Bob Dylan

Кто такая Эльфрида Елинек?
Каждый раз, когда я слышу новое имя, мне кажется, что я чего-то еще не знаю.
Да и незачем Бобу эта самая Нобелевская. Имеющий уши да услышит и имеющий интерес да удовлетворит его.

И все же... И все же Боб Дилан достоиин Нобелевской куда как больше Эльфиды Елинек... Надеюсь, он ее получит (в смысле Нобелевку, а не эту Эльфиду! :))
Это было бы ЗНАКОВЫМ событием (ВПЕРВЫЕ! Нобелевку получает рок-поэт, рок-певец, рок-музыкант, в конце концов!..)
Кстати, а что Дилан выдвигался в самом деле на Нобелевку?

Если даже еще не выдвигался, то надо выдвинуть!
Желаю ему в новом году получить Нобелевку!
А нас всех с Новым Годом!
Ильич

Minn. Man Donates Early Dylan Recordings
Fri Jan 14

ST. PAUL - A Minneapolis man has donated some of the earliest recordings made by Bob Dylan to the Minnesota Historical Society.

Cleve Pettersen said he made the reel-to-reel tape at a Minneapolis apartment in 1960 after getting to know Dylan at coffeehouses in the Dinkytown neighborhood of Minneapolis near the University of Minnesota.

Dylan, briefly a student at the university, didn't make any formal recordings until two years later. On the tape, he sings traditional folk songs by Woody Guthrie, Jimmie Rodgers and others.

Pettersen, a teenager when he invited Dylan to the apartment to record the songs, has been the sole owner of the tape ever since. But the tape's existence has been well-known by music buffs and Dylan aficionados who have come to know it as the "Minnesota Party Tape."

"The surfacing of this original recording should correct all the rumors and speculation circulating on the Internet and within the circles of Dylan followers and music critics," said Bonnie Wilson, curator at the Historical Society.

The tape includes such songs as "Blues Yodel No. 8," "San Francisco Bay Blues" and "Johnny I Hardly Knew You."

The public can listen to the tape, copied onto CDs and cassettes, for free at the Minnesota History Center library in St. Paul, but making copies won't be allowed.

a) Дилан уже выдвигался на Нобелевскую в 1997. Вот теперь - второй раз.

b) Minnesota Party Tape (Minneapolis, MN); May 24, 1961 - ни одной дилановской песни. Начало пути, так сказать.... Названия песен могут не совпадать с приведенными выше, просто другие названия одних и тех же песен. Не очень интересно, серьезно. Некоторые песни вернутся на концерты годы спустя. Лента, переданная Историческому Обществу Миннесоты, давно вращается в кругах коллекционеров.

Ramblin' Round
Death Don't Have No Mercy
It's Hard To Be Blind
This Train Is Bound For Glory
Harp Blues
Talking Fish Blues
Pastures Of Plenty
Railroad Bill
Will The Circle Be Unbroken
Man Of Constant Sorrow
Pretty Polly
Railroad Boy
James Alley Blues
Why'd You Cut My Hair?
This Land Is Your Land
Still A Fool
Wild Mountain Thyme
Howdido
Car Car
Don't You Push Me Down
Come See
I Want It Now
San Francisco Bay Blues
A Long Time A Growin'
Devilish Mary

Я ошибся. Вот та самая лента, которая была передана Историческому Обществу Миннесоты, она НИКОГДА не называлась 'Minnesota Party Tape':

The Home Of Karen Wallace
St. Paul, Minnesota
May 1960

1. Gotta Travel On (Paul Clayton - Larry Ehrlich - David Lazar - Tom Six)
2. Doney Gal (trad.)
3. Roving Gambler (trad.)
4. Go Down You Murderers (trad.)
5. Bay Of Mexico (trad.)
6. The Two Sisters (trad.)
7. Go Way From My Window (John Jacob Niles)
8. This Land Is Your Land (Woody Guthrie)
9. Go Tell It To The Mountain (trad.)
10. Fare Thee Well (trad.)
11. Pastures Of Plenty (Woody Guthrie)
12. Saro Jane (trad.)
13. Take This Hammer (trad.)
14. Nobody Loves When You're Down And Out (J. Cox)
15. Great Historical Bum (Woody Guthrie)
16. Mary Ann (trad.)
17. Every Night When The Sun Goes In (trad.)
18. Sinner Man (trad.)
19. Delia (traditional, arranged by Bob Dylan)
20. Wop De Alano (trad.)
21. Who's Gonna Shoe Your Pretty Little Feet? (trad.)
22. Abner Young (?)
23. 500 Miles (trad.)
24. Blues Yodel No. 8 (Jimmie Rodgers - G. Vaughan)
25. One-Eyed Jacks
26. Columbus Stockade Blues (Woody Guthrie)
27. Payday At Coal Creek (trad.)

Note. Tracks 9, 10, 19-21 not included on the circulating samples tape.
Private mono recording with many tracks cut, 30 minutes.

И вторая ее часть:

The Home Of Bob Dylan
Minneapolis, Minnesota
Autumn 1960

1. Red Rosey Bush (trad.)
2. Johnny I Hardly Knew You (trad.)
3. Jesus Christ (Woody Guthrie)
4. Streets Of Glory (trad.)
5. K.C. Moan (1927 Memphis Jug Band)
6. Blues Yodel No. 8 (Jimmie Rodgers - G. Vaughan)
7. I'm A Gambler (trad.)
8. Talking Columbia (Woody Guthrie)
9. Talking Merchant Marine (Woody Guthrie)
10. Talking Hugh Brown
11. Talking Lobbyist (?)

Notes.
Suggested name for last song is also Talking Inflation Blues.
Private mono recording, 30 minutes.

Bob Dylan's Hometown to Name a Street Fri May 13
HIBBING, Minn. - The street where Bob Dylan grew up is being given the name "Dylan Drive" in his honor.

It's the first time the city of Hibbing, where Dylan also attended high school, is doing something permanent to honor him.

"This street sign, and the support we've received from so many people here in town, show once and for all that this town is proud of Bob and what he's accomplished," said Aaron Brown, committee chairman of Dylan Days, a four-day festival that honors Dylan and the arts.

The city had issued a proclamation on May 24, 2001, Dylan's 60th birthday, but that was just a one-day event, Brown said. The sign will be permanent.

The sign is honorary only, meaning 7th Avenue will remain the official name of the street, and residents won't have to change their addresses, Brown said.

The street sign project came up after a group of Hibbing citizens approached the City Council and gathered signatures of support.

"Through the whole peak of his career in the '60s and '70s the town did virtually nothing to honor him," Brown said. "Now, people are coming around."
http://news.yahoo.com/s/ap/20050513/ap_en_mu/people_dylan/nc:689

фотка 1969 года.

Билл Уаймэн разразился критическо-аналитической статьёй о г-не Циммермане.
Весьма познавательно. Билли меня продолжает удивлять и не разачеровывать :)))
Dylan Gives the People What He Wants

By BILL WYMAN
Published: June 12, 2005

The theater, 70 miles north of Lansing, Mich., was big
and boomy and boxy, and a third empty. The fans sat,
six to a side, at long tables perpendicular to the
stage. A few dozen yards away, slot machines jangled,
lights flashed, cards snapped. Onstage, the
frail-looking singer hunched over the keyboard and
bleated out a tune that the patient audience strained
to recognize. The singer, dressed as he always is in
courtly dark garb, said little to the audience, though
once or twice he emerged from behind the keyboard to
play a harmonica solo from center stage.

The place was the Soaring Eagle Casino and Resort, and
it was an odd rock 'n' roll show. But it was the kind
of show and the kind of site that Bob Dylan has
increasingly made his own.

Mr. Dylan, 64, plays big cities, of course. (In April
he played five nights in Manhattan.) But more and
more, he is choosing stranger settings: state fairs,
corporate events, urban street fairs and casinos (from
Indian casinos like the Turning Stone in Verona, N.Y.,
and the Soaring Eagle to more traditional ones in Las
Vegas and Reno). He is now in the middle of his second
summer barnstorming tour of minor-league baseball
fields, like the Osceola County Stadium in Kissimmee,
Fla., with Willie Nelson in tow.

Mr. Dylan may be in the final phase of his long and
iconoclastic life as a star, and for it he has chosen
a very long and very iconoclastic tour: 1,700 shows
and counting, beginning in 1988. Caught in an artistic
crisis then, he decided to defibrillate his career and
go back on the road. Accompanied by a small combo, he
reintroduced himself to fans, sporting a lean energy
and a commitment to exploring his nonpareil song
catalog. He shows no signs of slowing down, though he
has lately replaced the guitar he has played for more
than 45 years with a keyboard, causing speculation
that back problems might be responsible for the
switch. (Through Mr. Dylan's publicist at Columbia
Records, his management said playing keyboards was
"just his musical preference" and declined to comment
otherwise for this article.) Mr. Dylan has turned his
act into one of the weirdest road shows in rock. He
rarely speaks to the crowd, and when he does, his
remarks are often gnomic throwaways. ("I had a big
brass bed, but I sold it!") He plays some of his
best-known songs, but often in contrarian, almost
unrecognizable versions, as if to dampen their
anthemic qualities. He highlights recent compositions
more than most of his 60's coevals, but these, too,
are delivered as highly stylized, singsongy chants. He
strives to play as many kinds of places as possible,
even playing successive nights in different theaters
and clubs in large cities.

In other words, Mr. Dylan seems to have developed an
unparalleled commitment to sharing his art, but only
on his own very specific terms.

Of course, a hundred shows a year is not unheard of in
the rock world; some well-known figures, Mr. Nelson
and B. B. King among them, play even more shows than
Mr. Dylan. But no performer of similar stature has
exhibited his decades-spanning commitment to the
stage. Acts like Bruce Springsteen, the Rolling Stones
and U2 tend to tour every two or three years as part
of a grandly themed marketing package, complete with a
new album, an intricate publicity strategy, tractor
trailers to carry their massive stage sets; later
there is souvenir bric-a-brac like a live album or an
HBO special for later DVD release.

Mr. Dylan does none of that. There are no themes,
little publicity and no tractor trailers; he just
plays shows. The writer Paul Williams, who founded
Crawdaddy, arguably the first rock magazine, in 1966,
said Mr. Dylan's focus had moved away from recording
in the last few decades. "This is his art form," he
said, "the performing."

These shows have none of the strict choreography of
the modern rock concert. Major touring acts will
charge hundreds of dollars for a tightly scripted
performance, with one or two opportunities for
spontaneity. By contrast, Mr. Dylan's small ensemble
plays confidently during each set's few anchors, but
watches somewhat warily during the rest of the show,
as Mr. Dylan decides which part of his huge repertory
to sample next.

......

(окончание)
"He would do anything from old folk songs, Civil
War-era songs, up to standards," said the guitarist G.
E. Smith, who played with Mr. Dylan at the start of
what has become known as the Never-Ending Tour. "I
remember once, we were playing in Hollywood, and he
played 'Moon River.' "

UNLIKE some of his peers, Mr. Dylan doesn't seem to be
motivated primarily by money. His ticket prices
average a bit over $40, according to Gary Bongiovanni,
editor of the concert industry magazine Pollstar;
that's significantly below the industry average. "Bob
is one guy who's realized it's not all about the
money," said Jerry Mickleson, of Jam Productions in
Chicago. "It's about making music and making people
happy. It's not about charging $100 a ticket."

For the Bob and Willie tour, in 2004, he added,
tickets were $45. This year, they were $49.50.

Still, finances may play a part in Mr. Dylan's touring
strategy. Casino shows are highly remunerative; the
Soaring Eagle had an uncharacteristically high $150
top ticket price, reflecting a high upfront fee for
the artist. He will never starve, but Mr. Dylan did
not come out of the 1960's and 70's with what could be
called McCartney money. Howard Sounes, in his Dylan
biography, "Down the Highway," writes that Mr. Dylan
has had four generations of Zimmermans and Dylans to
house at various times, besides two wives and, it
seems, the odd mistress. If Mr. Dylan plays 100 shows
a year before 4,000 fans at an average price of $40 a
ticket, he may walk away with more than $5 million
profit. And of course, that's on top of the million or
so albums he sells a year.

Yet money doesn't fully explain the restless nature of
the touring, and it certainly doesn't explain Mr.
Dylan's refusal to give the audience what it wants to
hear, his casual approach to publicity, the small
clubs or the costs involved in playing at different
sites in the same city. For some of his 1960's peers,
whose tours can gross in the nine figures, it's hardly
worth leaving the Hamptons for $5 million.

One clue to what Mr. Dylan is doing may be found in
the liner notes to "The Freewheelin' Bob Dylan," one
of his early albums: "I don't carry myself yet the way
that Big Joe Williams, Woody Guthrie, Leadbelly and
Lightnin' Hopkins have carried themselves," he said.
"I hope to be able to someday, but they're older
people. I sometimes am able to do it, but it happens,
when it happens, unconsciously." These figures aren't
merely musical heroes; they're also counterpoints to
Mr. Dylan's casually decadent rock star peers, who
happily cater to their fans' demands. Unlike them, Mr.
Dylan offers the audience only what he thinks they
should want: an opportunity to see an artist work.

He has even become something of a proselytizer for the
road's healing powers. A call from Mr. Dylan
encouraged the singer Patti Smith to go back on the
road after a 16-year hiatus. "He told me I should
share what I do with the people," she said. "I think
that resonates with his philosophy."

The journey Mr. Dylan is on has eerie premonitions in
his songs, nowhere more so than in "Like a Rolling
Stone," whose refrain of "no direction home" can sound
both ominous and triumphant. "I think when he sang 'no
direction home,' he's talking about being lost, kind
of a stranger in a strange land," Mr. Williams said.
"And then ironically, it's how he chooses to live his
life."

Jonathan Cott, the author of "Dylan," said: "I've
thought about it, and I know it's a cliché, but I
think he finds himself on the road - 'finds' in both
senses of the word. I think for him the goal is the
road."

There is a final issue, and a more sensitive one,
given the singer's penchant for privacy. Beyond his
relatively well-chronicled relationship with his first
wife, Sara, little is known about his private life.
Until very recently, biographers were unfamiliar with
the basic details of his family, and many fans don't
know that Mr. Dylan was married for a second time, in
the '80's, to one of his gospel-era backup singers,
with whom he had a child.

The question, bluntly put, is what Mr. Dylan is
running away from, or to. At the height of his fame,
in the late 60's, he famously took himself off the
road for almost seven years to raise a family in
something approximating peace. What personal demons
could compel a man to spend his late 40's, then his
entire 50's and now his 60's, away from home?

"Is it running away or finding your own path?" Mr.
Cott asked. "I don't know."

Starbucks Nabs Exclusive Dylan Live Album

Starbucks has nabbed the exclusive first rights to sell "Bob Dylan: Live at the Gaslight 1962," an album of newly restored live recordings culled from Dylan's performances at the New York cafe.

The 10-song CD hits more than 4,400 Starbucks' locations in North America on Aug. 30, and will also be available through its Web site. The exclusivity window lasts 18 months.

Bootleg versions of the shows have circulated among fans for years, but the Aug. 30 release marks the first time a sanctioned release has occurred. Among the tracks are the earliest surviving live recording of "Hard Rain's A-Gonna Fall" and "Don't Think Twice It's Alright."

Starbucks Entertainment president Ken Lombard says he hopes there are more such projects to come. "Our plans with Bob Dylan go beyond this," he says, although he adds there is no other project already in the works. "We've always been huge Dylan fans. We see him as a legend and one of the most socially conscious artists out there. This will hopefully be the first of many things we can do with Dylan."

Meanwhile, "No Direction Home: The Soundtrack," the seventh installment in the Dylan "Bootleg" series, will also come out Aug. 30 and be available to all retailers, including Starbucks.

The two-disc Columbia/Legacy set serves as the soundtrack to "No Direction Home: Bob Dylan," a full-length biography on Dylan produced by Martin Scorsese. The film will debut on PBS's "American Masters" series in late September. Volume 7 includes key songs in the Scorsese project as well as previously unreleased material from 1961-1964.

Starbucks has offered archival collections in the past with such artists as Frank Sinatra and Aretha Franklin. It recently scored a six-week exclusive on a new acoustic version of Alanis Morissette's "Jagged Little Pill" and is also planning an Aug. 30 release of a new Herbie Hancock album, "Possibilities."

http://www.billboard.com/bb/daily/article_display.jsp?vnu_content_id=1000969584

Dylan biopic at 'Home' on DVD

LOS ANGELES (Hollywood Reporter) - Martin Scorsese's feature-length biopic of Bob Dylan, "No Direction Home: Bob Dylan," will debut on DVD on Sept. 20, six days before its U.S. broadcast premiere on PBS and U.K. bow on the BBC.

On PBS, the film will air Sept. 26 and 27 as part of the "American Masters" series. It also will air Sept. 26 on the BBC's "Arena" program.

The DVD, from Paramount Home Entertainment, will include extensive additional footage and bonus materials.

The film focuses on Dylan's life and music from 1961-66 and includes never-before-seen performance footage and interviews with artists and musicians whose lives were intertwined in some way with Dylan during that time.

Scorsese and his crew had access to rare material from the Bob Dylan Archives' film, tape and stills collection, including footage from Murray Lerner's film festival documenting performances at the 1963, '64 and '65 Newport Folk Festivals, outtakes from D.A. Pennebaker's famed 1967 documentary "Don't Look Back" and interviews with Allen Ginsberg, Pete Seeger and Joan Baez, among others.

A double-CD soundtrack will be released Aug. 30 on Columbia/Legacy Records, and a book, "The Bob Dylan Scrapbook 1956-1966," will be published by Simon & Schuster on Oct. 1.

http://news.yahoo.com/s/nm/20050629/music_nm/dylan_dc/nc:689;_ylt=ApOvpF3R2dTBKbtyjG..x...

The greatest song of all time
Greil Marcus on Bob Dylan and 'Like a Rolling Stone'
Tuesday, June 28, 2005

The song broke in the summer of 1965, a fired gun of a drum shot followed by words out of a fairy tale: "Once upon a time, you dressed so fine ..."

Even Bob Dylan must have known he was on to something when he wrote and recorded "Like a Rolling Stone."

Forty years later, the song remains Dylan's most representative and identifiable, from the stabs of organ (courtesy of Al Kooper, who snuck into the recording session and had never played organ), to the crashing rhythm section, to the twirling exclamation points of Mike Bloomfield's lead guitar, to the bursts of harmonica, to -- finally -- the sing-along chorus, belted in a triumphant voice somewhere between a sneer and a whine: "How does it feel? How does it feel?"

"It draws a line in the sand. Once you cross it, you can't go back," says rock critic Greil Marcus, author of the new book "Like a Rolling Stone: Bob Dylan at the Crossroads" (PublicAffairs).

Indeed, "Like a Rolling Stone" is like a gauntlet thrown down, Marcus observes in a phone interview.

It's a dividing line between Dylan the tentative folk singer, famous for writing others' hits (Peter, Paul & Mary's "Blowin' in the Wind," the Byrds' "Mr. Tambourine Man") and Dylan the rock star, celebrated for his own ("Superstar Bob," as Nik Cohn and Guy Peellaert present him in their book "Rock Dreams"); a gateway from Top 40 pop to album rock (the song, six minutes and six seconds, was the longest non-dance record routinely played on AM radio up to that time); a roar of youthful defiance as the '60s started getting meaner.

And yet, it also seems less written by Dylan than channeled.

Indeed, though the words are important and the melody (based on a "La Bamba" chord progression) infectious, the song -- the recorded performance -- transcends them. It's not for nothing that Rolling Stone magazine named it the greatest song in rock history, ahead of "Satisfaction," "What's Going On" and even "Johnny B. Goode."

"It works on its own terms," says Marcus. "It puts you on the spot. It asks of you the fear and courage that it asks of its subject."

'This is where his style became a body'

Dylan wrote the song on the 1965 tour chronicled in the documentary "Don't Look Back." On June 15, he showed up in Columbia Records' New York studios and attempted a few takes, but the song refused to come together. The next day, with Kooper (a guest of producer Tom Wilson) present, Dylan tried again.

The first three takes set the stage, and then, on the fourth, Dylan and his band nailed it. They tried several more attempts, but never came close again.

Though the song screamed "single" to many, Columbia was uncertain. The song was six minutes. AM radio didn't play six-minute songs, and Dylan didn't want it cut in half, as was done with long songs such as the Isley Brothers' "Shout" or Ray Charles' "What'd I Say."

The song kicked off Dylan's 1965 album "Highway 61 Revisited."But the timing was right. A Columbia assistant sneaked the song, as is, into a New York club; it was a hit. Radio stations that dared play a truncated three-minute version found themselves besieged by listeners. The song rose to No. 2 and cemented Dylan's sound: "This is where his style became a body," says Marcus.

It also changed his audience. "It made itself a home on Top 40 radio," says Marcus. The exposure made Dylan exponentially bigger.

Indeed, the Dylan sound was quickly parodied and exploited. Gravel-voiced Barry McGuire took the P.F. Sloan-Steve Barri song "Eve of Destruction" -- which owes an obvious debt to Dylan -- to No. 1 later in 1965. A garage band named Mouse and the Traps did a Dylan sound-alike, "A Public Execution," which Marcus recalls inspired questions of, "Have you heard the new Dylan?" before the artist was revealed.

Even Dylan himself had fun with "Dylan," offering deeper vitriol ("Positively 4th Street") and burlesquing his own voice ("Can You Please Crawl Out Your Window") before, inevitably, he went off in another direction, as he's done so often in his career.

'In the air'

As with many Dylan songs, the subject has been much debated. An old girlfriend? A Greenwich Village folkie? Dylan himself?

Marcus steers clear of lyrical analysis, believing that any explanation is a "waste of time," though he observes that the spirit of the song is such that "if the song had been sung in any German-rooted language, it would have the same effect."

Greil MarcusWhich perhaps makes "Like a Rolling Stone" all the more serendipitous, something "in the air," as Marcus says.

It has stayed in the air, mysterious, thrilling and haunting.

There are the images, as sharp and inscrutable as Dylan ever produced: "the mystery tramp," "a chrome horse with your diplomat," "Napoleon in rags." There are the aphorisms: "When you ain't got nothing, you got nothing to lose."

There is the phrase "rolling stone," whose pop music forebears Marcus traces to Hank Williams and Muddy Waters, giving the song both country and blues roots deep into the American soil.

There's the production, smoothed out by Bob Johnston, who guided Dylan through "Highway 61 Revisited," "Blonde on Blonde," "John Wesley Harding" and "Nashville Skyline."

There are the ensuing performances of the song: a clumsy, booed recital at the 1965 Newport Folk Festival that has entered legend; an angry, defiant blast -- like a lifted middle finger -- to close the bitter 1966 "Albert Hall" concert.

And, as Marcus writes, the song has the ability to stop time and silence listeners, as if they'd never heard it before.

By now, Marcus himself has heard "Like a Rolling Stone" thousands of times. When he talks about his book on radio shows, the host inevitably cues up the song to kick off the proceedings. Marcus listens, smiles, "and then [the song] goes away like smoke."

And how does it feel?

"I'm not even close to being sick of 'Like a Rolling Stone,' " Marcus says. "Every time I hear it, it's like the first time. I find that's even more true now than before. Now I don't just smile. I'm astonished."

http://edition.cnn.com/2005/SHOWBIZ/Music/06/27/dylan.stone/index.html

In an event that has brought together Bob Dylan and Martin Scorsese, NO DIRECTION HOME: BOB DYLAN, a production of Spitfire Pictures, Grey Water Park Productions, Thirteen/WNET New York and Sikelia Productions, in co-production with Vulcan Productions, BBC and NHK debuts on DVD in a version of the documentary with extensive, additional, never-before-seen footage. The two-part film, which focuses on the singer-songwriter's life and music from 1961-66, includes never-seen performance footage and interviews with artists and musicians whose lives intertwined with Dylan's during that time. Dylan talks openly and extensively about this critical period in his career, detailing the journey from his hometown of Hibbing, Minnesota, to Greenwich Village, New York, where he became the center of a musical and cultural upheaval, the effects of which are still fe lt today. For the first time, The Bob Dylan Archives has made available rare treasures from its film, tape and stills collection, including footage from Murray Lerner's film Festival documenting performances at the 1963, 1964 and 1965 Newport Folk Festivals, previously unreleased outtakes from D.A. Pennebaker's famed 1967 documentary Don't Look Back, and interviews with Allen Ginsberg, Pete Seeger, Joan Baez, Maria Muldaur, and many others. In anticipation of the film, members of Dylan's worldwide community of fans also contributed rarities from their own collections.
http://www.amazon.com/exec/obidos/tg/detail/-/B000A0GP4K/ref=ase_pauplathemuss-20/103-1...

Dylan offers rarities bonanza on new 'Bootleg' disc
Wed Jul 13

NEW YORK (Billboard) - More than two-dozen previously unreleased Bob Dylan tracks will be found on "No Direction Home: The Soundtrack," due in stores Aug. 30.

The double-disc set, the seventh volume in Columbia/Legacy's "Bootleg Series," is the companion to Martin Scorsese's Dylan documentary of the same name, which premieres Sept. 26 on PBS.

Sequenced in chronological order, "No Direction Home" boasts 26 rarities, beginning with what is believed to be the first original song Dylan ever recorded ("When I Got Troubles," taped by a high school friend in Minnesota in 1959).

Also featured are two tracks recorded in Minneapolis in December 1961, a live version of Woody Guthrie's "This Land Is Your Land" from a 1961 show at New York's Carnegie Hall and alternate takes of "Mr. Tambourine Man," "It's All Over Now, Baby Blue" and "She Belongs to Me" from the 1964-65 "Bringing It All Back Home" sessions.

The album's second disc sports five alternate takes from the 1965 sessions for "Highway 61 Revisited" and three from the following year's "Blonde on Blonde," as well as live versions of "Ballad of a Thin Man" and "Like a Rolling Stone" from Dylan's 1966 U.K. tour.

Liner notes for "No Direction Home" were penned by former Rolling Stones manager Andrew Loog Oldham and Dylan collaborator Al Kooper, while journalist Eddie Gorodetsky offers track-by-track analysis.

Dylan himself narrates the film version of "No Direction Home," which boasts interviews with such figures as Joan Baez, Allen Ginsberg, Al Kooper, Pete Seeger and Dave Von Ronk.

On the same day "No Direction Home" hits stores, another Dylan album will begin an 18-month window of exclusivity at Starbucks locations. "Bob Dylan: Live at the Gaslight 1962" features restored recordings culled from the artist's early performances at the New York cafe.

Here is the track list for "No Direction Home":

Disc one:

"When I Got Troubles" (1959)
"Rambler, Gambler" (1960)
"This Land Is Your Land" (live at New York's Carnegie Chapter Hall, 1961)
"Song to Woody" (1961)
"Dink's Song" (1961)
"I Was Young When I Left Home" (1961)
"Sally Gal" ("The Freewheelin' Bob Dylan" outtake, 1962)
"Don't Think Twice, It's Alright" (demo, 1963)
"Man of Constant Sorrow" (1963)
"Blowin' in the Wind" (live at New York's Town Hall, 1963)
"Masters of War" (live at New York's Town Hall, 1963)
"A Hard Rain's A-Gonna Fall" (live at New York's Carnegie Hall, 1963)
"When the Ship Comes In" (live at New York's Carnegie Hall, 1963)
"Mr. Tambourine Man" ("Bringing It All Back Home" alternate take, 1964)
"Chimes of Freedom" (live at Newport, R.I. Folk Festival, 1964)
"It's All Over Now, Baby Blue" ("Bringing It All Back Home" alternate take, 1965)

Disc two:

"She Belongs To Me" ("Bringing It All Back Home" alternate take, 1965)
"Maggie's Farm" (live at Newport, R.I. Folk Festival, 1965)
"It's Take a Lot To Laugh, It Takes a Train To Cry" ("Highway 61 Revisited" alternate take, 1965)
"Tombstone Blues" ("Highway 61 Revisited" alternate take, 1965)
"Just Like Tom Thumb's Blues" ("Highway 61 Revisited" alternate take, 1965)
"Desolation Row" ("Highway 61 Revisited" alternate take, 1965)
"Highway 61 Revisited" ("Highway 61 Revisited" alternate take, 1965)
"Leopard Skin Pill-Box Hat" ("Blonde on Blonde" alternate take, 1966)
"Stuck Inside of Mobile With the Memphis Blues Again" ("Blonde on Blonde" alternate take, 1966)
"Visions of Johanna" ("Blonde on Blonde" alternate take, 1965)
"Ballad of a Thin Man" (live at Edinburgh's ABC Theatre, 1966)
"Like a Rolling Stone" (live at Manchester, England's Free Trade Hall, 1966)

http://news.yahoo.com/s/nm/20050714/music_nm/music_dylan_dc/nc:689;_ylt=AoBn9XI6N18Dt67...

++ Victoria's Secret Commercia - Angels In Venice (With Adriana Lima & Bob Dylan)

2Corvin:

Cool! Спасибо!