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PostPosted: Thu June 2nd, 2011, 13:51 GMT 
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rimbaud wrote:
Maybe the Street Legal piano demos. Failing that, the Complete Blonde on Blonde sessions.

Agreed.
I'd go crazy over the Street Legal Demos.


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PostPosted: Thu June 2nd, 2011, 14:05 GMT 
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The Basement Tapes that Garth really taped and have never even been bootlegged


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PostPosted: Thu June 2nd, 2011, 14:09 GMT 

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Johanna Parker wrote:

It is quite certain that expectations ran high concerning this. However it isn't clear to me what kind of a revelatory kind of song people did expect. Exactly what would that or any other so-called holy grail have to be to satisfy expectations?


well, i can't answer this in principle. But in the case of Red River Shore I (and many others too) expected that it was a song that was outstanding in the way it was unlike anything else that Bob had done before, some kind of new sound or whatever. And it turned out to be some kind of quite traditional Bob Dylan song. That's not bad, but surely nothing that makes a song outstanding or special in any other way. Hence the disappointment (in comparison the takes of both Mississippi and Can't Wait on BS 8 are much more surprising and outstanding than Red River Shore - at least in my opinion)


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PostPosted: Thu June 2nd, 2011, 14:12 GMT 
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Officially release the entire Never Ending Tour on half speed masters...

I really don't think anyone could possibly want for anything else.


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PostPosted: Thu June 2nd, 2011, 14:14 GMT 
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The Muppet Show Tapes


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PostPosted: Thu June 2nd, 2011, 14:19 GMT 
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The complete I'm Cold sessions (I always thought it was a whole album that he rejeceted for being "too dark").

Street Legal piano demos.

Complete Bromberg sessions.

The rejected gospel album he did with Carolyn Denis.

The demos for the songs he wrote with Helena Springs (two of these ended up on Clapton's Backless album).

Outtakes from the miserable 80's albums where he did a lot of covers. Could be amusing at least.


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PostPosted: Thu June 2nd, 2011, 14:21 GMT 
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Nothing from CITH? :mrgreen:


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PostPosted: Thu June 2nd, 2011, 14:47 GMT 

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rimbaud wrote:
Maybe the Street Legal piano demos. Failing that, the Complete Blonde on Blonde sessions.




Complete B on Blonde sessions are available as 'Now Your Mouth Cries Wolf' boot.
It has the original version of Visions of J (Freeze out), Jet Pilot Eyes, and a few
alternate versions of Pledging my Time, One of us must know and 4th Time Around.

Can anyone else verify this?


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PostPosted: Thu June 2nd, 2011, 15:10 GMT 
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slewan wrote:
well, i can't answer this in principle. But in the case of Red River Shore I (and many others too) expected that it was a song that was outstanding in the way it was unlike anything else that Bob had done before, some kind of new sound or whatever. And it turned out to be some kind of quite traditional Bob Dylan song. That's not bad, but surely nothing that makes a song outstanding or special in any other way. Hence the disappointment (in comparison the takes of both Mississippi and Can't Wait on BS 8 are much more surprising and outstanding than Red River Shore - at least in my opinion)


Nonsense - the song is great and certainly better than either of those two outtakes you mention (Cant Wait is superlative, I agree, but for me it lacks the Desire-esque technicolour brilliance of Red River Shore). Nobody ever described RRS as revolutionary or unlike anything Dylan had done before - basically Duke Robillard and Jim Dickinson ranted about it being beautiful and the best thing he did at the sessions (pretty much true, judging by the evidence), and the rest is the hype of overactive imaginations running riot.

I wasn't in the least bit disappointed by the song when it finally surfaced. If anything I fell in love with it waaaay more than I thought I would. Classic Bob, and perhaps the last truly great song he's produced.


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PostPosted: Thu June 2nd, 2011, 15:49 GMT 
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jonferg67 wrote:
rimbaud wrote:
Maybe the Street Legal piano demos. Failing that, the Complete Blonde on Blonde sessions.




Complete B on Blonde sessions are available as 'Now Your Mouth Cries Wolf' boot.
It has the original version of Visions of J (Freeze out), Jet Pilot Eyes, and a few
alternate versions of Pledging my Time, One of us must know and 4th Time Around.

Can anyone else verify this?


These don't skim the surface of the complete sessions and most of them are remixes.


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PostPosted: Thu June 2nd, 2011, 16:59 GMT 

Joined: Wed June 25th, 2008, 22:49 GMT
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P.Jekk wrote:
The complete I'm Cold sessions (I always thought it was a whole album that he rejeceted for being "too dark").

Street Legal piano demos.

Complete Bromberg sessions.

The rejected gospel album he did with Carolyn Denis.

The demos for the songs he wrote with Helena Springs (two of these ended up on Clapton's Backless album).

Outtakes from the miserable 80's albums where he did a lot of covers. Could be amusing at least.


Tell me more about the "cold sessions".. and yes the street legal demos would be great!


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PostPosted: Thu June 2nd, 2011, 17:04 GMT 
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No Direction Home II and Chronicles II. Ah, life would be grand.


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PostPosted: Thu June 2nd, 2011, 17:18 GMT 
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mjeff wrote:
P.Jekk wrote:
The complete I'm Cold sessions (I always thought it was a whole album that he rejeceted for being "too dark").

Street Legal piano demos.

Complete Bromberg sessions.

The rejected gospel album he did with Carolyn Denis.

The demos for the songs he wrote with Helena Springs (two of these ended up on Clapton's Backless album).

Outtakes from the miserable 80's albums where he did a lot of covers. Could be amusing at least.


Tell me more about the "cold sessions".. and yes the street legal demos would be great!


It's not all that much to tell, but between Desire and Street Legal Dylan allegedly played several songs to friends and acquaintances including Stephen Stills (I think). These were dark depressive songs, but NOT the songs that ended up on Street Legal. I don't know if he recorded them or not, but in the seventies he seemed to at least record a rough demo of most songs for the publishing company (Like the Forever Young version on Biograph).


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PostPosted: Thu June 2nd, 2011, 19:45 GMT 
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Bennyboy wrote:
slewan wrote:
well, i can't answer this in principle. But in the case of Red River Shore I (and many others too) expected that it was a song that was outstanding in the way it was unlike anything else that Bob had done before, some kind of new sound or whatever. And it turned out to be some kind of quite traditional Bob Dylan song. That's not bad, but surely nothing that makes a song outstanding or special in any other way. Hence the disappointment (in comparison the takes of both Mississippi and Can't Wait on BS 8 are much more surprising and outstanding than Red River Shore - at least in my opinion)


Nonsense - the song is great and certainly better than either of those two outtakes you mention (Cant Wait is superlative, I agree, but for me it lacks the Desire-esque technicolour brilliance of Red River Shore). Nobody ever described RRS as revolutionary or unlike anything Dylan had done before - basically Duke Robillard and Jim Dickinson ranted about it being beautiful and the best thing he did at the sessions (pretty much true, judging by the evidence), and the rest is the hype of overactive imaginations running riot.

I wasn't in the least bit disappointed by the song when it finally surfaced. If anything I fell in love with it waaaay more than I thought I would. Classic Bob, and perhaps the last truly great song he's produced.


Seconded and thirded. That sound is distinct in how beautifully dylan returned to a traditional style delivery, and in doing so delivered something unique in its directness. no murky cobwebs standing in front of (or interwoven with) its delivery and power as there are in a lot of his modern greats. as in, 'think I could tell a story at 22?, listen to this one folks'...


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PostPosted: Fri June 3rd, 2011, 00:12 GMT 
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I think the material between Desire and Street Legal would be fascinating - probably my holy grail of rumored bootlegs. Similarly, I guess nobody else feels this way but given the vast amount of space covered I would absolutely love to hear the complete 1969 -71 sessions. When I saw all of the songs recorded between those years that have never seen the light of day, and hear how good some are: Mama You Been On My Mind, Folsom Prison Blues, and Song To Woody... I'd love to hear them all.


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PostPosted: Fri June 3rd, 2011, 01:01 GMT 

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at this point I would like to see the entire 'M and A' concert video footage, also more RTR video footage


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PostPosted: Fri June 3rd, 2011, 01:43 GMT 
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Live '80 complete with Christian jewelry


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PostPosted: Fri June 3rd, 2011, 01:47 GMT 
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The true holy grail is something completely unexpected.


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PostPosted: Fri June 3rd, 2011, 01:54 GMT 
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Probably wouldn't amount to much, but I'd love to hear what Dylan did with Bloomfield in the early days of BOTT -- apparently, Bob's initial vision of the album was completely different from what it ended up like. Dylan didn't have the patience to, y'know, teach Bloomfield the songs and he got frustrated. How different would things be had they persevered?


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PostPosted: Fri June 3rd, 2011, 02:52 GMT 
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belleseb32 wrote:
I think the material between Desire and Street Legal would be fascinating - probably my holy grail of rumored bootlegs. Similarly, I guess nobody else feels this way but given the vast amount of space covered I would absolutely love to hear the complete 1969 -71 sessions. When I saw all of the songs recorded between those years that have never seen the light of day, and hear how good some are: Mama You Been On My Mind, Folsom Prison Blues, and Song To Woody... I'd love to hear them all.

You do know that the '70 versions of Mama You Been On My Mind and Song To Woody have been circulating for quite some time, right?


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PostPosted: Fri June 3rd, 2011, 03:08 GMT 

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Bennyboy wrote:
Blu-Rays of the complete Blood On The Tracks and Desire sessions, Hard Rain and Clearwater TV shows, along with expanded version of Renaldo and Clara. Commentary on these will be by Bob himself and all the key players. Audio disk will include sounboards of the best RTR shows, including Salt Lake City.

All this will come in one big mother of a deluxe boxset shaped like the Rolling Thunder hat. And be free.


My sources tell me this is almost ready to ship, they're just waiting to hear back from Mick Ronson, Howie Wyth and Allen Ginsberg.

Cheers, SLuggy


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PostPosted: Fri June 3rd, 2011, 04:03 GMT 
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It's not all that much to tell, but between Desire and Street Legal Dylan allegedly played several songs to friends and acquaintances including Stephen Stills (I think). These were dark depressive songs, but NOT the songs that ended up on Street Legal. I don't know if he recorded them or not, but in the seventies he seemed to at least record a rough demo of most songs for the publishing company (Like the Forever Young version on Biograph).


I read somewhere, probably that Blood on the Tracks book that came out a while back, that Dylan had an artist from Minnesota do the copyright demos of his songs (circa the Planet Waves era, possibly later as well) as he was fearful they'd be bootlegged. Certainly no one would bootleg the songs if they didn't know which artist they'd be under. I suspect Nobody 'Cept You was demoed this way and a few other songs from that era, possibly the "Cold sessions." The only reason I suspect Forever Young was demoed by Dylan was because it was written later than expected and they needed to get it down on tape, so Dylan recorded it in a hurry into an old reel to reel.

I also saw an interview with Sheryl Crow in which she says she was given Mississippi through a demo recorded by another artist. She didn't know how Bob sang the song, but she sang it the way she thought he'd sing it. Because of this I imagine this process still goes on today or no demos made at all.

Cheers.


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PostPosted: Fri June 3rd, 2011, 05:43 GMT 
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Location: ..right behind the living - just in front of the dead.
- i think those manuscripts being auctioned off by CHRISTIE'S might keep me happy awhile.
http://recordmecca.blogspot.com/2011/06 ... ripts.html
Outlaw Blues
Love Minus Zero / No Limit/You Don't Have To Do That
Queen Jane Approximately
Farewell Angelina
Subterranean Homesick Blues
Maggie's Farm/Bob Dylan's 115th Dream/I'll Keep It With Mine
Visions of Johanna
- of course 'awhile' would mean i'd claim i thought for that price Bob was gonna deliver these
himself, and sit and rehearse the whole process by which he came up with each one of them.
- then after that we could sit around with our guitars and work on a few things.....
8)


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PostPosted: Fri June 3rd, 2011, 09:41 GMT 
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For me, the soundboard of "At The Beeb" from '65.


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PostPosted: Fri June 3rd, 2011, 11:00 GMT 
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Sluggy wrote:
Bennyboy wrote:
Blu-Rays of the complete Blood On The Tracks and Desire sessions, Hard Rain and Clearwater TV shows, along with expanded version of Renaldo and Clara. Commentary on these will be by Bob himself and all the key players. Audio disk will include sounboards of the best RTR shows, including Salt Lake City.

All this will come in one big mother of a deluxe boxset shaped like the Rolling Thunder hat. And be free.


My sources tell me this is almost ready to ship, they're just waiting to hear back from Mick Ronson, Howie Wyth and Allen Ginsberg.

Cheers, SLuggy
This is all well and good. In fact, a very welcome addition to any collection it would be.

And yet, what is the hold up with a complete collection of NET shows through 2004?


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