things in dylan lyrics

pattycakes_

pattycakes_

Can turn naughty
And the whole world is, to a point but London feels like it's leading the pack in some ways. All the wrongness constellated in perfect disharmony
 
sus

sus

Moderator
luka said:
paul simon and joni mitchell and van morrisson are all people with only one album. its vital you never listen to anything but that one album.
Click to expand...
This is absurd for Joni. Blue is not even her peak is just her plateau so it's consistent
 
other_life

other_life

bioconfused
luka said:
put on street legal. not sure about these backing vocals. loads of plebs out in london today. fucking loads. never seen anything like it. half of kent is here.
Click to expand...

oh the backing vocals and horns are easily the worst part of the arrangements
 
luka

luka

Well-known member
very 80s, brassy, couldnt get past the first song. whats the key to enjoying it? what trick do you have to pull?
 
droid

droid

Well-known member
“Within a couple of years, Bobby changed the whole direction of the folk movement. The big breakthrough was when he wrote “A Hard Rain’s A-Gonna Fall,” because in that song he fused folk music with modernist poetry. The tune was borrowed from an old English ballad called “Lord Randall,” and it was in the same question-and-response form, but the imagery was right out of the symbolist school. It was not a flawless work—the “clown who cried in the alley” always sounded to me like the verbal equivalent of a painting on velvet—but the overall effect was incredible. "

“That whole artistic mystique is one of the great traps of this business, because down that road lies unintelligibility. Dylan has a lot to answer for there, because after a while he discovered that he could get away with anything—he was Bob Dylan and people would take whatever he wrote on faith. So he could do something like “All Along the Watchtower,” which is simply a mistake from the title on down: a watchtower is not a road or a wall, and you can’t go along it. Of course, that sort of sloppiness did not begin with Dylan. There was already a long tradition of poets writing things that sounded wonderful but made no sense. Poetry is automatically suspect to me, because if you are a good enough poet, you can make bullshit sound so beautiful that people don’t notice that it’s bullshit.”

“...in some ways the most important thing that Bobby did was not to write the songs but to show that the songs could be written. I think people like Joni Mitchell and Leonard Cohen felt toward Dylan sort of the way Ezra Pound felt toward Walt Whitman: “You cut the wood; now it’s time for carving.” From a stylistic perspective, I was always rather dubious of Bobby’s contrived primitivism, and his later obscurantism reached a point where he wasn’t even trying to make sense anymore. But if Bobby had not succeeded in breaking out with what he was writing, almost all of the original material to come out of the folk boom would have been protest songs, because up to that point those were the only things you were allowed by consensus to write.”

- Dave Van Ronk.
 
other_life

other_life

bioconfused
the strongest point of street legal is the lyrics imo. production on the guitars and rhythm section is strong, too
 
sus

sus

Moderator
droid said:
“Within a couple of years, Bobby changed the whole direction of the folk movement. The big breakthrough was when he wrote “A Hard Rain’s A-Gonna Fall,” because in that song he fused folk music with modernist poetry. The tune was borrowed from an old English ballad called “Lord Randall,” and it was in the same question-and-response form, but the imagery was right out of the symbolist school. It was not a flawless work—the “clown who cried in the alley” always sounded to me like the verbal equivalent of a painting on velvet—but the overall effect was incredible. "

“That whole artistic mystique is one of the great traps of this business, because down that road lies unintelligibility. Dylan has a lot to answer for there, because after a while he discovered that he could get away with anything—he was Bob Dylan and people would take whatever he wrote on faith. So he could do something like “All Along the Watchtower,” which is simply a mistake from the title on down: a watchtower is not a road or a wall, and you can’t go along it. Of course, that sort of sloppiness did not begin with Dylan. There was already a long tradition of poets writing things that sounded wonderful but made no sense. Poetry is automatically suspect to me, because if you are a good enough poet, you can make bullshit sound so beautiful that people don’t notice that it’s bullshit.”

“...in some ways the most important thing that Bobby did was not to write the songs but to show that the songs could be written. I think people like Joni Mitchell and Leonard Cohen felt toward Dylan sort of the way Ezra Pound felt toward Walt Whitman: “You cut the wood; now it’s time for carving.” From a stylistic perspective, I was always rather dubious of Bobby’s contrived primitivism, and his later obscurantism reached a point where he wasn’t even trying to make sense anymore. But if Bobby had not succeeded in breaking out with what he was writing, almost all of the original material to come out of the folk boom would have been protest songs, because up to that point those were the only things you were allowed by consensus to write.”

- Dave Van Ronk.
Click to expand...
This is great this all sounds right to me. A master stylist. He made a breakthrough a huge step in the "game" of folk music.
 
You must log in or register to reply here.
Top