Philly favorite Andrew Lipke was on the lineup of last night’s birthday bash for Bob Dylan over at Rembrandt’s in the Fairmount section of Philly, and earlier in the day he stopped by WXPN studios to appear on the air with Dan Reed for the weekly Copy That segment. Strumming his acoustic guitar and cacked by an airy cello accompaniment, Lipke did his version of “Knockin’ on Heaven’s Door” – which he later played at the party. Give it a listen below, and see him live at Gorgas Park on Saturday, June 20th. More information on the show can be found here. Continue reading →
Continuing our exploration of music relating to spring, we take a look today at songs inspired by the game of baseball (whose season begins tonight)…and while the topic has spawned plenty of novelties and throwaways, here are a few songs about America’s pastime that should appeal to the Sleepy Hollow faithful. Continue reading →
There was an ominous silence at the International House earlier this month as Joe Jack Talcum of Dead Milkmen prepared to play “Railroad Bill.”
On Jan. 15, the International House in Philly screened the documentary The 78 Project, a film in which New York-based folk music and field recording enthusiasts Alex Steyermark and Lavinia Wright traveled the states capturing performances by various musicians in gardens, bedrooms, and other non-traditional locations.
After the screening, the 78 project team did a live recording and pressing of Philly-based Joe Jack Talcum playing the Bob Dylan cover on acoustic guitar and harmonica. Continue reading →
When Bob Dylan was in town last month to play three concerts at the Academy of Music, we told you about a concert he performed for one fan, Fredrik Wikingsson. The concert was part of an ongoing Swedish film series entitled “Experiment Ensam” or (Experiment Alone), where people experience things completely alone that are usually reserved for large crowds. The director, Anders Helgeson, set-up the private show, and paid Dylan an undisclosed amount of money. Helgeson then asked his friend and TV personality, Fredrik Wikingsson to take part in the experiment. Continue reading →
Confession time. The one time I saw Bob Dylan, I walked out.
His performance was disappointing, more than a little bit sad, and first got me thinking about unspoken agreement between artist and audience. When a concert is so drastically different from the expectations behind it, did the crowd get shortchanged?
It was the XPoNential Music Festival two summers ago, the year of the colossal rain storm. I was soaked to the bone, sticking it out for my chance to see the American songwriting legend who was responsible for Blonde on Blonde and Blood on the Tracks and so so many more classics. I knew he wasn’t going to play the songs the way they sounded on the album; I knew his voice wasn’t what it once was. And I was okay with that, because I’m generally comfortable with artists taking artistic liberties – and let’s face it, Dylan was never a great singer.
But I wasn’t prepared for how bad it was going to be. A half hour or so into the set, the band – who seemed to all be skilled players, for sure – was in the middle of a wandering, free-form expanse while Dylan’s barely audible voice croaked indiscernibly along. At one point, he uttered something that sounded vaguely like “Pourin’ off of every page / Like it was written in my soul from me to you” and I realized, OH GOD, this is supposed to be “Tangled Up in Blue.” I gave up. I went home.