(alt. take)

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23 commentaires pour (alt. take)

  1. Anonyme dit :

    Ce type a même préfiguré la venue du hip hop ; à part décliner à l’infini la production des années 65-66, que peut-on faire ou écouter après ça ?

  2. antonom dit :

    à propos de déclinaison, je viens de retrouver les ainés des brian jonestown massacre, sur la côte opposée

  3. fish truck that loads dit :


  4. a dit :

    c’est pas dans un corman qu’on entendrait ça

  5. Anonyme dit :

    À plus forte raison.

  6. Anonyme dit :

    15 November 1980: ‘ Thank you! Thank you. All right, I was playing a club in Chicago, and I guess it was about 1959 or 1960 [it was late April 1963] and I was sitting ….I was sitting in the restaurant. I think it was probably across the street or maybe it was in front of the club, I’m not sure. But a guy came down and said that he played the guitar. So he had his guitar with him and he began to play. I said “Well, what can you play? He played all kinds of things, I don’t know if you’ve ever heard of them. Does Big Bill Broonzy ring a bell?. Or Sonny Boy Williamson and that type of thing. Anyway, he just played circles around anything I could play and I always remembered that. Anyway, we were back in New York, I think it was 1963 or 1964 [SP: it was 15 June 1965] and I needed a guitar player on a session there I was doing. And I called up, I did remember his name, and he came in and recorded an album, at that time he was working in a Paul Butterfield Blues Band. Anyway, he played with me on the record and I think we played some other dates [Newport, Forest Hills]. I haven’t seen him too much since then. Anyway, he played on ‘Like A Rolling Stone’, and he’s here tonight. Give him a hand, Michael Bloomfield! ´

  7. Anonyme dit :

    We went down to the dressing room, and it really was nice. Dylan hugged Michael, and Michael introduced me to him. They gave us backstage passes, and then Bob brought out Michael during the concert. And he gave him a 10-minute introduction. He took 10 minutes to tell this young audience of his, this new generation audience, that here in their midst in San Francisco was this legendary guitar player, who he thought was, perhaps, the greatest guitar player alive. And who had added so much to his music. And now he was going to bring him onstage. So Michael shuffles onstage with his bedroom slippers, looking somewhat embarrassed, plugs in and plays the most pure, the most perfect accompaniments, the most intelligent, most brilliant playing that I’d heard in God knows how long, putting in all the right stings and the overtones and the slide.

    It was like he knew about it and figured it all out in advance and rehearsed all of the songs. Of course, he hadn’t done any of that. The crowd went berserk. Berserk. I think most of them didn’t even know who Michael was. Some of them did, the ones who were true San Francisco old-timers, who knew Dylan, knew Michael, and they were just blown away that here they were together.

    When Michael started playing, the music came alive like nothing you’ve ever heard. I mean, it was just like that killer slide guitar on the Highway 61 album–only it was louder and leaner and ore mature and more thoughtful, faster, and cleverer. It was really quite a job he did, and it surprised the hell of of me, because he was not in great shape that night….

    …Bob came up to Michael, and I won’t say there were tears in his eyes, but I would say it was as close as it could be. And he said, ‘God, I had forgotten what a difference your playing made in my music, and how imporant it was to it, and how much I had missed it.' »

  8. ghost of electricity dit :

    Kind of funny: the Guitar That Killed Folk!

  9. notbying dit :

    b u t w h a t a n i n t r o d u c t i o n t h a t w a s !

  10. journaldejane dit :

    These work-in-progress tapes port the listener back to the time when the songs were still pencil scribblings, endlessly malleable and subject to change. They suggest that, well before he got in trouble for taking liberties with the melodies of his songs in live performance, Dylan was a resolute, committed improvisor. He treated the recording process as something other than simple documentation; it was more like an act of discovery, aimed at uncovering intentions lurking three levels deep. He was openminded in the extreme. He changed the rhythms, the melodies and the words, and shifted the emphasis points in his phrasing — all in the name of letting the song show him how it should go.


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