I very seriously doubt it, as much as I'd love to see it happen I think we should count ourselves lucky that we got this mainstream release.
Well, I was intending to wait until the physical discs were issued, but that's 3 weeks away & the files were in my Amazon Music library, so... Very enjoyable set, overall - it IS repetitious, but it's not a curated set (or only very lightly so, anyway) & that's part of the trip. Regardless of that, there are some really good take variations of the "key" New Morning tracks and, as splayed out randomly in my Music library, the lighter Harrison session tracks come as scattered relief/fun, between the business of getting good master recordings down in the June & August sessions. BIG fan here of all 3 variations of Alligator Man, by the way - this really did deserve to make it to the Dylan LP in 1973, but it's here now at least!
Of the whole thing? I would say close to zero. Most of the Bootleg series was never completely issued on vinyl. Those who want it should get the CD.
Thank goodness the limited mainstream release in UK is being delayed by three weeks. Obviously it is to enable the glue to dry properly before the four elements are loaded into the sleeve. Mr. Source is well aware how angry I can get when there's a glue issue with one of his products... I'll not forget Big Blue and Medium Blue in a hurry, I can tell you...
Future copyright sets may not even appear. Dylan didn't record much in the first part of the 70's. He spent 1971 working on a book of his lyrics. After that there is not much left unreleased in the 70's.
I believe that they could at least release a one-time press of 5000 t0 10,000 vinyl sets and it would sell out. Make it an RSDer, if they must, to add extra grip-sweat hype.
There are a few scattered sessions from 1971, but we have the key tracks already. It will come down to how important they believe it is to protect the copyright in all the outtakes for the Greatest Hits 2 material. I agree, they may skip this year. We’ll see. 1972 was a fallow year for original Dylan material. No copyright set required. There are plenty of outtakes from 1973, from both the Pat Garrett & Billy the Kid and Planet Waves sessions. They will have to do something to protect that material, as a significant chunk of it already circulates unofficially. The 1974 tour may get a box similar to the Rolling Thunder set. This may not necessarily be a copyright set per se, but the better tapes from that tour will need protecting somehow. There are plenty of outtakes from the 1975 Desire sessions. I would love to hear this stuff, and I’m sure something will be done with it, either as a copyright set or as a Bootleg Series entry. The 1976 Rolling Thunder tour has some good quality tapes. I would like to see a second box set, similar to the first. Moving into the late 1970s, there are a ton of rehearsals from the Rundown years, plus the Street-Legal sessions. Then the 1978 tour looms large as a potentially significant project. I reckon there’s plenty interesting stuff still in the pipeline.
I would love to hear any reasonable outtakes from the Leon 1971 sessions. Great group of musicians. Jesse Ed and Don Preston made a nice guitar team.
Most likely. It's the only example of this track with the bass that I know of, anyway. It's tentative and sounds like Charlie is struggling a bit to know where Bob is going next so almost certainly a live take rather than an overdub. Probably direct injection, too, so easy to remove for the official release. It would be nice to think the piano intro is real, but it is fake.
Already looking forward to the 1971 Anniversary Collection. Not only are there the 'Watching the river flow / When I paint my masterpiece' sessions produced by Leon Russell (3 days recording in March), the Columbia session with Happy Traum in September,and the 'Wallflower'/ 'George Jackson' session in November, there's also the 'Sammy's Song' session with Roger McGuinn which took place in October. Furthermore, according to Searching For A Gem, an A&M acetate of Dylan's entire Bangladesh afternoon show apparently is in collector's hands which may prompt the Dylan camp to clear the desk.
Yes, an edit... see my post #1323: the intro is using two other parts of the song. But it is so well done that it sounds even better than the released version!
I don't have a camera I can take pictures with, but my Sony Blu-Spec CD2 version arrived yesterday. I don't have the US version to compare, but I think the packaging is basically similar with a broader spine to accomodate a separate booklet with lyrics and notes in Japanese, and there are plastic inner sleeves for the discs.
My copy of the 1970 set hasn't even shipped yet from the Dylan store. This was an example of me outsmarting myself. I should've ordered it from Amazon. I didn't realize that this was a UMG release so that explains everything.
Order from Bullmoose if you get the chance. From my experience they send things very promptly and almost as importantly, very well packaged. Amazon (again, just my experience) usually just puts stuff in a thin mailer and sends it out and a lot of the time they're damaged. I haven't had a bad dealing with Bullmoose to date. Both Stage Fright 50th and Bob 1970 arrived a few days early.
For the 1971 Copyright Collection - Unreleased complete takes: Four of "When I Paint My Masterpiece" (one of them an instrumental). An unknown number of "Watching The River Flow" (Heylin suggests there were takes of "Spanish Harlem", "That Lucky Old Sun" "Alabama Bound", "Blood Red River" and "Rock of Ages" at the Blue Rock sessions with Leon. If these do exist I'd guess they are warm-ups. Krogsgaard does mention that at least one session tape was missing when he was given access to the archives.) Three each of "Only A Hobo", "You Ain't Going Nowhere" and "I Shall Be Released" One of "Down In The Flood" The released "Wallflower" was Take 4 so there may be other complete takes to consider protecting. The released takes of "George Jackson" were 9 and 13. The afternoon show of "The Concert For Bangladesh" will need protecting because it circulates. Whether this needs to be worked out in collaboration with Olivia /Dhani is debatable. Surely Mr. Source would want to protect Bob's set in any event. All in all it's shaping up to be an entertaining 2 CD set. If Bob's afternoon set from "The Concert For Bangladesh" is included I'll predict there will be a double-trouble, pistols-at-dawn, almighty-and-untidy scramble in December if it is only released as a Copyright Collection, given that the Quiet One was playing guitar and Sir Ringo was his Tambourine Man. There'll even be some bass-playing Leon Russell fans out there willing to fork out a small fortune for one of the 200 copies, I'll be bound. The sensible thing would be to make it a more-or-less limited mainstream release, like this latest "1970" thing. Otherwise blood, never mind the river, could flow down at the bay.
