Kate and Anna with Emmylou, Aly Bain and the Transatlantic Session crew with a wonderful version of 'Going Back to Harlan'. 
I can never play it only one time.
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This crackin' Rail Band track from the 70s featuring Mory Kante turned up today on the playlists. Such a great groove!
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Almost anything by Francis Bebey worth a listen....
To my shame I didn't know he was also an author...
His first book, Le Fils d’Agatha Moudio (Agatha Moudio’s Son, 1971), was published in 1967,and won the Grand Prix Littéraire de l’Afrique Noire.
1968: Embarras et Cie: nouvelles et poèmes (nine short stories, plus a poem) published.
Later works include La Poupée Ashanti (1973; The Ashanti Doll) and Le Roi Albert d’Effidi (1973; King Albert).
Also wrote two non-fiction books on African music, notably African Music: A People’s Art (1975, reprinted 1992).Comment
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Yes indeed - they went through so many line-ups. I have recently acquired a 1980s version featuring Sekou Kante and Lanfa Diabate. Not as good but interesting nonetheless.Originally posted by johncorrigan View Post
(I've just had a look at that album cover on the clip properly - they are both on it so it all gets quite confusing - that is a great track though - hypnotic, lovely vocals, I agree)
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Wonderful track, Global.Originally posted by Globaltruth View PostAlmost anything by Francis Bebey worth a listen....
To my shame I didn't know he was also an author...
His first book, Le Fils d’Agatha Moudio (Agatha Moudio’s Son, 1971), was published in 1967,and won the Grand Prix Littéraire de l’Afrique Noire.
1968: Embarras et Cie: nouvelles et poèmes (nine short stories, plus a poem) published.
Later works include La Poupée Ashanti (1973; The Ashanti Doll) and Le Roi Albert d’Effidi (1973; King Albert).
Also wrote two non-fiction books on African music, notably African Music: A People’s Art (1975, reprinted 1992).
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Cerys Matthews had Cratedigger Mr Bongo in the studio this morning playing bits of some fine tunes...somehow we never got to the end of any tracks. Anyway this was one - what a groove on Salif Keita's 'Mandjou'...and of course there's also those wonderful female singers.
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This one turned up on an old playlist this morning...delight.
Andre Denis - Cherie N' Aluli Yo from 'The World Is Shaking - Cubanismo From The Congo, 1954-55'
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I just noticed that the death of guitarist and percussionist Bruce Langhorne has been announced; he was the guy Dylan wrote 'Mr Tambourine Man' about.
Here's Bob at Newport singing 'Tambourine Man'.
He looked a good bit different when I saw him in Glasgow last evening - a mighty wonderful show with a great band and Bob in very fine fettle.
Here's a spotty playlist of his show minus two or three of his lounge tunes that are not available ('That Old Black Magic', 'Stormy Weather', 'All or Nothing at All').
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You saw Dylan on Sunday night? That makes sense. I was posting "I Dreamed I Saw St Augustine" on the forum when you were there. I wonder what he was singing when I did so. I know it wasn't that one. That, I think, is your second time JC which probably equals mine although oddly I am a bit vague on that point. It is just possible that I saw him at Fleadh as well as at Glastonbury and Brixton Academy. I am really pleased that he was in good form. Obviously the recent Nobel Prize shenanigans haven't got to him and he is long past the tick thing. Someone the other day was telling me that there are a lot more of them around and no one should wear shorts on footpaths now to which I replied "oh not something else". Anyhow, I have looked at the set list on Google but at the moment I am unable to access the Spotify list via your link although I can access Spotify and all your other lists.Originally posted by johncorrigan View PostI just noticed that the death of guitarist and percussionist Bruce Langhorne has been announced; he was the guy Dylan wrote 'Mr Tambourine Man' about.
Here's Bob at Newport singing 'Tambourine Man'.
He looked a good bit different when I saw him in Glasgow last evening - a mighty wonderful show with a great band and Bob in very fine fettle.
Here's a spotty playlist of his show minus two or three of his lounge tunes that are not available ('That Old Black Magic', 'Stormy Weather', 'All or Nothing at All').
Am sorry to hear about the death of Bruce Langhorne who led a varied and colourful life and may well have been in some respects Mr Tambourine Man. However, he is mainly a symbol and it's clearly metaphorical. While it wouldn't be great to seek to nail it all down - Dylan is Dylan because of umpteen interpretations and the fun in endless speculation - there is surely much there about the circus of celebrity with ideas about escapism and reference to environments. There escape can to some extent be found but only in a circus form for Dylan the showbiz individual. The times were not so much a-changing as changed in the sense that they were history but there is not a lot of forward movement in the song other than in following the expectations of the circus which simultaneously appears to offer escape from it. It's a bind. The new way is wearying just as the old ways such as they are still carried are tired. That's the gist of it. I think there is also a wishing for salvation. Bob Johnston did not produce the Dylan version although he would produce the one by the Byrds. It was he who subsequently to suggested the Salvation Army band production on "Rainy Day Women". Later there would be a paring down in "John Wesley Harding".
Personally I feel that Dylan was always at pains to sidestep his appointed role whether as a representative of social developments, the change in focus from acoustic to electric accompaniments and even psychedelia and drugs. "Bringing It All Back Home" can be difficult to place but I could be persuaded that it is a transitional point in which he finds a teenage voice that might choose to be more of a follower than followed. Those swirling ships are all about the mind and the environment rather than anything imbibed. To put an earlier idea in another way, the course that he was on was storm in which storm was also the only anchor. As for what happened next, I always hear "Highway 61 Revisited" as silver, a metallic travel and industry and in that sense an unequivocally mature work while "Blonde on Blonde" is both metallic and rustic gold. A solid work, the money is coming in but he is already contemplating retirement or, if that isn't possible, retreat. Oh dear. I have tried to nail it down. Other people will disagree with most of it. That is the key point!Last edited by Lat-Literal; 09-05-17, 05:01.Comment
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Here's the set list, Lat, and indeed it is the 2nd time I got to see Bob, the first being in New Orleans in '81.
Things Have Changed (he has his Oscar on stage as part of the show)
To Ramona
Highway 61 Revisited
Beyond Here Lies Nothin'
This Nearly Was Mine (Ezio Pinza cover)
Pay in Blood
Melancholy Mood (Frank Sinatra cover)
Duquesne Whistle
Stormy Weather (Harold Arlen cover)
Tangled Up in Blue
Early Roman Kings
Spirit on the Water
Love Sick
All or Nothing at All (Frank Sinatra cover)
Desolation Row
Soon After Midnight
That Old Black Magic (Johnny Mercer cover)
Long and Wasted Years .
Autumn Leaves (Yves Montand cover)
Encore:
Blowin' in the Wind
Ballad of a Thin Man
As you'll notice, three wonderful tracks from Highway 61 Revisited and a good few from 'Tempest'. Must be hard to put asset list together when you've got so much back catalogue to chose from. 'That Old Black magic' was wonderful - he really is just an old song and dance man at heart.
By the way, Lat, you may be interested in this very interesting interview with Bob from 'Rolling Stone' about 5 years back, if you haven't seen it before.
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Blimey - I feel the parts of the interview which relate to the times I was commenting on vindicate those comments. It's a great interview with some salient points. I agree with him fully on how much of each decade is more the previous decade than how it comes to be seen. Or I did. It was true of the 1960s which enabled me to know the 1950s even if I never lived in them. I agree with much of what he says but after 2000, all the numbers became indistinct. I couldn't have predicted how little the 21st Century has felt like a home to me.Originally posted by johncorrigan View Post
Favourite song of many on that list - Tangled Up in Blue - I think Blood on the Tracks is AK's favourite and it is mine although we differ on whether Bob has had great albums since. He says "no". I say "yes" which is to say that I believe at least five and probably several more have been good to great which is good enough for them to be great in my opinion.Last edited by Lat-Literal; 09-05-17, 11:13.Comment
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I thought it was a really interesting interview, Lat. The interviewer must have had a few encounters with Bob over the years, from the tone of it.Originally posted by Lat-Literal View Post
At the end of the concert I ended up in the exit queue next to this young Irish sounding guy who had clearly had a few. He asked me what I thought of the show and then said that he had hated it...that Bob 'hadn't done any of his classics'. I of course refuted the comment to which he said that he hadn't done 'Hurricane' (his greatest song according to the young fella) or 'Rolling Stone'. I said, 'But he did 'Blowin' in the Wind', 'Desolation Row', 'Tangled up in Blue'...what more classic do you want?'. His response was that he hadn't heard him do 'Blowing in the Wind' and he'd never heard of 'Tangled up in Blue'. My pal's comment was, 'How the bloody hell did he get a ticket?' Mine was, 'Bob doesn't do what others want him to do. You just take what you get.' Which I think was covered by Bob in the interview.
I have to say that before the event I read a review of one of the London shows and knew he had done 'Desolation Row', so I was really excited to hear that and certainly not disappointed. It was like hearing it fresh again. Likewise 'Blowing in the Wind'...I would not bother listening to it anymore and yet he managed to breathe fresh new life into it and remind me what a crackin' song it is. But his new things from the likes of 'Tempest'...'Duquesne Whistle', 'Early Roman Kings' and the fabulous 'Long and Wasted Years' are high quality, in my opinion, even if they are not 'Blood on the Tracks'. He's a different guy nowadays.
I find myself in total disagreement with AK. I think Bob has made some great records post-Blood on the Tracks - I love 'Slow Train Coming' for example; I have recently come to believe that 'World Gone Wrong' may be one of his greatest records; I play 'Love and Theft' very regularly. My favourite...if I had to plump for one is probably 'Highway 61', Lat, but there's a lot that come into the frame. I suppose I just think he's unique and one of those artists who has not been afraid to keep moving; even his less brilliant records have something in them that raise him above most others.Comment
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"Desolation Row" is worth the money on its own. Yes, Bob varies it according to how Bob feels. I couldn't put into words which Bob I got at Brixton but it veered towards country rock and that was what I wanted. Many years ago now, he had been written off by most even then and yet the performance was great. As I have mentioned before, he was at the back of a very dark stage for much of the set at Glastonbury. The man who was disappointed clearly has not appreciated the idiosyncrasy. Van the Man has it as does Neil Young. Nina Simone was another, not that sadly I ever saw her live. I too am a fan of "Slow Train Coming". I like "Desire", "Saved", "Oh Mercy" and "Time Out of Mind" among others. There are gaps in my knowledge - the early and mid 1980s although I dipped into it a while ago and liked some of it and some things post 1997 which I really should revisit. During the last 20 years the new material has been interspersed with frequent if unpredictable older recordings and it has been the latter that have often grabbed my attention more.Originally posted by johncorrigan View PostComment
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If you have access to 'World Gone Wrong', Lat, go and have a wee listen to 'Delia' - such an amazing song, brilliantly interpreted by Dylan, in my opinion.Originally posted by Lat-Literal View Post
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