Discussion for article #229956
Now?
The surviving members wish they had.
Ego. The great creativity-killer.
jw1
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So maybe Bob and George put the idea on the back-burner until the Traveling Wilburyâs?
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I read once that John Lennon, from the earliest days of the Beatlesâ superstardom, was also a big Dylan fan, and wanted to be more innovative in his songwriting like Dylan was.
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Lennon, Harrison and probably all of the Beatleâs were Dylan fans - and I think heâs the first one who turned them on to pot. And Iâm pretty sure that Dylan and Lennon once had a conversation where Dylan praised the Beatlesâ music, but dissed their lyrics (âShe loves you yeah, yeah, yeahâ).
A little Dylan. A little acid. Pretty soon you got yourself a âRevolverâ.
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In the absence of dates (1965? 1969?) this is a meaningless story. Contexts change. Dylan broke his neck and went on to record the Basement Tapes with âsome band of Canadians called âThe Hawksâ.â
Jeez. Too bad he couldnât get real musicians like the Beatles or Stones.
Câmon, TPM. Slow news day?
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From the Rolling Stone review: âJohns doesnât give the exact timeframe for this story, but he does indicate that Wenner was in the process of editing his interview with Dylan when they met at the airport. That would likely place this sometime in the summer of 1969.â
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At a point when Dylan was at low creative ebb (Nashville Skyline? Self-Portrait?), The Rolling Stones were at their creative peak (Beggarâs Banquet?) and The Beatles were, well, The Beatles. I can see why Jagger and McCartney nixed the idea.
But I would have loved to hear Dylan sing the vocal on âLove In Vainâ.
Learn to read.
A perfect example of gushing fan or producer - âWow, the three greatestâŚâ - who doesnât get it. Three bands with very different styles and personalities donât mix, even if they like each otherâs music. And it would have sounded like that - each feeling that they had to bury themselves for the other, with a low common denominator as a result.
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âNashville Skylineâ a creative ebb?! Are you deaf?
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Where did you find this quote, âsome band of Canadians called âThe Hawksâ.â? I donât see it in the brief TPM story or in the linked review.
In the course of four years, 1965-1969, Bob Dylan put out a careerâs worth of stunningly innovative music. In 1965, there was Bringing It All Back Home and Highway 61 Revisited (one of the ten greatest albums ever recorded); in 1966, there was the creative summit of Blonde on Blonde; in 1967, recovering from his motorcycle accident, Dylan released the hugely popular John Wesley Harding, which peaked at #2 on the US charts; after having recorded JWH in Nashville, Dylan stuck around and immersed himself in the country-music surroundings for Nashville Skyline, which rose to #3 on the US charts. Itâs hard to imagine anyone with a love, or at least a historical appreciation, for Dylan to call Nashville Skyline a âlow creative ebb.â The duet with Johnny Cash on âGirl from the North Countryâ is worth the price of admission all on its own, but then to add âI Threw It All Away,â âLay Lady Layâ and âTonight Iâll Be Staying Here With Youâ makes this record ANYTHING but a creative ebb.
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No, I donât think so. It is by far his weakest album of his first 20 years of recording. The only original (not a rerecording) that really appeals to me is Lay, Lady , Lay and that actually works much better on Greatest Hits, Volume 2
Weâll have to disagree on this one. Iâm going to spend the next month digging into the complete basement tapes (bootleg series 11) if that means anything.
Sounds like someoneâs bright idea to combine a Big Mac with a Whopper and a Taco Bell. Ah, glad they passed on that if it was even a real thing.
Could it be coincidence that the two people who considered themselves the leaders of their bands where the only ones not interested. I donât think so.
Most likely they did not want to throw another big name into the mix because it it would mean giving up a lot control.
daveninnj, while I love you like a brother, if you suggest that the great (IMHO) Nashville Skyline is worse than Self Portrait, we will have to duel. 
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McCartney and Jagger: âThe Stationary Wonâtburysâ
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âI had it all figured out,â writes Johns. âWe would pool the best material from Mick and Keith, Paul and John, Bob and George, and then select the best rhythm section from the two bands to suit whichever songs we were cutting.â
Ego was the part he didnât have figured out. When I read this, I thought to myself that with those egos, itâs a lot easier to say than it is to do. How does one go about building consensus about whatâs âbestâ among this crowd?
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