Bob Dylan "The Bootleg Series" – overview and possible future projects

I’d settle for an album of Buddy Holly or Robert Johnson covers with band.

 

Reflections from the past couple pages:



I think that the "neverending tour box" could look like the 30 trips around the sun box from Grateful Dead a few years ago: A great show from each year 1988-2018. I would love that.
I would love if he released more complete shows, but I'm not holding my breath for that. Thank goodness for all the marvelous unofficial recordings of his concerts for the past 30 years for those of us who are interested in warts and all.

There have been subsequent fan made projects following up on the Neverending Covers bootlegs. I love them.

 

This

 

I'd be up for Buddy Holly covers.

 

His "32-20 Blues" cover from the early 90s is pretty great.

 

Here's a round-up of possible future projects mentioned by "a source" (probably Jeff Rosen, producer of the Bootleg Series) in several interviews with "Rolling Stone" magazine. I have added my personal list of suggestions.

Mentioned by "a source" in an interview with "Rolling Stone" magazine (September 27, 2018):

- pre-Columbia coffeehouse tapes [note: hopefully this will include the Karen Wallace Tape]
- 1996/1997 Time Out Of Mind sessions [note: there are rumors that a covers album was recorded as a separate project before work began on Time Out Of Mind, then there are the early sessions in Oxnard in 1996 and finally the sessions in Miami in early 1997 + some of the sessions were filmed by Daniel Lanois' brother]
- early 1980s ("the period between Shot Of Love and Infidels")
- 1969 sessions with Johnny Cash (scheduled for 2019 in order to keep the recordings from falling into the public domain in the EU)
- Rolling Thunder Review documentary (scheduled for 2019)
- Never-Ending Tour 1988–present

Additional projects mentioned by "a source" in previous interviews with "Rolling Stone" magazine:

- Desire sessions
- Hard Rain and other TV specials
- 1978 tour
- Infidels sessions
- Sydney 1986 ("Hard To Handle" concerts)
- Oh Mercy sessions
- Supper Club CD/DVD*

*I think that the Supper Club recordings should stay in the vaults. Excellent quality soundboard tapes of all four shows are already circulating and are nice to have but the preceding electric shows in the US in Sep./Oct. 1993 were much, much better concerts: Jones Beach first night, Holmdel, Hollywood Bowl – some of Dylan’s best shows.

Future project mentioned by Dylan's 1966 touring sound engineer Richard Alderson (facebook, May 2018):

- Gaslight Tapes ("My original recordings of Bob from the Gaslight in October 1962 will be released on Sony in the near future ... very, very few have heard them in their pristine sonic glory.")

My additional, personal suggestions:

Studio/Demos:
1960 Karen Wallace tape – This should be released officially. The original tape has very good sound and over twenty songs, incl. early Dylan original "One-Eyed Jacks". (Still owned by Karen Wallace?)
1984–1986 Empire Burlesque/Knocked Out Loaded/Hearts Of Fire sessions (many people would love to hear Empire Burlesque without Arthur Baker’s mix)
1987 Down In The Groove sessions + reconstruction of Dylan's original version of the album (August 1987 master)
1982 Bob Dylan/Clydie King duets album (Trouble No More shows just how beautiful their voices sound together)
1990 Under The Red Sky (rough mix version: live in the studio, no "superstar" overdubs, diff. vocals/lyrics, fantastic album, needs to be made available to the public)
1992 unreleased album (recorded in Chicago, produced by David Bromberg)

also:
Saved (Toronto 1980) and Caribbean Wind (different version) [BS 13 "outtakes"]
God Knows (piano demo, presumably from 1989 Emlah Court sessions) [planned for BS 8: TTS, not released]
TV Talking Song (unrel. take 1990) [planned for BS 8: TTS, not released]
Polly Vaughn (Chicago sessions 1992) [planned for BS 8: TTS, not released]
Rise Again (Chicago sessions 1992) [planned for BS 8: TTS, not released]
Shake Sugaree (Time Out Of Mind outtake, Teatro, Oxnard 1996 or Criteria, Miami 1997) [planned for BS 8: TTS, not released]
Don't Think Twice, It's All Right (NYC 2004, United We Swing outtake)
My Own Love Song soundtrack (18 instrumentals, recorded at the Together Through Life sessions in 2008)
Vigilante Man (The People Speak outtake, recorded at the Malibu Performing Arts Center, Malibu, CA, 2009)
Masked & Anonymous outtakes (2002-07-18, Stage 6, Ray-Art Studios, Canoga Park, CA)

In concert:
1974 A re-examination of the multitrack tapes from New York/Seattle/Oakland/Los Angeles, mixed to better match the sound as heard in the arenas.
1976-05-16 Fort Worth
1976-05-23 Fort Collins
1978-07-15 Blackbushe (or one of the Paris shows or one of the late 1978 US shows)
1984-07-07 London [or Brussels 06/07 (incl. Tangled Up In Blue – "forbidden zone"-version), Rome 06/21, Barcelona 06/28]
1987 Entire tour with the Grateful Dead (12 CDs), mixed to match the sound as heard in the stadiums. The circulating, unmixed soundboard tapes (most of which also run too fast) are a gross misrepresentation of the shows.
1987 Entire "Temples In Flames" tour with Tom Petty & The Heartbreakers & The Queens Of Rhythm (33 CDs).
1997–2005 All live performances released on bobdylan.com (9 CDs). [+ Tom Thumb’s, Madrid 2008 and Forgetful Heart, Milwaukee 2009 also from bobdylan.com]

Reconstruction of "lost" albums:

Albums that were due for release, but got cancelled or were replaced by reworked versions.
These could be released as vinyl-only limited editions for Record Store Day.

1963 The Freewheelin' Bob Dylan (original version, mono mix, including the tracks that were deleted from the regular version)
1964 In Concert (cancelled album, mono mix)
1974 Blood On The Tracks (original version from December 1974 test pressing)
1987 Down In The Groove (original version from August 1987 master)

 

Supper Club footage teased @ 3:33 and 3:49?

That could be a jaw dropping blu-ray release if they shot it in high quality. How many full concerts can be released in true HD with Bob on guitar? I believe the Woodstock 1994 was shot on 720p prototype HD like BobFest 92.

 

Nice work.

 

Maybe he already has "sat down" and re-recorded some of his classics--perhaps more than once.

 

While there is undoubtfully a whealth of live material that could be released, I feel that we are near the end of the line when it comes to 6 CD or so of top studio material from a single era. Very little of what has been mentioned feels like deserving more than a 2 CD set, except maybe the TOOM sessions, but we know so little about them. I'd argue that in terms of studio recordings the major things have been released.

Live is a different matter though.

 

I don't think I entirely agree with you here, but for the sake of argument, BS13 provided a potential model for future BS installments that balance a live retrospective with select studio highlights. I can easily imagine, say, Planet Waves outtakes being folded into a '74 tour box, Desire in a RTR set, Street Legal in a 1978 box, etc.

It'll be interesting to see if they do more Complete Sessions type releases. Infidels, Oh Mercy, and Time out of Mind have all been mentioned as possible candidates for stand-alone overviews and if they go the complete route I'd think 6CDs would be a conservative estimate for any of them (but you’re definitely right that in the case of TOOM, we really don’t have much solid documentation on the sessions— which is part of what makes the concept so sexy!).

 

1960 Karen Wallace tape – This should be released officially. The original tape has very good sound and over twenty songs, incl. early Dylan original "One-Eyed Jacks". (Still owned by Karen Wallace?)


the most intriguing for me....what are the chances great Dylan afficiandos?

 

I’d love a box set devoted to the 1974 tour.

 

I disagree, only because any given Dylan album can be expanded out into (relatively) complete sessions. Is it all gold? No, but it all tells a story. The only records we have "complete" sessions for are BIABH, Highway 61 Revisited, Blonde On Blonde, Basement Tapes, and Blood on the Tracks, and even those are missing a few things. Freewheelin' sessions can be assembled with tracks from the Copyright Collection, but a few songs are missing and it's not an official release in total. All the other early solo stuff needs complete sessions, and most of the other albums too. So artistically will it be diminishing returns moving forward? With more and more sub-par or half-baked sessions? It's possible, but I think there's still a ton of studio gold in the vault.

But I also agree with @DeeThomaz that future sets might provide an overview of a particular live era with unreleased studio highlights.

 

My gut feeling is the odds are pretty low, say, 1 to 9. History is not on our side here.

EXCEPT... it feels like The Villager might need at least one big surprise to really land. As it is, the available material from that era is VERY familiar (though we can expect some serious audio upgrades). Aside from the last few uncirculating Carnegie Chapter Hall tracks, the Karen Wallace Tape might be the most plausible known source of exciting unheard material for the set. The Dylan team might be VERY motivated to work out a deal with her.

PS: “One Eyed Jacks” might very well turn out not to be an original, but rather the traditional “Twenty Years Old.” It’d be great if we get the chance to finally clear up the mystery.

 

My opinion:

The chances are against it and the odds are slim. I could see this tape being drawn from for a song or two. Being officially released in its totality? I can't see it.

 

hmmmm because of the quality of the performance or that its just an oddity (no great Dylan songs etc)? has the whole thing been booted? (ive only heard a few clips)

 

All these years later and there are still only the handful of samples direct from the original tape, and the awful quality off-line dub "armpit tape".

It's all here:



I think this is more historical curiosity than mainstream release type material. It's also in the public domain in the EU, and could be instantly knocked off, if that continues to be a consideration (it certainly was 5 years ago).

 

A while back, I tried to combine the two sources together. It still doesn't sound too great. It wasn't too hard to do, although one source had a few gaps. Also, One Eyed Jacks is circulating, from both the "armpit tape" and a better quality sample. I've seen it listed as a traditional, rather than an original.

@the pope ondine if you've only heard the high quality samples, you're not really missing much (unless the full tape does get out.) The armpit tape source is godawful. At least it doesn't smell as bad as it sounds.

 

lol yeah I tried the link, the armpit tapes are bad even by bootleg standards....a real release with the whole tape cleaned up as best they can do might be an interesting listen though....some of the samples some sound like shes holding a mic up to a speaker so im guessing in reality they might sound even better ...does she still only want 10K....everyone pony up $100

 

Karen: Interviewing my sister Terri Ellison, formally Terri Wallace, about the Bob Dylan Recording, May 1960. Since she knows a lot more than I do, there isn't much conversation to have off the actual tape. We'll put that at the end and make a little interview first.

Karen: Okay, you wanna introduce yourself?

Terri: Okay. My name is Terri Wallace Ellison, and I met Bob Dylan at the 10 O’Clock Scholar when some friends and I decided that we wanted to try something different. I was a junior in high school at the time, and of course this was during the days when the espresso coffee places were the big rage. And so some friends and I decided to go over to Dinkytown, which is located by the University of Minnesota, and there we met Bob Dylan. From the first time I heard him sing, I was impressed by his voice, his...

Karen: What kind of voice did he have at the time?

Terri: Well...

Karen: Did he have like he does now?

Terri: No, not at all. Not at all. He just reminded me of a little choir boy. He had such a cute little cherub face and this beautiful voice, which I was really impressed with. I really thought he had a good singing voice, which I might add was somewhat of a disappointment after he became well known and I heard the voice that made him famous. It was really disappointing to me because it was so different from the voice that I first had heard come out of him.

Karen: Okay, when did you first meet Bob Dylan?

Terri: Well, I think that it was about the fall of 1959. That was many years ago and I really can’t remember the exact date or the exact month, but I think it was the fall of ’59.

Karen: So how long did you know him then?

Terri: Oh, it was about eight months.

Karen: Okay, how often did you go over to Minneapolis to listen to him?

Terri: As often as I could get my friends to go with me, which none of them were very crazy about him. So I exhausted a lot of my friends, but at least once a weekend. Sometimes it was both Friday night and Saturday night. I think also that he sang on Thursday night sometimes too, or it may have been one night during the week, ‘cause I remember going over there when there really weren’t very many people there, and that had to be either the early part of the week or a Thursday night. Weekends were usually pretty crowded there.

Karen: He had a pretty big following in Minneapolis there?

Terri: Yes, ah..I was probably one of his biggest fans. But yes he did. There were a group of musicians who would come in all the time

Karen: Were friends of his?

Terri: Yeah, and there were people that would go from coffee house to coffee house. Other musicians that would go from coffee house to coffee house to hear what songs the different singers at the different coffee houses were singing. But he did have a following.

Karen: How did you get to know him?

Terri: Well, I remember the very first weekend, that very first time I heard him sing. He couldn’t help but notice me because I just stared and listened, and hung on to every word that came out of his mouth, because that’s how good I thought he was. So during one of his breaks he came over and introduced himself, and we talked. And one of my friends was very very pretty. My friend that went with me probably most often was a very attractive person, and so that may have been another reason why he noticed our table. But he liked people who were very attentive to his singing and appreciated his music, and I certainly did. My pretty friend didn’t.

Karen: How well were you acquainted with him then?

Terri: Well, I became quite well acquainted with him to the point where he certainly noticed if I wasn't there. In fact there were times when he had called our house to ask if I was coming. Well, I should backtrack and say that it started out where after I had gone there, maybe the second time, as my friends and I were leaving he would ask if we would be coming back the next weekend. And of course I was so infatuated with this person that I wouldn't miss the opportunity to hear him. And I always made sure found another friend to go over there with. And it got to the point where, the times I couldn't be there, because I couldn't find anyone to go with. We lived quite a few miles from this area in Minneapolis. If I just could absolutely find no one else to go with, I couldn't go; I wasn't about to go by myself. So when I would go back the next time he acknowledged the fact the I hadn't been there, and he asked for my phone number and he called our house several times to ask if I'd be coming to hear him. It's not that he was interested in me, he was interested in someone who could kinda boost his ego. Which I did. I told him over and over how good I thought he was he was, because I really did think he was very good.

Karen: He used to ask you how he looked?

Terri: Oh yes.

Karen: If he looked good on the stage or if his clothes looked alright?

Terri: Well, I remember a pair of brown corduroy pants that he wore almost all the time, and I know that he wasn’t really concerned with his appearance, in that he wanted to look neat and clean, you know. He did want to look presentable, but he certainly was not concerned with his appearance. What he was most concerned about with this particular pair of brown corduroy pants was, because he had worn them so often that he had a rip in the crotch, and he was more concerned about people being able to... or him maybe being embarrassed because he couldn’t cover up his rip. But he didn’t exactly have what one would consider a large wardrobe.

Karen: He dressed a little different, like a Beatnik at the time?

Terri: Yeah, yeah that was really kinda fascinating to me too because I was still into the skirts and bobby sox, so..

Karen: What did he tell you about himself, as you were talking during his breaks?

Terri: Well, he was not real easy to get information about himself out of him, because he... you know. He told me he was from Hibbing and that...

Karen: He was using the name Bob Dylan when he performed?

Terri: Yeah, yeah...

Karen: But he did tell you what his real name was?

Terri: Yeah. His real name was Bob Zimmerman, and...

Karen: Well did he tell you about his family or life in Hibbing?

Terri: No. No, I never remember him really saying... that wasn’t his main interest, in talking about his past. He was more focused on what he wanted to be, and he had an idol and that idol was Woody Guthrie. And that was... I remember one of his friends telling me one time that if you ever really wanted to make a good impression on him you were to tell him that he sounded like Woody Guthrie. Well, at the time I didn’t even know who Woody Guthrie was. I just liked the sound out of this person that was sitting on the stool singing his heart and soul out. And I did a little research into Woody Guthrie... quite frankly I thought Bob Dylan was better than Woody Guthrie, but that was just my personal opinion.

Karen: He didn't tell you about anything about where he had been .. or any other travels, or..

Terri: No

Karen: ..where he had performed before. Was this his first job?

Terri: As far as I knew, y'know, it was, he never talked about, that I remember anyway, that he had made the up north Minnesota, up Northern Minnesota circuit and he was coming down to the cities to make it big it just.. I was under the impression for a while from him that he was a college student at the U, but really I don't even think that was true because I remember one of his friends saying that he wasn't really going to the U, he just liked people to think he was.

Karen: He had gone to the U and flunked out maybe?

Terri: Could've been, I just don't know. He never really talked about a whole lot other than his music and that he wanted to be famous.

Karen: I think when I met him it wasn’t only that he wanted to be famous, that he was going to be famous.

Terri: Oh yes, yes.

Karen: He was convinced that he would become famous. It wasn’t when he became famous this, or when he became famous that.

Terri: Sure. Yeah, right.

Karen: So over quite a few months then you attended his performances in Minneapolis. Then how about St. Paul? How often did you go to the Purple Onion? Or how did he get to sing at the Purple Onion?

Terri: Well, if I remember correctly, the Purple Onion had just more or less opened, and he was looking for other places to sing. And so I remember him talking about a place much closer to my home that was another coffee house, but they also were gonna serve pizza, which the 10 O’Clock Scholar didn’t. But, that that might be a possible place where he could sing. And I don’t remember all the details, I just remember that he did sing there then, which was great as far as I was concerned because then I didn’t have to figure out a way to get all the way over to Minneapolis, because the Purple Onion was much closer to where I lived.

Karen: Did he ever tell you anything about why he used the name Dylan?

Terri: No. No I... I don’t remember. Maybe it had something to do with the poet. I don’t know...

Karen: Probably... Dylan Thomas.

Terri: Could be.

Karen: Okay, when it comes to the tape recording now what were the circumstances surrounding that?

Terri: In the months that I knew him he did seem to be a goal oriented person, and his goal was that he wanted to become famous. And his chances of doing it in this area were certainly not as great as if he went away to New York. I think that’s where Woody Guthrie was at the time, too. And if I remember correctly, Woody Guthrie was sick at the time and he wanted to see him. So actually he had two goals: he wanted to be famous, but he also wanted to meet his idol. And so through the months that I knew him he became more anxious to get away from this area to go to New York. So he had never heard his voice on tape and so he asked me if I had a tape recorder. Well I was living at home with my parents at the time, and my father did have a tape recorder. So I said, “Oh sure, my dad has a tape recorder, and I’m sure that you can use it.” And so I went home and checked with my dad and my dad said that my sister Karen, who was living in an apartment at the time, was borrowing it. So I checked with Karen to see if she had the tape recorder, which she said she did, and I told her about this wonderful person, this wonderful singer that wanted to make a recording. If I remember correctly, you weren’t really to crazy about taking the time to make the recording either. You had to do a little screening before you did that.

Karen: Oh yeah, I wanted to see what he sounded like... if I thought he was any good, or if I was just wasting my time.

Terri: Yeah. So we went... you kinda screened him, which I...

Karen: Yeah, that’s when you and I and my roommate Julie went to the Purple Onion to listen to him sing.

Terri: Yeah, right. And he passed the test for you too.

Karen: Yeah. I was impressed with his singing, and with his dedication, or how serious he was about his work.

Terri: Yeah.

Karen: Did... when he was singing did he usually, when he came to talk to you on break, ask you how he sounded?

Terri: Oh yes, yes. Always. He was much more concerned with that rather than chit-chat: "hi, how are ya", that kind of thing. He wasn’t... I never really felt that he was interested in me as a person. He was interested only in me as a critic and if I could critique what he was doing. You know, that was where it was at.

Karen: Did he usually seem to be satisfied with the way he thought he sounded?

Terri: More often than not he wasn’t. He always felt that he could do better.

Karen: Mm. That’s exactly what he said when he was... you know we’d listen to each song on the tape after we’d recorded it and he’d... after just about every one he said he could have done it better.

Terri: Yeah...

Karen: So he was very critical of himself. So then, okay after we went and listened to him, then you introduced me to him, and we sat and talked and made arrangements for the next weekend then I think, to make the recording... come and pick him up because he didn’t have a car.

Terri: Right.

Karen: So the next weekend then, my roommate and I went and picked him up after he was done singing at the Purple Onion, and went back and made the recording. Did you see him then? That was in May of 1960. Now I remember when he was there he took three of my record albums, and after that I kept asking you to ask him to give them back to me. He had borrowed them, and I don’t remember how long later it was that you said that he had left for New York. So you never actually talked to him after he made the tape recording then?

Terri: Not that I remember. Because as I remember it, that was the reason why it was so important for him to make this tape recording, because he said that he had never heard himself on... he had never heard how he sounded before. And he knew he was gonna go to New York, and I was under the impression that he was going to leave right after he made that recording. So, I really don’t remember ever talking to him after he made that tape.

Karen: Okay, but after the tape was made, you did hear the tape a few days or a week or so later, I don't remember how long exactly it was. I had the tape over at our parent's house and we all listened to it.

Terri: Right.

Karen: And you recognised that as being the voice of Bob Dylan.

Terri: Oh certainly, uh ha.

Karen: It was what he sounded like when he was singing at the Purple Onion and the 10 O'Clock Scholar.

Terri: Yes

Karen: The tape was a true representation of what he sounded like at the time.

Terri: Yes it is

Karen: Okay, do you remember any songs in particular that he used to play, or that you used to ask him to play?

Terri: My favourite was always "Sinner Man", and "House Of The Risin’ Sun", of course.

Karen: Mm.. You know I asked him on the tape, when we were making the recording to play "House Of The Risin’ Sun" and he said that he wasn’t in the mood.

Terri: Yeah, he was always real fickle about that song.

Karen: But he did play "Sinner Man", and did sing "Sinner Man".

Terri: Yeah, right.

Karen: Did he ever play the harmonica when...

Terri: No, I don’t ever remember him playing the harmonica.

Karen: Yeah, he didn’t play it on the tape and he... I don’t remember him playing it when we went to hear him either. Okay, other than going to the coffee houses, did you have any other personal contact with him, or his friends?

Terri: One night after he was playing at the 10 O’Clock Scholar... he and his friends used to go down by the river and party, and so he did ask me if I wanted to come down by the river with him. And I was so honoured. Oh, I just was so honoured.

Karen: Now this was when?

Terri: This was during the spring.

Karen: Of 1960?

Terri: Yes, yes. This was shortly before he left.

Karen: So you went to the party down by the river with him?

Terri: I went to the party down by the river with him.

Karen: And this was with his musician friends? Were there some other...

Terri: Yes, with his musician friends. And then I realised that I was just a high school kid and I really didn’t belong down by the river, so I left. I wasn’t the adventuresome swinger that I thought I was.

Karen: So he didn’t ask you to any other parties?

Terri: No, he didn’t! No, no he didn’t. And I was probably relieved that he didn’t.

Karen: So you were actually more interested in his performance, his musical performances than him?

Terri: Well I was fascinated by him because he was a very different person from the high school boys that I knew, that’s for sure.

Karen: He had kind of a magnetic personality.

Terri: Yes, he did, yeah.

Karen: Well he was just... something about him that was different was that he was so...

Terri: He looked so sweet. He just looked so sweet.

Karen: Quite a bit different from the way he looks now, too.

Terri: Yeah.

Karen: He was actually, at that time, a little on the chubby side.

Terri: Sure. He was.

Karen: And he looked quite a bit younger than what he must have been at the time.

Terri: Although I don’t really think that he was that old. He may have been 19 at the most. But of course to someone 15 or 16, someone 19 is...

Karen: Matured.

Terri: Yes. Maybe it wasn’t so much that he was mature as I was immature.

Karen: Well, he had me convinced actually that he would become famous, because I kept watching in the record stores and the newspaper, and everywhere to see his name or him. And the next time that I did see him was on TV when he was in Washington for the March On Washington, and he was performing at that. That... I think then you probably were in Sweden.

Terri: Yeah. Yeah I was, because that was after President Kennedy was assassinated, right? Yeah, it was. And Joan Baez was another one of my idols, and their careers kind of meshed too for awhile. In fact I think during what you were talking about, when you saw him on a TV, at the March On Washington I think Joan Baez was involved in that too.

Karen: Mm, I think she was too. So then when you were in Sweden you said that I sent you some clippings from Life magazine when he had a write-up.

Terri: A write-up, yeah. And you said when I stopped in New York, to stop in and see him and get your record albums back from him. And the next time we saw him was when he came to St. Paul, and was in concert.

Karen: Mm. And when he first went into the electronic, what a disappointment.

Terri: Yeah, guitar. Yeah.

Karen: So we went to the concert in Minneapolis with our father, and all three of us were the oldest ones there.

Terri: But we could say, “We knew him when...”

Karen: Okay, is there anything else we can add to this, um..

Terri: Nothing that I can think of..

Karen: So just in wrapping up You've heard the tape recording.

Terri: Yes.

Karen: And this man is interested in .. since he sounds different from his records and from other tape recordings, he wants to know that it is Bob Dylan and it really does sound like he sounded like in early 1960.

Terri: Well it truly is Bob Dylan and I can understand this person's concern in wanting to be sure that it is, because I think I said previously that the sound that is on that tape is very different from the sound that most people are familiar with.

Karen: And, possibly, depending on your opinion, probably, it's a better sound at least, in our opinion.

Terri: Well, in mine it certainly was. I was very disappointed in the sound that he became well known with, because in my opinion his voice was so much more pure and beautiful. When I used to tell people that that I thought Bob Dylan had a beautiful voice, they could not believe that Bob Dylan ever had a beautiful voice, but I...


#

 

low-key xmas gift from bobcorp/columbia – 'regular'/2-CD editions of vols. 10–13 appear to be up on streaming services (finally), replacing the samplers and therefore relegating a few 'exclusive' tracks to the great data void beyond:

• i'm your teenage prayer
• i shall be released (take 1)
• when he returns (take 2)
• covenant woman (take 3)
• shot of love (outtake)
• making a liar out of me (rehearsal)
• city of gold (live nov. 22, 1980)
• yonder comes sin (rehearsal)
• caribbean wind (rehearsal with pedal steel)
• dead man, dead man (outtake)

see ya! rare performances from the copyright collections also makes a welcome return after its extremely brief appearance around release

making the controversial 3rd tell tale signs disc available (on its tenth anniversary and all) would've been a nice reconciliatory gesture. perhaps another time

 

How about this?

Bob Dylan Center

 

Fascinating! Here’s the reported full “session,” courtesy of Still On The Road:


Terlinde Music
St. Paul, Minnesota
24 December 1956



1. Let The Good Times Roll (Shirley Goodman & Leonard Lee)
2. Boppin' The Blues (Carl Perkins & Howard Griffin)
3. Won't You Be My Girl? (Michael Henderson)
4. Lawdy, Miss Clawdy (Lloyd Price)
5. Ready Teddy (John Marascalco & Robert Blackwell)
6. Confidential (Dolinda Morgan)
7. Still Of The Night (?)
8. Earth Angel (Dootsie Williams/Curtis Williams)



Bob Zimmerman (vocal & piano), Howard Rutman & Larry Kegan (shared vocals).


Notes.

All songs are fragments.

No recording of this session is circulating.


Session info updated 22 February 2011.