Did anyone besides Kim and me purchase this? (Actually, last I heard Kim was trying to decide between going for the scrapbook megapack w/ bonus CD. If I had been thinking ahead I should've considered that, but I wasn't that interested in the scrapbook and didn't want to wait longer than Aug. 30. Then again, bonus CD.)
Anyway, it's great. When they announced the tracklisting, I had some initial disappointment that their selection of rarities wasn't somewhat ... rarer. But what's on here is great in and of itself. My only complaint is that I wish there was more. If you wanted to be ambitious, you could get multiple Bootleg Series releases from the timeframe they're working in. Also, it's pretty whack that a Bootleg Series would include two already officially released songs ("Song to Woody" from Bob Dylan and "Like a Rolling Stone" from Live 1966), especially when there are plenty of live "Songs to Woody" from 1961 and live "LARS" from 1966 to choose from that could have done the trick.
Still, 26 brand new Dylan performances is a goldmine. If you like Bob Dylan you should probably buy it and the Gaslight Tapes CD from Starbucks and watch the Scorsese documentary on September 26 and ask Bob nicely to finish the new songs he's supposedly been working on.
I still keep not finding the disposable income to grab any of the Bootleg Series...
But the new one's tracklisting certainly gives me pause. I'm a big fan of the Highway 61 Revisited/Blood on the Tracks/Blonde on Blonde era. How do these "alternate takes" stand up to the originals? Or is it a, "you really gotta hear 'em" kinda deal?
I had collected all kinds of live takes of much of his oeuvre, so live stuff doesn't interest me that much anymore. But the thought of alternate studio takes of tracks like, "Stuck Inside of Mobile" and "Visions of Johanna" and especially "Desolation Row" makes me wonder if it's as dramatic as the difference between the New York and Minnesota sessions for Blood on the Tracks?
Originally posted by JustinShapiroDid anyone besides Kim and me purchase this? (Actually, last I heard Kim was trying to decide between going for the scrapbook megapack w/ bonus CD. If I had been thinking ahead I should've considered that, but I wasn't that interested in the scrapbook and didn't want to wait longer than Aug. 30. Then again, bonus CD.)
Apparently you can get this same deal at a Barnes & Noble near you, with a bonus 10% off the B&N over-inflated prices of Bootleg 7 and also I ASS-ume the Scrapbook, only the Barnes & Noble near me not only had no stock of the Scrapbook, but also no stock of the Carnegie Hall freebie. P.S. this took them about 45 minutes to figure out. They blame the hurricane for slowing the delivery from their distributors. TYPICAL. Anyway, I'm waiting it out until I get get the whole mess in one sexy bundle. But I ne-e-e-e-e-e-e-e-ed it.
I went to five, count 'em, five Starbucks inexplicably located within a three-block radius of my office today (or perhaps I mean yesterday) and came up with butt. One was sold out of Gaslight, two didn't sell it at all and the other two were CLOSED. What is up people. Stop me before I ever think I need to go to any Starbucks anywhere ever again.
So I'm New Old Bob-less for the time being. Although I guess in the grand scheme of things the biggest worry was that anyone on Earth would have spotted me setting foot inside a Starbucks. Dunkin Donuts baby.
Originally posted by tarnishHow do these "alternate takes" stand up to the originals? Or is it a, "you really gotta hear 'em" kinda deal? ... as dramatic as the difference between the New York and Minnesota sessions for Blood on the Tracks?
Personally, since I think the originals are masterpieces in the history of time and sound, I'd say the alternate takes are more interesting for their historical value, like an archaeological dig into BD's most famous period. The alternates aren't equal counterparts, because the they were part of a process on the way to the fully realized versions. The fun comes in getting to listen to part of the process -- I think the word I'd use is intriguing. There are also some always-interesting different lyrics for certain songs.
I wouldn't say the difference is as dramatic as the NY/Minn Blood on the Tracks sessions, because in the case of the 60s songs, it's an attempt from the same session with the same musicians, as opposed to a reinterpretation at a later date, like going from solo acoustic in New York to band-backed in Minnesota. However, while they don't sound like they could be completely different songs like some of the Tracks tracks, there's still some pronounced differences here.
Overall, I'd call it worth your while if the disposable income situation changes, because we didn't even talk about disc 1 and the early acoustic performances, and boy they're terrific. However, in terms of the must-havingness of Bob Dylan Bootleg Series, I'd go for Vol. 1-3 first.
Actually, it's been well documented that Game will see an artist in person one night and tell them what a big fan he is and how much he respects them, and then the very next day release a diss track toward them. (see: