![]() Sometimes songs can be slippery in the studio - they can go right through your fingers. Of Roy Orbison’s “Blue Bayou,” Dylan writes knowingly: “This is both a spectacular song and a spectacular record. while writing about Elvis Costello’s “Pump It Up.” He demonstrates familiarity with - but no admiration for - electric guitar virtuosos Joe Satriani and Yngwie Malmsteen while writing about bluegrass and country music. With the Dead, it’s more like the women you see by the river in the movie O Brother Where Art Thou? Free floating, snaky and slithering like in a typical daydream.”ĭylan also references hip-hop giants Jay-Z and The Notorious B.I.G. With the Stones it’s like being at a porno convention. ![]() “There is a big difference in the types of women that you see from the stage when you are with the Stones compared to the Dead. ![]() He also draws links between Mose Allison’s “Everybody’s Crying Mercy” and The Temptations’ “Ball of Confusion,” and between Domenico Modugno’s “Volare” (a Dylan favorite) and Jefferson Airplane’s “White Rabbit” (apparently not).Ĭomparing the audiences at a Grateful Dead concert to those at a Rolling Stones concert, Dylan - who has performed with both bands - writes: ![]() ![]() He makes fascinating comparisons, likening the Grateful Dead to Artie Shaw’s big band of the 1930s and ‘40s. ![]()
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