Bob Dylan: The Bootleg Series

I think “Property of Jesus” is fire, but “Lenny Bruce” is dire (…guess I’ll never make “Dean”)

"Lenny Bruce" is nice musically...but the lyrics are indeed dire. Dylan must have a soft spot for it - he revived it on his 2019 tour, playing it at every show.

my god you people are serious

I never did get any Golden Globe award!

So does no-one like 1970, with special guest George Harrison?

Yeah, I liked it. "Yesterday", I mean!

Remarkable.

Hi pinefox, I mean to buy it at some point (3-CD, or listed that way, for $17.99 on Amazon, digital is much more, when it's usually the other way around). Customers on there often complain about how uneven it is, that the George tracks are mostly meh, but what I want it for are those country chestnuts, hopefully good enough to add to my future folder/playlist, Plaid Wine, Cow Pie: Dylan Sings Country and Roots,along with compatibles (mostly covers, a few originals, like "Apple Suckling Tree," and maybe "Down Along The Cove"), from Bootleg Series I already have: The Basement Tapes Complete(sic), Another Self Portrait, Travelin' Through, also maybe a couple of things from Dylan, at least "A Fool Such As I."

I feel bad for those who paid hundreds of dollars for the initial (and very limited) press run of 1970 only to have the Dylan camp change their mind and repress it as a cheap, mass market release. But to be fair, if it wasn't for that initial demand, the Dylan camp would not have made it more available.

I think a lot of it is disposable, but the actual Harrison session is a pleasant listen. I had the bootleg and didn't bother to listen it again after I got it in a trade years ago. The CD-R still plays, but I noticed they cut out quite a bit of chatter for the official release. Nothing earth-shaking but it kind of added to the charming, casual ambience. Sound quality is a definite upgrade, so I actually re-compiled the bootleg using the official sources from 1970 and Another Self Portrait.

Otherwise, the only other thing I kept from 1970 is the "Tomorrow Is a Long Time" outtake with that new arrangement (the one with the back-up singers). FWIW, Jeff Gold of Record Mecca allegedly found a 1970 acetate with yet another different arrangement of the same song, this time a "gospel" arrangement, and it may be better, but for whatever reason it doesn't look like it was released here.

This latest issue of xpost Flaggin' Down The Double Ees, which always includes downloads of Dylan shows, old and new (free: a couple times a month, paid: more), also tells the story, via various sources, of Dylan half-assing "Dark Eyes," then getting it together w Patti Smith, and then---well, it's a lovely story indeed, I think, even though haven't yet checked the linked musical results:https://dylanlive.substack.com/p/dark-eyes

The Harrison tracks on 1970 do not seem to be outstanding, considering it's Dylan and Harrison playing.

My 2nd CD doesn't play the first few tracks well, which is naturally frustrating.

'working on a guru' on ANOTHER SELF PORTRAIT surely the Dylan / Harrison highlight?

I adore 'sign on the window' but after numerous runs at it on 1970 I don't desperately need to hear it more times.

I find it curious how Dylan, in the studio, with tape running, repeatedly plays ... his own older songs, that have already been released. Not many artists do that?

I listen to the 2CD (NOT 5CD!) version of SPRINGTIME IN NEW YORK.

What tracks from this do you like, and recommend that I listen out for especially?

The two highlights for me are "Blind Willie McTell" (Infidels outtake) and "New Danville Girl" (Empire Burlesque outtake). Both have already circulated, but the sound quality here is a huge upgrade - the former corrects a cough left in the original rough mix (the source of the bootleg) and the latter is first-generation whereas the bootleg sounded like it came from a cassette.

I would almost add "Someone's Got a Hold of My Heart" (Infidels outtake) except I don't like the new mix - they mixed up a guitar part that feels wrong for this performance. The Genuine Bootleg Series (easily found) has a better mix and sounds like it used a clean DAT copy (other bootlegs sound like off-pitch cassettes). A shame they didn't use the same mix for the official release because IMHO it's the best version of this sound and should have made the album.

"Too Late" (acoustic version – Infidels outtake) is excellent, radically different than the final version we know as "Foot of Pride." I prefer "Foot of Pride" but the early version is so different (and still good), it was worth releasing and putting on the 2CD set.

Nice to finally have a Dylan recording of "Let's Keep It Between Us" (rehearsal) officially released. It's very close to the recording Bonnie Raitt originally put out - same arrangement - so not a revelation, but nice to have.

"Jokerman" (Infidels alternate take) is my favorite of the alternates. In some ways the vocal is arguably more appealing, but it wouldn't have fit the album as well.

"License to Kill" (live on Late Night with David Letterman, March 22, 1984) is great - they left it off the 2CD set but the video is easily found if you search on Google. The best of the three Letterman numbers, but they should have put them all out.

"Tight Connection to My Heart (Has Anybody Seen My Love)" (Empire Burlesque alternate mix) is excellent. All the new mixes of the Empire Burlesque songs are good, but this is the only new mix that uses the master take.

* IMHO it's the best version of this song

Thanks Birdistheword for your comments on tracks from the 2CD set.

The song 'let's keep it between us' is new to me but seems a really interesting piece of songwriting.

Dylan sent that to Bonnie Raitt, never did release his own version 'til now: it seemed like it might have been written with her in mind, and hearing how closely she followed his demo---while still sounding entirely Raitt--reinforces the way it seems tailormade for her.
Just now occurred to me that "(Let's Give Them) Something to Talk About"---by Shirley Eikhard; wonder what her other stuff is like---something of a breakthrough hit for Raitt, 20 years after she started making records, is also a turn-around sequel: "No, let's don't keep it between us, not any more." 90s-bold!

But "Let's Keep It" is sexy, a little angry,maybe been burned by gossip before, but fuck it, this is too good for those nosy bastards, let's curl up in here again. An 80s song, while the blaring digital drums and AIDS headlines and rumor-fearmongers parade by outside.

(Although of course, even if he did write it for her, could have been 10 years earlier, before anybody heard of AIDS: after hearing her s/t debut, produced in Minnesota by his early colleague Willie Murphy.)

xp Yeah, even on Dylan's rehearsal, it feels atypical as a Dylan song. Even if it wasn't written with her in mind, I can see Dylan finishing it and thinking "this isn't a good fit for me, but it could be great for Raitt." It's definitely one of the better tracks on a pretty good Bonnie Raitt album

My sis boght me the vinyl edition. Beautiful.

Cool. Is it The Green Light or this Dylan collection?

Come to think of it, song's origins might also have to do w Dylan's second marriage, unpublicized and then some 'til Howard Sounes followed Mr. D.'s paper trail Down The Highway (also found hospital records re motorcycle accident, which some said was other).

Listening online to the 8-disc set of TROUBLE NO MORE, I marvel at the amount Dylan talks in 'introducing the band' at the end of a concert. Very near the end of the last disc he says "I hope you heard something you came out to hear ... if not, we'll be here tomorrow night, and the night after, and the night after ... sure you'll hear something you didn't want to". (Think that's what he says.)

These Gospel tours seem to be famed for only including the Gospel era songs, but then again, the last disc (is this the latest, 1981?) includes lots of old 1960s songs - he had thawed and reintegrated them. I must say, though, I *like* the way he just plays his new material, concert after concert, so many versions of 'slow train' alone.

I note also that despite not sharing the religious beliefs expressed by the songs, I enjoy the tracks. The lack of shared beliefs doesn't seem to impede enjoyment at all. It's partly just about enjoying the music, maybe partly about enjoying how incredibly dedicated Dylan is to this project that he writes 40-odd songs about the same thing; and maybe partly about feeling freer to enjoy something when I have no intellectual investment in the words.

Meanwhile, I ask:

1: Does anyone know if Dylan has had any involvement with THE BOOTLEG SERIES? My assumption has always been: No. But that's the kind of thing he always wants us to believe?

2: Aren't they running out of things to release now? I can only think of:
- ANOTHER SIDE OF BOB DYLAN - oddly this has hardly been covered
- Never Ending Tour?
- GOOD AS I BEEN TO YOU era - this would be pretty raw, slim pickings?
- maybe outtakes from whatever comes *after* TELL TALE SIGNS, eg ... um, TOGETHER THROUGH LIFE, TEMPEST, ROUGH & ROWDY WAYS? Not sure I see that happening.

yknow pinefox, I'm glad you popped up talking about this collection! I would like to hear some of his rants from these tours, which have been described as conveyed with bug-eyed rage… are there any as such on the set? yesterday I listened to Bob @ Budokan, which doesn't seem that bad…

Does anyone know if Dylan has had any involvement with THE BOOTLEG SERIES?

Why wouldn’t he? I’m sure Jeff Rosen etc. aren’t working in a vacuum

Meanwhile, I ask:

1: Does anyone know if Dylan has had any involvement with THE BOOTLEG SERIES? My assumption has always been: No. But that's the kind of thing he always wants us to believe?

I've read he's barely involved. Also, he has no control over his catalog moving forward since he sold everything.

Producer Steve Berkowitz on Bob Dylan's involvement in the Bootleg Series: "I don't know how the final decisions are made. The final decisions come back from Jeff Rosen and the Dylan office. Bob Dylan's contract says that he can decide whatever he wants. ... Bob Dylan runs this."

that being said, I imagine Bob keeps the bootleg series at an arm's length to some extent. maybe he vetoes things from time to time.

but now he's given up control right? or at least that's what i assume, or could you write veto power into that contract?

oh i think he still has some say in what actually comes out? i don't know how all that stuff works.

2028 = Christmas album box set

hell yeah

as Tyler has noted previously, the Isle Of Wight set is still unreleased

Street Legal Complete 5 CD box

I've got the Isle of Wight set in my "Another Self Portrait" superdel.

Since Universal now controls his work, Dylan will no longer have veto power over how his songs will be used.

. . .

Dylan’s deal includes 100 percent of his rights for all the songs of his catalog, including both the income he receives as a songwriter and his control of each song’s copyright. In exchange for its payment to Dylan, Universal, a division of the French media conglomerate Vivendi, will collect all future income from the songs.

. . .

But the agreement does not include any of Dylan’s unreleased songs. It also doesn’t cover any work Dylan writes in the future, leaving open the possibility that he could choose to work with another publisher for that material.

ahh interesting

I would like to hear some of his rants from these tours, which have been described as conveyed with bug-eyed rage… are there any as such on the set?

Nope, they took them all out. FWIW, Clinton Heylin actually has a book that transcribes all of them.

xp

Not totally clear who owns unreleased versions of released songs (i.e. the majority of bootleg series contents these days). I would assume UMG, but who knows, maybe they both have to signoff in that case.

Street Legal Complete 5 CD box

don't tease me, bro

I would also love an expanded Planet Waves set, but not sure who would even control those tapes (as it wasn't on Columbia)

Since Universal now controls his work, Dylan will no longer have veto power over how his songs will be used.

This means used in commercials and stuff, it doesn't mean how his contract works with Sony

as Tyler has noted previously, the Isle Of Wight set is still unreleased
this set was included on the prohibitively expensive another self portrait deluxe edition ... but I'm surprised they haven't put it out as a Record Store Day release standalone or something. It's fantastic, a totally unique show.

You can find a fair number of the rants on youtube videos. Look up Dylan Live in Toronto 1980.

ANOTHER SIDE OF BOB DYLAN - oddly this has hardly been covered
the session outtakes emerged as part of a copyright dump several years ago — nothing too revelatory, really (most of it had been bootlegged before I think). Dylan did that album in one session, didn't do a lot of takes.

seems like the consensus is there will be a time out of mind set next year for its 25th (!) anniversary.
also talk of a set called The Villager which would include early coffeehouse recordings.
I'm sure they'll get to a Street Legal-era set at some point. Maybe a big box of 1974 tour recordings?

or rather, a time out of mind set this year ... what year is it? time out mind.

seems like the consensus is there will be a time out of mind set next year for its 25th (!) anniversary.

jesus 25 years yikes

I dunno who is in charge of the Dylan Bootleg series but they are doing a better job than whoever is in charge of the Neil Young Archive (i.e. Neil)

TIME OUT OF MIND sessions -- fantastic. I didn't mention it above because wasn't it technically already covered by TELL TALE SIGNS period?

So we're getting into more detailed versions of eras that the series has already covered?

I don't actually remember the ANOTHER SELF PORTRAIT deluxe version - how much bigger was it? (And does it overlap with '1970'?)

Coffeehouse material, yes that genuinely hasn't been done.

ANOTHER SIDE OF BOB DYLAN -- where was this copyright release? Surely not on CD?

Dylan & the Dead / Dylan touring with the Heartbreakers, around 1987 (also the DOWN IN THE GROOVE era?) -- has not been done by Bootleg Series.

copyright 1964 was just a download. https://en.wikipedia.org/wiki/The_50th_Anniversary_Collection_1964

another self portrait deluxe just had isle of wight (and maybe a fancy book?)

from what I understand, tell tale signs only scratched the surface of the TOOM sessions.