I'm from this area, and I can assure you that his accent doesn't sound "put on" at all (especially for late-70s/early-80s). The box says it's an old radio ad, and it certainly sounds like an old radio ad, so I don't see why they'd fake it.
I didn't mean faked today; I meant a hired voice actor (or maybe just a guy who worked for the promoter) doing an ad back in the day. The guy just doesn't sound "real" to me (even if it's a legit accent). Edit: and in the documentary, we see some of the other naysayers from the same ad on video outside the show, but not this guy
If I recall the Heylin book correctly (I "lost" my e-book copy, long story), there is a passage describing Dylan's people going out to interview people for the promo after a show, much like they had done previously for Eat The Document. I think the quote is authentic.
We see that in the Trouble No More documentary; it's just my hunch on this one voice, but I have no evidence.
Personally I don t see Street Legal as a natural part of the new set. The 1978 tour(of which I was lucky to attend one show) and Street Legal was before Dylan came out as a born again Christian. However I wouldn't t mind. a set detailing this era. I belong to the minority who actually enjoy the Budokan set but at the same time know there are far better gigs from this tour. I also truly enjoy Street Legal or at least parts of it. But both when it comes to the music and the message it doesn't t belong on Trouble no more-exept for the few rehersals of some songs later included on STC
The woman who is quoted after him also has a very distinctive manner of speaking, sounding like very much like a blonde camp counselor from an early Friday The 13th movie or something.
I really love this version. But for a muffed lyric (the "high degree thief" line) and a missing verse, I'd say it should have been the master.
Ah, got it -- in that case, I have no idea. I guess it's possible -- although again, having grown up during this time period, he sounds plenty real to me.
I believe this ad has circulated for decades (unless I'm confusing my ads) because there are unreleased rehearsal snippets in the ad (from Rundown). So for those who had to "have it all" you had to have the ad. I thought they were ALL voice actors, until I finally saw the video bits, which certainly appear authentic. Maybe average people just speak in an affected manner when you put a microphone in front of them?
I won't belabor the point, because what's done is done and I think BS13 is excellent, but I saw Street Legal as the beginning of the spiritual and existential crisis that led to his conversion -- "Eden is burning"..."I got a new pony / Her name is Lucifer"..."Can you tell me where we're headin' / Lincoln County Road or Armageddon" ... etc. Possibly over-thinking it, I admit -- and if there is to be a Street Legal / 1978 tour release within the Bootleg Series sometime in the future, I'd be perfectly happy with that.
I think a lot of times when we (certainly, me) advocate expanding the scope of these sets, at least in part it's because we doubt we'll otherwise hear some of this prime material in a timely manner (if ever). The time-frame of '79-81 was the intellectually correct one for this set (with the '78 soundchecks squeezed in), but I would have accepted Street Legal and Infidels too. It would not have been ideal, and I much prefer other concepts that have been proposed to explore those eras. It's just that we have no idea how long these sets will continue to be made. I'm pleasantly surprised we have been getting them basically on an annual basis, after the sporadic nature of BS4-BS9. But I struggle to believe they will continue into perpetuity. The cautionary example of the John Wesley Harding outtakes looms large for some of us.
In my experience, people used to be taught to speak clearly in situations like this, or when on the telephone. This is a skill/courtesy that has been lost in recent decades, especially since the explosion of mobile phone usage. In the course of my job, I speak to many people on the phone, and most make no effort whatsoever to communicate in a clear and concise manner.
Bob recorded the stunningly wonderful Caribbean Wind (and the others) at Rundown with an Otari MX-5050 recorder. Below is the standard Otari MX-5050 2 track recorder.... Here is Keith Emerson's 8-track Otari MX-5050 recorder currently for sale on E**y over here, complete with a practise tape of Keith playing his Yamaha GX1 analog polyphonic synthesizer. Was Bob recording on 2-track, 4-track or more-track at Rundown? The info will be somewhere but, like many things of importance, it's not in my head at this minute. #
The Deluxe Set release of TROUBLE NO MORE is so awesome I can’t stand it . Right up there with my favorites BOOTLEG SERIES releases (VOLUMES 1-3, TELL TALE SIGNS, & ANOTHER SELF PORTRAIT). Amazing.
I guess Street Legal was a transition between the earlier stuff and the gospel songs but he was clearly not a born-again at that time. If one should believe Bobs iwn lore(admittedely Im very sceptic towards that) someone threw a crucifix on the stage,he kept it and at the hotel met the big J.
A set you wished for would have been huge and probably great but... Trouble no more is very consistent when it comes to the message
Yes, that's definitely a factor for me as well -- especially when the period being advocated for might be deemed to "minor" to get a set of its own. I've seen people call for the Pat Garrett and Planet Waves sessions to be included in a proposed Blood On The Tracks-centered Bootleg Series set -- I'd argue that it's more because of the reason given above than because those albums really "belong" in a BOTT set. Agreed, and given how much live material they decided to use in BS13, it's hard to argue for adding MORE. But if it had been more of a studio-based set, with just a couple of live discs, I could have made a strong case for sampling the Street Legal sessions (for clues of the upcoming conversion) and including the more overtly religious material from the Infidels sessions ("Man Of Peace," "Death Is Not The End," etc.). I'm cautiously optimistic that we will probably make it to Vol. 20 -- that's seven more sets. I'd have to check my notes, but even just going by what the Dylan "source" has told Rolling Stone, we can come up with seven more BS releases. Of course, if they stop selling suddenly, all bets are off -- but I think Bob's fanbase is strong enough (and young enough) to keep this slow train going for another decade at least. Indeed it does. The JWH sessions were ignored by two Bootleg Series sets that they arguably could have fit into, and are at risk of being ignored by the heretofore extensive Copyright Extension campaign. Don't make me beg, Mr. Rosen! (But I will if necessary...)
Forgive me if this is detailed "elsewhere" in this thread, and I may have read all about this and forgot, but what is KNOWN---not rumored or guessed but KNOWN--about the existence and contents of HARDING outtakes?
Yes, you are right -- Street Legal is, at most, a "transition" album that led to the Christian period, and not part of that period itself. So I can't really disagree with how BS13 was handled, although as I just said above, if it was more of a studio/rehearsal-based set I think Street Legal and Infidels could have been useful participants.
There have been references to intriguing alternates from JWH in various articles about the Tulsa Archives. As I recall, the specific songs that have been singled out were "As I Went Out One Morning" and "All Along The Watchtower." I'll try to find the exact quotes. The sessions themselves have been long documented, but it's hard to know which alternate takes are fascinating in their own right from that (apart from the inherent joy in following the progression of a recording).
Ordered Bootleg 1-3 just might get this one. But damn, so many reviews, critics and some of his fans bashed the gospel years to hell.