Discussion in 'Music Corner' started by HominyRhodes, Jun 1, 2015.
The wonderful Milton Glaser, great.
I've considered buying one:
Yes - in fact, once I checked the technical credits again and saw who the perpetrator (oops, I mean mastering engineer) was, I realized why I've got such a problem with it. Same guy who did the 2009 Basements Tapes Sony remaster, wouldn't ya know it? I don't know - I guess some people dig this guy's style, but listening to anything he puts his hands on gives me a headache. All high-end shrillness, no body, no warmth...ughhhh!
Courtesy of Heylin's Recording Sessions book, here's a list of working titles for many of the songs from this era. Mostly it seems that Dylan was just trying to amuse/torment the studio personnel, but it resulted in some very perplexing recording sheet entries. I'd like to say that I'm posting this list to aid in our efforts to examine the sessions, but mostly it's just because I find them hilarious. Please feel free to add any that Heylin may have overlooked.
A Long Haired Mule and a Porcupine [Rainy Day Women #s 12&35]
Alcatraz to The Fifth Power [Farewell Angelina]
Bank Account Blues [I'll Keep It With Mine]
Bending Down On My Stomach Looking West [You Don't Have To Do That]
Black Dalli Rue [Positively 4th St]
Black Dog Blues [Obviously 5 Believers]
Freeze Out [Visions of Johanna]
Juarez [Just Like Tom Thumb's Blues]
Just A Little Glass of Water [She's Your Lover Now]
Lunatic Princess [From A Buick 6]
Over The Cliff [Sitting On A Barbed Wire Fence]
Phantom Engineer [It Takes A Lot To Laugh, It Takes A Train To Cry]
Pilot Eyes [Jet Pilot]
What You Can Do For Your Wigwam [Pledging My Time]
Worse Than Money [She Belongs To Me]
My old Greatest Hits LP maybe nearly worn out, but somehow I managed to stow away the poster, which I recently discovered. Looks almost new, but those danged fold marks would be hard to iron out. A new, flat/rolled copy would be nice, but $100? Maybe a smaller print would be a better option.
Consider it art. $100 isn't too much in that context. I probably have a folded version stuck in my dads old Vol.1, but it wouldn't look good framed. Plus the colors/paper are probably faded.
While we wait for GetRhythm's highly-anticipated assessment of circulating recordings from the '65-'66 live shows, I thought I'd pop this quick reference chart up here.
It was appropriated from http://www.bjorner.com/66.htm and modified it a bit. It shows that only a few live recordings from the 1966 North American concerts have surfaced so far (on audience tapes only, unfortunately), while the shows from Australia and the U.K. have been fairly well-documented, many in the form of soundboard recordings.
Eat the Document/No Direction Home both featured additional fragments of songs from the European dates.
EDIT: And is it true that the venues/dates for the Los Angeles and Santa Monica shows have still never been identified? Strange.
Cool itinerary chart. I wonder what the band sounded like at the end of the March leg. Hope there's some audio evidence.
Mickey Jones didn't join the band until April in Hawaii.
It's hard to believe that only three(!) audience tapes, and no soundboards, have surfaced from the twenty-plus North American shows that year. Maybe we'll get lucky, and a previously unknown tape (in good quality) will be included on the new box set.
...plus anything with Mickey Jones
Thanks, this is helpful. First thing I can tell you right off is all the audience tapes in circulation really aren't worth bothering with due to the low fidelity (akin to the live audience-taped shows on the '64 copyright extension collection). The only points of interest from the circulating U.S. recorded gigs are that "4th Time Around" hadn't replaced "To Ramona" in the set list yet at White Plains and Pittsburgh, and Pittsburgh also has one of the two circulating live versions of "Positively 4th Street" (the other better-recorded one coming later at Sydney). And in actuality, the Pittsburgh tape verges on the edge of listenability and might just benefit from a little work.
Otherwise I have to tell you the Scorpio "Genuine Live 1966" set I just acquired has really thrown me for a loop. This release includes only the line recordings from the tour (i.e., the better sounding ones), and features several shows in much better audio than on the "Jewels and Binoculars" set (including Sydney, Sheffield, Dublin, Liverpool and the acoustic Melbourne).
So I'm going to have to reassess a bit - I already think there's a bit more that's absolutely essential than I would have previously suggested...
Look what I just found. A review of Dylan in Chicago, Thanksgiving week 1965. (I saw him at the Arie Crown 24 years later.)
The city is Albert Grossman's hometown, so maybe he had Bob & The Hawks over to one of his relative's homes for turkey...
Although I've never heard the partial tape of the show that's in circulation, this reviewer was not impressed.
Arie Crown Theater
26 November 1965 [Friday night]
1. She Belongs To Me
2. To Ramona
3. Gates Of Eden
4. It's All Over Now, Baby Blue
5. Desolation Row
6. Love Minus Zero/No Limit
7. Mr. Tambourine Man
8. Tombstone Blues
9. I Don't Believe You (She Acts Like We Never Have Met)
10. Baby Let Me Follow You Down (Eric von Schmidt)
11. Just Like Tom Thumb's Blues
12. Ballad Of A Thin Man
13. Positively 4th Street
14. Like A Rolling Stone
1-7 Bob Dylan (vocal, harmonica, acoustic guitar).
8-14 Bob Dylan (vocal, harmonica, guitar), Robbie Robertson (guitar), Richard Manuel (piano), Garth Hudson (organ), Rick Danko (bass) and Levon Helm (drums).
Note. Only tracks 8-10 and 12 are in circulation.
BobTalk: "I don’t believe you". It used to go like that and now it goes like this!
Incomplete mono audience recording, 17 minutes.
Session info updated 7 August 2000.
I agree that nearly all of the audience tapes can try a listener's patience, but I do like the Pittsburgh tape you mentioned, for the inclusion of Positively 4th Street, and also for the crowd reaction to Visions of Johanna, unreleased at that time, which the audience got a real kick out of.
I have not heard the Scorpio set, so I'm anxious to read your full review. Thanks again.
I hadn't listened to this Dylan interview with Martin Bronstein of the CBC (Montreal, Feb 20, 1966) for a long time, but if anyone's seeking a standard Q & A, NPR-style exchange, as opposed to Bob's numerous other abstract performance-art interviews and press conferences, this is it. He was on tour at this time, and in between sessions for Blonde and Blonde, but he speaks calmly, and seems to be much more sincere than usual.
The "Genuine Live 1966" set is pretty awesome. I got my copy about ten years ago via eBay and was also struck by the difference in quality between it and the FLACs I have of Jewels and Binoculars.
Agreed, I got this some time ago at a record fair and was very very impressed by the quality of what was included!
Love the packaging but I have yet to be really impressed with the sound. None of it sounds as good as Guitars Kissing.
Agreed there, but the material that isn't from that show seems to be about the best you can get it (so if this new release is an upgrade it has the potential to be really great).
"Genuine Live 1966" is a great set but I hardly ever take it out to listen. Mine also includes the extra 'Away from the Past' disc. I should bring it to my local B&M and see what they offer for it. Need extra $$ for all the Stones and Zep stuff coming out!
Interesting, thanks for finding and posting that review.
The audience tape is actually quite listenable with a strong Dylan vocal.
The review states they played "Long Distance Operator" which isn't listed
on Bjorner's setlist and is generally thought to have debuted in Berkeley, CA
the following week. So, this show may have been the debut.
Just re-reading the 1965 review: Krogsaard doesn't include Long Distance Operator in his setlist for this show, but Dylan clearly played it that night, as he did a week or so later in Berkeley, CA. Would love to hear a tape.
Also, it's apparent from his conjecture about song titles that the reviewer hadn't even listened to Highway 61, which had been out for nearly two months by that time.
On an audio note: Mr. Plowman said that the drums and piano weren't amplified at the same level as the electric instruments, which he said were "thoroughly wired for sound." I wonder if that was the normal setup, and if that's the sound mix we've heard on the other audience tapes from that era. Interesting food for thought.
I see we're on the same page. If this show somehow makes it onto the 18-CD box, I'll be extremely happy.
I shouldn't even fantasize about this, but I know a guy who works at the "new" McCormick Place (the old one burned down a few months after Dylan's '65 show). I should ask him to root around in the cellar and see if there are any old reels of tape laying around...
50 years ago today.
Long Distance Operator - Bob & The Hawks, Berkeley, CA, Dec. 4, 1965 (from audience tape recorded by Allen Ginsberg)
Along with "The Painting By Van Gogh" (or "Positively Van Gogh," "Definitively Van Gogh," "Spuriously Seventeen Windows" or whatever the hell you want to call it), this "Long Distance Operator" (assuming a better version doesn't exist) is one of the two truly sonically challenged recordings from the era I hope make the cut for the upcoming BS12.
PS: I've heard it argued that "The Painting By Van Gogh" is the song that was copyrighted as "Church With No Upstairs." Maybe?
So you're hoping those reels of rhyme skipped their way out of the fire?
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