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Bob Dylan - Song Book - Noten Texte Fotos Infos


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Von: francoisvillon Nordrhein-Westfalen Händler
Harry Göhde
47226 Duisburg
Telefon: 02065 81920
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Infos: Art-Nr.: 84883
Photographs by Chuck Stewart
the man behind the songs
By Robert Shelton
(Folk music critic of The New York Times)
These are the songs of Bob Dylan, the pioneer, the trail-blazer, the innovator, who has disturbed, delighted, dismayed and deepened the thinking of millions of listeners. He breaks all the rules. He sets new compass-points. He experiments and assimilates all musical influences, then turns about to influence the musical worlds around him.

In the late summer of 1965 the national press again took cognizance of Dylan's importance. The New York Times and Variety both called him the most influential American writer-performer to emerge in a decade. Newsweek called him »the Patrick Henry of this (folk rock) revolution,« while Time said: »Folk rock owes its origins to Bob Dylan, 24, folk music's most celebrated contemporary composer.«

Folk rock was but one of a half-dozen styles that Dylan had run through in four years of professional performing and writing. Study the words and tunes herein and you will find a portrait of one of the musical-poetic geniuses of our time, an artist as multi-faceted as a Picasso or a Cocteau, running through new concepts with such a burning creativity that he often outruns the comprehension of his followers.

Who is this fountainhead of song? What is he really like? Not even the closest friends of Bob Dylan could agree on an answer. He keeps his own counsel and always has, They will tell you he hates lifelessness, hypocrisy, regimentation, injustice, pomposity, They will tell you that, although he loves to laugh and play outrageous jokes, he is somber often, tortured frequently, thinking always.

When Bob Dylan first arrived in New York, a callow, tousle-haired 19-year-old, he was writing comical-satirical talking blues songs.Then he moved into a deeper sort of comment about the world, railing as a poet against war in A HARD RAIN�S A GONNA FALL and MASTERS OF

-----------------------------------------------

personal notes
»Winter time in New York town,
The wind blowin�, snow around,
Walk around with no where to go
Somebody could freeze right to the bone.
I froze right to the bone.«
(From »Talkin' New York« by Bob Dylan)

That was in the winter of 1961, Dylan was only 20 years old, but he had already sung his way through half the states in the country. He'd run away to Chicago when he was 10, travelled with a Texas carnival when he was 13, and thumbed his way for the next seven years from New Mexico to South Dakota, from Kansas to California. He'd come a long way East, mainly to visit the legendary Woody Guthrie, lying ill in a New Jersey hospital.
A few months later, Dylan's raw-edged voice and the powerful imagery of his words had thrown the clan of folk music enthusiasts who gather at Gerde�s Folk City in Greenwich Village into an uproar.

»He may,« wrote Robert Shelton in the New York Times, »mumble the text of >House of the Rising Sun< in a searcely understandable growl or sob, or clearly enunciate the poetic poignancy of a Blind Lemon Jefferson blues... but his music-making has the mark of originality and inspiration, all the more noteworthy for his youth. Mr. Dylan is vague about his antecedents and birthplace, but it matters less where he has been than where he is going, and that would seem to be straight up.«

In the fall of the same year, Dylan walked into a Columbia Records studio to make his first album.
Upon the release of the simply titled »Bob Dylan,« the Saturday Review remarked that the record has presented »one of the most creative and communicative of folk artists since Woody Guthrie.« The reception accorded Dylan�s next albums, »The �Times They Are A-Changin�,« »Another Side of Bob Dylan,« »The Freewheelin� Bob Dylan« and »Bringing It All Back Home,« »Highway 61 Revisited,« has been overwhelming.

His have been the most favorably received appearances at both the Monterey and Newport Folk Festivals. The cities of Boston, Philadelphia, Ann Arbor, Washington and Chicago are awaiting return engagements, and his masterfully delivered program in the spring of 1963 at New York City�s Town Hall resulted in one-man concerts at Carnegie Hall and Lincoln Center where stage seats were necessary to accommodate overflow audiences.

His impact has been equally as forceful throughout the world. The winner of two of Britain�s most coveted national awards in 1964: Best Folk Music Record, for his album, »The Freewheelin� Bob Dylan,« and Most Outstanding Newcomer to Records, the folk singer recently completed his second tour of England. His extended series of appearances in that country, climaxed by two concerts at London�s famous Albert Hall, ended with his emergence as the most important new entertainer in all of Great Britain. His first four albums are currently in the top twenty listing of Record Retailer, Britain's leading music trade paper, and his singles, »The Times They Are A-Changin�« and »Subterranean Homesick Blues,« are also climbing the charts. There is reason for such enthusiasm. For in the years since he came East, Bob Dylan - singer, composer, poet, humorist, spokesman - has developed into the most creative force in folk music today.

As folk poet, Bob Dylan is without peer among his generation. His songs or stories,« as he calls them, have been sung and recorded by Odetta, Marlene Dietrich, Peter, Paul and Mary, The Kingston Trio, lan and Sylvia, The Chad Mitchell Trio, Bobby Darin, Pete Seeger and Judy Collins. Joan Baez is preparing an album of all-Bob Dylan material. Many of his songs, such as »Don�t Think Twice, It�s All Right,� »Blowin� in the Wind.« »A Hard Rain�s A-Gonna Fall« and »Masters of War.« have been among the most popular recordings in the country. Their quality, however, has insured them a place in American music more permanent than a high listing on best-selling charts.

Dylan is a deeply committed young man who conveys his concern for the world around him through unique and poetic imagery that makes explicit the human condition. As critic Robert Shelton has noted, »Dylan breaks all the rules of songwriting except that of having something to say and saying it stunningly.«

With a mussed shock of hair topping gaunt, sensitive features, dressed in beat-up blue jeans, boots and wrinkled shirts, Dylan appears an outlandish, Chaplinesque figure. He accompanies himself with a driving guitar and a harmonica that complements the sometimes bleak wail or guttural murmur of his voice. Moods of poignancy, anger, bitterness and hope have not been projected so movingly since the days of Leadbelly and Big Bull Broonzy. He has been influenced by them and by Hank Williams, Muddy Waters, Jelly Roll Morton, Mance Lipscomb and Big Joe Williams. His Midwestern twang, expert handling of the »talking blues« and sardonic wit seem almost directly traceable to Woody Guthrie.

Dylan is a compelling stylist in the tradition of those immortals, but his words are the impassioned poetry of now, and he sings them in his own highly individual and continually evolving manner

The frenetic revival of folk music in this country has spawned the careers of legions of young singers, variously allied with the so-called ethnic, authentic, purist and urban-singer schools. Dylan is closest to the last, but, in fact, so distinctive in style that he defies classification. Rising above folk music us a vogue, he seizes the themes of loneliness, fear, war, freedom and despair, transcends their potentiality for tiresome cliche and, in a fusion of Negro blues and country music, translates them into a profound aesthetic experience. It is this that has led Pete Seeger to say that »He ll be America�s greatest troubador� and to add, as if the younger singer's commitment were almost too intense, »if he doesn�t explode«

Born in Duluth, Minnesota on May 24, 1941, Bob Dylan lived off and on for his first 17 years an Hibbing, Minnesota, a mining town »way up on the Canadian border.« In an often hilarious summary of his early experiences called »My Life in a Stolen Minute.« Dylan wrote, »Hibbing�s a good ol' town. I ran away from it when I was 10,12, 13, 15 1/2, 17 an� 18. I been caught an' brought back all but once«

His first jaunt was to Chicago and before the police found him, the 10-year-old runaway had gotten his first guitar from the friend of a street singer on the South Side. By age 15, he'd also taught himself piano, autoharp and harmonies and had written his first song, dedicated to Brigitte Bardot. Thereafter his restlessness took him to Gallup, New Mexico, Cheyenne, South Dakota; Sioux Falls, South Dakota (»I didn�t learn songs there, just ways of singing«); Philipsburg, Kansas, and Burbank, California (»That's where I first saw Woody«). Dylan graduated from high school in Hibbing and attended the University of Minnesota for a little less than six months, where he learned that »lots of people go to college.«

»From God knows where.« exclaimed a critic for the San Francisco Examiner, »Dylan has absorbed, engorged or engulfed all the techniques of the unlettered greats of the folk song tradition, including the rich strain of Negro contribution to the culture.«

Dylan's explanation - »Open up your eyes an� ears an� yer influenced - an� there's nothing you can do about it... I just seem to draw into myself whatever comes my way and it comes out me.«
-----------------------------------------------
Tabel of Contents:
Index of first lines
Biography
The Man Behind the Songs by Robert Shelton

ALL I REALLY WANT TO DO
BALLAD IN PLAIN D
BALLAD OF HOLLIS BROWN
BLACK CROW BLUES
BLOWIN� IN THE WIND
BOB DYLAN�S DREAM
BOB DYLAN�S 115TH DREAM
BOOTS OF SPANISH LEATHER
CHIMES OF FREEDOM
DON�T THINK TWICE, IT�S ALL RIGHT
ETERNAL CIRCLE
FAREWELL
GATES OF EDEN, THE
GIRL OF THE NORTH COUNTRY
HARD RAIN�S A GONNA FALL, A
HERO BLUES
I DON'T BELIEVE YOU
IT AIN'T ME, BABE
IT�S ALL OVER NOW, BABY BLUE
IT�S ALRIGHT MA (I'm Only Bleeding)
LAY DOWN YOUR WEARY TUNE
LET ME DIE IN MY FOOTSTEPS
LIKE A ROLLING STONE
LOVE MINUS ZERO/NO LIMIT
MAGGIE�S FARM
MASTERS OF WAR
MR. TAMBOURINE MAN
MOTORPSYCHO NIGHTMARE
NORTH COUNTRY BLUES
ONLY A PAWN IN THEIR GAME
ON THE ROAD AGAIN
OUTLAW BLUES
OXFORD TOWN
PATHS OF VICTORY
QUIT YOUR LOW DOWN WAYS
SEVEN CURSES
SHE BELONGS TO ME
SPANISH HARLEM INCIDENT
SUBTERRANEAN HOMESICK BLUES
TIMES THEY ARE A-CHANGIN�, THE
TOMORROW IS A LONG TIME
TO RAMONA
WALKIN� DOWN THE LINE
WALLS OF RED WING
WHEN THE SHIP COMES IN
WHO KILLED DAVEY MOORE?
WITH GOD ON OUR SIDE

Recording Information
Chord Diagrams
Ukulele
Five String Banjo
Tenor Banjo
Baritone Ukulele

All Compositions Published by WARNER BROS. MUSIC LTD. 17 Berners Street, London, W.1.
for the British Commonwealth of Nations
(excluding Canada & Australasia) & the Republic of Eire.
Größe: 220x275 mm
Taschenbuch
Music Sales Limited, London | englisch

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