Rock & Folk

L'article sur bashung,je l'attendais quand même .. j'aurais été déçu que ça passe inaperçu dans ce mag ..
même si même si ..

Tu n'aimes pas iggy pop ?
moi je l'adore ce mec là.
même si même si ..

Mais Acin a été une grosse perte c'est vrai .. reste plus grand monde.

Planet waves a écrit:

la moitié du mag est quand même à sauver généralement ..

et puis,qu'y-a-t-il d'autre en presse musicale française ?

magic c'est pas mal aussi mais il y aurait beaucoup à redire aussi ..

Xroads aussi peut-être .. mais ça reste du même niveau.

en ce qui concerne mojo,c'est réservé aux anglophones ..

La moitié ?
Un petit quart, pour moi.
Et ça se réduit de plus en plus, mois après mois.

Bon, je vais pas faire le procès de Rock'n Folk, ce n'est pas le lieu.
Juste qu'ils n'ont, à mon avis, jamais capté à quel point internet avait modifié leur métier.
Le problème, ce n'est pas quel groupe on met à l'affiche.
Le problème, c'est comment on en parle. Qu'est-ce que l'on apporte comme valeur ajoutée à l'heure où l'information circule mille fois plus vite qu'un magazine.
Et cette révolution-là, ils ne l'ont jamais faite.
Résultat, je préfère parcourir les forums, glaner des informations ici ou là que lire la presse rock française actuelle.

Oui c'est vrai...

Bin j'aime Iggy Pop mais pas comme ça, il est trop mis en avant dans ce magazine.
J'espere que le mois prochains on aura le droit à une plus grosse chronique Dylanienne.

Planet waves a écrit:

la moitié du mag est quand même à sauver généralement ..

et puis,qu'y-a-t-il d'autre en presse musicale française ?

magic c'est pas mal aussi mais il y aurait beaucoup à redire aussi ..

Xroads aussi peut-être .. mais ça reste du même niveau.

en ce qui concerne mojo,c'est réservé aux anglophones ..

Le Xroads est franchement pas mal ...
Je préférais quand ils étaient avec Brazil ...
C'était ma petite Bible ...

J'achéte Rock&Folk parce que c'est effectivement le seul magazine français du genre.J'achéterais bien Mojo et Uncut chaque mois mais 8.50€ le numero c'est bien trop cher (j'achéte que les numeros qui m'intéressent, comme celui d'Uncut consacré à Dylan paru il y a quelques mois).
Dans Rock&Folk j'adore la rubrique réedition d'Ungemuth même si il est souvent de mauvaise foi.Les articles d'Eudeline sont souvent trés intéressants, par contre je suis content qu'ils aient arrêtés de nous gonfler avec les Naast et Plastiscines depuis quelques temps (avant il n'y avait pas un article sans qu'ils se sentent obligés de faire référence à Gonzague machin des Naast).

Pas mal la chronique, en tous cas.
Cette histoire de "voix mixée en avant" et cette référence à "Patt Garrett", ça me cause !

deafbillieblackbell a écrit:

J'achéte Rock&Folk parce que c'est effectivement le seul magazine français du genre.J'achéterais bien Mojo et Uncut chaque mois mais 8.50€ le numero c'est bien trop cher (j'achéte que les numeros qui m'intéressent, comme celui d'Uncut consacré à Dylan paru il y a quelques mois).
Dans Rock&Folk j'adore la rubrique réedition d'Ungemuth même si il est souvent de mauvaise foi.Les articles d'Eudeline sont souvent trés intéressants, par contre je suis content qu'ils aient arrêtés de nous gonfler avec les Naast et Plastiscines depuis quelques temps (avant il n'y avait pas un article sans qu'ils se sentent obligés de faire référence à Gonzague machin des Naast).

C'est vrai qu'ils se sont un peu calmés avec naast,plastiscines et autres .. le problème,c'est que les plastiscines sortent bientôt leur deuxième album et tu peux être sur qu'ils vont nous faire un patacaisse là dessus ..
ça va certainement reprendre donc .. dommage.
J'aime bien eudeline aussi,même si parfois,il fait un peu trop preuve d'érudition .. se complaît un peu là dedans.
Mais ça reste un très bon critique rock.
Ungemuth est très bon aussi.

Uncut aussi c'est pour les anglophones
si j'achète ça,je vais comprendre la moitié ..

Baptiste a écrit:

Planet waves a écrit:

la moitié du mag est quand même à sauver généralement ..

et puis,qu'y-a-t-il d'autre en presse musicale française ?

magic c'est pas mal aussi mais il y aurait beaucoup à redire aussi ..

Xroads aussi peut-être .. mais ça reste du même niveau.

en ce qui concerne mojo,c'est réservé aux anglophones ..

La moitié ?
Un petit quart, pour moi.
Et ça se réduit de plus en plus, mois après mois.

Bon, je vais pas faire le procès de Rock'n Folk, ce n'est pas le lieu.
Juste qu'ils n'ont, à mon avis, jamais capté à quel point internet avait modifié leur métier.
Le problème, ce n'est pas quel groupe on met à l'affiche.
Le problème, c'est comment on en parle. Qu'est-ce que l'on apporte comme valeur ajoutée à l'heure où l'information circule mille fois plus vite qu'un magazine.
Et cette révolution-là, ils ne l'ont jamais faite.
Résultat, je préfère parcourir les forums, glaner des informations ici ou là que lire la presse rock française actuelle.

Je ne peux qu'être d'accord ..
Je disais la moitié dans le sens où l'on faisait impasse sur le net ..
pour celui qui acheterait ce mag sans se servir d'internet .. ok il n'y a plus grand monde maintenant ..
ça va,5 euros par mois,je peux encore les mettre .. mais ça m'empêche pas de me poser des questions aussi et si je vais toujours me réabonner ..

Nouveau numéro pas mal.
Un article de 4 pages sur Good Morning England.
Une interview enorme de Pop.
Mais une interview des Naast qui sert à rien.
Bref... y avait une petite review du live de Dylan au Palais des congrès dans la rubrique Absolutly Live.

deafbillieblackbell a écrit:

C'est bien ce numero là dont il parle.
Par contre, l'interview de Dylan est elle reproduite dans son intégralité?C'est assez court quand même.Mais bon, une interview de Dylan c'est si rare.

J'ai peut-être mal suivi, mais cette interview, elle est où, en anglais ?

J'oubliais, il y a dans le dernière numéro une interview de Jeff Beck qui est juste géniale.
Je vous le conseil.

Citation :

J'ai peut-être mal suivi, mais cette interview, elle est où, en anglais ?

En français, là voilà:
https://nsa06.casimages.com/img/2009/03/30/090330093320856362.jpg

deafbillieblackbell a écrit:

Citation :

J'ai peut-être mal suivi, mais cette interview, elle est où, en anglais ?

En français, là voilà:
https://nsa06.casimages.com/img/2009/03/30/090330093320856362.jpg

J'ai vu, entre-temps : je suppose qu'en anglais, elle est dans les papiers posthumes du regretté Acin. Mais pourquoi il a été dit que l'interview était tronquée ?

Citation :

J'ai vu, entre-temps : je suppose qu'en anglais, elle est dans les papiers posthumes du regretté Acin. Mais pourquoi il a été dit que l'interview était tronquée ?

Puisque qu'il y a seulement une page, je suppose qu'elle n'est pas compléte, mais il faudrait demander à quelqu'un qui posséde le Rock & Folk ou elle a été initialement publiée en 2001.

deafbillieblackbell a écrit:

Citation :

J'ai vu, entre-temps : je suppose qu'en anglais, elle est dans les papiers posthumes du regretté Acin. Mais pourquoi il a été dit que l'interview était tronquée ?

Puisque qu'il y a seulement une page, je suppose qu'elle n'est pas compléte, mais il faudrait demander à quelqu'un qui posséde le Rock & Folk ou elle a été initialement publiée en 2001.

Elle est loin, très loin d'être complète.

L'interview originale, de Nicolas Acin, est passionante, en tous cas.

J'envois un mail à Rock et Folk, gentillement écrit avec l'adresse du forum et tout, demandant s'il est possible d'avoir l'article en intégralité.
Qui sait...

A moins que Baptiste l'ai ?

Aleyster a écrit:

J'envois un mail à Rock et Folk, gentillement écrit avec l'adresse du forum et tout, demandant s'il est possible d'avoir l'article en intégralité.
Qui sait...

A moins que Baptiste l'ai ?

Oui, je l'ai.
Je cherche ça demain, je scanne et je vous le file.

C'est vraiment une bonne interview et un bon papier en général.

Baptiste a écrit:

deafbillieblackbell a écrit:

Citation :

J'ai vu, entre-temps : je suppose qu'en anglais, elle est dans les papiers posthumes du regretté Acin. Mais pourquoi il a été dit que l'interview était tronquée ?

Puisque qu'il y a seulement une page, je suppose qu'elle n'est pas compléte, mais il faudrait demander à quelqu'un qui posséde le Rock & Folk ou elle a été initialement publiée en 2001.

Elle est loin, très loin d'être complète.

L'interview originale, de Nicolas Acin, est passionante, en tous cas.

Ok, je reprends : où peut-on la voir, cette interview originale et passionnante ? J'avais mal lu : vous la mettez sur le forum ? C'est grand, ça.

Braque a écrit:

Ok, je reprends : où peut-on la voir, cette interview originale et passionnante ? J'avais mal lu : vous la mettez sur le forum ? C'est grand, ça.

J'ai l'impression que tu confonds plusieurs choses.

D'une part, il y a cette interview, en français, publiée dans Rock'n Folk en 2001 et republiée (un extrait seulement) il y a quelques semaines. Je vais mettre le papier de 2001 en ligne demain.

Il y a d'autres interviews intéressantes plus récentes, notamment une publiée dans le Rolling Stone américain et une autre publiée sur le site officiel de Dylan. Mais cette fois, c'est en anglais.

Citation :

notamment une publiée dans le Rolling Stone américain

Celle là j'aimerais bien la lire!

deafbillieblackbell a écrit:

Citation :

notamment une publiée dans le Rolling Stone américain

Celle là j'aimerais bien la lire!

J'ai acheté le mag sur priceminister.
Je devrais bientôt le recevoir.
Je le scannerai le cas échéant.

Cool, merci, je n'ai pas pu le trouver.

Baptiste a écrit:

Braque a écrit:

Ok, je reprends : où peut-on la voir, cette interview originale et passionnante ? J'avais mal lu : vous la mettez sur le forum ? C'est grand, ça.

J'ai l'impression que tu confonds plusieurs choses.

D'une part, il y a cette interview, en français, publiée dans Rock'n Folk en 2001 et republiée (un extrait seulement) il y a quelques semaines. Je vais mettre le papier de 2001 en ligne demain.

Il y a d'autres interviews intéressantes plus récentes, notamment une publiée dans le Rolling Stone américain et une autre publiée sur le site officiel de Dylan. Mais cette fois, c'est en anglais.

Premier point : ça y est, j'ai compris. Et merci, au fait, pour la mise en ligne.
Et puis il y a un article qui m'a paru pas mal, à l'époque, dans Rolling Stone (12 avril 2001), un peu lourdement intitulé "Tangled Up in Bob" et qui traite plus spécialement de la dylanologie, et plus particulièrement du grand fétichiste Weberman (son prénom m'échappe).
Sinon, j'ai ça (en anglois, que j'ai pas trop ((pas du tout)) le temps de traduire, copié sur quel forum ? Je vois que j'ai effacé la source) :

Re: Song of the day (80): "Rock of Ages" Posted by:
Date: March 22, 2006 04:54AM floweronyourlapel Wrote: -------------------------------------------------------
> notdarkyet Wrote:
> --------------------------------------------------
> A short Rolling Stone interview conducted in Kansas on October 26, 2004 (and published > online > > on November 17, 2004) contains the following > bit: > > > > > > RS: "What's the last song you'd like to hear before you die?" BD: "How 'bout 'ROCK OF AGES'?" > > > > >

Q&A: Bob Dylan By AUSTIN SCAGGS

Bob Dylan has proved that his prose can be as elegant as his poetry. In his new memoir, Chronicles: Volume One, Dylan takes us on a circular ride through the most intense periods of his professional life, from Greenwich Village in 1961 to his retreat to Woodstock in 1968 and his regeneration in the late Eighties. It's less an autobiography than a historical document -- a philosophical and personal analysis of life in America -- and it will make your head spin. Ladies and gentlemen, Columbia recording artist Bob Dylan, checking in from a tour stop in Manhattan, Kansas.

Q. In Chronicles you write about the guitar technique that Lonnie Johnson taught you. Only a serious musician could comprehend the language you use. Why'd you choose to go into such great detail?

A. I think it might be helpful for people to understand that my style has got a structure to it. Maybe I wrote that for people who play. Some people might pick it up. Why? Do you find it irrelevant in some way?

Q. On the contrary.

A. I can't say whether a bus driver would find it interesting. To me it was important.

Q. You also describe watching La Dolce Vita "intently, thinking that I might not see it again." Do you have a photographic memory?

A. I leave my mind open. I don't fill it up with a lot of things. I'm very careful as to what I get distracted by. With the book, what I try and do is put a feeling across. It's not the kind of book where it's a short life and a merry one. It's more abstract, drawn out over long periods of time. I worked the book, if you want to call it that, in patterns. I portray life as a game of chance. It works on a variety of levels, like some of the best songs do.

Q. You write about the night Woody Guthrie sent you to his house in Coney Island to get a box of his lyrics. What would have happened if you'd found them?

A. I don't know if I would have been capable of doing much with them at all, really, though I suppose I would have. I don't think I would have made a record of that stuff, like the record that eventually came out [Billy Bragg and Wilco's Mermaid Avenue Vols. 1 and II]. Who'd really heard of me?

Q. You downplay a chunk of your career in Chronicles. Am I crazy to love Street Legal, Slow Train Coming and Infidels?

A. Not at all. I can play those songs, but I probably can't listen to those records. I'll hear too many faults. I was just being swept along with the current when I was making those records. I don't think my talent was under control. But there's probably good stuff on all of them. Shelley said the point was to make unpremeditated art. I don't think those records fall into that category.

Q. Lyrically, does it get any better than "It's Alright, Ma"?

A. It's hard to live up to that kind of thing. You can't try to top it -- that's not the point. Lyrically you can't top it, no. I still can play that song, and I know what it can do. That song was written with a hunger that can break down stone walls. That was the motivation.

Q. Have you ever hung with Little Richard?

A. Yeah!

Q. What was that like? Did you tell him that in your high school yearbook you wrote your ambition was to be in his band?

A. He's a fantastic person. Very exciting guy to be around, as you can imagine. I don't think I told him about the yearbook -- I don't think I needed to. He knows I've been a fan of his from way back.

Q. In the book you don't talk too much about playing harp. What harmonica performances of your own are you most proud of?

A. A lot of them, really. I don't know if proud is the word.... I play the harmonica like I play the piano. I don't really need to listen to what I'm playing. Of course, I can tell if I'm playing it wrong, when it's not going to appeal to anybody. It might on a technological level, but it won't on a gut level. If I put it into the beat, right on the one or the three, that's really basically all I have to do to get the point across. It will form a melodic structure on its own. Someone can always play it better, but you've heard a lot of great musicians where it sounds great at the time, but you forget about it two minutes later. I stay away from that showoff thing.

Q. This is how I see it: You fly to Italy, hang out with beautiful women, make a little scratch and next thing you're in a Victoria's Secret commercial.

A. Yeah. Was I not supposed to do that?

Q. I enjoyed it.

A. I wish I would have seen it. Maybe I'd have something to say about it. I don't see that kind of stuff. That's all for other people to see and make up what they will.

Q. Why do you leave your Oscar on your guitar amp?

A. I think it's welded to it now. The guys who work with me backstage are so thrilled about seeing it that they keep putting it up there.

Q. What's the last song you'd like to hear before you die?

A. How 'bout "Rock of Ages"?

Q. I heard you've written songs for a new album.

A. I have a bunch of them. I do.

Q. When will you crank 'em out?

A. Maybe in the beginning of the year. I'm not sure where and when.

Q. Can you tell me about them?

A. No, I couldn't explain them to you. After you listen to them, call me back. It's difficult to paraphrase them or tell you what kind of style they're in. You won't be surprised.

Q. Why not?

A. The musical structure you're used to hearing -- it might be rearranged a bit. The songs themselves will speak to you.

Q. I saw you play at the Newport Folk Festival a couple of years ago. What was up with the wig and fake beard?

A. Is that me who you saw up there?

Mon commentaire : c'est un peu raplaplat, non ?

Et l'interview récente de Rolling Stone trouvée sur Expecting Rain:



Bob Dylan on American Music and the Problem With Pop
America's greatest songwriter talks about building the perfect sound, bootlegs and his chat with France's president (Posted Apr 29, 2009 8:32 AM)

In the current Rolling Stone on stands now, Bob Dylan discusses his new album Together Through Life and American icons from Chuck Berry to Walt Whitman to Elvis Presley. Here David Brinkley shares more of his conversations with America's greatest songwriter.

Do you think of yourself as a bandleader at all?
Ah, yeah... I do. Ideally, I probably would be by not writing music but writing the charts. I'd be writing the dynamics that are happening inside of the song. But without writing that down in a musical notation and being able to give it to say, an orchestrator. And so my songs could be played by an orchestra. With strings and horns and bassoons. And where those rhythms can be played by classical instruments. I could probably get my point across even better than I can now with just playing in a five-piece band. So, in my mind, whatever it is I'm doing, it's not really completely fully developed. Does that make sense to you? It's got potential to be developed. But as time goes on, nobody is notating my music properly. I used to think maybe 10 years ago that somebody should. That somebody would. We had some people come in and do it but back in those days, my electric guitar was dominating the rhythm section and I couldn't get my supporting players to understand what all the focus was on. And it took me a long time to find the right combination of guys. Not that I ever stopped working, I figured I'll just plow through the song and the right guys will appear sooner or later. Which is what happened. That's pretty much the story up to the present time.

My songs, from the beginning, were never like that. They weren't really a communal thing for people to bond over. They were more individualistic right from the start. But I always knew something was going to click. But I didn't know what it would be. So I stuck with it. You know, my health held up. And I was able to stick with it. And there was like a fierce wind that was pushing me, just to do this one thing like nobody had ever done it before. In jazz or classical music you have critics who understand the music. Like in modern jazz, I mean you'll read reviews of, you know, Charlie Mingus or Dizzy or somebody. The critical language is not a more conventional language. It's written for a music person to appreciate. Well pop music isn't written like that. Pop music seems to be right down there on the bottom of the street. It's almost worthless. The critics aren't necessarily good writers. They don't have to really take any type of college course in it because the songs themselves are really simple. And they have generations of musical idioms to look at. And... it's called popular music.

But you know Bob Willis? I saw a statement from Bob Willis one time and he said that, "Each aspect of pop music reflects on the other." And that, "Each aspect of popular music affects the other." He said the kind of music he played, which was called Western Swing music, was only in one area of popular music. He considered himself a popular music man. Just like the Memphis Jug Band, they thought they were playing popular music. They didn't have any skills I guess. I saw an interview once with Riley Puckett. He claimed they were playing popular music just like Bing Crosby singing it or Ella Fitzgerald or anybody. And I feel the same way. It's popular music. You can't break that. Some of it is stronger and harsher than others. But somebody I knew broke the pop music stereotype. That guy was Woody Guthrie. But his songs in one form or another are still popular music.

I would think doing 108 shows a year has helped create such a perfect sound. It must be keeping you alive. The lyrics to Together Through Life are survivalist road songs, really.
What happened there was I really had no plans to make any record, any new record from about '94, '92 or '94. I figured I'd go out on the road and I'd stick to performing. I'd figured that out, I'd gotten into what makes the road tick for me. So I figured I had, at that point, so many songs in my pocket, I didn't really want to write any new songs. I had songs of every type. And they all held up. But I was bored singing them a certain way. So I was already starting to break into the structure with my own guitar.

First thing I had to do was find a drummer. That was difficult. But I found a good bass player, Tony Garnier, and he stuck with me. Finding a drummer was difficult. And finding another guitar player or two was just almost impossible. And I'd experiment with other instruments. I just went through guys, ya know, until what I have as a band now is acceptable for the type of music we play in a good way.

But at a certain point I thought that even though I had made a vow to myself that I wouldn't record anymore, and records take a lot of time, and ya know, you don't just make them to make them. But you make them because you want people to hear the songs you need to play. Ya know, different songs. I had no real hunger to play any different songs. And, of course, that changed because I realized, "Why don't I just write some songs that are more into this new style of music that I'm playing?" Which my old songs weren't. I could force them there and they will work. But, ideally, maybe they weren't suited for what I now wanted to accomplish. So I started writing the Time Out of Mind songs. And we used most of those in that album. I thought, well, we did that! We'll do some more! That album's songs fit this particular style we're doing now. You never knew when you're writing them yourself. Or you'd only write them because you wanted to sing something new. Oftentimes it's because you were short or something for an album. We couldn't possibly play all the songs I've came up with in a week. Or in a month. There's just so many songs I have. Ya know, it's always hard now, trying to find places for them in concert, ensuring the older ones get played. But as far as going out on the road? I mean, that would probably be said by outsiders who aren't really preachers or musicians or entertainers of any kind of degree. Basically I'm like Chuck Berry or Little Richard when it comes to outsider stuff. So I reject that criticism that I'm performing too much.

People bring out books like the Encyclopedia of Dylan. There are people who consider themselves Dylan scholars or Dylanologists. Does it please you or does it seem strange for somebody to be microstudying you like that?
Nooo! It's outsiders, again. Anybody inside would know what it is that we do and what makes it tick. And you could write volumes on it. I could teach a course on it myself, on how to play this type of music. You know teaching enough young guys who want to play it. But you know, popular music. It doesn't attract people who are in it for the right reasons. They're not called to do it. It's not their destiny. They weren't born for it. ...But you know even then... aren't there thousands of books written on Shakespeare's works? And Shakespeare too? How many do you need to read? I'll tell you wouldn't you rather see a Shakespeare play than read a critical analysis on him? I know I would!

Do you get any time to sit in on concerts? Like would you go see someone like Leonard Cohen...
I know what Leonard does. I wouldn't need to go see him. I still go see plays. I go to the symphony because I'd be hearing threads and things that are new to me that maybe would influence me in some kind of way. ... I mean I would hear things harmonically that I might think, "Oh, well that's not such a bad idea" or maybe that kind of thing. But I wouldn't go see anybody.

Do you recall where you were at when Obama was elected? Did you feel part of that energy with the campaign? Do you feel like he's a good person?
Well I mean, how do you know? The people that are in history that I study up on are people like Attila the Hun, Genghis Khan, Julius Caesar, Scipio, maybe George Washington, Lincoln, those kind of guys. And I don't know much about any of these other guys that run for office. It takes more than being a politician to be a leader. So I study leaders rather than politicians.

Obama's shown great potential as a leader.
Let's hope so. I mean he's inheriting that position at a very complicated time.

Are you recording all of your shows on good digital tape? Is each Bob Dylan show being recorded for posterity?
No. At a certain point we'll take songs into the studio and we'll do a television show. Television. [Laughs.] Like that still exists — with this band performing some kind of a repertoire of these particular songs. And they'll be recorded properly. The other [bootleg] recordings, they aren't recorded properly. You have no idea the stuff I deal with. Why are people compelled to think I'm just a public figure going around doing shows they think they can record what they want? You have to go deal with the people who are actually there from night to night. But most of those people aren't there to record or to take pictures. They're there for enjoyment reasons. They are a lot of people who are having a night out. If you're doing something else while we're playing [shakes head]. I say it's like going to a Shakespeare play and taking pictures. You're not going to feel the affect.

But can you ever say, "Oh, that show tonight I felt like I was in the zone"?
No. They're all in the zone. Because it's got nothing to do with how you feel. They're all in the zone. Every night is in the zone. Because it's mathematical. As long as you stick to the rules — the mathematical rules, there's no way you can miss.

I want to just follow-up on that globalization talk you had with Sarkozy [after his April 7th show in Paris].
Yeah, I ask him, I said, "With all these bailouts and stimulus packages, all these bailouts throughout the country. I'm just wondering whether globalism is dead in the tracks? Ya know, is it over?" He doesn't say yes, he didn't say no.

Bob, he is a politician...
Yeah!

But what intrigued me was you saying that we must get back to being the United States.
Oh, and he could get back to being France.

Boy, you're an individualist, aren't you? Does globalism therefore get oppressive to you? The global Internet? Global economics? Are you missing what some critics call the older, weirder America?
I never thought the older America was weird in any way whatsoever. Where do people come up with that stuff? To call it that? What's the old weird America? The depression? Or Teddy Roosevelt? What's old and weird? Well, musically, no. Musically we play a form of American music and that's not gonna go away. Whatever happens in the world won't affect that whatsoever. But you know globalism is, I would think, about getting rid of boundaries, nationalities. You're apart of one big world, no? It might take people awhile to get used to that. I don't like the trend.

You spent some time in New York rings over the decades. Do you ever get nostalgic being back in the Village? Or are you just doing your thing now so much you're not really looking back much.
Well I still find the old magic downtown. New York is New York. It's always got that vibrancy to it. But the old world? The one I found when I'd gotten there? That's pretty much gone. That's been gone for quite awhile and I wouldn't expect it to come back.



Mais bon, comme ça c'est un peu chiant à lire, je préférerais avoir la magazine entre les mains.

deafbillieblackbell a écrit:

Et l'interview récente de Rolling Stone trouvée sur Expecting Rain:



Bob Dylan on American Music and the Problem With Pop
America's greatest songwriter talks about building the perfect sound, bootlegs and his chat with France's president (Posted Apr 29, 2009 8:32 AM)

In the current Rolling Stone on stands now, Bob Dylan discusses his new album Together Through Life and American icons from Chuck Berry to Walt Whitman to Elvis Presley. Here David Brinkley shares more of his conversations with America's greatest songwriter.[COUPE]
Well I still find the old magic downtown. New York is New York. It's always got that vibrancy to it. But the old world? The one I found when I'd gotten there? That's pretty much gone. That's been gone for quite awhile and I wouldn't expect it to come back.



Mais bon, comme ça c'est un peu chiant à lire, je préférerais avoir la magazine entre les mains.

Je l'ai juste parcouru, mais c'est pas mal. Je n'étais pas au courant. Quelque fois, avoir la presse étrangère c'est un peu difficile.

Comme promis...
Je n'ai pas scanné les pages où il n'y avait que des photos, par contre.

Interview Rock'n Folk 2001

Bonne lecture !

Baptiste a écrit:

Comme promis...
Je n'ai pas scanné les pages où il n'y avait que des photos, par contre.

Interview Rock'n Folk 2001

Bonne lecture !

Merci. Je vais m'y mettre. J'ai trouvé Xroads (Krfours) ce matin. Je me souhaite une bonne soirée.

J'ai scanné l'interview parue dans Rolling Stone il y a quelques jours...

7 pages.

Rolling Stone 2009

Merci beaucoup

Juste pour dire que j'ai reçu ce matin l'interview que j'avais demandé à Rock And Folk, celle de feu Acin, à savoir qu'il y a bien les grandes photos et tout. La classe.