domingo, 23 de mayo de 2021

A sea of candles

 

Celebrating eighty years

Resynchronizing our lives

With you playing on stage

Millions and millions of faces at your feet

All the audiences of all your concerts

Gathered to light before you

A sea of candles

Watching us burn

Knowing that

Yet ev’ry distance is not near

We'll remember you

When we’ve forgotten all the rest

 

martes, 30 de julio de 2019

Present (XXX) RTR 75 / 19



      I am aware that long ago I wrote that after summer 1967, the Big Pink days, I did not have any direct contact with Bob Dylan. Disguising reality to increase poignancy is a recognised choice for years of literary history and a highly effective tool in the land of the documentary and its tributaries, as Scorsese has just shown us in his “alchemic mix of fact and fantasy” broadcast on Netflix. Nevertheless, at the end of the day, “rolling thunder” is an image that for Native Americans means “speaking truth”, and Dylan loved knowing this, according to Larry Sloman. Now, in 2019, I want to tell my own truth as an integral part of that caravan full of music, giving myself the same freedom to interweave lived experiences and dreams, the ideal and the memory, what happened and what could have been.

      This spring, while the media was brimming with images full of invented colours (that of the Netflix poster, those that would make up the booklet for the collection of CDs from the RTR and so many others), while waiting for June to arrive to find out what Scorsese and the Bootleg Series had done with that fragment of the past shared with Dylan, I reread, time and again, that notebook with the brown covers that he gave me in 1967, when I hitched my caravan at the doors of Big Pink for a few months. To say goodbye, on the last page he had written a kind of advance welcome, surrounding it with four schematic but prophetic drawings. I smiled when I looked at them tonight, while I listened to how This Wheel's On Fire links into Hurricane and then into All Along The Watchtower in the fourth take of the second disc of the recently published The RTR: The 1975 Live Recordings, which gathers together part of what was rehearsed on 21st October that year in the Studio Instrument Rentals from New York. Dylan's voice, stitching together the past and the present with the thread of Scarlet Rivera’s violin, makes the wounds of time scar over once more.
  
If your mem’ry serves you well,
we were goin’ to meet again and wait ...



sábado, 20 de julio de 2019

Present (XXIX) - RTR 75 / 19



      In spring this year, the media began to widely report the appearance of new and revealing materials about one of the most fascinating stages in the history of Bob Dylan’s tours: that of the Rolling Thunder Revue. On 7th June, a collection of 14 CDs would go on sale titled The RTR: The 1975 Live Recordings, and five days later Netflix would release what it was advertising as a documentary about the tour, directed by Martin Scorsese. The poster showed one of the most emblematic photos of Dylan (his favourite one (in black and white), he stated at one point), taken of him in three-quarter profile by Ken Regan, his impenetrable eyes framed between a hat with the brim covered in flowers and a scarf that suggests the movement of somebody who, when walking, hears his name (or perhaps another one), and turns his head seeking the source of the voice. The Netflix poster rotated the image disconcertingly and coloured the flowers and scarf with intense watercolour shades. Under the title, seven words accurately defined the contents of the film: “A BOB DYLAN STORY BY MARTIN SCORSESE”, all in capitals, the two names revolving around the central concept. The rotation of Dylan’s profile, the colours superimposed on the greyscale of the photo and the prominence of the word “story” could act as warning signs in the face of a certain type of expectations, it might appear afterwards. However, suggesting an interpretation of the symbolic meaning of the ingredients of this poster after seeing it for the first time would have required something I do not have: remaining invulnerable to the suggestive beauty of the image, that face suspended in time, looking you in the eyes as if in order to dissuade you from following or to invite you to do so.

      I cannot be immune to it, because I accepted that invitation from Dylan long ago. In November 1975, I joined the Rolling Thunder Revue. Now, nearly forty-four years later, the time has also come for me to conjure up that magic once more.




martes, 30 de abril de 2019

lunes, 15 de abril de 2019

Present (XXVI) I Think Of You [and I wonder]





I think of you [and I wonder]


emerging from light and sound

rehearsing disappearance scores

 singing different to remain the same multiplied by time


If you think goodbye’s too good a word,
  then I’ll just say fare thee well
again and again

and tomorrow again
in Vienna
( just like exactly one year ago )





sábado, 30 de marzo de 2019

Present (XXV) Start of the European Tour (Spring 2019)



Gon’ walk on down that dirt road ’til I’m right beside the sun ...




 
I’ll see you around






I’m a-leavin’ tomorrow, but I could leave today
Somewhere down the road someday
The very last thing that I’d want to do
Is to say I’ve been hittin’ some hard travelin’ too
.





domingo, 30 de diciembre de 2018

Present (XXIV) New Year's Early Presents





Things will have changed around Germany
Next time in Prague
And then the fringes of the night by Paris
Before painting your masterpiece in Vienna


From north to south to east across Spain
People can't wait
Pendulums swinging on chains
The music starts and the people sway
Scarlet Town in the month of May


The evening shadows and the stars appear
Circling around in the southern zone
Once upon a time
Handkerchief in the air
A-thinkin’ and a-wond’rin’ all the way down the road


Norway, Finland, Sweden
Sweet end of June
German rivers and mountains
Fires on the moon
Shinin' through the trees
Soon after midnight
When two riders will be approaching London


And finally
The midsummer night's wind
Blowin' in an Irish park

(See you there & in the sky above)


Happy 2019, Dylan!






viernes, 31 de agosto de 2018

Present (XXIII) MUSIC FROM BIG PINK 50TH ANNIVERSARY








    That  time,

               that  space ...
                            .
                           .
                          .
                         .
Thank you, my dear sweet friends . 

sábado, 14 de abril de 2018

Spring Tour 2018 : An Outline in Twenty Frames



Spring Tour 2018 : An Outline in Twenty Frames
(No Rhyme Required)

 
A worried man with a worried mind
Never weak but always strong

 
A thousand telephones that don’t ring
With a neon burnin' bright


                     I know a place where there’s still somethin’ going on



 
As a man who has always had the wand'ring ways
I’m not sorry for nothin’ I’ve done
I been all around the world, boys


The world was sweeter than we knew
My conscience is clear, what about you
Lord knows I’ve paid some dues gettin’ through


                          It’s now or never, more than ever
                          I ain’t dead yet, my bell still rings
                          Between the windows of the sea


I can't go to paradise no more
Look into my heart and you will sort of understand
Tonight I'll use the magic moon to wish upon


Sometimes the silence can be like the thunder
How many ears must one man have ?


Who is that man ?








jueves, 22 de marzo de 2018

Present (XXI) On Tour - Spring 2018











      From Lisbon

     to Verona

                 . . .


   I’ll come followin’ you

   

viernes, 22 de diciembre de 2017

Caravan (18) August in Christmas







     First, it comes in through the window, sort of a breath of wind. You barely notice it until it tousles your hair. That is when you lift your head from the keyboard and see your reflection in the glass, and you stare at yourself and try to draw what looks like a smile. You grab a pencil and gaze at the way your fingers encircle it, and you start turning it around, trying to understand how that wind takes a hold of your inner self. You write scattered words, keys with aerial chords—or that is what you think, perhaps it’s only what you’ll imagine later... Notes from Rick’s bass float from the basement, intertwined with Garth’s newly-created harmonies and Dylan’s laugh. You try to capture everything: that air, the open window, your reflection, and the casual feel of those purposeless sounds, of that joy—you try to bind them to that melody you have been chasing the whole summer... And then, the wind slams the window shut, and it startles you, and the pencil falls down to your feet. When you lift your head up again, you know that all those things will play a part in a song that mentions tears... And you realize that it is already gone.

      Richard tells me so while sitting at the wheel of my caravan, looking out the windshield as if driving through the snow. When I’m about to inquire after that absence, he finishes his story with three sad and short words, an unseasonal farewell he mutters as he lights a cigarette:

       Merry Christmas, Nar.”

      We are in the middle of August, and he smiles at me, as if he knew that we won’t be living at Big Pink when the year is over, because, by then, the miracle of the basement will be over too.







sábado, 21 de octubre de 2017

Present (XX) On Tour – Salt Lake City







       I have had to come to this city called Salt Lake and with a two-tier silhouette of jagged buildings set against a mountainous background sculpted with canyons, to reconnect with the desire that drove me to start this story three years ago. And last night’s Dylan concert at the Eccles Theater was something of a dreamlike movie, a film from another time edited upon a familiar soundtrack, embroidered with a host of little lights that shone like stars over the auditorium. It was I who added the final surprise to the plot.

     I had bought a ticket in the central section of the first row, slightly to the left of the piano, to see how, on yet another night, Dylan takes cover behind it as if cloaked in a glass robe. And with a bit of luck, to try to get a photograph of him with some rare expression. I waited until the second encore, and as the chords of the Ballad Of A Thin Man struck up, I opened the bag whose contents when I came in had caused such amazement at the security checkpoint. During the fourth verse, I put the top hat on.

      Several voices behind me complained, but I managed to stand still until, on taking centre stage for the “final bow”, Dylan spotted me. It would have been the perfect moment to take the perfect photo; that snapshot of time standing still and an expression of astonishment that took both of us back to that summer night in 67 on which a biblical bet allowed me to win that tall black hat. Then Dylan called me innocent, and idiot too. I don’t know what he must have thought last night on recognizing that old trophy on my head. When I began to raise it in a gesture of greeting, he had already turned round to leave the stage. I didn’t even get my camera out.

      Perfect pictures never get to be taken, not with any kind of device, but they are tattooed behind our eyelids. Like Dylan’s voice.

      Tonight I’ll go back to the Eccles Theater to attend his second concert in Salt Lake City, this time in the first box on the left. I’ll try to get a message to him beforehand, perhaps some of his favorite flowers too.


Oh, what a lonely soul am I,
Stranded high and dry
By a melancholy mood



 





martes, 11 de julio de 2017

Back Pages - Brown Notebook - Triadic Lullaby (11.7.1967)







                 Triadic Lullaby



                             Say hello to Anna Lea
                             Say hello to BBAnn !!



                                  It’s all been written in the book
                                  ten thousand nursery rhymes

                                                         I'd rather sing her a warm nook
                                                         Lord, protect my child


                                Someday little girl, everything for you is gonna be new...
                  
             

(To My Newborn Daughter, 11.7.1967)





domingo, 25 de junio de 2017

Present (XIX) The Basement Tapes : 42 Years Young



   
Bob Dylan & The Band

THE BASEMENT TAPES

(Columbia)

Released June 26, 1975


Side 1: Odds And Ends; Orange Juice Blues (Blues for Breakfast); Million Dollar Bash; Yazoo Street Scandal; Going To Acapulco; Katie's Been Gone.
Side 2: Lo! And Behold; Bessie Smith; Clothes Line Saga; Apple Suckling Tree; Please Mrs. Henry; Tears Of Rage.
Side 3: Too Much Of Nothing; Yea! Heavy And A Bottle Of Bread; Ain't No More Cane; Crash On The Levee (Down In The Flood); Ruben Remus; Tiny Montgomery.
Side 4: You Ain't Goin' Nowhere; Don't Ya Tell Henry; Nothing Was Delivered;  Open The Door, Homer; Long Distance Operator; This Wheel's On Fire.


LINER NOTES



“Beneath the easy rolling surface of The Basement Tapes, there is some serious business going on. What was taking shape, as Dylan and The Band fiddled with the tunes, was less a style than a spirit -- a spirit that had to do with a delight in friendship and invention.


[...] The Basement Tapes are a testing and a discovery of roots and memory; it might be why The Basement Tapes are, if anything, more compelling today than when they were first made [...]”



Greil Marcus
  
Bob Dylan -- Acoustic Guitar, Piano & Vocals
Robbie Robertson -- Electric Guitar, Acoustic Guitar, Drums & Vocals
Richard Manuel -- Piano, Drums, Harmonica & Vocals
Rick Danko -- Electric Bass, Mandolin & Vocals
Garth Hudson -- Organ, Clavinette, Accordion, Tenor Sax & Piano
Levon Helm -- Drums, Mandolin, Electric Bass & Vocals

Recorded in the basement of Big Pink, West Saugerties, NY., 1967
Recording Engineer -- Garth Hudson
Mixing Engineers -- Rob Fraboni, Nat Jeffrey, Ed Anderson & Mark Aglietti
Mixed at Village Recorders & Shangri-La Studios
Mastering Engineer -- George Horn
Photography -- Reid Miles
Design Consultant -- Bob Cato
Compiled by Robbie Robertson
Produced by Bob Dylan & The Band



  

sábado, 17 de junio de 2017

Caravan (17) July 1967






     Sunlight glimmers inside my caravan and wakes me from a dream of books and whales with jazzy piano chords floating in the background. I fell asleep last night looking at the box, not daring to open it. Now here it is at my feet, round and closed like a perfect question. Without even asking, the answer resonates inside my head: "You wanted something and you don’t even know what it is, Nar."
      I make coffee and put the box on the table. I realize that the emptiness of my desire has found its fulfillment in a threat: “It’s alive, and it bites,” Dylan had warned me. His anger at losing the bet resembled somewhat my own bewilderment, multiplied now by its echo and by the minutes ticking by, none encouraging me to undertake the denouement.
      I smoke cigarette number six and caress the round lid before lifting it. As I do, I catch my image reflected in its inside mirror and I see, in the circular belly, a top hat. Black, worn out, upside down. "You're more innocent than I thought," Dylan had told me. "What did you expect, idiot?" he would add now, witnessing the mute perplexity of my realization.
      “Can I come in?”
      The laughing voice of Rick knocking at the caravan door rouses me from self-absorption. In a reflex, I close the box before answering.
      “Come on in.”
      “ ‘Morning, Nar. Would you like to come and have breakfast with us? Garth fixed a mountain of good stuff to help us recover from the hangover. What a fucking night!”
      “You said it ...! I don’t know, I've already had a couple of coffees and I'm not hungry, but thanks anyway for ...”
       Rick interrupts my sentence, coming closer with a laugh.
       “What’ve we got here! The box of discord! Dylan was really pissed off when ...”
       “Don’t open it!” I hear myself saying in a despotic voice.
       “Okay, okay, cool it. You don’t have to be like that ... Besides, I already know what’s inside that hatbox. I've opened it a hundred times.”
       “What did you call it?”
      “Hat-box. Why do you make that face?”
      “Nothing ... I understood something else. Forget it.”
      Rick looks at me closely for a few seconds, then smiles and pulls a crumpled sheet out of one of his jeans pockets, torn in half.
      “I came to bring you this too, I thought you'd like to have it. It was bitch having to take care of your desires, you know?” he says as he unfolds the papers.
      I immediately recognize the sheet on which Dylan had written what he wanted to get from me in case he won the bet. Without thinking, I rip the two fragments out of Rick's hand. Then I put them in my box, which now has a name like that of anyone: a few letters on a safe-conduct for the territory of the rational, I think as I see Rick out.
      “Thanks man. And now go, please.”
      Rick looks down and, turning his back to me, speaks quietly.
      “I suppose it fucked you up making Dylan so mad and maybe not being allowed to get back into the basement, all to win an old box with a hat inside ... Well, now you have it, and also these pieces of waste paper. Read ’em and weep, as we say in poker. And then you better throw it all away; what happened will keep fucking you up. When something hurts a lot, Nar, it doesn’t matter what you do: it makes no difference.”

      When Rick leaves, I pick up the hatbox and sit on the steps of the caravan, placing the box to my left. I light a cigarette. Then I open it. I put on the top hat, and in the end I read that one single word Dylan wrote to shape his desire and at the same time appease his fury. Six letters, six strings that he was playing for me right here, just a few days ago:  

 Ibanez
 




domingo, 14 de mayo de 2017

Present (XVIII) Relics of a bet (6)







       Dylan came back from the basement just a few minutes later, with a stormy look on his face, bringing the round box I´d won in that unexpected bet. He threw it at me with the same rage that infused his words.

       - Watch what's inside! It´s alive. And it bites.
       - Thank you for the warning.
      - You're an idiot, Nar. If you were so sure you´d win, why didn´t you go for something more valuable?
       - That's precisely the reason I went low -I said as I watched the box land at my feet.

       Dylan looked like he might reply but instead his face froze and he gave me a stare I found difficult to hold. Then he turned his back on me. Suddenly the scene was over.

      - Fuck you, "Nar of the Mysteries"!

      With a kick that followed his furious farewell, the box rolled towards the bonfire. It stopped just short of the flames, though it didn´t open. Groups of dismayed faces scattered to make way: with hands in pockets and seven-league strides, Dylan was disappearing again towards his car.

       Feeling the weight of everyone´s eyes upon my shoulders, I stared at the box for a moment before moving to pick it up. It seemed smaller now than when I´d seen it in the basement. Rather than hold it by its strap, I lifted it up and held it close to me with my arm around it, and casting my eyes downwards, I went to my caravan. People were silent. Dylan´s car revving loudly on the way out to the road sounded like a cracking whip in the midst of that mutism.

      I was opening my door when I heard what sounded like a slow, glum, arrhythmic clapping coming from the speakers at the living room windows. I turned around and saw Richard closing them from the inside, gesturing me with his hand.


      Everyone realized that the party was over.









sábado, 25 de marzo de 2017

Back Pages - Brown Notebook - July Of My Years



 
 
               I would probably be like a method actor,
 
                                                           whatever a method actor is ...


 
                                              … I could sing anything

                                      this warm July of my years

  

               Remembrance of things past, 

                                                     I do that all the time.