Listen to “Liberty Street”, unreleased Bob Dylan song performed by Dawes’ Taylor Goldsmith

Pictured: Elvis Costello, Jim James,T Bone Burnett, Jay Bellerose, Rhiannon Giddens, Marcus Mumford, Taylor Goldsmith. Photo Credit: Sam Jones/Showtime © 2014 Showtime Networks Inc

Pictured: Elvis Costello, Jim James,T Bone Burnett, Jay Bellerose, Rhiannon Giddens, Marcus Mumford, Taylor Goldsmith.
Photo Credit: Sam Jones/Showtime
© 2014 Showtime Networks Inc


As previously reported, an all-star contingency of folk rockers recently convened to create music for two dozen newly discovered lyrics written by Bob Dylan. Entitled Lost On The River: The New Basement Tapes, the 15-track collection is the culmination of two-plus weeks of studio time by My Morning Jacket’s Jim James, Mumford and Sons’ Marcus Mumford, Elvis Costello, Dawes’ Taylor Goldsmith, Carolina Chocolate Drops’ Rhiannon Giddens, and super producer T-Bone Burnett. The lyrics in question date back to 1967, taken from the same period that spurred the recording of Dylan’s iconic Basement Tapes.

In anticipation of the album’s release, the collective has already shared several album tracks: the Jim James-fronted “Nothing To It”, the Elvis Costello-led “Married To My Hack”, the Marcus Mumford-helmed “When I get My Hands On You”, and “Spanish Mary”. Today, Goldsmiths takes over as frontman on “Liberty Street”.

Despite the sheer star power of the project, this song is perhaps the most quaint and minimalist of the entire project, with Goldsmith crooning over some gentle piano and the faint whispers of a back-up chorus. Still, that light touch perfectly fits the song’s overall scope, with undertones of religious exploration and a message of personal growth/freedom. Watch its accompanying lyric video below, a slightly abstract animated piece.


The New Basement Tapes – Liberty Street (Lyric Video



Lost On The River: The New Basement Tapes will arrive November 11th via Electromagnetic Recordings / Harvest Records. The album is being accompanied by a Showtime documentary set to debut on November 21st.  According to a press release, director Sam Jones’ Lost Songs: The Basement Tapes Continued presents an “exclusive and intimate look at the making of Lost On The River: The New Basement Tapes set against the important and historical cultural backdrop of Bob Dylan’s original Basement Tapes.”

Meanwhile, Dylan himself will release the entire collection of The Basement Tapes on November 4th. The Basement Tapes Complete: The Bootleg Series Vol. 11 spans a whopping 138 songs, including 30 never known to have existed. Stream it in full here.

Lost On The River: The New Basement Tapes Tracklist:
01. Down On The Bottom
02. Married To My Hack
03. Kansas City
04. Spanish Mary
05. Liberty Street
06. Nothing To It
07. Golden Tom – Silver Judas *
08. When I Get My Hands On You
09. Duncan and Jimmy
10. Florida Key
11. Hidee Hidee Ho #11
12. Lost On The River #12
13. Stranger
14. Card Shark
15. Quick Like A Flash *
16. Hidee Hidee Ho #16 *
17. Diamond Ring *
18. The Whistle Is Blowing *
19. Six Months In Kansas City (Liberty Street)
20. Lost On The River #20

* = Deluxe edition only

How Does It Feel To Be killed by a Bomb… More Musicians Cancel Performances in Israel


Wait... Bobby lives in Israel!

How does it feeeeel… to be killed by a bomb…. when you’re 4 yrs old…

Add two more names to the list of performers who’ve decided to cancel their  concerts in Israel amid the recent Israel invasion of Gaza where thousands of civilians, including children, women, and the elderly were massacre.  Already, Neil Young, the Backstreet Boys and Paul Anka had pulled out of scheduled dates in the Israel.  Cee Lo Green and Megadeth have also changed their touring routes because this is not the right time to advertise and push a concert and also because Israel Defense Forces’ regional Home Front Command allows gathering of up to a thousand people only.”

Megadeth — whose frontman, Dave Mustaine, told Israel’s Mako TV just after the latest conflict began (via The Jerusalem Post), “Anyone who doesn’t come to Israel now is a coward” — canceled a scheduled August 6 show at the Tel Aviv Exhibition Center.

The thrash metal band said on its website: “Due to an inability to confirm the guaranteed passage of the band and their gear into Tel Aviv in time for the show, the upcoming Megadeth concert, scheduled for Wednesday, August 6, 2014, has been canceled.

The BoomBox Festival in Hadera, Israel, originally set for August 14 with Wyclef Jean as a headliner, has also been postponed to an unspecified date. Previously, Talib Kweli backed out of the festival, citing “solidarity with Palestinians.” Other upcoming Israel tour dates by American acts include Lana Del Rey on August 20 and Lady Gaga on September 13, both in Tel Aviv. A rep for Del Rey confirmed her show is currently “still on.”

Bob Dylan: Hear New Track, Full Moon And Empty Arms



BOB DYLAN HAS unveiled a new cover of Frank Sinatra’s 1945 track, Full Moon And Empty Arms. The song – written by Buddy Kaye and Ted Mossman – began streaming over at earlier. Sinatra died 16 years ago today, on May 14, 1998.

A Dylan spokesperson told Rolling Stone that the song “is definitely from a forthcoming album due later on this year”. That album looks to be titled Shadows In The Night – check out the newly unveiled artwork here.

Dylan has been a lifelong Sinatra fan. For evidence of this, look no further than this video of Dylan’s moving tribute at Frank’s 80th birthday celebration in 1995.

It’s been two years since the release of Dylan’s last studio album, Tempest, although Bob heads can get a new fix of Dylan via the recently released tribute album, Bob Dylan in the ’80s: Volume One.


Neil Young and Jack White to perform together on ‘The Tonight Show’ next week

This slideshow requires JavaScript.

Jack White will perform together on The Tonight Show with Jimmy Fallon next week.

The pair will chat to Fallon and perform a song from Young’s new covers album ‘A Letter Home’ on Monday (May 12). Comedian Louis CK will also appear on the episode.

Earlier this year Young released ‘A Letter Home’ on Jack White’s Third Man Records. It features covers of tracks Willie Nelson, Bob Dylan, Bruce Springsteen, The Everly Brothers and more. Young recorded the album in a refurbished 1947 Voice-o-Graph vinyl recording booth at the Third Man shop in Nashville, Tennessee.

A statement on Young’s website describes the record as: “an unheard collection of rediscovered songs from the past recorded on ancient electro-mechanical technology captures and unleashes the essence of something that could have been gone forever”.

The ‘A Letter Home’ tracklisting is as follows:

‘Changes’ (Phil Ochs)
‘Girl From The North Country’ (Bob Dylan)
‘Needle of Death’ (Bert Jansch)
‘Early Morning Rain’ (Gordon Lightfoot)
‘Crazy’ (Willie Nelson)
‘Reason To Believe’ (Tim Hardin)
‘On The Road Again’ (Willie Nelson)
‘If You Could Read My Mind’ (Gordon Lightfoot)
‘Since I Met You Baby’ (Ivory Joe Hunter)
‘My Hometown’ (Bruce Springsteen)
‘I Wonder If I Care As Much’ (Everly Brothers)

Stephen Malkmus Sounds Off – American Songwriter

Stephen Malkmus

Stephen Malkmus

Stephen Malkmus and the Jicks returned this year with Wig Out at Jagbags, the band’s follow up to 2011’s Beck produced Mirror Traffic. American Songwriter caught up with the former Pavement frontman in New York City via cellphone the day of the record’s release to discuss everything from his fear of digital technology to his true feelings on the Grateful Dead.

I like the new record. I really like the drum sound you guys got. Sorry if that’s a weird way to start the interview.

No, it’s cool. All of the interviews so far have been about me, and I understand that. It’s like personality deconstruction or something, and it’s not about what we actually care about, which is more the drum sounds (laughs).

It must be strange to have a public persona. I was reading Chuck Klosterman’s article about you and he made all sorts of sharp observations about your personality and mannerisms. I remember thinking that must be a little bit nerve wracking.

It’s really nerve wracking. And often when it’s wrong or makes me depressed I just try to think, that’s just inevitable with anyone who’s interesting (laughs). I look at really famous people like Bob Dylan and I’m like, they probably did that, eh whatever. And then I’m just a Portland dad, a normal guy, but I’m starting to think like a L.A. movie star or something; that’s a bad sign.

Your new record Wig Out at Jagbags comes out today, and the reviews are already in. How does that feel?

I don’t know, I wish the people would hear it first. But I imagine anyone who bought it had already read a review, and are gung-ho enough to be totally psyched and want to know what it’s about and stuff. Nils sent me something from the New York Times. That still makes my bourgeois heart flutter, because, y’know, my parents read that and (in high mother Malkmus voice) “you’re in the New York Times.” And y’know it’s like kinda cool, I guess. But I wouldn’t lose sleep if we didn’t have a review in there or something. It’s hard to say what it all means. We just want to play some shows, and have them be fun and full. That’s what bands want.

Let’s talk more about production. Even the most polished records you’ve made have had a raw sensibility to them. What keeps you coming back to that sound?

I think it’s, again, fear of the ’80s. Fear of technology, or digital technology. Levers and stuff like that, the things that ruined music and MTV and ruined like Replacements records or something. Combined with somebody like maybe Steve Albini. Y’know he’s a wise guy, and opinionated and clever, and you kinda trust him sometimes. He says reverbs is bad, and be natural (laughs). It’s like “yeah, I kinda agree with you.” And combined with also some 70s records I like, like Led Zeppelin, or things that are kind of corny and sound like that, and hold up. And even the dry sounds of Steely Dan, and wanting to apply that to our stuff.

On the record you joke about being stuck in the 80s, but you seem really knowledgeable about young bands, especially ones influenced by Pavement. Speedy Ortiz is one of your tour supports, and you’ve given shout-outs to Mazes, Yuck and Parquet Courts in interviews.

Well people tell me about it too, I’m not like scouring. Unfortunately I’m not at the record store buying every new record. People say “check it out Stephen,” and of course I like, I mean all of us like, people who like us. I don’t know if you’ve got a girlfriend or a boyfriend or something but, at least with me, I always just liked the girls that liked me. I didn’t really pick. I don’t know. Life picks you or something. So when I hear bands and they say, “We’re into Pavement and we thought they were awesome,” of course we’re going to have a predilection to like them, and want to be part of their scene and support them.

Last year Wilco and Built To Spill both covered Pavement in concert. How did you feel about their takes on your songs?

Those are bands and people that I feel copacetic with. I’ve had moments of clarity listening to their songs; they’re special, really musical bands. And they’re growing old gracefully type dudes. And positive. So I like them both, a lot.

The new record sounds like a wig out at jagbags at some points. In the Pavement song “Unfair,” you refer to yourselves as “the last psychedelic band.” Where does that come in to what you do now?

Some things you hear them and they’re just kind of fried, without taking acid. Like the 13th Floor Elevators, they don’t have to make a ten minute song to be psychedelic. Anything they do just immediately when you put the needle on the record, there’s this aura of danger and a little bit of insanity. So I guess when I’m thinking psychedelic, truly psychedelic, I’m thinking of the insanity to the sound. I don’t really feel that I am psychedelic. Unfortunately. Not me. I’m just too urban or urbane or . . . Of course I can reference that and stuff, and I love psychedelic music. The fact that I’m not psychedelic kind of hurts my feelings sometimes (laughs).

I’ve heard stories about you and David Berman jamming on Dead tunes at parties, but you told Esquire that you weren’t much of a Deadhead. Can you explain your complicated relationship with the Dead? You put that riff from the Grateful Dead’s “St. Stephen” in the song “Cinnamon and Lesbians.”

(Laughs) Yeah. It’s interesting, but it’s pretty simple. I like the early stuff, recorded and live, like Pigpen and the acid-y stuff. And I like Workingman’s Dead and American Beauty, and I don’t really like it after that. And I didn’t go to shows, and I don’t listen to bootlegs much. I’m approaching things from albums and what they recorded. That’s what I know. I’m the suburban guy who just got the albums. I just created my own vision of things; I didn’t really get into the scene.

“Planetary Motions” is a strange album opener, kind of a slow burn and maybe less accessible than some of the other tracks. You have a tendency to start some of your records off like that (Pig Lib, Wowee Zowee).

I know what you’re saying. A long time ago it was going to be the starter, before we even recorded the album. I have a demo of it and it actually has electronic drums on it, I played the drum parts (hums the part) with my fingers. That’s kind of derived from classic rock mixed with a hambone kind of rhythm. This is a long story. It wasn’t turning out like we wanted the song; we kept remixing it. We finally figured out how to make it sound good and it went it back to the front of the album. It was one of those things where you struggled all night. Double vocals is kind of boring and it’s basically one long guitar solo in a certain way (laughs). Or a riff. It’s either a riff or a solo at all times. Or a wah-wah. It’s just like a love poem to the guitar.

Did you try any new songwriting approaches on this record?

Eh, I don’t know. That “J Smoov” song is kind of like soul or R&B style on that one. I mean, I don’t know if you can say if there’s anything that “new” that I do anymore, for better or worse. I don’t go in and say “I’m gonna do something different this time.” I kind of wait for things to come to me, a little bit. I don’t try to force them to be different. I think that’s how my life is now: having kids. You’re watching them for what they are, and trying to see them, and not them through your eyes. See them through themselves. So that’s how I do the song thing (laughs).

Bob Dylan charged with hate crime in France


Photo: PA

US songwriter could face a maximum sentence of one year in prison following comments about Croatia

Bob Dylan has been charged with incitement to hatred in France following comments he made about Croatians in a recent interview.

The charges, brought forward by French judges, relate to an interview Dylan gave in the September issue of the French version of Rolling Stone magazine. In the article, he mentioned Croatia in the same sentence as the Nazi party. The American singer faces a maximum sentence of one year in prison and a fine of €45,000 (£37,000) if found guilty

Dylan’s quotes came in response to a question about whether he sees parallels between Civil War-era America and the US of today. “It’s like . . . the United States burned and destroyed itself for the sake of slavery. The USA wouldn’t give it up. It had to be grinded out. The whole system had to be ripped out with force. A lot of killing. What, like, 500,000 people? A lot of destruction to end slavery. And that’s what it really was all about,” he replied.

He continued: “This country is just too fucked up about colour. It’s a distraction. People at each other’s throats just because they are of a different colour. It’s the height of insanity, and it will hold any nation back – or any neighbourhood back. Or any anything back. Blacks know that some whites didn’t want to give up slavery – that if they had their way, they would still be under the yoke, and they can’t pretend they don’t know that.

“If you got a slave master or Klan in your blood, blacks can sense that. That stuff lingers to this day. Just like Jews can sense Nazi blood and the Serbs can sense Croatian blood.”

The Times reports that Dylan’s songs were taken off the playlist of Radio Split in Croatia following the comments. “He was without any doubt inciting hatred against Croatians,” Vlatko Maric, a spokesman for the council, told Slobodna Dalmacjia, a Croatian newspaper. “The court in Paris has accepted the case and we still wait for the date of the trial to be confirmed. We still don’t know whether Bob Dylan will appear in person or will send a lawyer to represent him.”

It was previously reported that the Representative Council of the Croatian Institutions of France filed the legendary singer/songwriter with a criminal lawsuit for the same comments.

L’Osservatore Romano Releases “Decent Best Rock Albums List”


“The Beatles, Oasis, Pink Floyd, Michael Jackson and U2 may be one step closer to paradise.

But Bob Dylan is still “Knockin’ on Heaven’s Door.”

The Wall Street Journal reports the official newspaper of the Papacy, L’Osservatore Romano, which has previously denounced rock music as the devil’s work but in a surprise change of tune on Sunday the Holy See’s official newspaper published what it called “a semiserious guide” to the top ten rock and pop albums of all time.

The list included The Beatles’ “Revolver,” which was given the top slot, Pink Floyd’s “The Dark Side of The Moon”, Oasis’ 1995 bestseller “(What’s the Story) Morning Glory?” and Michael Jackson’s blockbuster “Thriller.”

“Some songs seem to have been written yesterday…. while others still send shivers down the spine for their illuminating simplicity and musical thrust” the writers of the article said about “Thriller.” Of Oasis’ record, L’Osservatore Romano said “the album was never equaled” in part because of the disruptive in-fighting by the Gallagher brothers, the leaders of the group.

vatikano-eoIn its 147 years as the Vatican’s newspaper of record, L’Osservatore Romano [presumably funded by God’s bankers] has rarely chased advertisers, or even news. Hard to find beyond the world’s smallest state, the Vatican’s daily paper largely dedicated its pages to theological monologues with headlines like “The Leprosy of Sin.”

Those days are over. Now, the Vatican mouthpiece has orders to carry hard-hitting news, international stories and more articles by women.

What the Vatican is calling their “little handbook of musical resistance,” is rounded out with Oasis’ (What’s The Story) Morning Glory?, U2’s Achtung Baby, Fleetwood Mac’s Rumours, Donald Fagen’s The Nightfly, Paul Simon’s Graceland, and David Crosby’s If I Could Only Remember My Name.

The article by Giuseppe Fiorentino and Gaetano Vallini said that Dylan was excluded from the list despite his “great poetic vein” because he paved the way for generations of unprofessional singer-songwriters who have “harshly tested the ears and patience of listeners” with their tormented stories.

The “little handbook of musical resistance” was published in an attempt to offer an alternative to mediocre and cheesy tunes that feature in Italian popular festivals like the 60-year old one of Sanremo, which starts Tuesday in the north-western Italian region of Liguria and is widely-watched on television.

The albums are perfect listening material for anyone who finds himself marooned on a desert island, the Holy See’s newspaper noted.

In the last two years, under new editor- in-chief Gian Maria Vian, L’ Osservatore Romano has shed some of its serious image and taken a more open approach, finding merit even in popular movies such as the “Harry Potter” series and “The Lord of the Rings”, The Wall Street Journal said.

Sources:: The Wall Street Journal, The Vatican, L’Osservatore Romano, God’s Bankers, Wiki, Google