in open D and open E tuning i decided to relearn every song...very edifying :o) Eric Clapton once said about Dylan: "His way of playing anything is totally hybrid. It doesn't make sense musically to the scholar. [...] At first listening, everything he does is just real hopeless. Then you look back and realise it's exactly right." As a scholar I take this as a challenge: If something is "exactly right", but still doesn't make sense to the scholar, it is either the scholar's sense or the scholar's analytical tools that are inadequate. I take the liberty of disregarding the first possibility -- although that is probably the commonest cause for scholarly not-being-made-sense-to-ness -- and concentrate on the second: the problems inherent in musical analysis of music of Dylan's kind. Blood on the Tracks is singer-songwriter Bob Dylan's 15th studio album, released in 1975 by Columbia Records, which marked Dylan's return to Columbia after a two-album stint with Asylum Records. The album, which followed several years of lukewarm reception for Dylan's work, was greeted respectably by fans and critics. In the years following its release, it has come to be regarded as one of his very best albums - making it quite common for subsequent records to be labeled his "best since Blood on the Tracks."[1] [2] [3] [4] It is also commonly seen as a standard for confessional singer-songwriter albums, though Dylan has denied that the songs are autobiographical, his son Jakob Dylan has stated: "The songs are my parents talking."[5] Most of the lyrics on the album revolve around heartache, anger, and loneliness. The album reached #1 on the Billboard U.S. pop charts and #4 in the UK. The single "Tangled Up in Blue" peaked at #31 on the Pop singles chart. The album remains one of Dylan's all-time best-selling studio releases, with a double-platinum US certification to date. The songs are largely seen as inspired by Dylan's personal turmoil at the time, particularly his separation from his then wife Sara Dylan. All ten songs on the album were originally recorded at New York City sessions produced by Phil Ramone. With Columbia set to release the LP, Dylan pulled back at the last minute, and at year's end re-recorded five of the ten songs in Minneapolis with a crew of area session musicians assembled by his brother, David Zimmerman. Dylan's fans theorize endlessly about his reasons for revamping the album, with one unconfirmed view being that the musical feel of the album had been monotonous, with too many songs in the same key and the same languid rhythm. It has also been said that, just two weeks before the release of Blood on the Tracks, Dylan played an acetate of the record for his brother, his ensuing comments leading Dylan to re-cut the album. [1] Told of the album's lasting popularity, Dylan was later to say (in a radio interview by Mary Travers): "A lot of people tell me they enjoy that album. It's hard for me to relate to that. I mean, it, you know, people enjoying the type of pain, you know?" In Dylan's 2004 memoir, Chronicles, Vol. 1, he claims that although one album of his songs was entirely inspired by short stories by Anton Chekhov, many of his fans and critics treat it as autobiographical. This passage is often cited as a reference to Blood on the Tracks. ] Track listing Side one "Tangled Up in Blue" -- 5:42 "Simple Twist of Fate" -- 4:19 "You're a Big Girl Now" -- 4:36 "Idiot Wind" -- 7:48 "You're Gonna Make Me Lonesome When You Go" -- 2:55 Side two "Meet Me in the Morning" -- 4:22 "Lily, Rosemary and the Jack of Hearts" -- 8:51 "If You See Her, Say Hello" -- 4:49 "Shelter from the Storm" -- 5:02 "Buckets of Rain" -- 3:22

, Say Hello 9.Shelter From The Storm 10.Buckets Of Rain

ying :o) Eric Clapton once said about Dylan: "His way of playing anything is totally hybrid. It doesn't make sense musically to the scholar. [...] At first listening, everything he does is just real hopeless. Then you look back and realise it's exactly right." As a scholar I take this as a challenge: If something is "exactly right", but still doesn't make sense to the scholar, it is either the scholar's sense or the scholar's analytical tools that are inadequate. I take the liberty of disregarding the first possibility -- although that is probably the commonest cause for scholarly not-being-made-sense-to-ness -- and concentrate on the second: the problems inherent in musical analysis of music of Dylan's kind. Blood on the Tracks is singer-songwriter Bob Dylan's 15th studio album, released in 1975 by Columbia Records, which marked Dylan's return to Columbia after a two-album stint with Asylum Records. The album, which followed several years of lukewarm reception for Dylan's work, was greeted respectably by fans and critics. In the years following its release, it has come to be regarded as one of his very best albums - making it quite common for subsequent records to be labeled his "best since Blood on the Tracks."[1] [2] [3] [4] It is also commonly seen as a standard for confessional singer-songwriter albums, though Dylan has denied that the songs are autobiographical, his son Jakob Dylan has stated: "The songs are my parents talking."[5] Most of the lyrics on the album revolve around heartache, anger, and loneliness. The album reached #1 on the Billboard U.S. pop charts and #4 in the UK. The single "Tangled Up in Blue" peaked at #31 on the Pop singles chart. The album remains one of Dylan's all-time best-selling studio releases, with a double-platinum US certification to date. The songs are largely seen as inspired by Dylan's personal turmoil at the time, particularly his separation from his then wife Sara Dylan. All ten songs on the album were originally recorded at New York City sessions produced by Phil Ramone. With Columbia set to release the LP, Dylan pulled back at the last minute, and at year's end re-recorded five of the ten songs in Minneapolis with a crew of area session musicians assembled by his brother, David Zimmerman. Dylan's fans theorize endlessly about his reasons for revamping the album, with one unconfirmed view being that the musical feel of the album had been monotonous, with too many songs in the same key and the same languid rhythm. It has also been said that, just two weeks before the release of Blood on the Tracks, Dylan played an acetate of the record for his brother, his ensuing comments leading Dylan to re-cut the album. [1] Told of the album's lasting popularity, Dylan was later to say (in a radio interview by Mary Travers): "A lot of people tell me they enjoy that album. It's hard for me to relate to that. I mean, it, you know, people enjoying the type of pain, you know?" In Dylan's 2004 memoir, Chronicles, Vol. 1, he claims that although one album of his songs was entirely inspired by short stories by Anton Chekhov, many of his fans and critics treat it as autobiographical. This passage is often cited as a reference to Blood on the Tracks. (from wikipedia) Side one "Tangled Up in Blue" -- 5:42 "Simple Twist of Fate" -- 4:19 "You're a Big Girl Now" -- 4:36 "Idiot Wind" -- 7:48 "You're Gonna Make Me Lonesome When You Go" -- 2:55 Side two "Meet Me in the Morning" -- 4:22 "Lily, Rosemary and the Jack of Hearts" -- 8:51 "If You See Her, Say Hello" -- 4:49 "Shelter from the Storm" -- 5:02 "Buckets of Rain" -- 3:22 (more) (less)

contributing his own poor thoughts on a beautiful art form. These words aren't perfect, they arent pre-written, and they aren't filtered. but they're some of my own on music. critique it, if you like, but hopefully you'll find some truth. __________________ check out www.musicalhedonist.blogspot.com