benzo24

Well, if you’re interested in this EP, you can get it through its official website www.josepharthur.com, where there is a series of "stores" where this work is available. Among the many, I recommend checking out the one from Fingerprints (www.fingerprintsmusic.com) because, if you don’t have it yet, Our Shadow Will Remain comes with a complimentary CD of a short live performance done on-site, and there are also some concerts from the European tour that took place after Redemption's Son. Those who have had the fortune to attend one of those concerts (Arthur live is amazing!) know that it’s a truly delicious opportunity! Great!

puntiniCAZpuntini you absolutely should have Bringin' It All Back Home - Highway 61 Revisited - Blonde On Blonde - John Wesley Harding - Time Out Of Mind - Love And Theft - All the Bootleg Series (there are 6 in total!), this Oh Mercy. In short, I really think you won't be disappointed with these records!

Grasshoper, trust whoever you want but not yourself! Who ever talked about garbage? What are you doing, reading what isn’t written?

Yes, Hal The concert at Philarmonic Hall, great record! Dylan was about to make the famous "turn," but the performance of "Live 1964" is entirely acoustic; just three months later, Dylan released "Bringing It All Back Home," and at the subsequent Newport festival, he embraced the electric guitar for the first time in front of the audience, where he was heavily booed for this radical change, this revolution!
Very interesting in this sense is the "Live 1966 - Bootleg series 4," namely the "Royal Albert Hall Concert" (which actually took place in Manchester), the most famous bootleg in the history of music! In these 2 CDs, we can listen to the entire concert where the first part (1st CD) is entirely acoustic, played by Bob alone with his guitar and harmonica. The second part (2nd CD) is electric, and Dylan is backed by The Band.

Sure, Socrates, I mentioned three names at random; I could have also said Joseph Arthur or Jonathan Richman, in short, any name. I wanted to emphasize the greatness of Dylan and the devastating influence he has had on all of rock, blues, country, psychedelia, and so on. I just wanted to say, how can one love a certain type of music and barely tolerate its greatest source of inspiration? Let everyone draw their own conclusions!

I understand.

In the sense that you are one of the few Socrates?

The second and necessary clarification to make is that the song you mention, the initial Rainy Day Women # 12 & 35, is indeed an ironic song, but it doesn't solely address the topic you've cited, or at least not only that. The true main theme is drugs: your translation is literally correct, but conceptually wrong. The verb "stone" means stoned, high; this is a song that talks about drugs. Dylan ends each stanza with the line "I would not feel so alone / Everybody must get stone! - in other words - I wouldn't feel so abandoned if everyone were obliged to get high! (as translated by Tito Schipa jr. in Mr. Tambourine vol.2). The rainy day women are nothing more than joints, spliffs... Blonde On Blonde is an album that constantly carries this underlying theme of drugs, of being high, of marijuana; every song on the album contains explicit references to the use of these substances. It’s no coincidence that it includes the legendary Vision Of Johanna. 5 stars for this album are truly too few; I prefer not to rate it out of respect.

Two clarifications: the electric turn and the birth of rock don't begin with this album but two years earlier with Bringing It All Back Home (with which Dylan gives America the musical paternity of the movement born in England from the Beatles, which wasn't quite rock yet, and became so with that album also known as Subterranean Homesick Blues, but the first title better conveys the idea!). Blonde On Blonde is a consequence of that turning point that forever changed the history of music, it was recorded in Nashville, and the record influenced and brought radical changes not only in the world of rock, but also in the world of blues and country, consolidating Dylan as one of the greatest songwriters of all time.