New Morning

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Reve in the Air:

After the accident, I started thinking about …how short life is. I’d just lay there listening to the birds chirping. Kids playing in the neighbor’s yard or rain falling on the window. I realized how much I missed. Dylan in converstion with Sam Shepard 1986

lots of musicans…reord from started march ended june 70…leon russell. al cooper. both “producers”. 16 recording sessions…


Soundes. “Daniel’s. “Anything you threw at [Bob], he could sing….It was such a nice thing, such a great day, hour after hours.” “it wasn’t bd and gh. it was four guys in the sudio making music.”

at least three songs were written for a state play y archibald macLeish, but ehy were not delivered o time”. Do fthe Locus

allmusic…jazz…new aspect

Corn=nelius, Daniels, and Johnston chose to work with Cohen, Dylan perhaps not happy camper.

thought about including “Tomorrow Is a Long Time” (should have)

Recorded Watching the River Flow and When I Paint My Masterpiece

DLF (Dylan liberation Front).

 The sublime Tomorrow Is a Long Time didn’t make the cut for some reason. The great cover of Spanish Is The Loving Tongue didn’t make it either. 

Dylan rushed out New Morning in the wake of the commercial and critical disaster Self Portrait, and the difference between the two albums suggests that its legendary failed predecessor was intentionally flawed. New Morning expands on the laid-back country-rock of John Wesley Harding and Nashville Skyline by adding a more pronounced rock & roll edge. While there are only a couple of genuine classics on the record (“If Not for You,” “One More Weekend”), the overall quality is quite high, and many of the songs explore idiosyncratic routes Dylan had previously left untouched, whether it’s the jazzy experiments of “Sign on the Window” and “Winterlude,” the rambling spoken word piece “If Dogs Run Free” or the Elvis parable “Went to See the Gypsy.” Such offbeat songs make New Morning a charming, endearing record.

some of it reminds me of the girl in Don’t Look Back “having a laugh”

Dylan said of Nashville Skyline, “These are the type of songs that I’ve always felt like writing when I’ve been alone to do so. The songs reflect more of the inner me than the songs of the past.” I don’t believe him for a minute. He’s the same guy who wrote “I’m Not There,” after all, and the songs on Nashville Skyline sound calculated to my ears. In short, Dylan’s sincerity is only as authentic as how he feels at any precise moment. He might have said the same thing about “Blowin’ in the Wind,” “Like a Rolling Stone,” or his unforgettable duet with himself on “The Boxer” from Self Portrait, the very title of which reveals a man who is very cagey indeed when it comes to nailing the “real Dylan” down.


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