[00:00:00] Speaker A: This show is a part of the.
[00:00:01] Speaker B: FM podcast network, the home of great music podcasts. Visit
[email protected] you are listening to the Dylan Taunts podcast.
[00:00:15] Speaker C: Everyone.
[00:00:15] Speaker B: I'm Jim Salvucci. Welcome to another million dollar bash.
As much as we love Bob Dylan's.
[00:00:25] Speaker C: Many versions of his own music, we.
[00:00:27] Speaker B: At million Dollar Bash would be remiss if we did not discuss some of the gazillions of covers of Dylan's work. Given the buzz emanating from Kat Power's reconstruction of Dylan's set from his 1966.
[00:00:39] Speaker C: British tour, it makes sense to discuss specifically covers of Dylan by women. Maybe it makes no difference the gender of the artist. Maybe it's all just the same. Whether it's Joan Baez or Manford, man covers or covers. What, though, are the implications of, say.
[00:00:56] Speaker B: Cheryl Crowe altering the line from I was dreaming I was sleeping in Rosie's.
[00:01:01] Speaker C: Bed to debrusque but anemic I was dreaming I was sleeping in your bed?
[00:01:07] Speaker B: Is this shift a positive assertion of.
[00:01:09] Speaker C: Her sexuality, a sign of her own.
[00:01:11] Speaker B: Discomfort with the implications of her sleeping with Rosie, or simply a nod to the mores of 1998? Similarly, Betty Levette, who takes some serious liberties with Dylan's music and lyrics, with mixed results in 2000 and eighteen's things have changed modifies the lyrics of Mama, you've been on my mind since they are no longer an ex lover's bitter.
[00:01:31] Speaker C: Reflections but are a homage to her own actual mother.
The last verse she alters to when.
[00:01:38] Speaker B: I wake up in the morning, mama, and look into the mirror I see you standing next to me although I.
[00:01:43] Speaker C: Know you're not here when I see.
[00:01:45] Speaker B: My reflection I can see you just.
[00:01:47] Speaker C: As clear Mama, you've been on my mind.
[00:01:50] Speaker B: Does she make this change because the song really does bring her mother the.
[00:01:54] Speaker C: Mind, or because she wants us to.
[00:01:56] Speaker B: Know that she has no interest in.
[00:01:57] Speaker C: Mamas unless they are literally her mama?
[00:02:00] Speaker B: In my opinion, her rewrite saps the lyrics of their self reflective power and wastes her otherwise soulful performance. On the other end and from another generation, Emma Swift unselfconsciously sings I'm a man of contradictions, I'm a man of many moods and celebrates her black mustache in her 2020 rendition of I contain.
[00:02:19] Speaker C: Multitudes and what do we make of.
[00:02:21] Speaker B: Charlote Gainborg's breathy 2007 recital of Just like a Woman, which cleaves closely to her libertine father, Serge Gainberg style?
[00:02:30] Speaker C: What are the implications now?
[00:02:33] Speaker B: Throw Nina Simone's sweet and starring take from 1971, in which she switches the pronoun from she to I in the last chorus.
[00:02:39] Speaker D: What do we do with that?
[00:02:41] Speaker C: Let's get down to it and introduce our regular bashers for anyone who's new to the bash.
So we're going to start with rock and Rob Reginio. Hey, Rob, welcome.
Thank you, Jim.
[00:02:53] Speaker E: I'm super excited about discussing these wonderful performances.
[00:02:57] Speaker C: All right, next up is court Carney. Hey, Jim. Hey, everyone.
[00:03:02] Speaker D: Nice to see you.
[00:03:03] Speaker C: Then we've got Nina Goss.
[00:03:05] Speaker D: Hi. Hey, Nina.
[00:03:08] Speaker C: And then Grayleigh Hearn.
[00:03:10] Speaker D: Hello.
[00:03:11] Speaker C: Happy to be here. And last and certainly not least, Erin Callahan.
[00:03:17] Speaker F: Hey, Jim, thanks for having us again.
[00:03:19] Speaker B: Absolutely. What a superstar lineup every month. It's a privilege to be with you guys online.
[00:03:24] Speaker C: It's really fantastic.
All right, so let's just get going.
[00:03:28] Speaker B: I'm just going to go through in the order we just announced, everyone, and.
[00:03:31] Speaker C: Ask you to maybe bring a couple.
[00:03:34] Speaker B: Songs, a couple covers by women that you think are particularly worth addressing, and then we'll talk about them and see where it goes.
[00:03:42] Speaker C: So, Rob, you're up.
[00:03:43] Speaker D: What do you got?
[00:03:46] Speaker E: My personal choices, there are albums of covers of his songs, and my personal choices that I have personal connections to are any day now by Joan Baez. That double lp of covers of Dylan's songs. And that's how I was first introduced to Dylan's music, actually. My mom playing me because she was a huge Baez fan. My mom playing me that album over and over again. And then I really enjoy Thea Gilmore's cover of the John Wesley Harding album because I'm writing about John Wesley Harding.
[00:04:18] Speaker C: Right now in terms of being a little bit more objective.
[00:04:22] Speaker E: And I think some of the aesthetic standouts are Betty Levette's. Things have changed from 2018, although she covered unbelievable and everything is broken on other albums, which were really, I find, incredible versions. And then the album that you mentioned at the top of the show, cap power sings Bob Dylan by Cat Power. Obviously, these are four albums that I think I come back to again and again, some for personal reasons, some because they're just aesthetic standouts.
[00:04:53] Speaker C: In terms of couple.
[00:04:56] Speaker E: I've got a lot of songs here.
[00:04:58] Speaker C: That I think are really great covers.
[00:05:00] Speaker E: But I'm just going to stick to a couple here. I love Emilu Harris's cover of every grain of sand on Wrecking Ball. Daniel Enwa produced that album, but he wisely, I think, on that song, places.
[00:05:11] Speaker C: Her voice up front and center, and.
[00:05:14] Speaker E: His kind of swampy theatrics are swirling in the background. But Emmy Lou's voice, Harris's voice expresses a yearning and dedication to a spiritual search, and it's foregrounded in a really beautiful way. And then in thinking about this show.
[00:05:31] Speaker C: I've been exploring the work of Anna.
[00:05:35] Speaker E: Brune, a norwegian singer songwriter, and she has this incredibly brooding and tense take on the song she belongs to me.
[00:05:45] Speaker C: Which is, in Dylan's version, a kind.
[00:05:49] Speaker E: Of celebration of this exceptional figure. Brune's version is much more, as I.
[00:05:55] Speaker C: Said, tense and brooding.
[00:05:56] Speaker E: And then another one that I think is a kind of iconic rendering of the song at this point now is Cassandra Wilson's shelter from the storm. That's a very famous cover of a Dylan's song. And I love the way that she deploys a third person voice in the song.
[00:06:13] Speaker C: Right.
[00:06:14] Speaker E: It is as if she. I think in this song, when I listen to her sing it, she's uncovering an older fable or a story or a narrative ballad. So there's a kind of beautiful wistfulness.
[00:06:25] Speaker C: About that version of the song. But as our conversation goes on, I've.
[00:06:30] Speaker E: Got a whole list of other covers by women that stand out to me.
[00:06:35] Speaker C: But I think one of the greatest.
[00:06:37] Speaker E: Interpreters of Dylan's songs for me is Nina Simone.
[00:06:41] Speaker C: And why do I think that?
[00:06:42] Speaker E: And I look at the three Dylan cuts on her 1967 album to love somebody. She arranged all of these songs, and each one is unique. She's got, like a bluesy r and B arrangement for I shall be released. And then she rearranges the times. The hair are changing, which comes at the end of the album, is this.
[00:07:00] Speaker C: Stirring, like, church anthem.
[00:07:03] Speaker E: It's complete with this pause in the singing, so you hear the church organ reverberate, and then there's just this majesty of her totally unique version of just like, tom Thumbs Blues, which I think is the pinnacle of interpretations of Dylan, full stop, irrespective of gender.
[00:07:22] Speaker C: And I think Nina Simone, she really.
[00:07:25] Speaker E: Thought very deeply about Dylan's songs, not just in terms of their lyrics, but also their melodies and their structures and how they draw upon various traditions.
[00:07:34] Speaker C: And I think that deep thought about.
[00:07:38] Speaker E: His work is evidenced in her arrangements and performances across those tracks. So that's my kind of overview of where I stand.
[00:07:46] Speaker C: All right. That was quite an overview. You covered a lot of ground there.
[00:07:49] Speaker B: And you hit on a few things. I never heard of a couple.
[00:07:51] Speaker C: I completely forgot about it somehow.
[00:07:53] Speaker B: Forgot about that cover by Cassandra Wilson.
[00:07:55] Speaker C: That is amazing. She's an extraordinary singer. Yeah. It's from a while ago and maybe 20 years ago.
[00:08:01] Speaker D: Yeah.
[00:08:03] Speaker C: So, getting right to it, do you.
[00:08:07] Speaker B: See the gender of these performers as having any particular role, or is it.
[00:08:13] Speaker C: Just these are particularly good performances.
[00:08:16] Speaker B: Does it alter the meaning of the songs in any way or have any effect?
[00:08:20] Speaker E: I think, again, going back to Nina Simone's arrangements and performances of those songs, I think she digs deeply into those songs to the point where the gender.
[00:08:28] Speaker C: Of the singer becomes irrelevant, to put it bluntly.
[00:08:33] Speaker E: And for me, again, I can't help but harp on my personal history. These songs were Joan Bae songs for me before they were Bob Dylan songs. And so for me, personally, hearing women specifically perform these songs is particularly disorienting.
[00:08:50] Speaker C: Or anything like that, it seems on target.
[00:08:54] Speaker E: One thing I learned from listening to a lot of these covers is that the old Columbia promo material that nobody sings Dylan like. Dylan definitely pertains, for sure. But these are artists that bring in such wonderful, thoughtful arrangements and performances that, yeah, for me, the gender kind of becomes irrelevant when you get someone like Simone, who's so deeply invested in the songs.
[00:09:21] Speaker B: Let's throw it open to the bashers. Any response to Rob's list?
[00:09:27] Speaker C: He took all the salt. Yeah, he did.
That's all.
[00:09:33] Speaker D: Thanks.
[00:09:34] Speaker C: Okay, see you.
[00:09:36] Speaker F: Right.
I think I agree with him on Nina Simone, and that version of I shall be released was definitely one of my favorites. And also, Rob, to know, he sings with Dylan, like dylan. One of the notes are there. I like a lot of these covers. Are there any that I like more than the original? Maybe one. And that's Alicia keys pressing on. I just think she does a beautiful job with that. It's just so soulful and so beautiful, the way that she vocalizes it. So that's the one that I think I would say I like better. But I think there's something incredibly powerful in women, who are so often the focus of Dylan's songs and taking those songs and embodying them and giving them voice in their own way. And so there are several that I really like, and you mentioned most of them, but there's no use in repeating it. But I think in some ways, they're challenging early critics like Owen Wilson, who saw the misogyny in Dylan's music, and they're trying to maybe, like, reconcile that in a way, and maybe to answer Jim and what he said in the opener, that's maybe what Betty Levette's trying to do. Not only misogyny with the mama, you've been on my mind, but to embody it a different way. Similarly to one of the more famous covers, what Edie Burkel does with hard rain, where it lands differently when she says blue eyed sun, when you think of it maybe coming from a mother figure than just a general, maybe either paternal figure or friend or something like that. But I hear that it resonates differently with me.
[00:11:11] Speaker A: But I think you picked up and I'm with you.
[00:11:14] Speaker F: I'm in the cat power group, Rob, so I'm definitely very good. And I do love her version of Visions of Jehanna, and I love Emma Swift's as well. So I tend to like when women sing that song for some reason, and I haven't quite pinpointed why yet.
[00:11:30] Speaker E: There's also Marian Faithful's version of Visions of Johanna, which I think is exemplary. Really great. She takes a lot of verses out.
[00:11:37] Speaker C: But the way that she sings the.
[00:11:40] Speaker E: Potentially disorienting, hilarious lines of geez, I can't find my knees, she sings it straight.
[00:11:46] Speaker C: And so I love that version.
[00:11:50] Speaker D: Agreed.
[00:11:54] Speaker C: So, Aaron, why don't you tell us what you brought to the table today to discuss?
[00:11:59] Speaker F: Well, I think that was my perspective of thinking about how women embody the songs and challenge that concept, especially from early, even female critics, that there's a sense of misogyny in the songs and that women are so much the focus of the songs that how does it play differently when they are embodying them?
[00:12:13] Speaker A: And I joked with court that I.
[00:12:15] Speaker F: Was coming in hot with the share.
[00:12:16] Speaker D: Covers, but I think that there's something.
[00:12:20] Speaker F: To that, that she changes it to lay, baby lay. And so she's embodying this, like this song where he's trying to seduce his lover and she flips the script, which is in some ways. Is it a great cover? No, but I like what she's trying to do with it, that she's taking the role of more. She's embodying the role of not the aggressor, but the more dominant person in that sexual relationship and trying to seduce the man rather than the other way around. So I think that's an interesting version or interpretation. And all I really want to do, I think, is she's doing the same thing where women are supposed to want to get married and settle down and whatnot. She's saying completely the opposite, and she thinks that's common. So I did come in hot with the share interpretations, but like I said just earlier, I do love every interpretation of visions of Jehanna, and I don't know why, especially when women sing it. I just think there's something beautiful that resonates, and not just because it's one of my favorite songs, but especially the way I think that cat power phrases it, how she drags out some of the vowels and some of the phrases that Dylan doesn't. It's just beautiful and haunting and I do love Nora Jones. I'll be your baby tonight. There's again something very sweet and sonically beautiful to that song for me. But I think yeah, I answered Bob with some of my hot takes and I have other ones, but I let other people speak.
[00:13:48] Speaker C: Anybody want to take on Cher? Grayley, go ahead. I like some of those Cher covers too. And that makes me wonder though I.
[00:13:56] Speaker G: Forgot to re listen to it so I don't have a hot take on it. But I am curious if anyone went.
[00:14:01] Speaker C: Back to the Bette Midler buckets of rain that she does with Dylan because.
[00:14:08] Speaker G: I don't remember liking one very much.
[00:14:12] Speaker C: But there was a kind of charm to it.
[00:14:15] Speaker G: I mean, it was almost like a vaudeville burlesque send up of the song.
[00:14:20] Speaker C: And that suddenly Dylan got roped into doing a tongue in cheek send up.
[00:14:26] Speaker G: Of his own song.
[00:14:27] Speaker C: But I don't have a fully thought out take on that.
[00:14:31] Speaker G: I just suddenly found it popping into my head as I was listening to.
[00:14:35] Speaker C: Aaron talk about the share version.
[00:14:37] Speaker B: Grayley, why don't you go ahead and.
[00:14:38] Speaker C: Give us your list?
[00:14:41] Speaker E: Sure.
[00:14:42] Speaker C: Well, I like Rob.
[00:14:45] Speaker G: Top of the mountain for me is Nina Simone and her versions of just like a woman and just like Tom thumbs blues.
[00:14:54] Speaker C: And I also would agree that the.
[00:14:56] Speaker G: Pinnacle is just like Tom thumbs blues.
[00:14:58] Speaker C: I love that so much.
[00:15:00] Speaker G: And there's a case where, though it's.
[00:15:02] Speaker C: Not as overt as what Betty Levette.
[00:15:06] Speaker G: Does with Mama, you've been on my mind.
[00:15:08] Speaker C: In her version of just like Tom Thumbs Blues, she says, picking up carl.
[00:15:16] Speaker G: My brother Carl, who just arrived here from the coast. So she works in a personal reference.
[00:15:22] Speaker C: To her brother Carl there.
[00:15:24] Speaker G: And probably my favorite example of her. You're right, Rob, that she so carefully arranges those recorded versions on the albums of Dylan's songs.
[00:15:33] Speaker C: But much like Dylan, she also reinterprets.
[00:15:37] Speaker G: Revises in live performance her takes on these songs.
[00:15:41] Speaker C: And my favorite example, I wrote a.
[00:15:43] Speaker G: Piece on shadow chasing about.
[00:15:45] Speaker C: I called it just like Nina Simone's blues.
[00:15:48] Speaker G: So I'm already out there on record with a lot of my thoughts on Nina Simone's versions of Dylan's songs or songs that they both covered, like House.
[00:15:58] Speaker C: Of the Rising sun.
[00:15:59] Speaker G: But I had never, until I was.
[00:16:01] Speaker C: Working on that piece, seen her 2000.
[00:16:04] Speaker G: Performance in Sao Paulo, Brazil of just like a woman. And she's in very poor health at.
[00:16:11] Speaker C: That stage but she just summons up.
[00:16:14] Speaker G: This ferocity in her live version of that song there.
[00:16:19] Speaker C: And at one point, she's setting up the refrain. Take like a woman, ache like a woman, break like a woman.
[00:16:28] Speaker G: And she stretches the words out.
[00:16:31] Speaker C: But then she takes this long pause and sings, I used to break. I don't break anymore.
[00:16:37] Speaker G: They can't do anything else bad to me anymore, anything worse than they've done before.
[00:16:43] Speaker C: So I donate. I'm not a little girl. And she just really leans into it.
[00:16:50] Speaker G: The fans go berserk, as they should.
[00:16:53] Speaker C: And she's not done yet.
[00:16:54] Speaker G: She keeps on singing.
[00:16:55] Speaker C: She returns, she stands from the piano bench, and you think maybe she's done, but she keeps singing.
[00:17:01] Speaker G: I take just like a woman yes, I do. I'm going to take me a yacht soon. Just like a woman and I ache just like a woman and I don't.
[00:17:09] Speaker C: Break, I don't break like a little girl.
[00:17:12] Speaker G: And it's just this great. I mean, she's completely wrestled control of that song back and turned it into her own.
[00:17:19] Speaker C: So it's just a fantastic artistic achievement, what she does, not just in the recorded album version, but that is an.
[00:17:29] Speaker G: Unforgettable live version as well. I was looking through. I mean, I have so many that I love. I love Sarah Gerose's ring them bells.
I love Susan Tedesky's lord, protect my child.
[00:17:43] Speaker C: If you haven't heard that, the 2005.
[00:17:46] Speaker G: Farm aid production you can see on.
[00:17:48] Speaker C: YouTube, and she just kills it. She's so bluesy and perfect in that. But the rabbit hole.
[00:17:56] Speaker G: I ended up going down and listening.
[00:17:59] Speaker C: To covers by women of Dylan songs. Prepping for this session was Gillian Welch, who I adore.
[00:18:08] Speaker G: She can sing anything, and if she's singing it with Dave Rawlins especially, they just melt my heart.
[00:18:13] Speaker C: They're just perfect.
[00:18:15] Speaker G: I love what they do musically and vocally together.
And so most recently, I was familiar with a couple covers they did on.
[00:18:23] Speaker C: Something they put out during the pandemic.
[00:18:27] Speaker G: When they were in lockdown together.
[00:18:30] Speaker C: And just very rough, DIY recording straight to audio cassette tapes.
[00:18:37] Speaker G: And they did an interesting version of.
[00:18:39] Speaker C: Senor and they did an interesting version.
[00:18:42] Speaker G: Of abandoned love, and the tape runs out. So there's something just so appropriate to this song that was never formally released called Abandoned Love. And so it's like the song itself was abandoned love.
[00:18:54] Speaker C: And then you get this take that is aborted love because they're not able.
[00:18:59] Speaker G: To finish it because the tape runs out.
[00:19:01] Speaker C: So anyhow, relistening to that, even though.
[00:19:04] Speaker G: Dave Rollins takes the lead in singing.
[00:19:06] Speaker C: Those led me back to a New.
[00:19:09] Speaker G: York Times interview with them that was.
[00:19:12] Speaker C: Done around that time period, and I.
[00:19:15] Speaker G: Came across a striking passage where the.
[00:19:17] Speaker C: Interviewer is talking about out on the.
[00:19:19] Speaker G: Back porch, talking to Rollins and Welch.
[00:19:22] Speaker C: And I'm quoting from the interview now.
[00:19:24] Speaker G: Welch speaks the way she writes, the way she sings, with a deeply controlled thoughtfulness layered with a matter of fact honesty.
[00:19:31] Speaker C: As we talked about some of our singing and writing heroes, Welch mentioned Bob Dylan. I don't know what I'll do when he's gone, she told me, pausing to stare into the rain soaked distance. I can't even talk about it because.
[00:19:48] Speaker G: I feel exactly the same way. And I think that probably got me.
[00:19:51] Speaker C: In a tender mood anyway. And then right after reading that, I.
[00:19:56] Speaker G: Came across a performance by Gillian Webster.
[00:19:58] Speaker C: I had never heard before at the 2015 Newport Folk Festival, which would be.
[00:20:05] Speaker G: The 50th anniversary of the 1965 folk festival. And so her and Dave Rollins and some other friends did an all Dylan cover, all Dylan 1965 songs cover.
[00:20:17] Speaker C: And she opens with Mr. Tambourine man.
[00:20:21] Speaker G: And man, the tears were just streaming down my face.
[00:20:26] Speaker C: I was moved by that very straight rendition of the song, but so heartfelt. And of course, it's in Newport and.
[00:20:35] Speaker G: The fans are so into it, and I was so into it, and it.
[00:20:39] Speaker C: Is just emotional blockbuster.
[00:20:42] Speaker G: I can't recommend it highly enough.
[00:20:44] Speaker C: Go out and check it out, listeners, for yourself on YouTube.
[00:20:49] Speaker G: I mean, the whole concert is worth watching because it's all Dylan tunes. But that first one, Mr. Tambourine man, blew me away.
[00:20:55] Speaker C: So I've got other ones I could talk about, but I feel like I've.
[00:20:58] Speaker G: Probably taken more than my fair share of time.
[00:21:00] Speaker C: So those are a few worth shining a spotlight on.
We're putting together quite a catalog here, actually.
[00:21:07] Speaker B: I'm going to ask everyone, all the bashers here, to send me your list after this, and I will compile it.
[00:21:14] Speaker C: And I will put it on our.
[00:21:16] Speaker B: Substac, and I will also see if I can get it into the notes.
[00:21:19] Speaker C: For the podcast as well. So thank you. This is great. So, any response to Gravy's list, Gillian and David?
[00:21:28] Speaker H: Also, one of my songs I was going to put on there was their.
[00:21:31] Speaker C: Version of Billy, which is just really great.
[00:21:35] Speaker H: There's a beautiful story. I can't remember where it came from, but they talked about one time when they were doing a session, they would have a giant book of his songs.
[00:21:42] Speaker C: And they would just dip in whatever the page landed. They play it, which is a nice.
[00:21:48] Speaker H: Sort of flip of the basement tapes, and the bible on the stand, everything.
[00:21:52] Speaker C: It's like their bible, but everything they do in terms of interpretations are normally to be paid attention to. I think their version of Billy is really great.
That was on my list, too. Yeah, I agree. There's a great video version of that in black and white, too.
[00:22:13] Speaker G: I'm really not even sure where it was played, but it's stunning.
[00:22:16] Speaker C: That cover of Billy.
[00:22:18] Speaker G: And Gillian Welsh takes the lead vocal in that, though, of course, they do their harmony thing that they're just so.
[00:22:24] Speaker C: Perfect at as well.
Why don't you give us your list?
Well, I overthought this and I've come back and forth. There are songs that I think that I just love. There are versions that I love and.
[00:22:42] Speaker H: Then there are songs that I think are recontextualizing or redefining. And that's not to put any level of like, oh, the ones I just like are lesser than, but they're really good covers. And then there's covers that sort of.
[00:22:54] Speaker C: Have their own lives.
[00:22:55] Speaker H: But the ones I really liked that I was thinking about immediately were things like Nico Case has a version of.
[00:23:00] Speaker C: Buckets of Rain, which is really sweet and funny.
[00:23:04] Speaker H: Tender, maybe the word is I'm looking at.
[00:23:06] Speaker C: I really like her version. Cat power.
[00:23:09] Speaker H: I know this is going to get controversial probably later. I really like her version of I.
[00:23:13] Speaker C: Believe in you, which I think is really beautiful.
[00:23:17] Speaker H: Nina, we could continue to talk about boots of spanish leather by Nancy Griffith.
[00:23:23] Speaker C: Sadly departed.
[00:23:25] Speaker H: Beautiful song. Beautiful.
Probably end of the day, one of.
[00:23:29] Speaker C: My top three or top four top five songs that we don't talk enough about. I think it's a really interesting song.
[00:23:36] Speaker D: Her version is really.
[00:23:37] Speaker H: However, there's two that we haven't mentioned that I think are important. One is Sarah Rose that Grayley, you.
[00:23:42] Speaker C: Mentioned I was driving one night and.
[00:23:45] Speaker H: Listening to public radio.
[00:23:47] Speaker C: Every cliche you can imagine.
[00:23:49] Speaker H: Ty on coffee, just driving around listening to NPR.
[00:23:53] Speaker C: Actually, it wasn't.
[00:23:54] Speaker D: But anyway, point being, she did a.
[00:23:57] Speaker H: Live version of Sign on the window.
[00:24:01] Speaker C: And it blew me away.
[00:24:04] Speaker H: And there's some versions online, but I don't think it's the same one that I heard.
[00:24:08] Speaker C: It was like a live radio performance and it was so good. It was just so, just wonderfully song.
[00:24:17] Speaker H: But there's something else going on in.
[00:24:19] Speaker C: That song that I thought was just really grand.
[00:24:21] Speaker H: And then this is a bit obvious, but I kept going back and saying, should we talk about it? Should we not talk about it?
[00:24:27] Speaker C: Should I bring this one in?
[00:24:28] Speaker H: But I'll just say Patty Smith doing.
[00:24:30] Speaker C: Hard brain at the Nobel, when they do 2016, when she stops. And I've watched that performance numerous times.
[00:24:40] Speaker H: And when she gets to that point.
[00:24:42] Speaker C: It'S just like, it's hard to breathe.
[00:24:45] Speaker H: And then she's like, I'm sorry, I'm just nervous. And it's like this really human, humane.
[00:24:50] Speaker C: Moment in the middle of it. And again, the song itself is there, obviously, and she's there.
[00:24:56] Speaker H: But I think there's something interesting going back to Jim. You're saying at the very beginning.
[00:25:03] Speaker C: There are particular singers. Today we'll talk about particular women who I think tap into what Dylan's doing in a way that is very rare. And I think there's a couple of.
[00:25:18] Speaker H: Or three or four men who can do this, and there's a couple or.
[00:25:21] Speaker C: Three or four women. And I don't think it's a gendered.
[00:25:24] Speaker H: Element as much as it is a.
[00:25:25] Speaker C: Particular type of person.
Cat power, I think, is what Lucinda, she's been performing.
[00:25:34] Speaker H: It takes a lot to laugh. It takes a train to cry lately.
[00:25:37] Speaker C: And I've heard live that has just been really emotional. I think of, like, cat power.
[00:25:44] Speaker H: I think of Lucinda, I think of Nina, obviously, Patty. There are people who are tapped into.
[00:25:49] Speaker C: What he's doing in a very sort of molecular way.
[00:25:52] Speaker H: I'm not saying that just a free of gender. I think there's gender into this. I do think. And this is a rarity. I hate to say this, but I have a little bit of pushback on raw.
[00:26:01] Speaker C: But I hate to say this, but I think when you look at just.
[00:26:04] Speaker H: Like a woman, I don't think you.
[00:26:06] Speaker C: Can say it's gender free. I think gender is part of that conversation. I don't think that's not what you say.
[00:26:16] Speaker H: I saw a chance to say I.
[00:26:18] Speaker C: Disagree with Rob, and I'm taking it, writhing it down.
[00:26:22] Speaker H: And now I'm saying, actually, I don't disagree with Rob because I can't.
[00:26:25] Speaker C: No way. He's touchable rock, and Rob is, please, untouchable. But I do think there's. So I don't want to be.
[00:26:33] Speaker H: What I'm trying to say is, I don't want to be dismissive of the gender element, because I think that's clearly there a lot of these things. When we talk about the language, we.
[00:26:39] Speaker C: Talk about all these kind of different things.
But I think beyond that, there are.
[00:26:45] Speaker H: Certain artists who are very spiritually connected.
[00:26:50] Speaker C: To what he's mean, obviously. Joe bias, too.
[00:26:53] Speaker H: Their interpretations seem to be a different level of interpretation. Like, they seem to be living within.
[00:26:59] Speaker C: The song in a certain way.
[00:27:00] Speaker H: There are people who produce songs, covers that I think are really great, are.
[00:27:04] Speaker C: Really beautiful, that I love, and then.
[00:27:06] Speaker H: There are songs that seem to be.
[00:27:08] Speaker C: Well, this is something else.
[00:27:10] Speaker H: This is on a different plane, maybe, of existence. So that's why I was categorizing some of this stuff.
[00:27:15] Speaker D: As.
[00:27:18] Speaker C: I have to say, I'm relieved.
[00:27:19] Speaker B: That somebody brought a Patty Smith because I was getting a little nervous.
[00:27:24] Speaker H: The last one I forgot. I'm sorry.
[00:27:26] Speaker C: Yeah. Fairport convention Percy song with Sandy Denny.
[00:27:30] Speaker H: I think Fairport does a number of really beautiful Dylan covers, but when she.
[00:27:33] Speaker C: Sings that song you listen to a million times, too.
What's the response to portslist you brought up? You said Patty Smith, and there's that.
[00:27:47] Speaker E: Wicked messenger cover, which I find way too bombastic. I find the song is much more subtle. She tries to make it into a.
[00:27:55] Speaker C: Revolutionary, barbaric yop of a visionary song. It doesn't fit.
[00:28:00] Speaker E: But one of the songs that Patty Smith covers on the album twelve is changing of the guards. And I really love that version of.
[00:28:08] Speaker C: Changing of the guards where you hear.
[00:28:11] Speaker E: The poetry of it so much more.
[00:28:13] Speaker C: Differently in her arrangement of it, you.
[00:28:16] Speaker E: Only get that horn melody that interrupts.
[00:28:20] Speaker C: At the end of every verse of Dylan's. You get that only on a piano.
[00:28:23] Speaker E: At the very end.
[00:28:24] Speaker C: And it's just the breathlessness of the.
[00:28:27] Speaker E: Verses building up on one another is really quite an accomplishment. So that's actually my favorite Patty Smith.
[00:28:33] Speaker C: Cover, is the changing of the guards.
Yeah.
[00:28:36] Speaker B: And I think some of the live.
[00:28:38] Speaker C: Versions deserve a shout out there, too. I mean, they're incredible.
Any other thoughts there about court or about Patti Smith? I saw a live version not too long ago of PJ Harvey.
[00:28:52] Speaker H: She has a long history of doing great songs, too, but she does a version of shot of love that I.
[00:28:56] Speaker C: Thought was really great.
[00:28:58] Speaker H: I did get interesting, though, Rob, when you're looking at where covers miss, sometimes this is a weird arrangement or a corny arrangement, or it's just reading it straight.
[00:29:07] Speaker C: There's some songs that are just too on the nose.
[00:29:09] Speaker H: I think there are some that are clearly either in our interpretation or their interpretation just misread. But I think what you talk about is interesting about how they just maybe.
[00:29:18] Speaker C: Missed the song a bit, at least in the way that the listener.
We're taking it.
[00:29:25] Speaker D: Yeah.
[00:29:25] Speaker B: And what about PJ Harvey's Highway 61 revisited?
[00:29:29] Speaker C: It's unbelievable in a weird way.
[00:29:32] Speaker B: I mean, I don't want to say she improved the song because Dylan's version is so amazing, but it's a different song.
[00:29:39] Speaker C: She really owns it.
[00:29:42] Speaker F: Yeah, that was on my list when you asked me my list, and then I looked down, and that was one that I forgot to mention. But, yeah, I have PJ marks too long as well. Just think, she does a masterful job with that. She brings it somewhere else. You're right, it's not as good as Dylan's, but it's on a definitely different level than Dylan's song, and it adds something to it that it doesn't have in the original.
[00:30:07] Speaker B: So, Nina, we haven't heard from you.
[00:30:08] Speaker C: What do you have for us?
[00:30:10] Speaker A: Hello.
Well, first, I would like to say that when I was a cashier at the Barnes noble here, Bette Midler was my customer twice, and my manager allowed me to put Dylan pins all over my id lanyard. And she took one look at that and her face turned to ice. And so any hopes I had of saying, oh, my God, I have a bootleg with your crazy buckets of rain on it was dashed right away. She couldn't buy her copy of Howard Zenn and get out of that store fast enough. So that's my buckets of rain Bette meddler story I am not familiar with a lot of these because I am a snarky beat who is not in love with Bob Dylan covers.
And I am the first one to call myself a snarky beat. For that, I have a short list, but it's heartfelt. And Patty is right there with dark eyes because I think her dark eyes bring such poignancy to that very opaque song. And I've had the chance to hear her do it live. And she really just. She finds some richness of feeling, that feeling that you have when you wake up from a harrowing dream and you don't remember the details. I think she brings that to that song. And there's a gorgeous footage on YouTube. He came on and did it with her once, and I think it could have been when she was playing at the bottom line or something here, and just her. She's overwhelmed with his being there and helping her with the song. So that's something.
[00:32:07] Speaker C: One of my very favorite.
[00:32:11] Speaker A: That's not the right way to phrase it. One of the only covers is on Cass Elliott's tv show. I don't know if you saw that. She and mary Travers and Joni Mitchell do I shall be released. And they trade off on the verses, and it becomes this gorgeous feminist consciousness moment because Cass Elliott gets the first verse, and when she says, and every man that put me just.
It's just revelatory and then it becomes, when Joni Mitchell and Mary Traverse take their verses, it becomes this extraordinarily generous, this act of women's compassion for these men trapped by their masculine, really become. It's a very beautiful thing. And find that. And I'm a great fan of the british chantoose, barb Junger. I don't know if you know her. She's a british club singer who's really made a specialty of Dylan and company have given her. She's the only recording artist who was given permission to record Sarah. And you should find her version of Sarah because the way she triangulates, she takes all the kind of the wit that Dylan brings to the song, she takes that out and it becomes this beautiful triangulation, triangular love song where she's doing Dylan's work in honoring and adoring this enigmatic woman. And she makes his memories feel present in the moment.
So Barb, younger, and she also. I've seen her perform live, and the feeling that she puts into her Dylan covers is wonderful. And I have to say how moved I was in a way I didn't expect by Jennifer Hudson's times, they are changing when she did that, because she got on that stage and she reached high and hard, and it really took a lot of strength, I mean, physical strength, to put this song across. And I really felt in that moment, the way the song doesn't belong to me in my generation anymore, that it was almost a song that I didn't know because of how she and the audience owned it. And that was a very valuable moment for me. And I also want to just mention, when I was doing Montague Street, I was contacted by a classically trained pianist named Nina Deutsch, whose specialty is Gershwin and Ives and the american songbook. And she had done a CD of classical arrangements of Dylan's songs. She was a huge Dylan fan and wanted to cover him in the way that she could. So they're just instrumentals and what sounds as though this is a recipe for music really isn't at all. She was a very skilled and imaginative musical intelligence. And these are very peculiar and interesting ways of covering Dylan by a woman musician that I wanted.
[00:35:46] Speaker D: So that's it.
[00:35:49] Speaker C: All right. Another great list.
So any response to Nina's list?
[00:35:55] Speaker G: Nina, when we exchanged some initial emails planning the topic of this next one.
[00:36:01] Speaker C: You mentioned a version I had not.
[00:36:04] Speaker G: Heard until you recommended it, roseanne Cash's license to kill.
[00:36:08] Speaker C: And I loved that, too.
[00:36:10] Speaker G: And googling around also came across her version of Farewell, Angelina, which is really fantastic as well.
[00:36:18] Speaker D: Yeah.
[00:36:19] Speaker A: Jim, did you go to that tribute show at Lincoln center? It was in 2006, I think, and she did license to kill, and that's when Natalie Merchant and Philip blasted Patty Carroll. I think it was for raise money. It was a very star studded. Sandra Bernhardt did a, like a rolling stone that made me want to just force her and her old mojo down the.
But that's where I saw Roseanne Cash do license to kill, and until I heard her do that, and whenever I listen to infidels, I'm very infused with the infidel theme. And I had always thought that the woman in that song who's going to take away his license to kill was a taunt. That how no one's going to take that away. He's got to have that license to kill. And then when Rose Ann cash did it, the way she punched out that line, I thought, oh, that's not. She's not like John Brown's mother. She's saying, who is ever going to take away? So she made me see the song differently, which is something that almost never happens. So that's why I really valued that.
[00:37:34] Speaker C: Did anyone else see that show 2006?
No, I did not.
[00:37:40] Speaker A: It was in Lincoln center. It was very expensive, and it was one of those things where it was almost no one there was a fan. It was all scene making New York until. Yeah, but it was interesting.
[00:37:57] Speaker H: She just did her farewell Angelina at.
[00:37:59] Speaker C: A songwriters convention this month. Anyway, it went around again.
[00:38:06] Speaker H: Her performance of it, it's clearly a.
[00:38:08] Speaker C: Song that she loves. She's great on so many levels. A question for everyone.
[00:38:13] Speaker B: One album we haven't brought up is fairly recent.
[00:38:15] Speaker C: It was Chrissy Hines lockdown project of.
[00:38:19] Speaker B: Dylan covers, standing in the doorway, I think it's called.
[00:38:22] Speaker C: She does some early 80s songs in the summertime. She does sweetheart like you and a.
[00:38:30] Speaker B: Few others like that. Any thoughts about that? One of the reasons I bring it.
[00:38:34] Speaker C: Up is because Wild is fairly recent.
[00:38:36] Speaker B: And also, I just think there's something about her voice that particularly suits her to singing Dylan.
[00:38:41] Speaker C: There's compatibility with Dylan's voice. Rob, do you have something to say? Love minus zero, no limit on that album.
[00:38:48] Speaker E: That's actually on my list. I thought that's a really intriguing cover. It's got, at the end of the song, you can hear like, birds chirping and wind moving through the leaves and things like that.
[00:38:58] Speaker C: But she has the incredibly powerful presence there as the head of the main voice of the pretenders here with rock.
[00:39:10] Speaker E: Swagger that she's got about her. It was remarkable to see her artistry just being able to take this song.
[00:39:16] Speaker C: And love minus zero, no limit and turn it into this.
[00:39:20] Speaker E: She doesn't change any of pronouns or anything like that. And it becomes a kind of introspective.
[00:39:26] Speaker C: Song to me, in a way.
[00:39:28] Speaker E: Not that she's singing about herself through the song, but I think it's a lovely version of.
[00:39:32] Speaker C: And that was this.
[00:39:34] Speaker E: I was underwhelmed to a certain degree.
[00:39:35] Speaker C: By that covers album, but that stood.
[00:39:38] Speaker E: Out, and that's on my list.
[00:39:40] Speaker G: I liked some songs better than others on there, but I did like the opening track in the summertime, which was.
[00:39:46] Speaker C: Not only listed as the first, but I know it was the first before.
[00:39:52] Speaker G: It was released as an album. It was what she called the Lockdown series.
[00:39:56] Speaker C: Right. So it was all done during the COVID lockdown.
[00:40:00] Speaker G: And I think my reaction to those songs is inextricable from the context of the pandemic.
[00:40:06] Speaker C: Right. Because not only did she release that.
[00:40:10] Speaker G: DIY thing, that was just done, and you could intentionally not overly sophisticated or polished in terms of its professional production.
[00:40:18] Speaker C: You can hear background noise, and if you watch the video version, they're on.
[00:40:24] Speaker G: A farm together, her and some friends, and they're on four wheelers. And it's this unbroken camera take where.
[00:40:30] Speaker C: You'Re following it around. And that was just when we were.
[00:40:34] Speaker G: All stuck in our homes and listening to a really cool rendition of in the summertime, but also seeing people do the things that you're accustomed to doing.
[00:40:44] Speaker C: During the summer that felt like we.
[00:40:46] Speaker G: Were not getting to do because of.
[00:40:49] Speaker C: The conditions that also helped.
[00:40:52] Speaker G: I mean, it's the visuals along with.
[00:40:53] Speaker C: The audio that made me really fall in love with that. And that's an underrated song.
[00:40:59] Speaker G: I mean, I love that song so.
[00:41:00] Speaker C: Much, and I love things Dylan has.
[00:41:03] Speaker G: Done with it live way more than.
[00:41:04] Speaker C: I like the shot of love version.
[00:41:07] Speaker G: But there was another case where it.
[00:41:08] Speaker C: Was just a very chill mood and it's what I needed.
[00:41:12] Speaker G: And it was taking a Dylan song and playing it in a way I hadn't heard at a time I needed to hear it.
[00:41:17] Speaker C: So, yeah, props to in the summertime.
Yeah, I have to agree with that.
[00:41:22] Speaker B: I think that's a really special version of that song and that video. I do remember watching that video during.
[00:41:26] Speaker C: The lockdown and thinking, man, I hope.
[00:41:29] Speaker B: Those people are in a pod.
[00:41:30] Speaker C: I hope that's their little group.
But I was envious watching them cruise around on a farm. Okay, so I'm going to bring it up. Cap power, put out an album of.
[00:41:42] Speaker B: Her performing live Dylan's 1966 british tour.
[00:41:46] Speaker C: Set cheekily called it the Royal Albert hall set, and she is now on tour.
[00:41:54] Speaker B: She's making the rounds. I'm going to be seeing her in February at Carnegie hall, which I'm actually pretty excited about. I've been a big cat power fan for a long time and I've never seen her live. But what are your thoughts about cat power? We've talked about her a little bit.
[00:42:07] Speaker C: But this is out there.
[00:42:08] Speaker D: So what do you think?
[00:42:10] Speaker C: I've always been a fan of hers.
[00:42:12] Speaker E: As a performer and a songwriter, and.
[00:42:14] Speaker C: The only time I saw her live, it was flat. Duo jets opened, which was great, barn burning rock and roll.
[00:42:21] Speaker E: And then she did all southern soul songs. She did none of her own songbook.
[00:42:26] Speaker C: And it was revelatory.
[00:42:28] Speaker E: I mean, you could really see her stretching herself artistically and moving away from the indie singer songwriter type of mode to really embody a different genre.
[00:42:38] Speaker C: And so I think she's got a.
[00:42:40] Speaker E: Great ability to inhabit these songs, and I think her version of Mr. Tambourine.
[00:42:45] Speaker C: Man, for me at least, the way that she sings it in a kind.
[00:42:48] Speaker E: Of lower register, the refrain of the song at certain points is just so moving. It's so moving.
[00:42:54] Speaker C: It's so powerful.
[00:42:56] Speaker F: I agree with that, rob. The Mr. Tambourine interpretation is just powerful. But I don't know if you've heard her with Laura ten shirt, and she said that song was like a fairy tale to her when she was younger, and so she wanted to embody that fairy tale and communicate it.
I shared that because I feel the same way about it. But I think she was really successful in communicating that in her interpretation.
[00:43:22] Speaker D: Agreed.
[00:43:25] Speaker C: It's not a Dylan cover, though.
[00:43:27] Speaker H: Dylan uncovered it. But the flat duo jets version of Froggy went according.
[00:43:31] Speaker C: I've listened to more than I've listened to most other things.
I love them so much. They were great.
[00:43:38] Speaker H: I'm weird about shit and I do not really care.
[00:43:43] Speaker C: You all cocked your head.
[00:43:47] Speaker H: When you hear about a band saying, we're going tour on this record from 25 years ago, and we're going to.
[00:43:51] Speaker C: Play it straight through, that's never all.
[00:43:53] Speaker H: That exciting to me. There's been only very few examples where.
[00:43:56] Speaker C: That'S really been really great. And when it is great, it's really great. And so there's a little part of me that's okay, is this theatrical?
[00:44:07] Speaker H: Is there going to be any spontaneity within it?
[00:44:09] Speaker D: And there's.
[00:44:10] Speaker H: All those questions are there for me. I think what she's done is great, and I think she's wonderful, and I.
[00:44:16] Speaker C: Think her music is great.
[00:44:18] Speaker H: But there was the original part of.
[00:44:20] Speaker C: Me that was, if you're going to.
[00:44:22] Speaker H: Be critical, that is part of me where I don't know what that does.
[00:44:24] Speaker C: For me personally, but I know that's.
[00:44:27] Speaker H: Not a reflection of what she's doing.
[00:44:29] Speaker C: It's the immediate response to it.
[00:44:33] Speaker H: Kind of like when Jim asked us our immediate response on Christmas, I was like, 30 years, I have no idea. But that was my immediate response. So I'm going on record now.
[00:44:40] Speaker C: Going, that stuff doesn't really move me.
[00:44:42] Speaker H: I think what she's doing is really great, though, and I think it's a cool idea. And I think some of those versions are really good.
[00:44:50] Speaker C: I'd be more impressed if she toured.
[00:44:52] Speaker B: With the 1966 sound system that Dylan.
[00:44:55] Speaker C: Used cobbled together, or if she toured.
[00:44:59] Speaker H: Woody Guthrie tribute those three songs and went city to city just playing those.
[00:45:03] Speaker C: Three songs of Dylan and the band playing.
I was going to see that 18.
[00:45:10] Speaker H: Minutes, in and out, gone.
[00:45:12] Speaker C: $200 onto the next ticket master.
[00:45:16] Speaker D: We got you.
[00:45:18] Speaker H: We got you, budy.
[00:45:19] Speaker C: That's a ticket that counts. $50 ticket, $150 in fees.
So, Nina, I want to put you.
[00:45:26] Speaker B: On the spot here, because I know you have opinions about cap power.
[00:45:28] Speaker C: Why don't you tell us what you think?
[00:45:31] Speaker A: No, I don't want to be a contrary.
[00:45:36] Speaker C: Ahole.
[00:45:36] Speaker A: I really don't. I'm not a fan.
[00:45:38] Speaker D: And.
[00:45:42] Speaker A: I don't want to be the person that's the.
I'm not a fan. I never have been. I think she sings Dylan straight.
I think that her versions of the 66 stuff are.
She's forcing emotion. And she often, in fourth time around and in desolation row, she falls into that trap that singers who aren't Bob Dylan fall into with his songs, which she's captive to the meter and the melody, where she isn't playing with syllable and playing with.
Working subtly against the grain of the meter and the melody, which is what Dylan does, which is why he sang his way into desolation all the fourth time around in visions of Johanna. Those are very hard songs to sing if you're not.
The pam of her voice is rich and lovely. I get that. And I find that what other people feel is this rich palette of emotion to me, is just affectation. And it's hard for me to listen to them all the way through. My mind wanders once I get that she's clicking into the. She's clicking into the song to the meter, and I lose interest.
I know I'm the complete outlier here, and I really don't want to be.
So I'm sorry.
[00:47:32] Speaker C: Don't apologize.
[00:47:34] Speaker B: That was a brilliant analysis.
[00:47:35] Speaker C: I mean, I agree with you to.
[00:47:36] Speaker B: A certain extent, too. I mean, I have to say that the 66 tribute is not my favorite.
[00:47:41] Speaker C: Cap power, by any means, and certainly not my favorite interpretation of Dylan by her. But, yeah.
[00:47:48] Speaker B: And your observation about people slipping into the meter and falling into that trap, I think is really apt in a lot of cases.
[00:47:55] Speaker A: She's a gorgeous stage presence. There's no reason not to pay money for that. I mean, why not? Say that's a reason why not? That's the reason to buy a ticket. If that's your jam.
What does she wear when she does this?
I've been curious. That's an important thing. She's a lot of image, and it wouldn't matter. On the COVID of the album looks like she's wearing a suit, like a man's shirt and tie. So that would be super interesting. If she does the whole thing in drag, that would be interesting.
Or even more interesting. If she wears one of Taylor Swift's Judy Jetson showgirl outfits. That would be even more interesting. See, she could judge this up and maybe get me interested.
That's all I got to say.
[00:48:50] Speaker B: I'm hoping she wears a black suit.
[00:48:52] Speaker C: With bold vertical stripes. Right. Like one of Dylan's 60 suits from Britain.
[00:48:58] Speaker G: And a leopard skin pillbox hat is a must.
[00:49:01] Speaker C: I mean, goes without saying.
[00:49:02] Speaker F: But a polka dot shirt.
[00:49:04] Speaker C: Yeah.
Or zebra shirt.
[00:49:08] Speaker E: Zebra shirt.
[00:49:08] Speaker C: American flag behind.
Well, that was France.
That'd be fun, though.
[00:49:14] Speaker D: Hell, yeah.
[00:49:15] Speaker G: In talking about the album as distinct from the live experience, you're reminding me, because I'm staring at a poster on the wall right now in my office.
[00:49:24] Speaker C: Of old Crow medicine show. When they toured on the 50th anniversary of Blonde on Blonde. And that's not an album that I.
[00:49:32] Speaker G: Return to much, but it was a hell of a fun show because everyone was there to have a party and get their Bob Dylan jam on.
[00:49:39] Speaker C: And they don't do straight versions.
[00:49:42] Speaker G: They did very radical rearrangements of those songs.
[00:49:46] Speaker C: And they're such a kind of wandering. I mean, I'm tempted to call it.
[00:49:51] Speaker G: Minstrel show, but at the very least a kind of vaudevillion Hammond it upstage act that they do, which is what.
[00:49:58] Speaker C: They did when they played at that.
[00:50:00] Speaker G: Dylan conference years ago as well. But that was a fun party.
[00:50:03] Speaker C: I mean, normally go to see nostalgia acts who cover all the big hits.
[00:50:11] Speaker G: Of a memorable 60s artist.
[00:50:13] Speaker C: And there's no shortage of such bands who make a living doing that.
[00:50:17] Speaker G: But if it's done particularly well, and if you're surrounded by a group of people who love that music, I'm sure.
[00:50:23] Speaker C: It could be a fun. I don't know if I'm going to.
[00:50:26] Speaker G: Get to see that from cat power. She has finally announced that she's coming.
[00:50:29] Speaker C: To Cincinnati June 5, but she's coming.
[00:50:32] Speaker G: With the Pixies and with modest mouse.
[00:50:35] Speaker C: And that's a draw.
[00:50:36] Speaker G: I like all those bands, so I'll go see it, but I don't know.
[00:50:38] Speaker C: If by then she'll still be doing.
[00:50:41] Speaker G: Only 1966 Dylan stuff or if she.
[00:50:44] Speaker C: Will have expanded back to other stuff. By then she's going to be doing different. It's a different set list that she does.
[00:50:52] Speaker E: There's some Dylan in there, but it's a different set list. I saw them near Niagara Falls, and.
[00:50:56] Speaker C: I was disappointed because the Pixies didn't have Kim deal.
[00:50:59] Speaker E: And that's not the Pixies as far as I'm concerned.
[00:51:02] Speaker C: But yeah, it'll be different.
[00:51:04] Speaker E: This 66 tour is her own thing.
[00:51:08] Speaker H: 74 tour.
[00:51:09] Speaker C: It's the 50th anniversary.
[00:51:12] Speaker D: Can I just.
[00:51:13] Speaker A: Before we wrap up, he's announced dates in Florida.
And where else? Any near any of you, I don't think.
[00:51:23] Speaker C: Does he get to Texas? There were some dates in Texas, but.
[00:51:27] Speaker E: They pulled them off the website.
[00:51:29] Speaker H: Dallas was listed, and then Dallas was pulled away.
[00:51:32] Speaker F: There are some Memphis dates, too.
[00:51:35] Speaker A: That's right.
[00:51:37] Speaker G: They had March 27, the Ryman auditorium in Nashville, but that's not on.
[00:51:43] Speaker F: And Louisville, too, that was taken down. And I think they were taken down because they hadn't been confirmed. Because there were also two dates in Florida that were taken off. Because I think it jumps from the.
[00:51:53] Speaker D: Second to the fifth.
[00:51:54] Speaker F: And so there were two dates in between there that were taken down, but they haven't packed up yet.
[00:51:58] Speaker H: I love that. Within 30 seconds, there was commentary about it being key west and Dallas and murder most foul.
[00:52:04] Speaker C: And this is the end, and this.
[00:52:06] Speaker H: Is his final shot. I was like, that was pretty good.
[00:52:08] Speaker C: Within 30 seconds of the announcement. And maybe they pulled it because of that. They were like, that's too much. But I was thinking, just for the Texans among us, that.
[00:52:19] Speaker H: I hate to say that I'm sorry. I retract that.
[00:52:21] Speaker C: The people who live in Texans among us.
[00:52:24] Speaker F: I appreciate that.
[00:52:25] Speaker H: Yeah, that. It's rare. I was thinking that Dallas, it would normally open him up at least to the San Antonio, because he loves that theater in San Antonio.
[00:52:34] Speaker C: So I was thinking he'd have another Texas jag. I know that we get our share.
[00:52:39] Speaker H: Of concerts, but be nice to see that. And then maybe go to the southwest, but who knows? It's hard to say.
[00:52:44] Speaker C: And I don't know why they were pulled, because they seem pretty set up.
[00:52:48] Speaker H: Even on the sites of the shows.
[00:52:50] Speaker C: I mean, where the venue is set up.
One more question.
Tickets this morning. So that was always a mystery with Dylan.
Well, gang, this was fantastic.
[00:53:07] Speaker D: Thank you.
[00:53:08] Speaker B: We managed to thank you another hour pretty effectively.
[00:53:12] Speaker D: Thanks, Jim.
[00:53:13] Speaker F: Thanks, everyone.
[00:53:14] Speaker C: Yeah.
[00:53:14] Speaker B: Thank you, everyone. And we will see you, I guess, next month.
[00:53:18] Speaker C: We'll come up with a new topic. I'm always open to suggestions.
[00:53:22] Speaker H: Something angry.
[00:53:22] Speaker C: Let's do an angry one. An angry one. Something very controversial.
Yeah, we'll think of something. All right, everyone. Well, thank you so much.
Thanks. Bye, everyone. Bye, everyone.
[00:53:35] Speaker E: Thank you.
[00:53:35] Speaker A: Bye, everyone.
[00:53:37] Speaker B: Thank you for listening to the Dylan Taunts podcast. Be sure to subscribe to. Have the Dillon taunts sent directly to your inbox and share the Dillon Tantes on social media.
