Title : "In 1995, at Sinatra’s request, Dylan played his sunless yet defiant song 'Restless Farewell' for the old man at a tribute concert."
link : "In 1995, at Sinatra’s request, Dylan played his sunless yet defiant song 'Restless Farewell' for the old man at a tribute concert."
"In 1995, at Sinatra’s request, Dylan played his sunless yet defiant song 'Restless Farewell' for the old man at a tribute concert."
"It’s not hard to tell why the last verse would appeal to the guy who often closed his concerts with 'My Way': Oh, a false clock tries to tick out my time,/To disgrace, distract, and bother me,/And the dirt of gossip blows into my face,/And the dust of rumors covers me./But if the arrow is straight/And the point is slick,/It can pierce through dust no matter how thick. So I’ll make my stand/And remain as I am/And bid farewell and not give a damn. Those Sinatra standards replenished him.... But perhaps the nearest Dylan came to explaining both his gift and its durability was in 2015, accepting an award from the charity MusiCares. Reading from a sheaf of papers in his hands, Dylan exploded the myth of sui-generis brilliance. 'These songs didn’t come out of thin air,' he said. 'I didn’t just make them up out of whole cloth. . . . It all came out of traditional music: traditional folk music, traditional rock and roll, and traditional big-band swing orchestra music. . . . If you sang ‘John Henry’ as many times as me—‘John Henry was a steel-driving man / Died with a hammer in his hand / John Henry said a man ain’t nothin’ but a man / Before I let that steam drill drive me down / I’ll die with that hammer in my hand.’ If you had sung that song as many times as I did, you’d have written ‘How many roads must a man walk down?’ too. 'All these songs are connected... I just opened up a different door in a different kind of way. . . . I thought I was just extending the line."
Writes David Remnick in "A Unified Field Theory of Bob Dylan/He’s in his eighties. How does he keep it fresh?" (The New Yorker).
I love that connection of "My Way" to "Restless Farewell." I also love Bob's album of Sinatra songs, especially "The Best Is Yet to Come" — here. And here's Bob singing I’ll make my stand/And remain as I am/And bid farewell and not give a damn to Frank for Frank's 80th birthday:
"It’s not hard to tell why the last verse would appeal to the guy who often closed his concerts with 'My Way': Oh, a false clock tries to tick out my time,/To disgrace, distract, and bother me,/And the dirt of gossip blows into my face,/And the dust of rumors covers me./But if the arrow is straight/And the point is slick,/It can pierce through dust no matter how thick. So I’ll make my stand/And remain as I am/And bid farewell and not give a damn. Those Sinatra standards replenished him.... But perhaps the nearest Dylan came to explaining both his gift and its durability was in 2015, accepting an award from the charity MusiCares. Reading from a sheaf of papers in his hands, Dylan exploded the myth of sui-generis brilliance. 'These songs didn’t come out of thin air,' he said. 'I didn’t just make them up out of whole cloth. . . . It all came out of traditional music: traditional folk music, traditional rock and roll, and traditional big-band swing orchestra music. . . . If you sang ‘John Henry’ as many times as me—‘John Henry was a steel-driving man / Died with a hammer in his hand / John Henry said a man ain’t nothin’ but a man / Before I let that steam
Writes David Remnick in "A Unified Field Theory of Bob Dylan/He’s in his eighties. How does he keep it fresh?" (The New Yorker).
I love that connection of "My Way" to "Restless Farewell." I also love Bob's album of Sinatra songs, especially "The Best Is Yet to Come" — here. And here's Bob singing I’ll make my stand/And remain as I am/And bid farewell and not give a damn to Frank for Frank's 80th birthday:
Thus articles "In 1995, at Sinatra’s request, Dylan played his sunless yet defiant song 'Restless Farewell' for the old man at a tribute concert."
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