Tiny Tim & Bob Dylan

Long, long time ago I read an interview with Barry Manilow, might have been in Rolling Stone. Anyway, he mentioned meeting Bob Dylan once. Bob told Barry that he really loved his work. Barry said he didn't if he was being sincere or busting his chops.
In the same interview he mentioned that he had recorded at Prince's Paisley Park studio. He was disappointed he didn't get to meet him. He thought it would be neat if The Jewish Prince met The Purple Prince!
 
Here is a strange pairing - Bob Dylan in a Davey Crocket hat and Tiny Tim playing a right-handed tiple.

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Was Tiny ambidextrous? This is an early PR shot from the mid fifties, the only other shot I've seen of him playing right handed.
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According to one article I read, TT played guitar right-handed and uke left-handed, which would explain why he is holding the tiple right-handed, if not the uke in the publicity shot. Also it's not uncommon for photographer's assistants/printers to flip negatives, particularly if they aren't aware of the subject's handedness, although Jimi Hendrix was ambidextrous.
 
ukukeguy said;
"Also it's not uncommon for photographer's assistants/printers to flip negatives ...."
See the cover of Dylan's debut album for an example of this, in this case it was probably the design dept making a more pleasing composition.
Vintage
 
Another photo from Big Pink, with Tiny playing 12-string guitar!
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:)
As I stated in the first post, the instrument Tiny Tim is playing is not a 12-string guitar, but a 10-string tiple.
The tiple is usualy tuned gG-cCc-eEe-AA, so can be played by a uke player with no learning curve.
One thing I found odd about this photo is that Tiny, a southpaw, is playing the tiple right handed.
 
Long, long time ago I read an interview with Barry Manilow, might have been in Rolling Stone. Anyway, he mentioned meeting Bob Dylan once. Bob told Barry that he really loved his work. Barry said he didn't if he was being sincere or busting his chops.

I can get why he wasn't sure. Barry has spent a lot of his career being the butt of a lot of jokes, and especially before the Christmas in the Heart LP or the "UNcovers" cycle, it might have been hard for Barry to imagine the hook for Bob's love of hooky, sentimental pop with its roots in Tin Pan Alley than Dylan's most obvious roots in rock and roll (he said in his high school yearbook that he aspired to play piano in Little Richard's band), the blues, gospel, and folk that are more apparent as Bob's roots....but like I said, the more widely you look, the more you see that Bob's interested in all kinds of stuff.

I also think he appreciates Barry's sincerity. There's remarkably little distance between what Barry seems to be and who he is, which isn't exactly the case with Bob himself. :ROFLMAO:

And interestingly enough, Bob collaborated with Barry's mentor and early sponsor, Bette Midler. She moved from Hawaii to New York and took the city by storm, playing as a duo with Barry in the bathhouses of the rich and famous starting around 1970-71 -- her singing, him on piano, and both bantering like crazy, as you can imagine. He went solo, famously writing jingles (including the still-ubiquitous State Farm "Like a good neighbor", McDonald's "You deserve a break today", Stridex's "Give your face something to smile about", "I am stuck on Band-aid and Band-aid's stuck on me", and many others -- the "jingles medley" is always a highlight of Barry's shows; see this article in the Saturday Evening Post).

Bette had tried to duet with Paul Simon, and it didn't work out for reasons I still don't understand. (He wiped her voice, and replaced it with Phoebe Snow in 1974. I'm not sure that they've spoken since.) Dylan had moved back to New York, where he had assembled the first Rolling Thunder Revue band in 1975, then brought everyone back to town over the holidays before setting out on a second, very different leg in 1976. He met Bette at a party at one of the folk clubs still operating in Greenwich Village, and they wound up in Todd Rundgren's Secret Sound studio, where Bette was recording her third album, this time using Todd's band Utopia. (Seriously!!!!)

The tapes from this session are outrageously flirtatious and sassy from both sides. Here's an excerpt from a terrific article on the event in Rolling Stone:

When [the engineer] brings up separating their voices on the track, Dylan declares, “We don’t want any separation on the voices,” and Midler shoots back with a sly, “Are you a one-take guy? … Ooh, I knew you were!” Dylan retorts, “Oh, I can last all night.” She tries to get him to take on Dobie Gray’s hit “Drift Away,” but the two instead end up playing around with a duet of Smokey Robinson’s “You’ve Really Got a Hold on Me” and taking a crack at Dylan’s “I Don’t Believe You (She Acts Like We Never Have Met).” At one point, Midler kids him with, “Goddamn it, I’ll turn you into Tony Bennett yet!”​
I can only assume that she was DELIGHTED by his UNcovers project, which includes a number of tracks Bennett also covered!

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They eventually landed on a dandy version of Buckets of Rain....



They also tried You've Really Got a Hold On Me (yes, that's Roger McGuinn behind them in the thumbnail)



....and for those of you who want to eavesdrop, perhaps with a little help from the Rolling Stone article to fill in some of the mumbling, here's a bootleg of some of the flirting....




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So I'll respectful yes, but gently disagree with the god part. Tiny's religious faith was very much like his devotion to old music -- so deeply held and so sincere that it looks like a joke to the casual observer, but it absolutely wasn't. Tiny and Bob were friends, but Tiny's interest was in music that was much older and frankly more sentimental than Bob. He did indeed revere (and I'm VERY comfortable with that word) songwriters, and Bob among them....but his mission was to reveal the mysteries and majesties of the Great American Songbook way, way beyond Gershwin and Porter.
I think if you'd pressed Tiny, he might not have ranked Bob all that high on the list of greatest American songwriters, and might even argue that we still don't have enough data to prove that Dylan has yet to write anything with the staying power and cultural impact of Bicycle Built for Two, which I say as obviously an obsessive fan of Dylan. The old stuff has its own power.
Incredibly interesting post, thanks Tim! For others, the Martell book Eternal Troubadour on TT is well worth a (long) read, although it is poorly referenced for getting back to sources. Perhaps TT's outlook had developed a lot by the 90s, as his diaries from late 60s suggest that BD did for folk music what 'his' (my interpretation) Rudy Vallee did for romantic music. His diary certainly quotes him on Dylan as 'the greatest single entertainer in the world today' at that time. What a lot he'd been through by when you knew him... and a very different path to Dylan.

There is a film recently out based on the TT diaries... I've put a link to a likely bootleg version in the test wordpress site pulling together some of the Cosmos-related stuff - I imagine that upload may disappear in time. I've been sorting out the chords for two of his first album songs having a lot of foresight for back then. Listen to lyrics for 'Community' and 'The Other Side' - both probably Bill Dorsey-written.
 
That is a truly odd couple. I would have loved to hear what they sounded like together!
I do love Dylan’s hat! I remember having one just like it when I was about eight years old!
When I was a kid, all kids had those hats. I still remember the words to the song.
 
Davey, Davey Crockett, king of the wild frontier!
The way we sang it as children went something like this.

Born on a mountain top in Tennessee.
Killed his sister when he was only three
Killed his brother when he was only four.
And now he's looking for his mother-in law.
Davey, Davey Crockett, king of the wild frontier!


The enormous span of time between lines three and four never bothered our little minds.
 
It's a genuinely fun song! Christopher Davis-Shannon has posted tutorials for two different versions of it, both Tiny Tim's (sans falsetto) and the Nick Lucas original, which I'm pasting below. It's superior in every way, except one: it's not Tiny Tim's version. :ROFLMAO: But I do really love this one:



Here's Nick's own version in 1944, although the song was originally published back in 1929, and performed by Nick in the 1929 musical "talkie" film Gold Diggers of Broadway. It stayed at #1 on the charts for 10 weeks!




He and Tiny became friends, and when Tiny Tim and married his first wife on The Tonight Show in 1969, Nick sang this song to the couple!

Nick's is the same version we do! We think it's beautiful.
 
I remember seeing a YouTube video where TT was playing a right-handed tenor guitar... Don't recall the Song, but it was one from the early 50s, he had a leather motorcycle jacket (Maybe it was one of Bob's?), and his the deep-as-a-cavern to high-as-the-clouds vocal.

What a range!
 
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