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PostPosted: Fri October 27th, 2017, 12:58 GMT 
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Gasping for breath? Lifeless?? Everything prior to 1979?!!


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PostPosted: Fri October 27th, 2017, 13:12 GMT 
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bloodblondehighwayhome wrote:
Gasping for breath? Lifeless?? Everything prior to 1979?!!
Yeah, the 1966 tour is the definition of lifeless :D

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PostPosted: Fri October 27th, 2017, 16:02 GMT 

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Compared to the previewed tracks from the Vevo channel,
the sampler seems much stronger in quality. Those Vevo
leaks don't seem, apart from a few exceptions, to be anything
like the cream of the crop. I was nice to hear Yonder Comes Sin
for the first time in top quality without the hiss. One more week!


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PostPosted: Fri October 27th, 2017, 18:56 GMT 
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I'm up to Gonna Change My Way Of Thinking. This is really good so far.

ha, just realized the irony of posting now during this song - the title. ha!


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PostPosted: Fri October 27th, 2017, 19:02 GMT 
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Ain't Gonna Go To Hell For Anybody is great

I like this!


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PostPosted: Fri October 27th, 2017, 19:03 GMT 
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Jim B. wrote:
I'm up to Gonna Change My Way Of Thinking. This is really good so far.

ha, just realized the irony of posting now during this song - the title. ha!
Please keep reporting :)

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PostPosted: Fri October 27th, 2017, 21:32 GMT 
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Well this take of Covenant Woman is the first version of that song I heard so I can't compare it - but I definitely know the "Intimate little girl" part sent shivers down my spine several times in a row. Terrific singing/phrasing! And such a beautiful melody. Totally excited about this release!


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PostPosted: Sat October 28th, 2017, 01:53 GMT 

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Some good stuff. I loved the first minute of Caribbean Wind, but found the track suffered from the law of diminishing returns due to a lack of musical tension. Really hoping a better sounding recording of the live version will move this from unrealized masterpiece to straight-up masterpiece. The big disappointment here, for me, was the fact "Yonder Comes Sin" was the long-circulating outtake. I was hoping for something new, with all the known verses. I suppose this means no complete version exists, which is a big bummer.


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PostPosted: Sat October 28th, 2017, 01:57 GMT 
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Fantastic taste of the wonderful music to come. Is it possible to get enough? No... but I'll take what I can get.


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PostPosted: Sat October 28th, 2017, 02:10 GMT 
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josemesa wrote:
Some good stuff. I loved the first minute of Caribbean Wind, but found the track suffered from the law of diminishing returns due to a lack of musical tension. Really hoping a better sounding recording of the live version will move this from unrealized masterpiece to straight-up masterpiece. The big disappointment here, for me, was the fact "Yonder Comes Sin" was the long-circulating outtake. I was hoping for something new, with all the known verses. I suppose this means no complete version exists, which is a big bummer.


That is a drag, but it does sound better than the boot, which is a nice consolation. Not sure if I agree about Caribbean Wind, I have to listen 300 or so more times.


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PostPosted: Sat October 28th, 2017, 07:32 GMT 

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josemesa wrote:
Some good stuff. I loved the first minute of Caribbean Wind, but found the track suffered from the law of diminishing returns due to a lack of musical tension. Really hoping a better sounding recording of the live version will move this from unrealized masterpiece to straight-up masterpiece. The big disappointment here, for me, was the fact "Yonder Comes Sin" was the long-circulating outtake. I was hoping for something new, with all the known verses. I suppose this means no complete version exists, which is a big bummer.


That's a pity about Yonder Comes Sin, alright.


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PostPosted: Sat October 28th, 2017, 12:25 GMT 
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Alrighty, I've listened to the sampler a couple of times, so I thought I'd share my thoughts:

Slow Train [Live in London] - This is a good version that manages to fall short of the best iteration of the arrangement at Avignon in 1981. It gets better as it goes and the mix is, like the earlier track we'd heard from the 1981 London show, excellent.

Precious Angel [Live Nov. 16, 1979] - "Precious Angel" is one of my least favorite songs from Dylan's gospel years and this version doesn't change my opinion. Still, it's a marked improvement on the studio track and Dylan's vocals veer between expressively subtle and a bit over the top. I think my biggest issue comes down to disliking the very '70s sound of the song - I just don't particularly care for the musical palette of that era - so if you don't mind that you will probably enjoy it more than I do.

Gotta Serve Somebody [Live Nov. 15, 1979] - Excellent version of the song! Dylan and the band would transform this into an interesting evolution by 1981 but this is as good a capture of the harder-edged album arrangement as I've heard.

When He Returns [Take 2] - Here is the standout track of the set for me. It's easily the equal of the version selected for Slow Train Coming, and perhaps even better. It's actually one of Dylan's most heartfelt vocals, and the interplay between singing and piano is a bit more dynamic than other takes.

Solid Rock [Live Nov. 29, 1979] - Like "Gotta Serve Somebody," this is the best version of the original "Solid Rock" arrangement. It also maintains Dylan's introduction, which is a nice touch. Something about this performance feels so, so American to me in a very strange way - the call and response portion captures some kind of magic that "Solid Rock" always strives for but doesn't consistently pull off.

Gonna Change My Way of Thinking [Live Jan. 31, 1980] - This is among my least favorite songs from Dylan's gospel era, and I don't think it really found its footing until the version recorded with Mavis Staples and taken on the road in the 2000s. That said, this is the finest pre-'00s version I've heard. I wish the mix emphasized the bass and drums a little more, but it happily foregrounds the magical organ performance (which will go on to be a highlight of later songs).

Ain't Gonna Go to Hell for Anybody [Live Apr. 24, 1980] - I had a feeling that, when the well-known version from April 20 wasn't picked for the collection, that Dylan had some better renditions at the surrounding shows. I was not let down, as this is a more lyrically complete/complex version than the one played only a few days earlier. Otherwise it's quite similar, which is good.

When You Gonna Wake Up [Live July 9, 1981] - This one's been circulating for a while, and it's great. The distortion on at least one of the background singers is a slight annoyance, especially at the end of the song, but it doesn't significantly detract from the otherwise stellar performance and mix.

Covenant Woman [Take 3] - Here is the first song that constitutes something of a fascinating failure (to me, at least). The music is stronger than the album version, and the slick little piano fill between some verses is reminiscent of what Dylan would later do with "It's All over Now, Baby Blue" circa 2005. The mix, too, makes you wonder how good Saved could have been if mixed a little more sympathetically - this is from the same sessions and has much more depth. All of that being said, the vocals are fairly poor. Dylan seems unwilling to contribute any emotive singing to the track, so each line slopes downward at the end. It's kind of weird, really, and interesting as a curiosity even if it ends up not being effective. Plus it's kind of amazing to discover that the middling album version may actually have been the best the session produced!

Shot of Love [Outtake] - And on to the second fascinating failure. This is a shockingly bad rendition of "Shot of Love," and I'd venture to say it's probably the least compelling version I've heard. It falls dramatically short of both the album version (still the best) and the circulating outtake. What is intriguing, though, is how it seems to represent a very early take of the song. The backing band provides very limited accompaniment outside of drums and bass, along with a very basic guitar part, suggesting that this was one of the earlier run-throughs of the song. The tempo is slower, and the lyrics falter a few times - "moving films" is one of the more bizarre highlights. It does pick up a pretty good head of steam by the the penultimate verse, even if that's lost a bit by the end, and you can hear where later versions of the song got their start. In any case, it's listenable and I'm glad it's included, as it's a very cool artifact of the process Dylan and the band must have gone through in working up these songs.

Making a Liar Out of Me [Rehearsal] - This had been published a few weeks ago, and I'd heard it a few times, but it works better in a sequence than standing on its own. I'm still not thrilled about it, as it feels slightly too slow and measured to uphold the clever lyrical format. That said, it's grown on me and I'm happy it's included on the set. I'm curious about the timeline on this one, since it sounds a bit more like Infidels than Shot of Love, but I guess any transition between two albums is going to have some crossover.

City of Gold [Live Nov. 22, 1980] - I'm so happy this is included in the album. "City of Gold" is one of the artist's true lost gems, and they picked a fantastic rendition to publish (though they're all fantastic, aren't they?). As you can tell, "City of Gold" is among my favorite gospel-era Dylan compositions, as it just makes you feel so good every time you hear it.

Yonder Comes Sin [Rehearsal] - It's nice to hear this in a slightly enhanced audio quality. Shame they didn't capture the rest of the (allegedly performed) verses, but the cuts here prevent the listener from noticing its fragmentary nature, which is nice. The song's lyrics are pretty flimsy, particularly the backing vocalists' parts, but the performance manages to carry the song into being one of the singer's better studio recordings from 1980. Plus it's got that outstanding Jeremiah verse, which makes the song totally worth it.

Caribbean Wind [Rehearsal with pedal steel] - Here is one of the standout tracks of the sampler, if not the whole collection! It's marvelous to have another version of this quasi-masterpiece, and unsurprising to discover that it differs significantly from the three versions currently circulating. I'd place it above all but the live version in musical arrangement (the piano is very nice) and below all but the Biograph version lyrically. It's funny that it lyrically improves on the others in some key ways ("fire in her clothes" is so much better than "hung to her toes," "I don't think she'd ever known about innocence" is evocative, and "was she a virtuous woman" is a marked improvement on "was she a child or a woman") while some are a distinct step down ("Mexico to Curacao" is mildly disappointing if more geographically accurate, while "ugly gargoyles" and "armies whose fuses are short" mar the final verse). I am very amused, too, that "flies buzz my head" remains from the other circulating and unpublished outtake - I guess there's no way to really fit the full sentence into this meter. Anyway, it's a compelling rendition and reminds me that I'd listen to every version of "Caribbean Wind" if I could; if I'm lucky, maybe I'll get to do so in 2030 :)

Dead Man, Dead Man [Outtake] - This is a revelation. Did we know that "Dead Man, Dead Man" was originally 7+ minutes long and had about twice as many lyrics? I think the trimming was ultimately the right choice, of course, since the final song is a bit tighter and worked very well at concerts in 1981. Still, this is an excellent performance and likely stronger than the one that made it onto Shot of Love. It's slightly intriguing, too, that it almost sounds like the more reserved backing track from the "Shot of Love" outtake earlier in the sampler was the stating point for the arrangement in "Dead Man, Dead Man." It's impossible to know without having the timeline, and maybe not even then, but it's interesting nonetheless.

If you've looked through all of this, thanks for reading! Bob Dylan's gospel period is probably my favorite portion of his art, so I'm extremely excited for the new Bootleg Series set (as you can tell). Looking forward to reading through others' impressions.


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PostPosted: Sat October 28th, 2017, 12:28 GMT 
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josemesa wrote:
Some good stuff. I loved the first minute of Caribbean Wind, but found the track suffered from the law of diminishing returns due to a lack of musical tension. Really hoping a better sounding recording of the live version will move this from unrealized masterpiece to straight-up masterpiece. The big disappointment here, for me, was the fact "Yonder Comes Sin" was the long-circulating outtake. I was hoping for something new, with all the known verses. I suppose this means no complete version exists, which is a big bummer.


I largely agree with this. The arrangement is a nice one, but it doesn't quite work for a song as dramatic in theme/scope as "Caribbean Wind." Plus a piano-driven country version is a pretty weird way to play a song so geographically rooted in the Caribbean, eh? Also agreed on "Yonder Comes Sin" - it's hard to imagine another version being performed as well as this one, but like discovering definitively that no studio takes exist for "Ain't Gonna Go To Hell For Anybody," "Cover Down Pray Through" or "Thief On The Cross," it's a shame he didn't spend more time trying to capture this one before moving on.


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PostPosted: Sat October 28th, 2017, 12:33 GMT 
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JupiterAndApollo wrote:
Not sure I agree we have a "definitive" Carribean Wind here, but it's certainly a gamechanger. My view of that song is that all the different versions together are like pieces of a puzzle to some theoretical great recording that might have been. This version has some really interesting shades to help complete the picture. I love it.


This is exactly how I look at them too! None of them quite defines the song, but all represent different approaches towards the same vision. It's a pretty interesting situation, and reminiscent of "She's Your Lover Now" from 1966 - there's some mystical core there that Dylan's trying to break through to, but he never quite managed it. I guess it makes it all the more amazing that we did end up with recorded masterpieces like "Mr. Tambourine Man," "Tangled Up In Blue," "Every Grain Of Sand," and "Mississippi," doesn't it? Anyway, I can picture a pretty compelling art exhibition (maybe at the new archival museum in Tulsa?) where an attendee could visit a series of rooms or at least a series of headphones all featuring different versions of "Caribbean Wind" to explore how each one approaches the central theme.


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PostPosted: Sat October 28th, 2017, 13:08 GMT 

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.....
Quote:
The duet with Clydie King on "Abraham, Martin & John" must be one of the greatest and most surprising treasures in the history of filmed Dylan
snippet here - https://www.instagram.com/p/BarVxYFFgri/?taken-by=tomasanderssonwij[quote].......

The video from the new Bootleg series were showed as a preview in Oslo (Thursday night) 3 days ago. It was absolutely good and "When he returns" (probably the Toronto version) were outstanding. Bonus tracks from the video were with one exception different live/rehearsel versions of songs we already had seen. The exception was the duet on "Abraham, Martin & John" with Clydie King. It looked like it was not from a concert. Just the two of them sitting at the piano. It was just fantastic - I really look forward to see it again. Almost worth the cost of the whole deluxe box. I remember seeing rumors long ago that Dylan and Clydie King recorded several songs around the same time as Infidels were recorded (1983) - and we know the very beautiful version of Willie Nelson's "Angles flying too close to the ground" released as the B-side of the "Union Sundown" single. If more duets with Bob and Clydie are in the Colombia vaults I really wish we will be able to hear them some day. Does anybody out there know more about those recordings?


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PostPosted: Sat October 28th, 2017, 13:14 GMT 
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belleseb32 wrote:
...discovering definitively that no studio takes exist for "Ain't Gonna Go To Hell For Anybody," "Cover Down Pray Through" or "Thief On The Cross," it's a shame he didn't spend more time trying to capture this one before moving on.

I've stated numerous times my desire for Dylan to re-record all of his '60s studio output with his current band, but here are three songs that if recorded with his present band and released would be very well received.

He mentioned his interest in doing a religious album when Tempest emerged... I wonder if there are other bits, unreleased from this era, that if polished or re-worked with this band he could release as as a religious album. I think it would sell well enough and most certainly put his music back into the spot light and get people talking. Though I'm not sure how much he cares about that part.


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PostPosted: Sat October 28th, 2017, 13:52 GMT 

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Untrodden Path wrote:
He mentioned his interest in doing a religious album when Tempest emerged... I wonder if there are other bits, unreleased from this era, that if polished or re-worked with this band he could release as as a religious album. I think it would sell well enough and most certainly put his music back into the spot light and get people talking. Though I'm not sure how much he cares about that part.

But who would want their (possibly) last artistic statement to be a hackneyed effort
like that? Career examples of anything like this are Girl from the North Country on
Nashville Skyline (which was simply as duet opportunity with a beloved ally) and of
course Change My Way Of Thinking for the gospel compilation, which again was a
duet, and not for one of Dylan's own albums. So after over 55 years of practice, this is just
never going to happen. And personally I feel this is a testament to strength. He moves on.


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PostPosted: Sat October 28th, 2017, 17:33 GMT 
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He has re recorded a few of his 60s "hits". Hard rain for charity, hattie carroll and chimes of freedom. Add them to the masked and annon takes, and you have nice wee album, but i agree and am glad that blobs always pressin on.


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