(UPDATE) Bob Dylan, 'The Basement Tapes Complete: The Bootleg Series Vol. 11'
NPRで"The Basement Tapes Complete"から12曲公開された。日本から聞けるかどうか心配だっただが問題なく聞けるようだ。とりあえずいつものように拝借させていただく。ついでに過去に公開された曲もまとめて再掲載する。
▼First Listen: Bob Dylan, 'The Basement Tapes Complete: The Bootleg Series Vol. 11'
The Basement Tapes Complete:
The Bootleg Series Vol. 11 SAMPLER - Bob Dylan & The Band
※音声を再生するには、audioタグをサポートしたブラウザが必要です。
Edge Of The Ocean (Disc 1, Track 1)
One of the first things recorded in the "red room." You can tell that Garth Hudson is experimenting with the rudimentary recording equipment at hand, in that the first sound heard on the tape is Dylan requesting a playback. Many of the early songs recorded in the “red room” have fluctuating degrees of distortion as well as an odd instrumentation mix consisting of electric piano and tambourine. In the early recordings, both the tambourine and the electric piano are feeding through the vocal mic, creating distortion.
You Ain't Goin' Nowhere (Take 1) (Disc 3, Track 17)
As you listen to these raw tapes it becomes apparent that there is no single way in which Dylan approached writing a new song. Here, it’s apparent that the structure and choruses of the song have been completed, yet the lyrics for the verses are created off-the-cuff; perhaps by just glancing around the basement. The rhythmic feel and phrasing are already in place, just the words are temporary. Dylan’s free associating leads to some interesting and hilarious juxtapositions, like, “You bunch of basement noise,” “foreign bib,” “feed that buzzard, lay him on the rug.”
I Shall Be Released (Take 1) (Disc 3, Track 19)
One of the glaring omissions on the 1975 Basement Tapes was this beautiful performance. Of course by 1975, Dylan had already officially released a version of the song, recorded with Happy Traum, on 1971’s Greatest Hits Vol. II. One of the Basement Tapes’ most covered songs; the falsetto part sung here by Richard Manuel provided the template for The Band’s rendition on Music from Big Pink.
Quinn The Eskimo (Take 1) (Disc 4, Track 4)
If the purpose of the basement tapes was to record demos for cover recordings, "Quinn the Eskimo" was the first big success. Manfred Mann’s version reached the top spot on the UK charts and rose to number ten on the U.S. charts in 1968. Back in those days, before rock bands and songwriting singers dominated the pop charts, a single hit might spawn a multitude of cover versions. And so it was with “Quinn the Eskimo” (or “The Mighty Quinn”), with a mind bending genre spanning collection of covers from the pop of Julie London, to the rock of The Hollies and the soul jazz of Ramsey Lewis. Dylan himself would return to the song several times on officially released recordings, the first time in 1970 with a live version on Self Portrait.
This Wheel's On Fire (Disc 3, Track 21)
Written with Rick Danko, this was another song from the basement that hit cover version gold; first with Julie Driscoll and Brian Auger in 1968, and again with The Band on Music from Big Pink in 1969. In 1992, a recording by Siouxsie and the Banshees became the theme song for the hit British TV show, Absolutely Fabulous.
Johnny Todd (Disc 2, Track 1)
Many variants of this traditional song have been collected in Ireland, Scotland and England. Starting life as a children’s song with a more upbeat ending, the version here was taken from a sea shanty that had become a favorite during the folk revival in the 1950s. But the song’s life doesn’t end there. “Johnny Todd”’s melody was used as a theme for over the titles of the popular British TV show, Z Car, which started airing in 1962. The melody became the theme song for Liverpool’s Everton football club and is still played today at home games as the players enter the pitch.
Don't Ya Tell Henry (Disc 4, Track 21)
This version was considered unusable when the 1975 Basement Tapes were being put together. So, on that record, they started from scratch with Levon Helm singing the lead vocal. The version included here, although not pristine musically, has a certain rough-edged charm. Whoever picks up the trombone somehow manages to make up in enthusiasm for what is lacking in proficiency.
I Don't Hurt Anymore (Disc 2, Track 19)
Dylan’s country roots and The Band’s roadhouse R&B blend perfectly on this duet harmony version of the Hank Snow hit from 1954. Written by Don Robertson, the song is from an era when the walls between the R&B and country charts were a bit less segregated than the rest of America. Before Hank Snow’s version was off the C&W top 10, where it spent 20 weeks at number one, Dinah Washington took the song to number three on the R&B charts.
Silent Weekend (Disc 5, Track 12)
How many artists can do five blues songs and have them all sound so different? Although never completed, “Silent Weekend” is built around the title of the song, sung in harmony like many of the great Chicago blues tracks of the ’50s. Junior Wells’ “Little by Little” especially comes to mind. You can hear unexplored possibilities when Dylan belts out the phrase, “Lord, I wish Monday would come.”
Crash On The Levee (Take 1) (Disc 3, Track 10)
The blues and its imagery runs through much of Dylan’s music. “Crash on the Levee” echoes many of the great blues songs written about the cataclysmic Mississippi flood of 1927, like “Rising High Water Blues” by Blind Lemon Jefferson, “High Water Blues” by Charley Patton and most famously, “When the Levee Breaks,” by Memphis Minnie. It’s a theme that Bob Dylan’s returned to throughout his career; in 2001 with “High Water (for Charley Patton),” and in “The Levee’s Gonna Break” in 2006.
One Too Many Mornings (Disc 5, Track 2)
This track has never even been rumored to exist. It was found on an old tape unearthed by Dylan’s music publishing company. Richard Manuel lends his plaintive, singular voice to the first verse. Originally released on The Times They Are A-Changin’ as a folk ballad in 1964, the song was completely revamped for the ’66 tour, with a heavy backbeat and a suspenseful pause before Rick Danko would add harmony on the lyric “behind.” This arrangement is a mellower version of the distinctive interpretation as played on that combative tour.
I'm Your Teenage Prayer (Disc 2, Track 8)
One thing the basement tapes provide is the kind of fly on the wall experience fans always crave. When Dylan and the band first started in the basement, they were just fooling around – a group that had played together for two years, testing the equipment, playing the blues – just seeing where the music would take them. “Teenage Prayer” is an off the cuff doo-wop sketch that revels in the camaraderie and good humor that a close-knit band enjoys when the tapes aren’t rolling and the cameras are off. The kind of Bob Dylan recording only revealed on the basement tapes.
One of the first things recorded in the "red room." You can tell that Garth Hudson is experimenting with the rudimentary recording equipment at hand, in that the first sound heard on the tape is Dylan requesting a playback. Many of the early songs recorded in the “red room” have fluctuating degrees of distortion as well as an odd instrumentation mix consisting of electric piano and tambourine. In the early recordings, both the tambourine and the electric piano are feeding through the vocal mic, creating distortion.
You Ain't Goin' Nowhere (Take 1) (Disc 3, Track 17)
As you listen to these raw tapes it becomes apparent that there is no single way in which Dylan approached writing a new song. Here, it’s apparent that the structure and choruses of the song have been completed, yet the lyrics for the verses are created off-the-cuff; perhaps by just glancing around the basement. The rhythmic feel and phrasing are already in place, just the words are temporary. Dylan’s free associating leads to some interesting and hilarious juxtapositions, like, “You bunch of basement noise,” “foreign bib,” “feed that buzzard, lay him on the rug.”
I Shall Be Released (Take 1) (Disc 3, Track 19)
One of the glaring omissions on the 1975 Basement Tapes was this beautiful performance. Of course by 1975, Dylan had already officially released a version of the song, recorded with Happy Traum, on 1971’s Greatest Hits Vol. II. One of the Basement Tapes’ most covered songs; the falsetto part sung here by Richard Manuel provided the template for The Band’s rendition on Music from Big Pink.
Quinn The Eskimo (Take 1) (Disc 4, Track 4)
If the purpose of the basement tapes was to record demos for cover recordings, "Quinn the Eskimo" was the first big success. Manfred Mann’s version reached the top spot on the UK charts and rose to number ten on the U.S. charts in 1968. Back in those days, before rock bands and songwriting singers dominated the pop charts, a single hit might spawn a multitude of cover versions. And so it was with “Quinn the Eskimo” (or “The Mighty Quinn”), with a mind bending genre spanning collection of covers from the pop of Julie London, to the rock of The Hollies and the soul jazz of Ramsey Lewis. Dylan himself would return to the song several times on officially released recordings, the first time in 1970 with a live version on Self Portrait.
This Wheel's On Fire (Disc 3, Track 21)
Written with Rick Danko, this was another song from the basement that hit cover version gold; first with Julie Driscoll and Brian Auger in 1968, and again with The Band on Music from Big Pink in 1969. In 1992, a recording by Siouxsie and the Banshees became the theme song for the hit British TV show, Absolutely Fabulous.
Johnny Todd (Disc 2, Track 1)
Many variants of this traditional song have been collected in Ireland, Scotland and England. Starting life as a children’s song with a more upbeat ending, the version here was taken from a sea shanty that had become a favorite during the folk revival in the 1950s. But the song’s life doesn’t end there. “Johnny Todd”’s melody was used as a theme for over the titles of the popular British TV show, Z Car, which started airing in 1962. The melody became the theme song for Liverpool’s Everton football club and is still played today at home games as the players enter the pitch.
Don't Ya Tell Henry (Disc 4, Track 21)
This version was considered unusable when the 1975 Basement Tapes were being put together. So, on that record, they started from scratch with Levon Helm singing the lead vocal. The version included here, although not pristine musically, has a certain rough-edged charm. Whoever picks up the trombone somehow manages to make up in enthusiasm for what is lacking in proficiency.
I Don't Hurt Anymore (Disc 2, Track 19)
Dylan’s country roots and The Band’s roadhouse R&B blend perfectly on this duet harmony version of the Hank Snow hit from 1954. Written by Don Robertson, the song is from an era when the walls between the R&B and country charts were a bit less segregated than the rest of America. Before Hank Snow’s version was off the C&W top 10, where it spent 20 weeks at number one, Dinah Washington took the song to number three on the R&B charts.
Silent Weekend (Disc 5, Track 12)
How many artists can do five blues songs and have them all sound so different? Although never completed, “Silent Weekend” is built around the title of the song, sung in harmony like many of the great Chicago blues tracks of the ’50s. Junior Wells’ “Little by Little” especially comes to mind. You can hear unexplored possibilities when Dylan belts out the phrase, “Lord, I wish Monday would come.”
Crash On The Levee (Take 1) (Disc 3, Track 10)
The blues and its imagery runs through much of Dylan’s music. “Crash on the Levee” echoes many of the great blues songs written about the cataclysmic Mississippi flood of 1927, like “Rising High Water Blues” by Blind Lemon Jefferson, “High Water Blues” by Charley Patton and most famously, “When the Levee Breaks,” by Memphis Minnie. It’s a theme that Bob Dylan’s returned to throughout his career; in 2001 with “High Water (for Charley Patton),” and in “The Levee’s Gonna Break” in 2006.
One Too Many Mornings (Disc 5, Track 2)
This track has never even been rumored to exist. It was found on an old tape unearthed by Dylan’s music publishing company. Richard Manuel lends his plaintive, singular voice to the first verse. Originally released on The Times They Are A-Changin’ as a folk ballad in 1964, the song was completely revamped for the ’66 tour, with a heavy backbeat and a suspenseful pause before Rick Danko would add harmony on the lyric “behind.” This arrangement is a mellower version of the distinctive interpretation as played on that combative tour.
I'm Your Teenage Prayer (Disc 2, Track 8)
One thing the basement tapes provide is the kind of fly on the wall experience fans always crave. When Dylan and the band first started in the basement, they were just fooling around – a group that had played together for two years, testing the equipment, playing the blues – just seeing where the music would take them. “Teenage Prayer” is an off the cuff doo-wop sketch that revels in the camaraderie and good humor that a close-knit band enjoys when the tapes aren’t rolling and the cameras are off. The kind of Bob Dylan recording only revealed on the basement tapes.
※soundcloudでも公開されたので、貼っておく（ていうかこっちが日本から聞けない）
Don't Ya Tell Henry
▼The Basement Tapes Complete: The Bootleg Series, Vol. 11 (pano)
※139曲、30秒のサンプルの試聴が可能だ
Four part podcast series with the complete story behind Bob Dylan and The Band's historic Basement Tapes. Includes interviews with Dylan historians, producers, excepts of rare, unreleased and restored music from the mythic Woodstock 1967 recordings. Complete (6CD) and Raw (2CD) Basement Tapes sets are in stores 11/4 from Columbia/Legacy.
0 コメント