Blind Boy Grunt
Robert Mikwood Thomas
Robert Allen Zimmerman
etc etc etc
Once, when asked by Spin magazine what historical figures he would most like to interview, he suggested Hank Williams, Joseph of Arimathea and John F. Kennedy. "I'd like to interview people who died leaving a great unsolved mess behind," he said, "who left people for ages to do nothing but speculate." Greg Kot, Chicago Tribune, May 20, 2001 Rock and Roll Hall of Fame - Dylan biography Date: Thu, 24 Aug 1995 09:53:31 +0500 From: MOE (dsc9bam@IMC210.MED.NAVY.MIL) Subject: Dylan Bio at R&R HOF BOB DYLAN 1988, Performer Born Robert Alan Zimmerman, Dylan mixed folk, rock, country & politics to create the singer-songwriter style and change the rules for everyone who worked in that field after him. Beginning his career as a Woody Guthrie-styled folk singer, the many phases of Bob Dylan have included protest singer ("AHard Rain's...1963), blues based rocker (LARS, 1965), balladeer ("JWesley Harding", 1968), country ("LLL" 1969), movie star ("Pat Garrett... 1972), stadium attraction ("Before Flood... 1974), advocate for convicted murderer ("Hurricane" 1975), Vegas-style lounge act ("Budokan" 1978), gospel ("Gotta Serve Somebody" 1979). In the 1980's, he was a Stones-like rocker ("Infidels" 1984), writer of personal love songs ("EB" 1985), Tom Petty fill-in (Fram Aid 1985, 1986 tour), Bob Weir fill-in ("Dylan & Dead", 1987), Traveling Wilbury (1988) and U2 clone ("Oh Mercy" 1989). The 1990's have found him again recording traditional folk and blues songs. If this was'nt so amateurish, error filled and seemingly written by someone who brings new meaning to naivete, it might be funny. Balladeer (JWH)? Stadium attraction???? Lounge act?? TP and Bob Weir fill-in, what the fuck does that mean?? Worst of all, U2 clone? Oh yeah, everything Lanois produces sounds like U2, I forgot. If the above is indicative of the museum as a whole, why would they even bother. Seems to me quality control is lacking in spades. Perhaps this is what we can expect to see written on Muddy Waters: Muddy Waters 19??, Blues singer Born McKinley Morganfield, Waters was plucked from the plantation and discovered by music historian and archivist Alan Lomax, who also taped the first "field" recordings of Muddy on his porch. This changed the rules for everyone who worked in the fields after him. Beginning his career as a Robert Johnson-styled folk blues singer, the many phases of Muddy Waters have included sex-starved singer ("I Can't Be Satisfied" 1948), magazine jingle writer ("Rolling Stone" 1951), Biblical commentator ("40 days and 40 Nights", 1958), animal activist ("Crawlin Kingsnake" and "When the Eagle Flies, 1959), British-invasion wanna be ("The London Muddy Waters Sessions" 1965) and outspoken advocate of young love ("She's Nineteen Years Old" 196?). Muddy has also been known to cover songs written by the Rolling Stones ("Mannish Boy"). Very shortly before his death, Muddy enjoyed perhaps the high point of his career when his main influences & idols, Mick Jagger & Keith Richards, joined him onstage at one of his last club gigs in Chicago. or future hall of famer Eddie Money: Eddie Money emerged from the relative obscurity of being a NYC cop to rock stardom in 1977 with his ground-breaking eponymous debut LP, "Eddie Money." Traversing ground previously only tread upon by David Blue, Eddie rewrote the rules of rock songwriting with his anthemic masterpieces "Baby Hold On" and "Two Tickets to Paradise." His credibility was furthered by his dead-on, blue eyed soul version of the Miracles' "You really Got a Hold on Me," leaving the early 1960's Beatles version of this song in his wake. His renowned sophomore effort, "Life For the Taking," is hailed as the precursor to the 1990's spawning of teen angst bands such as Nirvana and Hole. Rumor has it that the title song from that album was one of Kurt Cobain's favorites. Eddie gained a new audience in the 1980's after having a hit with former Ronettes' singer Ronnie Spector. We are proud to feature an entire rack of Eddie's stage ties in the "Rock Clothing" display on the 2nd floor.
Date: Thu, 31 Aug 1995 20:03:34 -0400 From: Snoyl (snoyl@AOL.COM) Subject: HALL OF FLAME I suppose many of you have read the appalling bio of Dylan slated to appear at the Rock and Roll Hall of Fame. It's so lousy I refuse to re-post it here. After posting it to their web site and receiving tons of flames, they asked their online readers to try to do it better. What follows is my stab at a brief Dylan bio for the Hall of Fame's general audience. Let me tell you, keeping it short and getting the most important stuff in is HARD! If you would like to send your own Dylan bio, or quotes, anecdotes, legends etc. about the man, the Hall's email address is: email@example.com. Anyway, here's one guy's attempt: Bob Dylan's place as the most influential Rock performer since Elvis becomes more evident with each passing year. His lyrics, his voice and his songwriting have created a "category of one" for over thirty years. Just listen to Tom Petty's "You Don't Know How it Feels", to Prince' "Purple Rain", to Bruce Springsteen's "Nebraska", or to the Four Tops' "I'll Be There" (just to pick some obvious choices), and you can begin to grasp the extent of his influence. In the Sixties, when Bob Dylan brought his lyrical sense to rock and roll, he single-handedly changed the music from something to dance to to something that could change the world. Whatever intellectual content Rock has is directly attributable to Dylan and his influence. Known for confounding the expectations of his audience, one proof of Dylan's greatness is his absolute refusal to "sell-out", even to the myths he himself created. As he continues to tour, year after year, constantly changing his approaches to old songs and adding intriguing new ones, he embodies the integrity that once was synonomous with Rock Music. Among Dylan's best loved songs are "Like a Rolling Stone", which at six minutes shattered the accepted length of top-40 singles, "Blowin' in the Wind", a rallying song of the civil rights movement, and "All Along the Watchtower", a song with lyrics so simple yet complex that it may be the finest rock lyric ever written. Jimi Hendrix thought so. From the 1961 release of his first album, Dylan has fused a modern, post-beat poetic sensibility with the power and drive of "primitive" American roots music. While he will probably be best remembered for his lyrics, which range from the elliptical metaphysics of "Visions of Johanna" to the anthemic "Times They are a'Changin", equally important to his work is his singing. Reviled by some, the distintive honk which Dylan brings to his songs has astonishing range and power. Whether purring, snarling or howling, no one who hears it is unchanged. Of the "Big Three" artists who in the Sixties transformed rock into an art form (Dylan, The Beatles, and the Rolling Stones), only Bob Dylan, who preceded all of them, continues to grow and challenge his audience. Let me know what you think! firstname.lastname@example.org
Bob Dylan bios here: musicfinder allmusic Wall of Sound Launch.com Rolling Stone Roughguides Lycos Music
Contact address for mail to Bob Dylan: Bob Dylan p.o. box 870 Cooper Station, NY 10276