Vinyl Manifesto

NOTE: I think I wrote a post like this at some point. But forget that one. This is better. Read this one. That’s what happens when you go on five years running a blog.

The invention of the compact disc will be seen as the turning point. That was when we crossed the great sonic chasm from warm, engaging, living mediums over to the cold and lonely digital world. The music industry was joyful at the time, and it did produce about a decade of high profits. Now, everyone had to go back and buy music they already owned! Reissue those back catalogues! The sound is clearer and distinct, they told us (as if being able to isolate instruments like a sonic surgeon from what was always intended to be an organic whole is a good thing). They provide us with a “lifetime of entertainment” (CD booklets usually had that phrase somewhere), because the sound quality did not deteriorate over repeated listenings, like tape or vinyl. (OK, that’s still pretty cool. But, we have discovered that unless cared for under very specific conditions, CDs also deteriorate).

Little did the music industry know that in the late 80’s when they started pushing the CD that they were sealing their own fate. Or, at least changing the industry from what it profitably and comfortably was for them. The industry controlled the medium with vinyl (and to a lesser degree, tape). But by selling music that could be reduced to the 1’s and 0’s of the digital language, they were giving up control of the medium. I have ranted obliquely and directly here on this topic at different times, but it is time that I set out my manifesto.

Digital sucks. I acknowledge the benefits. I can, and do, walk around with over 25,000 songs in my pocket all day long. The lack of sound deterioration over repeated use, as discussed above, is a plus. I do like that I can go on iTunes and pick and choose to download a song here or there, vs. buying an entire record like in the old days. I enjoy making and perfecting endlessly my “box set” playlists. All cool.

But the big question remains: do records really sound better than CDs, digital files, etc? The answer is yes. Scientifically, yes. Here’s why. Sound travels in sound waves, which by definition are analog in nature. A vinyl record has a groove carved in it that captures exactly the entire form of the wave. Nothing is lost. It captures the sound wave in analog, it is sent to your amplifier as analog and then to your speakers. There is no real conversion that must be done. CD’s, on the other hand, require snapshots and conversions. You are not listening to the entire sound wave. The CD takes snapshots of the sound wave (about 44,100 per second) and then approximates the holes. So you are getting an approximation of the sound, not the entire sound. Then these digital signals are converted to analog and amplified so you can hear them. More sound is lost in the conversion. With a record, you are looking at the Mona Lisa. With CD’s, you are looking at a picture taken of the Mona Lisa by a tourist with a disposable camera. When people talk about vinyl sound being “warmer” and “fuller,” that is why. It is the entire soundwave form, not snapshots and approximations of it. End of science lesson.

Records used to be a visual experience as well as audio. The artwork for album covers meant something, as well as the gatefolds, inserts, etc. Even the record label. Buying a record stimulates all of the senses, not just your ears. Your eyes take in all of the artwork and information that a large canvas of the cover and sleeves and gatefolds can provide. Entire essays used to be written within album gatefolds. The album cover was so important that often that alone would persuade someone to buy the record. The smell of opening new vinyl is also distinctive, taking the plastic off and taking a whiff of the newly printed cardboard and vinyl. Taking out a record to play was also a part of the process. Gingerly sliding the disc out and holding it from the label so as not to blemish the surface. And even if you did blemish the surface over time, there was something inviting even from the pops that came with many spins. (I’ve got nothing for the taste sense, sorry).

Most important, though, is connectedness. Being a music fan today is lonelier than it used to be. I’m not just talking about the more engaged and interactive experience of placing the record on your turntable, gently placing the needle where you want it (real fans personally place the needle, don’t use that auto crap), and then waiting for the first song to burst through your speakers. Not to mention flipping the disc over for the second side. (That’s another thing: records have distinct sides, with their own story to tell).

No, what I mean is a community that has been lost. Many of you have seen (or read) the loving ode to record store culture in ‘High Fidelity.’ The experience of walking into a record store, browsing for as long as you are able, listening to the music-snob customers and clerks extol the greatness of Springsteen’s second album or dismiss post-Roger Waters Pink Floyd…there was a distinct culture there. I spent many blissful hours of my life in the record store sanctuary, a place for fellow believers to share fellowship. (You have a similar loss with the disappearance of the video store for film buffs). Sure, I can blog and go in chat rooms to talk tunes, but in the end, you are alone in front of your computer screen, when you should be physically walking the aisles, listening to the music over the store system, trading suggestions with real breathing people. That is musical fellowship. It is a connectedness that is lost. I have fond childhood memories of riding my bike to and from Sound Warehouse, grabbing the latest LP’s that I wanted to explore, and then riding back home, with the wind banging the yellow bag against the bike. Later I got in the car…but it was always still a journey. I had to get up and go with purpose. Not just sit passively in front of my computer screen and click “purchase.”

I sound like some old-timer whining about how things ain’t what they used to be. But they ain’t. I know it isn’t the end of music, things are always evolving. But I do miss the era that has just passed. As someone who has experienced both the heyday and end of the old and the start of the new, I can definitely say which I prefer, for all of the conveniences today’s technology provides. I prefer warmth, connectedness, purpose, using all of the senses to experience music and fellowship. That was the old days.

Dez's Record Guide: Neil Young, Pt. II

For an explanation of these guides and Pt. I, see the post below.

I’m a defender of Neil’s 80’s work, as difficult a job as that can be. I actually defend his 80’s output more than his much more celebrated 90’s work, because it was more interesting. It is one of the most eclectic, haphazard discographies in most any major artist’s catalogue. The 20 years that followed started strong, then got a bit complacent, with a quiet renaissance in recent years…

‘Where the Buffalo Roam’ soundtrack (1980) *
Rightfully an obscurity, Neil composed hokey guitar music for this offbeat Bill Murray film.

Hawks and Doves (1980) **
Re-Act-Tor (with Crazy Horse) (1981) **
Neil awkwardly enters the 80’s and tries to marry Crazy Horse to some New Wave elements…interesting in theory but both records are marred by weak compositions.

Trans (1982) ***
Perhaps the most notorious release in his entire catalogue, Neil goes Kraftwerk (including singing through a vocador through half of the record); drenched in synths and sequencers with his guitar slashing through, and then augmented by three tunes recorded in Hawaii from totally unrelated sessions from an earlier abandoned album…it is a marvelously strange record and I love it.

Everybody’s Rockin’ (with the Shocking Pinks) (1983) **
Old Ways (1985) **
A Treasure (live, with the International Harvesters) (1985/2011 Archives series) ***
He recorded a country album around ‘83 that was rejected by Geffen, they wanted “rock and roll.” Fine. So he records a rockabilly record instead (Everybody’s Rockin’), and further alienates himself from his former 60’s compadres by seemingly embracing Reaganism. I love how he takes one of his old trunk songs, “Wonderin’,” and turns it into a fantastic rockabilly/doo-wop tune. Old Ways was his second try at a straight country record, and this time Geffen let him put it out. “Misfits” is awesome, and he even duets with Willie Nelson and Waylon Jennings on some tunes. Neil’s shows on his Old Ways tour were semi-legendary, and indeed the live work is more exciting than its studio counterpart.

Landing On Water (1986) *
Life (with Crazy Horse) (1987) **
Landing on Water is possibly his worst record, he sounds totally at a loss trying to play rock in an 80’s world. The one exception is probably his best song of the decade, the savage “Hippie Dream” where he pointedly rips David Crosby and others for being hypocrites and drowning in their own excesses. Life is also a weak effort, but includes probably his second best song of the period, “Mideast Vacation”: “I was Rambo in the disco / I was shootin’ to the beat / when they burned me in effigy / my vacation was complete.”

This Note’s For You (with The Bluenotes) (1988) ***
Why not try a big band blues record next? It is actually pretty good and creates a nice atmosphere. The title track is his third best tune of the period, a great attack on rock commercialism that savages MTV (the video was first banned by the network, and then won Video of the Year at its awards).

Lucky Thirteen (compilation of 80’s period) (1982-88/1993) ***
You would think Neil would take this opportunity to present his dizzying 80’s genre jumping in a nice compilation, just to make some sense of it all, but he of course picks random album tracks, unreleased songs and live tunes instead. It is as chaotic as the decade of Neil’s work that it purports to anthologize.

Eldorado (EP, with The Restless, 1989, Japan only release) ****
His most earsplitting, savage playing, even more ramshackle than Crazy Horse. A preview of the masterpiece that was about to arrive…

Freedom (1989) *****
The last truly brilliant Neil Young record, a bold declaration after the interesting wilderness years of the 80’s; this stands toe to toe with the best of his 70’s work.

Ragged Glory (with Crazy Horse) (1990) ***
Weld (live, with Crazy Horse) (1991) ****
Arc (live, with Crazy Horse) (1991) *
Critics fawned over Ragged Glory (with Rolling Stone’s five star review claiming that Neil Young has single-handedly saved rock and roll for the new decade), but in reality, it is simply a solid but not stellar set of plodding Crazy Horse numbers that would have been deep album cuts on the better 70’s records. Weld is better. Arc is an interesting thirty minute pastiche of feedback and distortion sound collage…but are you ever really going to listen to it from start to finish? Well, I have, but would you?

Harvest Moon (with Stray Gators) (1992) ***
Dreamin’ Man ’92 (live) (1992/2007 Archives series) **
Unplugged (live) (1993) ***
More critical fawning for the much ballyhooed “follow-up” to Harvest; it is actually more akin to the slick and more mediocre Comes a Time. The title track may be his prettiest song, though, a mature and not cheesy ode to domestic happiness. Dreamin’ Man is solo acoustic renditions of the entire Harvest Moon album. They’re fine, but the point? With so much amazing stuff still in the vault, I was expecting better choices for the Archives releases. Where is a show from the Tonight’s the Night tour? Release Time Fades Away on disc. The much bootlegged Bluenote Café. Why this? Unplugged is cool with a few surprises, like the pump organ version of “Like a Hurricane.”

Sleeps With Angels (with Crazy Horse) (1994) **
I keep thinking I need to revisit this. Then I do. And it is still just OK.

Mirror Ball (with Pearl Jam) (1995) **
Definitely a lost opportunity, what should have been a summit of kindred spirits turns out a batch of riffs disguised as songs and half-baked ideas.

Broken Arrow (with Crazy Horse) (1996) ***
More of the same. But it’s pretty good.

‘Dead Man’ soundtrack (1996) *
Ambient guitar noodling.

Year of the Horse (live, with Crazy Horse) (1997) **
Do we need another of these? As Neil says before the opening song, “they’re all the same song!” Yep.

Silver and Gold (2000) ***
A very nice acoustic record comprised of trunk songs that he dusted off and finally recorded. I really like this, even if it is not that important of a record.

Road Rock, vol. 1 (live) (2000) **
Are You Passionate? (with Booker T. and the MGs) (2002) *
Greendale (with Crazy Horse) (2003) *
Greatest Hits (compilation) (2004) ***
Prairie Wind (2005) *
Living With War (2006) *
Living With War: In The Beginning (2006) *
Chrome Dreams II (2007) **
Perhaps I am too harsh on ’02-’07, but I find it to be his most boring set of records. Critics were quite pleased with these. Yes, the 80’s were bad (spectacularly in some cases), but at least it was interesting. I saw the tour with Booker T. and it was great, but the record they made together is so dull. Greendale is a stupid concept album that I won’t waste space even explaining. Prairie Wind is slick Comes a Time-like professionalism. Living With War is embarrassing, an anti-Iraq War/"I hate George W. Bush" toss-off that is infantile in both writing and execution. Finally Chrome Dreams II (Chrome Dreams is the name of one of his most sought after bootlegs, so the title is a cheeky reference to that) is a collection of songs he had accumulated over the years and finally decided to record…most of them could have stayed in the vaults. With an artist with as much work as Neil, a single disc Greatest Hits collection is really pointless, especially when you put “Cowgirl in the Sand” and “Down By the River” back to back. Who picked that sequencing? Neil probably.

Fork in the Road (2009) ****
A concept record with songs about how much he digs his electric car. And it is loose, fun, witty and rockin’. As I said in my original review, it is record as blog post.

Le Noise (with Daniel Lanois) (2010) ****
Neil alone with an electric guitar (mostly) getting the Daniel Lanois atmospheric treatment on a strong set of songs.

Americana (with Crazy Horse) (2012) ****
Some of the American folk song canon getting run though the Crazy Horse barn; loose, loud, fun and very American.

Psychedelic Pill (with Crazy Horse) (2012) **
What the f***, Neil?

A Letter Home (2014) ***
Gimmicky, but oddly effective. Neil visited Jack White's studio where White had a vintage 1947 Voice-o-Graph machine which allowed people to make their own scratchy records. Armed with some odd covers, Neil entered the phone booth and recorded an affecting in places, loose, ramshackle set that captures an era gone by. His rendition of Gordon Lightfoot's "If You Could Read My Mind" is the highlight.

Storytone (2014) **
Another headscratching detour, this time Neil works with a 92-piece orchestra on most tracks, and with a blues big band on three others. Mot very good, and the lyrics are often a mismatch for the setting, although the fun "I Want To Drive My Car" and the gorgeous "When i Watch You Sleep" are keepers.

Dez Record Guides: Neil Young, Pt. I

I’m going to put together some Record Guides for some of my favorite artists from time to time for you here. As true fans of the album format continue to dwindle in our ADD digital music age, it is important to still be able to look at an artist’s entire catalogue of records, not just random songs. It is funny that we think we have progressed, yet we are back to where we were in the 1950’s: disposable pop once again rules the airwaves and it is all about the singles. OK, off my soapbox.

Appropriately, I’ll start with the #1 slot on my relatively recent favorite artists list, Neil Young. I say “appropriately” in part because cranky Uncle Neil has been a leading critic of all things digital in music. I will focus on his rather large solo discography, so his work with Buffalo Springfield and Crosby, Stills, Nash & Young is not here. Neil’s discography is extensive, so it will be divided into two posts. This first one will cover his most important period, 1968-79. Part II will cover the other three decades.

Recall a discussion we have had here several times regarding a statement made by JMW that rock/pop artists generally have a decade, give or take, to really make their mark and most vital work. I believe that JMW has since backed away from that theory, but he shouldn’t. I subscribe to it. I think that Neil has proven the exception to the rule, but undeniably, his most important period is 1968-79. He has finally started releasing shows and compilations of rarities (in his Archives series) after talking about doing it for about 20 years. I have included the Archives releases where the material chronologically would go, but also noting the year of actual release (such as 1968/2008 for Sugar Mountain). As with my Five Star Album list from awhile back, I will do my best keep commentary for each record to one sentence only. The ratings are on a scale of * to *****, as usual.

• Neil Young (1968) ***
Lush, overproduced debut finds an uncharacteristically tentative Neil not straying too far from his countrified/slightly psychedelic Buffalo Springfield roots, although it does contain some keepers (“The Loner,” “Old Laughing Lady” and “I’ve Been Waiting For You”).

• Sugar Mountain - Live at Canterbury House 1968 (live) (1968/2008 Archives series) **
Interesting early, loose solo acoustic set, but for diehards only. And I don’t even pop it in much.

• Everybody Knows This Is Nowhere (with Crazy Horse) (1969) *****
Neil’s first outing with his ultimate garage band Crazy Horse contains some of his most enduring songs, like tight rocker “Cinnamon Girl” and the feverish sprawl of “Down By the River” and “Cowgirl in the Sand”…God I wish Danny Whitten had lived longer.

• Live at the Fillmore East (live, with Crazy Horse) (1970/2006 Archives series) ****
What is here is raw, early Crazy Horse at its best, but for some unfathomable reason it is only one disc and not near to a whole show, so it is no better than an appetizer that leaves you wanting the meal; 16-minute “Cowgirl in the Sand” is a keeper and leaves the studio version in the dust…err, sand.

* Live at the Cellar Door (live) (1970/2013 Archives Series) ***
Another very good acoustic set from the Archives series. I don't rate it higher simply because I think Massey Hall (see below) covers very similar ground better.

• After the Goldrush (1970) ****
A favorite amongst fans and critics alike, and it is certainly eclectic, but I just have never connected with it very strongly. I am certainly in the minority on that sentiment (best track: “Don’t Let It Bring You Down.”)

• Live at Massey Hall 1971 (live) (1971/2007 Archives series) *****
For what this is, it is absolutely perfect: an intimate solo acoustic show from Neil at an early peak, he is loose and often banters hilariously with the audience as he casually previews songs that will eventually become the core of Harvest.

• ‘Journey Through the Past’ soundtrack (1972) **
This is a really strange release (and has still not been put out on CD, although I’ve got the LP), comprised of drastically alternate takes of some familiars, jams, Buffalo Springfield and CSNY live cuts and some new songs (plus some Handel and Beach Boys); the best moments are available elsewhere (like the haunting “Soldier”).

• Harvest (with Stray Gators) (1972) *****
Neil throws out his back and has to remain seated for six months, goes to Nashville and hires slick session musicians, and records a folk rock classic and commercial hit (the type of album most musicians would then have made a career out of replicating and one that his record company begged him to repeat), but one that he would spend the rest of the decade running away from.

• The Archives vol. 1, 1963-72 (compilation of hits, album tracks, alternate takes, rarities, live shows) (1963-72/2009 Archives series) ****
Exhaustive and for the diehard only, this 8-disc extravaganza delivers what is promised, but it could be distilled down to about two discs worth of killer rarities.

• Time Fades Away (live, new material) (1973) ***
For some ridiculous reason Neil refuses to issue this on CD or in digital form, and that is a shame, as it is a wonderful, drunken, rambling live set that makes the first entry in his famed ‘Ditch Trilogy’; also features two gorgeous largely unheard piano tunes (“Love In Mind,” “Journey Through the Past.”) He promises this will be included in its entirety in Archives, vol. 2, whenever that comes out.

• On the Beach (1974) ****
Neil is bummed and burned out, but that is often the best Neil; a biting record about violent hippies, environmental decay, disintegrating relationships and L.A. weariness.

• Tonight’s the Night (1975) *****
The ditch masterpiece, Neil at his most despairing and in career-suicide mode, where he of course makes one of the most acclaimed records of the 70’s (in retrospect; his record company refused to release it for two years), all while singing and playing horribly out of tune on songs of delicate beauty and rawness, songs that sound like they will fall apart any second (typical perverse decision: hire young guitar stud Nils Lofgren to be in the band, but tell him he can only play piano, an instrument he had never played before).

• Zuma (with Crazy Horse) (1975) ****
Out of the ditch and back with his Crazy Horse stalwarts, they make a straight rock record that is lighter than his ditch period (how could it not be?) and full of hooks and melodies, and includes his greatest guitar song, “Cortez the Killer” (even if the lyrics are historically inaccurate).

• Long May You Run (with Stephen Stills as Stills-Young Band) (1976) *
Bad. Neil isn’t into it and only offers leftovers not good enough for his own records (with the beautiful exception of the title track), and Stills is too wasted by this point to really produce much of note.

• American Stars ‘n Bars (1977) ***
An odds ‘n sods-type placeholder of sorts, but its lack of cohesion is its charm; includes two stunners in the beautiful quiet epic “Will To Love” and the roaring “Like a Hurricane.”

• Decade (compilation) (1977) *****
The perfect entry point into Neilworld, including his best known hits, worthy rarities, and essential tracks from his Buffalo Springfield and CSNY days, covering '67-'77. This is one of those rare almost perfect compilations that gives you more than a mere taste, but really gives you an accurate portrait of an artist up to that point (originally on three LPs, now two CDs).

• Comes a Time (1978) ***
The album his record company wished had followed Harvest, it is Neil as The Eagles; a slick country/folk rock record this is just OK (the wonderful title track is better on Live Rust.)

• Rust Never Sleeps (part live, with Crazy Horse) (1979) *****
On some days, I think this is his best record from start to finish.

• Live Rust (live, with Crazy Horse) (1979) *****
Critically derided at the time as a money grab, in hindsight it serves as a perfect Neil Young mid to late 70’s primer, split evenly between engaging acoustic numbers and raging rockers. If you want to get a decent portrait without spending too much cash, you can't go wrong buying Decade and Live Rust to start.

Disagree with some of these ratings? Then screw you. No, kidding. Please comment and we can get into some great music discussions. Coming soon…part two of the NY record guide.

This Shouldn't Work, But It Does

Ok, check this out. Sample a dizzying amount of random Elton John vocals/music from his peak period in the 70's and then create brand new melodies and remix them into moody dance music, and that is "Elton John vs. Pnau's" Good Morning to the Night. Pnau is a successful dance music duo hailing from down under who Elton has taken under his wing. This gimmick would be nothing more than a mere gimmick if the music were not so melodic, catchy and distinctive. It is a step ahead of merely sampling and adding dance beats, they actually wrote new music, painstakingly pulling Elton's vocals and music from an array of his tunes to help forge their own. For instance, the title track pulls either vocal samples or musical elements of Elton's from "Philadelphia Freedom," "Mona Lisas and Mad Hatters," "Funeral For a Friend/Love Lies Bleeding," "Tonight," "Gulliver/It's Hay Chewed," "Sixty Years On," "Goodbye Yellow Brick Road" and "Someone Saved My Life Tonight," all within a tight 3:21. And it is tight. If you don't include the remixed bonus tracks that you can download, the core record clocks in with eight tunes at slightly under thirty minutes. Pretty concise for dance music. All of the songs have something to recommend them, and they are each distinctive enough to where they do not blend into each other (as dance music often does). I especially like the lovely instrumental closer, "Sixty," which takes elements from three different versions of Elton's brooding "Sixty Years On." If you are a fan of Elton's 70's work, it is a fun treasure hunt to listen to these tunes and try and identify which of his originals were used. In the grand scheme of things, this is not a very important record, but it is quite infectious, and a fun concept that was successfully executed.

Here's the appropriately trippy video for "Sad"...



Dez's Rating for Elton John vs. Pnau's Good Morning to the Night: *** out of *****

Are You Up For the Scallenge?

Anyone remember Brian Scalabrine? Most NBA teams (or any professional sports team) have a couple of these guys, perennial bench warmers who get to play in the last 2 minutes or so of blowout games. The ultimate role players who are willing to do the dirty work, play in garbage time, get some Gatorade for the stars…basically happy to be on the roster. Also usually tall white guys. These are guys who you see playing on TV, and from the comfort of your Laz-E Boy you say, “I could take that guy on.” Scalabrine was a particularly genial bench warmer, and became a fan favorite during his 11 years in the NBA, although not due to his on court prowess. (In Chicago he was referred to by fans in jest as “the White Mamba,” in contrast to Kobe Bryant’s more intimidating “Black Mamba.” He was also referred to as “the human victory cigar.”) Scalabrine has since retired and is now a broadcaster on a New England station.

ABOVE: Scalabrine surveys the action on the court from his throne (the bench)

ABOVE: The White Mamba shows off his championship ring that he "earned" with the Celtics in 2008. He averaged 1.8 points and 1.6 rebounds that season. He didn't play in the playoffs. But he does have as many rings as Lebron James.

Having had enough of being an NBA punchline, he agreed to take on Boston’s best amateurs, one on one, to once and for all shut up his detractors. A local radio show sponsored the event, and his potential opponents had to send in videos demonstrating their hoops skills (and also talking the requisite trash to the White Mamba). Check out the link here for footage of the challenge, or the “Scallenge,” as it was called. He took on four of Boston’s best amateurs, one of whom was on the Syracuse roster last year. The results? Maybe it ain’t so easy to make it in the NBA after all, even as a bench warmer. The White Mamba dominated the Scallenge, doing what he never was able to do in the NBA, throwing down Blake Griffin-like dunks and shooting Jordanesque jumpers over the heads of the competition, absolutely crushing them. The final results were a combined 44-6 in favor of Scalabrine (one point per basket in one on one), with two of the games being shut-outs. So even the NBA scrubs are much better than pretty much anyone else in the country.

It's Not Nearly Over

We all know that Bob Dylan is our greatest popular song lyricist. So many of his songs are so fundamentally well constructed that there is much room for interpretation for countless admirers. Dylan's vocals and performance styles can be an acquired taste (I like it), so it is interesting to listen to the many cover versions of his songs. There are some where his original leaves the covers in the dust. Forget Eric Clapton and Guns 'n Roses, it is Dylan's haunting and stark "Knockin' On Heaven's Door" that is definitive.

On the other hand, Jimi Hendrix performed what may be the greatest rock cover ever performed when he took Dylan's acoustic folk "All Along the Watchtower" and turned it into a maelstrom. Dylan was so impressed that he, like everyone else, started to perform Hendrix's arrangement to where it was almost like Dylan was covering Hendrix instead of vice versa.

One of my favorite Dylan songs has got to be "It's All Over Now, Baby Blue" from 1965's Bringing It All Back Home. It has inspired a number of gorgeous covers that do what good covers should do: take the original song and do something new with it. The artist covering the song should put his or her stamp on it. The many covers of "Baby Blue" certainly do that. Here are some favorites. First, below is Dylan's original:



One of the first covers of the song was from 1966 by Van Morrison and his rock band Them. While maintaining the basic song structure, Van makes the song taut and greatly improves on Bob's version (you might recognize the sample used in Beck's 1996 "Jack-Ass"):



The preeminent Dylan interpreters, The Byrds, recorded two very different versions of the song. I love the later one, which is from their later country period. They slow it down to a country lilt, and I was listening to it last night at about 3 a.m. and at that moment, I swore it was loveliest song I'd ever heard. Check out those gorgeous Byrd harmonies (even though it is not their most famous period) and the sublime slide playing from Clarence White:



Here is a haunting, ethereal take on the song from the cult Texas psychedelic band 13th Floor Elevators. The lo-fi recording quality adds to the Roky Erikson/Elevators mystique. I've got all of the Elevators albums on LP, and they make for great late night listening. I also kind of dig this creepy accompanying video I found on YouTube...



And finally check out Falco's take, where he works off of Van's version and makes it a jazzy, boozy tune that actually works quite well...



There are many other versions, including from The Animals, Joni Mitchell, The Grateful Dead, Bad Religion, Echo & the Bunnymen, etc.

The sign of a song that is so well written is that it works as a basic template on which each artist can make their mark.

Sister

First of all, Happy New Year to my many reader(s). Exciting news, I have another daughter on the way. I had to wait to surprise some people with the news over the holidays. Now that the requisite people know, I can post it here.

We've been explaining this whole thing to my daughter (almost three), and I think she is starting to grasp the gravity of the situation. Before we found out, we asked her many times whether she wanted a brother or a sister, and for long time she firmly stated that she wanted "only Mommy and Daddy." Well, too damn bad, that cow has already left the barn. But eventually she came around to expressing a preference for a sister, and according to the sonogram we got a couple of days ago, a sister she will have.