Perhaps the most tantalizing period in Bob Dylan‘s fabled history is his self-imposed exile while recovering from a motorcycle accident in late 1966. For nearly a year, the folk-rock icon holed up in the cellar of a large pink house in West Saugerties, New York (later immortalized as “Big Pink”) with future members of The Band to write and record music that scholars among his best. Unfortunately for fans, it would go largely unheard for decades. After years of bootlegging, the first fruits of this quietly prolific time saw light of day on The Basement Tapes in 1975— but’s only a fraction of the story. More music from those sessions have since been released, culminating with this year’s The Complete Basement Tapes, which has lead many to believe that the well had finally run dry. Until now.
The 2012 Summer Olympics officially kicked off with an opening ceremony conceived by the Academy Award winning British film director Danny Boyle (Slumdog Millionaire,
Trainspotting, 28 Days Later). One of the sections of tonight’s broadcast bore the unusual name Frankie And June Say Thanks Tim, a love story that contained what NBC’s Matt Lauer described as “a tribute to the best British musical acts of the last 40 years.” Well, although Boyle and his musical supervisors managed to include a decent selection of bands that could be considered canon-worthy, we’d like to call your attention to this (quite undefinitive!) list of 29 highly respected bands that got royally snubbed (in alpha order*):
Elton John (!!!)
Want to see one rock legend cover the song of another rock legend? Well here you go: Elvis Costello covering Bruce Springsteen‘s “Fire” on Jimmy Fallon’s Springsteen Week (which kicked off on Monday with The Boss & E Street Band playing “We Take Care Of Our Own”). Try not to let your head explode, because that would suck for you and also, gross. But this really is a treat to behold — Costello’s husky vocals fit Springsteen’s lyrics perfectly, and with The Roots providing funky, summery beats, the song transcends either artist, and just becomes something of an icon in itself. Costello’s rendition might not have the raw, gritty sex appeal of Springsteen’s, but it has all the romance and desire, and we’d be happy to just sit here all day and alternate between the two, thank you very much.