One of so many 'lost' Jimmy Webb songs still waiting to be discovered. Why Webb himself has never recorded it nor performed it live is inexplicable to me.
Turns out LA session vocalist Leah Kunkel (of the Coyote Sisters and a cover duet on Arlo Guthrie's best collection of his own songs AMIGO) is where Dylan in his duets with Clydie King during his 80's tours got the song. A Jimmy Webb tune! th-cam.com/video/nSYnQ6d0X7Q/w-d-xo.html Dylan's taste in cover songs is all over the map. I thought "Let's Begin" might've been among the many Dylan wrote and never recorded. The vulnerable duet with Clydie King on a bootleg from a show in Seattle had me choking up when a record store friend pulled it out of the understock, I think it was the Pacific NW tour preparing for the Dylan Budokan Live double album (that Clydie King isn't even included on, although Dylan's soon-to-be wife and mother of his daughter from second marriage is among the chorus in that amazing band, held back only by a deadbeat drummer who was supposed to be crackerjack Greenwich Village drummer and Dixieland piano plunker, Howie Wyeth, from Dylan's mid-70's return to Greenwich Village clubs like THE OTHER END where he invited the musician friends he'd take along on his bi-centennial Rolling Thunder Revues. Howie Wyeth, though, OD'd himself to death and his rhythm section bassist\partner Rob Rothstein Stoner got hired after the STREET LEGAL recording sessions by Dylan to road manage). In addition to Clydie King on that bootleg tour preceding Budokan was Phil Spector session saxophone\flute legend Steve Douglas who rarely went out on the road since he had heart trouble and in fact passed away on a recording date with J.J. Cale in the early 90's. Another key contributor to the paradigm-shifting sound for Dylan was percussionist of choice for the best studio artists, Bobbye Hall, who did make it to the Budokan shows in Japan. Except for the listless backbeat that Bobbye Hall really saves with her tasty heat on hand percussion. From the recent spate of publicity for the release by Columbia of the new 1980's Dylan official bootleg and mostly live tracks of the Gospel period was a claim that CBS nixed Dylan's proposal to put out a project that would've included the women's chorus including his wife and with Clydie King singing lead. Sure hope Columbia adds it to the wonderful catalog of official bootlegs including the new one from that transitional Bardo phase out of those gospel tours that most song critics consider among Dylan's weakest studio efforts. Although I found some brilliant corners in there... At that point Dylan's reedy voice and the Steve Douglas soulful reeds and flute, or Steve Madaio's trumpet and especially Clydie King and her chorus of singers all blended so well with Dylan in the studio and on tour as the still true bootlegs bear witness. Mitch Ritter\Paradigm Shifters Lay-Low Studios, Ore-Wa Media Discussion List
unforgetable
One of so many 'lost' Jimmy Webb songs still waiting to be discovered. Why Webb himself has never recorded it nor performed it live is inexplicable to me.
Turns out LA session vocalist Leah Kunkel (of the Coyote Sisters and a cover duet on Arlo Guthrie's best collection of his own songs AMIGO) is where Dylan in his duets with Clydie King during his 80's tours got the song. A Jimmy Webb tune!
th-cam.com/video/nSYnQ6d0X7Q/w-d-xo.html
Dylan's taste in cover songs is all over the map. I thought "Let's Begin" might've been among the many Dylan wrote and never recorded. The vulnerable duet with Clydie King on a bootleg from a show in Seattle had me choking up when a record store friend pulled it out of the understock, I think it was the Pacific NW tour preparing for the Dylan Budokan Live double album (that Clydie King isn't even included on, although Dylan's soon-to-be wife and mother of his daughter from second marriage is among the chorus in that amazing band, held back only by a deadbeat drummer who was supposed to be crackerjack Greenwich Village drummer and Dixieland piano plunker, Howie Wyeth, from Dylan's mid-70's return to Greenwich Village clubs like THE OTHER END where he invited the musician friends he'd take along on his bi-centennial Rolling Thunder Revues. Howie Wyeth, though, OD'd himself to death and his rhythm section bassist\partner Rob Rothstein Stoner got hired after the STREET LEGAL recording sessions by Dylan to road manage).
In addition to Clydie King on that bootleg tour preceding Budokan was Phil Spector session saxophone\flute legend Steve Douglas who rarely went out on the road since he had heart trouble and in fact passed away on a recording date with J.J. Cale in the early 90's.
Another key contributor to the paradigm-shifting sound for Dylan was percussionist of choice for the best studio artists, Bobbye Hall, who did make it to the Budokan shows in Japan. Except for the listless backbeat that Bobbye Hall really saves with her tasty heat on hand percussion. From the recent spate of publicity for the release by Columbia of the new 1980's Dylan official bootleg and mostly live tracks of the Gospel period was a claim that CBS nixed Dylan's proposal to put out a project that would've included the women's chorus including his wife and with Clydie King singing lead.
Sure hope Columbia adds it to the wonderful catalog of official bootlegs including the new one from that transitional Bardo phase out of those gospel tours that most song critics consider among Dylan's weakest studio efforts. Although I found some brilliant corners in there... At that point Dylan's reedy voice and the Steve Douglas soulful reeds and flute, or Steve Madaio's trumpet and especially Clydie King and her chorus of singers all blended so well with Dylan in the studio and on tour as the still true bootlegs bear witness.
Mitch Ritter\Paradigm Shifters
Lay-Low Studios, Ore-Wa
Media Discussion List