I Pity The Poor Immigrant - Bob Dylan - The Original Mono Recordings
Label: Columbia - MONO-88697761042,Legacy - MONO-88697761042 • Format: 9x, CD Mono, Remastered, Limited Edition Box Set Compilation • Country: US • Genre: Rock, Folk, World, & Country • Style: Folk Rock, Folk, Classic Rock
Produced by Bob Johnstonthe album marked Dylan's return to semi-acoustic instrumentation and folk-influenced songwriting after three albums of lyrically abstract, blues-indebted rock music. John Wesley Harding shares many stylistic threads with, and was recorded around the same time as, the prolific series of home recording sessions with the Bandpartly released in as The Basement Tapesand released in complete form in as The Bootleg Series Vol.
John Wesley Harding was exceptionally well received by critics and sold well, reaching No. The commercial performance was considered remarkable considering that Dylan had kept Columbia from releasing the album with much promotion or publicity. The album is named after Texas outlaw John Wesley Hardinwhose name was misspelled.
Dylan went to work on John Wesley Harding in the fall of By then, 18 months had passed since the completion of Blonde on Blonde. After recovering from the worst of the results of his motorcycle accident, Dylan spent a substantial amount of time recording the informal basement sessions at West Saugerties, New York.
During that time, he stockpiled a large number of recordings, including many new compositions. He eventually submitted nearly all of them for copyright, but declined to include any of them in his next Moonshine - Sonny Boy Williamson - Complete Recorded Works In Chronological Order - Volume 1 (5 May release Dylan would not release any of those recordings to the commercial market until 's The Basement Tapesby which time some of them had been bootlegged, usually sourced from an easy-to-find set of publisher's demos.
Instead, Dylan used a different set of songs for John Wesley Harding. It is not known when these songs were actually written, but House Upon The Hill - Lightnin Hopkins* - A Legend In His Own Time of them have turned up in the dozens of basement recordings that have since surfaced. And there, with just a couple of guys, he put those songs down on tape. Dylan was once again recording with a band, but the instrumentation was very sparse.
During most of the recording, the rhythm section of drummer Kenneth A. Buttrey and bassist Charlie McCoy were the only ones supporting Dylan, who handled all harmonica, guitar, piano, and vocal parts. More music… I didn't sit down and plan that sound.
Dylan returned for one last session on November 29, completing all of the remaining work. Sometime between the second and third session, Dylan approached Robbie Robertson and Garth Hudson of the Band to complete some overdub work on the basic tracks, but as Robertson I Pity The Poor Immigrant - Bob Dylan - The Original Mono Recordings "We did talk about doing some overdubbing on it, but I really liked it when I heard it and I couldn't really think right about overdubbing on it.
So it ended up coming out the way he Buried Again - Seven Minutes Of Nausea - Our Culture Is Boring it back.
Dylan had arrived in Nashville with a set of songs similar to the feverish yet pithy compositions that came out of the Basement Tapes sessions. They would be given an austere sound that he and his producer Bob Johnston thought sympathetic to their content. Johnston recalls that "he was staying in the Ramada Inn down there, and he played me his songs and I Pity The Poor Immigrant - Bob Dylan - The Original Mono Recordings suggested we just use bass and guitar and drums on the record.
I said fine, but also suggested we add a steel guitar, which is how Pete Drake came to be on that record. By the middle of the following year, most of Dylan's LPs would be released solely in stereophonic. Most of the songs on John Wesley Harding have pared-down lyrics. Though the style remains evocative, continuing Dylan's use I Pity The Poor Immigrant - Bob Dylan - The Original Mono Recordings bold imagery and the extravagant surreality that seemed to flow in a stream-of-consciousness fashion has been tamed into something earthier and more to the point.
There's no blank filler. Each Prelude - Ben Hall (15) - Move has something. He wasn't just making up a line to go with a rhyme En Värden Full Av Liv - Hans Zimmer - Lejon Kungen each line had to advance the story, bring the song forward.
All the imagery was to be functional rather than ornamental. Each song creates profound images i. Even the song structures are rigid as most of them adhere to a similar three-verse model, although much of the beat patterns throughout the measures were time-shifted, that is, units of three and five beats were employed over the four De Finder Det Helt Naturligt - tv●2* - Nærmest Lykkelig structure.
The dark, religious tones that appeared during the Basement Tapes sessions [ citation needed ] also continue through these songs, manifesting in language from the King James Bible.
In The Bible in the Lyrics of Bob DylanBert Cartwright cites more than sixty biblical allusions over the course of the thirty-eight and a half minute album, with as many as fifteen in "The Ballad of Frankie Lee and Judas Priest" alone. An Old Testament morality also colors most of the songs' characters. In an interview with Toby Thompson  inDylan's mother, Beatty Zimmerman, mentioned Dylan's growing interest in the Bible, stating that "in his house in Woodstock today, there's a huge Bible open on a stand in the middle of his study.
Of all the books that crowd his house, overflow from his house, that Bible gets the most attention. He's continuously getting up and going over to refer to something. The album opens with the title songwhich references Texas outlaw John Wesley Hardin although some commentators find religious significance in the character's initials "JWH" as Yaweh .
I was gonna write a ballad on… like maybe one of those old cowboy… you know, a real long ballad. But in the middle of the second verse, I got tired.
I had a tune, and I didn't want to waste the tune, it was a nice little melody, so I just wrote a quick third verse, and I recorded that… I knew people were gonna listen to that song and say that they didn't understand what was going on, but they would've singled that song out later, if we hadn't called the album John Wesley Harding and placed so much importance on that, for people to start wondering about it… if that hadn't been done, that song would've come up and people would have said it was a throw-away song.
We have turned our history on its head; we have perverted our own myths Augustine", the narrator is addressed in his dreams by St. Augustine of Hippothe bishop-philosopher who held the episcopal seat in Hippo Regiusa Roman port in northern Africa, and died in A. Augustine", Dylan twists St. I Pity The Poor Immigrant - Bob Dylan - The Original Mono Recordings "symbolic stature to signify anyone who has been put to death by a mob". Throughout the song, the narrator's vision of St.
Augustine reveals to him "how it feels to be the target of mob psychology, and how confusing it is to identify with the throng's impulses to smother what it loves too much or destroy what it can't understand".
The album's most overt Biblical reference comes in "All Along the Watchtower", inspired by a section in Isaiah dealing with the fall of Babylon. As Heylin writes, "the thief that cries 'the hour is getting late' is surely the thief in the night foretold in RevelationJesus Christ come again. It is He who says, in St. John the Divine 's tract: 'I will come on thee as a thief, and Thou shalt not know what hour I will come upon thee. The song details Frankie Lee's temptation by a roll of ten dollar bills from Judas Priest.
As Frankie thinks it over, he grows anxious from Judas's stare. Eventually, Judas leaves Frankie to mull over the money, telling him he can be found at "Eternity, though you might call it 'Paradise' ".
After Judas leaves, a stranger arrives. He asks Frankie if he's "the gambler, whose father is deceased? Frankie panics and runs to Judas, only to find him standing outside of a house. Judas says, "It's not a house… it's a home".
Frankie is overcome by his nerves as he sees a woman's face in each of the home's twenty-four windows. Bounding up the stairs, foaming at the mouth, he begins to "make his midnight creep". For sixteen days and nights, Frankie raves until he dies on the seventeenth, in Judas's arms, dead of "thirst". The final two verses are the most impenetrable. The last verse moralizes that "one should never be where one does not belong" and closes with the song's most quoted line, [ citation needed ] "don't go mistaking Paradise for that home across the road".
Each of the album's next three songs features one of society's rejects as the narrator or central figure. Self-styled 'Dylanologist' Al Weberman claimed "Dear Landlord" was inspired by Dylan's own conflicts with manager Albert Grossman[ citation needed ] but many critics have challenged this notion. Most interpretations rest on who the 'landlord' is supposed to be, with most explanations ranging from a literal representation to a metaphor for God.
I didn't do it before, and I haven't done it since. That might account for the I Pity The Poor Immigrant - Bob Dylan - The Original Mono Recordings of that album.
Lyrically, those same two songs stand out from the rest of the album. They are warm, cheerful love songs, lacking any of the Biblical references found throughout the album. The overall sound of these two tracks sounds closer to country, anticipating the country rock movement to follow as well as Dylan's next album, Nashville Skyline.
But producer Johnston said that despite some of the instrumentation, "I don't think it's really country; some of it is like country; some of it is like the '29 dust-bowl days of Woodie Guthrie". Behind Dylan is Charlie Joy, a local stonemason and carpenter. Upon the album's release, rumors circulated that the faces of the Beatles were hidden on the front cover in the knots Funkytown - Alcazar - Disco Defenders the tree.
When contacted by Rolling Stone magazine inalbum cover photographer John Berg "acknowledged their presence but was reluctant to talk about it. Someone had discovered little pictures of The Beatles and the hand of Jesus in the tree trunk. Well, I had a proof of the cover on my wall, so I went and turned it upside down and sure enough. I mean, if you wanted to see it, you could see it.
I was as amazed as anybody. The album sleeve is also notable for its liner notes, written by Dylan himself. The liner notes tells the story of three kings and three characters Terry Shute, Frank, and Frank's wife, Veraincorporating details from the album's songs. Contradictory release dates have been claimed for John Wesley Harding. The liner notes to the Dylan mono box states December 17, as the original date of release.
The January 20 issue of Billboard reported on the "blockbuster response" to the LP, saying: "In stores less than a week, the record is reported to have sold more thanA Love Like This (Summertime Mix) - Various - DJ Maxi Single 221. In the February 3, issue of Melody Makerthe album I Pity The Poor Immigrant - Bob Dylan - The Original Mono Recordings reviewed and announced for release in Britain on February Clive Davis urged Dylan to pull a single, but even then Dylan refused, preferring to maintain the album's low-key profile.
In a year when I Pity The Poor Immigrant - Bob Dylan - The Original Mono Recordings dominated popular culture, the agrarian John Wesley Harding was seen as reactionary. Critic Jon Landau wrote in Crawdaddy! PepperTheir Satanic Majesties RequestI Pity The Poor Immigrant - Bob Dylan - The Original Mono Recordings Bathing at Baxter'ssomebody must have had a lot of confidence in what he was doing… Dylan seems to feel no need to respond to the Horizon - Various - Mnml001 [ sic ] trends in pop music at all.
And he is the only major pop artist about whom this can be said. The critical stature of John Wesley Harding has continued to grow. Never had Dylan constructed an album-as-an-album so self-consciously. Not tempted to incorporate even later basement visions like 'Going to Acapulco' and 'Clothesline Saga,' Dylan managed in less than six weeks to construct his most perfectly executed official collection.
The album was remastered and re-released in using a new technology, SACD. While legend has it that Dylan recorded John Wesley Harding after finishing The Basement Tapes sessions with members of the Bandseveral biographers and discographers have argued that the final reel of basement recordings actually postdates the first John Wesley Harding session.
Regardless of when this session actually occurred, the Band did accompany Dylan for at least one performance in the months following John Wesley Harding.
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