Bootleg Series vol. 14 - More Blood, More Tracks

[mb650918]

Såg ni detta på Exp. Rain idag:

”Our ace guitarist Steve Addabbo was back down to brass tacks in his NY studio mixing the new Dylan bootleg of “Blood on the Tracks.” - (Eric Andersen-News From The Road Spring Tour 2018 - West Coast Update) from David Faulkner

Hur ska vi tolka detta? Blir BOTT nästa BS-box tro? Snacket har ju gått att den redan har varit färdig i flera år. Eller blir det en Desire/Rolling Thunder ’76-box som ska supporta Scorseses kommande dokumentär? Varför inte en JWH-box med de nyhittade demotejperna?
What was it you wanted? God knows!

[egoBen]

Jag är inte den som säger nej till virvlande orgel på Idiot Wind så kör ut hela rasket bara!

[MattiasH]

BOTT fram till turnéslutet 76 blir väl bra denna gång. Sen går vi raskt vidare till 78-boxen.. (men innan allt detta: en ny platta!)

[lundell]

Detta låter som örongodis i mina öron. BOTT & Desire är ju båda mästerverk! Jag är särskilt svag för Dylans 70-tal som är det stora Dylan-decenniet för mig, vid sidan av 60-talet. Jag tycker t ex att Live 1975 är den live-platta jag lyssnat mest på, ja, t.o.m. mer än Live 1966!

Vågar en hoppas på utgivning innan årets slut? Och visst skulle det väl komma en dokumentär också om Rolling Thunder-turnén?

[Elston]

BOTT-outtakes är gäspning för mig. Och knappast nog för en BS-utgåva. Men kanske blir det
en kombination 74-76? Låter underbart i så fall 🤑

[Tobias]

Det verkar som att det är flera arkivsläpp på gång. Så här skriver Richard Alderson (han som också spelade in nästan hela Europa-turnén 1966) på Facebook:

My original recordings of Bob from the Gaslight in October 1962 will be released by Sony in the near future. Much bullshit has been circulated about them since they were recorded, and very, very few have heard them in their pristine sonic glory. Soon come with the correct provenance and my story about recording them.

Jag tvivlar på att de sedan årtionden väl spridda och redan tidigare officiellt utgivna Gaslight-inspelningarna skulle ges en Bootleg Series-volym, utan det handlar nog mer om någon slags separat utgåva likt Brandeis University 1963. Det ska dock bli intressant att få historien kring dessa inspelningar utredd en gång för alla (?) och få dem i bästa möjliga ljud.

[Tobias]

Separately, Alderson confirmed, “‘Blood On The Tracks’ (is) being reissued soon with all the NYC recordings, as a box set.”

https://us.blastingnews.com/showbiz-tv/2018/05/archival-releases-by-bob-dylan-the-band-rumored-to-be-released-this-year-002581551.html

[Anders S]

Det verkar som att det är flera arkivsläpp på gång. Så här skriver Richard Alderson (han som också spelade in nästan hela Europa-turnén 1966) på Facebook:

My original recordings of Bob from the Gaslight in October 1962 will be released by Sony in the near future. Much bullshit has been circulated about them since they were recorded, and very, very few have heard them in their pristine sonic glory. Soon come with the correct provenance and my story about recording them.

Jag tvivlar på att de sedan årtionden väl spridda och redan tidigare officiellt utgivna Gaslight-inspelningarna skulle ges en Bootleg Series-volym, utan det handlar nog mer om någon slags separat utgåva likt Brandeis University 1963. Det ska dock bli intressant att få historien kring dessa inspelningar utredd en gång för alla (?) och få dem i bästa möjliga ljud.

Kul, jag lyssnade faktiskt häromdan på just Gaslight '62  Älskar "Barbara Allen" 

Här är mer info från Alderson:

From NYMagazine
Photo: Don Hunstein
as told to Joe Hagan

The Gaslight's soundman Richard Alderson remembers the night Bob Dylan became Bob Dylan: "In the fall of ’62, I was living in Greenwich Village, and everybody knew Bob Dylan. I had done the sound system at the Village Gate and operated it. And when the new owners of the Gaslight, Sam Hood and his father, Clarence, took over, they hired me to put in a simple sound system.

Everybody said, “Well, Dylan’s written these great new songs, and he’s going to be performing them for the first time at this private, after-hours gig at the Gaslight. And you gotta come and bring your tape machine.” So I did. It was over two nights.

It was invitation only, and there were probably 25 people in the room. It started around midnight, after the Gaslight had closed for business. The first night was all sort of conventional, original Bob Dylan folk-music stuff. And the second night was the beginning of the Bob Dylan everybody knows. It was one of the first times he performed “A Hard Rain’s A-Gonna Fall.” You can hear his introduction to “No More Auction Block,” it’s the chords for “Blowin’ in the Wind,” which he hadn’t recorded yet.

I was sitting right in front of Dylan, stage right, his left. The stage was maybe two feet high. He wore the scruffy clothes that everybody associates with him. The weird jacket with the sheepskin collar and the funny little hat.

I used a portable Nagra, which was a tape machine that was made for early film work. Which is why all the songs begin and end oddly. The little five-inch reels would run out at odd times before the song ended, and I’d have to make changes.

I’ve never been in a situation where everyone was as rapt. It was like Jesus had come down and appeared in the flesh. And here was this guy, who was basically unknown outside of a small circle at that time. He was just beginning to break.

It was really an audition kind of a thing for him, where he was testing to see how people would react to this stuff that had never happened before. Dylan wanted to hear it, so he was more than willing to tape it. And there was never any talk about who the tapes belonged to—you know, at that time, they didn’t have great value.

I had a little one-room studio at Carnegie Hall with some big speakers that I’d built, and I brought him up and played Dylan the original ones. We got stoned together, and we were very relaxed. It was kind of like a serious moment, you know, like Picasso had just started to paint and he would show you his painting. It was like, What are you going to say?

I can remember he was happy with them. He wanted [Dylan manager] Albert Grossman to hear them, and that’s when I gave copies to Grossman—those are the copies people must have made bootlegs from. I remastered the Gaslight recordings in ’65. I just put the songs on tape that I thought were important—“Hard Rain,” “Don’t Think Twice,” “Hezekiah Jones,” “No More Auction Block,” “Rocks and Gravel,” “Barbara Allen,” and “Moon­shiner.” When the tapes were finally released by ­Starbucks, they didn’t use ­“Hezekiah Jones” because Dylan uses the word nigger in it. They used “Rocks and Gravel” for a Jeep commercial and in HBO’s True Detective."

[Tobias]

”More blood, more tracks”? https://twitter.com/sdedition/status/1017475696745177088?s=21

[Tobias]

Från https://www.bobdylanisis.com/access-all-areas-blog/ :

24 July, 2018
After a very warm and what seemed like a never-ending weekend, working until 8pm on Sunday, we finally got the new issue of ISIS into our printer (news there about the upcoming “The Bootleg Series 14”).

[Tobias]

I väntan på fler nyheter kan man t.ex. läsa om hur omslaget till Blood On The Tracks kom till. Det är ursprungligen ett livefoto från en av konserterna i Toronto under turnén med The Band 1974. Fotografen var en ung man i publiken, Paul Till.

Från: http://rockpopgallery.typepad.com/rockpop_gallery_news/2008/06/cover-story-interview---bob-dylans-blood-on-the-tracks-with-photography-by-paul-till.html

In the words of the photographer – Paul Till

I was 20 years old at the time, and had been doing photography for about three years and had been using a darkroom for a year and a half or so. I loved the darkroom and learning and using various darkroom techniques. I was also a big Bob Dylan fan, and so when the 1974 tour was announced, there was a mail-in “first-come first-served” process for getting tickets to his show at the Maple Leaf Gardens. I took my letter down to actual post office where their post office box was and ended up with quite good tickets. I was directly stage right a few seats from being obstructed by loudspeakers. I was relatively close to the stage, but not really close. I photographed the 2nd of Bob Dylan's two concerts in - I think it was - January of 1974. I'd never photographed a concert before.

The camera I was using was a screw-mount Leica III which dated back to the 1930's. It was my dad's - he'd bought in London, England in 1945. I had a fast normal lens for it, but not a telephoto, so I borrowed a Canon 135 f3.5 lens from the father of a friend of my sister. Anyhow, I shot about a roll and half of 35mm Tri X - the standard 400 ASA film of the time - and tried to figure out the exposure.  I pushed the film to about 1600ASA (ASA is the same as ISO. but that's what it was called then). I don't recall if I did the darkroom work to make the cover image in the Fall or Winter of 1974.

At the time, I was doing a lot of darkroom manipulation of photographs as well as hand-colouring them. I was very familiar with Bob Dylan's music and I felt that the combination of darkroom technique and hand colouring echoed the old/new dichotomy of much of his work, as well as the notion that it echoed the (sometimes slapdash) off-handed power of his words and music.

Here's how it was actually made - The negative was enlarged in the darkroom onto another piece of film in such a way that just Dylan's head was on it. This would normally result in a positive image on the film which, if you printed it onto a piece of photo paper, would give you a negative print. However, I solarized this piece of film (that is, re-exposed it to light) as it was being developed. This partially reversed the image and also gave it the distinctive line between what was dark to start with and what has made dark by the solarization. Technically, this technique is actually called “the Sabbatier effect”, and the lines are called “Mackie lines”. This resulted in a quite dark and low-contrast piece of film to make a print from. I had to use the very high-contrast grade 6 Agfa Brovira paper to get a print with enough contrast.

I made a bunch of these and hand-coloured them using Marshalls  photographic watercolours (they are a dye that sinks right into the emulsion of the photographic paper). I do recall that I was selling 5X7 hand-coloured prints of the cover image and the entire image for $5.00 in the Fall.

In the fall of 1974 I sent Bob Dylan some of the photos. I sent in at least two images- the one that ended up on the cover and a hand coloured version of the entire image. I had gotten his office address out of Who's Who. I hadn't done any work for the label or act before, so the artist and management were completely unaware of what I had done. It's my understanding the Bob Dylan saw the photo and thought that it was great, but I don't know where that understanding came from. I really didn't get any feedback about the image. I would have been pleased just to get a letter back!

[Anders S]

En artikel från 21/11 - 1974 i Rolling Stone av Larry Sloman 

Blood On The Tracks: Dylan Looks Back

[Anders S]

En artikel från 31/1-2018 om Kevin Odegard och (åter)inspelningen av fem låtar i december 1974 

Songwriter Kevin Odegard’s Secret Recording Session with Bob Dylan

[Neverendingfan]

”More blood, more tracks”? https://twitter.com/sdedition/status/1017475696745177088?s=21

Enligt DN (nyss utlagt) så releasedatum satt till 2 november!
Finns de uppgifterna någon annanstans??

[Anders S]

Har inte sett datumet någon annanstans, men 2 november verkar rimligt!

Här är en länk: 

Nils Hansson tipsar om fem skivor och fem konserter i höst.

2/11 Bob Dylan ”More blood, more tracks” (Columbia/Sony)

Inte mycket är känt om volym fjorton i Bob Dylans förvånansvärt grundliga ”Bootleg series”, men tiden runt hans möjligen tyngsta 70-talsalbum ”Blood on the tracks” har ännu inte fått sin genomlysning, trots att kronologin tycks vara på väg att kringelkroka sig dit. Volymerna kring toppåren 1965-66, ”The basement tapes”, åren kring 1970 och den kristna perioden kring 1980 gör ändå förväntningarna skyhöga. Nu finns åtminstone en titel och ett releasedatum.