By Chris Moore:

As a special treat for all you Fusco-Moore music blog faithfuls, this post is in honor of Laptop Sessions founder Jim Fusco’s wedding to Becky Daly over the weekend.  That’s right; as of July 25th, 2009, Jim is no longer a single man.

Sorry, ladies…

As part of my wedding gift to them, I sifted through the 10,000 plus songs on my iTunes and created a playlist to commemorate their marriage.  As you skim through the bands and titles below, you’ll find that the theme is pretty obvious — two people getting together in a relationship (1, 2), getting married (5, 7, 11), and the new life that follows (8, 10, 12, 14).  Of course, there’s some mention of Saturday night (4) and the bonus tracks are all about the honeymoon — can you guess where that’s going to be taking place?

I hope you enjoy the playlist rundown, and I encourage you to leave comments for the newlyweds here on this post!

TRACK LISTING:

1 )  “Got to Get You Into My Life” – The Beatles
2 )  “Better Together” – Jack Johnson
3 )  “Hope You Love Me Like You Say You Do” – Huey Lewis & The News
4 )  “Almost Saturday Night” – Gene Clark & Carla Olson
5 )  “Chapel of Love” – The Beach Boys
6 )  “I’ll Always Love You (Day After Day)” – Dean Martin
7 )  “Wear My Ring Around Your Neck” – Elvis Presley
8 )  “What Love Has Joined Together” – The Temptations
9 )  “Really Love You” – Paul McCartney
10) “Ideal Woman” – William Shatner
11) “Wedding Song” – Bob Dylan
12) “A New Life For Us” – The Now People
13) “Satisfied” – Ringo Starr
14) “Believe In Life” – Eric Clapton
15) “This is Love” – George Harrison
16) “One True Vine” – Wilco

BONUS TRACKS:

17) “The Honeymoon Song” – The Beatles
18) “The Hula Hula Boys” – Warren Zevon
19) “Rocking Chair in Hawaii” – George Harrison
20) “Rock-A-Hula Baby” – Elvis Presley
21) “Hawaii” – The Beach Boys

For Bob Dylan / Dead Weather chords & lyrics, CLICK HERE!

By Chris Moore:

Hello and welcome to yet another delay for the “double header” I promised last week or (technically) two weeks ago.  But I have a good reason for holding off!  Tonight, I’ve recorded “New Pony,” one of my least favorite Bob Dylan songs, because a brand new cover version was released on last week’s Dead Weather debut album.

First, I’ll give a little background on the original version of the song.  “New Pony” was first released on Bob Dylan’s 1978 album Street Legal.  To give you a little context here, Dylan had recently released Blood on the Tracks and Desire, arguably two of his best albums.  The year 1975 found him fully engaged in the Rolling Thunder Revue along with such artists as Joan Baez, Roger McGuinn of the Byrds, poet Allen Ginsberg, and others.  Although he temporarily revived a different incarnation of the Revue in 1976, this phase of Dylan’s musical career was pretty much over by 1977.

This is not to say that life wasn’t busy for him.  This was right around the time that his marriage to Sara Dylan was breaking down and the divorce proceedings began.  A lot — perhaps too much — has been written about these personal aspects. 

Street Legal was the product of a few weeks of sessions involving a select group of musicians that Dylan had recently worked with.  Although his past two albums had met with critical success and his subsequent album, 1979′s Slow Train Coming, would earn him his first Grammy award, Street Legal has generally been lost in the valley between these two peaks.

Personally, I have always liked this album.  Sure, the female background singers come across as a bit cheesy at times (have you heard “Baby, Stop Crying”?) and the instrumentation can be a bit much at times, but there are some great songs.  “Changing of the Guards” is one of my favorite album openers and boasts a rare fade-in.  “Is Your Love in Vain?” and “True Love Tends to Forget” are fantastic Dylan deep cuts.  And “Senor (Tales of Yankee Power)” is a narrative wrapped in the best, darkest mood you’ve ever felt.  (Jerry Garcia recorded a great version of the latter.)

As for “New Pony”?  Well, it generally ranks as one of my least favorite Dylan recordings of all time, and certainly on this record.  In fact, it’s the very rare track that I may occasionally skip when listening to the album.  Why it was placed in the number 2 slot, I’ll never know.

That being said, let’s flash forward to 2009.  Last week, the Dead Weather released their debut album, Horehound.  For those of you who aren’t familiar with this group, this is a side project band composed of the White Stripes’ Jack White (drums, some vocals, acoustic guitar on one track), the Kills’ Alison Mosshart (lead vocals), Queens of the Stone Age’s Dead Fertita (guitar, etc.), and Jack Lawrence (bass, etc.).  I really liked last year’s Raconteurs album (Jack White and Jack Lawrence’s other side project band), so I figured I would give this one a shot as well.

Long review short, I was not as impressed as I had hoped to be.  (My one-sentence review is coming shortly!)  That being said, the album certainly has its moments, and for me, one of the best moments is track seven when they cover Dylan’s “New Pony.”

This is an excellent example of a band you wouldn’t necessarily think of as being heavily influenced by Bob Dylan turning around and pulling off a stand-up interpretation of one of his songs.  After hearing it, I thought that this song fit better on this album than it did on Street Legal.  In that sense, I was happy to assign “New Pony” to a better place in my estimation of Dylan’s catalog of songs.

So, without further ado, I submit to you my acoustic rendition of the song as a send-up to the 1978 Dylan version and a tip of the hat to the brand-new 2009 version by the Dead Weather.  I found that I was psyched to learn this ridiculously easy (at least chord-wise) song.  Anyone who visits the Laptop Sessions on any regular basis knows that I’m no stranger to a Bob Dylan cover song, but I never thought I’d be recording this one.

Well, at least not until I ran out of all the other ones in 2045 or so…

I hope you enjoy this, and be sure to stop back tomorrow for Jim Fusco’s Tuesday post, a couple days later for Jeff Copperthite’s Thumpin’ Thursday, and later this week for at least one more post from your truly.  (I’ve got so much to say about other music and non-music related topics, but I think this is quite enough for one post!)

See you next session!

By Jeff:

You know, one side effect of performing for laptopsessions.com is that you tend to learn a lot about the bands that you cover.

I knew that I wanted to do this song at some point because it is a stereotypical “alternative” song from the 90′s, and it was in the top ten of singles when it came out.  I knew that the moog riff is cool, and that I was definitely not going to include it in my performance.

I’m talking about a band called “The Rentals” (which for some reason make me think of the B52′s, but I digress) (Ok, it also makes me think of “The Wonders” from “That Thing You Do”, but I digress again) (Nope, nothing else, just thought i’d digress in threes).  And today, I learned that it is and was fronted by Weezer’s own Matt Sharp.  I guess I should’ve known since the styles are markedly similar.

Tonight’s performance is an acoustic one of a song that doesn’t really sound like it’d be good acoustic.  I’d be better off breaking out my bass and fuzzing the sound up.  Still, the spirit of the sessions must remain!  The song is “Friends of P” from their album “Return of the Rentals”.  You’ll recognize it if you don’t already when you hear it.

I hope you notice I did get a Twitter, and I promise to update it more if I get more followers.  Hopefully, however, you’ve taken that PSA into account.

Until next time fine folks, I’ll see you then!

For the Set List, CLICK HERE!

By Chris Moore:

Willie Nelson sounded as good as he ever has, and John Mellencamp brought a tremendous amount of energy to the stage with his talented band (he described them as being built for playing in garages and bars, but they handled a ballpark quite nicely).

But then Bob Dylan broke the roof in and set fire to the place as a parting gift.

(Well, there wasn’t a roof to begin with, but let’s not quabble over details…)

After more than three hours of opening acts and transitions between sets, Dylan came out just after 9pm on Wednesday, July 15th, 2009 at the Rock Cats’ baseball stadium in New Britain, CT.  At the precise moment the lights came up, I also took in my first breath of a suspicious smelling smoke…

Anyway, Dylan kicked off the first two songs on electric guitar, soloing along with his band members.  (There’s a great photo in a recent online Rolling Stone article that looks just like what I saw tonight.)  He added new lines to “Rainy Day Women #12 & 35″ — “Everybody must get stoned,” for the layperson — and rollicked through “Stuck Inside of Mobile with the Memphis Blues Again” — a true Fusco-Moore favorite — as if it were a new song on his most recent album.

There’s always something special about seeing Dylan play guitar, but he wasn’t the only one in the band whose skills on the axe were highlighted.  Both of the other guitarists in his Never-Ending Tour band were allowed to bring more of their guitar work into the mix than in past concerts — take the infectious new guitar riff in “Tryin’ To Get To Heaven” or the simple but catchy licks in “Jolene.”  More than once throughout the evening, an acoustic guitar could be heard high in the mix, which has become a rarity in recent years.

By the time Dylan retreated to his keyboard, the momentum had already been established and only continued to build.  He romped through “The Levee’s Gonna Break” and soon after beat out a typically heavy version of “High Water (For Charley Patton).”  Although his set included mid-tempo (“I Feel a Change Comin’ On”) and slower (“When the Deal Goes Down”) songs, Dylan’s predilections certainly lay in the in-your-face, bass-pounding-through-your-chest, guitar-and-harmonica-solos-wailing variety.

That's as close a picture I could get with the police in full force around the ballpark...

Last year was a great show.  But what impressed me this year was just how clear Dylan’s vocals were tonight.  Now, I’m not suggesting a possible vocal cord surgery has occurred to restore him to his Nashville Skyline crooning, but he annunciated each word and clearly showed more respect for the tunes and melodies of his songs than he has in the past decade or more.

For years, I have been defending the gruffness of Dylan’s voice as simply one more of the many voices he has taken on over the years.  However, I have never been able to justify his oftentimes uniform low-to-high singing of each line of every song.

Tonight, with only a couple exceptions, he truly broke that mold all over the place.

Although the show was heavily weighted toward his newer material — 8 of the 14 songs were from his most recent four albums — the crowd seemed to enjoy the concert as much as I did, and although it was difficult to see from the outfield where we were standing, it looked as if most people stayed until almost the very end.  (Why anyone leaves before the encore, I’ll never know.  Dylan by now famously leaves “Like A Rolling Stone” and “All Along The Watchtower” for the additional set.)

I can’t believe it’s over.  It was an excellent concert, made all the better for having someone to go with this year.  Now, I have only to set the timer and wait in anticipation for next year’s Dylan tour schedule.

Until then, I’ll have to be content to continue listening to Together Through Life and revisit Modern Times, Love & Theft, Time Out of Mind, or, as I did on the long ride home through traffic, the Bootleg Series recording of the 1966 Royal Albert Hall electric set with Dylan and the Band (my favorite concert recording of all time)!