Edition of 20. Numbered. 12″ lathe.
Unlike some of their more deviously zoned sessions, this recording catches Donkey No No in a reflective and ruralist mood. Omeed’s guitars, Jen’s violin, and Ted’s bowed cymbal all sound like something Bob Dylan would have listened to as a way of negating a bad hangover while on the Rolling Thunder tour. Notes and drones are carefully placed, allowing lots of breathing room to exist on their margins. Probably so that Bob’s head can stop its throbbing.
And one can easily imagine, Dylan, sitting on the commode, slowly chewing on an Egg McMuffin, while he awaits the arrival of his poop de jour, wondering what it would sound like if Bruce Langhorne was playing along with that huge tambourine of his. Bob starts thinking that maybe he should give Bruce a call. But not just for Donkey No No. Maybe they could get some jams going again. They hadn’t seen each other since the Pat Garrett sessions, but those were really fun.
Bob gets up and walks out of the bathroom, without pulling up his pants. He starts pawing through the papers that are scattered across the top of the desk in his hotel room, looking for Sandy Bull’s phone number. He figures Sandy must know how to get in touch with Bruce.
“Where the fuck is it?” He yells to the empty room.
Sitting down on the edge of the bed, he again notices the dulcet pluck of Donkey No No emanating from the little speakers he has attached to his cassette deck. He thinks about pulling up his pants, but decides against it. He lays back on the pillows and floats around in the music. Happy as a clam.
Now you know how Dylan relaxes. Check out Donkey No No and have a revelation of your own today.
-Byron Coley, 2017