Look no further ...
(http://www.jukeboxplaying.com/wp-content/uploads/2013/09/bob-dylan-box-set1.jpeg)
I saw that the other day and haven't looked at the cost, but that would be tempting.
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I think I have heard all three already enough as is! But give it one more try!!!
http://www.youtube.com/watch?v=LvfW3yMwmUU
A band in Germany named Texas Lightning playing a song by a band from Australia. Very cosmopolitan. Nevertheless, I'm going to pass on listening to that song again by anybody--unless I find myself part of a captive audience again.
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judas priest is an old expression that means oh my god, damn it or something along those lines.
I always understood it to be a substitute for saying Jesus Christ. Regardless, Uwe should know that it couldn't have actually originated with Dylan, since everything that came from Dylan is something he poached.
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I always understood it to be a substitute for saying Jesus Christ. Regardless, Uwe should know that it couldn't have actually originated with Dylan, since everything that came from Dylan is something he poached.
What did Dylan poach? Is this what you're talking about? Regardless, I agree with what he said about his critics who didn't want him to switch to electric. Those acoustic purists are, well, Dylan said what they are. I wouldn't have used such strong language, but I agree with his point.
http://www.huffingtonpost.com/2012/09/13/bob-dylan-wussies-pussies-plagiarism_n_1880268.html
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I believe Dylan is neither Jesus Christ nor Judas Priest, just someone with some relevance for rock, folk and singer-songwriter music as we know it today. I saw him in Hamburg last year - we had front row seats (Edith is a passionate folkie) - and, admittedly, I felt slightly queasy so close to a legend though I'm generally not the starstruck type (Ritchie B. excepted of course!).
I'm no Dylanologist by any means, have heard about half to 2/3 of that box of his (a present for Edith), but a good place for a novice to start would be "Live at Budokan" because it shows the mid-period Dylan interpreting songs from his then already lengthy career in new and interesting rock band arrangement ways (yet you can still recognize them). It's Dylan at his rockiest, Rolling Thunder Revue maybe excepted. Another very good live album is "Before the Flood" which he did with The Band in the mid-seventies after his first comeback. For modern day Dylan I'd go for "Modern Times" or the newie "Tempest". If you ask me for my favorite studio album it's probably "Desire" (with the iconic "Hurricane") or "Street Legal" (with the Springsteen'esque - circa Born to Run era - "Changing of the Guards"). But those are Edith's favorites too so I might be under the influence! Dylanologists (and Nofi!) will no doubt shake their heads that I did not name Blonde on Blonde or something else from the sixties.
In that box set, not every album is brilliant or even good, but I haven't heard a single one that didn't have at least one song that made me listen up.
As for the poaching criticism: Like many great artists (David Bowie comes to mind too), Dylan was an empty canvas of what was going on around him. He soaked everything up, but would diffuse enough poignant observations too.
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My listening to Dylan has been sporadic and almost something I did at random. A person, of course, doesn't have to be a folkie to listen to him. He was Hendrix's favorite artist and I think it's safe to say Jimi Hendrix wasn't a folk music artist. I've only listened to a few of the albums in their entirety, but would be curious to check out a few more at the very least. Considering the low prices for some of these CDs, it wouldn't be much of a risk. Even the entire collection is very reasonably priced, IMO.
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It will raise your credibility as a rock music afficionado like nothing else! And it's lovingly done, nice booklet and the mock LP paper CD sleeves are not of the usual junk quality.
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It will raise your credibility as a rock music afficionado like nothing else! And it's lovingly done, nice booklet and the mock LP paper CD sleeves are not of the usual junk quality.
Thanks, I'll probably end up getting it. Not sure exactly when, but hopefully sooner rather than later. I just ran across this article about Dylan's debut album.
http://www.nme.com/blogs/nme-blogs/20-things-you-might-not-know-about-bob-dylans-debut-album
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Amptekkie, credit where credit's due. I just heard Rock'n'Roll Train by coincidence in the car ... and yes it's primal in how irresistible it is and Herr Rudd does have a knack of laying down ...
http://www.youtube.com/watch?v=lermqfhhJx4
But why does Johnson sing "Runaway Train" rather than "Rock'n'Roll Train"? I'm easily confused you know. And I hope Ike and Tina Turner don't ever listen too closely to that verse ... is there a train station within Nutbush's City Limits btw? :mrgreen:
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WWDP
What Would Dylan Poach?
Dave can have T-shirts made up. ;)
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Dave has a penchant for dismantling American heroes.
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What did Dylan poach? Is this what you're talking about? Regardless, I agree with what he said about his critics who didn't want him to switch to electric. Those acoustic purists are, well, Dylan said what they are. I wouldn't have used such strong language, but I agree with his point.
http://www.huffingtonpost.com/2012/09/13/bob-dylan-wussies-pussies-plagiarism_n_1880268.html
I hadn't read that. It was probably a response to Joni Mitchell who called him a plagiarist and a fake in an earlier interview.
Whatever. He has a long record of incorporating other songs into his, starting with Blowing In The Wind (tune copped from No More Auction Block) and Don't Think Twice (tune copped from Who's Gonna Buy Your Chickens When I'm Gone).
Did you hear about the Little Budddy flap, about five years ago? As a teenager at a summer camp for Jewish kids, he "wrote" a poem called Little Buddy and submitted it for the camp newspaper. It wasn't published but the camp counselor/newspaper editor still had it and was going to auction it off and give the proceeds to another charitable cause. Within a few hours after Christie's announced the auction, a number of people pointed out that his "original" poem was actually the lyrics to a Hank Snow song of the same name from the late 1940s.
That's just who he is, IMHO. Not that he hasn't done anything original, but he's not the creative genius some would make him out to be.
Edited to add: A (Hank) Snow Job (http://theboot.com/bob-dylan-poem-a-hank-snow-job/)
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I hadn't heard about much of that. It is hard, though, for me to take Joni Mitchell seriously. Every time I hear about her, she is complaining about something. It's kind of like the boy who cried wolf. I never know what part of what she is saying is important or not. I've never thought Dylan was a creative genius and I don't even like folk very much. But I do feel he has done quite a lot of good songs through the years, way more than many other people, IMO.
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I've always seen Herr Zimmerman as a literary man who sings his poems and strums a little guitar to it. Sometimes he has a catchy tune to it, but that is more coincidence than anything else. And all literary writers steal from others, Shakespeare or the Brothers Grimm. But he sure has a way with words, I wish I had written a lyric like that only once:
"Hurricane"
Pistols shots ring out in the barroom night
Enter Patty Valentine from the upper hall
She sees the bartender in a pool of blood
Cries out "My God they killed them all"
Here comes the story of the Hurricane
The man the authorities came to blame
For something that he never done
Put him in a prison cell but one time he could-a been
The champion of the world.
Three bodies lying there does Patty see
And another man named Bello moving around mysteriously
"I didn't do it" he says and he throws up his hands
"I was only robbing the register I hope you understand
I saw them leaving" he says and he stops
"One of us had better call up the cops"
And so Patty calls the cops
And they arrive on the scene with their red lights flashing
In the hot New Jersey night.
Meanwhile far away in another part of town
Rubin Carter and a couple of friends are driving around
Number one contender for the middleweight crown
Had no idea what kinda shit was about to go down
When a cop pulled him over to the side of the road
Just like the time before and the time before that
In Patterson that's just the way things go
If you're black you might as well not shown up on the street
'Less you wanna draw the heat.
Alfred Bello had a partner and he had a rap for the corps
Him and Arthur Dexter Bradley were just out prowling around
He said "I saw two men running out they looked like middleweights
They jumped into a white car with out-of-state plates"
And Miss Patty Valentine just nodded her head
Cop said "Wait a minute boys this one's not dead"
So they took him to the infirmary
And though this man could hardly see
They told him that he could identify the guilty men.
Four in the morning and they haul Rubin in
Take him to the hospital and they bring him upstairs
The wounded man looks up through his one dying eye
Says "Wha'd you bring him in here for ? He ain't the guy !"
Yes here comes the story of the Hurricane
The man the authorities came to blame
For something that he never done
Put in a prison cell but one time he could-a been
The champion of the world.
Four months later the ghettos are in flame
Rubin's in South America fighting for his name
While Arthur Dexter Bradley's still in the robbery game
And the cops are putting the screws to him looking for somebody to blame
"Remember that murder that happened in a bar ?"
"Remember you said you saw the getaway car?"
"You think you'd like to play ball with the law ?"
"Think it might-a been that fighter you saw running that night ?"
"Don't forget that you are white".
Arthur Dexter Bradley said "I'm really not sure"
Cops said "A boy like you could use a break
We got you for the motel job and we're talking to your friend Bello
Now you don't wanta have to go back to jail be a nice fellow
You'll be doing society a favor
That sonofabitch is brave and getting braver
We want to put his ass in stir
We want to pin this triple murder on him
He ain't no Gentleman Jim".
Rubin could take a man out with just one punch
But he never did like to talk about it all that much
It's my work he'd say and I do it for pay
And when it's over I'd just as soon go on my way
Up to some paradise
Where the trout streams flow and the air is nice
And ride a horse along a trail
But then they took him to the jailhouse
Where they try to turn a man into a mouse.
All of Rubin's cards were marked in advance
The trial was a pig-circus he never had a chance
The judge made Rubin's witnesses drunkards from the slums
To the white folks who watched he was a revolutionary bum
And to the black folks he was just a crazy nigger
No one doubted that he pulled the trigger
And though they could not produce the gun
The DA said he was the one who did the deed
And the all-white jury agreed.
Rubin Carter was falsely tried
The crime was murder 'one' guess who testified
Bello and Bradley and they both baldly lied
And the newspapers they all went along for the ride
How can the life of such a man
Be in the palm of some fool's hand ?
To see him obviously framed
Couldn't help but make me feel ashamed to live in a land
Where justice is a game.
Now all the criminals in their coats and their ties
Are free to drink martinis and watch the sun rise
While Rubin sits like Buddha in a ten-foot cell
An innocent man in a living hell
That's the story of the Hurricane
But it won't be over till they clear his name
And give him back the time he's done
Put him in a prison cell but one time he could-a been
The champion of the world.
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I'll stick with Hank Snow. At least when I listen to "I'm Movin' On" I don't have to wonder if he really wrote it.
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I hadn't heard about much of that. It is hard, though, for me to take Joni Mitchell seriously. Every time I hear about her, she is complaining about something. It's kind of like the boy who cried wolf. I never know what part of what she is saying is important or not.
Wait. Joni Mitchell said something important? When?
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Wait. Joni Mitchell said something important? When?
I probably should have used the word "accurate" instead of "important." It's hard to know if she is saying anything accurate or not due to the excessive complaining which usually goes along with anything she says.
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complaining = protesting. :)
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Red means run, son, numbers add up to nothin'...
Nothin' is perfect, in God's perfect plan; he only gave us the good things so we'd understand, what life, without them, was like...
Dylan is a craftsman, but, for me, with a voice that drives a nail through my ear...
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I read a general statement once that put it plainly - Why is it that singer/songwriters usually can't?
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I like that... :mrgreen:
Certainly applies to Neil Young, but at least I can tolerate his whine...
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Love this place,
starts off with hello kitty/KISS crossover and ends up with ac/dc Bob Dylan comparisons
I've always seen Herr Zimmerman as a literary man who sings his poems and strums a little guitar to it.
spot on, as a teenager I hated Bob Dylan, but one day my English teacher heard me say so, and gave me a book of his complete works, lyrics only, presented as poetry. I devoured it cover to cover, separated from his "distinctive" singing I fell in love with his use of words, which then enabled me to get past his drone to the beauty of the song.
Why is it that singer/songwriters usually can't?
Brilliant :)