Bob Dylan: Bootleg Series Vol. 14

Discussion in 'Music Corner' started by Dave Gilmour's Cat, Nov 2, 2016.

  1. slane

    slane Forum Resident

    Location:
    England
    As every song that is (so far) available from the NY sessions are all in the same key (E major), I'd say there's a very good chance that McFaul was playing in the wrong key :)
     
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  2. Bink

    Bink Forum Resident

    If we assume that BS 14 is going to be the BOTT NY sessions, does anyone have any suggestions on how the set should be configured / sequenced?

    For example, I have been kind of assuming that the 2 disc set could be the mystical demos on disc 1, with an alternative version of the album out on disc 2.

    I know many people here are keen that the deluxe edition includes every take in a similar way to Cutting Edge. So should the deluxe edition just run chronologically through the sessions or include an alternative version of the album? Any thoughts?
     
  3. matt79rome89

    matt79rome89 Forum Resident

    Ideally this, realizing a lot of it is a dream:

    Big Red Complete: Everything in chronological order, plus cd/vinyl version of the pulled "acetate" release, plus speed corrected version of official release (if speeding up was not intended), plus live compilation of BOTT songs from Rolling Thunder. Note: "Everything" includes the unheard first solo acoustic session mentioned in Rolling Stone article.

    6 Disc Version: Disc #1: First solo acoustic session mentioned in RS article. Disc #2, #3, maybe #4: Best of the NY sessions. Disc #4 (maybe), #5: Best of the Minnesota sessions. Disc 6: Pulled "Acetate" release.

    2 Disc Version: Best of everything, perhaps split by minimal acoustic sessions and full band sessions.
     
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  4. DeeThomaz

    DeeThomaz Senior Member

    Location:
    In The Felony Room
    Is there anything corroborate Chris Weber's claim in Simple Twist of Fate that Dylan himself overdubbed the mandolin part on "If You See Her, Say Hello" during the Sound 80 sessions, after Peter Ostroushko was reportedly unable to quite achieve what Dylan was hearing in his head?

    Weber's account is detailed, and comes across as credible. But it still seems unusual to me.
     
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  5. NumberEight

    NumberEight Came too late and stayed too long

    Or even if it was.

    Cf. Caroline, No, When I'm Sixty-Four, etc.
     
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  6. aoxomoxoa

    aoxomoxoa I'm a "Citizens For Boysenberry Jam" Fan

    Location:
    Ohio USA
    So BOTT was sped up?
     
  7. Waymore Lonesome

    Waymore Lonesome Forum Resident

    That interview's not the one I remember. I have it around here somewhere probably, I cut it out of a newspaper or magazine or something. From memory he says "yeah I did Dylan, and he screwed me" and says specifically that even on the promotional copies of the album he was on it. I'll check out my tape and compare it to the LP version again just to check. (Edit: it's definitely the same as the released version.)
     
    Last edited: Jun 13, 2018
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  8. lschwart

    lschwart Forum Resident

    Location:
    Richmond, VA
    But he wasn't all that far off, really. If the songs were in E major and he was noodling around in A major the only note that would be off would be the D, which would properly need to be sharp. Someone with better theory than I have would know the details and could explain better, but I think he would mostly have been OK, as long as he was just noodling in the background if he didn't dwell on the D or if his ear nudged him to the D# when necessary.

    L.
     
  9. My Echo My Shadow And Me

    My Echo My Shadow And Me Well-Known Member

    Location:
    Germany
    Yes, engineer Phil Ramone said it was sped up accidentally (by about 2–3%). The Mastersound LP version from the early 1980s is the only official version that plays at the correct speed.
     
  10. smoke

    smoke Forum Resident

    Location:
    Chicago
    Really? I never heard it said that it was an accident, but rather that Dylan (or someone) thought it worked better that way.
     
  11. shepherdfan

    shepherdfan Forum Resident

    Location:
    Eugene, OR
    Ideally speaking, I would like the box to be similar size-wise to the '66 Tour box rather than The Cutting Edge box. I think we could all use some affordability. Plus, I'd like to be able to put it in my CD shelves rather than in a separate place for my oversized box sets.
     
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  12. teag

    teag Forum Resident

    Location:
    Colorado
    I hope it’s a 5-6 LP set.
     
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  13. fluffskul

    fluffskul Forum Resident

    Location:
    albany, ny
    sorry if its a silly question, but how would one spot this pressing.
     
  14. Toddarino

    Toddarino Well-Known Member

    Location:
    Wisconsin
    It says half speed mastered on the top in a light blue bubble with white letters. I think there’s two on discogs right now.
     
  15. fluffskul

    fluffskul Forum Resident

    Location:
    albany, ny
    I'll have to pass at that price :biglaugh:
     
  16. smoke

    smoke Forum Resident

    Location:
    Chicago
    It also floats around the underworld as ones and zeros, for those currently unmillionaired.
     
  17. Toddarino

    Toddarino Well-Known Member

    Location:
    Wisconsin
    Yeah that is considerably more than I just paid for it.
     
  18. Percy Song

    Percy Song Forum Resident

    Having taken a good look at my bank account balance, I like this one a lot although I think I'd lose the live component and be happy to wait for the Rolling Thunder box(es) for that. Like you, I'm realistic enough to be virtually certain that Big Red Complete won't happen.

    I've been skimming through various books and articles this last week or so trying to figure out what might be included and I'm struck by the differing accounts of the New York sessions. The Larry Sloman piece, published in Rolling Stone in November 1974, mentions a solo session prior to the players arriving at 6 p.m.:-

    "Dylan had been recording alone for a few hours. He played back those songs but then wanted to do some new ones, and Deliverance was forced to pick up the tunes cold."

    Clinton picks up on this snippet and runs with it in his books indicating that the tapes and information for this mystery afternoon solo session were "mislaid" by Columbia. He speculates (or hopes) that Bob might have tried out songs that appear in his notebook at this time:-

    "There Ain't Gonna Be A Next Time"
    "Bell Tower Blues"
    "Where Do You Turn"
    "It's Breaking Me Up"
    "Don't Want No Married Woman"
    "Ain't It Funny"
    "Little Bit Of Rain"


    There doesn't appear to be any corroborating evidence for this "rumoured" mystery session. It isn't mentioned in Gill's book "A Simple Twist of Fate", and Glenn Berger, in his BOTT chapter, doesn't indicate that anything happened at A&R Studios prior to the session players arriving and the setting up of microphones and whatnot for the 6 p.m. start in Studio A-1. If there was something solo going on, say in the smaller A-2 studio, before anyone else arrived, I don't believe Phil ever mentioned it.

    Nonetheless, Larry Sloman got his information from somewhere and his report is contemporary. Contemporary reports can often be more valuable than half- or not-remembered stories years after the fact.....

    In the same article, for example, Larry describes the scene: "It looked like old times at Columbia's A&R Studio September 16th. John Hammond Sr. was there, Phil Ramone was working the board. Eric Weissberg and Barry Kornfeld, two old Gaslight regulars, were unpacking their guitars."

    In "A Simple Twist of Fate" we have the statement: "Although some published versions of a purported studio cue sheet also listed Barry Kornfeld on guitar, he was not in attendance and did not play on "Blood on the Tracks" with Eric Weissberg's group." End of statement. (Barry does seem to have been paid, though!)

    More recently (2014) we have a "source" telling Rolling Stone: "During the first couple of days in New York, Bob played the songs solo on acoustic guitar. They're very different than anything that's been heard before and they're very special."

    This statement isn't necessarily alluding to a mystery session prior to the players arriving; this could just be describing the first takes of each song during which, according to Weissberg, "We scrambled for papers and pencils to try and scribble down the changes and the road map, etc."

    So, in summary, if we are not going to get a "Big Red" concept as described by @matt79rome89 then CD 1 for me would be all the (apparently) solo performances from across the New York sessions, in the order they were performed.








     
  19. goodnitesteve

    goodnitesteve Well-Known Member

    Something interesting came up today on Spotify (sorry for using spotify). I was listening to Up To Me from Side Tracks and the title changed and showed that it’s take 2 remake 3. It never used to say that. I wonder if this has anything to do with the new set. It's similar to the info written next to the tracks from the Cutting Edge set.

    [​IMG]
     
  20. IbMePdErRoIoAmL

    IbMePdErRoIoAmL lazy drunken hillbilly with a heart full of hate

    Very interesting indeed. Good eye!
     
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  21. RayS

    RayS Forum Resident

    Pulling up "Side Tracks" on Amazon, it has the same information, and also lists "You're a Big Girl Now" as "Take 2, Remake". I don't own "Side Tracks". Can anyone who does see if this information is contained in the packaging?
     
  22. John Rhett Thomas

    John Rhett Thomas Forum Resident

    Location:
    Macon, GA, USA
    The Side Tracks from the Complete Albums box set does not contain that verbiage. It just says it's an outtake from Blood on the Tracks.
     
  23. stepeanut

    stepeanut Forum Resident

    As noted above.

    [​IMG]
     
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  24. leefarber

    leefarber Forum Resident

    Location:
    Los Angeles, CA
    This is a VERY good sign...
     
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  25. inaptitude

    inaptitude Forum Resident

    What does "Remake" mean?
     

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