"Blood on the Tracks" the untold story

Great article about Blood on the Tracks NY sessions:

http://shrinky.net/2011/music/bob-dylan/bob-dylans-blood-on-the-tracks-the-untold-story

 

This is awesome so far. Only 1/2 way through.

 

Truly amazing! Another perspective on these sessions to go along with the book that came out a few years ago.

And hidden away in that fantastic article is this gem of a throwaway tease: That week we were working with Mick Jagger during the day, mixing live tapes from the Stones’ ‘74 European tour for a King Biscuit Flower Hour radio broadcast. But that’s another story

Never mind that it was the '73 European tour....this guy was involved with mixing the Rolling Stones' legendary Brussels 10/17/73 show for broadcast! I'd kill to know how much of what aired is original, and how much is overdubs.

Wow. Thanks for posting!

 

Thanks very much, quite the interesting read.
Very well written as well.

 

Looks great. Can't wait to read the whole thing

 

Thank you for the link, great story.

 

The article is great. For anyone who is wondering, shrinky's real name is Glenn Berger. He worked in NYC studios for 25 years before becoming a PH.D/Psychotherapist:

http://glennbergerblog.wordpress.com/

http://www.linkedin.com/in/glennbergerphd

 

thks

One of my favorite Dylan albums.

 

Thanks for putting up the link. I had a unpleasant feeling reading it, it seems to me the author is craving for recognition, in an awkward kind of way. I can't stand that "artists are different from all the rest of us, mere mortals will never understand them" kind of talk.

 

Funny, I didn't get that "craving for recognition" feeling at all, though he did have an understandable desire (laced with a streak of self-deprecating humor) to be recognized for his involvement.

And let's face it, Bob Dylan *is* on the odd side behaviourally. You would be, too, if you were so famous you had idiots collecting and analyzing your trash and writing about it in newspapers.

 

So what is Glenn saying? That Idiot Wind was turned into a jingle? I don't hear that.

 

Very interesting, thanks for the link.

 

Personally I love the released Idiot Wind, but having been involved in similar situations, I can see how he would have felt emotionally attached to the version he was there for the recording of, and felt like the re-do was inferior. Many people still feel that way...

 

Once I started reading I couldn't stop! Great stuff! I hope he writes some more articles.

Well done!

 

Interesting, because I think what he was saying was that Idiot Wind became more formulaic and predictable in the released version. I've always felt that the unreleased version was a thing of beauty, softer, more thoughtful, wistful, without the hard sneering vocal edges of the released version.

 

Thanks for posting - much appreciated!

 

I agree - I don't think it was "well written" at all - too much self-conscious new agey spew and "look at how well I can write" kind of thing. Would have been much better if he'd just reported on what happened. Still, thanks to the OP for posting it!

 

The original is on 'Bootleg Series 1-3' and the remake on BOTT. Play them side by side. If you don't think the "finished version" is wayyyy inferior, I'll be very much surprised. The second version sounds like a snarky, jokey caricature by comparison. I was blown away by the original version when it came out. I don't think I took a breath for the duration of the song first time I played it.

My 10,100'th post in 9.2 years. Hey, I gotta stop and catch my breath!

 

Look forward to reading this. Thanks.

 

I fully agree. I was thinking along those lines, but didn't have the guts to say it. Thanks.

 

Exactly!

And I think that's what Glenn Berger was trying to say, too, in his own way.

 

The "Bootleg Series" version is indeed from the original New York sessions, but the take that was intended for the album is still unreleased. They used (for whatever reason) a different take for "The Bootleg Series Vol. 1-3".
BTW, if you ever wonder why you can't hear the "spooky" organ that's mentioned in the "Bootleg Series" booklet, it's because the writer (John Bauldie) describes the version originally intended for the album and used on the widely b**ted BOTT test pressing. It had an organ overdub (by Paul Griffin). Bauldie was presumably unaware that CBS/Sony planned to use an alternate take without the organ overdub.
The "Bootleg Series" takes of "Tangled Up In Blue" and "If You See Her, Say Hello" were also probably never intended to be on the album (different takes were used for the test pressing).

 

Can't agree, at least from listening to the version on The Bootleg Series. The released version has far better lyrics (better imagery, esp. "There's a lone soldier on the cross, smoke pouring out of a boxcar door..") and the sneering delivery of the released version provides a perfect lead-in to the counterpoint final verse:
Idiot wind, blowing through the buttons of our coats,
Blowing through the letters that we wrote,
Idiot wind, blowing through the dust upon our shelves,
We’re idiots, babe
It’s a wonder we can even feed ourselves

where the singer finally admits to acceptance of part of the responsibility, which is totally absent from the rest of the song. Because of the sneering delivery of the earlier verses, this change in tone is a complete suprise, and to me is what elevates this song to one of Dylan's best. In contrast, the NY version is more plaintive, some of the lyrics seem unfinished, and the venom of the released version is completely absent. The angriest lyrics don't fit the delivery, and in other verses the singer seems confused about his own feelings towards all this, or who is responsible. Threfore, the final verse isn't a shock at all.

The NY version doesn't really come off for me, whereas the released version conveys perfectly the emotional state of someone who has been terribly wounded and who very angry and is still in the stage of blaming the other for all that has happened, knowing the responsibility is shared but admitting it only in the end, and then, only begrudgingly. In the NY version, some tenderness seems to remain for the subject throughout. In the released version this tenderness only shows up in the final verse, and only after the listener has been subjected to the scathing almost pure hatred of the rest of the song.

At any rate, I think the released version perfectly captures a state of mind many go through at the end of an intense relationship. The NY version misses that mark, and therefore IMO lacks the genius of the released version.

 

Good observations.

 

dwmann nails it.