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Download as PDF Printable version. Folk , roots rock. The 50th Anniversary Collection Live at the Academy of Music American Songwriter. I know that this completly duplicated the '14 song Acetate', but the 14 song one was the acetate that was very special, and deserved a disk in it's own right!. The Publisher's demos were different again. Different tracks and different mixes. In January , Dylan unexpectedly gave permission for the release of a selection of the basement recordings, perhaps because he and Grossman had resolved their legal dispute over the Dwarf Music copyrights on his songs.
Engineer Rob Fraboni was brought to Shangri-La to clean up the recordings still in the possession of Hudson, the original engineer. Fraboni has described Robertson as the dominant voice in selecting the final tracks for The Basement Tapes and reported that Dylan was not in the studio very often. According to Fraboni, four new songs by the Band were also recorded in preparation for the album's official release, one of which, a cover of Chuck Berry 's "Going Back to Memphis", did not end up being included.
While Fraboni has recalled that the Band taped them in ,  the liner notes for the reissued versions of the Band's own albums state that these songs were recorded between and In justifying their inclusion, Robertson explained that he, Hudson and Dylan did not have access to all the basement recordings: "We had access to some of the songs.
Some of these things came under the heading of 'homemade' which meant a Basement Tape to us. They were never intended to be a record, never meant to be presented.
It was somewhat annoying that the songs were bootlegged. The album was finally released in the spirit of 'well, if this is going to be documented, let's at least make it good quality. For a comprehensive list of the Basement Tapes session recordings, see List of Basement Tapes songs. See also List of Basement Tapes songs Note: The cassette version includes LP sides 1 and 2 on side 1, and LP sides 4 and 3 in that order on side 2. It poses Dylan and the Band alongside characters suggested by the songs: a woman in a Mrs.
Henry T-shirt, an Eskimo, a circus strongman and a dwarf who has been identified as Angelo Rossitto. John Rockwell of The New York Times hailed it as "one of the greatest albums in the history of American popular music. It would have been the best album of , too. Criticism of the official release of The Basement Tapes has centered on two issues: the recordings by the Band on their own, and the selection of the Dylan songs.
In his book about the basement sessions, Greil Marcus describes the album's contents as "sixteen basement recordings plus eight Band demos". He writes, "The album as released hardly gave a real idea of what they had been doing in Woodstock. The authenticity of the album was questioned by a reviewer of the remastered version of the Band's Music from Big Pink , issued in Dave Hopkins noted that "Katie's Been Gone", which appears as a bonus track on the Big Pink reissue, is the same recording that appeared on The Basement Tapes , but now "in stereo and with improved sound quality beyond what the remastering process alone would provide".
Hopkins declared, "The cat's out of the bag: 'Katie' and the other Band-only tracks on The Basement Tapes must have been intentionally muddied in the studio in so that they would fit better alongside the Dylan material recorded in the basement with a home reel-to-reel.
By including eight Band recordings to Dylan's sixteen, he says, "Robertson sought to imply that the alliance between Dylan and the Band was far more equal than it was: 'Hey, we were writing all these songs, doing our own thing, oh and Bob would sometimes come around and we'd swap a few tunes. Barney Hoskyns describes "Heylin's objections [as] the academic ones of a touchy Dylanologist: The Basement Tapes still contained some of the greatest music either Dylan or the Band ever recorded.
And while a Dylan fan might understandably grumble that he wanted to hear another Bob song, a fan equally versed and interested more generally in late 20th-century American music would only smile and thank the Good Lord for the gift of this song. But it is a song from The Basement Tapes era and it swings like a randy sailor on shore leave in a bisexual bar. So give Robbie a break. By , Dylan showed scant interest in the discographical minutiae of the recordings. Interviewed on the radio by Mary Travers , he recalled, "We were all up there sorta drying out So, in the meantime, we made this record.
Actually, it wasn't a record, it was just songs which we'd come to this basement and recorded. Out in the woods Although The Basement Tapes reached the public in an unorthodox manner, officially released eight years after the songs were recorded, critics have assigned them an important place in Dylan's development.
Michael Gray writes, "The core Dylan songs from these sessions actually do form a clear link between They evince the same highly serious, precarious quest for a personal and universal salvation which marked out the John Wesley Harding collection—yet they are soaked in the same blocked confusion and turmoil as Blonde on Blonde.
Augustine '". Singer-songwriter David Gray commented that the great achievement of The Basement Tapes is that Dylan found a way out of the anguish and verbal complexity that had characterized his mid-sixties albums such as Blonde on Blonde : "It's the sound of Dylan letting his guard down.
The sound of the Band is so antiquated like something out of the Gold Rush and Dylan fits in because he's this storyteller with an ancient heart.
At the time everything he did was so scrutinized, yet somehow he liberated himself from all that and enjoyed making music again. You hear an unselfconscious quality on this record which you don't ever hear again. In place of that album's strangled urgency, Dylan adopts a laconic humor, a deadpan tone that speaks of resignation and self-preservation in the face of absurdity and betrayal. Robert Shelton has argued that The Basement Tapes revolves around two sets of themes. In his sleeve notes for the release of The Basement Tapes , Greil Marcus wrote, "What was taking place as Dylan and the Band fiddled with the tunes, was less a style than a spirit—a spirit that had to do with a delight in friendship and invention.
In , after listening to more than basement recordings issued on various bootlegs, Marcus extended these insights into a book-length study, Invisible Republic reissued in under the title The Old, Weird America. Though a captivating Sam Jones documentary airing on Showtime starting Nov. Goldsmith leans on soft '70s crooning, which works just fine on a love song like "Florida Key" but proves too earnest for a Wild West tale like "Card Shark. Which bring us to Mumford, who more than anyone else here delights in the language itself, and draws crucial support from his collaborators -- "When I Get My Hands on You" floats on the same weightless groove that buoys James' My Morning Jacket ballads.
It is one of the best albums ever recorded. A harbinger of music to come from both Dylan and The Band. As a Band fan, I can never get enough, and these early recordings show the new directions that the musicians will take.Bob Dylan & The Band: From the Reels - Complete Basements. 11 CD Dylan & The Hawks/Band bootleg set from It was originally a 10 disc set. Disc 11 was added later by someone else for some reason. There's a lot of repetition of tracks. Covers, CD set.