To be notified of new PopSpots entries, follow PopSpotsNYC on Twitter: For questions or comments you can email me (Bob) The first concert was at the Plymouth Memorial Hall in Plymouth, Massachusetts, the site of the Pilgrim landing. The Pilgrims were the first permanent European settlers on American soil. Here's another shot of the Plymouth Memorial Hall from an architectural firm that rehabilitated it.
Photo: Kirchhoff Consigli Construction Management And here's the interior of the Plymouth Memorial Hall. Photo: Kirchhoff Consigli Construction Management The band and crew of the Rolling Thunder Revue stayed near Plymouth at the Sea Crest Motel in Falmouth, about a half hour away. (The hotel is at 350 Quaker Road and has since had a complete makeover.) Here's a map showing the location of the Sea Crest Hotel and Plymouth. This is a photo of photographer Ken Regan with Bob Dylan in the 1980's. Ken was the official Rolling Thunder tour photographer and took the cover of Desire. In this photo, visitors are looking down at Plymouth Rock in 1976. The rock is symbolic of the arrival of the Pilgrims to American shores in 1620.
As it was almost 100 years from the Declaration of Independence (1796), Dylan and his crew celebrated the U.S. Centennial of the founding of the country by landing on the beach at Plymouth as part of their experimental movie about the tour, eventually to be titled Renaldo and Clara. Here's an old tableau of Plymouth Rock indicating the significance of the rock.
(In the background it looks like a sailor is doing the 'Y' in the Village People's 'YMCA' dance. This is a shot of the annual Pilgrim's Thanksgiving parade that takes place each year in Plymouth. Thanksgiving, as this random photo I found on the Web indicates, celebrates Native Americans and Puritans working together for the common good. My son Nick picked up some cool glasses at one of the local the Mayflower gift shops when we visited several years ago.
That was all just background to this, the location of the cover photo shoot: This (below) is a series of photos I found at the Bob Dylan Picture Archive - a website that collects photos of Dylan year by year and is a key research tool for Dylan researchers and historians. It is a group of photos, mostly taken by the official tour photographer Ken Regan, of one of the first days of the tour. On that day, the people Dylan hired to film the tour (under the direction of Howard Alk and Mel Howard) decided to shoot a scene where Dylan arrives on American soil by a boat, like the Pilgrims, with members of the Revue, and then they go and visit the Mayflower II. Here's a symbolic illustration of Dylan 're-discovering' America that I came across on the Google Images. (I don't know who the artist is but 'thank you.' ) Here's Dylan and his crew arriving on Plymouth shore via boat.
Photo by Ken Regan Dylan and his party disembark and walk up the rocky beach to the area around Plymouth Rock. Dylan's landing party includes, from left to right, Dylan, a bearded man in a cowboy hat who is still a mystery to me (Sam Shepard, in his book, says it's Peter Orlovsky, but Orlovsky had a ponytail), Roger McGuinn of 'The Byrds,' Bobby Neuwirth, and Ramblin' Jack Elliot. Photo by Ken Regan The rocky beach they walked up is in the center of this photo. As I reconstructed the events, they then walked past the Plymouth Rock pavilion at left, and then went to the right, through the park, to the replica of the Mayflower called the Mayflower II. Here's what the scene looked like after they passed the pavilion.
(In the Dylan Picture Archive, these next few pictures were depicted as coming after Dylan walked on the Mayflower II. But, as we shall later see, I discovered that they were taken following the landing on the beach, so I have inserted them here, so you get a feeling for the series of events.) In this next shot, Dylan is on land, thinking about turquoise. Behind him, to his left is a white house with black shutters. To his right there's a small gray vertical structure, like a statue, with a wide gray horizontal part near the top. Photo by Ken Regan This next shot was a publicity release that was printed backwards, so I flipped it. Photo by Ken Regan Here's the same shot, in color, printed correctly, and used on a music tablature book.
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You can see foliage behind him. We'll get back to this location - where the candid cover shot was snapped - later. Photo by Ken Regan The Desirecover shot. Dylan has been photographed with a telephoto lens like just the last few shots.
In this we see more of the trees behind him. Cover photo by Ken Regan Dylan is still in the park between Plymouth Rock and the Mayflower II. He is talking with Sam Shepard who was hired to write impromptu scenes for what will be Renaldo & Clara (and will go on to write The Rolling Thunder Revue Logbook) and Howard Alk, a documentarian and buddy of Dylan, hired to help assemble the film. Photo by Ken Regan Dylan turns to check out the Mayflower II in the background Photo by Ken Regan When I asked my brother Jim, who lives an hour away, to drive over and match up the shots, he stood in the same spot. Here's a modern day version of the shot, sans Dylan.
In this next shot from the Bob Dylan Picture Archives, Dylan is on the deck of The Mayflower II Photo by Ken Regan Here he is from another angle. Perhaps getting his sea legs. Photo by Ken Regan The photographer goes in for a close-up. Photo by Ken Regan.which will, over 40 years later, be used on a DVD cover. CD photo by Ken Regan Once again the musicians who arrived on the boat are seen on the Mayflower II.
Check out the size of Roger McGuinn's portable phone. Photo by Ken Regan Dylan is now off the boat, and holding his hat from a brisk wind while resting his sea-leg on a refuse can. Photo by Ken Regan Invigorated by the crisp sea air, Dylan goes for a little run. Photo by Ken Regan Marie, my 'Senior European PopSpot Associate,' who loves tracking down all things Dylan, matched up the spot where Dylan had propped up his feet. Photos by Ken Regan The red line in the photo below shows where Dylan was running.
When I first saw these shots I had not figured where the cover shot was, since the photos from the Dylan Picture Archive seemed to indicate that the cover shot was taken after they were on the boat, so I searched several blocks of that side of Plymouth with Google Street Views for the cover location to no avail. So, at this point in my search, since the Dylan Archive photos didn't provide enough clues, I decided to look at other photographs for clues and see what they offered. The first was this bootleg album entitled 'Plymouth Rock.' Cover photo by Ken Regan It certainly didn't look like any of the shots of Dylan at Plymouth, where there wasn't any snow. Also, Dylan had a feather on the left (as we look at it) side of his hat in this photo, which he didn't in the Plymouth photos. Photo by Ken Regan This is the original photo.
Bob Dylan Desire Download
It's by Ken Regan, the official Rolling Thunder Revue photographer. Photo by Ken Regan With a little searching, I found that it was taken in Maine.which made perfect sense, since, as this date-list of the Revue shows, the Plymouth pictures were taken in late fall at the beginning of the tour, and the Maine photo was taken a month later in wintery Bangor, Maine, four-and-a-half hour's drive north. By the way, Dylan has said that this similar Ken Regan photo, which was the cover of The Bootleg Series: Volume 5: Bob Dylan Live 1975, was one of his favorites, and he waited several years for just the right album to put it on. (The photo was taken during the tour in New Haven, Connecticut at the New Haven Veterens Colisieum.) CD cover photo by Ken Regan I also looked through Renaldo & Clara, the movie filmed during the Rolling Thunder Revue, to see if the Desire cover shot came from any scene in it, but nothing matched up. Here's Bob in a scene with Joan Baez. Left: photo by Ken Regan; right: still from Renaldo & Clara I also went through the itinerary of the Rolling Thunder Revue to see if any of the lodgings matched up.
This is a photo of the Red Lion Inn, in Stockbridge, Mass. Where the troupe stayed, for example, but there was no match up. Back in Plymouth, I wondered if the white building with the black shutters in the photos taken at the same time as the cover shot, might have been the Plymouth Wax Museum, which is located on the hill above the Plymouth Rock pavilion.but the angle was too steep. It would have been out of frame, above the background behind Dylan. The Wax Museum was located in the same spot where this old yellow inn was - on a hill above from Plymouth Rock. And near that Inn, also on the hill, was a stature of an American Indian, Chief Massasoit.over looking the sea below Just across the street from the Wax Museum, to the north, was this statue of the 'Pilgrim Mother.'
It had a white house with black shutters behind it, similar to the shots taken right before the album cover shot, but I discounted it, because I thought the statue was located on a hill as high as the Wax Museum, and therefor couldn't have been in the background any of the Dylan shots. Here's an overhead shot of the Pilgrim Mother statue, and the house, now painted gray. The Wax Museum would have been off to the left. (Out of frame, just beyond Carver Street.) So I sent what I had to Marie in France for her thoughts, and she sent back the following photos tying together the house and fountain behind Dylan. It looked right, but I still thought the house and fountain were on a hill, like the Wax Museum. Photo by Ken Regan She also marked up my overheat shot to show the spot.
Well, that all sounded reasonable, but all my overhead viewing of Plymouth had indicated to me that the 'Plymouth Mother' was on a Hill. So I looked for new photos of it. This was the first I found. It didn't look like it was on a hill. A postcard of the Plymouth Mother statue.
And in this second shot, you can see the steep hill across the street, where the Wax Museum was, but here - it's flat land. That would mean that the background of this photo, taken right before the album cover, was taken with the Plymouth Mother statue behind it. Photo by Ken Regan So, just to prove again to myself that it was flat, I found a video on YouTube of a man giving a lecture about the Plymouth Mother statue. In the middle of the video, the camera spins around to reveal the street across from the Pilgrim Mother statue.
And you can see from this panorama, that I made from several frames of the film, that the Pilgrim Mother statue is at the same level as Dylan would have been across the street. So that's where Dylan must have been standing in those photos. I said to myself. (Having been a teenager in the 60's I can say those phrases.). So now I had the approximate spot of where several photo of Dylan had been taken by Ken Regan right before the cover shot.
We've seen those shots earlier. But I needed to see for myself. So I did the next best thing. I enlisted my brother Jim, who lives in Newport, Rhode Island, an hour's drive from Plymouth, and a guy always interested in 'solving mysteries without any clues' to go check things out. He went right to Plymouth Memorial State Park and surveyed the landscape. Here's the panorama shot we saw earlier: Plymouth Rock on the left, the Mayflower II on the right. In the photo we saw earlier of Dylan, Sam Shepard (the tour writer), and Howard Alk (one of the tour videographers), were standing right near the park benches on the right.
Walking back to the Plymouth Rock pavilion, Jim noticed this 'y' shaped tree.' It was the tree behind Dylan's hat - all grown up. And the 'white-house-with-black-shutters' and Pilgrim Mother statue all fit in, too. Insert photo by Ken Regan Walking back into the park, brother Jim searched for the background to this shot below. Photo by Ken Regan Not far into the park, he found this location. It also seemed to fit perfectly. Insert photo by Ken Regan Here's where we are from the other direction.
So now we come to the cover shot. Since this was in a tree-lined location, taken right after the other 'Pilgrim Mother' shots and most likely before the shot of Dylan, Sam Shepard, and Howard Alk, it was most likely taken right here in this glade of trees in the middle of Plymouth Memorial State Park. Here's a closer version.and here are the trees today, still reminiscing with each other about the day the Rolling Thunder Revue landed ashore in Plymouth and made them immortal with the 'click ' of a camera. Be sure to see THE ADDENDUM following the THE END sign for background information on the photos of the rear cover of the Desire album. ADDENDUM #1 - THE BACK COVER OF THE ALBUM.
The back cover photographs were taken by Ruth Bernal, The collage was put together by Carl Berile. And the album look as a whole was designed by John Berg. Here's an isolated look at the large photo of Dylan on the back taken by Ruth Bernal. Photo by Ruth Bernal The man talking to Dylan in the top of this excerpt of the back cover is Jacques Levy, who co-wrote many of the songs with Bob. The woman in the bottom right is Sara, Dylan's former wife and the subject of the song Sara. Note also, in advance of the next picture, that Dylan is wearing a baseball jersey.
(trivia: He'll also be wearing this same shirt during the 'Sunrise Ceremony' on the Rolling Thunder Tour.) Here's Dylan wearing that same jersey. He's in a recording session for Desire on July 28th, 1975 with Eric Clapton and Emmylou Harris. Clapton can be heard playing dobro on the song Romance in Durango, but only attended one of the Desire sessions. Dylan started with many musicians at his early recording sessions for the album, then whittled it down to a core group, most of whom ended up going on the Rolling Thunder Tour with him.
Another section of the back cover, with the producer and two of the musicians on the album and the tour. And in the top left: Scarlett and Howie.
And in the top right: Joseph Conrad, the novelist, and most likely, Don Devito talking to either David Bell, who plays bellzouki on the album, or David Mansfield, who played steel guitar on the Rolling Thunder tour. Why Joseph Conrad? His novel Victory (1915) was a major influence on the song Black Diamond Bay.
You can read more about that below the photo. From the Wikipedia entry on Desire. Here's Dylan supposedly listening to a playback of one of the songs from Desire from a bootleg album. In this stream-of-consciousness paragraph from the inner album cover, Dylan writes about landing next to Plymouth Rock, as we saw earlier.
The Empress is a tarot card on the back sleeve. Many websites can give you the meaning(s) of this card in the tarot world. In short, she's the mother of fertility. In Larry Sloman's book on the Rolling Thunder Tour, On the Road with Bob Dylan, on page 357 he interviews Sara Dylan in her hotel room. Among the items he describes seeing on her bureau is 'a huge tarot card of the Empress.' Sloman goes on to say the card represent Doom, but the Wikipedia entry says its represent Fertility and positive things.
But it also says, 'The Empress may also represent the Object of Desire.' Hmmm.where have we heard that word before?
On, that's right, it's the name of the album!
Hello everyone, This is a repost of my previous video on the Desire Sessions. The mix was considered copyrighted and I had to edit it out with several other songs so that the video could be available again. I will post a new tracklist but for reference purposes, I included the description from the previous video so you have an idea of the material in the bootleg. I hope you will like it as much as I do. 'Although not as revered as Blood On The Tracks, Desire is still one of Dylan's strongest album with incredible songs like the protest song Hurricane about Rubin Hurricane Carter, a black boxer wrongfully accused of murder.
The song launched the Rolling Thunder Revue across New England to plead for his release from prison, culminating with a concert at Madison Square Garden and another inside Hurricane's jail. You also have songs like Isis, Romance in Durango, Oh, Sister, and finally Sara. The last song is obviously dedicated to his then wife Sara, when the couple was in a midst of breaking up (which will happen two years later). Not many outtakes are circulating from that album however, albeit from an alternate version of Hurricane, and alternate takes of Joey and the single Rita May. Other outtakes exist but were released on Bootleg Series Vol. 1-3 (Catfish, Golden Loom) and the magnificent Abandoned Love on Biograph.
On the bootleg, you will find the quadrophonic version of the album (the original intended mix but since the technology didn't allow a large release, the album was consequently available only on stereo with another mix). You will also have some live recordings of the album through the years, and of course most of the outtakes of Desire. Another surprise is the session Bob had with Bette Midler for her album Songs From The New Depression with Nuggets of Rain (a spoof of Buckets of Rain from Blood On The Tracks) and the complete rehearsal of that song (with Bob talking, working, and sometimes flirting with Bette Midler). Here is the tracklist Quadraphonic Desire 1. Mozambique 4.
One More Cup Of Coffee (Valley Bellow) 5. Oh, Sister 6. Romance In Durango 8. Black Diamond Bay 9.
Hurricane (Live - Clinton Correctional Institute, Dec 7, 1975) 11. Romance In Durango (Live - Hammersmith Apollo, Nov 24, 2003) 12. Abandoned Love (Live - The Other End, July 3, 1975) Abandoned Desire 1. Joey (Alternate Take) 2. Rita May (Single Version) 3. Golden Loom 5. Hurricane ('Libel' Version) 6.
Rita May (Alternate Take) 7. Abandoned Love 8. People Get Ready 9. Nuggets Of Rain 10. Rehearsal Dialogue 11.
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Buckets Of Rain 12. Joey (Alternate Take) Corrected Credits to Dylanstubs.com for the pictures and bjorner.com for the information.'
Desire by Released January 5, 1976 ( 1976-01-05) Recorded July 14–31 and August 11 and October 24, 1975 Length 56: 13 chronology (with ) (1975) 1975 Desire (1976) (1976) 1976 Desire is the 17th studio album by American singer-songwriter, released on January 5, 1976. It is one of Dylan's most collaborative efforts, featuring the same caravan of musicians as the acclaimed tours the previous year (later documented on ). Many of the songs also featured backing vocals by and. Most of the album was co-written by, and is composed of lengthy story-songs, two of which quickly generated controversy: the 11-minute-long ', which is seen as glorifying the violent gangster, and ', the opening track that tells a passionate account of the murder case against boxer, whom the song asserts was framed. Carter was released in 1985, after a judge overturned his conviction on. A well-received follow-up to, Desire reached #1 on the Pop Albums chart for five weeks, becoming one of Dylan's bestselling studio albums, and was certified double Platinum; the album reached #3 in the UK.
It claimed the number one slot on. Named Desire #174 on its list of. Contents. Context Desire was released between the two legs of Dylan's tour. By 1975, Dylan had extensive experience playing with a number of bands, but these groups were assembled by others. In the case of the Hawks (later known as ), the group had performed for a number of years before ever meeting Dylan. Dylan's idea of forming his own band, who would later be known as the, came when he saw and her group play at (formerly, and currently renamed ) on June 26, 1975.
Smith had yet to record an album, but she was already attracting a lot of attention from the music press and industry. According to, these were her first shows with drummer, the culmination of four years spent 'compiling a unique rock & roll sound'.
According to Smith, Dylan was immediately struck by the chemistry between Smith and her band, and expressed a wish that he had chosen to stay with a single band. Dylan would spend many nights over the next two weeks in New York's and The Other End in particular, eventually meeting and reacquainting himself with. Stoner would later join his Rolling Thunder Revue, and Dylan would meet the remaining members through Neuwirth. According to Smith, he was thinking about improvisation and extending himself 'language-wise'. The album's cover is tentatively inspired by and reminiscent of John Phillips' 1970 album. Recording sessions.
This section needs additional citations for. Unsourced material may be challenged and removed. (June 2011) Around the time of his first meetings with Smith and Stoner, Dylan began work on several new songs, finishing at least one song called 'Abandoned Love.' Then, sometime in late June, while being driven in his limousine around the Village, Dylan spotted walking with her violin in the case.
Dylan stopped to converse with Rivera and invited her to his rehearsal studio where she spent the afternoon playing along with several of the new songs. 'If I had crossed the street seconds earlier,' said Rivera in 2012, 'it never would have happened.' According to Rivera, 'One More Cup of Coffee,' 'Isis,' and 'Mozambique' were all rehearsed with Dylan on guitar and Rivera accompanying on violin. As the rehearsals progressed, Dylan attempted some of the same songs on piano, experimenting with different keys in the process. Soon after, Dylan would ask Rivera to join him for his next album. As early as mid-July, the concept of the Rolling Thunder Revue was beginning to solidify.
According to, a representative for Columbia Records, the possibility of forming a band and touring the United States playing unannounced concerts was already being discussed at this point. Meanwhile, Dylan's songwriting partnership with continued to grow. Jacques Levy was then best known for ', a collaboration with that ultimately became one of ' last hits. Dylan had met Levy the previous spring, but they became reacquainted at The Other End.
One night, Dylan met Levy at his loft and showed him an early draft of 'Isis.' According to Levy, 'Isis' began life as a 'slow dirge', unlike anything he had ever heard before, which he felt gave the appearance of setting the listener up 'for a long story'. When Dylan first played this embryonic version for him, the two of them started working together. According to Levy, it was an enjoyable song-writing partnership, with Levy writing words and Dylan contributing ideas.
The session lasted until the early hours of the morning, after which Dylan and Levy traveled to The Other End. Dylan read the lyrics to the gathered crowd, to favorable reactions.
The partnership went on to pen 'Hurricane' and other tracks later featured on Desire. Dylan finally held a recording session on July 14, recording two songs co-written with Levy: 'Joey,' an epic ballad about gangster, and 'Rita Mae,' a short song about lesbian writer. At this time, the Rolling Thunder Revue had not yet formed. The participating musicians instead consisted of the Band, Scarlet Rivera (the only future member of the Rolling Thunder Revue to participate in this session), and a number of other. Disappointed with the results, the session merely encouraged Dylan to form his own working band for his upcoming album. Following the session, Dylan and Levy isolated themselves in to work on their songs. According to Levy, they finished off a total of fourteen songs over a three-week period.
In total, an entire album's worth of songs was written in less than four weeks of collaboration with Levy. Two weeks after the first, failed session, Dylan returned to Studio E on July 28 with approximately 21 musicians at his disposal. By most accounts, the recording process was very haphazard. Dylan was determined to record the songs live, while producer Don DeVito's inexperience led him to 'stack' instruments on the multitrack tapes, making it virtually impossible to properly remix any of the songs or to overdub any off-key accompaniments., who was present at the session, felt that there were too many musicians present and the session lacked leadership. Guitarist was present, just one of five guitarists in the studio.
Clapton recalled later that Dylan appeared to be seeking an opportunity to work with new people he had met, although Clapton felt that Dylan was uncomfortable performing personal songs with such a large group present, and left the session after advising Dylan to use a smaller band, a sentiment later reiterated by Rob Stoner to producer Don DeVito. Others at this session included Rob Stoner, Scarlet Rivera, and the English band. Many of them would later, and at the time, recount their frustrations regarding the recording process for Desire which was, in the opinions of the many professional musicians present, a rather chaotic process.
The following day, Dylan returned to Studio E with roughly half the number of musicians, retaining Stoner, Rivera, Harris, and as well as saxophonist and percussionist of Kokomo. This time, they managed a usable take of the song 'Oh, Sister', but the remainder of the session was deemed unacceptable. On the night of July 30, 1975, Dylan returned to Studio E with a smaller group of musicians, including Stoner, Rivera, Harris, and drummer (a friend of Stoner's who was hired by Dylan on Stoner's suggestion). For the most part, this group of musicians formed the core of the Rolling Thunder Revue.
The difference became apparent early on in the session, when a usable take of 'Isis' was recorded on the first try. Both Dylan and Stoner were pleased with the session, and Stoner suggests that the more intimate sound was much closer to the sound of the completed album. Five of the nine songs from Desire were recorded at that session, as well as a slow version of 'Isis,' the original master take of 'Hurricane', the single-only release 'Rita Mae,' and a successful take of 'Golden Loom' that was later released in 1991. Of the participating musicians, only was dissatisfied with the results. It would also be her last session, as she had prior commitments with her own career.
The following night, Dylan held another session, this time recording three songs. From this session, Dylan recorded the master take for 'Isis' as well as master takes for 'Abandoned Love' and 'Sara.' Dylan's wife, the subject of the song that bore her name, also accompanied him to this session.
Outtakes The Desire sessions yielded a number of outtakes, but only one of these outtakes received any serious consideration. Written from the point of view of someone 'despairing, isolated, and lost', 'Abandoned Love' debuted as an impromptu performance at the Other End on July 3, 1975. Clinton Heylin wrote that the song suggested Dylan's self-confidence as an artist had returned, but that he still faced problems in his marriage.
Originally intended for the album, it was ultimately replaced by 'Joey.' 'Abandoned Love' would not see official release until 1985 when a finished take was issued on the boxed-set retrospective,. Its first and only live performance at the Other End circulates as a highly prized recording among collectors.
Another song, ' (sometimes spelled as 'Rita Mae'),' was issued on a single-only release. An up tempo song, that some listeners believe to be a tribute to lesbian writer. It was later covered by on his self-titled album, issued in 1979. Two other recordings were later released upon other albums. ',' a tribute to future pitcher Jim Hunter (better known as ), and 'Golden Loom' were officially released on in 1991.
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Song information. This section needs additional citations for. Unsourced material may be challenged and removed. (April 2011) 'Hurricane' The album opens with ', arguably the most popular song on Desire.
It protests the conviction of former middleweight boxer for triple in 1966, arguing for his innocence. Rubin Carter was eventually released in 1985 after Haddon Lee Sarokin ruled that Carter had not received a fair trial.
Dylan had been inspired to write it after reading Carter's autobiography, The Sixteenth Round, which Carter had sent to Dylan because of his prior commitment to the struggle. During the fall tour preceding Desire 's release, Dylan and the Rolling Thunder Revue played a for Carter in New York City's.
The following year, they played another benefit at Houston, Texas's. Dylan met with Carter on December 5, 1975, and performed a concert in Clinton State Prison, in which Carter took to the stage, to address the press. Among those present were representatives of who ran an article about Dylan and Carter on December 22 of the same year.
New Jersey prosecutors said that they would not try Rubin (Hurricane) Carter and John Artis a third time for a triple-murder in a case that provoked national attention over charges that the authorities had framed both men. The 21-year legal conflict ended in effect when the Acting Passaic County Prosecutor, John P. Goceljak, filed a four-page application in the county courthouse in Paterson to dismiss all charges against the two men. 'It is just not legally feasible to sustain a prosecution, and not practical after almost 22 years to be trying anyone,' Attorney General W. Cary Edwards said in Trenton. Edwards, whose office participated in the decision, added, 'It is time we put this matter to rest once and for all, and I wish Mr. Carter the best of luck and a very productive life.'
'Isis' One of the most celebrated songs on Desire is the symbolic travelogue '. According to music critic, 'Isis' tells the story of a young groom who marries his bride before he learns the value of loyalty. Riley wrote that the story told of a man who learns about the love of a woman through the deception of another man and a 'quest for riches that resigned itself to the quest for human contact'. Also, the protagonist mistakenly believes that his quest is for treasure when an ulterior purpose is at play. When he approaches the tomb, he finds it empty and without any reward. Unbeknownst to him, he was playing a part in a higher story line: the tomb eagerly awaited for the arrival of his companion who dies immediately.
When he chucks the body into the empty space, he realizes what a folly this whole adventure has been, and decides to return to the arms of his knowing wife. 'Mozambique' ' allegedly started as a game, to see how many rhymes for '-ique' Dylan and Levy could find. 'One More Cup of Coffee' 'One More Cup of Coffee' tells the tale of a girl whose family are gypsies and drifters, and of the man who must leave her to enter the 'valley below'.
The narrator describes a character who is beautiful: 'your eyes are like two jewels in the sky' but for whom the narrator's love and admiration are not reciprocated ('but I don't sense affection no gratitude or love, your loyalty is not to me but to the stars above'). The song deals with themes of abandonment; the apparent end of a relationship and the concept of a coming journey. The song could be seen as a metaphor for Dylan's relationship with Sara. However, this is unsubstantiated.
The song is also thought to have been inspired by a visit Dylan made to in, where there is an annual gathering of Romany people who venerate. This would seem to point to another link to Sara Dylan. The song is a duet between Dylan and; as an incidental to its use of the natural minor scale it has a decidedly flavor in the vocal melody. It was covered by on. Furthermore, there is a version by and for the 2007 film. Calexico also perform the song at their concerts. Covered the song in his 2002 album.
In 2003, covered this song which in turn became the soundtrack of the movie. 80's punk singer released a version with German lyrics on her 2011 album. Dylan wrote the song at a corner table at The Other End nightclub in in the summer of 1975. 'Oh, Sister' 'Oh, Sister' became a concert favorite during the fall tour preceding Desire 's release. Tim Riley noted that it was the first time Dylan had invoked God as a method of wooing a woman, and that with, the song became a discourse on the fragility of love. Harris' vocal on the final mix was actually overdubbed a day later, one of the few overdubs made during the Desire sessions.
'Joey' The longest song of the album is '. A twelve-verse ballad, it describes the life of deceased gangster and created a substantial amount of controversy when Desire was released. Dylan presents Gallo as an outlaw with morals, in the tradition of songs like 's '.
Dylan's Gallo refused to kill innocent people, made peace with black men, and shielded his family when he was about to be shot as they were eating in a restaurant. Many commentators, notably rock critic, have argued, however, that Gallo was well known as a vicious Mafioso whose documented career was not accurately reflected in the song's lyrics. The song details the killing of Gallo in Umberto's Clam House in, on April 7, 1972. Graphic details of the murder had been published in Donald Goddard's biography, while Gallo's friends, actor and his wife Marta, were introduced to Dylan through Levy.
Dylan said in 1975 that he had considered Gallo more a hero than a gangster. After hearing Jerry and Marta Orbach talk about Gallo, Dylan and Levy wrote the entire song in one night. Unlike legendary outlaws like, or historical ones like and, Gallo was not a figure of the distant past nor was he mythologized by tall tales spread by word-of-mouth and the local press. With Gallo's life still prominent in the minds of the public and without favorable media coverage, Dylan's attempt to romanticize Gallo was greeted with an enormous amount of contempt by the press, public officials, and private citizens alike. Goddard's biography depicted Gallo as a racist who often beat his wife and abused his children, and who had taken part in a brutal gang rape of a young boy while he was in prison. None of these details was mentioned or alluded to in Dylan's 'Joey'.
Instead, the song paints a far more romantic portrait, incorporating a lyric that Gallo 'It was true that in his later years he would not carry a gun/'I'm around too many children,' he'd say, 'they should never know of one.' ' later wrote a scathing response to a question posed by Dylan in the song's chorus: 'What made them want to come and blow you away?' In a article published on March 7, 1976, Bangs argued that some could have considered there to have been an open contract on Gallo for his shooting of gangster Joe Colombo almost a year previously.
Bob Dylan Desire Black Diamond Bay
Bangs also suggested that two other theories advanced by investigators extremely close to the case showed Gallo attempting to lay claim to territory occupied by other, more powerful mob factions. Despite all the controversy, Clinton Heylin noted that 'Joey' remained the one song from Desire to have regularly featured in concert in the nineties.
In an interview with Bill Flanagan for his album in 2009, Dylan claimed that Jacques Levy wrote the lyrics to 'Joey', not Dylan himself. 'Romance in Durango' 'Romance in ' concerns an outlaw and his lover, on the run in Mexico. Heylin described the song as 'the climax to an unmade movie in song.' This song has been covered by the Italian singer and songwriter under the title 'Avventura a Durango', and also by the Brazilian singer until the title 'Romance no Deserto'. 'Black Diamond Bay' As described by Heylin, 'Black Diamond Bay' describes the destruction of a tiny island (following the eruption of a volcano), observed from two perspectives: from a hotel on the island itself and from the narrator's point of view through a television news report. The song essentially describes what the people on the island are doing at the time - often drawing attention to the ironic futility of their actions (for example, one of the islanders is preparing to commit suicide when the volcano erupts and destroys the island). The song also describes the news-watcher's indifference to the catastrophes he hears about on 's TV newscast, as the narrator goes to get another beer rather than watch the news story about the catastrophe on the island.
He says 'I never did plan to go anyway to Black Diamond Bay.' 's novel was a major influence to this song, which references many of its themes. The song title, the island, the volcano, the gambling, and the Panama hat are all references to Victory. A drawing of Conrad appeared on the back of the album sleeve. 'Sara' Desire closes with 'Sara', arguably Dylan's most public display of his own personal life. An ambitious tribute to his wife, it is possibly Dylan's only song in which he steps out of his public persona and directly addresses a real person, with striking biographical accuracy. Tim Riley wrote that it was 'a fevered cry of loss posing as sincere devotion.'
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Dylan's marriage was in a turbulent state when he wrote the song. Dylan's estrangement from his wife had led to at least one separation in the previous year.
Sara was present at the song's recording session, (on the same day he recorded two other songs that touched on the subject of marriage: 'Isis' and 'Abandoned Love'). However, in March 1977, filed for divorce. In the lyrics of 'Sara,' Dylan states that he wrote ' (from ) for Sara Dylan. Aftermath. This section needs additional citations for. Unsourced material may be challenged and removed. (December 2012) Desire would not be released until early the following year.
In the meantime, Dylan embarked on the first leg of a North American tour with the Rolling Thunder Revue. During the course of the tour, which received heavy media coverage, Dylan and his band unveiled songs from Desire in addition to reinterpreting past works. The Rolling Thunder Revue was also augmented by guest musicians such as (best known for his work with ) and other artists such as, and who not only contributed during Dylan's set, but also played complete sets of their own. Was invited to perform, but declined when Dylan informed him that he could not use the to back him. The fall of 1975 would ultimately produce a widely criticized film, but the concerts themselves were well received. Often regarded as one of Dylan's finest series of shows, this first leg of the tour was eventually documented on.
Critical reception Professional ratings Review scores Source Rating B− B− (favorable) On January 5, 1976, Desire was released, garnering a fair share of critical acclaim. Critic would call it one of the 'two best records Dylan has made since ' and gave it a four-star review in the 1979. He also mentioned that, this album has shown a change in style compared to his other works in 1970's by saying: 'But love songs aren't the focus of Desire, which is one of the things that differentiates it from Dylan's other post-rock work.
On the best songs, Dylan returns to the fantastic images, weird characters and absurdist landscapes of the Sixties.' Some critics were not impressed; wrote: 'Although the candid propaganda and wily musicality of 'Hurricane' delighted me for a long time, the deceitful of its companion piece 'Joey' tempts me to question the unsullied innocence of Rubin Carter himself'. He disputed their categorization as protest songs and mused that Dylan's songs about oppressed 'heroes' may have been a reflection of Dylan's own feelings at the time. Nevertheless, there was enough critical support to push Desire to #26 on 's Critics Poll for 1976. In 2003, the album was ranked number 174 on 's list of. The album also received a fair share of commercial success, eventually topping the U.S.
Billboard charts. The album's cover is, possibly unintentionally, highly reminiscent of that of John Phillips'. Track listing All tracks written by and, except as noted. Title Recorded Length 1. ' October 24, 1975 8:33 2. ' July 31, 1975 6:58 3.
' July 30, 1975 3:00 4. 'One More Cup of Coffee (Valley Below)' (Dylan) July 30, 1975 3:43 5. 'Oh, Sister' July 30, 1975 4:05 Side two No. Title Recorded Length 6. ' July 30, 1975 (overdubbed August 11, 1975) 11:05 7. 'Romance in Durango' July 28, 1975 5:50 8. 'Black Diamond Bay' July 30, 1975 7:30 9.
Retrieved 29 December 2004. ^ Levy, Joe; Steven Van Zandt (2006) 2005. London: Turnaround. Retrieved 27 September 2006.
Kirell, Andrew (31 January 2016). The Daily Beast. Retrieved 23 November 2016. Picknett, L. And Prince, C. 'The Templar Revelation', 1997, p. 90.
Erlewine, Stephen Thomas. Retrieved 29 December 2004. Christgau, Robert. Retrieved 21 February 2006.
Flanagan, Bill (March 29, 1991). Retrieved 20 May 2010. ^ (March 11, 1976). From the original on 2007-04-29. Retrieved 14 January 2007. Posted on June 17, 1997. (in German).
(in French). Audition game. (in German). Enter Desire in the search field and then press Enter. If necessary, click Advanced, then click Format, then select Album, then click SEARCH Resources. Preceded by by February 7 – March 12, 1976 Succeeded by by Preceded by by February 23 – March 14, 1976 Succeeded.
If was an unapologetically intimate affair, is unwieldy and messy, the deliberate work of a collective. And while directly addresses his crumbling relationship with his wife, Sara, on the final track, is hardly as personal as its predecessor, finding returning to topical songwriting and folk tales for the core of the record. It's all over the map, as far as songwriting goes, and so is it musically, capturing at the beginning of the Rolling Thunder Revue era, which was more notable for its chaos than its music. And, so it's only fitting that fits that description as well, as it careens between surging folk-rock, Mideastern dirges, skipping pop, and epic narratives. It's little surprise that doesn't quite gel, yet it retains its own character - really, there's no other place where tried as many different styles, as many weird detours, as he does here.
And, there's something to be said for its rambling, sprawling character, which has a charm of its own. Even so, the record would have been assisted by a more consistent set of songs; there are some masterpieces here, though: 'Hurricane' is the best-known, but the effervescent 'Mozambique' is at his breeziest, 'Sara' at his most nakedly emotional, and 'Isis' is one of his very best songs of the '70s, a hypnotic, contemporized spin on a classic fable. This may not add up to a masterpiece, but it does result in one of his most fascinating records of the '70s and '80s - more intriguing, lyrically and musically, than most of his latter-day affairs.