From: khematite@gmail.com   
      
   On Saturday, 28 August 2021 at 15:49:18 UTC-4, Rachel wrote:   
   > On Saturday, August 28, 2021 at 12:33:54 PM UTC-7, K. Hematite wrote:    
   > > On Wednesday, 25 August 2021 at 05:03:19 UTC-4, Christopher Rollason   
   wrote:    
   > > > Dylan has twice contributed to sleevenotes for releases by Dion (Di   
   Mucci). The most recent is for an album called Blues With Friends released in   
   2020. Before that was a box set called King of the New York Streets which came   
   out in 2000.    
   > > >    
   > > > I have located Dylan's 2020 notes but not those from 2000. Does anyone   
   have them? If you do could you post them on the group?    
   > > >    
   > > > Thanks in advance!    
   > > "King of the New York Streets" is a 3-CD box tracing Dion's musical   
   history. Liner notes are found in s 48-page booklet, most of which consists of   
   David Marsh's comments about Dion's life in the Bronx and beyond and about the   
   various influences on    
   his music. Page 33 is given over to Dylan's one-page comment on Dion and it   
   goes like this:    
   > >    
   > > "The voice of Dion came exploding out of what Allen Ginsberg called 'the   
   hydrogen jukebox" in the fifties -- the hush hush age. Torn right from the   
   start, he had it magically together in the mythic sense -- level-headed and   
   trustworthy, rhythmically    
   there's no mayhem -- just a sense of wonder. In his voice he tells the untold   
   story in the seemingly secret language. How else do you explain the   
   soulfulness of 'Teenager in Love'? An unknowing ear would say it's a song   
   about youthful claptrap but it's    
   not, not anymore than Tampa Red's 'Let Me Play With Your Poodle' is not about   
   dogs. You can hear it in his haunted voice -- street corner hokum sure, but   
   also barrelhouse blues, the honky-tonk world -- even the most sophisticated   
   crooner in the    
   articulate way -- it's all there to put a spell on you. I saw Dion way back   
   there when he followed Ritchie Valens and preceded Link Wray and the Wraymen.   
   Ritchie could pitch you over the fence and Link made you feel like you wanted   
   to take a grotesque    
   despotic world and hang it with barbed wire, but Dion was no less brilliant --   
   his level was cool-headed, made you feel longing, excited and entranced. 'Ruby   
   Baby' is severe, round the clock -- listen you'll see. Satire, cunning,   
   fidelity, it's all there    
   in spades. Great singers pass by us like a parade of nobility. There's just   
   something about them that rises above superficial culture. Dion comes from a   
   time when so-so singers couldn't cut it -- they either never got heard or got   
   exposed quick and got    
   out of the way. To have it, you really had to have it, no smoke and mirrors   
   then -- not a minute to spare --rough and ready -- glorious and grand --   
   grieving with heartache and feeling too much but still with the always 'better   
   not try it' attitude. If    
   you want to hear a great singer, listen to Dion. His voice takes it's [sic]   
   color from all pallets-- he's never lost it -- his genius has never deserted   
   him."   
      
   > is there a reason the word pallet was chosen, over pallete ?   
      
      
   My pathetic excuse is pure carelessness.  I didn't even notice that the word   
   had been misspelled and therefore required an appropriate [sic].  Dylan's   
   excuse may be that he used to be a folksinger and had "Make Me a Pallet on   
   Your Floor" going through    
   his head when he wrote the comment on Dion.   
      
   --- SoupGate-Win32 v1.05   
    * Origin: you cannot sedate... all the things you hate (1:229/2)