An incredibly funny recorded telephone conversation between Bob Dylan and one of his famous tormentors, A. J. Weberman, at the link below. They're so good off each other it's like a Catskills tummler schtick of great musicological import...
"Bob Dylan, as we know, disappeared from sight in the summer of 1966, began to raise a family of his own and remained in a semi-reclusive state for close to two years. By the time he returned to America's stereo cabinets with that wondrous creation, the timeless and beautiful LP "John Wesley Harding", Dylanology itself had taken on an activist edge, almost as a by-product of the souped-up trauma of 1968. Rather than Dylan taking a few years off to live as a normal human being after the marginal achievement of bending American culture to his will, on his own terms, Weberman saw nothing but sinister implications both in Dylan's respite and return.
It all got very personal. Within a short span of time he had Dylan going from being the most Progressive voice since Christ (a prophet in winkle-picker shoes) to an agent of the oligarchy, a sell-out, a scag junkie, all kinds of horrors. He was a reactionary Pied Piper; leading the children of the 60s away from the barricades and into his own narcotized haze of blissful domesticity (yuck!). An album of lovely, if largely conventional songs, Nashville Skyline, seemed to convince Weberman that he was onto something. He had to nail down this fraud good and proper, so he sounded his own call to action. He formed the DLF (the Dylan Liberation Front), staged demonstrations outside Dylan's Greenwich Village abode, shouted through bull-horns, chanted, demanded negotiation, scared the bejesus out of the neighbors.
Then he started stealing, and analyzing, Dylan's garbage. Through a process he later termed Garbology, he claimed he could derive vast insight and defining proof for his thesis among the discarded cigarette butts, soup cans and Blimpie wrappers Dylan and his family consigned to oblivion."
2nd September 2006 07:51 PM
MrPleasant
The following dialogue begins at 21:00 minutes, in the mp3 posted above.
Dylan/Alan J. Weberman phone conversation: jan '71
--------------------------------------------------------------------------------
in this excerpt, weberman is reading dylan an article he (weberman) wrote about him (dylan)
WEBERMAN: 'Hey, Bob -- why not show the people your heart's in the right place and do a benefit for John Sinclair?' 'But, I don t have my thing together.' 'Bullshit -- all you gotta do is show up and plunk your guitar a little and a hundred thousand freaks will come out of their pads and go anywhere you are -- '
DYLAN: I-I don t want to say I don't have my thing together, man. I got my thing together!
WEBERMAN: -- so, why *don't y'do* the thing?
DYLAN: Well, I want to get back to that statement first.
WEBERMAN: -- yeah --
DYLAN: I don t want to say that thing that I don't have my thing together.
WEBERMAN: -- right --
DYLAN: See, you, you can make somp'n* else up, but, uh -- don't leave that in there.
WEBERMAN: What should I say, then?
DYLAN: Let's see -- what's the statement? (pause) How 'bout, uh -- let's see -- how 'bout --
WEBERMAN: You said -- you don't have your thing together. You said, you know -- you're not ready to -- you --
DYLAN: -- oh yeah -- right -- I m not ready to go play concerts, man. That's th**
WEBERMAN: -- all right, I'm not ready --
DYLAN: -- that's not the same thing as saying --
WEBERMAN: -- all right --
DYLAN: -- I don't have my thing together
WEBERMAN: -- I'm not ready to go play concerts --
DYLAN: -- I'm not about to --
WEBERMAN: I'm not about to -- go play concerts. -- all right --
DYLAN: -- at this time.
WEBERMAN: Right -- I don't blame you, man. You know -- you, uh -- you know -- y-you don t want to be part of the scene -- you know -- uh, all kinds of terrible things could happen to you in that hour, man -- *y-know --
DYLAN: No, man -- like, what for? Why should I go play th*-for twenty thousand people, man? I mean, what --
WEBERMAN: -- **it would be**
DYLAN: -- you know --
WEBERMAN: -- more than twenty thousand.
DYLAN: Hey, I've been there before --
WEBERMAN: You make people happy, man*.*
DYLAN: I've been there before, I --
WEBERMAN: You make people happy --
DYLAN: I've done it before --
WEBERMAN: You set the whole trend in rock, man --
DYLAN: I did --
WEBERMAN: -- if you started doing things like that --
DYLAN: You shoulda been at the Isle of Wight, man. I'd just like to see how much you'd still be talking --
WEBERMAN: The Isle of Wight --
DYLAN: -- if you were at the Isle of Wight.
WEBERMAN: -- was a capitalist rip-off, man. I'm not talking about that kind of a scene -- I m talking --
DYLAN: Were you --
WEBERMAN: -- about --
DYLAN: -- at Woodstock? (pause) Were you at Woodstock?
WEBERMAN: I-I wasn t at Woodstock, man --
DYLAN: Well, then you *never didn't* --
WEBERMAN: -- I'm not talking about Woodstock --
DYLAN: -- seen those kind of things --
WEBERMAN: I'm not talking about a free concert, man. I'm not talking about that -- I'm talking about a benefit, you dig -- at Madison Square Garden, or something like that, man --
DYLAN: Go, *on* let's finish the article --
WEBERMAN: (pause) Uh, you know -- 'but I don t have my thing together. Bullshit.
DYLAN: Uh, no, no -- we're going to change that --
WEBERMAN: *Uh*, right, right -- uh, somp'n in what you said before -- but, you gotta -- 'all you gotta do is show up and plunk your guitar then a hundred thousand freaks will come -- **hear the duh-duh-duh** ' 'Sorry, Al -- I can t do it. But I will write a song about political prisoners on my next album.' 'I don t want promises for nine months later. I wanna see some action, now. See, Bob -- you set the trends in rock -- and if you become, like, a human being -- a lot of other performers will go along. (pause) The sun had set and Dylan's wife had called him for dinner -- on the phone ***and *** --'
DYLAN: Oh, that -- that whole last paragraph -- that, man -- I didn t think that was necessary.
WEBERMAN: 'Bob gave me his phone number and asked me to call him when I'm on the radio -- or if something comes up. Ever hear me on the radio, Bob?' 'Just a couple of times on Alex Bennett's show -- I dug it when he asked if you had any personal messages for me. What do you think of Bob Fass?' 'He's a revolutionary brother, but he don't dig it when I attack you -- course* you were an old friend of his.' 'Well, Al, so long -- Uh, one more thing -- you re not gonna get into my life' -- 'Why?' --
DYLAN: (breath) **Le** those two sentences, man. I don't get them at all. I don't understand them, even --
WEBERMAN: -- why, if you do, I might gain a soul --
DYLAN: Yeah, well, that's shit -- those last two sentences. I don't think I said that.
WEBERMAN: Yes, you did. That's just what you said, man. You said, You re not gonna get into my life -- I said, 'Why?' -- * then you said, 'If you do, I might gain a soul.'
DYLAN: I don't understand that, do you?
WEBERMAN: (pause) Uhh -- I don't know -- I don't know -- it could be looked at in a number of ways, man -- you could *** --
DYLAN: Yeah, why don't you -- d'why don t you take it out of your article and look at it in a number of ways -- and let s d'uh -- you know, and -- and roll it around awhile -- and then when you -- when we know what it means -- why don't you tell me, and then -- ah, let's see if it's worth putting in an article --
WEBERMAN: (pause) Uh** --
DYLAN: Is that fair? I don t know what it means man.
WEBERMAN: So,* how would you have me in the article?
DYLAN: I don't know. It's your article. (pause) **Shit, I mean** --
WEBERMAN: ****, I just lost you. All right, man -- like, uh --
DYLAN: I don't know --
WEBERMAN: **but** **that's** what happened during our --
DYLAN: I know that's what happened.
WEBERMAN: -- first conversation --
DYLAN: But that ain't what happened, man -- ***?*** like, that last, uh -- that last sentence don't **end any** article -- you know that. That didn t happen like that. I re'ember --
WEBERMAN: -- all right --
DYLAN: -- saying something like that, but it didn't have anything to do with how you're using it -- you're just taking it out of context.
WEBERMAN: **saytin now**
DYLAN: Then you re like some -- **
WEBERMAN: All right --
DYLAN: -- fucking Look Magazine --
WEBERMAN: -- **you want me to put it into context -- you **wanta do it back kinda ** -- then I say, 'Is that a threat?' -- and then you say, you know -- 'no, it is, but I know people who can kill you' -- that's what I remembered --
DYLAN: Oh no -- man!
WEBERMAN: -- or something like that, man.
DYLAN: No!
WEBERMAN: I was very paranoid -- in a very paranoid mood, man.
DYLAN: Well, don't take it out on me, man. I mean, come on --
WEBERMAN: Well, that's why I changed it around, man. I don t have you, uh -- comin' on like that. That's why I took it out, you know -- so, I left it -- I left it -- other interpretation -- I might gain a soul. You couldn't --
DYLAN: I don't want to say that, *man --
WEBERMAN: ***you couldn t ????***
DYLAN: -- 'cause I don't -- that** sounds *shitty --
WEBERMAN: ***that***
DYLAN: -- what the --
WEBERMAN: -- **that's** **so fucking** quotable, man --
DYLAN: W-what does that mean -- I mean, like, I -- eh, uh** -- that don't -- aaoh -- it leaves me cold, man -- like, uh -- it s, uh -- doesn t even sound like me.
WEBERMAN: But you said it -- those are your exact words.
DYLAN: I gained a soul -- uh**, what could that mean?
WEBERMAN: Man, you know -- you ought'a stand behind things that you say.
DYLAN: (breath) Yeah, man, but I -- that was taken --
WEBERMAN: **that's the truth***
DYLAN: -- right outta, right out of -- I do stand behind most of what I say, man -- but you know, I'm nyh-- **stuff**
WEBERMAN: **No,** you don't stand behind anything you say, man.
DYLAN: Sure, I do -- sure, I do.
WEBERMAN: ***
DYLAN: -- I just don t dig it --
WEBERMAN: ***inaudible*** ***Dylan, man*** *that s for sure --
DYLAN: Man, I'm gonna do an article on you, man. I think I'm gonna write a song about you, too.
WEBERMAN: Well, I could use the publicity.
DYLAN: Yeah, *well -- that s one reason why I wouldn t, man --
WEBERMAN: (laughter)
DYLAN: -- but, uh --
WEBERMAN: (laughter)
DYLAN: -- I got a good song, man -- if I ever want* to do one --
WEBERMAN: What s it called?
DYLAN: It s called "Pig" --
WEBERMAN: I'm a pig, eh?
DYLAN: -- yeah.
WEBERMAN: Aw, bullshit, I'm a --
DYLAN: -- yeah, man --
WEBERMAN: -- pig, man --
**DYLAN: -- yeah, man --**
WEBERMAN: You re the one who's a pig --
DYLAN: -- oh, no -- not at all --
WEBERMAN: -- Oh, yeah --
DYLAN: -- not at all, (laugh) man -- not at all. I don't think I'm gonna write it, though -- just because of that publicity thing. I don't dig that -- at all. But, I got the song, man.
WEBERMAN: **You re killing me*** --
DYLAN: -- I'll sing it for you. (pause) Well, I don't have it finished, actually -- but, uh --
WEBERMAN: -- I'm a pig, **man?
DYLAN: -- hey, man --
WEBERMAN: I don't have a million fucking dollars, man --
DYLAN: I don t ha -- ***d'uh *wait* -- what does that have to do with it?
WEBERMAN: 'Cause you have a million fucking dollars, man. See, you ain t'th' eh -- you ain't that much better than the cat who --
DYLAN: (breath)
WEBERMAN: -- has nothing, man. You dig it* -- the cat who's walking around the bowery, man -- it s true, like -- you know --
DYLAN: -- (whisper) waaht* --
WEBERMAN: -- in some ways you're better, but you ain't a million dollars better worth -- you know what I mean? Like, in times like this **?** like, you know, when you have a million dollars in this society, man -- it means, that other people don't have it -- you know -- (pause) uh -- don't you dig what I mean -- nobody should have, like -- a million dollars, man -- nobody should be allowed to accumulate that much wealth -- you know -- that much surplus wealth -- when, uh -- peop*le, uh*, when there are other people around that don t have shit. You know -- and not -- 'cau -- 'cause of their fuckin' skin color, man -- not because of, uh -- of anything else -- 'cause they're despised -- 'cause they re not like *straights* -- like hate anyone who s different than them in any kind of a way --
DYLAN: -- ay a* --
WEBERMAN: -- right?
DYLAN: -- yeah, man -- I think you re over -- you're overlooking --
WEBERMAN: -- no! **I m telling you,** man**
DYLAN: -- a lot, man. You're overlooking a lot --
WEBERMAN: **I've had friends, man* -- I've had friends -- that got a lotta money together -- you know -- and, uh, I told them, man -- you -- you should put some of this fuckin' money back in the community -- most of it -- enough that, you know -- keep enough so th' you can live decently -- but don't fuckin' , uh -- you know, they didn't have peanuts compared to you, man. You know, and y' -- I told them to go fuck themselves if they're gonna fuckin' rip off, uh -- the, you know -- people not putting anything back -- but you're just a capitalist -- that's all, man. 'Cept, instead of producing, uh -- you know, yah -- instead of producing, uh -- uh, cars, or guns -- you produce, uh -- you know -- records -- music.
WEBERMAN: It s somp'n, man -- but lately, it's nothin.
DYLAN: (pthtt)*
WEBERMAN: **but** not only do you keep the money, but you d' -- the lyrics themselves have no kind of, uh -- redeeming value -- you're -- they're just -- in fact, they're reactionary -- you know. You're just, uh -- every -- all the shit is hitting the fuckin' fan -- and you're singin' 'Hope it -- looks like nothin' but rain' -- you know -- uh --
DYLAN: -- that's a good song, man -- <_sign on the window_/_new morning_>
WEBERMAN: -- what are you --
DYLAN: -- like --
WEBERMAN: -- a weatherman?
DYLAN: -- a what?
WEBERMAN: -- a weatherman?
DYLAN: -- *do you mind?*
WEBERMAN: -- **if it's** nothin but rain --
DYLAN: (laugh)
WEBERMAN: -- but I wanted, uh -- if I want to fuckin , uh --
DYLAN: -- is your tape recorder still on, man?
WEBERMAN: **and it**
DYLAN: -- is it still running?
WEBERMAN: -- yeah.
DYLAN: Oh, it didn't break down?
WEBERMAN: Uh -- no, no -- it's -- it's a good one.
DYLAN: Yeah -- well, I ain't gonna call you no more, man -- just because of that. I mean -- I don't trust yah.
WEBERMAN: Why, wuh -- don't tell me you didn't tape-record my conversation --
DYLAN: -- no, man, I -- would, uh --
WEBERMAN: -- any conversations with me, man --
DYLAN: -- no, what do I want to do that for --
http://www.interferenza.com/bcs/interw/weberman.htm
[Edited by MrPleasant]
2nd September 2006 08:14 PM
Egbert
Are you sure that's not taken from the middle section of Kerouac's "Visions Of Cody"?
2nd September 2006 08:17 PM
MrPleasant
quote:Egbert wrote:
Are you sure that's not taken from the middle section of Kerouac's "Visions Of Cody"?
Listen to the crazy thing!
Priceless quotes: "Why don't you get a guitar and write your own songs?!" (Dylan)
"You're full of shit" (Weberman)
2nd September 2006 08:22 PM
MrPleasant
quote:MrPleasant wrote:
Listen to the crazy thing!
Priceless quotes: "Why don't you get a guitar and write your own songs?!" (Dylan)
"You're full of shit" (Weberman)
Best one:
"Hey man, who writes better songs than I do? Name me somebody!"
"I can name a hundred thousand..."
"Oh, come on! You can't, you know you can't."
"Let's see: Creedence Clearwater..."
"Oh Bullshit!"
2nd September 2006 09:16 PM
Lazy Bones
quote:Martha wrote:
Last night's surprise....he brought back The Man In Me.
Wappingers Falls, New York
Dutchess Stadium
September 1, 2006
Listening to this show now...
Excellent renditions of Not Dark Yet and Visions Of Johanna - two of my favourite Dylan songs. NDY (last played in Reading on the 23rd) is even slower and darker. And Visions, one of the better versions in the last few years. The vocal arrangement and emphasis is very close to the studio version.
Get this one!
2nd September 2006 11:46 PM
Left Shoe Shuffle
Like A Rolling Stone - Rio de Janeiro, 4.11.98
2nd September 2006 11:49 PM
PartyDoll MEG
quote:Left Shoe Shuffle wrote:
Like A Rolling Stone - Rio de Janeiro, 4.11.98
Thank you, Mr. Shuffle...Perfect!!!!
3rd September 2006 07:03 AM
Nellcote
Tis the here in the US season, one of my favorites...
http://youtube.com/watch?v=VUEdNBqL72w
3rd September 2006 01:59 PM
PartyDoll MEG
We had Dylan with the Stones. Now we need him with my other favorite...
3rd September 2006 04:02 PM
lotsajizz
c'mon...we're passed the halfway point!!!
3rd September 2006 04:37 PM
PartyDoll MEG
quote:lotsajizz wrote:
c'mon...we're passed the halfway point!!!
I rolled and I tumbled, I cried the whole night long
I rolled and I tumbled, I cried the whole night long
Woke up this mornin', I must have bet my money wrong
I got troubles so hard, I can't stand the strain
I got troubles so hard, I can't stand the strain
Some young lazy slut has charmed away my brains
4th September 2006 03:24 AM
Lazy Bones
Dylan debuts at one
September 4, 2006 - 10:12AM
Legendary singer/songwriter Bob Dylan has lost none of his allure, with his first album in five years, Modern Times, topping the ARIA albums charts this week.
He knocks local country crooner Kasey Chambers off top spot, relegating her to second position, with Pink staying at third with I'm Not Dead.
The Red Hot Chili Peppers have jumped five spots this week to fourth, Stadium Arcadium enjoying its 16th week in the charts.
Diva power has lost some of its lustre, with both Christina Aguilera and Nelly Furtado dropping three spots each to fifth and seventh respectively.
The album chart's second new entry this week, Here's to the Heroes, by the Ten Tenors, debuts at number eight.
Meanwhile, Sandi Thom has made a slow but steady rise up the singles chart, with I Wish I Was a Punk Rocker toppling Justin Timberlake's Sexyback from number one position.
Australian ARIA singles chart
1(2) I Wish I Was A Punk Rocker - Sandi Thom
2(1) Sexyback - Justin Timberlake
3(5) Hips Don't Lie - Shakira Feat with Wyclef Jean
4(4) Unfaithful - Rihanna
5(3) Buttons - The Pussycat Dolls with Snoop Dogg
6(6) Promiscuous - Nelly Furtado
7(7) Mistake - Stephanie McIntosh
8(8) Ain't No Other Man - Christina Aguilera
9(10) Who Knew - P!nk
10(9) What's Left Of Me - Nick Lachey
Australian ARIA albums chart
1(-) Modern Times - Bob Dylan
2(1) Carnival - Kasey Chambers
3(3) I'm Not Dead - P!nk
4(9) Stadium Arcadium - Red Hot Chili Peppers
5(2) Back To Basics - Christina Aguilera
6(5) Best Of - Chris Isaak
7(4) Loose - Nelly Furtado
8(-) Here's To The Heroes - The Ten Tenors
9(6) Black Fingernails, Red Wine - Eskimo Joe
10(11) Back To Bedlam - James Blunt
"You think I'm over the hill? You think I'm past my prime? Let me see what you got -- we can have a whompin' good time."
Pretty tough talk from a senior citizen. Then again, he's got a right to be cocky. After all, he's Bob Dylan. Folk icon. Rock trailblazer. Voice of his generation. Author of Blowing in the Wind, Like a Rolling Stone and several dozen other songs that will outlive him and all of us. He's got nothing to prove to anybody. And now that he's realized that and embraced the freedom it brings, he's enjoying a remarkable late-career resurgence.
Zimmy's renaissance began with 1997's rollicking Time Out of Mind. It continued with 2001's mischievous Love and Theft. But with the masterful Modern Times -- his 31st studio album in 44 years -- Dylan truly seems to have hit a new stride. And found a happy medium.
This self-produced 10-song set is more relaxed than Time Out of Mind, more serious than Love and Theft and more varied than either -- but it is no less mesmerizing.
As usual, Dylan casts his spell with a torrent of words. Sometimes he's talking to a lover ("I'd walk through a blazing fire, baby, if I knew you was on the other side"). Sometimes he's talking to God ("I wanna be with you in Paradise, and it seems so unfair / I can't go back to Paradise no more / I killed a man back there"). Sometimes he's uttering threats ("Well, I don't wanna brag, I'm gonna wring your neck"). Sometimes he's topical ("If it keep on rainin' the levee's gonna break"). Sometimes you don't know what the hell he's talking about ("I was thinking about Alicia Keys, couldn't keep from cryin'/ When she was born in Hell's Kitchen, I was livin' down the line").
But even when he makes no sense, you hang on his every word. And on every note from his magnificently weathered pipes. Creaking like a broken screen door, croaking like an old frog, crunching like broken glass under your shoes, Dylan's voice makes Keith Richards sound like a choirboy. But it is perfect for the ragged roots soundtrack that underpins these tales of love and apocalypse. Wading deep into the stream of Americana, Dylan borrows Rollin' and Tumblin' from Muddy Waters.
He recasts Slim Harpo's Shake Your Hips for Someday Baby. He nods to Memphis Minnie for The Levee's Gonna Break. He channels Chuck Berry and Lonnie Johnson for Thunder on the Mountain. He croons Tin Pan Alley ballads, jazzy waltzes and rustic folk.
No matter which way he twists and turns, though, his road-tested quintet follows him with near-psychic synchronicity. When he needs them to wrap his words in a warm blanket of nostalgia, they sound like a vaudeville pit band. When he needs it more refined, they burble like a supper club jazz outfit. When he needs it kicked up, they cut loose like a juke-joint combo.
It is the best of all possible worlds: An artist at the height of his mature powers, with a group capable of casting his work in the finest light.
And that makes Modern Times the latest essential addition to Dylan's discography. And one whompin' good time.
[Edited by Lazy Bones]
4th September 2006 03:40 AM
Lazy Bones
Fall '06 pre-sale passwords now up...
http://bobdylan.com/moderntimes/tour/main.html
4th September 2006 04:58 AM
Gazza
quote:Lazy Bones wrote:
Fall '06 pre-sale passwords now up...
http://bobdylan.com/moderntimes/tour/main.html
I like the sound of that Ottawa show!
4th September 2006 05:06 AM
Gazza
quote:Lazy Bones wrote: Dylan debuts at one
September 4, 2006 - 10:12AM
Legendary singer/songwriter Bob Dylan has lost none of his allure, with his first album in five years, Modern Times, topping the ARIA albums charts this week.
Impressive. he topped the Irish charts too, and debuted at #3 in the UK (a bit lower than I'd hoped, but not bad). When is the US chart published - tomorrow ?
It would be great if EMI promoted the Stones have as enthusiastically as CBS/Sony have got behind Dylan - who is supposedly a far less commercial artist.
You would swear that "40 Licks" was the new Stones album. Still gets advertised on TV and in the press, and on several websites where I've seen Stones info in the last week or so, it has a pic of "40 Licks" beside it with the legend "now available" - no mention of "A Bigger Bang". EMI have clearly given up on it - as, sadly, have the Stones.
[Edited by Gazza]
4th September 2006 08:13 AM
Nasty Habits
quote:lotsajizz wrote:
c'mon...we're passed the halfway point!!!
Most of the time I'm halfway content.
Most of the time I know exactly where I went.
I have decided that this shall not be a bad thread to finally acquire 2000 posts.
4th September 2006 09:06 AM
Nasty Habits
Wow. Never heard the Weberman thing before. Amazing.
My favorite part:
"You say 'don't expose me' in New Morning"
"I never said 'don't expose me' in New Morning"
"Yes you did. Backwards."
"I said 'don't expose me' in New Morning backwards?"
"Yeah I listened to the whole album backwards and you say 'Don't expose me' and 'Mars invades us'. You really slur it."
"OH FUCK, MAN! JESUS!"
4th September 2006 09:11 AM
Lazy Bones
quote:Gazza wrote:
I like the sound of that Ottawa show!
LOL...saved it for the nation's Capitol.
4th September 2006 09:23 AM
Nellcote
Marking Milestones with Bob Dylan's 'Modern Times'
Bob Dylan's new album "Modern Times" comes out this week. Commentator Adam Langer says he can measure the milestones of his life in Dylan albums -- and this one is no exception.
remember the release date of his last album? an unfortunate milestone...
4th September 2006 10:00 AM
Gazza
we got it 'the day before'! Listening to it again a couple of days later, a lot of it sounded quite eerily prophetic.
4th September 2006 10:05 AM
Gazza
quote:Nasty Habits wrote:
Wow. Never heard the Weberman thing before. Amazing.
My favorite part:
"You say 'don't expose me' in New Morning"
"I never said 'don't expose me' in New Morning"
"Yes you did. Backwards."
"I said 'don't expose me' in New Morning backwards?"
"Yeah I listened to the whole album backwards and you say 'Don't expose me' and 'Mars invades us'. You really slur it."
"OH FUCK, MAN! JESUS!"
It would have been funny as hell to have been a witness to the incident in the early 70's when Weberman, shortly after scaring the hell out of Bob's wife who found him going through their garbage, was walking down Houston Street and found himself jumped from behind by Dylan, who proceeded to kick the shit out of him.
4th September 2006 10:28 AM
Martha
I got Muled' at Red Rocks (Gregg and Warren did a wonderful acoustic set way worth the price of admission) so I've missed the last 2 pages.....
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