Feest voor de Dylan liefhebber, het 'nieuwe' album Tell Tale Signs
Het gaat om afgekeurde opnamen en/of demo,s outtakes en live opnames uit de periode tussen de albums 'Oh Mercy' (1989) en Modern Times(2006)
Hij zit hier al dagen in de player en verveeld nog geen seconde.
Het mooie van de bootlegseries, dit is alweer deel acht, dat de songs allemaal weer net even anders klinken.
Mississippi staat er b.v in twee totaal verschillende versies op.
Ik vindTell Tale Signs een mooi overzicht van de laatste twintig jaar van Dylans carrière .
Zijn stem mag dat niet meer zijn wat het geweest ,de songs
zijn,zoals gewoonlijk, allemaal even sterk.
Ook leuk om toch weer net wat andere versies op te zoeken.
Mississippi (Medford,Oregon 9 okt.2001)
Rolling Stone's Mikal Gilmore
...Tell Tale Signs is less an anthology than an album in its own right. It seems designed to tell a story that sharpens and expands the vista of mortal and cultural disintegration that has been the chief theme of 1997's Time Out of Mind, 2001's Love and Theft, and 2006's Modern Times - perhaps the most daring music he's ever made. Tell Tale Signs makes plain that Dylan knows the caprices of the world he lives in, now more than ever.
Dignity ( MTV Unplugged 1994)
Los Angeles Times' Robert Hilburn
Bob Dylan's latest collection of material from his musical back pages, "Tell Tale Signs: The Bootleg Series Vol. 8," is a rich, revealing look at how this master songwriter put together one of the most dramatic creative renaissances in pop history...."Tell Tale Signs" is not just "extra" Dylan. It's essential Dylan.
Most of the Time (with David Lindley)
The Independent's Andy Gill
The eighth instalment of Dylan's Bootleg Series covers the years spanning his 1989 return to form with Oh Mercy up to the present day, a period in which he managed to conquer a long-standing blight of writer's block, establish himself as the pre-eminent repository of American roots-music forms, and ultimately find the route to the Indian summer of Time Out of Mind, "Love and Theft" and Modern Times....It's a remarkable collection...
Ring them Bells (Dublin 13 Sept.200)
The Telegraph's David Cheal
There's stuff here that leaves the listener wondering: why have we never heard this before? What possessed him, for instance, to excise Red River Shore from his Time Out of Mind album? It's a haunting classic. Ditto the wistful Born in Time (from the Oh Mercy sessions)...what's captured here is the restless, questing creative spirit of the man. He never stops.
The BBC's Chris Jones
If you love the trilogy of Time Out Of Mind, Love And Theft and Modern Times you're going to adore this. It lays bare the process that led Dylan to not only revisit the work that got him fired up in the first place but remake them in his own image: the Carter Family (Tell Ol' Bill) amongst many others...As a companion to his best work from the period this is essential. It even stands as a fine album on its own—the work of a man obviously in love with his muse once more, and totally unafraid of fessin' up to his roots. Beautiful, brave and beguiling.
God Knows (Praag 16 Juli 1994)
ROLLING STONE: "...Tell Tale Signs is less an anthology than an album in its own right. It seems designed to tell a story that sharpens and expands the vista of mortal and cultural disintegration that has been the chief theme of 1997's Time Out of Mind, 2001's 'Love and Theft', and 2006's Modern Times - perhaps the most daring music he's ever made. Tell Tale Signs makes plain that Dylan knows the caprices of the world he lives in, now more than ever."
Born in Time (Nashville 8 nov 1994)
SAN FRANCISCO CHRONICLE: "...there had never been anything quite like Bob Dylan in the 1960s, and there's nothing quite like him today."
zaterdag 14 november 2015
woensdag 11 november 2015
Allen Room Lincoln Center
New York, New York January 30, 2014
Jason Isbell & The 400 Unit - Decoration Day from Aart van Hoften on Vimeo.
Title track from The Drive By Truckers album Decoration Day.
As is the Truckers' trademark, a number of Decoration Day's songs deal with elements of southern folklore. The title track, written by guitarist Jason Isbell, tells "a story that's rumored to be true" of two families involved in a passionate intergenerational feud which has gone on so long that few can remember why such hatred exists between them. Isbell wrote the song just three days after joining the band while touring in support of Southern Rock Opera.