Bob Dylan: The 30th Anniversary Concert Celebration

bob dylan 30th anniversary celebration

In 1992 Columbia Records put together a massive collection of artists to celebrate Bob Dylan’s recording career. As I say in my review, at the time it must have seemed like a capstone to a long career. One that seemed like it was dying (I rather like some of Dylan’s output in the 1980s, but from a record company standpoint it certainly wasn’t his strongest decade).

The concert is pretty great, even if I haven’t listened to it since writing this review in 2014. You can read all of my thoughts from back then here.

Random Shuffle (10/25/06) – Robert Earl Keen, Johnny Cash, The Band, Morrissey, & Bruce Springsteen

“Then Came Lo Mein” – Robert Earl Keen
From Picnic

I first discovered Robert Earl Keen through some friends of mine. I think I attended a concert before I’d ever listened to an album. It was a great concert and as I soon discovered, very typical Robert Earl Keen. That is to say full of great subversive country music, raucous and bawdy jokes, and the biggest throwdown of the year.

This is a great song and a great showcase of his songwriting skills. It is a love song with bad jokes and a heart full of something meaningful. It throws together lines like “I was steamed I was fried/But you stood by my life/When I had my nervous breakdown” to make a pun about the Chinese restraint they are in and make an acute observation about the power of relationships.

The music is a soft, rolling thing made into a beautiful duet with Margo Timmins.

Keen is never going to find his way to the top of the charts nor be decried as the next Dylan. His music is like a pot of warm stew in February. It is hearty, filling, and sometimes all you need, but it won’t ever flash or glitter and get your attention like Crème Brûlée. But sometimes all you need is a solid songwriter to get you through the long winters.

“Wayfaring Stranger” – Johnny Cash
From American III

I think there are few songs that I love deep down in my soul like “Wayfaring Stranger.” I’m generally not one for religious lyrics in pop tunes, but this one hits me in a way few things can. I think it is the notion of being a traveler, not bound for one land for long that appeals to me most. I’ve spent most of my life moving about so I know the feeling of being a stranger, yet also understand the joy of coming home.

I don’t spend much time writing about my own spiritual beliefs, but the idea of leaving the harsh realities of this world and crossing over Jordan to that heavenly home sounds somehow comforting.

And when you get Johnny Cash to sing it, well, I think I’m already over that river and headed towards home. I love that Cash makes the recording sparse, just a fiddle, some light strumming guitar, and that Voice. Johnny Cash had the voice of God.

If I get to choose the songs for my funeral, this one is going in.

“Ophelia” – The Band
From Last Waltz

Truth is I’m not much of a fan of The Band. So much praise has been lauded on Music From the Big Pink, but I mainly find it a bore. I love “The Weight” and I think that love ruins the album for me. While it has this great acoustical instrumentation, great lyrics and some perfect harmonies, the rest of the album sounds way too slow and the vocals are just one long whine. I’ve tried many times to relisten to it and find can see what all the praise is about, but it always comes up short.

I’d pretty much given up on the band, in fact, until I watched The Last Waltz on television a while back. This is the Band I’d dreamed about. Great music, great performances, and a group worthy to be the most famous incarnation of Dylan’s backup band.

It wasn’t just the assortment of all-stars, including Dylan, joining them for this last dance. The Band cooked like fried rice. These guys were obviously having fun and holding their own with some of the great artists in music.

“Ophelia” is just the Band, no celebrity filler and it still kills. This is the type of music that floats in my head most of the time. A big band with blazing guitars, thumping bass, keys, and horns all meshed together in a brilliant ménage a groovitude.

“Certain People I Know” – Morrissey
From Your Arsenal

Morrissey, with or without the Smiths, is a musician I’ve pretended to love for many years. It’s not that I don’t enjoy his music, because I certainly do, but rather that I’m just not terribly familiar with it. Not enough for the amount of name-checking I’ve done with him anyway.

The Smiths are one of those bands like the Sex Pistols or the Clash that give extra cool points to those who profess their love for them. I admit I have used them all to gain an edge on new friends or to feel a little more special to an extra special girl.

Morrissey is the only one I actually really dug a record from (I’ve never managed to really get the Sex Pistols and only have recently found the joys of the Clash). Your Arsenal is the record of choice as it came about during my finer years and in the midst of the whole alternative is a huge ordeal in the early 90s.

A recent run to the local library has yielded a bustle full of new Morrissey records and I am in the midst of a rebirth in his music. This one is an oldie and one I’ve enjoyed for many years. Not exactly typical as it has a more rockabilly feel than most of his work, but still a good one.

Maybe now I can whisper to my wife how awesome I think the man is, and really mean it.

“Buffalo Gals” – Bruce Springsteen
From We Shall Overcome

I’ve mentioned before that I’m not much for Bruce Springsteen. I can see he is a good writer and performer, but he’s always seemed just a tad too earnest for my tastes. Whenever I listen to Springsteen or hear the devotion from his legion of fans, I get a little nervous. It’s a bit like having die-hard Jesus freaks over for dinner. I get what they are saying, but they’re just a little too into it to make me feel comfortable.

At least I did feel this until I heard his Pete Seeger tribute. Man that album rules. “Buffalo Gals” is probably my favorite tune in the bunch. There is such joy in this music. It’s a group of outstanding players playing their hearts out and having fun at it. It’s the fun part that wins me over. This is Springsteen finally tossing out the fire and brimstone and enjoying himself.

This is a hoe down of a song, a real barn burner. It makes me wish I could play an instrument or have some rhythm to dance to it. It makes me glad to be alive. It makes me happy. And if that ain’t the point of it all, then we might as well all give up now and go home.

Walk the Line (2005)

walk the line poster

Since being married going to the cinema has become a rare thing. Pre-marriage (or really, pre-dating the woman who became my wife) I was going to the movies once, or twice a week. Now, I’m lucky if I get to the movies once a month. I’d like to blame this solely on my wife (and in fact often do) but the reality is that it’s not really her fault.

I’m older. I have responsibilities. I can no longer spend every weekend in a darkened theatre watching the old celluloid. The wife is in graduate school, she teaches classes, she does adult learning at the library, and she can’t spend every weekend watching the latest Hollywood blockbuster. Put us together and it is difficult for us to spend a meal in each other’s company much less actually get out together.

When we do make it to the movies, I’m always very excited. Moviegoing is an almost spiritual experience for me. As a teenager, my family and I bonded through movies. We might fight over everything else, but the cinema was shelter. To this day when I travel to Oklahoma to see my folks we inevitably go to the movies. It’s just built into our psyche. Family = movies.

So my wife and I went to the Johnny Cash biopic, Walk the Line the other day.

Worst audience ever.

But first, we’ll talk about the theatre itself. It is an older one, made before the new wave of super-ultra theatres with 20 screens and stadium seating all equipped with your own personal Laz-E Boy.

The floor was pretty much flat. The walls were covered with ugly, green curtains circa 1972. The floors were sticky and unclean. The chairs were moldy and uncomfortable.

I go to the movies early. My preferred buffer of time is 30 minutes. This ensures I get the best seat (middle row, middle seat spaced between the speakers) and don’t miss a moment of the film. It also allows for things like traffic, and large crowds.

So, the movie starts, and of course, there are two or three groups of people coming in late. Late! How hard is it to get to the movies on time? They have a schedule; it’s posted a week in advance for crying out loud. If you can’t show up on time, catch the next flick or stay at home.

These latecomers come in, talking of course, and rudely continuing a conversation started in the lobby. Their big heads get in the way of the screen while they shuffle into their seats.

The staff forgets to shut the door to the theatre so I can continually hear everybody in the aisles and hallways talking through the whole picture.

Oddly, a group of four, young, Asian girls sitting right in front of me get up and leave 10 minutes into the picture. Their spots are immediately taken up by a group of three middle-aged to old ladies all wearing those floppy toboggans. Toboggans that they do not take off and that all have little fluffy balls on top. Little fluffy balls on top that get right in my line of sight.

I always get anxious before a film starts because of all the talking. But as the movie starts usually people shut the crap up. It works out this way for most of Walk the Line. Well, until an old lady a couple of rows up gets a phone call on her cellular. Gladly, I don’t hear a ring, but she sure enough picks up and starts talking in the theatre.

“Hello. Who is this?”

She looks around a bit trying to decide if she can explain to the caller where she is and that she’ll call this person back. Nope, I guess she can’t because she gets up and continues chatting, loudly, as she walks out.

Really, who is that important that they have to answer their phone at every moment?

The cell phone lady leaves. Filmatic enjoyment continues. On the screen, Johnny Cash begins to sing “Folsom Prison Blues” for Sam Phillips. The dude sitting next to my wife begins singing along. Not in a silent, toe-tapping kind of way, but a belting it out for everyone to hear manner.

Ruins the cinematic moment.

Loud singing guy continues to talk through the entire film. Just random stories about Johnny Cash’s life and what’s going on in the film.

Beyond the audience, there actually was a movie playing, and that was a rather good one.

The film follows the life of Cash from childhood up until he marries June Carter. Joaquin Phoenix gives his usual wonderful performance as the Man in Black. It took me a little while to adjust to thinking of Joaquin as Johnny Cash. Cash was such a larger-than-life icon any actor would have difficulty portraying him. Yet after an initial adjustment period, Joaquin sinks right into the Cash skin.

Reese Witherspoon is an actress I enjoy, but have never really appreciated as a “real” actress. With films like Legally Blonde and Sweet Home Alabama under her belt, it is difficult to take her seriously. She’s like Meg Ryan in that her bubbly enthusiasm is hard not to get swept up in, but as a serious actress, she’s rarely had the chance to prove herself. At least in my experience.

She plays June Carter in the same exuberant manner we’ve come to expect from Reese. It is a June Carter I’ve never seen before. I know the June Carter Cash of the last few years of her life: a reserved, loving wife; a kindly woman, and a lovely singer. It was a strange thing to see her full of the zestful energy reserved for young country stars. Not that this isn’t an accurate portrayal of Ms. Carter during this part of her life, it’s just a part of her life I’ve never seen before.

All is not bubbles and fun though, and Reese brings a weight to the character that is smart and well-performed. We can see the difficulties of being a young woman carrying on the legacy of her family and still trying to be a modern woman. We can understand the heartache she feels as she both loves Johnny Cash and abhors the life he is living. It is a fine performance all around.

It is a fine film that doesn’t really cover any new ground, biopic-wise. There is the troubled childhood, the rise to stardom, the hard fall with drugs and pain, and the redemption through love and a little concert amongst hardened criminals.

For Cash fans, there isn’t any new ground dug up, but it’s a lot of fun. The leads perform to perfection, and the songs are classic. For non fans, the story is a good one and the performances are enough to make a few new fans along the way.

The Top Ten Cover Songs

Editors Note:  Once again I originally wrote this post many years ago.  I don’t know that I would pick these same songs were I to pick my favorite cover songs now.  But these are all good choices.  I haven’t thought about some of these songs in years, so this was a fun stroll down memory lane.

Top 10 Cover Songs

A few rules. To be a cover song the song could not have been written specifically for that artist. Therefore the Monkees “I’m a Believer” will not work because Neil Diamond wrote it for their TV show. Likewise, Neil Diamond’s version of that song doesn’t count even though many think of it as a cover, because well, he wrote it. To count for my list the cover has to be of an already generally known song. So Jimmy Hendrix’s version of “Hey Joe” doesn’t count. Because there’s a dispute over who actually wrote the song and whoever heard the versions by any of those guys?

1. Satisfaction by Otis Redding.
Original by the Rolling Stones

Many people consider the Devo version to be a much better cover, and I totally dig it too, but Otis just blows it away. He’s got that killer Otis soul, jumping rhythm and even horns! Keith Richards has been quoted as saying the Otis version is how he meant the song to sound.

2. All Along the Watchtower by Jimi Hendrix.
Original by Bob Dylan
Bob Dylan himself changed his way of playing this song after he heard Hendrix

3. I Will by Alison Krauss.
Original by the Beatles

We played this song at our wedding. It’s a beautiful McCartney number slowed down, and sung even more beautifully by Ms. Krauss.

4. Sweet Jane by Cowboy Junkies.
Original by the Velvet Underground

I actually prefer Lou Reed’s solo live versions of this song more than the original Velvet Underground’s studio recording. But the Junkies make what is a rowdy, dirty rock and roller into a softer, peaceful lullaby.

5. Not Fade Away by the Grateful Dead.
Original by Buddy Holly

Buddy Holly’s sweet rockabilly tune is turned on its head by the masters of jam. Often the Dead would churn this tune into a grinding 15-minute spectacle.

6. RESPECT by Aretha Franklin
Original by Otis Redding

Aretha gets back at Otis here. Otis does some amazing vocals on his version, but Aretha takes it a step further and nails it on its head.

7. Cold, Cold Heart by Norah Jones
Original by Hank Williams

Norah turns this forlorn country song into a sultry, sexy croon.

8. Stardust by Willie Nelson.
Original by Hoagy Carmichael

Transforming a huge big band tune into its most simplistic melody Willie Nelson makes this song his own.

09. Bizarre Love Triangle by Frente
Original by New Order

The orignal was a big dance hit, but Frente break it down into a beautiful acoustic number.

10. Hurt by Johnny Cash
Original by Nine Inch Nails

The heartbreaking video adds a lot of texture to this version but in the end, it’s Johnny Cash’s voice that brings out more meaning into this song than ever meant by Trent Reznor.

There are certainly many more great covers out there that I thought of and didn’t think of that could have been included. I tried to pick songs that followed my mentioned rules and that broke away from the original. For instance, I think the harmonies on CSN’s version of “Blackbird” elevate it far above the Beatles version, however, they didn’t make it a different song and thus it wasn’t included. Got covers, not on my list? Comment them!