- published: 06 May 2013
- views: 690
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Bob Dylan (/ˈdɪlən/; born Robert Allen Zimmerman, May 24, 1941) is an American singer-songwriter, artist and writer. He has been influential in popular music and culture for more than five decades. Much of his most celebrated work dates from the 1960s when his songs chronicled social unrest, although Dylan repudiated suggestions from journalists that he was a spokesman for his generation. Nevertheless, early songs such as "Blowin' in the Wind" and "The Times They Are a-Changin'" became anthems for the American civil rights and anti-war movements. After he left his initial base in the American folk music revival, his six-minute single "Like a Rolling Stone" altered the range of popular music in 1965. His mid-1960s recordings, backed by rock musicians, reached the top end of the United States music charts while also attracting denunciation and criticism from others in the folk movement.
Dylan's lyrics have incorporated various political, social, philosophical, and literary influences. They defied existing pop music conventions and appealed to the burgeoning counterculture. Initially inspired by the performances of Little Richard, and the songwriting of Woody Guthrie, Robert Johnson, and Hank Williams, Dylan has amplified and personalized musical genres. His recording career, spanning 50 years, has explored the traditions in American song—from folk, blues, and country to gospel, rock and roll, and rockabilly to English, Scottish, and Irish folk music, embracing even jazz and the Great American Songbook. Dylan performs with guitar, keyboards, and harmonica. Backed by a changing line-up of musicians, he has toured steadily since the late 1980s on what has been dubbed the Never Ending Tour. His accomplishments as a recording artist and performer have been central to his career, but songwriting is considered his greatest contribution.
Bob Dylan is the eponymous debut album of American singer-songwriter Bob Dylan, released on March 19, 1962 by Columbia Records (Mono-CL 1779; Stereo-CS 8579). Produced by Columbia's legendary talent scout John H. Hammond, who signed Dylan to the label, the album features folk standards, plus two original compositions, "Talkin' New York" and "Song to Woody".
Dylan met John Hammond at a rehearsal session for Carolyn Hester on September 14, 1961, at the apartment shared by Hester and her then-husband, Richard Fariña. Hester had invited Dylan to the session as a harmonica player, and Hammond approved him as a session player after hearing him rehearse, with recommendations from his son, musician John P. Hammond, and from Liam Clancy.
Hammond later told Robert Shelton that he decided to sign Dylan "on the spot", and invited him to the Columbia offices for a more formal audition recording. No record of that recording has turned up in Columbia's files, but Hammond, Dylan, and Columbia's A&R director Mitch Miller have all confirmed that an audition took place. (Producer Fred Catero, then a recording engineer for Columbia Records, claims to have the master of that session. It is not the original demo for Columbia, but a session from December 6, 1962, recorded by John Hammond, Sr.)
Bob Dylan, Performing Artist is a series of three books written by music critic Paul Williams concerning the music of American singer-songwriter Bob Dylan. Unlike many other books about Dylan, these are not biographical but focus primarily on the performances delivered at various concerts over a period of almost forty years. The performances Williams analyzes were either personally attended or reviewed from audio-tapes (and sometimes from videotapes). In an interview published in Isis magazine's August 1990 issue, Williams told interviewer Derek Barker, "I didn't want to write about the person, I wanted to write about what this person has created, his art, his music."Bob Dylan, Performing Artist is considered one of the leading critical analyses of Dylan's songs and performances.
The first volume of the Performing Artist series, which covers the years 1960 through 1973, also recounts Dylan's childhood from his birth in May 1941 to August 1959. Early Years ends in December 1973 with Williams' review of the album Planet Waves.
Ramona is an 1884 American novel written by Helen Hunt Jackson. Set in Southern California after the Mexican-American War, it portrays the life of a mixed-race Scots–Native American orphan girl, who suffers racial discrimination and hardship. Originally serialized in the Christian Union on a weekly basis, the novel became immensely popular. It has had more than 300 printings, and been adapted four times as a film. A play adaptation has been performed annually outdoors since 1923.
The novel's influence on the culture and image of Southern California was considerable. Its sentimental portrayal of Mexican colonial life contributed to establishing a unique cultural identity for the region. As its publication coincided with the arrival of railroad lines in the region, countless tourists visited who wanted to see the locations of the novel.
In Southern California, shortly after the Mexican-American War, a Scots-Native American orphan girl, Ramona, is raised by Señora Gonzaga Moreno, the sister of Ramona's deceased foster mother. Ramona is referred to as illegitimate in some summaries of the novel, but chapter 3 of the novel says that Ramona's parents were married by a priest in the San Gabriel Mission. Señora Moreno has raised Ramona as part of the family, giving her every luxury, but only because Ramona's foster mother had requested it as her dying wish. Because of Ramona's mixed Native American heritage, Moreno does not love her. That love is reserved for her only child, Felipe Moreno, whom she adores. Señora Moreno considers herself a Mexican, although California has recently been taken over by the United States. She hates the Americans, who have cut up her huge rancho after disputing her claim to it.
Ramona is a 1936 American Technicolor drama film directed by Henry King, based on Helen Hunt Jackson's 1884 novel Ramona. This was the third adaptation of the film, and the first one with sound. It starred Loretta Young and Don Ameche.
The New York Times praised its use of new Technicolor technology but found the plot "a piece of unadulterated hokum." It thought "Ramona is a pretty impossible rôle these heartless days" and Don Ameche "a bit too Oxonian" for a chief's son.
Ramona (Loretta Young), is a half-Indian girl who falls in love with the young man Felipe Moreno (Kent Taylor).
Ramona is a 1928 American silent drama film directed by Edwin Carewe, based on Helen Hunt Jackson's 1884 novel Ramona, and starring Dolores del Rio and Warner Baxter.
Mordaunt Hall of the New York Times found much to praise in what he called "an Indian love lyric": "This current offering is an extraordinarily beautiful production, intelligently directed and, with the exception of a few instances, splendidly acted. The scenic effects are charming.... The different episodes are told discreetly and with a good measure of suspense and sympathy. Some of the characters have been changed to enhance the dramatic worth of the picture, but this is pardonable, especially when one considers this subject as a whole."
This was the first United Artists film with a synchronized score and sound effects, but no dialogue, and so was not a talking picture.
The story had been filmed by D. W. Griffith in 1910 with Mary Pickford, remade in 1916 with Adda Gleason, and again in 1936 with Loretta Young.
week 18 of my 52 week song learning challenge. I share a birthday with one of my favorite songwriters, Bob Dylan. Expect a few of his songs before the month is over! See more at http://notmy52songs.tumblr.com/
This video of "To Ramona" was a lucky catch from Dylan's performance in September 1993 at Great Woods Performing Arts Center in Mansfield, MA. He played the song only four times in 1993. A pretty country waltz, "To Ramona" first appeared on Bob's 1964 album "Another Side of Bob Dylan." With that album, Dylan's turn away from topical songs to purely personal subjects already began to alienate some early fans, even before his switch to electric guitar and rock music sent out shock waves, angering many folk purists immensely, but delighting other existing fans and capturing many more new listeners. Like other acoustic numbers on the '93 Fall tour, this performance highlights some lovely guitar work by Dylan including some pretty accomplished flat picking, complemented by Tony Garnier righ...
I combined multiple clips from outtakes of D.A. Pennebaker's "Don't Look Back" to create this little music video of one of Dylan's most underrated songs. The bulk of the footage and audio was recorded at Town Hall in Newcastle, England on May 6, 1965. There have been other videos on the internet, but never of this quality. I dubbed over the original low-quality audio with the official soundboard recording, only released in about 500 copies. Enjoy this gem while you can, and please subscribe!
Rayland Baxter covers "To Ramona" by Bob Dylan. Plug your music into something smarter with ONErpm, a global leader in digital music distribution and youtube monetization. ONErpm understands the new music economy. Get started today at http://bit.ly/onerpm2016 Support Nashville's Independent Radio: Official Website: http://bit.ly/16G4bp3 Facebook: https://www.facebook.com/wrltlightning100/ Twitter: https://twitter.com/lightning100 Instagram: https://www.instagram.com/lightning100/
Copyright music and lyrics reproduced by kind permission of Special Rider -- for original, exclusive performances by Bob Dylan, check-out the official channel at www.youtube.com/bobdylan Dan Gagné playing a Bob Dylan Song ... I was trying to remember it and so the Guitar part is simplified... =Þ Hope you don't mind... CUZ I DON'T ! xÐ
According to Joan Baez, Dylan used to call her ‘Ramona’. In her book ‘And a Voice to Sing With: A Memoir’, Joan suggests that this was song was written about (or inspired by) her. That certainly fits in with Joan’s proximity to Dylan around this time. Just watch ‘Don’t Look Back’. In the notes for Biograph, Dylan wrote, "Well, that's pretty literal. That was just somebody I knew. I think I'd played this for the first time at the Gaslight, probably after hours.” In 1969, Dylan told Jann Wenner that this was one of his favorite songs. Apparently it was recorded in one take. *Chords* Time signature: 3/4 (waltz beat!). Count 1, 2, 3 for each chord. *Playing tip* The applies a lot of the time on strummed acoustic guitar songs…to get a full, rich (in this case Dylanesque) sound, always use...
*Full Demo Here* ‘To Ramona’ Bob Dylan - Chords In Description (Standard - No Capo) https://youtu.be/SxJk2wcatMc According to Joan Baez, Dylan used to call her ‘Ramona’. In her book ‘And a Voice to Sing With: A Memoir’, Joan suggests that this was song was written about (or inspired by) her. That certainly fits in with Joan’s proximity to Dylan around this time. Just watch ‘Don’t Look Back’. In the notes for Biograph, Dylan wrote, "Well, that's pretty literal. That was just somebody I knew. I think I'd played this for the first time at the Gaslight, probably after hours.” In 1969, Dylan told Jann Wenner that this was one of his favorite songs. Apparently it was recorded in one take. *Chords* Time signature: 3/4 (waltz beat!). Count 1, 2, 3 for each chord. *Playing tip* The applies a...
Bob Dylan (/ˈdɪlən/; born Robert Allen Zimmerman, May 24, 1941) is an American singer-songwriter, artist and writer. He has been influential in popular music and culture for more than five decades. Much of his most celebrated work dates from the 1960s when his songs chronicled social unrest, although Dylan repudiated suggestions from journalists that he was a spokesman for his generation. Nevertheless, early songs such as "Blowin' in the Wind" and "The Times They Are a-Changin'" became anthems for the American civil rights and anti-war movements. After he left his initial base in the American folk music revival, his six-minute single "Like a Rolling Stone" altered the range of popular music in 1965. His mid-1960s recordings, backed by rock musicians, reached the top end of the United States music charts while also attracting denunciation and criticism from others in the folk movement.
Dylan's lyrics have incorporated various political, social, philosophical, and literary influences. They defied existing pop music conventions and appealed to the burgeoning counterculture. Initially inspired by the performances of Little Richard, and the songwriting of Woody Guthrie, Robert Johnson, and Hank Williams, Dylan has amplified and personalized musical genres. His recording career, spanning 50 years, has explored the traditions in American song—from folk, blues, and country to gospel, rock and roll, and rockabilly to English, Scottish, and Irish folk music, embracing even jazz and the Great American Songbook. Dylan performs with guitar, keyboards, and harmonica. Backed by a changing line-up of musicians, he has toured steadily since the late 1980s on what has been dubbed the Never Ending Tour. His accomplishments as a recording artist and performer have been central to his career, but songwriting is considered his greatest contribution.
Well, if I had to do it all over again,
Babe, I'd do it all over you.
And if I had to wait for ten thousand years,
Babe, I'd even do that too.
Well, a dog's got his bone in the alley,
A cat, she's got nine lives,
A millionaire's got a million dollars,
King Saud's got four hundred wives.
Well, ev'rybody's got somethin'
That they're lookin' forward to.
I'm lookin' forward to when I can do it all again
And babe, I'll do it all over you.
Well, if I had my way tomorrow or today,
Babe, I'd run circles all around.
I'd jump up in the wind, do a somersault and spin,
I'd even dance a jig on the ground.
Well, everybody gets their hour,
Everybody gets their time,
Little David when he picked up his pebbles,
Even Sampson after he went blind.
Well, everybody gets the chance
To do what they want to do.
When my time arrives you better run for your life
'Cause babe, I'll do it all over you.
Well, I don't need no money, I just need a day that's sunny,
Baby, and my days are gonna come.
And I grab me a pint, you know that I'm a giant
When you hear me yellin', "Fee-fi-fo-fum."
Well, you cut me like a jigsaw puzzle,
You made me to a walkin' wreck,
Then you pushed my heart through my backbone,
Then you knocked off my head from my neck.
Well, if I'm ever standin' steady
A-doin' what I want to do,
Well, I tell you little lover that you better run for cover
'Cause babe, I'll do it all over you.
I'm just restin' at your gate so that I won't be late
And, momma, I'm a-just sittin' on the shelf.
Look out your window fair and you'll see me squattin' there
Just a-fumblin' and a-mumblin' to myself.
Well, after my cigarette's been smoked up,
After all my liquor's been drunk,
After my dreams are dreamed out,
After all my thoughts have been thunk,
Well, after I do some of these things,
I'm gonna do what I have to do.
And I tell you on the side, that you better run and hide