Discussion in 'Music Corner' started by Dave Gilmour's Cat, Nov 2, 2016.
Feudal eh? Heh, that even makes it more fun.
Certainly, my sense is there's quite a lot of sexual innuendo--I hear where you're coming from.
Yeah but that's regular Bob..this is down dirty grubby cash for sex business - freedom from marriage blow outs??
You VU fans see prostitution everywhere
That's made my day!
Aint that somethin'. I dont recall ever seeing that. Maybe Bob slurs it up and it can be one of the three.
I dont know though "flugelhorn" just seems whimpier to me. "Futile" seems a bit pawing though too. I like "feudal".
Bob says what it is though...
Interesting to note that the "Call girls" verse was cut from the "official" lyrics.
Call Letter Blues | The Official Bob Dylan Site
True... It's only got more x-rated the older he gets.
Love & Theft and Tempest both showed the fire still burns in more ways than one.
I think that's a little harsh, especially in comparison to Bruce Springsteen and Neil Young threads here which are about 90% crapping. This thread seems to be less than 10%, or maybe I've just selected "ignore" for the repeat offenders.
I just love this performance.
I'm just judging by someones rip in comparison to the CD and it's way brighter. I've been listening to it EQd because it's pretty bright imo, some guitar strums sound like smacking metal rods
Here's some of the gear used
Clearaudio Talismann v2 Gold
VPI Classic 2 SE
Musical Suroundings The Phonomena II preamp
Tascam UH-7000 ADC/DAC
Here's a short snippet alternating between the LP and CD rip
Yes, "Wild Mountain Thyme" was lovely at Isle of Wight.
Other examples of melisma in concert would be in "Tangled Up In Blue" in Fall 1978 and "When He Returns" in Fall 1979. But really there are so many instances there's no counting them.
Yep its a beautiful beast of a performance
I bought the 6cd version and the double vinyl.
I'm just finishing listening to the double lp..omg why haven't i listened to this album in so long..!?!?
This release is immense.
I like live and studio though otherwise i am on the same page as you entirely.
I still love picking up physical boots on vinyl or a silver factory cd.
Alex Ross in the New Yorker writes about the set:
Bob Dylan’s Masterpiece Is Still Hard to Find
Also he provides this (apparently unaware or unconcerned about the mixing and missing dubs/pieces):
To assemble the original “Blood on the Tracks” from the eighty-seven takes on “More Blood, More Tracks,” select tracks 69 (CD 5, No. 3), 71 (CD 5, No. 5), 34 (CD 3, No. 3), 76 (CD 5, No. 10), 48 (CD 4, No. 2), 16 (CD 2, No. 5), 11 (CD 1, No. 11), 59 (CD 4, No. 13), 46 (CD 3, No. 15), and 58 (CD 4, No. 12).
Ross, a very good writer, writes about Idiot Wind: “A ghostly organ was later overdubbed.”
Someone should tell him it was a spooky organ!
The organ dub was neither spooky nor ghostly.
It was ethereal.
Richard, you've said this a few times now. It's semantics. Even Kevin Odegard refers to it as "ghostly" in his book. We're all saying the same thing in this context. Though, admittedly, ethereal might have been a better word to have stuck.
I cant decide if I love the aborted Idiot Wind [take 1] because the mono safety reverb makes it stand apart or because it's actually that special.
There's nothing to be done about the missing dubs/pieces and the remix. More Blood More Tracks is what it is, and what it is, is wonderful by any and every standard.
I don't agree with Alex Ross's pronouncements. If Dylan hadn't made the changes to the test pressing, re-recorded the songs in Minneapolis and chosen the takes that he chose, Blood On the Tracks would not be the masterpiece that everyone has considered it to be all these years. The album released in January 1975 is a masterpiece. That's a fact etched in stone like the Ten Commandments Moses brought down from Mount whatever. We are very fortunate to hear this outtakes and remakes and alternatives. We don't have to choose one or the other. We don't have to belittle one to praise another. We can have both. We can enjoy it all. The session work is fascinating in all its variations and consistently brilliant. It informs us about Dylan's creative process and self-discipline and professionalism, and retains the mystery of where his inspiration comes from and how he manifests it, but it does NOT call the final album into doubt. The masterpiece Alex Ross is looking for is right in front of his face.
Since everybody else is making the same points and complaints over and over again I thought I would follow suit.
It's actually that special because it's that special not because the mono safety reverb makes it stand apart.
But all the session is special.
I think it is special, too, obviously. I do think part of the reason why it stands out, though, is that sonically speaking it's different from all the other takes by virtue of a much different source. I think when recordings are murkier you tend to listen more intently. This is no mystery. It's part of why people like us fell in love with bootlegs all those years ago. Take 1 retains that bootleg quality.
He suggests the guitar tuning is open E or was it D capoed at 2nd fret?
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