Posts Tagged ‘Nobel Prize’

The Bob Dylan song about which I am going to blog about today is his 1973 song “Forever Young”, another one of his songs included on his Vevo channel. It appears on his 1974 album Planet Waves in two different versions, a slow and a fast version. It is the slow version which is in the video included here. As an aside, Planet Waves is the only studio album which Dylan released through Asylum Records. Apart from the live album Before The Flood which is his next album after Planet Waves, all his other albums have been with Columbia Records.

“Forever Young” was recorded by Dylan in November 1973. The slow version runs for 4m57s and is the 6th track on Planet Waves, the last track on the first side of the record. The fast version (which is a shorter track at 2m49s) is the 7th track on the album, the first track on the second side of the record. Dylan first performed “Forever Young” live in January 1974 and his most recent live performance of it was in November 2011. He has performed it live a remarkable 493 times as of my writing this.


“Forever Young” was recorded by Bob Dylan in November 1973 and appears on his 1974 album Planet Waves. There are two version of the song on the album, a slow version and a fast version.

You may be familiar with a 1988 Rod Stewart song by the same name. Confusingly, it is not a cover version in the traditional sense, but bears such a remarkable similarity to Dylan’s song in both melody and some of the lyrics that Stewart agreed to share his royalties with Dylan (presumably to avoid a lawsuit).


The inspiration for the song was Dylan’s eldest son Jesse who was born in 1966. Dylan wrote “Forever Young” as a lullaby to his young son, and over the years it has been covered by many artists.

May God bless and keep you always
May your wishes all come true
May you always do for others
And let others do for you
May you build a ladder to the stars
And climb on every rung
May you stay forever young
Forever young, forever young
May you stay forever young

May you grow up to be righteous
May you grow up to be true
May you always know the truth
And see the lights surrounding you
May you always be courageous
Stand upright and be strong
May you stay forever young
Forever young, forever young
May you stay forever young

May your hands always be busy
May your feet always be swift
May you have a strong foundation
When the winds of changes shift
May your heart always be joyful
May your song always be sung
May you stay forever young
Forever young, forever young
May you stay forever young

Here is the official Vevo video of this great song. Enjoy!

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Today I will continue with my series of blogposts of some Bob Dylan songs, in celebration of his winning the 2016 Nobel prize for literature. I am concentrating on songs which are on  his official Vevo channel, as other songs of his which are uploaded to YouTube are almost always swiftly removed.

The song I am sharing today is “Beyond Here Lies Nothin'”, which appears on his 2009 album Together Through Life. According to his website, he first performed this live in July 2009 and the most recent live performance was earlier this year, in July 2016. As of my writing this, he has performed it 398 times!


“Beyond Here Lies Nothin'” appears on Dylan’s 2009 album Together Through Life.


Here are the lyrics to this song, which you can find here on Dylan’s official website.

I love you pretty baby
You’re the only love I’ve ever known
Just as long as you stay with me
The whole world is my throne
Beyond here lies nothin’
Nothin’ we can call our own

I’m movin’ after midnight
Down boulevards of broken cars
Don’t know what to do without it
Without this love that we call ours
Beyond here lies nothin’
Nothin’ but the moon and stars

Down every street there’s a window
And every window made of glass
We’ll keep on lovin’ pretty baby
For as long as love will last
Beyond here lies nothin’
But the mountains of the past

My ship is in the harbor
And the sails are spread
Listen to me pretty baby
Lay your hand upon my head
Beyond here lies nothin’
Nothin’ done and nothin’ said

Here is the official video of “Beyond Here Lies Nothin'” from Dylan’s Vevo channel. Enjoy!

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Continuing my countdown of the 30 greatest Bob Dylan songs according to the Daily Telegraph, today I am blogging about numbers 20 to 16 in their list.


Bob Dylan granted his first interview since being awarded the 2016 Nobel prize in literature to Edna Gundersen.

From 20 to 16 The Daily Telegraph list is

  • 20 – The Lonesome Death of Hattie Carroll
  • 19 – Cold Irons Bound
  • 18 – I Shall Be Released
  • 17 – Shelter From The Storm
  • 16 – Lay, Lady, Lay

20. The Lonesome Death of Hattie Carroll (1964)

This is, in my opinion, one of the most incredible ‘true-life’ songs written by anyone, let alone by a man who was only 22 when he wrote it. “The Lonesome Death of Hattie Carroll” tell the true story of the killing of a maid, Hattie Carroll, by a rich young man by the name of William Zanzinger, in the state of Maryland. The song lays out, in four incredible verses, the whole sorry story of  how this rich, privileged man killed a poor black housemaid, and got a suspended sentence!

Such powerful writing announced Dylan to the world as a major songwriting force, a young man who was capable of putting to verse the most moving and important civil and human rights issues of the day.

William Zanzinger was a wealthy tobacco farmer who drunkenly beat black maid Hattie Carroll to death in 1963, for which he received a suspended six month jail sentence and $500 fine. The young protest singer’s stark demolition of American injustice is driven by righteous anger. The unrepentant Zanzinger was unimpressed, describing Dylan in 2001 as “a no-account son of a bitch, a scum of a scum bag of the earth.”

19. Cold Irons Bound (1997)

This song is from Dylan’s 1997 album Time Out of Mind, the same album which contains “Not Dark Yet” and “Make You Feel My Love”.

A corrosive electric blues number, rattling down the tracks like a prison train, with convict Bob chained to the memory of a love gone wrong. In a gnarly voice, Dylan spits out nuggets of hard earned wisdom: “Reality has always had too many heads.”

18. I Shall Be Released (1971)

I first heard this song when I bought the album Bob Dylan’s Greates Hits, Volume II, one of the first Dylan albums that I owned. On Dylan’s version of his own song he duets with Happy Traum, an American folk singer. I like this song a lot, the lyrics are great and the duetng in the chorus with Traum adds a wonderful tone to the song.

Originally recorded by The Band in 1968, Dylan’s own version didn’t emerge until it was included on his Greatest Hits in 1971. A simple song of a prisoner yearning for liberty, it has become a universal anthem for freedom, performed by U2, Johnny Cash, The Byrds, Sting, Nina Simone, Joni Mitchell, Paul Weller and The Who amongst, many, many more.

17. Shelter From The Storm (1975)

The last track on Blood On the Tracks, this song is simply stunning. One of the most beautiful and moving songs Dylan has written, I would put it in my own personal top 20 of favourite Dylan songs. The song’s opening verse again illustrates why Dylan is fully deserving of his Nobel Prize – “’Twas in another lifetime, one of toil and blood / When blackness was a virtue and the road was full of mud / I came in from the wilderness, a creature void of form / “Come in,” she said, “I’ll give you shelter from the storm””

The song is an aching lament to his estranged wife Sarah Lownes, and is the last heart-wrenching emotional outpouring from a man who has spent the whole album singing about his pain at losing his wife. If you haven’t heard this song you must, it deserves to be listened to over and over again.

“I came in from the wilderness, a creature void of form…” Amid the emotional battering of Blood On The Tracks, this long, loping tale of sanctuary offers a moment of peace, even if it too is underpinned by loss and regret. Dylan has said he can’t understand how anyone can listen to his most deeply personal album because “it’s hard for me to relate to people enjoying that type of pain”.

16. Lay, Lady, Lay (1969)

Dylan croons in this catchy song, one of the best to play to anyone who wants to be converted to being a Dylan fan. No one can say that Dylan can’t sing, as he shows in this song; it’s just that often he chooses to deliver songs in a less conventional, more dramatic manner. “Lay, Lady Lay” is full of wonderful sexual innuendo, and is the first track on the second side of his country album Nashville Skyline. This is an album which has grown on me over the years, I love the version of “Girl From The North Country” which he does with Johnny Cash, I blogged about it here. “Lay, Lady Lay” is one of the other highlights on this album.

Delicately backed by a band of country session players, Dylan sings in a rich voice about the object of his desires. This little gem manages the rare trick of being both lusty and deeply romantic, a real working man’s love song. “His clothes are dirty but his hands are clean / And you are the best thing that he’s ever seen.”

Cold Irons Bound (number 19)

The song that I’m going to share in this blogpost is numer 19, “Cold Irons Bound”.

I’m beginning to hear voices and there’s no one around
Well, I’m all used up and the fields have turned brown
I went to church on Sunday and she passed by
My love for her is taking such a long time to die

I’m waist deep, waist deep in the mist
It’s almost like, almost like I don’t exist
I’m twenty miles out of town in cold irons bound

The walls of pride are high and wide
Can’t see over to the other side
It’s such a sad thing to see beauty decay
It’s sadder still to feel your heart torn away

One look at you and I’m out of control
Like the universe has swallowed me whole
I’m twenty miles out of town in cold irons bound

There’s too many people, too many to recall
I thought some of ’m were friends of mine, I was wrong about ’m all
Well, the road is rocky and the hillside’s mud
Up over my head nothing but clouds of blood

I found my world, found my world in you
But your love just hasn’t proved true
I’m twenty miles out of town in cold irons bound
Twenty miles out of town in cold irons bound

Oh, the winds in Chicago have torn me to shreds
Reality has always had too many heads
Some things last longer than you think they will
There are some kind of things you can never kill

It’s you and you only I been thinking about
But you can’t see in and it’s hard lookin’ out
I’m twenty miles out of town in cold irons bound

Well the fat’s in the fire and the water’s in the tank
The whiskey’s in the jar and the money’s in the bank
I tried to love and protect you because I cared
I’m gonna remember forever the joy that we shared

Looking at you and I’m on my bended knee
You have no idea what you do to me
I’m twenty miles out of town in cold irons bound
Twenty miles out of town in cold irons bound

One of the reasons for choosing this song is because it is the only song of these five which is on Dylan’s official VEVO channel, and therefore won’t get removed. Enjoy!

Which song of these five is your favourite?

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Continuing my blogposts about the Daily Telegraph’s list of the 30 best Bob Dylan songs, here are 25 to 21 in their list. Once again, I have put the text which appeared in the Daily Telegraph in block quotes, the other stuff written about each song is by me.


Bob Dylan granted his first interview since being awarded the 2016 Nobel prize in literature to Edna Gundersen.

  • 25 – Every Grain Of Sand
  • 24 – Just Like A Woman
  • 23 – Make You Feel My Love
  • 22 – Isis
  • 21 – Ain’t Talkin’

25. Every Grain Of Sand (1981)

For me, “Every Grain Of Sand” is far and away the best song of Dylan’s ‘Christian period’ (1979-1981). It is the last track on his 1981 album Shot Of Love, and is less bombastic and preachy than most of his Christian songs. The lyrics are sublime, the harmonica playing is majestic. It is one of my favourite Dylan songs, and I would place it higher than 25 in my personal list of the greatest Dylan songs.

The outstanding song of Dylan’s early-Eighties born again Christian phase achieves a stark, hymnal rapture. Riding on a gentle guitar arpeggio, Dylan detects the hand of God in everything, with a lyric worthy of William Blake at his most mystical.

24. Just Like A Woman (1966)

One of the most beautiful Dylan love songs, “Just Like A Woman” sets hauntingly beautiful lyrics against a wonderful waltz rhythm. If you want to convert people to Dylan, this is a good song to play them. It shows Dylan’s ability as not just a lyricist, but also as someone who can write a haunting melody too. It was recorded in March 1966, and released as a single in August of the same year. It is also the last track on the 2nd side of his seminal double album Blonde On Blonde.

Said to have been inspired by a brief encounter with tragic Andy Warhol starlet Edie Sedgwick, Dylan’s delicate waltz concocts a lyrical spider’s web equal parts cynical put down and heart-rendering desire. It even features a rare and perfect middle eight, a songwriting device Dylan once claimed he had no use for.

23. Make You Feel My Love (1997)

The song made famous by Adele, but for me Dylan’s original version is better. Don’t get me wrong, I like Adele’s version, it is wonderful. But, Dylan’s version has, for me, so much more depth and authenticity to it. Such lyrics seem to mean far more coming from an older person in their 50s than from a young lady of just 19. The lyrics to this song are beautiful, a wonderful example of why Dylan is completely worthy of a Nobel prize in literature.

An artist celebrated for his depth and complexity, Dylan also has a gift for beautiful simplicity. This ballad of loving devotion became a 21st-century karaoke favourite via Adele’s soulful 2008 cover. The corny sentiment is brought into focus by elemental imagery dovetailing perfectly with an elegant melody in a gorgeous falling cadence. It features another rare Dylan bridge.

22. Isis (1976)

“Isis” is the second track on Dylan’s 1976 album Desire. I love this album, I think if it hadn’t come out after Blood On The Tracks, it would be more highly thought of, but it lives in the shadow of that 1975 masterpiece. “Isis”, co-written with Jaques Levy, is a wonderful song full of fantastic imagery. To my mind, there aren’t any weak songs on Desire, but this song is one  of the highlights of a great album.

Co-written with theatre director Jaques Levy, Isis is a rattling narrative epic of myth and marriage, composed with the melodramatic flourish of Rudyard Kipling and delivered by Dylan over a pounding piano with grandstanding relish: “The wind it was howling and the snow was outrageous!”

21. Ain’t Talkin’ (2006)

“Aint Talkin'” appears on Dylan’s 2006 album Modern Times. It is the last track on the album, and opens with a haunting fiddle and piano. The song was recorded in April 2006, and is the  longest track on the album, at nearly 9 minutes. The opening lines grab the attention straight away – “As I walked out tonight in the mystic garden / The wounded flowers were dangling from the vines / I was passing by yon cool and crystal fountain / Someone hit me from behind.”. Where is this song going? It unfolds over the next 9 minutes, it is a beautiful song and one of my favourites on Modern Times.

During almost 9-minutes of restless yearning over a silky weave of fiddle, piano, picked guitars and percussion, the ageing bard cast himself as eternal pilgrim on an endless and bloody journey of spiritual hunger. “I practice a faith that’s been long abandoned / Ain’t no altars on this long and lonesome road.”

Just Like a Woman (number 24)

Of the songs from 25 to 21, today I am going to share this very interesting version of “Just Like a Woman”. Interesting in that it is the first take of the song; Dylan even tells the recording engineer the name of the song before he starts playing, and its name at this early stage is “Like a Woman”, not the title he finally gave it. For anyone familiar with the version on his seminal 1966 album Blonde on Blonde, you will notice quite a few differences in the lyrics in this first take of the song.

“Just Like a Woman” was recorded in March 1966 and released as a single in August of the same year. It is also on his 1966 album Blonde on Blonde. It peaked at number 33 in the US singles charts. In the Disunited Kingdom a version was released by Manfred Mann in late July 1966 (before the US release of Dylan’s original version!) which got to number 10 in the singles charts. The lyrics that I have included below are the lyrics of the version on Blonde on Blonde, so see if you can spot where this first take differs from those lyrics.

Nobody feels any pain
Tonight as I stand inside the rain
Ev’rybody knows
That Baby’s got new clothes
But lately I see her ribbons and her bows
Have fallen from her curls
She takes just like a woman, yes, she does
She makes love just like a woman, yes, she does
And she aches just like a woman
But she breaks just like a little girl

Queen Mary, she’s my friend
Yes, I believe I’ll go see her again
Nobody has to guess
That Baby can’t be blessed
Till she sees finally that she’s like all the rest
With her fog, her amphetamine and her pearls
She takes just like a woman, yes, she does
She makes love just like a woman, yes, she does
And she aches just like a woman
But she breaks just like a little girl

It was raining from the first
And I was dying there of thirst
So I came in here
And your long-time curse hurts
But what’s worse
Is this pain in here
I can’t stay in here
Ain’t it clear that—

I just can’t fit
Yes, I believe it’s time for us to quit
When we meet again
Introduced as friends
Please don’t let on that you knew me when
I was hungry and it was your world
Ah, you fake just like a woman, yes, you do
You make love just like a woman, yes, you do
Then you ache just like a woman
But you break just like a little girl

According to his website, Dylan first performed “Just Like a Woman” in April 1966, before it had been released. In fact, if you listen to the radio programme about the Judas heckle, you will hear C.P. Lee saying that Dylan performed this song at that famous concert in Manchester in May 1966 (you can also hear it on the recording of that concert, which was released in 1997 as the CD Bob Dylan Live 1966 (subtitled the ‘Royal Albert Hall’ concert, even though it was actually at the Manchester Free Trade Hall).

Dylan’s most recent performance of the song was in November 2010, and he has performed it a remarkable 871 times at the time of my writing this blogpost.

Here is a video of this fabulous song. If the video will not play on your device (a message I kept getting when I tried to play it in the preview to this blogpost), then here is the link to the video. Because it is on Dylan’s official VEVO site, it should not disappear like most of his videos put on YouTube.


Of the songs from 25 to 21, which is your favourite?

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Since winning the 2016 Nobel prize for literature, Bob Dylan has remained very quiet. An acknowledgment of his winning the prize briefly appeared on his official website, before it was quickly removed. Numerous attempts by the Swedish Academy to speak to him apparently failed, but on 29 October The Telegraph newspaper published what it claimed was a world exclusive, the first interview with Dylan since his Nobel prize was announced. Here is a link to that interview, conducted by Edna Gundersen.

The Telegraph has also produced a list of what it considers to be the 30 greatest Dylan songs. As with any list, it is subjective and is obviously not going to be the same as the top 30 in the list produced by e.g. Rolling Stone Magazine, which I blogged about here. But, it is interesting to look at the list produced by The Telegraph. Below is the beginning of the list, from 30 to 26. The text in quotes being from the text written by The Telegraph for each song, the other stuff is me!


Bob Dylan granted his first interview since being awarded the 2016 Nobel prize in literature to Edna Gundersen.

The Telegraph list, 30 to 26

I have decided to break the list up into 6 parts, so this week I will cover 30-26, next week from 25 to 21, then 20-16 the week after, etc.

From 30 to 26 the list is

  • 30 – Subterranean Homesick Blues
  • 29 – You’re Gonna Make Me Lonesome When You Go
  • 28 – Just Like Tom Thumb’s Blues
  • 27 – Ring Them Bells
  • 26 – Scarlet Town

The year next to each song title (in the text below) is the year that the song was officially released, which in some cases is not the year that the song was composed, or even recorded. Where these differ I will mention it in the text that I write about each song (the part that is not in a block quote).

30. Subterranean Homesick Blues (1965)

The opening track on Dylan’s 1965 album Bringing It All Back Home, this song announced to the world that Dylan had ‘gone electric’. “Subterranean Homesick Blues” was recorded in January of 1965, and the album was released in March 1965. Bringing It All Back Home had an electric first side and an acoustic second side. When Dylan played some of the electric songs at the Newport Folk Festival in August of 1965 he was booed off stage. The booing continued when he took this new rock sound on his world tour in 1966, culminating in the famous Judas heckle in May 1966 at the Manchester Free Trade Hall, which I blogged about here.

Is this the first hip-hop song? Lyrics cascade in a relentless motormouth gush over jittery blues, with Dylan tearing up social norms in a surreal deadpan blizzard of internal rhymes. Don Pennebaker’s single camera black and white promo film established a perennial image of mid-Sixties Dylan’s skinny amphetamine cool.

29. You’re Gonna Make Me Lonesome When You Go (1975)

From Dylan’s 1975 album Blood On The Tracks, possibly the greatest break-up album ever. This song was recorded in December 1974 and is one of the more upbeat songs on the album, yet it still shows Dylan’s pain at the breakup of his marriage. For an intensely private man, Dylan laying bare the pain in his heart in this seminal album is startling.

Written during a period of personal crisis, adultery and romantic complication that eventually led to divorce from wife Sarah Lowds, Blood On The Tracks is Dylan’s most fully realised masterpiece, crammed with lyrical blood and thunder and piercing observations. You’re Gonna Make Me Lonesome is its simplest, breezing song – yet it remains heartbreaking in its almost carefree surrender to the inevitability of romantic pain.

28. Just Like Tom Thumb’s Blues (1965)

Recorded in early August 1965, it was released on Dylan’s album Highway 61 Revisited, which came out in late August. “Just Like Tom Thumb’s Blues” is the penultimate track on the album, just before his epic “Desolation Row” (which I am amazed to see is not in this ‘top 30’ list!)

“When you’re lost in the rain in Juarez and it’s Easter time too / And gravity fails and negativity don’t pull you through…” Dylan’s hard, keen vocal holds the centre of this travelogue of mental and physical disarray as his band tumble and cascade around him, a freefall of piano and slide guitar conjuring up the “wild, mercury sound” that only Dylan could hear.

27. Ring Them Bells (1989)

From Dylan’s 1989 album Oh Mercy, “Ring Them Bells” is the 4th track on the first side. Oh Mercy is not an album I know that well; I have it but have not listened to it that much.

Written off by many after a period of indifferent Eighties albums, with Dylan later admitting to a profound artistic crisis, the bard found a new voice with producer Daniel Lanois. With its stately piano chord progression and lyrics of Biblical richness and elegance, Dylan offers up a post-apocalyptic gospel prayer for redemption and salvation.

26. Scarlet Town (2012)

Tempest is Dylan’s most recent album of original songs, released in September 2012. “Scarlet Town” is the 6th track on the album. Since Tempest, Dylan has released a number of albums in his bootleg series, along with two albums of cover versions.

On his most recent album [of original material], Tempest, the 71-year old contemplates the dismal state of the world with the morbid glee of a visionary perversely satisfied that, as predicted, the worst has come to pass. Dylan’s leathery voice depicts the bleak Scarlet Town as a frontier settlement on the edge of hell. “Help comes,” Dylan drily notes, “but it comes too late.”

Subterranean Homesick Blues (number 30)

The song of these five which I am going to share in this blogpost is number 30, “Subterranean Homesick Blues”. As I said above, this song is the opening track on Dylan’s 1965 album Bringing It All Back Home, and announced to the world that he had ‘gone electric’ (his going electric was behind the “Judas” heckle which I blogged about in May).

Dylan recorded this song on 14 January 1965, and it was released as a single on 8 March of the same year. Bringing It All Back Home was released just a few weeks later, on 22 March 1965.


“Subterranean Homesick Blues” is the opening track of Bob Dylan’s 1965 album Bringing It All Back Home. The ground breaking promotional video was shot in an alley-way next to the Savoy Hotel in London. Just at the left of the image poet Allen Ginsburg and musician Bob Neuwirth are visible.

“Subterranean Homesick Blues” was Dylan’s first top 40 hit in the USA, it peaked at number 39. It got into the top 10 in the Disunited Kingdom. The song’s lyrics are essentially a stream of consciousness, and the delivery is often considered to be a precursor to rap and hip hop; “Subterranean Homesick Blues” has been called the first rap or hip hop song. The line “You don’t need a weatherman / To know which way the wind blows” gave the name to the underground 1960s radical left-wing group the Weathermen.

Johnny’s in the basement
Mixing up the medicine
I’m on the pavement
Thinking about the government
The man in the trench coat
Badge out, laid off
Says he’s got a bad cough
Wants to get it paid off
Look out kid
It’s somethin’ you did
God knows when
But you’re doin’ it again
You better duck down the alley way
Lookin’ for a new friend
The man in the coon-skin cap
By the big pen
Wants eleven dollar bills
You only got ten

Maggie comes fleet foot
Face full of black soot
Talkin’ that the heat put
Plants in the bed but
The phone’s tapped anyway
Maggie says that many say
They must bust in early May
Orders from the D.A.
Look out kid
Don’t matter what you did
Walk on your tiptoes
Don’t try “No-Doz”
Better stay away from those
That carry around a fire hose
Keep a clean nose
Watch the plain clothes
You don’t need a weatherman
To know which way the wind blows

Get sick, get well
Hang around a ink well
Ring bell, hard to tell
If anything is goin’ to sell
Try hard, get barred
Get back, write braille
Get jailed, jump bail
Join the army, if you fail
Look out kid
You’re gonna get hit
But users, cheaters
Six-time losers
Hang around the theaters
Girl by the whirlpool
Lookin’ for a new fool
Don’t follow leaders
Watch the parkin’ meters

Ah get born, keep warm
Short pants, romance, learn to dance
Get dressed, get blessed
Try to be a success
Please her, please him, buy gifts
Don’t steal, don’t lift
Twenty years of schoolin’
And they put you on the day shift
Look out kid
They keep it all hid
Better jump down a manhole
Light yourself a candle
Don’t wear sandals
Try to avoid the scandals
Don’t wanna be a bum
You better chew gum
The pump don’t work
’Cause the vandals took the handles

The two videos to accompany “Subterranean Homesick Blues” which I have included here are the two versions which D.A. Pennebaker shot for his Dylan fly-on-the-wall documentary Don’t Look Back. In fact, the movie opens with the more famous video of this song, the first one which I’ve included below. It features the innovative idea of Dylan leafing through a series of cue-cards with keywords from the song; at the time it was one of the most ground-breaking music videos created. It was Dylan’s idea to do this, and it is an idea which has been copied by many others over the years.

Here is the alternative video. It also features the same cue-card idea!

Which of these 5 songs is your favourite?

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Ever since the announcement a few weeks ago that Bob Dylan has been awarded the 2016 Nobel prize for literature, I’ve been making an effort to listen to a wider variety of his songs. Unlike some of the famous people who praised his getting the Nobel prize, I am not someone who listens to his music every day, even though he is my favourite songwriter. In fact, I probably don’t even listen to him every week, and I’ve realised that when I do listen to his music I’ve been tending to listen to the same five or six albums from his vast catalogue.

So, over the last few weeks I’ve been making a conscience effort to listen to a wider variety of his songs, and one of my favourites of his recent albums (last 20 years!) is his 1997 album Time Out of Mind. This is the album which contains “Make You Feel My Love”, a song made famous by Adele on her first album 19. I have blogged about their respective versions of that song here. Most people who know Adele’s version don’t know that it is a Dylan song, but that has always been true of Dylan’s work. When The Byrds had a hit with “Mr. Tambourine Man” in 1965, many people did not know that it was a Dylan song. Ditto Peter, Paul and Mary’s hit with “Blowin’ in the Wind” in 1963, and Guns ‘n’ Roses 1991 hit with “Knockin’ on Heaven’s Door”.

Another beautiful song on Time Out of Mind is this one, “Not Dark Yet”. It is such a haunting song, with both a beautiful melody and sublime lyrics.


The song “Not Dark Yet” is from Bob Dylan’s 1997 album Time Out of Mind.

Although most of Dylan’s songs are, sadly, not available on YouTube (this one is!), all of his lyrics can be found on his official website. Here is the link to the lyrics for this song. In addition to being able to read the lyrics of each of his songs on his website, you can also see on which album or albums the song is available, including alternative versions.

Amazingly, a particular page for a given song also keeps a tab of how many times Dylan has performed the song in concert, including the first date on which he performed it and the date of his latest performance of that song. As Dylan has been on tour almost continuously for the last 20 years, it is not surprising to see that this song “Not Dark Yet” has been performed over 150 times, but sadly it would seem that he has not performed it since 2012.

To me, “Not Dark Yet” speaks of a weariness and, possibly, tiredness with life, with existence. The man in the song (maybe a facet of Dylan himself?) seems to have lost his ability or desire to enjoy life. He feels like life has become too hard; he has become too weary, unfeeling and cynical. I find the lyrics captivating; such a moving expression of lost youth, lost passion and lost hope. The lines “Well, my sense of humanity has gone down the drain / Behind every beautiful thing there’s been some kind of pain” crystallise the sentiments of the song.

Shadows are falling and I’ve been here all day
It’s too hot to sleep, time is running away
Feel like my soul has turned into steel
I’ve still got the scars that the sun didn’t heal
There’s not even room enough to be anywhere
It’s not dark yet, but it’s getting there

Well, my sense of humanity has gone down the drain
Behind every beautiful thing there’s been some kind of pain
She wrote me a letter and she wrote it so kind
She put down in writing what was in her mind
I just don’t see why I should even care
It’s not dark yet, but it’s getting there

Well, I’ve been to London and I’ve been to gay Paree
I’ve followed the river and I got to the sea
I’ve been down on the bottom of a world full of lies
I ain’t looking for nothing in anyone’s eyes
Sometimes my burden seems more than I can bear
It’s not dark yet, but it’s getting there

I was born here and I’ll die here against my will
I know it looks like I’m moving, but I’m standing still
Every nerve in my body is so vacant and numb
I can’t even remember what it was I came here to get away from
Don’t even hear a murmur of a prayer
It’s not dark yet, but it’s getting there

Here is the official video of this haunting song. Enjoy!

Which is your favourite Bob Dylan song from the last 25 years of his work?

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On Thursday of last week (13 October) it was announced that Bob Dylan had won the 2016 Nobel prize for literature. It should be obvious to anyone who has read my posts on Bob Dylan, of which there have been many, that I am fully in agreement with his receiving this accolade. As I have stated several times, to me Bob Dylan is a poet, but someone who has chosen to set his poems to music. Not all of his songs can be considered poetry, but I would argue that many of them can be, and there is little doubt that he brought a level of literary craftsmanship to writing song lyrics which had not existed before.

That the best songwriters are creating poetry is, for me, a matter of little dispute. At the top of this list sits Bob Dylan, but he is not the only one. Other names which spring to mind are Leonard Cohen, Paul Simon and Joni Mitchell. As the Nobel prize cannot be awarded posthumously, the Nobel committee better get a move on if it’s going to award any of these three the same honour that it has just bestowed on Dylan.


On Thursday of last week (13 October) it was announced that Bob Dylan had won the 2016 Nobel prize for literature.

As four examples of Dylan’s genius for writing songs which are poetry, here are “It’s Alright Ma (I’m Only Bleeding)” from 1965 (which appears on the album Bringing it All Back Home), “The ballad of Frankie Lee and Judas Priest” from 1967 (which appears on his album John Wesley Harding), “Tangled Up in Blue” from 1974 (which appears on the album Blood on the Tracks) and “Not Dark Yet” from 1997 (which appears on on the album Time Out of Mind).

Do you think Bob Dylan is deserving of the Nobel prize in literature, or is songwriting a lesser form of literature than poetry? Which are your favourite Dylan lyrics?

It’s Alright Ma (I’m Only Bleeding)

Darkness at the break of noon
Shadows even the silver spoon
The handmade blade, the child’s balloon
Eclipses both the sun and moon
To understand you know too soon
There is no sense in trying

Pointed threats, they bluff with scorn
Suicide remarks are torn
From the fool’s gold mouthpiece the hollow horn
Plays wasted words, proves to warn
That he not busy being born is busy dying

Temptation’s page flies out the door
You follow, find yourself at war
Watch waterfalls of pity roar
You feel to moan but unlike before
You discover that you’d just be one more
Person crying

So don’t fear if you hear
A foreign sound to your ear
It’s alright, Ma, I’m only sighing

As some warn victory, some downfall
Private reasons great or small
Can be seen in the eyes of those that call
To make all that should be killed to crawl
While others say don’t hate nothing at all
Except hatred

Disillusioned words like bullets bark
As human gods aim for their mark
Make everything from toy guns that spark
To flesh-colored Christs that glow in the dark
It’s easy to see without looking too far
That not much is really sacred

While preachers preach of evil fates
Teachers teach that knowledge waits
Can lead to hundred-dollar plates
Goodness hides behind its gates
But even the president of the United States
Sometimes must have to stand naked

An’ though the rules of the road have been lodged
It’s only people’s games that you got to dodge
And it’s alright, Ma, I can make it

Advertising signs they con
You into thinking you’re the one
That can do what’s never been done
That can win what’s never been won
Meantime life outside goes on
All around you

You lose yourself, you reappear
You suddenly find you got nothing to fear
Alone you stand with nobody near
When a trembling distant voice, unclear
Startles your sleeping ears to hear
That somebody thinks they really found you

A question in your nerves is lit
Yet you know there is no answer fit
To satisfy, insure you not to quit
To keep it in your mind and not forget
That it is not he or she or them or it
That you belong to

Although the masters make the rules
For the wise men and the fools
I got nothing, Ma, to live up to

For them that must obey authority
That they do not respect in any degree
Who despise their jobs, their destinies
Speak jealously of them that are free
Cultivate their flowers to be
Nothing more than something they invest in

While some on principles baptized
To strict party platform ties
Social clubs in drag disguise
Outsiders they can freely criticize
Tell nothing except who to idolize
And then say God bless him

While one who sings with his tongue on fire
Gargles in the rat race choir
Bent out of shape from society’s pliers
Cares not to come up any higher
But rather get you down in the hole
That he’s in

But I mean no harm nor put fault
On anyone that lives in a vault
But it’s alright, Ma, if I can’t please him

Old lady judges watch people in pairs
Limited in sex, they dare
To push fake morals, insult and stare
While money doesn’t talk, it swears
Obscenity, who really cares
Propaganda, all is phony

While them that defend what they cannot see
With a killer’s pride, security
It blows the minds most bitterly
For them that think death’s honesty
Won’t fall upon them naturally
Life sometimes must get lonely

My eyes collide head-on with stuffed
Graveyards, false gods, I scuff
At pettiness which plays so rough
Walk upside-down inside handcuffs
Kick my legs to crash it off
Say okay, I have had enough, what else can you show me?

And if my thought-dreams could be seen
They’d probably put my head in a guillotine
But it’s alright, Ma, it’s life, and life only

The Ballad of Frankie Lee and Judas Priest

Well, Frankie Lee and Judas Priest
They were the best of friends
So when Frankie Lee needed money one day
Judas quickly pulled out a roll of tens
And placed them on a footstool
Just above the plotted plain
Sayin’, “Take your pick, Frankie Boy
My loss will be your gain”

Well, Frankie Lee, he sat right down
And put his fingers to his chin
But with the cold eyes of Judas on him
His head began to spin
“Would ya please not stare at me like that,” he said
“It’s just my foolish pride
But sometimes a man must be alone
And this is no place to hide”

Well, Judas, he just winked and said
“All right, I’ll leave you here
But you’d better hurry up and choose which of those bills you want
Before they all disappear”
“I’m gonna start my pickin’ right now
Just tell me where you’ll be”
Judas pointed down the road
And said, “Eternity!”

“Eternity?” said Frankie Lee
With a voice as cold as ice
“That’s right,” said Judas Priest, “Eternity
Though you might call it ‘Paradise’”
“I don’t call it anything”
Said Frankie Lee with a smile
“All right,” said Judas Priest
“I’ll see you after a while”

Well, Frankie Lee, he sat back down
Feelin’ low and mean
When just then a passing stranger
Burst upon the scene
Saying, “Are you Frankie Lee, the gambler
Whose father is deceased?
Well, if you are, there’s a fellow callin’ you down the road
And they say his name is Priest”

“Oh, yes, he is my friend”
Said Frankie Lee in fright
“I do recall him very well
In fact, he just left my sight”
“Yes, that’s the one,” said the stranger
As quiet as a mouse
“Well, my message is, he’s down the road
Stranded in a house”

Well, Frankie Lee, he panicked
He dropped ev’rything and ran
Until he came up to the spot
Where Judas Priest did stand
“What kind of house is this,” he said
“Where I have come to roam?”
“It’s not a house,” said Judas Priest
“It’s not a house . . . it’s a home”

Well, Frankie Lee, he trembled
He soon lost all control
Over ev’rything which he had made
While the mission bells did toll
He just stood there staring
At that big house as bright as any sun
With four and twenty windows
And a woman’s face in ev’ry one

Well, up the stairs ran Frankie Lee
With a soulful, bounding leap
And, foaming at the mouth
He began to make his midnight creep
For sixteen nights and days he raved
But on the seventeenth he burst
Into the arms of Judas Priest
Which is where he died of thirst

No one tried to say a thing
When they took him out in jest
Except, of course, the little neighbor boy
Who carried him to rest
And he just walked along, alone
With his guilt so well concealed
And muttered underneath his breath
“Nothing is revealed”

Well, the moral of the story
The moral of this song
Is simply that one should never be
Where one does not belong
So when you see your neighbor carryin’ somethin’
Help him with his load
And don’t go mistaking Paradise
For that home across the road

Tangled Up in Blue

Early one mornin’ the sun was shinin’
I was layin’ in bed
Wond’rin’ if she’d changed at all
If her hair was still red
Her folks they said our lives together
Sure was gonna be rough
They never did like Mama’s homemade dress
Papa’s bankbook wasn’t big enough
And I was standin’ on the side of the road
Rain fallin’ on my shoes
Heading out for the East Coast
Lord knows I’ve paid some dues gettin’ through
Tangled up in blue

She was married when we first met
Soon to be divorced
I helped her out of a jam, I guess
But I used a little too much force
We drove that car as far as we could
Abandoned it out West
Split up on a dark sad night
Both agreeing it was best
She turned around to look at me
As I was walkin’ away
I heard her say over my shoulder
“We’ll meet again someday on the avenue”
Tangled up in blue

I had a job in the great north woods
Working as a cook for a spell
But I never did like it all that much
And one day the ax just fell
So I drifted down to New Orleans
Where I happened to be employed
Workin’ for a while on a fishin’ boat
Right outside of Delacroix
But all the while I was alone
The past was close behind
I seen a lot of women
But she never escaped my mind, and I just grew
Tangled up in blue

She was workin’ in a topless place
And I stopped in for a beer
I just kept lookin’ at the side of her face
In the spotlight so clear
And later on as the crowd thinned out
I’s just about to do the same
She was standing there in back of my chair
Said to me, “Don’t I know your name?”
I muttered somethin’ underneath my breath
She studied the lines on my face
I must admit I felt a little uneasy
When she bent down to tie the laces of my shoe
Tangled up in blue

She lit a burner on the stove
And offered me a pipe
“I thought you’d never say hello,” she said
“You look like the silent type”
Then she opened up a book of poems
And handed it to me
Written by an Italian poet
From the thirteenth century
And every one of them words rang true
And glowed like burnin’ coal
Pourin’ off of every page
Like it was written in my soul from me to you
Tangled up in blue

I lived with them on Montague Street
In a basement down the stairs
There was music in the cafés at night
And revolution in the air
Then he started into dealing with slaves
And something inside of him died
She had to sell everything she owned
And froze up inside
And when finally the bottom fell out
I became withdrawn
The only thing I knew how to do
Was to keep on keepin’ on like a bird that flew
Tangled up in blue

So now I’m goin’ back again
I got to get to her somehow
All the people we used to know
They’re an illusion to me now
Some are mathematicians
Some are carpenters’ wives
Don’t know how it all got started
I don’t know what they’re doin’ with their lives
But me, I’m still on the road
Headin’ for another joint
We always did feel the same
We just saw it from a different point of view
Tangled up in blue

Not Dark Yet

Shadows are falling and I’ve been here all day
It’s too hot to sleep, time is running away
Feel like my soul has turned into steel
I’ve still got the scars that the sun didn’t heal
There’s not even room enough to be anywhere
It’s not dark yet, but it’s getting there

Well, my sense of humanity has gone down the drain
Behind every beautiful thing there’s been some kind of pain
She wrote me a letter and she wrote it so kind
She put down in writing what was in her mind
I just don’t see why I should even care
It’s not dark yet, but it’s getting there

Well, I’ve been to London and I’ve been to gay Paree
I’ve followed the river and I got to the sea
I’ve been down on the bottom of a world full of lies
I ain’t looking for nothing in anyone’s eyes
Sometimes my burden seems more than I can bear
It’s not dark yet, but it’s getting there

I was born here and I’ll die here against my will
I know it looks like I’m moving, but I’m standing still
Every nerve in my body is so vacant and numb
I can’t even remember what it was I came here to get away from
Don’t even hear a murmur of a prayer
It’s not dark yet, but it’s getting there

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At number 7 in The Guardian’s list of ten best physicists is Marie Curie. She is the only woman in this list, although she is more often thought of as a chemist than a physicist.




To be controversial on purpose, is she in this list as the token woman, or does she deserve to be in it?

Curie’s brief biography

Marie Curie was born Maria Sklodowska in 1867 in Warsaw, Poland. In 1891 she moved to Paris, and enrolled at the Sorbonne (part of the University of Paris) to study physics, chemistry and mathematics. She graduated with a degree in Physics in 1893. In the same year she met Pierre Curie, who was an instructor at the École Supérieure. They married in 1895. Between meeting Pierre Curie in 1893 and the year 1902 they published over 30 papers together on their research into radioactivity and the new elements they were discovering. In 1900 Curie was appointed onto the faculty at the École Normale Supérieure, becoming their first ever woman member of faculty.

In 1903 Curie was awarded the Physics Nobel prize, along with her husband Pierre Curie and Henri Becquerel – “in recognition of the extraordinary services they have rendered by their joint researches on the radiation phenomena discovered by Professor Henri Becquerel”.

Curie continued her research, and in 1905 was awarded a PhD from the University of Paris. The following year, 1906, Pierre Curie was killed whilst crossing the road in Paris. Marie was offered the Professor Chair her husband had been appointed to at the Sorbonne, becoming the first woman Professor at the Sorbonne.

Curie discovered two new elements, radium and polonium. In 1911 Curie was awarded the Chemistry Nobel prize. The citation read “in recognition of her services to the advancement of chemistry by the discovery of the elements radium and polonium, by the isolation of radium and the study of the nature and compounds of this remarkable element”. She was the first person to win two Nobel prizes, she is the only person to win Nobel prizes in two different fields of science, and is only one of two people (the other being Linus Pauling) who have won Nobel prizes in two different fields.

Curie died in 1934, aged 66, of aplastic anaemia, which is believed to have been caused by her long-term exposure to radiation from the radioactive elements she isolated and studied. Her laboratory notebooks are still too radioactive to be handled without protection. In 1995 Curie’s body was moved to the Panthéon in Paris, becoming the first woman to be honoured by being interned there.

Above I asked whether Marie Curie was just in this list so that a woman would be represented in the top 10 physicists list. I think, after one considers the huge contribution she made to early 20th Century physics and chemistry through her work on radioactivity, it is clear that she thoroughly deserves her place in this top 10 list.

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You can read more about Marie Curie and the other physicists in this “10 best” list in our book 10 Physicists Who Transformed Our Understanding of the UniverseClick here for more details and to read some reviews.


Ten Physicists Who Transformed Our Understanding of Reality is available now. Follow this link to order

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