Elvis in Bob Dylan’s new book The Philosophy Of Song

Pretty self-explanatory
Post Reply
sweetest punch
Posts: 5962
Joined: Sat Apr 03, 2004 5:49 am
Location: Belgium

Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by sweetest punch »

https://pitchfork.com/news/bob-dylan-an ... dern-song/

Bob Dylan Announces New Book The Philosophy of Modern Song
The Nobel Prize winner’s first collection of new writing since 2004’s Chronicles: Volume One
By Matthew Strauss

Bob Dylan has announced his first book of new writing since 2004’s Chronicles: Volume One. The new collection is called The Philosophy of Modern Song and it’s out Tuesday, November 8 via Simon & Schuster. Find the book cover below.

According to a press release, Dylan began working on The Philosophy of Modern Song in 2010. The book contains over 60 essays that Dylan wrote about songs by artists including Stephen Foster, Elvis Costello, Hank Williams, and Nina Simone. “[Dylan] analyzes what he calls the trap of easy rhymes, breaks down how the addition of a single syllable can diminish a song, and even explains how bluegrass relates to heavy metal,” according to the press release.

In a statement, Jonathan Karp (president and CEO of Simon & Schuster) said: “The publication of Bob Dylan’s kaleidoscopically brilliant work will be an international celebration of songs by one of the greatest artists of our time. The Philosophy of Modern Song could only have been written by Bob Dylan. His voice is unique, and his work conveys his deep appreciation and understanding of songs, the people who bring those songs to life, and what songs mean to all of us.”

Bob Dylan won the Nobel Prize in Literature in 2016. Since then, he’s released the album Rough and Rowdy Ways. Read “Bob Dylan Recasts His Old Selves in Ghostly Concert Film Shadow Kingdom” on the Pitch.

Image
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
User avatar
verbal gymnastics
Posts: 13637
Joined: Wed Jun 11, 2003 6:44 am
Location: Magic lantern land

Re: Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by verbal gymnastics »

Looking forward to this. No doubt there’ll be examples of where Elvis has trapped into easy rhymes :lol:
Who’s this kid with his mumbo jumbo?
User avatar
Top balcony
Posts: 923
Joined: Fri Sep 08, 2006 5:48 pm
Location: Liverpool

Re: Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by Top balcony »

This should be a really interesting read.

BTW I've always loved this silliness from EC :
To tell the truth our Mum ran off with someone else's father
Went for two weeks' holiday in Taramasalata
Hawksmoor
Posts: 625
Joined: Mon Jun 16, 2003 2:51 pm

Re: Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by Hawksmoor »

Top balcony wrote:This should be a really interesting read.

BTW I've always loved this silliness from EC :
To tell the truth our Mum ran off with someone else's father
Went for two weeks' holiday in Taramasalata
Elvis is the king of the contrived rhyme or half-rhyme. Which is great, as I love rhyme, and think it's a hugely under-rated technique - because everybody thinks anyone can do it. Look at this:

'Running wild just like some
Childish tantrum'

That's a masterclass in rhyming.
User avatar
verbal gymnastics
Posts: 13637
Joined: Wed Jun 11, 2003 6:44 am
Location: Magic lantern land

Re: Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by verbal gymnastics »

Top balcony wrote:This should be a really interesting read.

BTW I've always loved this silliness from EC :
To tell the truth our Mum ran off with someone else's father
Went for two weeks' holiday in Taramasalata
And you don’t get fol de rol cropping up in songs every day!
Who’s this kid with his mumbo jumbo?
User avatar
Top balcony
Posts: 923
Joined: Fri Sep 08, 2006 5:48 pm
Location: Liverpool

Re: Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by Top balcony »

Hawksmoor wrote: 'Running wild just like some
Childish tantrum'
That's a masterclass in rhyming.
Dead right. Here are a couple of couplets that keep haunting me (like a chainsaw running through a dictionary) :-

He's got a mind like a sewer and a heart like a fridge
He stands to be insulted and he pays for the privilege

and

By a bicycle factory as they sounded the siren and returned into the dancehall, she knew he was the one
Though he wasn't tall or handsome she laughed when he told her "I'm the Sheriff of Nottingham and this is Little John"
User avatar
Ymaginatif
Posts: 512
Joined: Tue Jul 22, 2008 8:14 am
Location: Paisley Park

Re: Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by Ymaginatif »

Hawksmoor wrote:
Top balcony wrote:This should be a really interesting read.

BTW I've always loved this silliness from EC :
To tell the truth our Mum ran off with someone else's father
Went for two weeks' holiday in Taramasalata
Elvis is the king of the contrived rhyme or half-rhyme. Which is great, as I love rhyme, and think it's a hugely under-rated technique - because everybody thinks anyone can do it. Look at this:

'Running wild just like some
Childish tantrum'

That's a masterclass in rhyming.
I would call those visual assonances at best :lol:
User avatar
wardo68
Posts: 854
Joined: Wed Jul 14, 2004 10:21 am
Location: southwest of Boston
Contact:

Re: Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by wardo68 »

I can't wait for the 10,000-word extrapolation of "Sunday's Best".
Hawksmoor
Posts: 625
Joined: Mon Jun 16, 2003 2:51 pm

Re: Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by Hawksmoor »

Ymaginatif wrote:
Hawksmoor wrote:Elvis is the king of the contrived rhyme or half-rhyme. Which is great, as I love rhyme, and think it's a hugely under-rated technique - because everybody thinks anyone can do it. Look at this:

'Running wild just like some
Childish tantrum'

That's a masterclass in rhyming.
I would call those visual assonances at best :lol:
Nonsense! Assonance means only the vowels match or only the consonants match, surely? If they both match it's a rhyme? Hence 'wild/child' and 'some/tantrum' are actual rhymes. 'Some/tantrum' isn't even a visual rhyme, it's an audible one.

'Visual assonance' (or 'eye rhyme') is when it looks like a rhyme in writing but doesn't rhyme when you hear it. Like Shelley rhyming 'earth' and 'hearth' in 'Ode to the West Wind'.
Top balcony wrote:Dead right. Here are a couple of couplets that keep haunting me (like a chainsaw running through a dictionary) :-

He's got a mind like a sewer and a heart like a fridge
He stands to be insulted and he pays for the privilege

and

By a bicycle factory as they sounded the siren and returned into the dancehall, she knew he was the one
Though he wasn't tall or handsome she laughed when he told her "I'm the Sheriff of Nottingham and this is Little John"
Yep, both gorgeous. But I guess we could be here all night quoting great rhymes and puns from our idol. I love that he's so obsessed with rhyming and punning, two of the most sneered-at techniques in song/poetry, but actually, in the hands of a great writer, they lift a piece to a new level.

But then, I still think 'you lack lust, you're so lacklustre' is a great line, so maybe I'm just a sucker for a cheap shot :D.
sweetest punch
Posts: 5962
Joined: Sat Apr 03, 2004 5:49 am
Location: Belgium

Re: Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by sweetest punch »

Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
sweetest punch
Posts: 5962
Joined: Sat Apr 03, 2004 5:49 am
Location: Belgium

Re: Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by sweetest punch »

https://variety.com/2022/music/news/bob ... 235352559/

All 66 Songs Bob Dylan Writes About in ‘Philosophy of Modern Song’ Book Revealed: From Ray Charles to the Clash, Cher and the Eagles
By Chris Willman

Bob Dylan was announced earlier this year as having written separate appreciations of more than 60 different songs for his forthcoming book, “The Philosophy of Modern Song.” Now, the names of all 66 songs he wrote about have been revealed, thanks to the dissemination of a table-of-contents page for the highly anticipated book, which comes out in early November via Simon & Schuster. (Read the full list below.)

Not surprisingly, classic songs written and/or recorded by Americans greats like Jimmy Reed, Ray Charles, Willie Nelson, Little Richard, Townes Van Zandt will come up for consideration. Less expectedly, Dylan will detour to analyze songs like Cher’s “Gypsies, Tramps and Thieves,” the Eagles’ “Witchy Woman,” the Fugs’ “CIA Man” and Rosemary Clooney’s “Come On-a My House.”

An announcement in March said that the book will constitute “a master class on the art and craft of songwriting,” as Dylan “analyzes what he calls the trap of easy rhymes, breaks down how the addition of a single syllable can diminish a song, and even explains how bluegrass relates to heavy metal.” The announcement further declared that while the essays “are ostensibly about music, they are really meditations and reflections on the human condition.”

He plays some favorites among recording artists, if not necessarily songwriters themselves. There are four songs associated with Elvis Presley (“Money Honey,” “Blue Moon,” “Viva Las Vegas”), three made popular by Ray Charles (“Come Rain or Come Shine,” “I Got a Woman,” “You Don’t Know Me”) and two from the Frank Sinatra catalog (“Strangers in the Night,” “Without a Song”).

The oldest song on the list is Stephen Foster’s “Rudy Was a Lady,” written in 1849, followed by “The Whiffenpoof Song” from the early 1900s. Blues, R&B and hillbilly songs from the first half of the 20th century figure in heavily. But the majority of songs are from the ’50s through ’70s, a golden age for rock, pop, soul and country. He dips into the punk/new wave era for Elvis Costello’s “Pump It Up” and the Clash’s “London Calling.” The two most recent songs on the list are “It Doesn’t Hurt Anymore,” recorded by Regina Belle in 1989, and Warren Zevon’s “Dirty Life and Times,” from his 2003 farewell album “The Wind.”

One of the more surprising songs on the list may be the Eagles’ “Witchy Woman” — surprising if for no other reason that that, in a 2021 interview, Dylan cited three other Eagles songs as his favorites of the group’s: “New Kid in Town,” “Life in the Fast Lane” and “Pretty Maids in a Row” (the last of which he said “could be one of the best songs ever”). Dylan was being asked about it in the interview because his “Murder Most Foul” song had included the lines “Play Don Henley, play Glenn Frey / Take it to the limit and let it go by.”

The chapter on “Pump It Up” could be an interesting one, since Costello freely admits it was inspired in part by Dylan’s “Subterranean Homesick Blues,” so it’ll be interesting to see whether the debt is acknowledged as part of the tribute.

Following is a list of song titles that are chapter titles in Dylan’s forthcoming book. The artists most associated with each song are listed in parentheses. It remains to be established whether Dylan will only consider Nina Simone’s original version of “Don’t Let Me Be Misunderstood” or bring up the Animals’ or even Costello’s, for that matter. It’s likely the original Ernie K-Doe record of “A Certain Girl” that he loves, but given his affection for Warren Zevon, the latter artist’s cover version could come in for a mention, for all we know. Much more remains to be revealed when Dylan’s essays go public come November.

“Detroit City”
(Bobby Bare)

“Pump It Up”
(Elvis Costello & the Attractions)

“Without a Song”
(Frank Sinatra)

“Take Me From This Garden of Evil”
(Jimmy Wages)

“There Stands the Glass”
(Webb Pierce)

“Willy the Wandering Gypsy and Me”
(Billy Joe Shaver)

“Tutti Frutti”
(Little Richard)

“Money Honey”
(Elvis Presley)

“My Generation”
(The Who)

“Jesse James”
(Harry McClintock)

“Poor Little Fool”
(Ricky Nelson)

“Pancho and Lefty”
(Townes Van Zandt)

“The Pretender”
(Jackson Browne)

“Mack the Knife”
(Bobby Darin)

“The Whiffenpoof Song”
(Rudy Vallee)

“You Don’t Know Me”
(Ray Charles)

“Ball of Confusion”
(The Temptations)

“Poison Love”
(Johnnie & Jack)

“Beyond the Sea”
(Bobby Darin)

“On the Road Again”
(Willie Nelson)

“If You Don’t Know Me by Now”
(Harold Melvin & the Blue Notes)

“The Little White Cloud That Cried”
(Johnnie Ray)

“El Paso”
(Marty Robbins)

“Nelly Was a Lady”
(Stephen Foster)

“Cheaper to Keep Her”
(Johnnie Taylor)

“I Got a Woman”
(Ray Charles)

“CIA Man”
(The Fugs)

“On The Street Where You Live”
(From “My Fair Lady”)

“Truckin'”
(The Grateful Dead)

“Ruby, Are You Mad?”
(The Osborne Brothers)

“Old Violin”
(Johnny Paycheck)

“Volare”
(Domenico Modugno)

“London Calling”
(The Clash)

“Your Cheatin’ Heart”
(Hank Williams)

“Blue Bayou”
(Roy Orbison)


“Midnight Rider”
(The Allman Brothers Band)

“Blue Suede Shoes”
(Carl Perkins)

“My Prayer”
(The Platters)

“Dirty Life and Times”
(Warren Zevon)

“Doesn’t Hurt Anymore”
(Regina Belle)

“Key to the Highway”
(Little Walter)

“Everybody Cryin’ Mercy”
(Mose Allison)

“War”
(Edwin Starr)

“Big River”
(Johnny Cash)

“Feel So Good”
(Shirley & Lee)

“Blue Moon”
(Elvis Presley)

“Gypsies, Tramps & Thieves”
(Cher)

“Keep My Skillet Good and Greasy”
(Uncle Dave Macon)

“It’s All in the Game”
(Tommy Edwards)

“A Certain Girl”
(Ernie K-Doe)

“I’ve Always Been Crazy”
(Waylon Jennings)

“Witchy Woman”
(Eagles)

“Big Boss Man”
(Jimmy Reed)

“Long Tall Sally”
(Little Richard)

“Old and Only in the Way”
(Charlie Poole)

“Black Magic Woman”
(Santana)

“By the Time I Get to Phoenix”
(Glen Campbell)

“Come On-a My House”
(Rosemary Clooney)

“Don’t Take Your Guns to Town”
(Johnny Cash)

“Come Rain or Come Shine”
(Ray Charles)

“Don’t Let Me Be Misunderstood”
(Nina Simone)

“Strangers in the Night”
(Frank Sinatra)

“Viva Las Vegas”
(Elvis Presley)

“Saturday Night at the Movies”
(The Drifters)

“Waist Deep in the Big Muddy”
(Pete Seeger)

“Where or When”
(Dion and the Belmonts)
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
sweetest punch
Posts: 5962
Joined: Sat Apr 03, 2004 5:49 am
Location: Belgium

Re: Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by sweetest punch »

https://www.thetimes.co.uk/article/7ce7 ... 37394b5b87

Bob Dylan: the 66 songs that made me — from Elvis Costello to the Who
Read our exclusive extracts of the Nobel laureate’s new book The Philosophy of Modern Song and his verdict on Britain’s Buddy Holly, Bobby Darin and a motley crew of greats

ucked away among the 66 songs Bob Dylan analyses in his riveting new book, The Philosophy of Modern Song, lie three surprises. Writing for the most part about American music of the recent and distant past, he suddenly turns his gaze to Britain.

His first choice is Elvis Costello’s blistering 1978 single Pump It Up — a telling one in that Costello has long acknowledged the song’s debt to Dylan’s Subterranean Homesick Blues. His next stop is a track from the decade that defines him. In the Who’s My Generation (1965) and its key line “Hope I die before I get old”, Dylan, now 81, rightly detects a deep dread of the fate that awaits us all: today’s rebel is tomorrow’s crusty curmudgeon. “That fear”, he writes, “is perhaps the most honest thing about the song. We all rail at the previous generation but somehow know it’s only a matter of time until we will become them ourselves.

Dylan returns to the Seventies for his third Brit pick. The title track from the Clash’s 1979 album, London Calling, rages against the past as furiously as My Generation does the present and future (“Phoney Beatlemania has bitten the dust”).

Picking two songs from the British punk and new wave scene in the late Seventies may raise an eyebrow. This is the period, after all, when Dylan, raised in an observant Jewish family, converted to evangelical Christianity. His antennae somehow simultaneously picked up the anger-fuelled agit-pop that was transforming British music at the time. Should that come as a surprise? Not to those who listened to Theme Time Radio Hour, his zanily archival radio show that ran from 2006-09. Or those who have followed his current world tour. At his first London show at the Palladium, he referred to John Lennon’s famous remark at the same venue, during the Beatles’ Royal Variety Performance in 1963. “Is this the place”, he inquired, “where you clap your hands and rattle your jewellery?”

The Philosophy of Modern Song is Dylan’s first published work since he won the Nobel prize for literature in 2016. It follows the (loosely) autobiographical Chronicles Volume One (2004), a work that was pored over by legions of Dylanologists, desperate for revelation, confession and explanation. Dylan’s new book will be just as forensically sifted for clues. Here are three exclusive extracts.

Britain’s Buddy Holly
Bob Dylan delivers his verdict on Elvis Costello

Elvis is one of those guys whose fans fall somewhere between the two poles of passion and precision. There are people who tick off the boxes of his life with the same obsession of someone completing a train schedule while others don’t know anything beyond the fact that he sings a song that accompanied a particularly devastating break-up. Very seldom a cheery wedding song but plenty of break-up songs.

Knowing a singer’s life story doesn’t particularly help your understanding of a song. Frank Sinatra’s feelings over Ava Gardner allegedly inform I’m a Fool to Want You, but that’s just trivia. It’s what a song makes you feel about your own life that’s important.

Elvis Costello and the Attractions were a better band than any of their contemporaries. Light years better. Elvis himself was a unique figure. Horn-rimmed glasses, quirky, pigeon-toed and intense. The only singer-guitarist in the band. You couldn’t say that he didn’t remind you of Buddy Holly. The Buddy stereotype. At least on the surface. Elvis had Harold Lloyd in his DNA as well. At the point of Pump It Up, he obviously had been listening to Springsteen too much. But he also had a heavy dose of Subterranean Homesick Blues. Pump It Up is a quasi stop-time tune with powerful rhetoric and, with all this, Elvis exuded nothing but high-level belligerence. He was belligerent in every way. Even down to the look in his eyes. A typical Englishman or Irishman, it didn’t matter how much squalor he was living in, he always appeared in a suit and a tie.

Back then English people appeared in suits and ties no matter how poor they were. With this manner of dress every Englishman was equal. Unlike in the States, where people wore blue jeans and work boots and any type of attire, projecting conspicuous inequality. The Brits, if nothing else, had dignity and pride and they didn’t dress like bums. Money or no money. The dress code equalised one and all in old Britain.

Pump It Up is intense and as well groomed as can be. With tender hooks and dirty looks, heaven-sent propaganda and slander that you wouldn’t understand. Torture her and talk to her, bought for her, temperature, was a rhyming scheme long before Biggie Smalls or Jay-Z. Submission and transmission, pressure pin and other sin, just rattled through this song. It’s relentless, as all of his songs from this period are. Trouble is, he exhausted people. Too much in his songs for anybody to actually land on. Too many thoughts, way too wordy. Too many ideas that just bang up against themselves. Here, however, it’s all compacted into one long song. Elvis is hard edged with that belligerence that somehow he is able to streamline into his work. The songs are at top speed and this is among his very best. In time Elvis would prove he had a gigantic musical soul. Too big for this type of aggressive music to contain. He went all over the place and it was hard for an audience to get a fix on him.

From here he went on to play chamber music, write songs with Burt Bacharach, do country records, cover records, soul records, ballet and orchestral music. When you are writing songs with Burt Bacharach, you obviously don’t give a f*** what people think. Elvis blows through all kinds of genres like they are not even there. Pump It Up is what gives him a licence to do all these things.

Pump It Up
Elvis Costello
This Year’s Model (Radar, 1978)


This song speaks new speak. It’s the song you sing when you’ve reached the boiling point. Tense and uneasy, comes with a discount — with a lot of give-away stuff. And you’re going to extend that stuff till it ruptures and splits into a million pieces. You never look back you look forward, you’ve had a classical education, and some on the job training. You’ve learnt to look into every loathsome nauseating face and expect nothing.

You live in a world of romance and rubble, and you roam the streets at all hours of the night. You’ve acquired things and brought people the goods.

It’s not like you have a promising future. You’re the alienated hero who’s been taken for a ride by a quick-witted little hellcat, the hot-blooded sex-starved wench that you depended on so much, who failed you. You thought she was heaven and life everlasting, but she was just strong-willed and determined — turned you into a synthetic and unscrupulous person. Now you’ve come to the place where you’re going to blow things up, puncture it, shoot it down.

This song is in full swing. The one-two punch, the uppercut, and the wallop, then get out quick and make tracks. You broke the commandments and cheated. Now you’ll have to back down, capitulate and turn in your resignation.

What is it about you anyway? You want to boost everything up, exaggerate it, until you can grip it and fondle it.

Why does it all seem so crooked and hush hush?

Why all the trivial talk and yakety yak?

Why all the monotonous and lifeless music that plays inside your head?

And what about that little she goat that won’t go away? You want to maim and mangle her. You want to see her in agony, and you want to blow this whole thing up until it’s swollen, where you’ll run your hands all over and squeeze it till it collapses.

This song is brainwashed, and comes to you with a lowdown dirty look, exaggerates and amplifies itself until you can flesh it out, and it suits your mood. This song has a lot of defects, but it knows how to conceal them all.

(…)
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
sweetest punch
Posts: 5962
Joined: Sat Apr 03, 2004 5:49 am
Location: Belgium

Re: Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by sweetest punch »

Chris Willman’s review in Variety:

https://variety.com/2022/music/reviews/ ... 235419835/
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
User avatar
And No Coffee Table
Posts: 3521
Joined: Thu Aug 21, 2003 2:57 pm

Re: Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by And No Coffee Table »

https://www.rollingstone.com/music/musi ... 234630949/

‘Jesus, Bob’: How Some Musicians Feel About Being Dissed by Dylan in ‘Philosophy of Modern Song’

As a longtime Bob Dylan admirer who even caught one of his shows in the Sixties, Chris Frantz of Talking Heads was happy to pre-order a copy of The Philosophy of Modern Song, Dylan’s quixotic collection of essays on more than 60 songs. But when Frantz arrived at the second entry, about Elvis Costello’s “Pump It Up,” he was taken aback to read that, in Dylan’s words, “Elvis Costello and the Attractions were a better band than any of their contemporaries. Light years better.”

“When I read that, I just thought, ‘Jesus, Bob,’” says Frantz, whose band were new-wave peers of Costello’s. “’I understand you dig Elvis Costello, but did you have to put it that way?’”

[...]

In the writeup of “Pump It Up,” Dylan lauds the eclectic music Costello has made since the Seventies and calls the song “among his very best.” But that’s not before he writes that Costello’s music during those early years “exhausted people.” (Costello was unavailable for comment.) According to Dylan, there were “too many thoughts, way too wordy. Too many ideas that just bang up against themselves.” He also surmises that Costello “obviously had been listening to Springsteen too much” when he recorded “Pump It Up.”

[...]

For his part, Frantz admits he got “a bee in my bonnet” about Talking Heads not being acknowledged in Dylan’s nod to the new-wave era. Frantz first voiced his displeasure a few days ago on Facebook, posting, “With all due respect to the Attractions and to drummer Pete Thomas in particular, I’d like to say to Bob something he once said to a buddy of mine: ‘Suck a dick.’”

Frantz says his own dig was a reference to a friend who went to a Dylan show in the Eighties, saw the singer in a parking garage afterward, and chased after him (“Mr. Dylan, Mr. Dylan!”) to compliment him. As Frantz heard it, “Dylan turned around and looked at him and said, ‘Do I know you? No, I don’t know you. Suck a dick.’”

[...]
User avatar
verbal gymnastics
Posts: 13637
Joined: Wed Jun 11, 2003 6:44 am
Location: Magic lantern land

Re: Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by verbal gymnastics »

In case anyone’s interested and missed it

https://www.theguardian.com/music/2022/ ... SApp_Other

Offhand, apart from The Boy Named If box set and the Almost Blue promo album, everything I own that Elvis and the Attractions/Imposters has signed has been in front of me!
Who’s this kid with his mumbo jumbo?
User avatar
Top balcony
Posts: 923
Joined: Fri Sep 08, 2006 5:48 pm
Location: Liverpool

Re: Elvis in Bob Dylan’s new book The Philosophy Of Song

Post by Top balcony »

verbal gymnastics wrote:Offhand, apart from The Boy Named If box set and the Almost Blue promo album, everything I own that Elvis and the Attractions/Imposters has signed has been in front of me!
We're the other two signed behind your back then? :D
I bought BNI from Defend Vinyl the morning after EC did his epic basement event from there. He had signed the stock and Mr DV raised the price of these LPs by £20 each. Luckily I had a birthday imminent !
Post Reply