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PostPosted: Sat September 30th, 2017, 18:34 GMT 

Joined: Fri May 1st, 2009, 16:35 GMT
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... and Rolling Stone has an article on the recording sessions. Nothing new, as far as I'm concerned, but still a good read.

http://www.rollingstone.com/music/news/ ... ns-w505661


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PostPosted: Sat September 30th, 2017, 21:16 GMT 

Joined: Sat July 31st, 2010, 06:41 GMT
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The sessions for this album - both in Oxnard and Miami - must have been something to behold...


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PostPosted: Sat September 30th, 2017, 21:20 GMT 

Joined: Fri July 18th, 2008, 16:22 GMT
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Brilliant album.


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PostPosted: Sat September 30th, 2017, 22:00 GMT 

Joined: Fri January 5th, 2007, 23:38 GMT
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Location: Ireland
The beginning of Bob Dylan, Part II (or should I say Part VII?).

Brilliant album, I second that.


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PostPosted: Sat September 30th, 2017, 22:38 GMT 
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Thank you that's kind of you to share the post on this.
It really doesn't feel like 20 years ago time moves so fast.
I listened to the 2001 Press conference and Bob had basically
said Love And Theft was his first properly produced albums,
and said his other records had been recorded by fakes.
As much as i LOVE L&T, MT, TTL and Tempest, i just don't
believe Bob would have been able to get that claustrophobic
and dreamy sound on 'Trying To Get To Heaven', 'Not Dark Yet',
and 'Standing In The Doorway'.
Of the two Lanois produced albums i think TOOM was the better
produced of the two. But i find it hard choosing which is the
better album, they both have at least three classic Dylan songs
on them.


Last edited by LibraChild1980 on Sat September 30th, 2017, 22:45 GMT, edited 1 time in total.

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PostPosted: Sat September 30th, 2017, 22:45 GMT 
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Congratulations!
Great album. One of my favourites.


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PostPosted: Sat September 30th, 2017, 23:38 GMT 
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I like the overall vibe of the album, but the Can't Wait from the Miami session / TTS is probably in my top 5 favorite performances for 'modern Dylan' (if that still counts 20 years on). Marchin' To The City and Red River Shore support the quality of the sessions, without any murk necessary.

I don't think I'd go as far as saying I'd prefer the album better without the Lanois touch, but I think it worked better on Oh Mercy and more from the sessions would be welcome.

Tough to beat the album though, when the mood strikes. A ton of great songs and many improved live, and the production adds to Love Sick, Standing In The Doorway, Tryin' To Get To Heaven and Not Dark Yet to me. I'm a Dirt Road Blues fan too.

Never was a huge Highlands guy, but alot of quality lines which the live versions really highlighted for me. Worcester 11/14/99 is my go to. A little faster pace and punchier delivery, the audience input is great too.

Nobody in the place but me and hurrr. Owwww


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PostPosted: Sun October 1st, 2017, 06:23 GMT 
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Joined: Mon May 11th, 2009, 19:15 GMT
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The best


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PostPosted: Sun October 1st, 2017, 08:17 GMT 

Joined: Mon July 13th, 2009, 02:40 GMT
Posts: 16
Revisiting Bob Dylan's "Time Out Of Mind" 20 Years Later

NATE HERTWECK GRAMMYS SEP 29, 2017 - 9:35 AM

https://www.grammy.com/grammys/news/revisiting-bob-dylans-time-out-mind-20-years-later


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PostPosted: Sun October 1st, 2017, 10:44 GMT 

Joined: Mon January 9th, 2006, 09:01 GMT
Posts: 3059
Location: Manchester UK
A great collection of songs.

When the CD appeared I loved it, then after "Love and Theft" I started disliking the sound. I made myself a playlist of the songs live. It really shocked me how good they sounded without Lanois.

More recently, I've started loving the sound again. I still prefer my playlist.

We need a Deluxe edition:

CD1 - Original album
CD2 - Alternative takes (I guess the best are on Tell Tale Signs, but who knows) and maybe demos
CD3 and CD4 - Live performance of the songs from 1997- 2004.


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PostPosted: Sun October 1st, 2017, 13:41 GMT 

Joined: Sat August 5th, 2006, 11:56 GMT
Posts: 381
RichardW wrote:
A great collection of songs.

When the CD appeared I loved it, then after "Love and Theft" I started disliking the sound. I made myself a playlist of the songs live. It really shocked me how good they sounded without Lanois.

More recently, I've started loving the sound again. I still prefer my playlist.

We need a Deluxe edition:

CD1 - Original album
CD2 - Alternative takes (I guess the best are on Tell Tale Signs, but who knows) and maybe demos
CD3 and CD4 - Live performance of the songs from 1997- 2004.


What we need is 'Time Out of Mind Naked', the songs as they are but without the Lanois soup. Not that I hate Lanois's production as much as some do, but it would be wonderful to hear a 'straight' version of the album - even if it may now be impossible to hear Dylan's voice without that amp processing.


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PostPosted: Sun October 1st, 2017, 14:17 GMT 

Joined: Fri July 18th, 2008, 16:22 GMT
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I get the impression the "naked" TOOM will be on display in Tulsa. I'd love to hear that too - a future BS volume?


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PostPosted: Sun October 1st, 2017, 19:31 GMT 

Joined: Tue December 30th, 2008, 09:05 GMT
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Location: Liverpool
I was twenty one when this album came out, and living in a crappy one bed roomed flat, in a house that was not much more than a squat. Can't believe twenty years have gone by; seems like yesterday! My initial impression of the album was that Dylan's voice sounded pretty raw, and apart from the 'Big 4', there was a lot of very similar sounding blues tunes. Of course, now his voice sounds fantastic, and although some of the blues tunes are pretty repetitive, it's still a very good album.


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PostPosted: Sun October 1st, 2017, 20:10 GMT 
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Quote:
What we need is 'Time Out of Mind Naked', the songs as they are but without the Lanois soup. Not that I hate Lanois's production as much as some do, but it would be wonderful to hear a 'straight' version of the album - even if it may now be impossible to hear Dylan's voice without that amp processing.


I guess the closest you get to that is to put the TOOM songs from the M&A soundtrack recordings,
added to the few tracks on TTS, with a few choice live cuts.
To be honest i don't think the best songs would have the same atmosphere on them without Lanois
production. 'Love Sick', 'Not Dark Yet', 'Standing In The Doorway', and 'Trying To Get To Heaven'
i thought really benefited from the production.
I also think that compared to the previous Lanois produced album, TOOM was grittier and not as
easy on the ears, but i like it for those qualities.
I wonder if it crossed Dylan's mind to re-record TOOM when he'd successfully produced L&T with
the engineer basically taking instruction, with a producer, they want to impose their vision
upon an album. I'd say there are worse album's production wise than TOOM.
Empire Burlesque has some impressive songs but its got an awful sound, Knocked Out Loaded
was a slight improvement production wise but not by much, and to be fair, Down In The Groove
doesn't sound too bad, it's not anywhere near as bad a record as critics say.


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PostPosted: Mon October 2nd, 2017, 06:15 GMT 

Joined: Sat September 14th, 2013, 17:56 GMT
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Wow. I got this album when I was dating a girl in college. Next year is our 20th anniversary. Time flies when you’re having fun.

This is one of my top five Dylan albums, and I love it all the more with twenty years of life experience under my belt.


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PostPosted: Mon October 2nd, 2017, 14:18 GMT 
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My first Dylan album.. love the singles with the “Field Recordings” b-sides, too!


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PostPosted: Mon October 2nd, 2017, 15:40 GMT 
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bobfan wrote:
I was twenty one when this album came out, and living in a crappy one bed roomed flat, in a house that was not much more than a squat. Can't believe twenty years have gone by; seems like yesterday! My initial impression of the album was that Dylan's voice sounded pretty raw, and apart from the 'Big 4', there was a lot of very similar sounding blues tunes. Of course, now his voice sounds fantastic, and although some of the blues tunes are pretty repetitive, it's still a very good album.

What is that big 4?


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PostPosted: Mon October 2nd, 2017, 15:49 GMT 
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LibraChild1980 wrote:
To be honest i don't think the best songs would have the same atmosphere on them without Lanois
production. 'Love Sick', 'Not Dark Yet', 'Standing In The Doorway', and 'Trying To Get To Heaven'
i thought really benefited from the production.

Agreed, Cold Irons Bound probably more so than the others for me.


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PostPosted: Mon October 2nd, 2017, 16:01 GMT 
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I absolutely love the album, and think Lanois' production is absolutely perfect for it, and have never honestly understood any of the complaints against the production.

It sounds 'swampy' huh? That's because they wanted it to sound swampy!

The sound suits the songs down to the ground and gives the whole song-cycle (and it really is a song cycle, Dylan's last, so far) a deep, mystified cohesiveness that is compelling, seeming to emerge from the mists of the past, while also being fresh as paint. The album hasn't dated one bit.

This also means that I have been listening to Dylan for twenty years.

I was 19, a Film student, in Our Price in Canterbury, flicking through Q magazine. I saw a review of the album, it sounded interesting. Who was this Dylan guy? I had heard of him over the years, but never really paid attention.
I went downstairs, found the album in the racks. Another customer browsing the Dylan section got chatting to me. When he realised I didn't have any Dylan albums, and was about to buy Time Out Of Mind, he picked up another disc.

'Yeah, the new one's good, but this is the one you have to hear'. He put Blood On The Tracks in my hand. I thought about it a moment.

When I left the shop I had purchased both. I went home to listen to them, and I'm still enthralled by the man's music and writing twenty years later. Can't see it ending any time soon.

Long live Dylan and my love for his music.

Time Out Of Mind is still a great record.


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PostPosted: Mon October 2nd, 2017, 21:27 GMT 
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Quote:
I went downstairs, found the album in the racks. Another customer browsing the Dylan section got chatting to me. When he realised I didn't have any Dylan albums, and was about to buy Time Out Of Mind, he picked up another disc.
'Yeah, the new one's good, but this is the one you have to hear'. He put Blood On The Tracks in my hand. I thought about it a moment. When I left the shop I had purchased both.


I love reading how people first encountered his albums, and which ones they were.
Those two are just about the best one's you could've bought at that time.
'BOTT' was the culmination of everything post Blonde on Blonde in both lyrical
and musical form. It had better song writing than 'New Morning' and 'Planet Waves',
but those albums allowed Bob's vocals to grow and develop, it's like John Wesley Harding
was the prototype for 'that' vocal sound (the Nashville Skyline croon notwithstanding).

And with TOOM you got the best album he'd produced since Desire.
So yep, those two albums were an excellent introduction.


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PostPosted: Tue October 3rd, 2017, 21:59 GMT 
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tomandshell wrote:
Wow. I got this album when I was dating a girl in college. Next year is our 20th anniversary. Time flies when you’re having fun.

This is one of my top five Dylan albums, and I love it all the more with twenty years of life experience under my belt.


Had the Greatest Hits on tape and had just upgraded it to CD. Read about the new release which was TOOM. I was 18 and in college. Memories.

The next year I was determined to see him live. Found some people interested. Drove to Syracuse. Married the one four years later to the day.


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PostPosted: Tue October 10th, 2017, 02:10 GMT 
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RichardW wrote:
We need a Deluxe edition:

CD1 - Original album
CD2 - Alternative takes (I guess the best are on Tell Tale Signs, but who knows) and maybe demos
CD3 and CD4 - Live performance of the songs from 1997- 2004.


How about a 20th anniversary vinyl release with the Love Sick 7" single thrown in for good measure?
https://smile.amazon.com/Time-Out-Mind- ... 166&sr=1-6


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PostPosted: Tue October 10th, 2017, 22:22 GMT 

Joined: Sun June 22nd, 2014, 19:26 GMT
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movin_after_midnight wrote:
How about a 20th anniversary vinyl release with the Love Sick 7" single thrown in for good measure?
https://smile.amazon.com/Time-Out-Mind- ... 166&sr=1-6


Would that be the Victoria's Secret Remix? The original CD singles had the "Love Sick" album version and the live performance from the Grammys, I guess?
And the "Cold Irons Bound" on the b-side would be the live version from one of the CD singles?


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PostPosted: Tue October 10th, 2017, 22:33 GMT 

Joined: Sun June 22nd, 2014, 19:26 GMT
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RichardW wrote:
We need a Deluxe edition:

CD1 - Original album
CD2 - Alternative takes (I guess the best are on Tell Tale Signs, but who knows) and maybe demos
CD3 and CD4 - Live performance of the songs from 1997- 2004.


I don't think we'll see this while Dylan is still alive, considering his obvious aversion to Deluxe Edition of previous albums, but the live collection sounds intriguing. Why up to 2004 though? In my mind, it would have to be either up to Bucky Baxter's departure (seeing that he plays on all "TOOM" studio tracks) or it could be up to the present day, because from mid 1999 on, it's really just Tony Garnier who's left from the "TOOM" personnel.


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