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PostPosted: Wed July 17th, 2019, 18:24 GMT 
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Dylan author and Harvard professor, Richard Thomas thinks that the line after the take of You're A Big Girl Now on disc 6, track 1 of BS14 might have been overdubbed in 2018, as part of Dylan's ongoing obsession with transfiguration.

See the last answer of this interview - https://medium.com/mitologie-a-confront ... 4e659980b0

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This sort of mystical metaphor goes way back itself. Ennius, the father of Roman poetry, was the first to write Latin epic in the meter of Homer. Ennius reports talking with Homer in a dream, and Homer tells him his soul has passed into Ennius, by way of a peacock, in accordance with Pythagorean principle of the transmigration of souls. You can’t make this shit up, as they say. A lot of this is in the book. What I didn’t know at the time was that on disc 6, track 1 of More Blood More Tracks (2018) Dylan would, in 1974, stop after the first two words of You’re a Big Girl Now and say “It calls for a small transfiguration.” I now believe that is dubbed in in 2018. If so, you can read about that in the new Dylan Review 1.1 (2019), where I write about the 1974 New York sessions. If I’m right that the words are dubbed in, there’s a clue from the man himself that transfiguration is pretty essential to Dylanology.


Thoughts?


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PostPosted: Wed July 17th, 2019, 18:43 GMT 
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Hmm that's an interesting theory. I think it's '74 Dylan though, his voice when he says "It calls for a small transfiguration" sounds the same as it does a little earlier when he says "I can't get into it, I think we must have had it on that other one." Unless they're both 2018 Dylan, but I find that hard to believe.


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PostPosted: Wed July 17th, 2019, 19:17 GMT 
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That track is Takes 3-6. It seems like he started take 4, they abruptly cut it off, and "it calls for a small..." is take 5. To be honest I only hear 3 different takes of the song unless "It calls for" is take 5 and the verse after is take 6. Either way, in the context of this being multiple bad takes smashed together, no way Bob overdubbed that line in 2018


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PostPosted: Wed July 17th, 2019, 20:59 GMT 

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Nightingale's Code wrote:
Hmm that's an interesting theory.


Seems nonsensical to me


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PostPosted: Wed July 17th, 2019, 21:08 GMT 
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Domino wrote:
Nightingale's Code wrote:
Hmm that's an interesting theory.


Seems nonsensical to me

The mark of a good theory!


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PostPosted: Wed July 17th, 2019, 21:37 GMT 
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This guy is crazy or deaf. Or both.


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PostPosted: Wed July 17th, 2019, 21:44 GMT 

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gibsona07 wrote:
Dylan author and Harvard professor, Richard Thomas thinks that the line after the take of You're A Big Girl Now on disc 6, track 1 of BS14 might have been overdubbed in 2018, as part of Dylan's ongoing obsession with transfiguration.

See the last answer of this interview - https://medium.com/mitologie-a-confront ... 4e659980b0

Quote:
This sort of mystical metaphor goes way back itself. Ennius, the father of Roman poetry, was the first to write Latin epic in the meter of Homer. Ennius reports talking with Homer in a dream, and Homer tells him his soul has passed into Ennius, by way of a peacock, in accordance with Pythagorean principle of the transmigration of souls. You can’t make this shit up, as they say. A lot of this is in the book. What I didn’t know at the time was that on disc 6, track 1 of More Blood More Tracks (2018) Dylan would, in 1974, stop after the first two words of You’re a Big Girl Now and say “It calls for a small transfiguration.” I now believe that is dubbed in in 2018. If so, you can read about that in the new Dylan Review 1.1 (2019), where I write about the 1974 New York sessions. If I’m right that the words are dubbed in, there’s a clue from the man himself that transfiguration is pretty essential to Dylanology.


Thoughts?


Mine would be that like everything else, education is fine in moderation, but dangerous in excess. And to paraphrase the good professor Thomas "you CAN make this shit up", because I think he just did.


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PostPosted: Wed July 17th, 2019, 23:06 GMT 

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It would be hilarious if in additon to the amount of honey and herbal tea he had to drinkn if he gave a shit that much to go and find the exact microphones recorder and tape they used on the original to do this so that it matches in anyway.

I'd be so impressed but there is no way in hell he listened to more than 10 minutes of recordings from 45 years ago never mind took time to overdub.


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PostPosted: Fri July 19th, 2019, 14:38 GMT 
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[/quote]

Mine would be that like everything else, education is fine in moderation, but dangerous in excess. And to paraphrase the good professor Thomas "you CAN make this shit up", because I think he just did.[/quote]

I actually just used this line yesterday. Thank you.


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PostPosted: Fri July 19th, 2019, 17:00 GMT 
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“Memorize these lines, and remember these rhymes”: New York Sessions of Blood on the Tracks Richard F. Thomas, Harvard University

“You’re a Big Girl Now” On September 19, in the final attempts to get the song (6.1), Dylan stops after the fourth line: “Na,” he says, “I can’t get into it. I think we must have had it on the other one.” “Want to do it?” he asks Tony Brown, and they start, this time only getting through the first two words (”Our conversation”), at which point he notes “it calls for a small transfiguration,” interestingly uttering the word that he will use 38 years later in 2012 in a Rolling Stone interview in which he talks about his own “transfiguration” in connection with his interaction with literary figures, going back to classical antiquity, Aristotle, Julius Caesar, Dante, Shakespeare (see Thomas, Why Bob Dylan Matters 119–27). What he meant by “transfiguration” in 1974 we will never know, but he launches back into a third attempt, this time getting through the first line of the second verse, “Bird on the horizon, sittin’ on a fence.” [I now believe that “It calls for a small transfiguration” is dubbed in on the production of MBMT, a product of the genius of Dylan in 2018, alluding to his use of the word in 2012 to describe his art, as I discuss in the book just mentioned. The tape stops right before he says the words.] At this point he concludes “No we ain’t gonna do it better. I can just keep hearing that organ.” This presumably refers to the two takes with which he opened the session on September 17 (3.2 and 3.3, the latter of which, test pressing for BotT, was released on Biograph in 1985). In the event, the earlier versions were not deemed satisfactory. For BotT he made minor changes to the lyrics, mostly in the last verse: “can be extreme” becomes metrically superior in “is known to be extreme,” and “What’s the sense of changing horses in midstream?” is an improvement on “But it ain’t like changing …” Dylan may have been unhappy with the order of the verses. In none of the complete takes (1.3, 1.4, 3.2, 3.3) is the order as it would come to be on BotT. In three of these, verse 4 precedes verse 3, and in the other verse 4 precedes verse 2.


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PostPosted: Fri July 19th, 2019, 23:12 GMT 
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Transmigration is not the same as transfiguration. Transfiguration happened when Jesus appeared with Moses and Elijah on the Holy Mount.

So I would suggest that transfiguration has more to do with time travel than transfer of a soul from one body to another.


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PostPosted: Fri July 19th, 2019, 23:30 GMT 

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cool :)


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PostPosted: Sat July 20th, 2019, 00:19 GMT 
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This guy’s a TEACHER???


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PostPosted: Sat July 20th, 2019, 00:56 GMT 

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stressed aint desserts spelled backwards either :shock:


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PostPosted: Sun July 21st, 2019, 01:58 GMT 
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Quote:
“it calls for a small transfiguration,” interestingly uttering the word that he will use 38 years later in 2012


What's so interesting about it? Bob speaks all the time, but most of it is never recorded. Just because this guy heard him use the word on a recording from 2012, that makes it interesting?

Quote:
What he meant by “transfiguration” in 1974 we will never know, but he


Let me take a stab at it. He meant "change", as in changing something about the song.


Now that we have that figured out, we don't need to come up with ridiculous theories such as Bob overdubbing his voice on to a recording from 45 years ago in order to trick us with some kind of mythology BS.


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