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

5 out of 5

$20.99

SKU: B07H5VWH4J Category:

Description

The latest chapter in the highly acclaimed Bootleg Series makes available the pivotal studio recordings made by Bob Dylan during six extraordinary sessions in 1974–four in New York (September 16, 17, 18, 19) and two in Minneapolis (December 27, 30)–that resulted in the artist’s 1975…

3 reviews for More Blood, More Tracks: The Bootleg Series Vol. 14

5 out of 5
  1. Boopy Snoopers

    Dylan was definitely not calling it in when he came to the studio in September, 1974 to record these eleven songs. Producer Phil Ramone, bassist Tony Brown, and the recording engineer(s) must have had their minds blown to hear Dylan sing so soulfully on songs whose lyrics were the equal of his mid-60s work, but more intimate. Whoever put together this one-disc version values intimacy over all. It’s just Dylan and his guitar, sometimes accompanied by Brown–who, I read somewhere, said he was trying to play like Charlie McCoy on “John Wesley Harding.” Dylan was tweaking lyrics, figuring out how to sing the songs, stripping the arrangements down to bone. My favorite is “Idiot Wind,” which isn’t better than the Minneapolis version, just different–more tender, but that tenderness makes its rancor and mistrust all the more biting. I’m no Dylanologist, so I don’t know which version of “Idiot Wind” is on this CD; I seem to remember another version with Paul Griffith on organ that was released on some official or unofficial bootleg. Put this CD on and conjure Dylan circa 1974 in your living room. He won’t pay any attention to you, but that’s OK, he’s totally focused on the songs.I been double-crossed too much, at times I think I’ve almost lost my mindLady-killers load ice on me behind my back, while imitators steal me blindYou close your eyes and part your lips, and slip your fingers from your gloveYou can have the best there is, but it’s gonna cost you all your loveYou won’t get it for money

  2. wordsworth

    Dylan was definitely not calling it in when he came to the studio in September, 1974 to record these eleven songs. Producer Phil Ramone, bassist Tony Brown, and the recording engineer(s) must have had their minds blown to hear Dylan sing so soulfully on songs whose lyrics were the equal of his mid-60s work, but more intimate. Whoever put together this one-disc version values intimacy over all. It’s just Dylan and his guitar, sometimes accompanied by Brown–who, I read somewhere, said he was trying to play like Charlie McCoy on “John Wesley Harding.” Dylan was tweaking lyrics, figuring out how to sing the songs, stripping the arrangements down to bone. My favorite is “Idiot Wind,” which isn’t better than the Minneapolis version, just different–more tender, but that tenderness makes its rancor and mistrust all the more biting. I’m no Dylanologist, so I don’t know which version of “Idiot Wind” is on this CD; I seem to remember another version with Paul Griffith on organ that was released on some official or unofficial bootleg. Put this CD on and conjure Dylan circa 1974 in your living room. He won’t pay any attention to you, but that’s OK, he’s totally focused on the songs.I been double-crossed too much, at times I think I’ve almost lost my mindLady-killers load ice on me behind my back, while imitators steal me blindYou close your eyes and part your lips, and slip your fingers from your gloveYou can have the best there is, but it’s gonna cost you all your loveYou won’t get it for money

  3. FourFold

    I love the original Blood on the Tracks album. The single disc of More Blood, More Tracks gives you excellent alternate takes from the original New York recordings, and they are absolutely worth hearing. Also, if you want to avoid spending over a hundred dollars for the six disc set this is the perfect overview. Do you really need eight different takes of “Idiot Wind”? Well, maybe you do, but if you just want a taste then the single disc is ideal.

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