"[97] "He mocks his own inertia and impotence", writes critic Mike Marqusee, "but with a much gentler touch than in Blonde on Blonde. In it, he quotes Robertson's memory of the recording: "[Dylan] would pull these songs out of nowhere. "[57] The process of bootlegging Dylan's work would eventually see the illegal release of hundreds of live and studio recordings, and lead the Recording Industry Association of America to describe Dylan as the most bootlegged artist in the history of the music industry. K&D VIRTUAL RELEASE PARTY NOVEMBER 13th 2020. "[60] Sasha Frere-Jones of The New Yorker, on the other hand, said of the 1975 release that, in comparison to the complete recordings released in 2011, "Robertson, with some exceptions, knew which the good songs were" and was right to clean up the recordings. Every day, thousands of people around the world write about music they love — and it all ends up here. Dylan's new style of writing moved away from the urban sensibility and extended narratives that had characterized his most recent albums, Highway 61 Revisited and Blonde on Blonde, toward songs that were more intimate and which drew on many styles of traditional American music. I couldn't run upstairs and say, 'What's this mean, Bob: "Now the heart is filled with gold as if it was a purse"? 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. The Basement Tapes is an album by American singer-songwriter Bob Dylan and the Band.It was released on June 26, 1975, by Columbia Records and is Dylan's 16th studio album. This list has become much too long to scroll through. "[56], Reporting such as this whetted the appetites of Dylan fans. "[13] After discussing the crash with Dylan, biographer Robert Shelton concluded that he "was saying there must be another way of life for the pop star, in which he is in control, not they. "The 'nothing' echoes the artist's dilemma: death versus life, vacuum versus harvest, isolation versus people, silence versus sound, the void versus the life-impulse. [16][17] Hudson set up a recording unit, using two stereo mixers and a tape recorder borrowed from Grossman, as well as a set of microphones on loan from folk trio Peter, Paul and Mary. [27] Two of these featured his lyrics set to music by members of the Band: Danko wrote the music of "This Wheel's on Fire";[28] Manuel, who composed "Tears of Rage", described how Dylan "came down to the basement with a piece of typewritten paper ... and he just said, 'Have you got any music for this?' In June 1968, Jann Wenner wrote a front-page Rolling Stone story headlined "Dylan's Basement Tape Should Be Released". Some were old ballads and traditional songs ... but others Bob would make up as he went along. I mean I thought that I was just gonna get up and go back to doing what I was doing before ... but I couldn't do it anymore. I realized that it was a real accident. PRE-ORDER Bob Dylan – 1970 Posted in: Music News. [47] Acetates and tapes of the songs then circulated among interested recording artists. [6] The tour culminated in a famously raucous concert in Manchester, England, in May 1966 when an audience member shouted "Judas!" at Dylan for allegedly betraying the cause of politically progressive folk music. Every day, thousands of people around the world write about music they love — and it all ends up here. See also List of Basement Tapes songs (1975). One group of songs is "tinctured with the search for salvation": "I Shall Be Released" (on the demo, but not on the album), "Too Much of Nothing", "Nothing Was Delivered",[53] "This Wheel's On Fire", "Tears of Rage" and "Goin' To Acapulco". If this were ever to be released it would be a classic. Taylor Swift’s New ‘Love Story’ Propels Her to Top of Artists 500 Chart. The place for the best new music. "[100] A second group, comprising "songs of joy, signaling some form of deliverance", includes most of the remaining songs in the collection. John Rockwell of The New York Times hailed it as "one of the greatest albums in the history of American popular music. The art director/design consultant credited on the 1975 album was Bob Cato. Neither are The Basement Tapes. 11: The Basement Tapes Complete, Eric Harris and Dylan Klebold § Journals and investigation, Julie Driscoll, Brian Auger and the Trinity, Recording Industry Association of America, The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991, The Bootleg Series Vol. It is not rehearsed or slick. 11: The Basement Tapes Complete[69][72], Columbia Records released The Basement Tapes on June 26, 1975. He'd come over to Big Pink, or wherever we were, and pull out some old song—and he'd prepped for this. 6: Bob Dylan Live 1964, Concert at Philharmonic Hall, Vol. As producer Bob Johnston recalled, "Every artist in the world was in the studio trying to make the biggest-sounding record they possibly could. [20], While removed from the public's gaze, Dylan and the Band made music very different from the recordings of other major artists. [58], In January 1975, 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. 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. Johnny Depp also appears in the documentary, having stopped by the studio to play guitar on the song "Kansas City". 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". [21] "With the covers Bob was educating us a little", recalls Robertson. So, in the meantime, we made this record. It was released on June 26, 1975, by Columbia Records and is Dylan's 16th studio album. 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.'"[67]. [78][127] According to reviewer Scott Hreha, there was "something about the remastering that makes it feel more like an official album—the earlier CD version’s weak fidelity unfairly emphasized the 'basement' nature of the recordings, where it now possesses a clarity that belies its humble and informal origins. [69] Bill Scheele and his brother John Scheele worked with the Band from 1969 until 1976 and were present in the cover photo. One explained, "It was as if everything we held dear had been betrayed. [30] In a 1978 interview, Dylan reflected on the period: "I didn't know how to record the way other people were recording, and I didn't want to. Genres: New Wave, Pop Rock, Singer/Songwriter. [51] In April, "This Wheel's on Fire", recorded by Julie Driscoll, Brian Auger and the Trinity, hit number five on the UK chart. By July 1966, Bob Dylan was at the peak of both creative and commercial success. "[33], Dylan had married Sara Lownds in November 1965. '"[65] Heylin asserts that "though revealing in their own right, the Band tracks only pollute the official set and reduce its stature. I thought that was a very indulgent album, though the songs on it were real good. As native sons and daughters they were a community. The New Basement Tapes is a British-American musical supergroup made up of members Jim James, Elvis Costello, Marcus Mumford, Taylor Goldsmith, and Rhiannon Giddens. [7], On July 29, 1966, Dylan crashed his Triumph motorcycle near his home in Woodstock, New York, suffering cracked vertebrae and a mild concussion. "[32], Mike Marqusee describes how the basement recordings represented a radical change of direction for Dylan, who turned his back on his reputation for importing avant-garde ideas into popular culture: "At the very moment when avant-gardism was sweeping through new cultural corridors, Dylan decided to dismount. [2] It goes behind the scenes of the recording process and also discusses the story behind the discovery of the lost lyrics. 8: Tell Tale Signs: Rare and Unreleased 1989–2006, Vol. "[107] That technique influenced groups including the Beatles, writes Griffin, who calls their Twickenham Get Back sessions in early 1969 an effort to record "in the honest, live, no frills, no overdubs, down home way that the Hawks/Band did for The Basement Tapes". Very good FM broadcast. Interviewed on the radio by Mary Travers, he recalled, "We were all up there sorta drying out ... making music and watching time go by. Remember that The Basement Tapes holds a certain cultural weight which is timeless—and the best Americana does that as well. "Interview with Jann S. Wenner,", The Bootleg Series Vol. Overdubs were added in 1975 to songs from both categories. 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. Clinton Heylin suggests that in this song Dylan may have been invoking the memory of his recently deceased friend, For his detailed account of the Manchester concert, C. P. Lee interviewed members of the audience about the reasons for their hostility. [49] Ian & Sylvia, also managed by Grossman, recorded "Tears of Rage", "Quinn the Eskimo" and "This Wheel's on Fire". [35] By the time the basement sessions started in Big Pink around June 1967, he had two children: Maria (Sara's daughter from her first marriage)[36] and Jesse Dylan. [128], This article is about the 1975 album. The group is best known for Lost on the River: The New Basement Tapes, their 2014 album which consists of tracks based on newly uncovered lyrics handwritten by Bob Dylan in 1967 during the recording of his 1975 album with The … 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. [59] Clinton Heylin argues that Dylan was able to consent following the critical and commercial success of his album Blood on the Tracks, released that same month: "After Blood on the Tracks, The Basement Tapes no longer had the status of a final reminder of Dylan's lost genius". [6], During the recording sessions, the group was filmed for a documentary for Showtime. [5] The Hawks comprised four Canadian musicians—Rick Danko, Garth Hudson, Richard Manuel and Robbie Robertson—and one American, Levon Helm. [1] The group is best known for Lost on the River: The New Basement Tapes, their 2014 album which consists of tracks based on newly uncovered lyrics handwritten by Bob Dylan in 1967 during the recording of his 1975 album with The Band, The Basement Tapes. [88] Critic Michael Gray writes of the album, "The interspersed tracks by the Band alone merely disrupt the unity of Dylan material, much more of which should have been included. [60], 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. He comes to Nashville and tells me he wants to record with a bass, drum and guitar. Fraboni had worked on Dylan's Planet Waves album, with backing by the Band, and the live Dylan–Band album Before the Flood, both released in 1974. For some critics, the songs on The Basement Tapes, which circulated widely in unofficial form, mounted a major stylistic challenge to rock music in the late sixties. With the addition of these two records Kill Rock Stars is now the home for all of Elliott Smith’s independent releases: Roman Candle, Elliott Smith, Either/Or, From a Basement on the Hill, and New Moon. He had to come to terms with his one-time friend, longtime manager, part-time neighbor, and sometime landlord, Albert Grossman. [3], The New Basement Tapes were brought together in March 2014 to work with producer T Bone Burnett on putting together a new album with song lyrics penned by Bob Dylan in 1967. 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. From Newport to the Ancient Empty Street in L.A. "[103], This aspect of the basement recordings became obvious when Dylan chose to record his next album, John Wesley Harding, in Nashville in late 1967. "[32] Patrick Humphries itemizes the ways in which Dylan's songs dissented from the dominant ethos of rock culture: "While the rock world vented its spleen on parents and leaders, Dylan was singing privately about parental fidelity. [120] Versions of other Band Basement Tape compositions, recorded in various locations between 1967 and possibly 1975, appear on Across the Great Divide[121] and A Musical History,[63] and as bonus tracks on the 2000 reissues of Music From Big Pink and Cahoots. Subsequently, the format of the 1975 album has led critics to question the omission of some of Dylan's best-known 1967 compositions and the inclusion of material by the Band that was not recorded in Woodstock. Along with "Nothing Was Delivered",[53] it appeared on their country-rock album Sweetheart of the Rodeo, released in August. [a 1] Returning exhausted from the hectic schedule of his world tour, Dylan discovered that his manager, Albert Grossman, had arranged a further 63 concerts across the US that year. II (1971)", "The Basement Tapes: Bob Dylan Goes Public", "500 Greatest Albums of All Time: #291 The Basement Tapes [2003 List]", "500 Greatest Albums of All Time: #335 The Basement Tapes [2020 List]", "Hail, Hail, Rock 'n' Roll: Getting back to rock's funky, essential essence", "Bob Dylan's Complete, Legendary 'Basement Tapes' Will Be Released", "Liner Notes for The Band 2000 Remasters", "Bob Dylan: New Morning / The Basement Tapes / Before the Flood / Dylan & the Dead", "Dylan Through The Years: Hits And Misses", "The Basement Tapes Reid Miles Bob Dylan Genuine Photo Outtake Photo Shoot by Jim Linderman", Live 1961–2000: Thirty-Nine Years of Great Concert Performances, Bob Dylan – The Rolling Thunder Revue: The 1975 Live Recordings, Bob Dylan: The Complete Album Collection Vol. "[96], By 1975, Dylan showed scant interest in the discographical minutiae of the recordings. [71] The identification of Young has been disputed by Bill Scheele who has written that Young was not present. Actually, it wasn't a record, it was just songs which we'd come to this basement and recorded. '"[29], One of the qualities of The Basement Tapes that sets it apart from contemporaneous works is its simple, down-to-earth sound. [89] Heylin similarly argues that compiler Robbie Robertson did Dylan fans "a major disservice" by omitting those two songs as well as "I'm Not There" and "Sign On The Cross". [42], The intense collaboration between Dylan and the Hawks that produced the basement recordings came to an end in October 1967 when Dylan relocated to Nashville to record a formal studio album, John Wesley Harding, with a different crew of accompanying musicians. [55], As tapes of Dylan's recordings circulated in the music industry, journalists became aware of their existence. "[45], Dylan referred to commercial pressures behind the basement recordings in a 1969 interview with Rolling Stone: "They weren't demos for myself, they were demos of the songs. [90], The authenticity of the 1975 album was questioned by a reviewer of the remastered version of the Band's Music from Big Pink, issued in 2000. Nine months after the crash, he told New York Daily News reporter Michael Iachetta, "Songs are in my head like they always are. And they were once gathered in a single place: on the Anthology of American Folk Music". The Basement Tapes, Columbia Records, New York, CD booklet, 1975; Greil Marcus. Pepper which I didn't like at all. When he sang them, you couldn't tell. He had to find ways of working to his own advantage with the recording industry. [52] That same month, a version of "You Ain't Goin' Nowhere" by The Byrds was issued as a single. ... We'd play the melody, he'd sing a few words he'd written, and then make up some more, or else just mouth sounds or even syllables as he went along. "So we played in a little huddle: if you couldn't hear the singing, you were playing too loud. "[94] Sid Griffin similarly defends the inclusion of the Band's songs: "'Ain't No More Cane' may be included under false pretenses, but it is stirring stuff. The Band also mischievously dubbed themselves The Honkies. [119], In 2005, the Band compilation A Musical History was released, which includes the 1967 Woodstock Band recordings "Words and Numbers", "You Don't Come Through", "Caledonia Mission", "Ferdinand the Imposter" and "Will the Circle Be Unbroken". In July 1969, the first rock bootleg appeared in California, entitled Great White Wonder. The dandified, aggressively modern surface was replaced by a self-consciously unassuming and traditional garb. While some of the basement songs are humorous, others dwell on nothingness, betrayal and a quest for salvation. [66] "The idea," he said, "was to record some demos for other people. [38] Both Heylin and biographer Sid Griffin suggest that recording had to move from Dylan's home to Big Pink when it became clear that the sessions were getting in the way of family life. Robertson has suggested that the Basement Tapes are, for him, "a process, a homemade feel" and so could include recordings from a wide variety of sources. You know how those things go. [18] Dylan would later tell Jann Wenner, "That's really the way to do a recording—in a peaceful, relaxed setting—in somebody's basement. The double album consisted of seven songs from the Woodstock basement sessions, plus some early recordings Dylan had made in Minneapolis in December 1961 and one track recorded from The Johnny Cash Show. He sought safety in a retreat to the countryside that was also a retreat in time, or more precisely, a search for timelessness. When Columbia Records prepared the album for official release in 1975, eight songs recorded solely by the Band—in various locations between 1967 and 1975—were added to 16 songs taped by Dylan and the Band in 1967. Comparing this second take of the song to the first, never officially released, he writes, "The group is looking for that beat, the second time through the tune they find it, they push it". Some photos by John Scheele of the 1975 Hollywood YMCA photo shoot were included in the book accompanying the 2014 release The Bootleg Series Vol. From a Basement on the Hill was released posthumously in 2004 on ANTI- records. "[22] Songs recorded at the early sessions included material written or made popular by Johnny Cash, Ian & Sylvia, John Lee Hooker, Hank Williams and Eric Von Schmidt, as well as traditional songs and standards. II. The great irony is that 1967—the year after the accident—remains his most prolific year as a songwriter. [63] In 1968, the Band re-recorded "This Wheel's on Fire", "Tears of Rage", "I Shall Be Released" and "Caledonia Mission" in studios in New York and Los Angeles for Music From Big Pink. [81] The album peaked at number seven on the Billboard chart,[82] and reached number eight in the UK. [83] It was acclaimed by critics. It would have been the best album of 1967, too. The cover photograph for the 1975 album was taken by designer and photographer Reid Miles in the basement of a Los Angeles YMCA. [48][a 4], Peter, Paul and Mary, managed by Grossman, had the first hit with a basement composition when their cover of "Too Much of Nothing" reached number 35 on the Billboard chart in late 1967. "[14], Rick Danko recalled that he, Richard Manuel and Garth Hudson joined Robbie Robertson in West Saugerties, a few miles from Woodstock, in February 1967. And what was amazing was that almost every one of those songs was funny. The songs were recorded in mid-1967, the "Summer of Love" that produced the Beatles' Sgt. [63] Ultimately, eight of the twenty-four songs on The Basement Tapes did not feature Dylan,[64][65] several of the studio outtakes postdating the sessions at Big Pink. [23] Linking all the recordings, both new material and old, is the way in which Dylan re-engaged with traditional American music. In his book about the basement sessions, Greil Marcus describes the album's contents as "sixteen basement recordings plus eight Band demos". A free Virtual Release Party takes place from 13th of November on. He'd come up with something like 'Royal Canal',[a 2] and you'd say, 'This is so beautiful! I was being PUSHED again into coming up with some songs. It was only when Helm joined them in Woodstock that they settled on calling themselves the Band (, Wenner, Jann. So what does [Dylan] do? After Dylan was injured in a motorcycle accident in July 1966, four members of the Hawks came to Dylan's home in the Woodstock area to collaborate with him on music and film projects. "[26], Dylan recorded around thirty new compositions with the Hawks, including some of the most celebrated songs of his career: "I Shall Be Released", "This Wheel's on Fire", "Quinn the Eskimo (The Mighty Quinn)", "Tears of Rage" and "You Ain't Goin' Nowhere". According to Hudson, "We were doing seven, eight, ten, sometimes fifteen songs a day. "The thing about alt.country which makes it 'alt' is that it is not polished. "[25] Danko told Dylan biographer Howard Sounes, "Bob and Robbie, they would come by every day, five to seven days a week, for seven to eight months." 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. [99] "'Nothing' and 'nowhere' perplex and nag" in these songs, he writes. [7] Titled Lost Songs: The Basement Tapes Continued, the documentary is directed by Sam Jones and also contains an exclusive interview with Bob Dylan. "[105], When the Band began work on their debut album, Music from Big Pink, in a New York studio in January 1968,[106] they employed a recording technique similar to the one they had become familiar with during The Basement Tapes sessions. Fairport Convention covered "Million Dollar Bash" on their 1969 album Unhalfbricking. "[30] Of the sound and atmosphere of the basement recordings, Barney Hoskyns wrote that "Big Pink itself determined the nature of this homemade brew. [121], On March 31, 2009, Legacy Records issued a remastered version of the original 1975 Basement Tapes double album, which critics praised for its improved sound quality. 7: No Direction Home: The Soundtrack, Vol. 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. "[91] Heylin also takes exception to Robertson's passing off the Band's songs as originating from the basement sessions. While Dylan was out of the public's eye during an extended period of recovery in 1967, he and the members of the Hawks recorded more than 100 tracks together, incorporating original compositions, contemporary covers, and traditional material. Not until some people come forth and make up for some of the things that have happened. He concluded, "Even though Dylan used one of the finest rock and roll bands ever assembled on the Highway 61 album, here he works with his own band for the first time. "[87], Criticism of the 1975 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. He showed us what to think, I know that's a stupid thing to say but there he was marching with, Robertson is referring to "Banks of the Royal Canal (The Auld Triangle)" by, Griffin writes that Helm's arrival in October meant that he did not play on most of the Dylan–Band 1967 Woodstock recordings, including the sixteen Dylan, The songs on the demo were: "Million Dollar Bash", "Yea! No Direction Home: The Life and Music of Bob Dylan, New English Library, 1986, ISBN 978-0 … [4] The group recorded dozens of songs over a two-week period in Capitol Records studio,[2] with members of the group swapping instrumental and vocal roles on the different album tracks. But it is a song from The Basement Tapes era and it swings like a randy sailor on shore leave in a bisexual bar. "[84] Rolling Stone's Paul Nelson called its contents "the hardest, toughest, sweetest, saddest, funniest, wisest songs I know". [61] The stereo recordings made by Hudson were remixed to mono, while Robertson and other members of the Band overdubbed new keyboard, guitar, and drum parts onto some of the 1967 Woodstock recordings. 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. "[98], Robert Shelton has argued that The Basement Tapes revolves around two sets of themes. Highway 61 Revisited had reached number three on the US album chart in November 1965;[3] the recently released double-LP Blonde on Blonde was widely acclaimed. 4: Bob Dylan Live 1966, Once Were Brothers: Robbie Robertson and the Band, Most Likely You Go Your Way (And I'll Go Mine), This Wheel's on Fire: Levon Helm and the Story of The Band, https://en.wikipedia.org/w/index.php?title=The_Basement_Tapes&oldid=1002292247, Short description is different from Wikidata, Wikipedia articles with MusicBrainz release group identifiers, Creative Commons Attribution-ShareAlike License, Dylan – The Band recordings: June–September 1967; The Band only: 1967–1968, later overdubs in 1975, This page was last edited on 23 January 2021, at 19:03. [120][122] Live versions by the Band of various Basement Tapes songs have also been issued: "I Shall Be Released" on Before the Flood;[123] "Caledonia Mission" and "This Wheel's On Fire" on Rock of Ages, with "I Shall Be Released", "Down in the Flood" and "Don't Ya Tell Henry" appearing on the album's 2001 reissue;[124] "I Shall Be Released" on The Last Waltz and "This Wheel's On Fire" on the 2002 box set release of the album;[125] "I Shall Be Released" and "Don't Ya Tell Henry" on Live at Watkins Glen;[126] and "Ain't No Cane on the Brazos" recorded live at the Woodstock Festival in August 1969, on Across the Great Divide. He'd practiced this, and then come out here, to show us. [37] Anna Dylan was born on July 11, 1967. [60] In 1975, as well, the Band purchased Shangri-La ranch in Malibu, California, which they transformed into their recording studio. While George Harrison was testifying that life went on within and without you, Dylan was taking his potatoes down to be mashed. The Beatles had just released Sgt. During his 1965–1966 world tour, Dylan was backed by the Hawks, a five-member rock group who would later become famous as the Band. [10] Biographer Clinton Heylin wrote in 1990 on the significance of the crash: "A quarter of a century on, Dylan's motorcycle accident is still viewed as the pivot of his career. [112] In a special issue devoted to Dylan's work, Q magazine awarded the record five stars, its highest rating, commenting that "Dylan's work is by turns haunting, hilarious and puzzling—and all of it taps into centuries of American song". [24], Dylan began to write and record new material at the sessions. [43] The same month, drummer Levon Helm rejoined his former bandmates in Woodstock, after he received a phone call from Danko informing him that they were getting ready to record as a group. The Complete Basement Tapes Of the many versions of the Basement Tapes to trickle out over the years, the official release by Columbia in 1975 may be the worst.
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