Bob dylan meet me in the morning alternate take mp3 off youtube

Music News: Unpacking Bob Dylan's 'Blood on the Tracks' Bootleg box | The Current

September 20, by Paul Sinclairtags: s, Bob Dylan this six-disc package features alternate versions of 'Tangled Up In Blue' More videos on YouTube . Meet Me in the Morning (Take 1) – with band – edited version included on. The challenge of finding something original to say about Bob Dylan's Blood on the Tracks (), the mother of all comeback albums, baffles. But, hey, at least the guy got to meet Bob Dylan. .. there, but the playing on the extant demo (augmented by many alternate takes on the The Big Lebowski, " The Man in Me" was a half-forgotten track on 's New Morning. . Written in the early summer and recorded in one take the following winter, the.

This version was evidently too subdued, not radio-friendly enough, and, commentators have long speculated, too revealing for Dylan. So with his brother David's help, between Christmas and New Years of '74 he went rogue and assembled a group around the jazz rhythm section of Billy Peterson on bass and Bill Berg on drums in Minneapolis's Studio 80, where they recorded full-band versions of half the album's songs. In March, the album spent two weeks at number one on Billboard's Top chart, vindicating Dylan's decision to take over the project.

Nevertheless, key players like Ramone, who died inand Glenn Berger, his assistant engineer at the Blood on the Tracks sessions, clung to their preference for the New York version of the album. I thought everything was sort of over-produced at that time, anyway, so I was loving the honesty of the original [New York] recordings.

So when he went and re-recorded some of it in Minneapolis, I was crushed. We now hear, Slate promises, "the songs exactly as Dylan recorded them.

Bob Dylan / More Blood, More Tracks: The Bootleg Series Vol 14 | superdeluxeedition

Evidently everyone was too awed by Dylan to ask him to take his jacket off. This writer dug out his old copy of the bootlegged New York acetate, and found it to be evidence of Ramone and Dylan's confusion about how the album should sound. No wonder Dylan felt he had to revisit the material. The test pressing of these New York recordings was widely bootlegged almost simultaneously with the album itself and became a kind of phantom Blood on the Tracks.

Bob Dylan: More Blood, More Tracks: The Bootleg Series Vol. 14

The differences between the five songs initially recorded in New York and re-recorded in Minneapolis are significant. The narrator of the New York "Idiot Wind" wields intimacy like a rapier. In this quietly harrowing portrait of a failing marriage, backed only by his own guitar and harmonica, Brown's bass, and an unobtrusively swirling, spooky organ part overdubbed by Griffin, Dylan sings "sweet lady" as both a taunt and an endearment. The song's quality of withheld but potent antipathy emerges in the last verse, which Dylan almost whispers with devastating tenderness: You close your eyes and part your lips, and slip your fingers from your glove You can have the best there is, but it's gonna cost you all your love You won't get it for money On December 27th in Minneapolis, however, the song morphs into a ferocious domestic jeremiad, with a full band anchored by Peterson and Berg supporting Dylan.

He sings with a newfound fierceness, almost in competition with a driving Hammond B-3 organ part that he overdubbed later in the session which explicitly connects "Idiot Wind" to his "truth attack" songs of the mids, such as "Positively Fourth Street," in which his narrators' invective rode on waves of organ played by Al Kooper and Garth Hudson.

  • Bob Dylan / More Blood, More Tracks: The Bootleg Series Vol 14
  • More Blood, More Tracks: The Bootleg Series Vol. 14
  • Music News: Unpacking Bob Dylan's 'Blood on the Tracks' Bootleg box

Despite its aural "ragin' glory," it's this second, more tempestuous rendition of the song that, in the final verse, implicates the narrator in the relationship's failure: You'll never know the hurt I suffered nor the pain I rise above And I'll never know the same about you, your holiness or your kind of love And it makes me feel so sorry Both three-line passages quoted above occupy the last three lines of the final verse in their respective songs.

The existence of two distinct but overlapping versions of the album has fostered a long-simmering debate about which is the "real" Blood on the Tracks. More Blood, More Tracks makes the debate pointless by providing a surfeit of alternate takes for every song on the album.

Dylan performed his then-new songs with such fire, dedication, and invention that most of the alternates are not throwaways, but legitimate versions in their own right.

More Blood, More Tracks: The Bootleg Series Vol. 14 by Bob Dylan on Amazon Music -

Of course, jazz provides the model for this mode of composition and performance. On concert stages, he has famously continued to refine and transform the song in the ensuing decades. Some of the songs on More Blood, More Tracks have three distinct incarnations, while many have two. There is no final version of Blood on the Tracks. You can create your own vision of the album out of More Blood, More Tracks's 87 tracks, with the second side of the live album Hard Rain thrown in for good measure.

Over a few days, this writer sat down and listened to the whole boxed set sequentially and found that Dylan's obsessive return to the same twelve songs partakes of the songs' own obsessiveness. Blood on the Tracks dramatizes the impulse to return to a mythologized but no less powerfully experienced past: To a certain extent, it did. In the New York version of "Idiot Wind," the narrator complains how "imitators steal [him] blind.

In fact, the take that did make it onto the album, from the Minnesota sessions, may be the weakest of them all. As the first disc shows, he has the lyrics down, he knows his guitar parts and harmonica breaks, and he switches from one song to the next, and back again, with ease and fluidity.

In the control booth, all Ramone has to do is switch on the intercom and say, "Great song, man. Like Blonde on Blonde, Blood on the Tracks anatomizes bitter breakups. In contrast to headiness of his mids lyrics, in which Arthur Rimbaud and Allen Ginsberg collided with Harry Smith 's Anthology of American Folk Musicthe language Dylan uses to evoke abandonment has a stark simplicity. Beyond the fact that the album is a fan favorite, this six-disc release is particularly anticipated because of a longstanding debate over a crucial decision Dylan made when recording the album.

He recorded every song on the album in New York in Septembermostly recording with just a single bassist to accompany him. What could have been a very intimate Blood on the Tracks emerged from that session, and the album was slated for release Some fans think the songs were "ruined" by the looser, more collaborative re-recordings. Others think the songs were improved, and the album gained wider range.

In the end, Dylan knew best. The Minneapolis versions unleashed the suppressed anger in "Idiot Wind" and brought the momentum of a band to the long quasi-narratives of songs like "Lily, Rosemary and the Jack of Hearts.

Jason Becker - Meet Me In The Morning

The box also allows fans to hear alternate versions of some of Dylan's most mutable songs he's frequently changed the "Tangled Up in Blue" lyrics when playing the song liveand crisper remasters of all the recordings. More of this week's new releases Tenacious D: Post-Apocalypto Comedy rock duo Tenacious D have released their fourth studio album.