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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Tue Aug 31, 2010 12:31 pm 
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I think the review sums up Love & Theft really well. I remember being surprised at how light-hearted and up-beat this one was on the heels of Time Out of Mind. These two are virtually equal in quality but I personally prefer Time Out of Mind slightly overall I think.

Mississippi is such a great song.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Tue Aug 31, 2010 1:41 pm 
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For whatever reason, Time... has never done it for me. It's too dark, the songs are too long and not as strong as advertised. If forced to use two words I'd use "bummer" because it largely and "disappointing" which was my reaction after absorbing the hype and then hearing it. "Not Dark Yet" is fantastic but most of the rest bleeds together for me even today. I was hoping it was going to be different this time around since I havent spun it in a while but I went through it twice (three times for "Not Dark Yet"!)

(I'm pretty sure part of the explanation for this is that when this album hit I was listening to a LOT of Dylan, my band was playing Dylan, I was staying up late listening to Dylan. Time... album got all the hype, the Grammy and all that but I was miles above it. I also didn't have as clear a picture of the places he had gone since Slow Train Coming was, at that point, the last album of his I was really familiar with. Safe to say, in 1997-98 I preferred Blood On The Tracks and Ok Computer)

Love & Theft, on the other hand, is one of, if not the best of Dylan's later period work. It has the sound, the humour, the snarl. The band is hot, the songs are ripe and the whole thing just sorta works. I actually like listening to it.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Wed Sep 01, 2010 8:52 am 
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Dang, you guys plowed through records...or maybe I was just oblivious. I popped in once in awhile but never to fully read the threads. Wish I would've participated since I own pretty much all of the records. I was listening to Slow Train Coming this morning and thought maybe you'd be up to Isis or something. Nerp, you guys are pretty much done.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Wed Sep 01, 2010 9:34 am 
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Flying Rabbit Wrote:
Dang, you guys plowed through records...or maybe I was just oblivious. I popped in once in awhile but never to fully read the threads. Wish I would've participated since I own pretty much all of the records. I was listening to Slow Train Coming this morning and thought maybe you'd be up to Isis or something. Nerp, you guys are pretty much done.


We're gonna run through the Bootleg Series and live albums still (i think) so stay tuned.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Wed Sep 01, 2010 9:52 am 
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When Bob Dylan dropped Time Out of Mind in 1997, it was a rollicking rockabilly and blues record, full of sad songs about mortality, disappointment, and dissolution. 2001 brought Love and Theft, which was also steeped in stomping blues and other folk forms. It was funny, celebratory in places and biting in others. Dylan has been busy since then: he did a Victoria's Secret commercial, toured almost nonstop, was in a couple films -- Larry Charles' Masked and Anonymous and Martin Scorsese's documentary No Direction Home -- and published the first of a purported three volumes of his cagey, rambling autobiography, Chronicles. Lately, he's been thinking about Alicia Keys. This last comment comes from the man himself in "Thunder on the Mountain," the opening track on Modern Times, a barn-burning, raucous, and unruly blues tune that finds the old man sounding mighty feisty and gleefully agitated: "I was thinkin' 'bout Alicia Keys/Couldn't keep from cryin'/She was born in Hell's Kitchen and I was livin' down the line/I've been lookin' for her even clear through Tennessee." The drums shuffle with brushes, the piano is pumping like Jerry Lee Lewis, the bass is popping, and a slide guitar that feels like it's calling the late Michael Bloomfield back from 1966 -- à la Highway 61 Revisited -- slips in and out of the ether like a ghost wanting to emerge in the flesh. Dylan's own choppy leads snarl in the break and he's letting his blues fall down like rain: "Gonna raise me an army, some tough sons of bitches/I'll recruit my army from the orphanages/ I've been to St. Herman's church and said my religious vows/I sucked the milk out of a thousand cows/I got the pork chop, she got the pie/She ain't no angel and neither am I...I did all I could/I did it right there and then/I've already confessed I don't need to confess again."

Thus begins the third part of Dylan's renaissance trilogy (thus far, y'all). Modern Times is raw; it feels live, immediate, and in places even shambolic. Rhythms slip, time stretches and turns back on itself, and lyrics are rushed to fit into verses that just won't stop coming. Dylan produced the set himself under his Jack Frost moniker. Its songs are humorous and cryptic, tender and snarling. What's he saying? We don't need to concern ourselves with that any more than we had to Willie Dixon talking about backdoor men or Elmore James dusting his broom. Dylan's blues are primitive and impure. Though performed by a crackerjack band, they're played with fury; the singer wrestles down musical history as he spits in the eye of the modern world. But blues isn't the only music here. There are parlor songs such as "Spirit on the Water," where love is as heavenly and earthly a thing as exists in this life. The band swings gently and carefree, with Denny Freeman and Stu Kimball playing slippery -- and sometimes sloppy -- jazz chords as Tony Garnier's bass and George Receli's sputtering snare walk the beat. Another, "When the Deal Goes Down," tempts the listener into thinking that Dylan is aping Bing Crosby in his gravelly, snake-rattle voice. True, he's an unabashed fan of the old arch mean-hearted crooner. But it just ain't Bing, because it's got that true old-time swing.

Dylan's singing style in these songs comes from the great blues and jazzman Lonnie Johnson (whose version of the Grosz and Coslow standard "Tomorrow Night" he's been playing for years in his live set). If you need further proof, look to Johnson's last recordings done in the late '50s and early '60s ("I Found a Dream" and "I'll Get Along Somehow"), or go all the way back to the early years for "Secret Emotions," and "In Love Again," cut in 1940. It is in these songs where you will find the heart of Dylan's sweet song ambition and also that unique phrasing that makes him one of the greatest blues singers and interpreters ever. Dylan evokes Muddy Waters in "Rollin' and Tumblin." He swipes the riff, the title, the tune itself, and uses some of the words and adds a whole bunch of his own. Same with his use of Sleepy John Estes in "Someday Baby".. Those who think Dylan merely plagiarizes miss the point. Dylan is a folk musician; he uses American folk forms such as blues, rock, gospel, and R&B as well as lyrics, licks, and/or whatever else he can to get a song across. This tradition of borrowing and retelling goes back to the beginning of song and story. Even the title of Modern Times is a wink-eye reference to a film by Charlie Chaplin. It doesn't make Dylan less; it makes him more, because he contains all of these songs within himself. By his use of them, he adds to their secret histories and labyrinthine legends. Besides, he's been around long enough to do anything he damn well pleases and has been doing so since the beginning.

Modern Times expresses emotions and comments upon everything from love ("When the Deal Goes Down," "Beyond the Horizon") to mortality ("The Levee's Gonna Break," "Ain't Talkin") to the state of the world -- check "Workingman's Blues #2," where Dylan sings gently about the "buyin' power of the proletariat's gone down/Money's getting shallow and weak...they say low wages are reality if we want to compete abroad." But in the next breath he's put his "cruel weapons on the shelf" and invites his beloved to sit on his knee. It's a poignant midtempo ballad that walks the line between the topical songs of Cisco Houston and Woody Guthrie to the love songs of Stephen Foster and Leadbelly. One can feel both darkness and light struggling inside the singer for dominance. But in his carnal and spiritual imagery and rakish honesty, he doesn't give in to either side and walks the hardest path -- the "long road down" to his own destiny. This is a storyteller, a pilgrim who's seen it all; he's found it all wanting; he's found some infinitesimal take on the truth that he's holding on to with a vengeance. In the midst of changes that are foreboding, Modern Times is the sound of an ambivalent Psalter coming in from the storm, dirty, bloodied, but laughing at himself -- because he knows nobody will believe him anyway.

Dylan digs deep into the pocket of American song past in "Nettie Moore," a 19th century tune from which he borrowed the title, the partial melody, and first line of its chorus. He also uses words by W.C. Handy and Robert Johnson as he extends the meaning of the tome by adding his own metaphorical images and wry observations. However, even as the song is from antiquity, it's full of the rest of Modern Times bemusement. "The Levee's Gonna Break" shakes and shimmies as it warns about the coming catastrophe. Coming as it does on the anniversary of Hurricane Katrina, it's a particularly poignant number that reveals apocalypse and redemption and rails on the greedy and powerful as it parties in the gutter. There are no sacred cows -- when Dylan evokes Carl Perkins' exhortation to put "your cat clothes on," it's hard not to stomp around maniacally even as you feel his righteousness come through. The great irony is in the final track, "Ain't Talkin'," where a lonesome fiddle, piano, and hand percussion spill out a gypsy ballad that states a yearning, that amounts to an unsatisfied spiritual hunger. The pilgrim wanders, walks, and aspires to do good unto others, though he falters often -- he sometimes even wants to commit homicide. It's all part of the "trawl" of living in the world today. Dylan's simmering growl adds a sense of apprehension, of whistling through the graveyard, with determination to get to he knows not where -- supposedly it's the other side of the world. The guitar interplay with the fiddle comes through loud and clear in the bittersweet tune. It's like how "Beyond the Horizon" uses gypsy melodies and swing to tenderly underscore the seriousness in the words. It sends the album off with a wry sense of foreboding. This pilgrim is sticking to the only thing he knows is solid -- the motion of his feet.

Modern Times portrays a new weird America, even stranger than the old one, because it's merely part of a world consumed by insanity. In these ten songs, bawdy joy, restless heartache, a wild sense of humor, and bottomless sadness all coexist and inform one another as a warning and celebration of this precious human life while wondering openly about what comes after. This world view is expressed through musical and lyrical forms that are threatened with extinction: old rickety blues that still pack an electrically charged wallop, porch and parlor tunes, and pop ballads that could easily have come straight from the 1930s via the 1890s, but it also wails and roars the blues. Modern Times is the work of a professional mythmaker, a back-alley magician, and a prophetic creator of mischief. He knows his characters because he's been them all and can turn them all inside out in song: the road-worn holy man who's also a thief; the tender-hearted lover who loves to brawl; the poetic sage who's also a pickpocket; and the Everyman who embodies them all and just wants to get on with it. On Modern Times, all bets are off as to who finishes the race dead last, because that's the most interesting place to be: "Meet me at the bottom, don't lag behind/Bring me my boots and shoes/You can hang back or fight your best on the frontline/Sing a little bit of these workingman blues." There is nothing so intriguing as contradiction and Dylan offers it with knowing laughter and tears, because in his songs he displays that they are both sides of the same coin and he never waffles, because he's on the other side of the looking glass. Modern Times is the work of an untamed artist who, as he grows older, sees mortality as something to accept but not bow down to, the sound that refuses to surrender to corruption of the soul and spirit. It's more than a compelling listen; it's a convincing one.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Wed Sep 01, 2010 10:38 am 
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I should probably check out Love & Theft someday, but man, Modern Times bored the shit out of me. It really sounded like a listless, going-through-the-motions affair.


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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Wed Sep 01, 2010 2:38 pm 
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I've generally considered Modern Times to be on par with the last two but this time through, I didn't enjoy it nearly as much as I remember liking it. I think Workingman's Blues #2 and Rolling and Tumblin' (which I could have sworn was a cover) are both strong and none of the other songs are terrible but I agree with Drinky that most are just really boring. It doesn't help that half the songs are over six minutes and none are less than five.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Wed Sep 01, 2010 2:43 pm 
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Yail Bloor Wrote:
Flying Rabbit Wrote:
Dang, you guys plowed through records...or maybe I was just oblivious. I popped in once in awhile but never to fully read the threads. Wish I would've participated since I own pretty much all of the records. I was listening to Slow Train Coming this morning and thought maybe you'd be up to Isis or something. Nerp, you guys are pretty much done.


We're gonna run through the Bootleg Series and live albums still (i think) so stay tuned.


Nice. Have most of the live records...Bootleg Series, only have 2, so that'll be worth doing.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Wed Sep 01, 2010 8:47 pm 
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i hadn't listened to Love & Theft in a long long time, but today it was pretty much perfect for my mood. I enjoyed it way more than I expected and it had me in a happy creative mood. It's been a while since I listened to an album all the way through twice in one day.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Thu Sep 02, 2010 2:14 am 
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This thread is moving too fast. Love and Theft is also absolutely good enough to be top ten Dylan... on any given month I like it as much or more than Time Out of Mind. It is the middle of the arc from Time to Modern Times, and embodied the connection, the articulation of the "folk singer" roots (Jewish intellectual) with the American classic pop craft (Jewish Tin Pan Alley). The impending old age of Time to the settling into Old Age of Modern Times. Modern Times is a ...crafty... album, with hidden sarcastic wisdom. Old codger having us on. But the voice (both gravitas/timbre crooner and narrative/literary) of Love and Theft is moving slowly from Woody Guthrie to Irving Berlin. After the bitter schmaltz of Modern Times, I thought Together Through Life was pretty irrelevant. The live and retro stuff don't interest me. I've seen him live 4-5 times in the last decade... he continues to be interesting, frustrating, fuck with my peace of mind, and won't age gracefully. Guess I am done with the thread.

I’m paintin’ the town—swinging my partner around
I know who I can depend on, I know who to trust
I’m watchin’ the roads, I’m studying the dust
I’m paintin’ the town making my last go-round

Well, I’m scufflin’ and I’m shufflin’ and I’m walkin’ on briars
I’m not even acquainted with my own desires

I’m rollin’ slow—I’m doing all I know
I’m tellin’ myself I found true happiness
That I’ve still got a dream that hasn’t been repossessed
I’m rollin’ slow, goin’ where the wild roses grow

Well the future for me is already a thing of the past
You were my first love and you will be my last


1. Blonde on Blonde
2. Bringing It All Back Home
3. Highway 61 Revisited
4. Blood on the Tracks
5. Infidels
6. Time Out of Mind
7. Street Legal
8. Oh Mercy
9. The Basement Tapes
10. Love and Theft
11. The Freewheeling Bob Dylan
12. Bob Dylan Live - 1975
13. Modern Times
14. John Wesley Harding
15. Nashville Skyline

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Thu Sep 02, 2010 7:41 am 
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harry Wrote:
Guess I am done with the thread.


You'll be back.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Thu Sep 02, 2010 9:11 am 
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Modern Times is too dense and monotonous to consume in one sitting, but I like every song on it's own. I usually really enjoy two songs and then turn it off mid way through the third. The line about Alicia Keys still makes me giggle.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Thu Sep 02, 2010 9:17 am 
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jewels santana Wrote:
Modern Times is too dense and monotonous to consume in one sitting, but I like every song on it's own. I usually really enjoy two songs and then turn it off mid way through the third. The line about Alicia Keys still makes me giggle.


This probably is the best approach to Modern Times. I'm actually not sure I'd ever listened to the whole thing in one day until yesterday and that's probably why I didn't enjoy it as much. It's definitely not as good as Time or Love & Theft but it's still top-5 for Dylan's post Blood on the Tracks output.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Thu Sep 02, 2010 11:40 am 
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Yail Bloor Wrote:
harry Wrote:
Guess I am done with the thread.


You'll be back.


Yeah, today is technically the last day of the studio albums. I'm not posting that fucking Xmas album.

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By all accounts, Together Through Life arrived quickly, cut swiftly by Bob Dylan and his touring band in the fall of 2008, surprising the label upon its delivery a couple months later, then rushed into stores in April 2009, just half a year after the release of the monumental archive project Tell Tale Signs. Given the speed of its creation, it fits that the album has a spontaneous, kinetic kick, feeling so alive that it's a little messy, teeming with contradictions, crossed signals, and frayed ends. That liveliness turns Together Through Life into a much lighter affair than its weighty predecessor, Modern Times, which was tinged with doom and had thematic unity, two things missing from this comparatively breezy affair. If Together Through Life is about any one thing, it is -- as its title and cover photo elliptically suggest -- the enduring power of romance, how it provides sustenance and how its absence can make life hard. But all this suggests that Dylan has turned in a meditation on the meaning of life and love here, when its core charm is its very modesty. It's an old-fashioned ten tracks, clocking in at 45 minutes, a simple set of songs co-written with Robert Hunter -- Jerry Garcia's lyricist and previous Dylan collaborator, co-writing the irresistibly jaunty "Silvio" in 1988 -- and delivered without adornment, its clean yet earthy production slyly emphasizing the musical variety here. Sonically, this is right in line with Dylan's 2000s albums, the sound of a well-lubricated traveling band easing into the same chords it plays every night, but this isn't strictly roadhouse rock & roll: Dylan remains fixated on pre-rock & roll American music, emphasizing the blues but eager to croon love-struck ballads. In this context, David Hidalgo's accordion -- which appears so often it soon ceases to be noteworthy -- can suggest a romantic stroll down Parisian streets or a steamy sojourn with Doug Sahm in a Tex-Mex border town, but everything here is recognizably, thoroughly Dylan's mythic picturesque America that stretches from the hazy past to the barbed present. While the music is proudly, almost defiantly, rooted in the past, with Dylan borrowing Willie Dixon's "I Just Want to Make Love to You" wholesale for the riotous "My Wife's Home Town," there's no avoidance of the present here, with Bob even going so far as to turn the omnipresent catch phrase "It's All Good" into a mordantly funny rocker. Dylan's not just aware of the modern-day vernacular, he's wound up with an album that fits the spirit of 2009: it's troubled but hopeful, firmly in favor of love and romance, but if that fails there are always romantic dreams and sardonic jokes to get you through life.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Thu Sep 02, 2010 1:14 pm 
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harry Wrote:
This thread is moving too fast. Love and Theft is also absolutely good enough to be top ten Dylan... on any given month I like it as much or more than Time Out of Mind. It is the middle of the arc from Time to Modern Times, and embodied the connection, the articulation of the "folk singer" roots (Jewish intellectual) with the American classic pop craft (Jewish Tin Pan Alley). The impending old age of Time to the settling into Old Age of Modern Times. Modern Times is a ...crafty... album, with hidden sarcastic wisdom. Old codger having us on. But the voice (both gravitas/timbre crooner and narrative/literary) of Love and Theft is moving slowly from Woody Guthrie to Irving Berlin. After the bitter schmaltz of Modern Times, I thought Together Through Life was pretty irrelevant.


And I think "Together Through Life" might be the best of the latter period. For me, the tin pan alley aspect of Love & Theft, while expertly executed, became a little bit of a novelty with me after multiple listens. You seem to have ascribed a gravitas to the "latter period arc" of albums of being this recognition of the big fade and his acceptance of it. If that's true, then for me, "Together.." is the sound of someone whose accepted it and moved on to enjoy the last act. This album sounds loose and breezy with the accordion of Davd Hildago and guitar of MIke Campbell sounding bluesy and an air of zydeco throughout it. I've said before that this would be great to hear on a sidestage at Jazzfest or something.

If I had to ascribe some meaning to it (which Dylan leaves up to us), I'd say that the overall statement is that life is hard but worth living and it's better to live it with the people you love.

One man's opinion.


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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Thu Sep 02, 2010 1:40 pm 
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This is my first time through Together Through Life and I have to say I enjoyed it more than expected. It leans a little too adult contemporary for me on a couple of tracks but overall it's a decent listen. It's no where near as strong as Time or L&T but gives Modern Times a run for its money I'd say.

It's All Good was hard to listen to, though. Terrible song.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Thu Sep 02, 2010 7:16 pm 
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I haven't been able to keep up, and hate most of the 80s albums so much, but fuck this is a pile of turds. I think I like Time Out of Mind, but the last time I remember listening to it was 1999. I'm not sure I want to bother at this point.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Thu Sep 02, 2010 7:56 pm 
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Senator Lou Garra Wrote:
I haven't been able to keep up, and hate most of the 80s albums so much, but fuck this is a pile of turds. I think I like Time Out of Mind, but the last time I remember listening to it was 1999. I'm not sure I want to bother at this point.


I'm curious what you think about Oh Mercy. I think my biggest revelation of this exercise is how much I like that one.

But you came into this with a view only slightly less jaundiced than Radcliffe so I can understand where it might not be there for you under any circumstances.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Thu Sep 02, 2010 8:50 pm 
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Yail Bloor Wrote:
Senator Lou Garra Wrote:
I haven't been able to keep up, and hate most of the 80s albums so much, but fuck this is a pile of turds. I think I like Time Out of Mind, but the last time I remember listening to it was 1999. I'm not sure I want to bother at this point.


I'm curious what you think about Oh Mercy. I think my biggest revelation of this exercise is how much I like that one.

But you came into this with a view only slightly less jaundiced than Radcliffe so I can understand where it might not be there for you under any circumstances.


I'm actually behind on a couple of these due to other obligations that's prevent some listening, so I'll catch up soon and post up. Outside of Oh Mercy which is just a favourite album without the Dylan qualifier, I'm kind of ambivalent of the other albums. Actually I should have posted up that 'Things Have Changed', which I quite like a lot.

On to the live records which we'll mix up with the retrospectives.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Thu Sep 02, 2010 8:51 pm 
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Smoke
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I wasn't around when Oh Mercy came and went. I've never listened to it all but "Most of the Time" is one of my top 10 favorite songs by him.

One of the great melancholy mood tunes ever.


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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Thu Sep 02, 2010 9:50 pm 
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Whiskey Tango
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DumpJack Wrote:
[
On to the live records which we'll mix up with the retrospectives.


I vote we restart on Tuesday given that everybody is a little behind and it's the beginning of a long holiday weekend here in the States.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Thu Sep 02, 2010 9:53 pm 
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Yail Bloor Wrote:
DumpJack Wrote:
[
On to the live records which we'll mix up with the retrospectives.


I vote we restart on Tuesday given that everybody is a little behind and it's the beginning of a long holiday weekend here in the States.


YES! I plan on ruining our weekend by playing only these fail albums.

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Throughout his life, from childhood until death, he was beset by severe swings of mood. His depressions frequently encouraged, and were exacerbated by, his various vices. His character mixed a superficial Enlightenment sensibility for reason and taste with a genuine and somewhat Romantic love of the sublime and a propensity for occasionally puerile whimsy.
harry Wrote:
I understand that you, of all people, know this crisis and, in your own way, are working to address it. You, the madras-pantsed julip-sipping Southern cracker and me, the oldman hippie California fruit cake are brothers in the struggle to save our country.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Thu Sep 02, 2010 9:56 pm 
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TEH MACHINE
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Yail Bloor Wrote:
DumpJack Wrote:
[
On to the live records which we'll mix up with the retrospectives.


I vote we restart on Tuesday given that everybody is a little behind and it's the beginning of a long holiday weekend here in the States.


Not just the States, chummy. It's the beginning of a long weekend here too. Canada 101: We Celebrate Labour.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Fri Sep 03, 2010 8:56 am 
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Whiskey Tango
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DumpJack Wrote:
Yail Bloor Wrote:
DumpJack Wrote:
[
On to the live records which we'll mix up with the retrospectives.


I vote we restart on Tuesday given that everybody is a little behind and it's the beginning of a long holiday weekend here in the States.


Not just the States, chummy. It's the beginning of a long weekend here too. Canada 101: We Celebrate Labour.


I'm surprised our corporate financed government hasn't seen fit to ban Labor Day as some sort of "celebration of communism"

If I ran Fox News, I would attempt this just to see if I could pull it off in one week or two.

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 Post subject: Re: The DJ and Gar Saga Continues-The Bob Dylan listening thread
PostPosted: Tue Sep 07, 2010 10:52 pm 
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TEH MACHINE
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All right, where are we at here?

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