Bootleg Series Vol.12 The Cutting Edge 1965-1966 LPBob Dylan Vinyl 5 Discs $87

	C$		63
	$		46

 

SABBASHOP PRODUCTID:  413252

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PRODUCT CONDITION:  THIS ITEM IS IN EXCELLENT CONDITION AND IS LIGHTLY USED. IT IS FULLY FUNCTIONAL AND COMPLETE.

 

WHAT'S INCLUDED:  5 Discs

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Product Features / Manufacturer Description:

 

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Additional Information about Bootleg Series, Vol. 12: The Cutting Edge 1965-1966 [LP] by Bob Dylan (Vinyl, Nov-2015, 5 Discs, Sony Legacy)
Portions of this page Copyright 1948 - 2016 Muze Inc. All rights reserved.


Album Features UPC: 888751244313 Artist: Bob Dylan Format: Vinyl Release Year: 2015 Record Label: Sony Legacy Genre: Country Rock, Rock & Pop Number Of Discs: 5
Track Listing
DISC 1:
1. Love Minus Zero/No Limit [Take 2] [Acoustic] - (take)
2. I'll Keep it With Mine [Take 1] [Piano Demo] - (take)
3. Bob Dylan's 115th Dream [Take 1 & 2] [Solo Acoustic] - (take)
4. She Belongs to Me [Take 1] [Solo Acoustic Version] - (take)
5. alternate take) Subterranean Homesick Blues [Take 1] [Alternate Take] - (take
6. alternate take) Outlaw Blues [Take 2] [Alternate Take] - (take
7. alternate take) On the Road Again [Take 4] [Alternate Take] - (take
8. Angelina [Take 1] [Solo Acoustic Version] - (take) Farewell
9. Go Now [Take 2] [Alternate Take] - (take, alternate take) If You Gotta Go
10. You Don't Have to Do That [Take 1] [Solo Acoustic Version] - (take)
11. California [Take 1] [Solo Acoustic Version] - (take)
12. Mr. Tambourine Man [Take 3 With Band] [Incomplete] - (take)
13. It Takes a Train to Cry [Take 8] [Alternate Take] - (take, alternate take) It Takes a Lot to Laugh
14. Sitting on a Barbed Wire Fence [Take 2] - (take)
15. Medicine Sunday [Take 1] - (take)

DISC 2:
1. Like a Rolling Stone [Take 5] [Rehearsal] [Edited] - (take)
2. alternate take) Like a Rolling Stone [Take 11] [Alternate Take] - (take
3. Desolation Row [Take 2] [Piano Demo] - (take)
4. alternate take) Desolation Row [Take 1] [Alternate Take] - (take
5. alternate take) Tombstone Blues [Take 1] [Alternate Take] - (take
6. alternate take) Positively 4th Street [Take 5] [Alternate Take] - (take
7. alternate take) Can You Please Crawl Out Your Window [Take 1] [Alternate Take] [Edited] - (take
8. Just Like Tom Thumb's Blues [Take 3] [Rehearsal] - (take)
9. alternate take) Highway 61 Revisited [Take 3] [Alternate Take] - (take

DISC 3:
1. alternate take) Queen Jane Approximately [Take 5] [Alternate Take] - (take
2. Visions of Johanna [Take 5] [Rehearsal] - (remix)
3. She's Your Lover Now [Take 6] ]Rehearsal] - (take)
4. Lunatic Princess [Take 1] - (take)
5. Leopard-Skin Pill-Box Hat [Take 8] [Alternate Take] - (take)
6. One of Us Must Know (Sooner or Later) [Take 19] [Alternate Take] - (take)
7. Stuck Inside of Mobile With the Memphis Blues Again [Take 13] [Alternate Take] - (take)
8. alternate take) Absolutely Sweet Marie [Take 1] [Alternate Take] - (take
9. alternate take) Just Like a Woman [Take 4] [Alternate Take] - (take
10. alternate take) Pledging My Time [Take 1] [Alternate Take] - (take
11. alternate take) I Want You [Take 4] [Alternate Take] - (take
12. alternate take) Highway 61 Revisited [Take 7] [False Start] - (take

DISC 4:
1. Love Minus Zero/No Limit [Take 2] [Acoustic] - (take)
2. I'll Keep it With Mine [Take 1] [Piano Demo] - (take)
3. Bob Dylan's 115th Dream [Take 1 & 2] [Solo Acoustic Version] - (take)
4. She Belongs to Me [Take 1] [Solo Acoustic Version] - (take)
5. alternate take) Subterranean Homesick Blues [Take 1] [Alternate Take] - (take
6. alternate take) Outlaw Blues [Take 2] [Alternate Take] - (take
7. alternate take) On the Road Again [Take 4] [Alternate Take] - (take
8. Angelina [Take 1] [Solo Acoustic] - (take) Farewell
9. Go Now [Take 2] [Alternate Take] - (take, alternate take) If You Gotta Go
10. You Don't Have to Do That [Take 1] [Solo Acoustic] - (take)
11. California [Take 1] [Solo Acoustic] - (take)
12. Mr. Tambourine Man [Take 3 With Band] [Incomplete] - (take)
13. It Takes a Train to Cry [Take 8] [Alternate Take] - (take, alternate take) It Takes a Lot to Laugh
14. Like a Rolling Stone [Take 5] [Rehearsal] [Edited] - (take)
15. alternate take) Like a Rolling Stone [Take 11] [Alternate Take] - (take
16. Sitting on a Barbed Wire Fence [Take 2] - (take)
17. Medicine Sunday [Take 1] - (take)
18. Desolation Row [Take 2] [Piano Demo] - (take)
19. alternate take) Desolation Row [Take 1] [Alternate Take] - (take

DISC 5:
1. alternate take) Tombstone Blues [Take 1] [Alternate Take] - (take
2. alternate take) Positively 4th Street [Take 5] [Alternate Take] - (take
3. alternate take) Can You Please Crawl Out Your Window [Take 1] [Alternate Take] [Edited] - (take
4. Just Like Tom Thumb's Blues [Take 3] [Rehearsal] - (take)
5. alternate take) Highway 61 Revisited [Take 3] [Alternate Take] - (take
6. alternate take) Queen Jane Approximately [Take 5] [Alternate Take] - (take
7. Visions of Johanna [Take 5] [Rehearsal] - (take)
8. She's Your Lover Now [Take 6] [Rehearsal] - (take)
9. Lunatic Princess [Take 1] - (take)
10. alternate take) Leopard-Skin Pill-Box Hat [Take 8] [Alternate Take] - (take
11. alternate take) One of Us Must Know (Sooner or Later) [Take 19] [Alternate Take] - (take
12. alternate take) Stuck Inside of Mobile With the Memphis Blues Again [Take 13] [Alternate Take] - (take
13. alternate take) Absolutely Sweet Marie [Take 1] [Alternate Take] - (take
14. alternate take) Just Like a Woman [Take 4] [Alternate Take] - (take
15. alternate take) Pledging My Time [Take 1] [Alternate Take] - (take
16. alternate take) I Want You [Take 4] [Alternate Take] - (take
17. Highway 61 Revisited [Take 7] [False Start] - (take)

Details Playing Time: 289 min. Distributor: Sony Music Entertainment Recording Mode: Stereo SPAR Code: n/a
Album Notes
"I'll do this one more time and if I can't do it, we'll do another song. I'll do any song as good as I can do it the first time."Bob Dylan says these words once his first solo take of "Love Minus Zero/No Limit" breaks down after a minute. Dylan's definition of "good" is fluid, of course. Sometimes, a first take satisfied him -- "Maggie's Farm" and "Gates of Eden" are two prime examples -- but often he'd find he could do a song better or at least do it differently, swapping out words, speeding up the tempo, and changing the feel, occasionally radically transforming his song. Sometimes, these radical transformations are the versions that found their way to the finished record, so they're now seen as etched in stone but The Cutting Edge 1965-1966, the 12th volume of The Bootleg Series, shows Dylan didn't enter the studio with posterity in mind when he went to cut Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde: he was making music of and for the moment.Familiarity hasn't necessarily dulled the impact of these three records, all written and recorded within a span of 14 months -- a period of time when Dylan also filmed Don't Look Back, electrified the Newport Folk Festival, and was declared a Judas at the Royal Albert Hall -- but they have made them seem inevitable, works carved out of granite whose fates were preordained. The gift of The Cutting Edge is that it makes this, the greatest run of creativity in Dylan's career and perhaps in rock & roll in general, once again seems wild, nervy, and quicksilver, upending expectations and undercutting conventions. Within one of the three sets of liner notes, Bill Flanagan calls these six discs of outtakes, alternates, and rehearsals "work tapes," which is technically true, but undersells how this music crackles as it shape-shifts, sometimes soaring, sometimes stumbling, but always feeling fiercely alive. If it's difficult to claim that a solo "Bob Dylan's 115th Dream" and a locomotive "Visions of Johanna" recorded with the Band are superior to the versions on Home and Blonde, they're nevertheless magnificent in their own right while also shedding light on how Dylan worked; with producer Tom Wilson, the singer/songwriter wasted no time, while Bob Johnston allowed Bob to twist and test his songs, letting him discover the soul that lay within. Along the way, Dylan was truly fearless -- he'd goose a tempo to see if it gave a ballad life, he'd let Mike Bloomfield and Robbie Robertson run wild; the fact that he abandoned a song as wonderful as "She's Your Lover Now," possibly because it never quite withstood such stress tests, speaks volumes -- and among the many gifts The Cutting Edge has to offer is that it illuminates these three great records while also illustrating that they were just mere snapshots in time. By breaking down the barriers that separated these three albums, The Cutting Edge shows how for Dylan during this blinding, brilliant peak his music was a living thing, evolving from song to song, take to take, where the quest itself was as transcendent as the final destination. ~ Stephen Thomas Erlewine

 

 

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