The Laptop Sessions Cover Songs & Original Music Video Blog » Bob Dylan Songs

Bob Dylan’s “Bob Dylan” (1962) – Yes, No, or Maybe So

Chris Moore — Sun, 11 Mar 2012 13:59:19 +0000

Originally posted 2010-05-03 22:30:24.

Bob Dylan’s Bob Dylan (1962) – MAYBE

Bob Dylan's self-titled debut (1962

(March 19, 1962)

Review:

It is difficult to imagine a time when Bob Dylan was not revered as a songwriter, but here is one of the true documents of that time; it is an album that exemplifies young Dylan’s early sound, as he experimented with his influences on some of his first cover song recordings and presented the first two originals he committed to an album (the early, touching gem “Song to Woody” and the raw, poetically humorous “Talkin’ New York”).

Top Two Tracks:

“Song to Woody” & “House of the Risin’ Sun”

Bob Dylan’s “Christmas in the Heart” (2009) – The Weekend Review

Chris Moore — Sun, 11 Mar 2012 13:59:08 +0000

Originally posted 2009-11-29 02:28:00.

By Chris Moore:

Throughout Christmas in the Heart, Bob Dylan and his band are clearly enjoying themselves, embracing the timelessness of the Christmas music genre. More specifically, Dylan and company are transporting themselves and their listeners back to a simpler time of deceptively simple songs and sentiments.

Still, not every nostalgia-inducing feature is practiced or purposeful. For instance, that’s not static you hear on your compact disc or mp3 copy — that’s just Dylan’s voice.

Over the fifteen songs that comprise this new album, Dylan moves fluidly between the religious and the imaginative, from solemn, sacred hymns describing the birth of Jesus Christ to classic tunes about jolly old Saint Nicholas himself, Santa Claus.

Interestingly, this is the first time Dylan has included more than thirteen tracks on a studio release since 1970′s Self Portrait, the runner up being 1992′s Good As I Been To You, clocking in at thirteen tracks. Granted, these are not the most positive comparisons in his considerable catalog, but fortunately, the comparisons end at the track count.

Christmas in the Heart is a unified collection of songs that are unlike anything Dylan has recorded before, and yet they somehow fit perfectly with the material he has released in the past decade or so. Ever since the two albums of covers he released in 1992 and 1993, Dylan has seemingly been drawn to the sounds and styles of the past. 2001′s Love and Theft saw a wide variety of styles, and the songs on both Modern Times (2006) and this year’s Together Through Life have progressively relied on mid-20th century styles and arrangements.

In many ways, this is the most logical time for Dylan to contribute to the very American tradition of popular Christmas music.

Bob Dylan's "Christmas in the Heart" (2009)

I will admit that, upon a first listen, I was unimpressed. Bob Dylan fanatic that I am, the deterioration of his voice initially alienated me and I felt distanced from these classic compositions, most of which I had heard before in at least one or more arrangements.

“The Christmas Blues” is perhaps the most Dylan-esque of the tracks, especially when considering the predominance of recent Dylan tunes with blues structures, the harmonica solo, and the more serious, even downtrodden tone. In this song, his vocals are stretched and utilized to heartfelt effect.

As I listened a second and third time, the subtlety of these tracks began to set in. The lead guitar in “Do You Hear What I Hear?” that more than adequately takes the place of the typical “answer” vocal components, the choral background singers with spot-on, traditional harmonies, and the variations in Dylan’s vocals — the rough edges in “Little Drummer Boy” and “Have Yourself a Merry Little Christmas,” the softened edges in “Christmas Island” — all contribute to what is largely a relaxing and entertaining record.

Is there a better description for a Christmas album?

What strikes me about Christmas in the Heart is the proof which it provides for the argument that this time of year is a special season, one which captivates the hearts and souls of men and women and inspires us to be better people. Certainly, if Bob Dylan put this much effort into not only a holiday album, but also a specifically Christmas-themed release, then there must be something to be said about the power of music influenced by the Christmas spirit.

Dylan, known for turning around and surprising even his most loyal fanbase, has done it again. It may not be as revolutionary as going electric, or as polarizing as songwriting from an explicitly born-again Christian perspective, but it is at least as dramatic a development in his career. Rarely has Dylan prepared such well-known cover songs for a studio release, much less songs with such a concrete set of lyrics and straightforward message.

If nothing else, this album will provide some interesting fodder for the ongoing “Is he Christian?/Is he Jewish?” debate that continues to rage on…

For me, Christmas in the Heart is a clear reminder of the universal qualities of the Christmas spirit. It is an album that further diversifies Dylan’s hand in American popular music, and likewise carries the torch for another generation to hear and appreciate a style that originated almost six decades ago.

All in all, Christmas in the Heart would make for a strong addition to any pop/rock music fan’s Christmas album collection.

Bob Dylan SET LIST – 11/27/2010 at the MGM Grand Theatre at Foxwoods, Mashantucket, CT

Chris Moore — Sun, 11 Mar 2012 13:58:53 +0000

Originally posted 2010-11-28 01:52:54.

Click HERE for the Weekend Review!

SET LIST:

1. “Gonna Change My Way of Thinking”
2. “Lay, Lady, Lay”
3. “I’ll Be Your Baby Tonight”
4. “Tangled Up in Blue”
5. “Tweedle Dum & Tweedle Dee”
6. “The Lonesome Death of Hattie Carroll”
7. “High Water (For Charley Patton)
8. “Visions of Johanna”
9. “Summer Days”
10. “Love Sick”
11. “Highway 61 Revisited”
12. “Workingman’s Blues #2″
13. “Thunder on the Mountain”
14. “Ballad of a Thin Man”

15. “Jolene”
16. “Like a Rolling Stone”

“World Gone Wrong” (Traditional) – Chords, Lyrics, & How to Play

Chris Moore — Sun, 11 Mar 2012 13:58:52 +0000

Originally posted 2010-03-10 23:51:05.

To see how it’s played in the cover song music video, CLICK HERE!

“World Gone Wrong”
Traditional

D
Strange things have happened, like never before;
My baby told me I would have to go.
D            G
I can’t be good no more, once like I did before.
G            A7
I can’t be good, baby,
Dmaj7                    A7                      D
Honey because the world’s gone wrong.

Feel bad this morning, ain’t got no home.
No use in worrying, ’cause the world’s gone wrong.
I can’t be good no more, once like I did before.
I can’t be good, baby,
Honey because the world’s gone wrong.

I told you, baby, right to your head,
If I didn’t leave you I would have to kill you dead.
I can’t be good no more, once like I did before.
I can’t be good, baby,
Honey because the world’s gone wrong.

I tried to be loving and treat you kind,
But it seems like you never right; you got no loyal mind.
I can’t be good no more, once like I did before.
I can’t be good, baby,
Honey because the world’s gone wrong.

If you have a woman and she don’t treat you kind,
Praise the Good Lord to get her out of your mind.
I can’t be good no more, once like I did before.
I can’t be good, baby,
Honey because the world’s gone wrong.

Said, when you been good now, can’t do no more,
Just tell her kindly, “There is the front door.”
I can’t be good no more, once like I did before.
I can’t be good, baby,
Honey because the world’s gone wrong.

Pack up my suitcase, give me my hat,
No use to ask me, baby, ’cause I’ll never be back.
I can’t be good no more, once like I did before.
I can’t be good, baby,
Honey because the world’s gone wrong.

“This Wheel’s on Fire” (Bob Dylan/Byrds Acoustic Rock Cover Song) – The Laptop Sessions

Chris Moore — Sun, 11 Mar 2012 13:58:42 +0000

Originally posted 2008-10-07 11:28:14.

By Chris Moore:

I’ve been so excited recently to see what new bands Jim is going to introduce to the blog — I mean, you really have no idea from one day to the next which band he’ll tap in to. At this point, he’s done so many different bands that it would actually be just as much a surprise to see him break out a classic standby, such as the Beach Boys. And, to prove how excited I am about these new bands…

…I’m going to contribute a Bob Dylan song!

Big surprise, I realize. (For those of you who don’t watch regularly, I’m a big Dylan fan and have recorded more Dylan covers than any other band!) But I have my reasons, I promise. First and foremost, today is the official release date of The Bootleg Series, Vol. 8: Rare and Unreleased: 1989-2006. I’ve only had time to listen to the first two thirds of the first disc, but already I’m really enjoying it. I’ve been concentrating so much on the new Ben Folds album, Way to Normal, that I was loath to take it out of my CD player. But I’ve already fallen in love with Dylan’s work, even after hearing the first four tracks. The version of “Mississippi,” one of my favorite songs of all time, is entirely different. Then, the version of “Most of the Time” sounds less like the 1989 track I know and love and more like a track out of 1963; it’s entirely different, and yet in typical Dylan fashion, it’s entirely amazing. Following an interesting little piano demo of “Dignity,” Dylan’s first take of “Born in Time” is — as the liner notes suggest — really the definitive version.

To be honest, I think the set might be worth the purchase if only for the “Born in Time” take and the new single “Dreamin’ of You,” an unreleased song from the Time Out of Mind sessions. When I got home from a meeting late tonight, my first inclination was to record a song that was (a) comfortable for me to play, so I could get to bed on time, and (b) a Dylan song.

This fits both criteria!

That’s all for me for now, but you can fill your Laptop Sessions cavity with Jeff Copperthite’s offering tomorrow, Jim Fusco’s video on Thursday, and then I’ll be back.

See you next session!

The Weekend Review: January 2012 Report

Chris Moore — Sun, 11 Mar 2012 13:58:40 +0000

By Chris Moore:

Fallen Empires (Snow Patrol)

Producer: Jacknife Lee

Released: January 10, 2012

Rating: 2.5 / 5 stars

Top Two Tracks: “Called Out in the Dark” & “The Symphony”

With an overall sound and feel crossing entirely too closely to that of 2006’s Eyes Open for my taste, Fallen Empires is no match for the best work in Snow Patrol’s catalog. Since the departure of Mark McClelland, their approach has veered away from the feel of 2003’s excellent Final Straw, but that is not necessarily a bad thing, especially given the achievements of A Hundred Million Suns (2008) as an album. Already, Fallen Empires has risen above this immediate predecessor in chart rankings in most countries. Though it is clearly an inferior, less artful, less fully rendered effort than A Hundred Million Suns, this album does have its moments: it kicks off strongly, and “Called Out in the Dark” is an excellent track. The next several tracks hold their weight until a fade is taken on the title track. From the middle to the end of the album, it is a hit or miss affair with some songs sounding half-baked, others coming across as masterful (see: the lively, catchy “The Symphony” or the aptly chosen – albeit fourth – single “In the End”).

Those Around Us (Jim Fusco)

Producer: Jim Fusco

Released: January 13, 2012

Rating: 4 / 5 stars

Top Two Tracks: “Chameleon” & “Opportunities”

For several records now, Jim Fusco’s advertising rhetoric has focused on the theme of continuous improvement, on the idea that the album in question is at least one step forward from the previous one. While That’s All Jim (2003) will forever stand higher in my estimation than What About Today? (2005), I had to admit that the technical expertise, songwriting, production quality, and concept of the latter were indeed a step forward from the former. Then, when Halfway There was released in 2009, it would have been difficult to argue that it was not Fusco’s best record. Now, with the arrival of Those Around Us, it is time again to weight the question: does this most recent release truly outshine the previous record? More on that after the review… The brighter, crisper sound of Those Around Us is the logical progression from the clean, sharp innovations that were immediately apparent on Halfway There, though it is less a progression than an extension of that sound, with the single greatest difference being the addition of crunchy distortion on the electric guitars throughout, in addition to the new instruments introduced this time around. Several songs would have fit seamlessly into Halfway, most notably the live, tuning-up feel of “Run My Way” kicking of the album much like “A Night Away” revved up Halfway’s “b-side” and the upbeat, vocally driven rock track “Opportunities.” And yet it would not be fair to suggest that Those Around Us is some sort of Halfway There, Part Two (or would it be called All the Way There?). This album offers some unique tracks heretofore unequaled in the Jim Fusco catalog. The standout track is clearly “Chameleon” which, as was the case with Halfway’s “I Got You,” showcases an impressive leap forward in terms of lead vocal, instrumentation, and overall songwriting quality. The brilliance of “Chameleon” lies in its use of the high and low ranges, mixing the bright guitar and keys with the dull throb of a disappointed-sounding bass line. Other standouts include “In Your Head,” one of the most naturally fast-paced Fusco songs to date, and “Helpless,” if not as much for its overall quality then for its out-of-time feel and for featuring what is perhaps the least recognizable, least predictable guitar part on the record. Elsewhere, the sequencing of the album is typically thoughtful, as in “Chameleon” – a song about appearances, adaptation, blending in and thus fading away – being followed by an extension of the visual/appearances theme in “Look Around,” which is also notable for being Fusco’s first recorded performance on lap steel, unless you count his part on the May 2009 Laptop Sessions cover of the Wilco / Woody Guthrie song “Jolly Banker.” Elsewhere on the album, there are several aspects that either confuse previous sentiments from Fusco’s music or demonstrate maturation. Take, for instance, “Choose Your Words (Carefully)” – which, for the record, seems less a referendum than a lecture – and its track two advice; seven years ago, he used the second track to instead assert that you “can’t count on words to fill the space between.” This is an interesting modification of that original suggestion. Another notable difference comes in the closing track. “How Are You Feeling Tonight?” marks the first time Fusco has ended an album with an interrogative song since 2003 (That’s All Jim’s “Where Do We Go From Here?; before that, he ended side one of 2002’s My Other Half with “Why Do You?” and side three with “What Did I Expect?”). This most recent question track is a departure in the sense that it closes with the refrain: “Try to live just for today, hey…,” whereas the other three end by fading out with the question still unanswered (though, to be fair, “What Did I Expect?” offers syntactical challenges that would easily merit a ten page paper to fully deconstruct, and that’s a task for another day…). What this structural difference suggests is not entirely clear, though it is in keeping with the declarative nature of the record’s other songs, which taken as a whole constitute a series of observations and, ultimately, recommendations: Fusco sings “Choose Your Words (Carefully),” “Don’t Give Up,” “if she’s the one, believe in me, you would know,” “just don’t put off what you can take right now,” “Look Around,” and “in your head, it always comes out the way you choose it; in your head, you live at the top until you lose it,” in addition to reminding us – in a slight variation on “Follow You Home” – of that classic theme “you can never go home again.” Ultimately, the technical achievements of Those Around Us cannot be denied, particularly in Fusco’s nice overall use of reverb, distinct instrumentation, and (as the bonus tracks further prove) vocal arrangement. However, there are several facets of Halfway There which, I would argue, serve to maintain its position as the best Jim Fusco album to date: namely, there is a certain longing, a sense of innocent questioning, exploration and discovery, and raw displeasure that surge through the 2009 album that simply isn’t present here. This is not to undermine the strengths of Those Around Us, but rather to put them in relative perspective. To my thinking, and I’ve often seemed alone in this critical stance, My Other Half still stands as the second best album in Fusco’s catalog (for its conceptual sequencing, ambitious strides in songwriting and packaging, and for its raw, unsettled emotion), placing Those Around Us in a smack down with That’s All Jim. As must as I love the latter, I’m pretty certain the former would triumph in the end.

A Different Sort of Solitude [Mini-EP/Single] (Steven Page)

Producer: Steven Page

Released: January 17, 2012

Rating: 4 / 5 stars

Top Two Tracks: “A Different Sort of Solitude” & “Manchild”

While I find it difficult to be excited about a mere two song EP two years after Page’s first album was released, I suppose we can’t expect more than for him to “make art when inspiration blows [his way],” as he sings in “Manchild.” In that sense, this “mini-EP” – aka glorified single – is a tease, as both songs are clearly not throwaways from Page One but new, fully realized compositions with a tendency toward the expansive and epic in their soundscapes. If anything, the theme of separation and recreation of one’s identity is stronger and more focused here than it was on his debut album, a thread that’s made clear up front in a title like “A Different Sort of Solitude.” One has to wonder if “Manchild” is a significant title given Page’s long tenure as a Lady, but perhaps that’s just the BnL fan in me stretching things a bit…

Clear Heart Full Eyes (Craig Finn)

Producer: Mike McCarthy

Released: January 24, 2012

Rating: 4 / 5 stars

Top Two Tracks: “”Honolulu Blues” & “Not Much Left of Us”

There is something truly beautiful about a solo project from the front man for a rock band that redefines his sound while retaining his core attributes and maintaining the interest and edge of a full band effort. Craig Finn has achieved this sort of stark, perhaps even raw beauty on his solo debut Clear Heart Full Eyes. As soon as the opening chords of the first track, “Apollo Baby,” there is just a hint of a gorgeous sort of menacing snarl that pervades the record. The instrumentation on Clear Heart is stripped down in comparison to the Hold Steady’s typical arrangements of Finn’s songs, but it is far from minimalist; on most tracks, there are one or two guitar parts with distinct parts, unique bass tracks that add cohesion, and a drum beat to drive the progression. Even though Finn’s themes here are as serious as ever and perhaps a little more so in some places, there is an unmistakable sense that he is having the time of his life. It may be written off as a side effect of his lead vocals being stronger, higher in the mix than usual, but it is difficult not to feel the smile – or is it a smirk? – in “New Friend Jesus” or not to sense the general lyrical force and vocal conviction offered up by Finn throughout. There’s not a clunker in the bunch, and tracks like the character tale “Jackson,” the rootsy romp “Honolulu Blues,” the sparse, devastating “Rented Room,” and the heartbreakingly perfect closer “Not Much Left of Us” will stand among the best songs in his catalog. While I hope this solo detour doesn’t extend the time between Hold Steady records too much, I also hope that he’ll find his way back to a solo record in the not-so-distant future.

iTunes Session (Wilco)

Released: January 24, 2012

Rating: 3 / 5 stars

Top Two Tracks: “War on War” & “Cruel to Be Kind”

I’ll preface this by admitting that if Wilco wasn’t one of my favorite bands of all time (top ten, if not top five), then I would never have considered spending money for what is essentially a live-in-the-studio rehash of tracks from last year’s The Whole Love, with the lead single from Yankee Hotel Foxtrot (2002) and a deep track from A.M. (1995) thrown in, topped off with a cover of Nick Lowe’s “Cruel to Be Kind” with the man himself taking lead vocal duties. This being said, while there’s nothing really new here, there is the tremendous take on YHF-alum “War on War” and a general sense of vitality in their performances. While I can’t in good faith rate this iTunes Session higher than three stars, I do recommend it for diehard Wilco fans. Others should download The Whole Love in its entirety, as it was the best album from 2011 and perhaps the second best Wilco album of all time.

Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International (Various Artists)

Producers: Jeff Ayeroff & Julie Yannatta

Released: January 24, 2012

Rating: 1.5 / 5 stars

Top Two Tracks: “Ring Them Bells” (Natasha Bedingfield) & “One Too Many Mornings” (Johnny Cash, [Bob Dylan,] and the Avett Brothers)

What a mess. One would think that, what with nearly eighty tracks assembled from a widely varied and not-so-untested array of artists, a compilation of this depth and breadth – referring to both artist and song choice – would have enough gems to make its purchase worthwhile. Instead, Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International largely function as a reminder that there is no replacement for artistry and, often, perfection the first time around. The only truly great track here is the only one previously released: the title track, from Dylan’s 1964 acoustic album Another Side of Bob Dylan. There are standouts, of course, in the efforts of artists like Natasha Bedingfield, Brett Dennen, Patti Smith, Jack’s Mannequin, Elvis Costello, and others. There is remarkably strong work from artists that surprised me – most notably Rise Against’s take on “Ballad of Hollis Brown” and Raphael Saadiq’s better-than-competent cover of “Leopard-Skin Pill-Box Hat” (though none will ever top Beck’s version). And then there are the other sixty-something songs, less than half of which are bearable enough to be termed mediocre. The majority are simply uninspired, and an uncomfortably high number are utter garbage. The only truly surprising jewel is a reworking of The Times They Are A-Changin’ alum “One Too Many Mornings” by the Avett Brothers, who were granted access to the session held with both Johnny Cash and Bob Dylan early in the 1970’s, when Dylan was still in the heart of his “Lay, Lady, Lay” voice phase. I have yearned to hear fully rendered songs from this reportedly spotty (in terms of quality) session, and the Avett Brothers have done this track justice. At the end of the day, my consolation arrives in the knowledge that the proceeds here go to Amnesty International, and I wish I could recommend more than a handful of – maybe ten at best – tracks.

Ringo 2012 (Ringo Starr)

Producer: Ringo Starr

Released: January 31, 2012

Rating: 3.5 / 5 starrs

Top Two Tracks: “Wonderful” & “In Liverpool”

Ringo Starr returns to rock after but a brief absence – a mere two weeks more than two years since Y Not was released – and this time without an embarrassing title and without the song quality falling apart at the end. It would be disingenuous to suggest Ringo 2012 is a return to pre-Y Not form, as it is no less a hodgepodge than its predecessor, an album on which Ringo collaborated with someone different to write every track, as well as returning to a previously recorded track. Ringo 2012 follows the same pattern, including a cover of a thirties folk song (“Rock Island Line”), a Buddy Holly cover (“Think It Over,” first released last year on the Listen To Me: Buddy Holly tribute album), and two re-recorded songs (“Wings” from 1977’s Ringo the 4^th and “Step Lightly” from 1973’s Ringo). This leaves a mere five wholly original tracks. Even still, this latest Ringo album bears the marks of an artist who has worked to make a cohesive compilation of songs. They are smartly sequenced, the best being saved for (almost) last, namely the beautifully arranged, heartfelt “Wonderful” and “In Liverpool,” which somehow manages to transcend being the token “remember when I was a boy on the verge of becoming a Beatle” track. The rest fall in line well: despite its brevity, “Think It Over” is fun and well arranged, of all the tracks to revisit, “Wings” fits well here as the single, and “Slow Down,” despite bearing the oh-so-obvious songwriting influence of Joe Walsh (see: Y Not’s “Fill in the Blanks for comparison), is an excellent, upbeat closing track whose energy defies its title. In the end, Ringo 2012 won’t change the world, but it will make you want to tap your feet, dance and sing, or play along, not to mention crossing your fingers that Ringo continues to be so prolific.

Old Ideas (Leonard Cohen)

Producer: Ed Sanders

Released: January 31, 2012

Rating: 3.5 / 5 stars

Top Two Tracks: “Darkness” & “Different Sides”

In a fast-paced world, Leonard Cohen refuses to hasten his step to draw us in. Listening to a Leonard Cohen album requires attention and patience to fully appreciate its lyrical and musical nuances, and Old Ideas is no exception. There is a timeless quality to this album, a sense throughout that the songs could have been written at any time during the past one hundred years. Yet they weren’t written long ago and they are not covers; these are brand new tracks, and clearly driven by Cohen’s passion. What I find most intriguing about Old Ideas is the manner in which Cohen manages to interweave elements of the sad and the sensual, taking the gruffness of turn-of-the-century Dylan vocals and flavoring it with a subtle array of inflections that make it inextricable from the casual beauty of the instrumental arrangements. “Darkness” is as close as the album gets to an up-tempo track, and it is driven along by some of the strongest lyrics on the album; as the song continues, so the darkness spreads as though it were a contagion whisking away pleasures both present and past. Likewise, “Different Sides” kicks off with one of the best opening lines: “We find ourselves on different sides of a line nobody drew.” This closing track incorporates all the best elements from the nine that precede it: crisp, grumbling Cohen vocals, silky smooth female background vocals, an organ hovering somewhere between lilting and mournful, and percussion that holds the piece together. In short, Old Ideas is a strong effort with consistently arranged and strongly poetic tracks, and though some do fade into the mix there are several that stand out as more, elements able to stand apart from the rest and yet encapsulate the beauty and sorrow of the overall record.