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One of his surliest kiss-off songs ever: Dylan crafted this painstakingly over nine hours and 24 takes in Columbia’s Studio A, shuffling between members of the Band and a squadron of Bringing It All Back Home session men before finally nailing it. It was one of the songs recorded during a session in Dallas on September 28, 1935, by Roy Newman and His Boys (OKeh 03117). “Queen Jane” goes from caustic (“When all the clowns that you have commissioned have died in battle or in vain”) to tender (“Won’t you come see me, Queen Jane?”), and the music is some of the most elegant on Highway. “I just let the lyrics go, and … they seemed to have an ancient presence,” Dylan told Rolling Stone in describing the writing of his primordially rootsy 2006 album, Modern Times. It’s full of repetitive, almost poetic chanting from a man who’s seen a lot. On Blood on the Tracks, the song is an acoustic reflection on a relationship mysteriously gone bad, a fond remembrance of a woman who, for all her faults, provided the singer a respite, however brief, from the world’s trials. I love Corrina; I'll tell the world I do Oh, I love Corrina; I'll tell the world I do Can't wait'll Corrina, says: "I love you too." Taj Mahal then recorded another version in 1968 titled "Corinna". It’s sly and unpretentious, but has huge power. Rider" in April 1926 entitled "Corrina Blues" which contains a verse in a similar vein: If you see Corrina, tell her to hurry home “And that’s what I deal in.”. But this closing-time benediction undercuts all that with an unmistakable tenderness. Recorded with the Band during the Basement Tapes sessions in 1967, “I’m Not There” was the stuff of bootleg lore for decades, finally seeing the light of day in 2007 on the soundtrack to the Dylan biopic that shares its name. Michel Griffin (Album: Feel My Love: Michel Griffin Sings Bob Dylan's Finest Lovesongs) Dylan is grappling with fresh grief: “To think of how she left that night,” he sings, “it still brings me a chill.” The song went through extensive revisions – an early draft’s “If you’re making love to her, kiss her for the kid” was softened to “If you get close to her, kiss her once for me.” But the final version still cuts close to the bone. Dylan’s never said, but three months after he recorded it, he went on a famously stoned limo ride with John Lennon around London and didn’t seem to be harboring any malice. 1-3), proving the idea was good enough for two songs. After the conceptual and critical disaster that was Self-Portrait (Rolling Stone review: “What is this shit?”), fans wondered if Dylan had lost it. Veteran blues artists recorded for the revival market include Mississippi John Hurt (1966) and Mance Lipscomb (1968). Here, with commentary from Bono, Mick Jagger, Lenny Kravitz, Lucinda Williams, Sheryl Crow and other famous fans, are Dylan’s 100 greatest songs – just the tip of the iceberg for an artist of his stature. But to me, it’s about that as clearly as a James Baldwin novel. He put up a lot of roadblocks and disinformation about it, but Blood on the Tracks is his Blue – his confessional album about relationships. Tell my Corrina to come right back to me “I don’t write confessional songs… It only seems so, like it seems that Laurence Olivier is Hamlet.”. He had a notebook, and the lyrics of Blood on the Tracks were honed in that period. Released as a single, it never charted, but its sneered contrition remains a brilliant balancing act, a mix of sympathy, condescension and palpable ache. Dylan declined, because he hated overdubs. Recorded in Nashville with drummer Kenny Buttrey and bassist Charlie McCoy, it’s a masterwork of ascetic idealism. Rod Stewart recorded a rendition between 2011 and 2013, and it is featured as a bonus track on his Time album. [6], "Corrine, Corrina" is also an important song related to Western swing's pioneering use of electrically amplified stringed instruments. Dylan claimed this  breakneck jeremiad against violence-gorged American political culture was influenced by conversations he heard at a bar that was frequented by police officers. Dylan envisioned it as a stripped-down folk song, but Daniel Lanois wanted to infuse it with his trademark swamp atmosphere production. But in an unsurprisingly strange move, he dumped one of the best songs off the album. Joni Mitchell covered the song in 1988 on her album Chalk Mark in a Rain Storm, with the title "A Bird That Whistles (Corrina Corrina)", and adding a flight-evoking Wayne Shorter sax solo. Dylan said this baffling-yet-haunting country-rock epic was inspired by a man he saw on a train ride from Mexico to San Diego: “He must have been 150 years old… Both his eyes were burning, and there was smoke coming out of his nostrils.” Sounds rough. It turned out to be the confessional Dylan album that people had been craving for a long time, and he hasn’t really gone back there since. Despite all the mythology surrounding Dylan’s work with the Band, he only actually recorded a single album with them. A whole generation tried; they fucking Strawberry Alarm Clocked themselves to death. The next year he released John Wesley Harding, which has what appears to be an upside-down image of the Beatles hidden in a tree on the cover – but that’s another mystery. The song is familiar for its opening verse: There are some pretty bizarre lyrics in the Bob Dylan catalog, but nothing quite like the opening track from 1978’s Street Legal. “He ain’t no criminal, and his crime it is none,” the narrator protests, but his pleas to the judge for leniency are all in vain. The Band (featuring Miranda Sykes as a special guest for this part of the album) used the Dylan/Johnson version of the song. I met Corrina; far across the sea I met Corrina; far across the sea She didn't write me no letter; She doesn't care for me. The title of the song varies from recording to recording, most often with the variant "Corrina, Corrina". But it was a sweet one. From the Sixties protest anthems that made him a star through to his noirish Nineties masterpieces and beyond, no other contemporary songwriter has produced such a vast and profound body of work: songs that feel at once awesomely ancient and fiercely modern. 12: The Cutting Edge 1965-1966. I have no idea what the groom’s still waiting at the altar for, but I feel terrible for him. Is there a more desperately lovesick moment in Dylan’s entire catalog than the point in this Blood on the Tracks gem when he croons, “I can change, I swear,” and then howls like a wounded dog? It wore me down. Postwar-blues artists recording the song included Taj Mahal and Snooky Pryor. [2] "Corrine, Corrina" has been recorded in a number of musical styles, including blues, jazz, rock and roll, Cajun, and Western swing. “Pay in Blood” is swaggering and murderous; over an Exile-era Stones-y riff, Dylan spews cruel venom: “I’ll drink my fill and sleep alone/I pay in blood but not my own.” He could be a slave owner, a gunslinger or a politician. “I told you as you clawed out my eyes/That I never really meant to do you any harm,” he sings, stretching out the last syllable over a majestic piano-and-organ ascent that’s one of Blonde on Blonde’s most breathtaking moments. The song had been a blues and country standard, under various titles for decades, recorded by Blind Lemon Jefferson, Chet Atkins, Big Joe Turner and teen crooner Ray Peterson, among others, usually as a fun dance tune. I don’t know if it’s just the acoustic guitar and the bass, the way they work together rhythmically, but when I hear the song, it’s just the essence of love. Find all 20 songs in Corrina, Corrina Soundtrack, with scene descriptions. Recorded in New York, it peaks with a pained pedal steel outburst by Buddy Cage, who per legend was being goaded in the studio by Dylan while a tipsy Mick Jagger, partying in the control room, begged to join in. “You’re Gonna Make Me Lonesome When You Go” might win my repeat-listening award. This was a moment when people wanted a leader and spokesman. Does it matter? The track’s clipped opening shaves off the first few seconds to give the impression of walking in on a private moment. As far as the lyrics go, it’s an amazing endeavor; Dylan was able to put his mind and heart into a specific scene – of being a lone renegade in the desert, up to all these trying and dangerous things. “This is called ‘a sacrilegious lullaby in D minor,'” Dylan joked to his audience on Halloween 1964 at New York’s Philharmonic Hall. The character list reads like something off the Workingman’s Dead lyric sheet: There’s Jack the Cowboy, the Lone Wolf and the title hottie, alternately known as Tough Mama, Dark Beauty, Sweet Goddess and Silver Angel. Dean Martin, better known as a crooner, included the song on his second country music album, Dean "Tex" Martin Rides Again (1963). [9] Ray Peterson's 1960 version, produced by Phil Spector, reached number nine on the Billboard chart. It’s full of mysticism and made all the more powerful by the distinct vocals: Dylan’s keening voice blends with spooked-angel backing from Emmylou Harris. Corrina, Corrina: 7. It’s an anthem against the notion of heavenly redemption: “Lotta people wait until they’re at the end of the line,” Dylan said years later. Their version peaked at number 73 on the Billboard Hot Country Singles & Tracks chart in 1994.[12]. “I see you kiss her on the cheek ev’ry time she gives a speech.” Dylan and the Band cut the song 19 different times in New York in January 1966, but most of those sessions were scrapped when Dylan decided to move the album’s recording down to Nashville. … Thinking about the song this way wasn’t healthy.” Two years later, the tumbling track came out; true to its title, it’s a flow of fragmented images (“In one, the surface was frozen/In another I witnessed a crime”) delivered with a striking just-woke-up frankness. With the windows open… and a dog lying on the floor.”. Cheseborough, "Carter, Bo", p. 186: "Carter's [Bo Carter and the Mississippi Sheiks] 1928 recording of 'Corrine, Corrina' is the earliest known version of that song, which has become a standard of American music. Produced by Leon Russell, the track lays gospel piano chords under a lament about awaiting inspiration in between gigs, aimless wandering, fame-related hassles and “a date with Botticelli’s niece.” The definitive version was recorded live with the Band on New Year’s Eve 1971 and released on the Band’s Rock of Ages. Those basement sessions can themselves be thought of as a “Million Dollar Bash” – a joyful, restorative break from the madness of Dylan’s increasing fame.

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