NorCal musican/humorist Adam Balbo just released Fix, his excellent and umpteenth album. Featuring instant classics like “The Girl at My Pity Party” and the tongue-in-cheek “Obligatory Highway Analogy” (MP3), the album sounds like a cross between Bob Dylan and Mason Jennings, but is set apart by Balbo’s drier-than-bone wit. As a service to our readers, we commissioned Fancy Dan of The Fancy Dan Band to interview the self-aware, self-deprecating musician. Balbo’s insights about Legos, mosquito-shooting lasers, and how to invite someone to be in your porno can be found below. Continue reading
In anticipation of his surprise new album Together Through Life (out April 21), smart-crazy (crazy-smart?) coot Bob Dylan talks to the TimesOnline. In the interview, he touches upon Barack Obama, U.S. Grant, and Civil War ghosts, among other things.
Well, a number of things [have struck me about Obama]. Heâ€™s got an interesting background. Heâ€™s like a fictional character, but heâ€™s real. First off, his mother was a Kansas girl. Never lived in Kansas though, but with deep roots. You know, like Kansas bloody Kansas. John Brown the insurrectionist. Jesse James and Quantrill. Bushwhackers, Guerillas. Wizard of Oz Kansas. I think Barack has Jefferson Davis back there in his ancestry someplace. And then his father. An African intellectual. Bantu, Masai, Griot type heritage–cattle raiders, lion killers. I mean itâ€™s just so incongruous that these two people would meet and fall in love. You kind of get past that though. And then youâ€™re into his story. Like an odyssey except in reverse.
Bob Dylan – “Mississippi” from from Tell Tale Signs: the Bootleg Series Vol. 8, out October 7.
This excellent, sparse version of “Mississippi” is available free for a limited time, so get it while you can.
It’s well worth the hassle of downloading Amazon’s MP3 store app. Your download experience should be hassle-free.
I’m Not There kind of depends on the fact that any straightforward Bob Dylan biopic wouldn’t live up to expectations, and director Todd Haynes has lovingly exploited that fact by making a film so deliberately obtuse that it’s hard to actually criticize.