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PostPosted: Fri August 30th, 2013, 06:47 GMT 
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The recording date of I Threw It All Away is given as Feb. 16, 1969 in the ASP Booklet

Björner and maybe his sources don't have such a session listed. As I thought the sessions from that period are documented quite well, this must be an error in the booklet???


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PostPosted: Fri August 30th, 2013, 07:45 GMT 
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Agreed. I'm guessing it should read 13th Feb. But it's not the only apparent error in the booklet, there are quite a few others. Given the half-second skip on Copper Kettle [on CD4] & Marcus's laughable liner notes I'm guessing there was precious little quality control on this set. That said, I still wouldn't be without it.


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PostPosted: Fri September 20th, 2013, 01:59 GMT 

Joined: Fri July 8th, 2011, 16:13 GMT
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I really can't help you with a definite date...
I collect rare Dylan vinyl, and I have an authentic original 10" Columbia Nashville Studios mono acetate of "I Threw It All Away". It has "Drifters Escape" on the reverse side. A piece of pure gold to me.
Unfortunately, there is no date shown. The disc is listed with a pic/info at: searchingforagem.com


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PostPosted: Fri September 20th, 2013, 03:16 GMT 
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How reliable is Bjorner's guide? I've noticed he uses Michael Krogsgaard and Clinton Heylin's recording guides as sources for a lot of it. How reliable are they? I don't have any of their books, so I've not a clue how they obtained their information. The reason I question it is that some things don't always add up. For example: The Bootleg Series 1-3 booklet says "House Carpenter" was recorded Mar. 19, 1962, an undocumented session, which would be a little more than a month before the first documented Freewheelin' session on Apr. 24, 1962. Bjorner's guide says "House Carpenter" was recorded during the 2nd and final self-titled session on Nov. 22, 1961. *head explodes*


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PostPosted: Fri September 20th, 2013, 08:01 GMT 
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Rainwater wrote:
How reliable is Bjorner's guide? I've noticed he uses Michael Krogsgaard and Clinton Heylin's recording guides as sources for a lot of it. How reliable are they? I don't have any of their books, so I've not a clue how they obtained their information. The reason I question it is that some things don't always add up. For example: The Bootleg Series 1-3 booklet says "House Carpenter" was recorded Mar. 19, 1962, an undocumented session, which would be a little more than a month before the first documented Freewheelin' session on Apr. 24, 1962. Bjorner's guide says "House Carpenter" was recorded during the 2nd and final self-titled session on Nov. 22, 1961. *head explodes*



Well, my understandig is that Heylin had access to the recording sheets (or what these notations are called) complete with session dates and CO-numbers. If so, we don't know (and does Heylin?) how precise or grubby these notations are or if they are complete in the first place.

Booklet informations, on the other hand, are not known to be precise in every case either. Who e.g. is the drummer in the current band? Is it George Recile (Together Through Life) or rather George Receli (Tempest)?

Oh, speaking of inaccuracies: What's about Bob's birthday date in the passport as shown on the back of the BS 1-3 booklet?


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PostPosted: Fri September 20th, 2013, 08:34 GMT 

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I could be wrong, but my understanding is that Heylin didn't have special access to anything; it was rather Krogsgaard who had the access and then Heylin based his work on Krogsgaard's and also that of Glen Dundas, possibly adding his own speculation in some cases. I will emphasize again that I am only going by what other posters here have said, though, so I don't know for sure if this is correct.


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PostPosted: Fri September 20th, 2013, 08:51 GMT 
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The Mighty Monkey Of Mim wrote:
I could be wrong, but my understanding is that Heylin didn't have special access to anything; it was rather Krogsgaard who had the access and then Heylin based his work on Krogsgaard's and also that of Glen Dundas, possibly adding his own speculation in some cases. I will emphasize again that I am only going by what other posters here have said, though, so I don't know for sure if this is correct.



"For most of Dylan's Columbia sessions up to 1975's Desire I was able to ascertain the CO and NCO numbers assigned to each cut and any given session. ... Where it had been possible to examine the tape boxes (and/or the studio sheets within), I have been able to establish how many takes of a song were recorded ..."

Clinton Heylin, Bob Dylan - The Recording Sessions [1960 - 1994], p.xviii

To me it sounds as if he has seen those original sheets himself. If not, is he just an impostor? I'm not defending Mr. Heylin, it's only how I understand these sentences.


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PostPosted: Fri September 20th, 2013, 13:56 GMT 
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Here is an extract from a John Bauldie email to Dean Lavis 28 Mar 1996

"It's take a couple of months for me to tell the ME and Clinton story but then you'd only get
one side. Suffice to say that he's a creep and I'm not. (I told you it was one-sided!)
Clinton was one of a bunch of five who got together and ' formed' Wanted Man but I was always the one who made the Telegraph. Clinton at that time was a young snotty arrogant Sex Pistols fan who knew not too much about Dylan but liked him. As his knowledge grew, so did his ego/arrogance.

Some people like it that he's so opinionated. But he's also rather
nasty. We had a nasty breakdown a few years back after he'd based his
biography around Telegraph interviews, many of them mine, and then
accused me of plagiarising him in the Absolutely Dylan book. I issued a
libel writ against him. I haven't spoken to him since. Nor do I want to.

Since then, he's had this massive campaign to assert that he's the Big
Cheese Dylanologically, and that everyone else is a petty man. I note
from his Recording Sessions book that he's still taking credit for
forming Wanted Man. He really flipped when Jeff Rosen asked me to do the
liner notes to the Bootleg Series. He's trashed it/Rosen/me ever since.
Jealousy, the green-eyed monster.

He conned his way into getting some material at Columbia. When Rosen
found out, he had him barred. Clinton took what little he had and conned
a publisher into believing that he knew everything there was to know
about the recording sessions. Meantime, Rosen invited Michael Krogsgaard
to do a proper job. Michael's listings are being published in the
Telegraph. They blow Clinton's supposed scholarship to pieces.
Clinton's jumped to huge, and hugely inaccurate conclusions all of the
time."

From a public posting by Heylin Feb 2001--

"My work on Recording Sessions was undertaken with more limited resources than
Michael Krogsgaard simply because I did not have access to many of the
multi-tracks, which are stored at Iron Mountain. For access to Iron
Mountain I would have required the OK of Dylan and/or his office. Since
the whole point of Recording Sessions was to critique Dylan's work in
the studio (the discography is secondary), I needed to be independent of
the Dylan organisation."


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PostPosted: Fri September 20th, 2013, 14:31 GMT 
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I believe that Heylin is / has written the sleevenotes for the rumoured upcoming Incomplete Boxset so I guess he and Rosen are good buddies these days.


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PostPosted: Fri September 20th, 2013, 14:35 GMT 
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Lowgen, why has Krogsgaard only published his findings up till 1991? Is there a book in the offing?


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PostPosted: Fri September 20th, 2013, 15:43 GMT 
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Wow...

I didn't realize I'd start all this.

Thanks for all the info.


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