Apple Jack
Footballguy
Big fan of Travel On and Quinn the Eskimo for Self Portrait. It is a weird, out of left field record.
I was wondering, too, but I have my nights also and didn't want to push. Sounded like a martini or two or some weed concoction 80s partaketh in.
Glad it wasn't something Bosley and I didNo clue why I posted that. I was definitely not sad last night. Was likely the start of a post about something and then I got adhd on it and accidentally hit submit.
lol no, it was probably my review of Down in the GrooveGlad it wasn't something Bosley and I did
Thanks for the update. May give it a listen accordingly. Best to Boz.Started Blood on the Tracks last night. It's probably the Dylan album I know best because it was everywhere when I was a teenager.
Boz is OK.
This is my favorite Dylan song easily.Starting with one of rock's greatest album openers "Subterranean Homesick Blues", Dylan is on fire.
I'm not a big Dylan fan, but this is probably why BOTT is my favorite LP of his. I came very late to this realization.I should have mentioned how great Dylan sings on Blood on the Tracks. His voice is markedly better, stronger yet more supple than on his 60s records. He toned down the upper register stuff from Nashville Skyline but elements of that crooning remain. His voice hung in for another two decades or so but I'd be hard pressed to think of a record where he sounds better.
amazing stuff here ... thanks for sharingI'm not a big Dylan fan, but this is probably why BOTT is my favorite LP of his. I came very late to this realization.
As for its place in the cultural landscape of 1975, I dunno....... The record didn't get a lot of commercial airplay, because - besides the dying carcass of free-form you mentioned - it didn't fit any already-ossifying format. If they didn't read Rolling Stone or weren't an aging hippie (Venn diagram, anyone?), I doubt very seriously if your average radio listener would have known of this album's existence.
The big kicker for this album's popularity was that almost all of the first-gen rock critics - bored to death slamming KISS or Bad Company's latest - pimped BOTT to high heaven. Some of that was in a "Hey! He's still got a little oomph on his fastball!" vein, but more that those guys (along with Woodstock Generation listeners) were desperate for ANY of their '60s heroes to show a pulse. Hendrix - dead. Joplin - dead. Otis - dead. Morrison - dead. Beatles - dead. Stones - rolling in a pile of coke and women. Clapton - castrated. The Dead - irrelevant. The Who - limping to the finish. The Airplane - playing in dentist offices. James Brown - hopelessly out of date. Creedence - dead. Joni - jazzbo. Aretha - toast for a decade.
Some of these critics were hanging at CBGBs, snorting speed, crying into their beers, and wondering how they'll try yet again to convince the world that the Dolls are better than the Stones. They'll find something else to get hysterical about soon enough, but a new Dylan LP was all they had in '75. Besides, that is, Bruce Springsteen.
I was 13 when the record came out - not Dylan's target audience, I reckon, but I only knew about this album because of my aunt. She's 10 years older than me and was the driver for most of my pop-culture leanings on those days. She played the hell out of this album. I didn't much like it then and spent most of my time hearing wondering when Grand Funk's next LP was being released.
For sure. I would put Blowin in the Wind>Girl from the North Country right up there as well though and then later that album puts A Hard Rain's A-Gonna Fall >Don't Think Twice It's Alright back to back. Those are incredible pairs of songs.Hard to think of a better one-two opener than TUIB>Simple Twist of Fate. And then If You See Her Say Hello. She might think that I've forgotten her, don't tell her it isn't so.
One of things lost with the LP format (and cassettes too I guess) was the notion of two distinct sides. I don't know how much importance Dylan placed on the sequencing of tracks. He's notoriously haphazard about the recording process but since he maintains control over the final cut and his outtakes are so well documented, it's clear that some thought went into it.For sure. I would put Blowin in the Wind>Girl from the North Country right up there as well though and then later that album puts A Hard Rain's A-Gonna Fall >Don't Think Twice It's Alright back to back. Those are incredible pairs of songs.Hard to think of a better one-two opener than TUIB>Simple Twist of Fate. And then If You See Her Say Hello. She might think that I've forgotten her, don't tell her it isn't so.
Good point, I have no idea where almost any records transition sides.One of things lost with the LP format (and cassettes too I guess) was the notion of two distinct sides. I don't know how much importance Dylan placed on the sequencing of tracks. He's notoriously haphazard about the recording process but since he maintains control over the final cut and his outtakes are so well documented, it's clear that some thought went into it.
Side 2 of Blood on the Tracks opens with "Meet Me in the Morning" which I think is one of the weaker tracks on the album. It closes with "Buckets of Rain" which seems kind of incongruous with the rest of the album. It was Dylan's second consecutive album that threw a curveball for the final song on side two. Planet Waves ended with Wedding Song, a solo acoustic piece that would have fit better on Blood on the Tracks.
The CD began to dominate in the late 80s. Of course it's a one-sided format that can hold more music than an LP. Dylan's 80s albums are short by contemporary standards (some only seem long). it wasn't until Time Out of Mind in 1997 that he went over the hour mark on a studio album in the CD era. It clocks in at 72 minutes, the same run time as Blonde On Blonde.Good point, I have no idea where almost any records transition sides.
That's a year's worth of Spotify or about 100 lbs of dog foodI think I've said it before, but it fits here, especially. Mobile Fidelity is doing an a one-cut, half speed, sourced from the original masters version of Blood On The Tracks available for pre-order as of this writing. It's about $125, so be prepared to spend a little bit.
I get no promotional consideration for this, of course, it's just a heads-up. Consider it an annoying radio ad when you look back at this thread.
You meddling kids and your opportunity costs.That's a year's worth of Spotify or about 100 lbs of dog food
I wonder how much any artist cared about sequencing songs on an LP. Many didn't even have a say.One of things lost with the LP format (and cassettes too I guess) was the notion of two distinct sides. I don't know how much importance Dylan placed on the sequencing of tracks. He's notoriously haphazard about the recording process but since he maintains control over the final cut and his outtakes are so well documented, it's clear that some thought went into it.
Side 2 of Blood on the Tracks opens with "Meet Me in the Morning" which I think is one of the weaker tracks on the album. It closes with "Buckets of Rain" which seems kind of incongruous with the rest of the album. It was Dylan's second consecutive album that threw a curveball for the final song on side two. Planet Waves ended with Wedding Song, a solo acoustic piece that would have fit better on Blood on the Tracks.
In Dylan's catalog, I think if you listened to all his album openers and closers separately, you'd find the former to be much more poppy and catchy than the latter. He often leaves his grandest statements until the end. Blood on the Tracks is an exception because Bob is nothing if not contrary.I wonder how much any artist cared about sequencing songs on an LP. Many didn't even have a say.
I'm ok with that. It was a false way to judge music, anyway. And it conveniently excluded too many who weren't white guys with guitars.Maybe it's a lost art because the album is in its death throes.
The La's and Spoon are both bands where sequencing plays a really important part of their last song on one of their albums. On The La's The La's the last song is written to include the melody/essence of the previous eleven while Spoon's last song on Gimme Fiction is the same in that it tells the story of the previous eleven in lyric form.Some artists leave it to the producer to put the songs in order are others (Springsteen comes to mind immediately) who seem to take a lot of care in how the songs are sequenced. Maybe it's a lost art because the album is in its death throes.
I'm ok with that. It was a false way to judge music, anyway. And it conveniently excluded too many who weren't white guys with guitars.
Side 2 of Meddle is sequenced perfectly.I always believed that Dark Side of the Moon was ordered to be meaningful. I have no idea if that is true or just a mistake on my part. Regardless, I am a really big fan of the old style of listening to an album as an album ... in sequence.
Sure I can, and it's exactly because of the second sentence I bolded.You can't blame the album format for excluding females and artists of colors. The album era was 1967-1989ish; the predominant music during this period came from white guys with guitars. If anything, it's the music industry's fault for lack of imagination.
Sure I can, and it's exactly because of the second sentence I bolded.
Only 4 minutes left ... goodSide 2 of Meddle is sequenced perfectly.
Well the comic book and me just us we caught the busThe Basement Tapes are incredible, much better than I remembered.