Shadows in the Night (nouvel album ?)

vox populi a écrit:

Pour ceux qui ne comprennent pas l'anglais est ce possible de résumer l'affaire?

C'est en gros la liste des titres enregistré pendant les sessions.




J'ai également hâte d'entendre Autumn Leaves, c'est vraiment une belle chanson.

Clapton en avait fait une belle version dans un de ses récents albums:

Sortie en 2015 apparemment

http://www.daysofthecrazy-wild.com/bob-dylan-release-new-album-shadows-night-2015/

“It was a real privilege to make this album. I’ve wanted to do something like this for a long time but was never brave enough to approach 30-piece complicated arrangements and refine them down for a 5-piece band. That’s the key to all these performances. We knew these songs extremely well. It was all done live. Maybe one or two takes. No overdubbing. No vocal booths. No headphones. No separate tracking, and, for the most part, mixed as it was recorded. I don’t see myself as covering these songs in any way. They’ve been covered enough. Buried, as a matter a fact. What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day.”
– Bob Dylan

Sur les 21 titres qui ont été enregistrés (supposément), seuls 10 seront présents sur l'album. Sortie prévue début février, apparemment. Espérons que cette fois sera la bonne. A quand le bootleg, officiel ou non, des 11 autres chansons?

http://alldylan.com/bob-dylan-shadows-night-track-listing-sinatra-spotify-playlist/

1. I’m A Fool To Want You
2. The Night We Called It A Day
3. Stay With Me
4. Autumn Leaves
5. Why Try to Change Me Now
6. Some Enchanted Evening
7. Full Moon And Empty Arms
8. Where Are You?
9. What’ll I Do
10. That Lucky Old Sun

What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day

Pas de doute, il est forme.

Sortie le 3 février confirmée, précommande disponible aux US.

http://www.amazon.com/Shadows-Night-Bob-Dylan/dp/B00Q7SKT28/ref=sr_1_13?ie=UTF8&qid=1418136579&sr=8-13&keywords=bob+dylan+shadows+in+the+night

Ma version préférée de I'm a fool to want you. Celle de Bob la remplacera-t-elle dans mon coeur?

Dites voir, ça s'annonce plutôt bien ce nouvel album  

Citation :

Shadows in the Night engineer Al Schmitt, winner of nearly two dozen Grammys, is still marveling over the chances taken by Bob Dylan on the forthcoming project — called it a “totally different kind of record.”

The collection of Frank Sinatra standards, reformulated for a five-piece from the original big-band charts, is “something he’s wanted to do for 40 years,” Schmitt tells Stephen Peeples. “People broke down crying, listening to the record. … It’s like nothing you’ve ever heard Dylan do.”

That included its strikingly intimate setting, at Capitol Records’ legendary Studio B recording space in Los Angeles, with Nat King Cole’s Steinway nearby.

“He came in to the room,” Al Schmitt remembers, “and he started looking around and talking. He liked the acoustics. He said, ‘Boy, this one sounds really nice. Where would I be singing?’ I said, ‘Right where you’re standing.’ So, that’s where the mic went, the vocal mic. And then it was his band. We had an acoustic guitar, an upright bass, light brushes on the drums, an electric guitar and a steel guitar. No headphones, everybody around him. When he couldn’t hear enough of the rhythm guitar, we just moved him closer. Everything was live. … There was no tuning, and there was no fixing. Everything was what it was. That’s part of the charm of the record.”

This Spartan approach went into every part of the sessions. Bob Dylan decreed, for instance, that he didn’t want to see any microphones, beyond the one for his voice — sending Al Schmitt scurrying to hide them. They ran through 23 tracks in all, Schmitt adds. Ten made the final running order for Shadows in the Night, due Feb. 3, 2015 via Columbia Records. “He picked some obscure songs that are great songs,” Schmitt says.

At a playback session, Bob Dylan found himself taken aback with what they had created. “He said, ‘I never heard my voice sound this good before,'” Schmitt recalls. “So, that was a great thing.”

And to think, it almost never happened. When management called to set up this session with Bob Dylan — one of the few legends with whom Al Schmitt hasn’t worked — their schedules didn’t sync up. Luckily, Dylan’s people were able to shift his recording schedule to accommodate Schmitt.

http://somethingelsereviews.com/2015/01/13/bob-dylan-shadows-in-the-night-sneak-peek/

En plus, un casting a été lancé pour un clip. N'hésitez pas à envoyer votre candidature si vous correspondez aux critères :

[DANCER] Female, 40+, full figured. Burlesque dancer, will need to dance in audition. Think timeless a la Lana Turner or Ava Gardner.

[SKETCHY GUY] 50s, rough trade, pock marked face, etc.

[FAT GUY] 45+, all around huge.

[BARTENDER] Male, 30s+, looking for characters.

Jack Fate a écrit:

Dites voir, ça s'annonce plutôt bien ce nouvel album  

Citation :

Shadows in the Night engineer Al Schmitt, winner of nearly two dozen Grammys, is still marveling over the chances taken by Bob Dylan on the forthcoming project — called it a “totally different kind of record.”

The collection of Frank Sinatra standards, reformulated for a five-piece from the original big-band charts, is “something he’s wanted to do for 40 years,” Schmitt tells Stephen Peeples. “People broke down crying, listening to the record. … It’s like nothing you’ve ever heard Dylan do.”

That included its strikingly intimate setting, at Capitol Records’ legendary Studio B recording space in Los Angeles, with Nat King Cole’s Steinway nearby.

“He came in to the room,” Al Schmitt remembers, “and he started looking around and talking. He liked the acoustics. He said, ‘Boy, this one sounds really nice. Where would I be singing?’ I said, ‘Right where you’re standing.’ So, that’s where the mic went, the vocal mic. And then it was his band. We had an acoustic guitar, an upright bass, light brushes on the drums, an electric guitar and a steel guitar. No headphones, everybody around him. When he couldn’t hear enough of the rhythm guitar, we just moved him closer. Everything was live. … There was no tuning, and there was no fixing. Everything was what it was. That’s part of the charm of the record.”

This Spartan approach went into every part of the sessions. Bob Dylan decreed, for instance, that he didn’t want to see any microphones, beyond the one for his voice — sending Al Schmitt scurrying to hide them. They ran through 23 tracks in all, Schmitt adds. Ten made the final running order for Shadows in the Night, due Feb. 3, 2015 via Columbia Records. “He picked some obscure songs that are great songs,” Schmitt says.

At a playback session, Bob Dylan found himself taken aback with what they had created. “He said, ‘I never heard my voice sound this good before,'” Schmitt recalls. “So, that was a great thing.”

And to think, it almost never happened. When management called to set up this session with Bob Dylan — one of the few legends with whom Al Schmitt hasn’t worked — their schedules didn’t sync up. Luckily, Dylan’s people were able to shift his recording schedule to accommodate Schmitt.

http://somethingelsereviews.com/2015/01/13/bob-dylan-shadows-in-the-night-sneak-peek/

En plus, un casting a été lancé pour un clip. N'hésitez pas à envoyer votre candidature si vous correspondez aux critères :

[DANCER] Female, 40+, full figured. Burlesque dancer, will need to dance in audition. Think timeless a la Lana Turner or Ava Gardner.

[SKETCHY GUY] 50s, rough trade, pock marked face, etc.

[FAT GUY] 45+, all around huge.

[BARTENDER] Male, 30s+, looking for characters.

je vais postuler pour le pilier de comptoir

Jack Fate a écrit:

a la Lana Turner or Ava Gardner.

http://www.npr.org/blogs/allsongs/2015/01/19/377744951/song-premiere-bob-dylan-stay-with-me?utm_medium=RSS&utm_campaign=rock


Stay with me version studio.

C'est beau !

Je préfère la version live pour ses jolis déraillements vocaux, mais ça passe.

Arrangements très proches de ce qu'il faisait sur scène...
Sinon, ennui poli.
Pour le coup, je trouvais sa voix plus relâchée et suave sur un "Soon After Midnight" par exemple. Je ne retrouve pas cette intensité et cette beauté.
Il s'applique mais c'est quand même très tendu...
Bref, c'est effectivement émouvant parce que tu le sens tout appliqué mais il ne se passe pas grand chose.

Au moins, avec "Christmas In The Heart", on se marrait.

Moi je préfère cette version studio plus sombre.
Ce chant un peu désespéré. Une espèce de désillusion dans la voix.
Si tout est de cette qualité, ça va être grand.

Ennui poli en ce qui me concerne.
Je n'arrive pas du tout à rentrer dans le trip des deux extraits pour le moment

Premier extrait incroyable au niveau de la voix, l'arrangement est bien loin derrière. Un album qui sera j'espère non pas basé que sur les prouesses vocales de Bob, mais aussi sur l'instru. Parce que pour le moment...

Vinyle pré commandé dans la foulée (tout de même...)

Ben, ça sera sans moi. Je n'aime pas vraiment ce que j'ai écouté...

je vais aussi passer mon chemin, ce que j'ai entendu pour l'instant me passe 10m au dessus du casque!!

Baptiste a écrit:

Au moins, avec "Christmas In The Heart", on se marrait.

je l'aurais pas mieux dit!!

gengis_khan a écrit:

Vinyle pré commandé dans la foulée (tout de même...)

Evidemment.
C'est Dylan.
C'est pas parce qu'on n'aime pas, qu'on n'achète pas.

http://consequenceofsound.net/2015/01/bob-dylan-is-giving-away-his-new-album-to-50000-senior-citizens/

On se sert les coudes entre papys.

The Telegraph : Bob Dylan, Shadows in The Night, review: 'extraordinary'

Shadows in the Wind is the sound of an old man picking over memories and it is quite gorgeous, says Neil McCormick

http://www.telegraph.co.uk/culture/music/bob-dylan/11366536/Bob-Dylan-Shadows-in-The-Night-review-extraordinary.html

5 étoiles? ca me rendrait presque curieux

Bob aurait réussi à faire de I'm a fool to want you un condensé de blood on the tracks selon le critique

Jack Fate a écrit:

Bob aurait réussi à faire de I'm a fool to want you un condensé de blood on the tracks selon le critique

vite fait bien fait ! mouai ...

"Which is to say that his singing on Shadows is his best vocalizing in years - in-studio or out. The audible regret on opener I'm A Fool To Want You is heartbreaking - Blood On The Tracks condensed in less than 5 minutes."

La critique du LA Times :Dylan's 'Shadows in the Night' illuminates American standards

Call them standards if you must — imagine dusty old classics of the so-called Great American Songbook. But as interpreted by Bob Dylan, more accurate is to consider the entirety of "Shadows in the Night" as a gathering of meditations, or a booklet of hymns, or a selection of reveries.

Ten songs, 34 minutes, a soaring lifetime's worth of emotion conveyed with the fearlessness of a cliff diver spinning flips and risking belly flops in the open air — that's Dylan and his band on the graceful, often breathtaking "Shadows." The record comes out Feb. 3.

Strikingly unadorned and as emotionally raw as anything in the artist's canon, Dylan's new studio album is rich with moaning pedal steel lines and tonal whispers that drift in and out of measures. Guided by bassist Tony Garnier's liquid lines, "Shadows" is an exercise in precision, each syllable essential, each measure evenly weighted. Absent are piano, overdubs, all but the most minimal percussion or any lyric written by Dylan himself. And it's as slow as molasses.

Rather, for "Shadows," the 73-year-old artist gathered his longtime band into Studio A at Capitol Studios in Hollywood to celebrate the artfully penned lyric and melody. Resurrecting works, many obscure, written or cowritten in the decades between the 1920s and '60s by composers including Rodgers & Hammerstein, Irving Berlin, Matt Dennis & Tom Adair, Frank Sinatra and Buddy Kaye, the album is a celebration of the craft and enduring power of a seamless ballad.

A random selection of lines tells the story: Where is my happy ending? Where are you? Since you went away the days grow long. Full moon and empty arms. I'm a fool to love you. Take me back, I need you. What'll I do when you are far away and I am blue? I'm sentimental, so I walk in the rain. I've got some habits even I can't explain.

Songs of lovers gone, of vanishing emotions, of fading years and stubborn habits, of isolation, unanswered prayers and never-ending hope — you can feel the emptiness. The studio comfortably fits 50 musicians, but this session was tight: Dylan circled by the five who tour with him: Garnier, Stu Kimball (rhythm guitar), Donnie Herron (pedal steel, lap steel), Charlie Sexton (lead guitar) and George Receli (drums, percussion). The occasional muted brass section washes through.

Recording the songs in the order in which they appear on the album, the artist didn't even use headphones to monitor the mix. Rather, he listened to the experts around him, spiriting intimate takes on songs about autumn leaves, enchanted evenings and an ambivalent sun spinning around. So intimate is the recording that vague hints of Dylan's breath can be heard at key moments. The occasional shuffle of a lyric sheet. A little inhale at the end of a lap steel line during "What'll I Do."

The result is akin to Willie Nelson's "Stardust," Chet Baker's late-period "Let's Get Lost" recordings or Jimmy Scott's miraculous post-retirement comeback, "All the Way." If there's a connector, it's that all the songs on "Shadows" were interpreted at one time or another by Frank Sinatra. But this certainly isn't a tribute per se to that swinging stylist.

That's a relief, as Dylan is obviously no Sinatra. His voice raw, pitchy and quivering, Dylan croons his way through elegantly crafted songs with seeming disinterest in flawless takes or perfect pitch. Yet it's profound, thematically devastating and so well curated as to feel essential.

"Shadows in the Night" is an album that's best appreciated when heard with intention, while sitting still, with volume and focus. It's Dylan upending expectations once again, another left turn in a career filled with them, sharing his wisdom and defining himself through the lines of others. He's done that both as a historian and a thief of American music, playing with context and blurring intentions in innumerable songs.

In that sense, the album's closest companions in his repertoire are two equally intimate albums of cover songs from the early '90s that helped further define him, "Good as I Been to You" and "World Gone Wrong." Those too were minimalist Dylan — just him and guitar. They featured the artist's takes on a different brand of American song: haggard old blues songs and murder ballads. Both explored love and death through songs of violent betrayal. Then in his early 50s, Dylan still burned with feral passion, singing of "blood in my eyes" for a lover, of a life cut too short in "Delia." For "Shadows," that passion is supplanted with equanimity and hard-earned wisdom.

In fact, if there's an underlying philosophy to "Shadows," Dylan hints at it in his only interview in regards to the record. Strategically given to AARP magazine, he offered thoughts on aging and creative expression: "Passion is a young man's game," he said. "Young people can be passionate. Older people gotta be more wise. I mean, you're around awhile, you leave certain things to the young. Don't try to act like you're young. You could really hurt yourself."


http://www.latimes.com/entertainment/music/la-et-ms-dylan-shadows-review-20150126-column.html


Bon, si on compare Bob à Chet Baker de Let's Get Lost, j'achète sans hésitation (voir la vidéo de I'm a fool plus haut)

Et si, finalement, il nous sortait un gros truc ?

5 albums dédicacés par Bob à gagner via amazon:

http://www.amazon.com/gp/feature.html/ref=nav_sap_mux_Bob?ie=UTF8&docId=1002998811

a voté

That Lucky Old Sun : http://www.radio1.be/node/239026 cliquez sur Herbeluister Roxy  et allez à 82:08

Autumn Leaves : Herbeluister Monschau 94

"That Lucky Old Sun" est absolument superbe.
Rien à dire de plus.