Dr. John Rudoff is a cardiologist in Oregon, but before he entered medical school, he was the staff photographer at
The Main Point, a coffeehouse in Bryn Mawr, PA associated with the early 1960s folk revival in the Philadelphia area. His photographs of the Philadelphia folk scene include
unidentified local folkies, but also touring folk singers such as
Dave van Ronk and
John Hammond. Eventually, Rudoff got a press pass to the 1965 Newport Folk Festival, where he took photos of
Mary Travers sharing a moment with Mimi and Dick Fariña and
Joan Baez with a pre-psychedelicized Chambers Brothers, but the most amazing discovery of all are the photos of
when Bob Dylan "went electric." And now you can see
Rudoff's whole collection, thanks to the magic of Flickr.
posted by jonp72
on May 7, 2009 -
13 comments
... After take seventeen, Dylan heeds the producer Johnston’s advice to start with a harmonica swoop. Crescendos off of an extended fifth chord, led by Paul Griffin’s astonishingpiano swells (“half Gershwin, half gospel, all heart” an astute critic later wrote), climax in choruses dominated by piano, organ, and Bobby Gregg’s drum rolls; Robbie Robertson’s guitar hits its full strength at the finale. Intimations of the thin, wild mercury sound underpin rock & roll symphonics. Johnston delivers a pep talk before one last take—“keep that soul feel”—and Gregg snaps a quick click opener, and fewer than five minutes later, the keeper is in the can.
Mystic Nights - The Making of Blonde On Blonde In Nashville An account of how the many strands of that thin, that wild mercury sound were woven. And the
annotation goes on.
Via email via St Urbain's Horseman
posted by y2karl
on Sep 28, 2007 -
36 comments
Aside from the usual crap, YouTube has a great selection of
one the
most
covered
song of all time:
All Along the Watchtower. Classics like Hendrix (
live and
studio), Neil Young (at
DailyMotion
with better sound) and
U2--and some great contemporary versions like Keziah
Jones' blazingly-fast
version,
Bradley Fish's 12-instrument (including Chinese Zither)
version, Michael Hedges’
reason-to-be-excited
cover, and
even a quite good version of DMB's much-maligned
cover. What doesn't really rank: Dylan's original.
posted by FeldBum
on Jul 2, 2007 -
43 comments
The closest I ever got to the sound I hear in my mind was on individual bands in the 'Blonde on Blonde' album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up.
Bob Dylan 1978
Blonde On Blonde--Seven mixes, four or five covers, four or five women,
some missing photographs and one leather coat...
(story within)
posted by y2karl
on Nov 19, 2003 -
26 comments
