The move, although not as subtle as fiddling with a ring or moving around a royal handbag, would see Dylan simply chuck his hood over his head.
“When he wears the hood, you’re not supposed to talk to him,” Burnette says. “I didn’t know that until one day we were in line to get on a plane at the airport. I tapped him on the shoulder. The drummer said, ‘No, no. He don’t talk to anyone when he’s got the hood on.’ I was like, ‘OK. I’m glad you told me.’”
Despite being one of the most famed stars on the planet, as Burnette explains, he has ways of making himself disappear.
“He’s slippery,” the guitarist continues. “He can walk in an airport … they lost him one day. They couldn’t find him anywhere. I’m in this little gift shop and I turn around, and there he is. He goes, ‘Hi, Billy.’ I was like, ‘How did you get in here?’ He moves around. It’s a weird thing.”
According to Bob Dylan’s former touring guitarist, the folk legend has a certain move to let everyone know when he’d like to be left alone
The one-of-a-kind disc will be auctioned by Christie’s in London on July 7. The recording will go for an estimated bidding price of £600,000-1,000,000.
The new rendition of “Blowin’ in the Wind” marks the first time Dylan has recorded the song since tracking the original 60 years ago. The Bard cut the new version last year with Burnett, who produced the single. Only one copy of this new recording of “Blowin’ in the Wind” will be offered as an Ionic Original disc.
The one-of-a-kind version of Dylan’s ’60s classic is the first official Ionic Original—a new analog format developed by T Bone Burnett
Bob and Lauren Bacall in Australia 1986
That was one of the ones where it was very notable that he showed us on piano. I started playing on the piano. I think I may have said, “Why don’t you play piano?” It took a long time to get it, but we got it. Yeah, I was on that. I need to listen to that again, because I remember thinking it was a beautiful song at the time. He knows a lot about that war. He knows a lot about a lot.The other thing touring with him was, the rehearsals for the ’87 Temple in Flames tour, when he played over and over again the chords for “Frankie Lee and Judas Priest,” he also would be playing something beautiful just in the corner. I’d say, “What’s that?” It was like a Child Ballad or something from the 18th century or 19th century.
They never entirely saw eye to eye.
It’s hard to ignore, too. Before their meeting, The Beatles’ lyrics were never the forefront of their songs with the melody always being the most essential factor, the group were happy to include “nonsense” lyrics if they sounded correct. The art of storytelling was never their forte until Dylan changed that and John Lennon was especially inspired by the singer-songwriter’s style, a factor which led him to write in more of a storytelling tongue than he previously had done.
The Beatles’ popularity was on a different stratosphere in comparison to Dylan at this time and, considering what he was doing was incredibly original, to have a watered-down version of his sound being lapped up by the masses quite rightly arrived as irritation. That said, whether the annoyance warranted him to write ‘Fourth Time Around’ is still questionable.
There is a degree of pettiness to Dylan’s actions, one which essentially saw him write a more eloquent version of ‘Norwegian Wood’ and showing Lennon how it’s done — which is hard not to admire.
Dylan even left Lennon a not-so-subtle message at the end of the track as he knew that his number one fan would undoubtedly study it. The last two lines see him sing, “I never asked for your crutch, Now don’t ask for mine” — which make his thoughts on Lennon hero-worshipping him evidently clear.
The star of Greenwich Village would change songwriting forever, his influence on advancing music by implementing poetry is immeasurable and would help turn the craft of writing lyrics from an afterthought an into the most integral part of a song. It was this factor alone which made The Beatles initially awestruck by his immense talent and, in truth, who can blame John Lennon for trying to channel his inner-Dylan?
“I have spent many years wondering about that photo of you and Bob Dylan together at the Grammys in 1997.I was at the Grammys, I think, and [longtime manager] Andy [Slater] said, “Fiona, c’mere c’mere, Bob Dylan wants to meet you.” And I was like, “What?” I went over and stood with him and told him that story, and somebody took a picture. I’m wearing a brown dress with apples on it, and I got that from Ella Fitzgerald’s estate sale. It was a skirt of hers, and I wore it as a dress. So I’m in Ella Fitzgerald’s skirt made into a dress, standing with Bob Dylan.”
How is your health holding up? You seem to be fit as a fiddle. How do you keep mind and body working together in unison?
Oh, that’s the big question, isn’t it? How does anybody do it? Your mind and body go hand in hand. There has to be some kind of agreement. I like to think of the mind as spirit and the body as substance. How you integrate those two things, I have no idea. I just try to go on a straight line and stay on it, stay on the level.
Read it all at Source: Bob Dylan Has a Lot on His Mind – The New York Times
“Must be 20 years now since I last took care of Bob for Abe and Beatty. He was a real quiet boy, even at that age. His brother David hadn’t finished breaking in his first pair of diapers and already you could tell that he was going to be the extrovert of the two. Bobby stayed quiet, friendly, but, well, kind of slinky the whole time he was growing up. Used to write poems… don’t know if he still does or not. But whenever Mother’s Day or Father’s Day or somebody’s birthday rolled around, Bob would have a poem ready. ’Course that was a long time before he’d ever thought of becoming Bobby Die-lan… ”
“Sure, that’s just the name he took so people back East wouldn’t know his real name was Zimmerman. Seems a pity too, good Jewish family name like that… and Bob was always a good Jewish boy. Went to synagogue regularly, listened to his mother and dad… but why shouldn’t he, his family had more money than most. Zimmerman’s Furniture and Appliance. Good business… But you got to hand it to the Jews, they’re first class money makers, always have been I guess, and in a small town, they stick together… but nobody holds that against them in Hibbing, I know I don’t. And the Jews own a lot of the businesses, the movie theatres, Feldman’s Department Store…”
Um fascinating if it’s true or not. A great website for making you think about history and media and journalism. Dylan remains a mystery to me but some may believe this piece has some truth. dg
Here’s the last red flag I will offer, although I could continue all day. In 1997, Bill Clinton presented Dylan with a Kennedy Center Honor, and said this:
He probably had more impact on people of my generation than any other creative artist. His voice and lyrics haven’t always been easy on the ear, but throughout his career Bob Dylan has never aimed to please. He’s disturbed the peace and discomforted the powerful.
What a load of crap! Discomforted the powerful?[lol DC] You have to kidding me. This is like Mick Jagger getting knighted. It makes no sense. If Dylan had truly discomforted the powerful, why would they be giving him an award? Do you think the powerful enjoy being discomforted? Have they learned their lesson? Have they been chastened? Who do you think is behind the Kennedy Center and President Clinton? Poor people? You and me? President Clinton and the Kennedy Center represent the average person? C’mon. The super rich run the country and always have, and they are giving Dylan awards because he did his job of misdirection pretty well (for a few years, at least). He fooled a majority of the non-discriminating, and earned his medals and other dog treats.
In conclusion, I repeat that this is no easier for me than for you. I don’t like losing “Shelter from the Storm,” for one thing. It hurts. Talent and real art have been rare enough in the past century without losing what little we had to these government disinfo programs. It isn’t just Dylan I am losing here, it is Cohen—who was in many ways the real thing. But how can I ever listen to anything by him again without being reminded of his part in all this?* If Joni Mitchell is bitter, I think we can now see she has every right to be. We all do. All the arts, including popular music, have been mangled and destroyed to suit the financial interests of a few vulgar families. And if you think you have it bad— having your old heroes ripped out from under you—think of kids now. You find that the beauties you grew up on were partial and compromised and ultimately in the service of a great ugliness. But turn on the radio now: the Wasteland is here in its gasping totality and the youth are being sucked utterly dry by its sirocco. What they wouldn’t give for the relative richness of your upbringing. This is the predictable outcome of art controlled by trade.
But I have since learned that trade curses everything it handles; and though you trade in messages from heaven, the whole curse of trade attaches to the business.
Tarantula Meets Mustang: Dylan Calls on Patti Smith
July 7, 1975
A copy of “Witt” was slid across the table to Patti Smith. “Would you sign this for me, please?” “Sure,” said Patti, “what’s your first name?” He told her. “Like in New Jersey?” Patti asked, and he said no: with a z. “Well, I’ll draw you a map of Jersey,” and so on the inside page Patti scratched its intestinal boundaries, in the middle labeled it Neo Jersey, signed her name, and passed the copy of “Witt” back to Jerzy Kosinski.
The night before, after the second set at the Other End, the greenroom door opened and the remark hanging in the air was Bob Dylan asking a member of Patti’s band, “You’ve never been to New Jersey?” So, all hail Jersey. And in honor of Dylan’s own flair for geographical salutation (“So long New York, hello East Orange”), all hail the Rock and Roll Republic of New York. With the Rolling Stones holding out at Madison Square Garden, Patti Smith and her band at the Other End, and Bob Dylan making visitations to both events, New York was once again the world’s Rock and Roll Republic.
Patti Smith had a special Rimbaud-emblematized statement printed up in honor of Stones week, and when her band went into its version of “Time Is on My Side” (yes it is), she unbuttoned her blouse to reveal a Keith Richard T-shirt beneath. On the opening night she was tearing into each song and even those somewhat used to her galloping id were puzzled by lines like “You gotta a lotta nerve sayin’ you won’t be my parking meter.” Unknown to many in the audience, parked in the back of the room, his meter running a little quick, was the legendary Bobby D. himself. Dylan, despite his wary, quintessential cool, was giving the already highly charged room an extra layer of electricity and Patti, intoxicated by the atmosphere, rocked with stallion abandon. She was positively playing to Dylan, like Keith Carradine played to Lily Tomlin in the club scene from Nashville. But Dylan is an expert in gamesmanship, and he sat there, crossing and uncrossing his legs, playing back.