The poet laureate of rock ‘n’ roll… who was written off as a has-been by the end of the ’80s, and who suddenly shifted gears and released some of the strongest music of his career beginning in the late ’90s. It became one of those songs.' This wasn't released as a single, but it became one of Joel's most popular songs and was included on. In 2017, Joel told Rolling Stone that 'New York State Of Mind' was his favorite among his songs, because it 'became a standard.' Said Joel: 'Sort of like Hoagy Carmichael's ' Stardust ' or ' Georgia On My Mind.
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New York State Of Mind Series Is Not
Just you wait.Dylan’s records of the time-period in question — Shot of Love, Infidels, and Empire Burlesque (there’s also a little Street Legal, 1978 and Knocked Out Loaded, 1986) — have received little critical notice compared to, say, his records from 1974-76 or 1965-66. But ‘Sweet Caroline’? Yeah, that ‘Sweet Caroline’. ‘Cold, Cold Heart’ or ‘Angel Flying Close to The Ground’? Sure, Dylan has always loved Hank Williams and Willie Nelson, and both these covers are grand. 16 (1980-1985) will be released on September 17.The five-cd deluxe version, with almost four and a half hours of music, includes five previously unreleased original songs, works in progress, alternate takes, and a slew of covers of songs you mightn’t have expected Dylan to wish to warm up with in a rehearsal, let alone include on a record. Springtime In New York: The Bootleg Series Vol. However, Bob Dylan’s new release in his ongoing box-set “official bootleg” series is not confined by the calendar’s seasons.
David Mansfield, a veteran of Dylan’s Rolling Thunder Revue tour at the ripe old age of nineteen, lends his grace to the mandolin here. The melodeon sound of the keyboards, in the genius hands of Willie Smith, at the beginning gives way to Dylan’s voice, which is joined by other instruments, then the chorus. This completely underrated song is rippling, and righteous. Springtime In New York shows everyone just how wrong they were to have participated in that write-off.Anything that starts with a 1980 rehearsal take of a Street Legal song, ‘Senor’, is great with me. Most of the 80s, though, gave rise to the snarky “written off as a has-been” that Dylan enshrined in his stage performances years later.
‘Mary of (in some versions, from) the Wild Moor’, featuring Dylan alone with McCrary on vocals, with Tackett’s elegant mandolin underlying Dylan’s guitar and McCrary’s autoharp, is one of my favorite songs on the bootleg.‘Need A Woman’ is a carpe diem song that is astoundingly self-referential in this early version, about “a man of understanding” who needs a woman, and not any particular one. He, and they, give it a mariachi gospel band flavor. They know each other well, and it shows on this version of Dylan’s 1964 song. Many of the musicians assembled here had been with Dylan on his “Gospel Tour” of 1979-80, including Fred Tackett on guitar, Tim Drummond on bass, Jim Keltner on drums, and Regina McCrary (then Havis) and Carolyn Dennis (later Dylan’s wife) as backing singers and Dylan’s sometime duet partners. A rough start on ‘To Ramona’ immediately gets better as everyone joins in, a round-the-campfire feeling that imbues the whole album.
‘A Couple More Years’, with its lyrics so suited to Dylan, is written by Shel Silverstein and Dennis Locorriere, a/k/a the good Dr. Dennis, her mother Madelyn Quebec, and the late, great Clydie King provide the vocals and handclaps that propel this song, and answer the question of whether you need a woman with a resounding ‘yes’.Shifting back to covers, Dylan leads everyone through a dizzying array. The laughter at the end shows that they know they nailed it. “ I know a virtuous woman’s hard to find but they can’t be obsolete,” Dylan sings with a grin in his voice.
But all his heart is in the “I need some hope for a bright tomorrow.” Dave Mason’s smash hit ‘We Just Disagree’ has a tentative start, but swells into its refrain: “So let’s leave it alone, cause, we just don’t see eye to eye, There ain’t no good guys, there ain’t no bad guys, there’s only you and me and we just disagree.” Dylan liked to cover end-of-love songs.I’ve waited decades for this ‘Sweet Caroline’ to be released. ‘This Night Won’t Last Forever’ is smooth and pretty Dylan sings the refrain as if he thinks the night will indeed last forever. The funky drumming on this one belongs to the double-team of Keltner and Ringo Starr.
Dylan sing-speaks the start, with a shuffling drum and the ooo-ooooos of his backup singers. And singathons and sporting events you’ve heard it ast, in the years since then.It’s a gas. And ‘Sweet Caroline’ doesn’t disappoint, despite the millions of covers.
‘Abraham Martin and John’ is a most perfect duet: Clydie King’s rich voice wraps around Dylan’s nasal tenor, both complimenting and carrying it. A tale of a couple threatened by what outsiders say, it’s a sort of textbook song for every Dylan song-relationship. It sounds to me a bit like ‘Blind Willie McTell’, in its pace, in spite of a raggy collapse of an ending.‘Let’s Keep It Between Us’ is a cross between a croon and a dirge, something Dylan does increasingly well.
It’s an original song of Dylan’s own, with the same title, never heard before or since. Listen closely to the lyrics for you won’t have heard the song on The Bootleg Series Volumes 1-3 (1991) as it’s sung on Springtime In New York.A rocking, rolling out-take from May Day, 1981, has been reported earlier, in Mojo and other publications, as being the Everly Brothers’ 1965 hit ‘Price of Love’. ‘Angelina’, unreleased for a decade, sparkles in the version here – Keltner’s gentle drums and Carl Pickhardt’s keyboards deserve special mention. Disc Two, all out-takes save one alternate mix of ‘Lenny Bruce’, proves that.
Dylan and King, though, follow the Glen Campbell-Bobbie Gentry duet of 1969 in their vocals. As McCrary, King and Quebec dissolve into happy laughter as the take fades out, you join them.‘Let It Be Me’ is indeed the song the Everlys recorded in 1960. Two dollar, one dollar, whataya pay? How much you got on ya today? “ Ahhhh, price of love, goin’ up….” That’s Benmont Tench along with Pickhardt on keyboards, and Steve Douglas on saxophone.
This out-take was on the new version of Hawaii Five-O in 2011, and featured in an album of songs from the television show. In his admirable liner notes, Damien Love sees the unfinished ‘Don’t Ever Take Yourself Away’ as a Caribbean riff based in ‘Romance In Durango’, and he’s right. Smash, cut, on to the next, or an umpteenth take of the same.And now here come the originals, the Dylan songs you’ve heard only by chance or not at all. The sudden ending is classic Dylan in the studio. Dylan’s voice is excellent, passionate and full, trying, though not quite reaching, for a Temptations falsetto on “crying eases the pain.” The background vocals by Dennis, McCrary and King are more powerful than any of the fine instrumentals. The cover of Hank Williams’s ‘Cold, Cold Heart’ has exactly the honky-tonk Western-saloon Saturday night sound that would characterize Dylan’s “cowboy band” for much of the 1990s and 2000s (as did his stage costumes, from the sombrero to boot-heels).Willie Smith’s church organ opens ‘I Wish It Would Rain’.
New York State Of Mind Free And Happy
He shapes a tune before he has the words — the women singing ‘Hallelujah’ sound like the only lyric he’s sure of. He cracks up at the idea of having (only?) $50 on Central Park West, then carries on spinning out words and phrases, with the back-up singers and a flippy little keyboard line that morphs into a reggae bubble.‘Yes Sir No Sir’ is electric but stunted, an original song you can hear Dylan working on, as the instruments help. The emphasis in this draft-of-a-song is on Dylan’s voice, rapping along with the guitars and bass. When Dylan rhymes “color tv” and “dignity” I giggled with sheer glee.‘Is It Worth It?’ has the tune and rhythm of his gospel days — which aren’t over, by the way, and which did not begin with the “Gospel Tour” but long, long before. The instrumental break is free and happy as a puppy let off the leash in a big green field. King, who recorded the song in 1999, Tim Drummond, who plays bass here, composed the song with Dylan.‘Borrowed Time’ is another spontaneous gem, an original, guitars like ringing a bell, a skiffly beat running away from the singers.
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