Bob Dylan I'll Be Your Baby Tonight Chords
Singer-songwriter Bob Dylan's enigmatic career has captivated audiences for decades. Author Tom Casciato dissects Dylan's near recent installment of the Never Ending Tour and the artist'due south evolving persona.
Bob Dylan was 47 in 1988 when he began playing a relentless schedule of live dates, now known every bit the Never Ending Bout. Anyone who'southward been going fairly regularly to his shows these past decades, as I take, has pretty much seen it all: Dylan being great; Dylan being far from great; Dylan radically rearranging his classics; Dylan introducing a new song or 2. Oftentimes there would be some minimalist, cryptic annotate from the stage that may or may non have been intended every bit funny. Those who don't value his work equally highly as I practise might wonder why someone keeps going back to encounter him again and once more. For me, the reason is somewhat mysterious: no matter how many times I've seen Bob Dylan in concert — the feeling usually hits me shortly after he leaves the stage and the business firm lights come up — I always finish upwards feeling like I've never seen him before.
President Barack Obama presents Bob Dylan with a Medal of Freedom, 2012
Peradventure this isn't altogether unsurprising. Despite his multitude of accomplishments — the Nobel Prize and all that — Dylan always feels like a work in progress, non simply reimagining his compositions, just reimagining himself as some new kind of temporary vessel that the words and the music just menstruation through before it disappears. Not to mention the fact that this is the guy they made a motion picture most called "I'm Not In that location" (2007). Simply this sense of not having seen him is unnerving even so, particularly, even ironically, because I have such strong memories of his performances.
I remember a show in Portland in 1993 where Dylan was far less than great, erratic fifty-fifty. I was sitting nowhere most the stage, but fifty-fifty from the cheap seats it appeared to me that the drummer, Winston Watson, was playing defense all night, sticks in the air, wondering when Dylan would change chords, hoping, I was certain, that it would be on the beat. Dylan's solo audio-visual prepare was apartment, uninspired. The whole event was a butchery.
Just a yr later at a show at the old Roseland Ballroom in New York Urban center information technology was another story birthday. Dylan and the band were more disciplined. There were still rough elements — notably, Dylan's idiosyncratic, sometimes wandering lead guitar stylings — simply overall it was a tight and muscular bear witness: Dylan at his best.
Which brings me to his electric current tour, which I caught at New York's Beacon Theatre in November. It felt like a particularly special occasion, the Never Ending Tour having been temporarily ended by Covid-19. Not only that, the word was out that Dylan was skipping the classics that are oftentimes his concert staples — no "Similar A Rolling Stone," no "All Forth The Watchtower," no "Tangled Up In Bluish" — and instead was introducing no fewer than eight new compositions at each evidence, all from his 2020 album "Rough And Rowdy Ways." Oh, and he had recently turned 80.
Dylan. 8 new songs. 80. Finally, a prove that I genuinely hadn't seen before.
And there were, of form, the requisite rearrangements of older songs. "Serve Somebody" had none of the snaking menace of the original version — rather it rocked. As one of my companions at the testify, the writer Bruce Handy said, it sounded more like a rave-up from Dave Edmonds and Nick Lowe's Rockpile than annihilation on "Irksome Train Coming." The sweet "I'll Exist Your Baby Tonight" from "Nashville Skyline" was also turned into a full-on rocker. And the folky "When I Pigment My Masterpiece" became a swing number (complete with Bob's idiosyncratic, wandering piano stylings, which in contempo years have taken the place of his aforementioned guitar work).
But on this night, it was the new tunes that mattered the most. For "False Prophet," ane of the strongest, Dylan got out from behind the piano, took the mic in hand and assumed a kind of poised hunker. Was it the bent posture of a human a few generations past his prime? Or that of a prize fighter ready to take a punch and return one far more devastating? Or both? Any it was, as he growled out the verses he seemed to have arrived on a mission:
Well I'm the enemy of treason
Enemy of strife
I'm the enemy of the unlived, meaningless life
I ain't no false prophet
I merely know what I know
I go where just the alone can go
Was he telling us that if he isn't a false prophet, he must be . . . a prophet? That's a title he was saddled with throughout the 1960s, one he never quite rejected. Possibly, at 80, he had come to merits it.
Bob Dylan sings "The Times They Are A-Changin" Feb. 9, 2010. (Official White Firm Photo by Pete Souza)
Or maybe not. His new songs, which interruption no original melodic ground, mostly serve as sturdy vehicles that ship verses full of pop culture references and the many moods of a poet who has yet to run out of fuel. Dylan is rueful. Dylan is regretful. Dylan is philosophical. Dylan is threatening to hurt, or maybe kill you. (Go domicile to your married woman, terminate visiting mine / Ane of these days I'll forget to be kind).
Any the mood, Dylan delivered each new number with a vitality suggesting these tunes hateful every bit much to him every bit anything he's e'er written. And that spirit was infectious: the audience responded equally enthusiastically for the new stuff as they did for the old. (Think of what a rarity that is at a show with an audience full of Baby Boomers!)
And in that location was even a hard-to-figure comment towards the terminate, something virtually New York City being the home of both Herman Melville and Sylvester Stallone. I figured that one as funny for sure, until Dylan told everyone they should have seen Stallone'due south latest movie, "Last Blood" (actually entitled "Rambo: Final Blood," and in fact not his latest movie) and went on to lament that it should take won an Oscar (which it shouldn't have). I immediately inverse my assessment to the usual "cryptic."
It all added up to the most satisfying Bob Dylan show I've seen in years, perchance decades. You tin can accept my word for information technology — although I'thousand not altogether certain that I can accept my discussion for it. Yous run across, there are tapes circulating of those performances I saw in the '90s. The '93 recordings from Oregon audio no less tight than what I heard in '94. Similarly, the New York recordings are far more ragged than I call up. My memory tells me one story, the music another — which makes its own kind of sense.
After all, I've never seen him earlier.
Source: https://www.pbs.org/wnet/americanmasters/bob-dylan-never-ending-tour-career/19545/
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