Bob Dylan: The Bootleg Series

i meant to hear the new york sessions as a complete album
and the minneapolis sessions as a complete album
because the formal release is a mix of both

Good-sized sampler from '66 box, though I haven't listened yet: http://www.npr.org/2016/11/03/500057219/first-listen-bob-dylan-the-1966-live-recordings

Not too interested in the box yet, since it's 36 versions of the same set list, or pretty close, at least, with no particular room for jams, so not like buying 36 versions of a Dead set---right?

Wesley Stace's WSJ coverage of Robbie Robertson's new Testimony is mostly Dylan-centric; says the book ends with The Last Waltz, which is prob okay with a lot of readers.
Excerpts:
This digital version incl Isle of Wight, except a few more tracks can find if put in bob dylan isle of wight https://www.amazon.com/Another-Self-Portrait-1969-1971-Bootleg/dp/B00EO9ZFGW/ref=dp_olp_1?ie=UTF8&qid=1477005428&sr=1-1%26lt%3B%2Fa%26gt%3B
Used box set, doesn’t have all the Isle of Wight tracks? Has all that are in the digital version listed above, but more expensive but more durable
https://www.amazon.com/Another-Self-Portrait-1969-1971-Bootleg/dp/B00DY951RQ
Re Dylan, noted and quoted (see about Alz affecting speech more than memory, look up)
https://www.mprnews.org/story/2016/10/24/1960s-pop-singer-bobby-vee-has-died-at-age-73

http://www.wsj.com/articles/on-the-road-with-dylan-1478900285
By
WESLEY STACE
Updated Nov. 11, 2016 6:08 p.m. ET
Robbie Robertson, the lead guitarist and main songwriter of the Band, is in the unenviable position of never having been much of a singer. (He posits asthma as a factor.) Luckily, the Band was blessed with three of the greatest vocalists of the rock era (Rick Danko,Richard Manuel and Levon Helm), who were able to give his beautiful melodies and lyrics their fullest possible emotional expression. In “Testimony,” however, the “voice” is not in question. Robust, wry, gritty and wise to the vicissitudes of a career in rock ’n’ roll, it is just what the reader wants, marred only occasionally by stiff dialogue.
TESTIMONY
By Robbie Robertson
Crown Archetype, 500 pages, $30

...“Testimony” comes 23 years after drummer Levon Helm’s memoir “This Wheel’s on Fire,” notable partly for its extremely negative portrayal of Mr. Robertson. Of that book, Mr. Dylan enthused: “You’ve got to read this!” The blurbs here are by Mr. Scorsese and David Geffen, neatly delineating the great divide in the Band. But after the deaths of Manuel (suicide, 1986), Danko (heart failure, 1999) and Helm (throat cancer, 2012)—which triumvirate he often pits himself against in his memoir—Robertson is one of the two men left standing (along with keyboardist Garth Hudson). His may be the last word.
The haphazardly collaborative nature of the Band’s work, and the natural disinclination of most of the members to deal with business, led to arguments over songwriting credits, a feud that Helm took to the grave. Resentments had long simmered: The film “The Last Waltz” seemed contrived to put Mr. Robertson center-stage, as the genius Mr. Scorsese clearly believed him to be, yet he was the only member of the Band who actually wanted that Waltz to be the Last. His Band-mates were happy to play on, and this was by no means the final Band concert, though it was the last to feature Mr. Robertson. If you saw a later incarnation of the group, you heard precisely what you would have wanted to hear: the singers singing their beloved songbook accompanied by a great rhythm section. If anything, one later felt the lack of Manuel more than of Mr. Robertson.
Half-Jewish, half-Mohawk, Jaime Royal Robertson was brought up on the streets of Toronto and on the Six Nations Indian Reserve, where he was “introduced to serious storytelling. . . . The oral history, the legends, the fables, and the great holy mystery of life.” The reader might suppress a groan, but add to the mix a steel-trap memory and a muddled childhood—featuring two fathers, numerous gangsters, alcoholism and some diamond smuggling—and you have the makings of a Dickensian bildungsroman.
“Testimony” next becomes a bible of road lore, a lurid coming-of-age story that veers wildly between the sweet and the brutal and a how-not-to guide to running a band. The Hawks, formed at the whim of Arkansawyer Ronnie Hawkins, who enjoyed regular residencies in Toronto, take off on the road, and the craziness of these early days is presented in brilliant Technicolor, with Helm cast as blood brother and Hawkins as amoral Virgil. A 16-year-old Mr. Robertson, too young to frequent any of the joints he’s playing, descends into an underworld of torched nightclubs (the arsonists thoughtfully remove Leon Russell’s band’s equipment before they light the match), bitten-off nipples (word to the wise: Don’t “taste her milkshake” while traversing bumpy terrain in the back seat of a car) and a vast choice of artificial stimulation.
As for Mr. Dylan, a key attraction, the book offers a refreshing account all the better for starting no earlier than the recording of “Like a Rolling Stone,” to which Mr. Robertson was escorted by producer John Hammond Jr. in 1965. Here is by far the fullest first-person account of the early electric tours of Mr. Dylan, not to mention an astonishing tale of a “passed out sitting up” Mr. Dylan, “deliriously exhausted” after the final date of the emotionally and physically exhausting 1966 tour, whom Robbie and Mr. Dylan’s manager, Albert Grossman, try to revive him in a bathtub (returning once to find him submerged) while four Beatles await an audience in the adjacent hotel room. The account of Mr. Dylan’s 1966 motorcycle accident is refreshingly lucid, as is that of the subsequent making of “The Basement Tapes,” as the Band improvises around Bob’s “vibing vocables.”
The Nobel Prize winner himself will probably not opine on Mr. Robertson’s livelier claims, among which is that he clothed Mr. Dylan (the classic ’66 houndstooth tweed: “Bob didn’t seem like much of a suit guy, but Lou [the designer] was on top of his game”); suggested the iconoclastic cover design of “Blonde on Blonde”; gave Mr. Dylan’s song “Obviously Five Believers” its title, adding that witty adverb—both positively (4th Street) and absolutely (Sweet Marie) something Mr. Dylan might have come up with himself; finished the editing of Mr. Dylan’s film “Eat the Document”; taught the neophyte rocker how to stretch guitar strings to keep them in tune; and saved Mr. Dylan from his musical self (by refusing to clutter the sparse perfection of “John Wesley Harding” with the requested overdubs). And of course he is responsible for creating the circumstances, and ambience, that brought the “The Basement Tapes” into existence. I am not suggesting that these claims aren’t true, merely that the abundance of them becomes slightly comical.
Occasionally one has the impression that Mr. Robertson is tiptoeing around awkward issues, always to the detriment of the book: Helm’s 1993 account of the various delegations sent in to get Mr. Dylan onstage at “The Last Waltz” is agonizing (the singer didn’t like it assumed that he had given his consent to being filmed, fearing a conflict with a forthcoming movie of his own, “Renaldo and Clara,” shot the previous year). But Mr. Robertson barely scratches the surface, preferring to deal with the technical problems involved in creating the movie.
Mr. Robertson’s writing about music, either from inside looking out or simply from the point of view of an audience member at a Bo Diddley or Velvet Underground concert, can be beautiful, as when, in the closing pages, he pays full tribute to each Band member and their role within the overall sound, repeating, as if in litany, “God only made one of those.” Here “Testimony” becomes a testimonial, and the effect is redemptive. Generosity suits him, and whatever the truth, “Testimony” is a graceful epitaph.​
—Mr. Stace is an author and musician who has also recorded under the name John Wesley Harding.

Sorry for that stuff in front! Didn't mean to copy and paste the whole file.

No problem. Bought this at lunch and so far have read the first three chapters. Really well done. Who'd have thought?

speaking of xpost The Real Royal Albert Hall 1966 Concert, it's out now. Prices for formats seem okay, vinyl cheaper than most new LPs from Big Names these days, I guess (on Amazon, that is):

https://images-na.ssl-images-amazon.com/images/I/61gGIrtrGzL._SX355_.jpg

Is it good?

Yes, I'm tempted by this

It's on Spotify

"we'd like to dedicate this song to the Taj Mahal"

Isn't that included in the giant set?

Aw, he's so frustrated on this one.

"This is called 'Yes I See You've Got Your-'" *people in crowd start shouting* "oh. oh god."

the "Ballad Of A Thin Man" on this set is amazing iirc

Any significant difference (other than location) from The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert ?

Nobody yells "Judas!"

Ha, exactly. Haven't listened yet but figured that must be the case.

I think I might prefer this version of "Like A Rolling Stone" to the Judas one. He sings it even angrier. He's really spitting out the words at the end.

http://www.nytimes.com/2016/12/10/arts/bob-dylan-skips-nobel-prize-ceremonies.html?_r=0

Or was this on another Dylan thread:

Invoking William Shakespeare, whom Mr. Dylan imagined to have been too consumed with practical matters — “How should this be staged?” “Where am I going to get a human skull?” — to bother with whether what he was doing was literature, Mr. Dylan wrote: “I too am often occupied with the pursuit of my creative endeavors and dealing with all aspects of life’s mundane matters. ‘Who are the best musicians for these songs?’ ‘Am I recording in the right studio?’ ‘Is this song in the right key?’ Some things never change, even in 400 years.

“Not once have I ever had the time to ask myself, ‘Are my songs literature?’” Mr. Dylan, 75, concluded. “So, I do thank the Swedish Academy, both for taking the time to consider that very question, and, ultimately, for providing such a wonderful answer.”

Any significant difference (other than location) from The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert ?
it's pretty impressive how different both hudson's and robertson's solos are from night to night -- you'd think they'd have just locked in by the end of the tour, having played the same setlist every night for weeks, but they still find new approaches. it's awesome.

Isn't that included in the giant set?

― Josh in Chicago, Saturday, 10 December 2016 20:49 (two days ago)

Yes. But not everyone wants the giant set. Or: it may be nice to buy a few gigs individually.

'Trouble in Mind' should be on an official boot

https://vimeo.com/107308378

yeah i love that one -- i assume it'll be on the gospel era set they've been teasing for a while.
will be interesting to see what approach they take from here on out, since the last few have been these mega sets.

not the song i was expecting!

I guess there's a risk the EU copyright law thing will result in chronological sets and that we won't see those gospel boots before ~2026, and that when we do - it'll be mega

I once had the Olaf's Files book on that gospel tour, remember a lot of both aggressive, weird and funny monologues

new interview, ostensibly to promote Triplicate, but he comments on other stuff, old, older, and relatively recent, so I'll link it here:http://www.bobdylan.com/news/qa-with-bill-flanagan/

Already discussed on the Triplicate thread.

He breaks into "Ebony and Ivory" at one point

heyo, looks like that Gospel Bootleg Series is happening later this year ... and there's another Clinton Heylin companion book to go along with it ...
https://www.amazon.com/Trouble-Mind-Dylans-Gospel-Happened/dp/1944713298

Trouble In Mind: Bob Dylan's Gospel Years - What Really Happened

The first-ever examination of Bob Dylan's controversial Christian era, publishing in sync with Columbia Record's box-set The Gospel Years.

Between 1979 and 1981, Dylan produced and released three of his most controversial albums—Slow Train Coming, Saved and Shot of Love—toured the world, and played the most contentious shows of his career. Remarkably, this entire period was perhaps the most fastidiously well-documented of his career, with every studio session, every live show, and every single rehearsal recorded on Dylan's behalf. For the first time, that material has been excavated, reviewed, and accessed by "perhaps the world's leading authority on all things Dylan" (Rolling Stone).

Serving as an invaluable companion to the latest Sony Bootleg Series (November 2017), Trouble in Mind is the first book to focus on the life and works of Dylan as a born-again Christian from the perspective of both his artistic growth and the development of his eschatological worldview. It will draw on previously undocumented song drafts, rehearsal tapes, and new interviews with engineers, musicians, and girlfriends.

and girlfriends

praise be

will be interesting to see how they do this -- i assume it won't be the "everything and the kitchen sink" approach of the last few bootleg series releases

very excited about this!

fire and brimstone!

in other dylan news, you can take a peek at some of the things that apparently exist in the tulsa archive now.
https://pbs.twimg.com/media/C8F5RQ_V4AEFIkE.jpg:large
https://pbs.twimg.com/media/C8CwhOEXQAIJji4.jpg:large

https://bobdylanarchive.com/archive-access/

very excited about this!

fire and brimstone!

A cover of link wray?

this should be a fun bootleg chapter! production on esp Saved is p tame, the live version of In The Garden w/ Petty circa 87 rawks, sure many of these songs flourish in a live context

will also be... interesting to hear some of those endless rants and monologues on impending doom and fundamentalist readings of the bible

re:link wray I never get tired of this jam

https://www.youtube.com/watch?v=00XZFPXPo4I

can't wait for this bullshit xd

Most nights, Dylan preached to the crowd as well. "I know not too many people are gonna tell you about Jesus," he told the crowd at Pittsburgh's Stanley Theater on May 15th, 1980. "I know Jackson Browne's not gonna do; it he's running on empty. I know Bruce Springsteen's not gonna do it, cause he's born to run and he's still running. And Bob Seger's not gonna do it cause he's running against the wind. Somebody's got to do it, somebody's got to tell you you’re free! You're free because Jesus paid for ya!"

haha yes

yup

"Tom Petty's Runnin' Down a Dream, but without Jesus that dream is nothin' but a nightmare!"

"John Fogerty's not gonna do it, cuz he's runnin' through the jungle and he lost his way!"

A+ quote there, thanks

"Lou Reed wants to Run Run Run, but you can't run from the Lord of Lords, Lou!"

<3

Haha lol

Boston thinks that they're the best
But they fail all God's tests

AMANDA

Neil Young's singin' 'bout his doghouse, but he better find his way to God's House!"

More about the Tulsa archive (good thing the State restricted fracking a little bit because earthquakes, but that could go back the other way, when the Oklahoma swamp gets drained)---some of this is already linked/pasted upthread, but there's always more, of course:

http://www.rollingstone.com/music/features/bob-dylans-tulsa-archive-an-exclusive-inside-look-w489787

eeyowch
http://cdn.smehost.net/bobdylancom-uscolumbiaprod/wp-content/uploads/2017/09/170920_dylan_tnm_deluxe.jpg

BOB DYLAN
TROUBLE NO MORE
THE BOOTLEG SERIES VOL. 13 / 1979-1981
DELUXE EDITION

Disc 1: Live
1. Slow Train (Nov. 16, 1979)
2. Gotta Serve Somebody (Nov. 15, 1979)
3. I Believe in You (May 16, 1980)
4. When You Gonna Wake Up? (July 9, 1981)
5. When He Returns (Dec. 5, 1979)
6. Man Gave Names to All the Animals (Jan. 16, 1980)
7. Precious Angel (Nov. 16, 1979)
8. Covenant Woman (Nov. 20, 1979)
9. Gonna Change My Way of Thinking (Jan. 31, 1980)
10. Do Right to Me Baby (Do Unto Others) (Jan. 28, 1980)
11. Solid Rock (Nov. 27, 1979)
12. What Can I Do for You? (Nov. 27, 1979)
13. Saved (Jan. 12, 1980)
14. In the Garden (Jan. 27, 1980)

Disc 2: Live
1. Slow Train (June 29, 1981)
2. Ain’t Gonna Go to Hell for Anybody (Unreleased song – Apr. 24, 1980)
3. Gotta Serve Somebody (July 15, 1981)
4. Ain’t No Man Righteous, No Not One (Unreleased song – Nov. 16, 1979)
5. Saving Grace (Nov. 6, 1979)
6. Blessed Is the Name (Unreleased song – Nov. 20, 1979)
7. Solid Rock (Oct. 23, 1981)
8. Are You Ready? (Apr. 30, 1980)
9. Pressing On (Nov. 6, 1979)
10. Shot of Love (July 25, 1981)
11. Dead Man, Dead Man (June 21, 1981)
12. Watered-Down Love (June 12, 1981)
13. In the Summertime (Oct. 21, 1981)
14. The Groom’s Still Waiting at the Altar (Nov. 13, 1980)
15. Caribbean Wind (Nov. 12, 1980)
16. Every Grain of Sand (Nov. 21, 1981)

Disc 3: Rare and Unreleased
1. Slow Train (Soundcheck – Oct. 5, 1978)
2. Do Right to Me Baby (Do Unto Others) (Soundcheck – Dec. 7, 1978)
3. Help Me Understand (Unreleased song – Oct. 5, 1978)
4. Gonna Change My Way of Thinking (Rehearsal – Oct. 2, 1979)
5. Gotta Serve Somebody (Outtake – May 4, 1979)
6. When He Returns (Outtake – May 4, 1979)
7. Ain’t No Man Righteous, No Not One (Unreleased song – May 1, 1979)
8. Trouble in Mind (Outtake – April 30, 1979)
9. Ye Shall Be Changed (Outtake – May 2, 1979)
10. Covenant Woman (Outtake –February 11, 1980)
11. Stand by Faith (Unreleased song – Sept. 26, 1979)
12. I Will Love Him (Unreleased song – Apr. 19, 1980)
13. Jesus Is the One (Unreleased song – Jul. 17, 1981)
14. City of Gold (Unreleased song – Nov. 22, 1980)
15. Thief on the Cross (Unreleased song – Nov. 10, 1981)
16. Pressing On (Outtake – Feb. 13, 1980)

Disc 4: Rare and Unreleased
1. Slow Train (Rehearsal – Oct. 2, 1979)
2. Gotta Serve Somebody (Rehearsal – Oct. 9, 1979)
3. Making a Liar Out of Me (Unreleased song – Sept. 26, 1980)
4. Yonder Comes Sin (Unreleased song – Oct. 1, 1980)
5. Radio Spot January 1980, Portland, OR show
6. Cover Down, Pray Through (Unreleased song – May 1, 1980)
7. Rise Again (Unreleased song – Oct. 16, 1980)
8. Ain’t Gonna Go to Hell for Anybody (Unreleased song – Dec. 2, 1980)
9. The Groom’s Still Waiting at the Altar (Outtake – May 1, 1981)
10. Caribbean Wind (Rehearsal – Sept. 23, 1980)
11. You Changed My Life (Outtake – April 23, 1981)
12. Shot of Love (Outtake – March 25, 1981)
13. Watered-Down Love (Outtake – May 15, 1981)
14. Dead Man, Dead Man (Outtake – April 24, 1981)
15. Every Grain of Sand (Rehearsal – Sept. 26, 1980)

Disc 5 – Live in Toronto 1980
1. Gotta Serve Somebody (April 18, 1980)
2. I Believe In You (April 18, 1980)
3. Covenant Woman (April 19, 1980)
4. When You Gonna Wake Up? (April 18, 1980)
5. When He Returns (April 20, 1980)
6. Ain’t Gonna Go To Hell For Anybody (Unreleased song – April 18, 1980)
7. Cover Down, Pray Through (Unreleased song – April 19, 1980)
8. Man Gave Names To All The Animals (April 19, 1980)
9. Precious Angel (April 19, 1980)

Disc 6 – Live in Toronto 1980
1. Slow Train (April 18, 1980)
2. Do Right To Me Baby (Do Unto Others) (April 20, 1980)
3. Solid Rock (April 20, 1980)
4. Saving Grace (April 18, 1980)
5. What Can I Do For You? (April 19, 1980)
6. In The Garden (April 20, 1980)
7. Band Introductions (April 19, 1980)
8. Are You Ready? (April 19, 1980)
9. Pressing On (April 18, 1980)

Disc 7 – Live in Earl’s Court, London – June 27, 1981
1. Gotta Serve Somebody
2. I Believe In You
3. Like A Rolling Stone
4. Man Gave Names To All The Animals
5. Maggie’s Farm
6. I Don’t Believe You
7. Dead Man, Dead Man
8. Girl From The North Country
9. Ballad Of A Thin Man

Disc 8 – Live in Earl’s Court – London – June 27, 1981
1. Slow Train
2. Let’s Begin
3. Lenny Bruce
4. Mr. Tambourine Man
5. Solid Rock
6. Just Like A Woman
7. Watered-Down Love
8. Forever Young
9. When You Gonna Wake Up
10. In The Garden
11. Band Introductions
12. Blowin’ In The Wind
13. It’s All Over Now, Baby Blue
14. Knockin’ On Heaven’s Door

Disc 9: Bonus DVD
Trouble No More – A Musical Film

DVD EXTRAS:
Shot of Love
Cover Down, Pray Through
Jesus Met the Woman at the Well (Alternate version)
Ain’t Gonna Go to Hell for Anybody (Complete version)
Precious Angel (Complete version)
Slow Train (Complete version)

daaamn

tell me about this "Musical Film"

"Available exclusively on the deluxe box set is a DVD which includes “Trouble No More: A Musical Film,” a new feature-length cinematic presentation combining unreleased footage from Dylan’s 1980 tours with new material written by Luc Sante and performed by Academy Award nominee Michael Shannon. Directed by Jennifer Lebeau, “Trouble No More” has been selected to premiere at the prestigious 2017 New York Film Festival. Bonus extras on the box set’s exclusive DVD include a rare performance of “Shot of Love” from Avignon 1981 and more."

this looks awesome

wonder if most of the live material is pretty heavy?