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PostPosted: Tue July 11th, 2017, 12:39 GMT 

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... that he didn't record an album of acoustic originals circa Good As I Been To You/World Gone Wrong. I would have loved to see an older and wiser Bob (with voice still hanging on) picking up his old tools.

I know that those two albums facilitated his later masterpieces but it would have been nice to have a more direct continuation of what he was doing in the early 90s.

What do you guys think? And what other things do you wish had come to fruition? (*cough* I'm Cold *cough*)


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PostPosted: Tue July 11th, 2017, 12:46 GMT 
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frenchdog wrote:
(*cough* I'm Cold *cough*)

That´s it, frenchdog, right there.
the fact that he possibly never recorded this and therefore we will never hear them...
An angry and super dark (as per those who heard them) collection of songs about love lost by my all time favorite artist in one of the most creative periods of his career sounds like the record of my life


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PostPosted: Tue July 11th, 2017, 13:55 GMT 
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wormington wrote:
frenchdog wrote:
(*cough* I'm Cold *cough*)

That´s it, frenchdog, right there.
the fact that he possibly never recorded this and therefore we will never hear them...
An angry and super dark (as per those who heard them) collection of songs about love lost by my all time favorite artist in one of the most creative periods of his career sounds like the record of my life


I wouldn't worry about it, the demos were not half as good as everyone imagines. Apart from 'Fish Fingers In The Frozen Aisle', which is ace.


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PostPosted: Tue July 11th, 2017, 14:48 GMT 

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spoiling Infidels by neither releasing the original recording nor the best songs from the Infidels session. The real tragedy is in the results. Bob surely was completely disappointed and maybe surprised how the album was received by the critics as well as the public. Having in mind what he recorded the way the album was criticized must have been some kind of shock for him (it surely was his fault that the released version didn't match what he had recorded). I think a result of this was Empire Burlesque – a desperate attempt to make an album successful by trying to sound contemporary.
In short: Infidels is the best album he never released – and the tragedy is that in the aftermath the 80s were wasted time for his career. Just imagine what might have happened if he released the real Infidels (including Blind Willie Mc Tell etc) and got the public admiration he had deserved. Infidels would be rated amongst the best albums in his career and he might have kept on writing and recording songs like these instead of spoiling good songs by making the sound like cheap pop songs (see: Empire Burlesque).


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PostPosted: Tue July 11th, 2017, 15:03 GMT 
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As I recall it, at the time of its release Infidels was very well received, and considered a great 'return to form' - the fact that he had omitted so many good songs wasn't really widely known until later.


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PostPosted: Tue July 11th, 2017, 16:12 GMT 
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slimtimslide wrote:
As I recall it, at the time of its release Infidels was very well received, and considered a great 'return to form' - the fact that he had omitted so many good songs wasn't really widely known until later.

Indeed.

Rolling Stone: https://www.rollingstone.com/music/albu ... s-19831124


"Infidels is Bob Dylan's best album since the searing Blood on the Tracks nine years ago, a stunning recovery of the lyric and melodic powers that seemed to have all but deserted him. Under the aegis of Dire Straits guitarist Mark Knopfler, Dylan has produced eight vigorous songs that teem with self-effacing introspection and wit, free of the cant that's weighted down his recent efforts. The songs on Infidels touch on religion and politics but are rooted in an ineffably deep sadness: the sadness of broken hearts and broken dreams, the sadness of middle age, the sadness that has been the wellspring of great rock & roll from Robert Johnson to "Every Breath You Take." Flaming through that sadness is the sort of hell-hound-on-my-trail passion that you'd have to reach back ten years to find in Dylan's recorded work."


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PostPosted: Tue July 11th, 2017, 18:42 GMT 

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For me: ( I know that these 2 albums got their fans, but that´s just my opinion. )

When he recorded and released Knocked out loaded and Down in the groove.

:roll:


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PostPosted: Tue July 11th, 2017, 19:09 GMT 
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That he never recorded Empire Burlesque with a basic rock band live in the studio. Would have been a half decent well received album, instead of an unmitigated disaster.


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PostPosted: Tue July 11th, 2017, 19:13 GMT 
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Tragedy number 2 after I´m cold sessions: that he got the hots for Joan Baez on the 60s. Because of that we have to deal with her highly irritating voice in so many concerts of his folk years. :?


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PostPosted: Tue July 11th, 2017, 19:29 GMT 
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The duets album with Frank Sinatra that never materialized.


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PostPosted: Tue July 11th, 2017, 20:27 GMT 

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That he abandoned the Oxnard sessions for TOOM.


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PostPosted: Tue July 11th, 2017, 20:29 GMT 
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wormington wrote:
Tragedy number 2 after I´m cold sessions: that he got the hots for Joan Baez on the 60s. Because of that we have to deal with her highly irritating voice in so many concerts of his folk years. :?

He wouldn't have garnered that kind of attention when he did without Joan bringing him on stage first though


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PostPosted: Tue July 11th, 2017, 21:10 GMT 
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Nightingale's Code wrote:
wormington wrote:
Tragedy number 2 after I´m cold sessions: that he got the hots for Joan Baez on the 60s. Because of that we have to deal with her highly irritating voice in so many concerts of his folk years. :?

He wouldn't have garnered that kind of attention when he did without Joan bringing him on stage first though

If you are trying to make me feel grateful for this you are failing miserably, sir


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PostPosted: Tue July 11th, 2017, 21:53 GMT 
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I don't care how feel. Just stating my opinion.


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PostPosted: Tue July 11th, 2017, 22:08 GMT 
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His biggest tragedy is his cocaine and alcohol use in the mid 80's. It left him a shell of what he once was with a voice that sounds like a broken down dump truck. At the time, it caused me to lose all interest in his new music. He would tour and I never went to see him because I couldn't stand how crappy he sounded. Unfortunately that's still the case.


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PostPosted: Tue July 11th, 2017, 22:08 GMT 
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The Bealtes didn't play with him at Isle of Wight


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PostPosted: Tue July 11th, 2017, 23:09 GMT 
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He hasn't re-recorded everything he did in the '60s with his current touring band. I think they could produce some fantastic results and we'd have something exciting and wonderful to listen to.


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PostPosted: Wed July 12th, 2017, 05:16 GMT 
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Winter Lude wrote:
His biggest tragedy is his cocaine and alcohol use in the mid 80's. It left him a shell of what he once was with a voice that sounds like a broken down dump truck. At the time, it caused me to lose all interest in his new music. He would tour and I never went to see him because I couldn't stand how crappy he sounded. Unfortunately that's still the case.

This almost reads as though the great tragedy hidden amongst the grammys, sold out concerts and #1 albums of the last 30 years has been displeasing Winter Lude.

I disagree. Though he did lose his voice then and probably for the reasons you describe, the real tragedy was not recording an entire album with Ralph Stanley when they got together for Lonesome River.


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PostPosted: Wed July 12th, 2017, 06:24 GMT 
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No album of originals to follow up Tempest!

Yet.


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PostPosted: Wed July 12th, 2017, 11:33 GMT 
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The lack of a proper and interesting production on most of his albums.


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PostPosted: Wed July 12th, 2017, 14:10 GMT 

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Ill considered live albums. To his credit, Budokan wasn't originally offered outside of Japan. Real Live was chosen from shows in which Dylan was hoarse. Dylan & the Dead, 'nuf said.

I can't complain about studio stuff. Infidels was intended as a poke in the eye and it succeeds. Empire had a lot of dubious songs so having them Bakerized really didn't matter; that album would have been a commercial stiff regardless. The next two albums were probably part of some contractual struggle with Columbia (there's such an obvious lack of effort).

Maybe failing to mix Street Legal because everybody was partying too much.


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PostPosted: Wed July 12th, 2017, 15:10 GMT 
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monklover wrote:
Ill considered live albums. To his credit, Budokan wasn't originally offered outside of Japan. Real Live was chosen from shows in which Dylan was hoarse. Dylan & the Dead, 'nuf said.

I can't complain about studio stuff. Infidels was intended as a poke in the eye and it succeeds. Empire had a lot of dubious songs so having them Bakerized really didn't matter; that album would have been a commercial stiff regardless. The next two albums were probably part of some contractual struggle with Columbia (there's such an obvious lack of effort).

Maybe failing to mix Street Legal because everybody was partying too much.


Mind the hyphen.


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PostPosted: Wed July 12th, 2017, 19:08 GMT 
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not recording "Love Is Just a Four Letter Word"


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PostPosted: Wed July 12th, 2017, 19:33 GMT 

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gibsona07 wrote:
That he never recorded Empire Burlesque with a basic rock band live in the studio. Would have been a half decent well received album, instead of an unmitigated disaster.


I'll throw in with this sentiment. Clearly there are other efforts that are further off the mark, but Empire Burlesque has some great songs that really suffer from the production choices. Reign in the backup singers, dump the synthesizers, back him with a tight blues rock band, and this would have been a classic.


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PostPosted: Wed July 12th, 2017, 19:52 GMT 
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Frankly, I think it would still be awful with a tight blues rock band, but I wonder how EB would sound if done as Nashville Skyline...same musicians, same producer, same studio, same Dylan voice.

Come baby find me
Come baby remind me
Of where I'd once begun


Yes, that might work!


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