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Bob Dylan: Rolling Thunder Revue: The 1975 Live Recordings Album Review

Bob Dylan's Rolling Thunder Revue was not long after. From its conception to its dissolution, it spreads within just one year, not long for a career that is about to enter the seventh decade. Perhaps that's why Dylan professes ignorance about the inspiration for his roving carnival in Rolling Thunder rebey: A Bob Dylan Story by Martin Scorsese a long-titled documentary that has recently premiered on Netflix . In one of the new movie interviews, the singer-songwriter says, "I'm trying to get the core of what this Rolling Thunder thing is about, and I have no explanation because it's gone! It's something it took 40 years [ago] -and its reality. "

However, other people remember a lot about the Rolling Thunder. Since the fall of 1975-when Dylan traveled to New England in a tight band of musicians, playing small areas in the collapse of a hat-the review was the object of legend between Dylan conoscenti. Most of her fascinating lies in the way the superior first incarnation of the tour only lasts about as long as a hot summer squall. The second leg was followed in 1

976, but by all accounts Dylan was hungry and withdrawn-a dispute supported by Hard Rain a & # 39; 76 live set-only official Rolling Thunder document until selections from the 1975 show were put together, in 2002, as the fifth volume of current Dylan's Bootleg Series .

Certainly, The Bootleg Series, Vol. 5 is easier than digest than The Rolling Thunder Revue: The 1975 Live Recordings a 14-CD box released to accompany the Scorsese film. Containing Dylan's columns from the five Rolling Thunder concerts recorded in the profession, including three discs of rehearsals and a disc of oddities taken from the tour, the box shows a high level of interest from to the listener: A set running for ten and a half hours is not for dabblers. Unparalleled collapse suits the Rolling Thunder Revue, which is said to be not just a night of entertainment but an immersive theater experience.

Most of the increased feeling of drama reduces the record, but it can still be felt, and the big box is sometimes a good job of suggesting the circus occurring both at and off stage. All rehearsals help build the environment. Here, Dylan and his band of old folk, new rockers, and unknowns have been identified, playing native sorrel sounds and songs he wants to cut for Desire which will not be released until after the tour's first leg of the tour. The harmonies are stripe and the temples are temporary, but the bonhomie feels. Dylan's singing is also evident: open hearted, courageous, and clear, virtuous qualities of Before the Flood a 1974 double-sized souvenir of his 1974 back to the stage.

concerts that were excerpted at Before the Flood was intended to be a show. Dylan was not played live because of his motorcycle accident in 1966, and he was supported by the Band, who made a move from his backing band to the stars in their own right. Although the & # 39; 74 tour was a wild victory, Dylan was sunk in playing arenas, and the boredom, accompanied by personal distress, was the catalyst for his attempt to recreate his coffeehouse roots by Rolling Thunder Revue. He surrounded himself with numbers from his past-his former advocates and paramour Joan Baez, Ramblin & # 39; Jack Elliott, Bob Neuwirth, and Roger McGuinn-Dylan also roped into new blood. He earned a drink with Mick Ronson, the late Spider From Mars of David Bowie, so he invited the guitarist to be part of a bad band that later became known as Guam. He saw Scarlet Rivera walking the streets of New York with his violin in hand, so he took him to jail. Most importantly, he happened to fear Jacques Levy, director of the 1969 Off-Broadway hit Oh! Calcutta! and struck it with a pair of good, they wrote the most of Desire together and decided it was time to put on a show.

Levy presented the Rolling Thunder Revue as an old-fashioned circus, encouraging Dylan to continue his fanatic side-the singer who often performed on a face with white makeup-and the feeling of being injured throughout production. Due to the continuing expansion of guerrilla characters and marketing-the troop often arrives in town without warning and no attractive star named in the name-the Rolling Thunder Revue has provided a suggestion that may occur. Like all the theaters, that's an illusion. Details can be changed one night, but the outline of the show is unchanged, something that this big box that spreads four-hour extravaganzas just to the columns that Bob Dylan-explains.

Every night, Dylan appeared at three particular times during the show: walking stage without singing "When I Painted My Masterpiece" with the band, playing a duet with Baez, then closes the show on his own. For each of the three stages of Revue, he was stuck with a large static setlist. Crashes are rare, and many are featured on the last disc, which are ragged enough to live up to the reputation of the Rolling Thunder. Some of these tracks have been picked up in unique locations-a shameless, almost jumping version of "Simple Twist of Fate" was held at Massachusetts mah-jongg parlor, a Peter La Farge's apathetic cover of "The Ballad of Ira Hayes "given to a Native American Reserve-while others give a variation in a familiar tune, such as a slow-churning" Isis "where the band seems to be on the verge of collapse. In this context, an almost whispered hotel-room takes Smokey Robinson's "The Tracks of My Tears" and a rampaging version of "It Takes a Lot to Laugh, It Will Take a Train to Cry," which features Robbie Robertson at guitar, act as the revelatory grace notes, showing how painful and galvanizing the Rolling Thunder Revue can be.

However, the heart of the box set lies in five full concerts, all sharing the same core momentum, all of which are characterized by love. The strength is not with Dylan. The Guam band is hard-pressed and diligent, taking the time to inform all of their disparate voices. Rivera's care of middle biolin promotes an earthly rescue of the trials, while Ronson's guitar guitar focuses on music whenever it threatens to get too folky. Dylan corresponds to Ronson for electrifying verve, singing with a lively bravado and untrammeled freedom that is distinctly different from the primal howl he used during his festive 1966 tour to the Band. Despite this kinetic kick, Rolling Thunder Revue is at its core a hootenanny, a down bash that is equal and noisy. His native heart is evident in Joan Baez's role as co-star and Dylan's foil. Baez helped bring Dylan to the end of the folk boom peak in the early 1960's, and here he was determined to let the listeners know that they were in equal foot, harmonizing and sometimes Dylan dominates during their duet.

the hearing of Dylan was happy to share the charms of Rolling Thunder Revue, particularly how he sought solace in a community setting. If the tour is just about reconnection, it is less than a footnote in Dylan's history, but the action of nostalgia is a grim level of surface; the form may be familiar, but individual performances are thoroughly, thrillingly of the moment. Dylan plays warm-filled plants with a slight inspiration and appears slightly, and he is surrounded by no secret but older friends identifying his folly and humor. Why are they still signing up to play with the Rolling Thunder Revue? Through the design, the tour delivers a barrier that separates ruse and reality, and the deliberate, bad conflation is as dylanesque as the fact that it lasted a few weeks and then disappeared, its spirited spirit did not rebuild the maker does. [19659010]
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