Se muestran los artículos pertenecientes a Mayo de 2007.
PLANTADO EN LA CALLE
MIENTRAS CAMINO DESPACIO POR LAS NOCHES DE VERANO
UNA SUAVE MUSICA ME TRAE RECUERDOS DE UN PASADO LEJANO
EL AYER VINO RAPIDO Y SE FUE VELOZ
HOY, TODO TRANSCURRE SIN VOZ
SIN UN LUGAR A DONDE IR
SIN UN FUEGO JUNTO AL QUE VIVIR
SI TE VOLVIERA A VER AQUI HOY, DONDE AHORA ESTOY
NO SE SI TE BESARIA O TE MATARIA
AUNQUE PROBABLEMENTE NO TE IMPORTARIA
PORQUE PARA TI YA SOLO SOY ALGUIEN A QUIEN DEJASTE UN DIA
PLANTADO EN LA PUERTA LLORANDO
ESTE NO ES UN BUEN LUGAR
SU LUZ EN MIS HERIDAS NO DEJA DE HURGAR
Y TANTA RISA FLOJA TUS LABIOS HACIA MI ARROJAN
QUE HASTA LAS ESTRELLAS SE SONROJAN
MIENTRAS APURO MIS ULTIMOS CIGARRILLOS Y A LO LEJOS CANTAN LOS GRILLOS
EL FANTASMA DE NUESTRO AMOR NO PARECE ALEJARSE
UN AMOR QUE LA LUNA DE MEDIA NOCHE NO QUIERE LLEVARSE
UN DIA ME ENCANTASTE
Y OTRO ME DEJASTE
PLANTADO EN LA PUERTA LLORANDO
TAL VEZ ME LLEVEN TUS DEMONIOS O TAL VEZ NO
PERO ESTA NOCHE Y AQUI, SEGURO QUE NO
HAY QUE COSAS QUE YO SE PERO NO DIRE
ANTES, DE AQUI ME IRE Y LA MISERICORDIA DE DIOS PERSEGUIRE
TANTAS HORAS EN ESTE TREN NOCTURNO
HAN HECHO DE MI UN SER FRIO Y TACITURNO
TANTAS NOCHES JUNTO A TU LADO
TU INDIFERENCIA POR MI, MI SANGRE HA CONGELADO
VOLVER JUNTO ATI AHORA SERIA ROMPER TODAS LAS REGLAS
ME DEJASTE PLANTADO, RECUERDAS?
SUFRIENDO Y LLORANDO, ARRINCONADO CONTRA LAS CUERDAS
Y ESO, CARIÑO, A VER COMO LO ARREGLAS
AL CAER LOS ULTIMOS RAYOS DEL DIA, CON MI CUERPO CANSADO DE LUCHAR
A TRAVES DEL CAMPO, LAS CAMPANAS DE UNA IGLESIA PUEDO ESCUCHAR
SE QUE DE ESTA GUERRA NO SALDRE VICTORIOSO
AUNQUE MI CORAZON POR TI AUN LATA ANSIOSO
AYER EN SUEÑOS CON OTRA MUJER ME VI BAILANDO
Y CUANDO DESPERTE, CONTIGO ESTABA SOÑANDO
CONVERTIDO EN UN CRISOL
EN ESTA OSCURA TIERRA DEL SOL
PLANTADO EN LA CALLE, LLORANDO
COMO CUANDO TENGO HAMBRE Y BEBO SI TENGO SED
VIVO, PARED CON PARED
SI LA VIDA A MI LADO NO TE VUELVE A TRAER
ALGUIEN QUE YO SE CUIDARA DE MI, NO ME DEJARA CAER
AHORA APRECIO MUCHO MAS
EL MAS MINIMO GESTO DE AMOR EN LOS DEMAS
NO VEO QUE MAS PUEDA AÑADIRSE
QUE MAS COSAS PUEDAN YA DECIRSE
ESTOY ENVUELTO EN UNA TRISTEZA QUE DE MI YA NO QUIERE IRSE
ME DEJASTE PLANTADO EN LA CALLE LLORANDO
We seem to be hellbent on destruction," Wenner said during his interview with Rolling Stone's idol-in-chief, Bob Dylan. "Do you worry about global warming?"
To which Dylan replied: "Where's the global warming? Its freezing in here."
Bless his rock 'n' roll heart.
Bob dylan himself didnt start composing his own songs, he just played and sang traditional folk songs that everybody was supposed to know. Nowdays, young groups as soon as they are given a chance go out and pretend they deserve all attention to their own songs.But that is not the way, that is not going to work.They will not be much known a few hundred miles away from their homes.They will simply pass away like the clouds that cross the skies everyday
Take this new group from my country,Tulsa .Listen to the girl singer Miren Iza , she has the feeling, the touch, she makes you fly with the band playing really good ,like we have never heared a spanish band sound like this. And the lyrics are good, stripped feelings, though maybe a bit too enclosed in a particular after teen mood.
But what strikes me more is the fact that many of these young singers and band memebers confess themselves as fans of Bob Dylan.why not then pay him due respect? Are they not aware of the enormous consideration the musical world has for Bob?And not only the musical world.Whenever i come across an album of songs by someone i dont know and i find among the songs a dylan cover, i inmediately take this as a sign of wit, and i will want to know who this band is , and i will respect them, even if the rest of the songs are not of my choice.
Drawn by my daughter when she was five years old.
Bob is crossing from one world to another
La gente hace oídos sordos a todo lo que puede salvarla,mientras persigue un muro,una extraña ilusion.Buscan la libertad donde no esta,y acaban con los dos pies cogidos en una trampa, desangrandose sin sentirlo, porque estan colocados con las drogas de la ilusion.
Minneapolis City Pages,1983
When i put my daughter to bed , before she goes asleep, we listen a couple of times to one of my Bob favourites.Tonight, it was "Lay Lady lay" and what a song this is, what sweet feelings it brings to me,such a magic sound i can only define as a "taste".
But make no mistake –it’s “Huck’s Tune,” written by Bob Dylan for this film, that is the album’s centerpiece, standing alone as and one of the finest melodies and most brilliant vocal performances Dylan has featured in the last decade.
Simply, “Huck’s Tune” is a stunning achievement – both musically and for its poetry, a song that captures the ache and the essence of growing old, a song that captures the taste of time as it unravels into landscapes and secret lives re-formed into long sweet new memory pools.
In “Huck’s Tune,” Dylan’s voice encases the music as tight as a glove and refuses to let go, compelling us to live through the characters on screen, driving us to put ourselves in Huck’s skin as we answer our own question -- just what makes a guy take to this kinda life anyway?
Dylan’s delivery on this piece is reminiscent of the way Johnny Cash used to sing in the latter days of his career – sometimes breathless, sometimes searching, the poet at the edge of himself and the stage, looking for answers in human words, looking for answers that just might not exist at the invisible throes of this threshold:
“The game’s gotten old
The deck’s gone cold
I’m gonna have to
Put you down
"Huck’s Tune" by Bob Dylan.
"Thunder on the mountain, fires on the moon
There's a ruckus in the alley and the sun will be here soon
Today's the day, gonna grab my trombone and blow
Well, there's hot stuff here and it's everywhere i go."
66 REASONS TO LOVE BOB DYLAN
1. The words! The words! Those “spinning reels of rhyme.”
2. That attitude.
3. That frizzy halo of hair.
4. Those black shades.
5. The music. Always short-shrifted in favor of the lyrics, Dylan’s music is much more inventive and melodious than he’s ever been given proper credit for.
6. The crack of the snare drum heard ‘round the world: Like A Rolling Stone.
7. Going electric.
8. The humor. Dylan’s sly.
9. The Basement Tapes.
10. The Jesus period, because it gave us Slow Train, one of his best songs, and albums.
11. “In the dime stores and bus stations/People talk of situations/Read books, repeat quotations/Draw conclusions on the wall/Some speak of the future/My love she speaks softly/She knows there's no success like failure/And that failure's no success at all.” (Love Minus Zero/No Limit)
11. Chronicles, Vol. 1.
12. The concerts. It is there, not on the albums, where you get the most undiluted shot of Dylan — thorny, unpredictable, blindingly brilliant.
13. The Rolling Thunder tour.
14. His harmonica playing.
15. “Oh God said to Abraham, "Kill me a son"/Abe says, "Man, you must be puttin' me on"/God say, "No." Abe say, "What?"/God say, "You can do what you want Abe, but/The next time you see me comin' you better run"/Well Abe says, "Where do you want this killin' done?"/God says, "Out on Highway 61." (Highway 61 Revisited.)
16. Dylan the movie star. Sure, he’s awful, but would you really not want him to be in Pat Garrett and Billy The Kid reading those labels: “Beans...succotash...beans...”? Or Slim Pickens dying to the strains of Knocking On Heaven’s Door?
17. Bob and Joanie.
18. Bob and Sara, “radiant jewel/mystical wife.”
19. Blowin’ In The Wind.
20. Beating up Weberman.
21. The great Jim Marshall photo of him rolling a tire down a Greenwich Village street.
22. “Ah get born, keep warm/Short pants, romance, learn to dance/Get dressed, get blessed/Try to be a success/Please her, please him, buy gifts/Don't steal, don't lift/Twenty years of schoolin’ and they put you on the day shift.” (Subterranean Homesick Blues.)
23. Don’t Look Back.
24. The Traveling Wilburys and Bob’s great Springsteen-esque goof, Tweeter and the Monkey Man.
26. Lay, Lady Lay.
27. I Threw It All Away.
28. “Let me ask you one question/Is your money that good/Will it buy you forgiveness/Do you think that it could/I think you will find/When your death takes its toll/All the money you made/Will never buy back your soul” (Masters of War)
29. Blood on the Tracks.
30. The interviews: combative, restless, insightful, the second best way to get a glimpse of Dylan’s unique way of thinking.
31. Springsteen’s line on Dylan at the Hall of Fame: “If Elvis freed your body, Bob freed your mind.”
32. That reedy voice. Love it or hate it, a Dylan song needs that Dylan voice.
33. Things Have Changed, which made him "Oscar winner Bob Dylan."
34. "Have you heard the news?" he said with a grin/"The Vice President's gone mad"/"Where?"/"Downtown."/When?”/"Last night"/"Hmm, say, that's too bad" (Clothes Line Saga)
35. When The Night Comes Falling From The Sky
36. Every Grain of Sand.
37. Just Like Tom Thumb Blues
38. “And your long-time curse hurts/But what's worse is this pain in here/I can't stay in here/Ain't it clear that…I just can't fit/Yes, I believe it's time for us to quit/When we meet again/Introduced as friends/Please don't let on that you knew me when/I was hungry and it was your world.” (Just Like A Woman)
39. Dylan’s mystery life: How many times has he been married? How many children does he really have?
40. Dylan wearing the false beard at Newport. Why?
41. Dylan appearing on Dharma and Greg. Why?
42. Dylan performing for The Pope. Why?
43. Dylan's radio show!
44. Without Dylan, would the Byrds have ever had a career? Or Peter, Paul and Mary?
45. The famous concert in England: “Judas!” Dylan’s response: “I don’t believe you…you’re a liar.”
46. Dylan at The Last Waltz.
47. Scorsese’s No Direction Home.
48. “Don’t follow leaders. Watch your parking meters. (SHB)
49. “You don’t need a weatherman to know which way the wind blows. (SHB)
50. Most Of The Time
51. John Wesley Harding.
52. “Money doesn’t talk, it swears.” (It’s Alright Ma)
53. All Along The Watchtower.
54. “If my thought-dreams could be seen/They'd probably put my head in a guillotine.” (It’s Alright Ma)
55. If Not For You.
56. Elliot Landy’s photo of Bob on the cover of Nashville Skyline.
57. The living room cover of Bringing It All Back Home.
58. “Lights flicker from the opposite loft/In this room the heat pipes just cough/The country music station plays soft/But there's nothing, really nothing to turn off/Just Louise and her lover so entwined/And these visions of Johanna that conquer my mind.” (Visions of Johanna).
59. “Early one mornin' the sun was shinin'/I was layin' in bed/Wond'rin' if she'd changed at all/If her hair was still red.” (Tangled Up In Blue).
60. Series Of Dreams
61. Dylan’s heart scare: “I thought I was gonna meet Elvis.”
62. Without Dylan, we wouldn’t have had the movies How High and American Pie: The Wedding, directed by Bob’s son, Jesse.
63. Boots of Spanish Leather.
64. Desolation Row
65. “You better start swimming or sink like a stone, cause the times they are a-changing.” (The Times They Are-A-Changin')
66. “Ah, I was so much older then, I’m younger than that now.” (My Back Pages)
Roger McGuinn of the Byrds said that above all else, he rates Dylan as one of rock's greatest poets: "I've always admired Bob's work, and we've gotten along well over the years. I think Bob's most admirable quality is his sense of songwriting ability, his lyrics. I've compared him to Shakespeare
Rolling Stone magazine's associate editor Austin Scaggs says that the constantly touring Dylan is just as mysterious in his 60s as he was 40 years ago: "I don't think he travels with family. I think he has that bus all to himself. I think inside the bus, I think he has books, he has a typewriter, he has some sort of outlet to listen to music. I think he's constantly listening to new music, or old music. But who knows? What does he do all day? Does he work on the next volume of his book? Does he write new songs?"
"Shooting Star" mp3
"God Knows" mp3
"Born In Time" mp3
Outtakes from Oh Mercy, 1989.
From MTV Unplugged Afternoon Rehearsals, 1995.
Alternate version from Highway 61 Revisited, 1965.
Miren Iza, del grupo Tulsa nos presenta una imagen triste y pesimista de si misma y del mundo en su cancion "Oviedo" de su disco "Solo me has rozado". Sale a la ventana buscando el mar y lo unico que encuentra es una "enorme y triste catedral", despues, abre el periodico por la pagina central y ve que " el señor Smith se ha clavado un puñal", despues, Miren no puede respirar, piensa en su vida y va corriendo al baño a vomitar.Termina esperando que " el mundo caiga sobre mi" cuando mira hacia el jardin.
Pues bien, me gusta la musica que hacen Tulsa, fui a ver la presentacion del disco recientemente y vi a una una chica, de ojos desencantados, tristes , muy en el lado oscuro de la vida.Pero resulta que yo quiero mucho a la tierra de Asturias, y digo la tierra, porque la gente es la gente, como en todas partes.A veces el verde y el azul del mar desaparecen en el gris asturiano, un gris como plomo que cae sobre el alma y nos desencanta...pero entonces, surge algo, hay algo imprevisto, nunca visto, y esta ahi, plantada y mirando al cielo.Es la catedral de Oviedo, y precisamente Miren, si la mencionas en esa cancion no es por casualidad....es porque ella se ha fijado en ti.Tu vida depende de quien habita en esa catedral, mas que de ninguna otra cosa en este mundo.La Catedral se levanta en medio de tanta frialdad y estulticia como hay en el mundo, y tambien esta sola.Dentro hay una figura magica, una imagen de San Salvador a la que ya se adoraba en los primeros tiempos.Siempre que voy a Oviedo me acerco a la Catedral y me postro ante esta imagen, y le rezo y le pido por mi y los míos.
Who is this enigmatic singer that has so beautifully salvaged so many of Cohen's darkest and most desperate compositions?
Anjani's professional relationship with Leonard Cohen began in 1984, when she was hired as a background vocalist for "Hallelujah," a song now recognized as one of the greatest in his canon. She was the sole female vocalist and keyboardist on his Various Positions world tour, and continued to record vocals for him on I'm Your Man (1988), The Future (1992) and Dear Heather (2004). But it was not until Blue Alert, that their collaboration achieved a true fusion of both of their creative strengths and talents
Leonard Cohen's discarded lyrics have been given a voice by his partner, Anjani.
Legend has it that Leonard Cohen will write 70 verses to get seven, filling entire notebooks with lyrical variations before he is satisfied with a finished song. So where do all the unused verses go?Well, some of them have ended up on Blue Alert, an album by Cohen's paramour, jazz singer and keyboard player Anjani Thomas. "Leonard was going through journals and other material to send to the University of Toronto archives, and he found the lyric to Blue Alert," says Anjani (who has long since discarded her less exotic surname). The 72-year-old troubadour's live-in partner was so taken by it, she composed a melody and recorded a simple, jazzy version, thus beginning "a gentle exploration" of the journals, in search of other discarded gems. "It wasn't like, 'Let me at 'em!' ", she says laughing. "It was a very careful and thoughtful process. He has so much to examine, he writes every day, but not everything was appropriate to me."The melancholic ballad Never Got to Love You is made up of unused verses from Cohen's apocalyptic drinking classic Closing Time (from 1992's The Future). "He gave me sheets of them and I just took ones I liked, and sometimes I took two lines from one verse and two lines from another, and designated one as the chorus and pieced it together." Other songs were written to order. " 'There was no one after you' was just a line in his journal. I said, 'Man, that's a great title for a song, if you could just write the rest we'll be in business.' He fortunately complied, very graciously and quickly."The result is a quiet, late-night, stripped-back album of poetic ruminations on love, with Anjani's soft, rich, crystal-clear voice lending a meditative sweetness to Cohen's elegant language and dark thoughtfulness."What I strove for was an airtight marriage between music and lyrics," says Anjani. "I hope I didn't interpret. I didn't want you to be driven out of your realm of attention by the voice, which is why there aren't vocal flourishes. The lyrics are so great, they don't need embellishment."She was aided in this by Cohen, who produced the album. "I was cut off from all the tools I have by Leonard. He said 'Sing... but don't.' "Lurking in the bedroom of the hotel suite he has been sharing with Anjani on a promotional trip to London, the dapper, smiling Cohen is keen to lend support to his beautiful companion. "I think both of us were working at the top of our form," he says. "Collaboration is too formal a term to describe the activity, which was an expression of some kind of deep mutuality - some kind of marriage of purpose."Anjani already has two solo albums and is much admired in the US jazz milieu (Madeleine Peyroux has covered three of her songs). She first met Cohen on sessions for his 1984 classic Hallelujah, and toured with him as backing vocalist and keyboard player before becoming romantically involved in 1999. "Eight years together - it's the longest both of us have ever stuck it out, so it's pretty historic." Given that she's a songwriter herself, it can't be easy living with one of the form's legends. "Before, if I wrote three verses, I'd think, 'Gee, that's enough, I've got a song there.' Leonard doesn't think a song is complete until he's got the best of the best. This is why he comes up with 30 or 40 or 70 verses, any one of which I'd be proud to have written. He's made me a more conscientious writer."As for Cohen, who takes several years to write an album, the spontaneity of this collaboration seems to have broken the habits of a lifetime. "The fact that he wasn't writing for himself gave him tremendous freedom," says Anjani. "He was able to come up with things quickly without labouring too much over it." The gorgeous closing waltz, Thanks for the Dance, was composed at the last minute when the record company suggested the album was too short. "And he's still got an extra 14 or 15 verses he didn't use."Cohen has been working on his own album (released later this year), and admirers will be pleased to hear that he has responded to Anjani's more organic recording methods, abandoning the synths and drum machines of recent years to return to the joys of real instrumentation: "He has picked up the guitar again, and swung around to the idea of bringing in people to play." In contrast to Blue Alert, however, the subject matter is unlikely to be the human heart. "No one describes pain, loss, despair and grief as well as Leonard does. But it's not where his intention is right now. The material he is choosing is much more social commentary-driven, which makes this record kind of a miracle, because without it these songs wouldn't have been born."
, “Me, I don’t want to write for people any more — you now, be a spokesman. From now on I want to write from inside of me… the bomb is getting boring because what is wrong goes much deeper than the bomb… I’m not part of no movement…”
For those who expected folk to be about the repetition of received
truths and comforting consensus, it was something of a shock, but it really was
no preparation for what was to come.
"Hermanos: defendamos su vientre acometido,
hacia donde los grajos crecen de todas partes,
pues,para que las malas alas vuelen, aun quedan aires.
Echad a las orillas de vuestro corazón
el sentimiento en límites, los afectos parciales.
Son pequeñas historias al lado de ella, siempre grande"
Miguel Hernandez, poeta