This is great Ray. I am waiting for the box set to arrive, and will be sure to keep your guide handy! I'm also looking fwd to reading Sean's extensive liners. Thanks also for the shout-out about that early one-of-a-kind record Bob cut with his 2 buddies (Howard Rutman & Larry Keagan) on X-mas Eve 1956. What else would 3 young Jewish guys have to do on that particular night??! I suspect one reason that there are not more tracks from that disc on this collection is that, well, somebody actually OWNS the thing (it was supposedly sold not too long ago, but I for one don't know who bought it, though I've tried to find out) and perhaps the new owner has designs on releasing it or otherwise monetizing it at some later point? I had to jump through some hoops just to listen to it, mainly heading to visit Mitch Blank a few times at his crib in the W Village to listen to it (always a pleasure!). I certainly wasn't allowed to take a copy of it. I also sort of clandestinely saw what seems to be the only available photograph of the disc itself, but the owner at that time wouldn't let it be printed, which is what led to Duncan Hannah's pretty faithful painted reproduction of the label as shown in that photograph. I finally saw his canvas hanging at the BDC this summer during the World of BD Conference. Great painting! Fascinating recording session!
In my research for that essay I even tracked down a guy who worked at Terlinde music, where the record was cut. He wasn't there when Bob+buddies came thru, but started working there shortly after, while the place was still in the same state. I'd thought it was one of those 'record yr song' booths but it wasn't at all, it was a proper 2nd floor recording studio where other local artists regularly cut demos and acetates. They had the ability to cut 'direct-to-disk' one-offs and that's the singular piece of black plastic that Bob and his buddies took away that evening. Kinda interesting side note that his first known recording has him on piano - and that's where he's ended up at the opposite end of his career as well...
The "Ready Teddy" segment from the 1956 Jokers acetate was played at the Tulsa conference in 2019 and sounds fantastic. There's a straight line from that to what Bob Dylan is doing on stage right now. Without Rock & Roll, without Little Richard there would be no Bob Dylan. The Jokers acetate is the earliest surviving example of Dylan celebrating the exuberant power of Rock & Roll. While the disc itself may be owned by an outside entity, the rights to the recording are owned by Sony (I think). The recording should be released in its entirety. Since it is not part of the new Bootleg Series set, they should let Third Man release a repro of the disc. Third Man did they same with Elvis' first acetate, so there is precedent.
I have waited 23 years for an opportunity to hear the COMPLETE Jokers acetate. I have waited ever since its existence became common knowledge on Saturday, October 5, 2002 via a post on the expectingrain frontpage. And now they are giving us just 30 secs from the 8 mins acetate? Biggest disappointment of the entire Bootleg Series project so far.
Superb analysis as always, Ray! This is one of my favorite posts that you’ve done, easily! Two quick little minor points:
1. The man talking to Dylan on the Columbia Studio A session tapes is absolutely John Hammond. Very distinctive voice! It is worth mentioning that copies of those master tapes were being offered for auction a few years ago, and the dialogue you hear at the end of Man Of Constant Sorrow on the box set actually appears on those tapes at the end of the released version. I do not know which one is correct. Presumably this one, since it is an alternate take.
2. I believe the lyric for “The Ballad Of The Gliding Swan” was not written by Dylan, but by the play’s author, Evan Jones. In the BBC Arena documentary on the play, Jones can be seen reciting the poem with its original NSFW lyrics, which were changed for the actual broadcast.
Sorry, I disagree, Scott -- on my copy of these master tapes (Reel #02), Dylan presents THIS VERY "REHEARSAL" TAKE (seemingly to get John Hammond interested), with the exact dialogue. He then records "In My Time Of Dyin' (Take 01 -- album version), five takes of "Man On The Street" (two of them released on Bootleg Series Vol. 01 and Vol. 09), two takes of "(As I Go) Ramblin' Round", and only then returns to three more takes of "Man Of Constant Sorrow" (take 03 being the album version).
For a comparison, here's the very same track, with the very same dialogue (and more), from my copy of the master tapes -- the released version has a fade-in.
Manfred, this is absolutely brilliant! I had no idea because I don’t have a copy of the raw tapes. Where did you ever find them? But yeah, I genuinely appreciate this! I hope the tapes will surface in a more general way soon! Thank you, brother! I consider myself corrected! :-)
Impressive overview--thanks for all your work on this one, Ray! I've only listened to the sampler version on Spotify, but I share a lot of your opinions about the ones I've heard. The cover of Hank Williams's "I Heard That Lonesome Whistle" is fantastic, and "North Country Blues" is spellbinding. And "Moonshiner" always bowls me over. I love "Liverpool Gal"! I hadn't thought of it as a precursor for "Simple Twist of Fate," but I hear what you mean. It reminded me of The Beatles' "Norwegian Wood" and Steve Earle's "Galway Girl." And to my untrained ear, the guitar lick on this version of "Tomorrow Is a Long Time" sounds a lot like "Mr. Tambourine Man." Quite a Halloween treat!
Great write up Ray. Only one disc in but all the worries are starting to evaporate. Extremely well curated listening experience. Your spot on about that "Fixin' To Die". News to me too that it was previously circulating.
This is going to be so helpful when my set arrives today. I imagine listening to it all will be my winter project! Thanks so much for taking the time to do this. As an aside, I’m currently reading your book and greatly enjoying it.
Terrific, Ray, thanks. I appreciate your work. I've heard several of the tapes you reference. Though I hoped for something closer to complete, your run down orients me to this as a curation with a focus and a trajectory. I can get with that. I'll do my unboxing now. All the best.
With regards to "All Over You" one should FINALLY tell them that that the "Banjo Tape" was taped by Peter K. Siegel who recorded it with Bob's and everyone else's permission.
Peter, himself a musician (member of The Even Dozen Jug Band, with David Grisman, et al.) and in the recording business (employed by Elektra, recording, for example, Jackson Browne's earliest demos) still owns the original master tape and NOBODY of "Dylan's camp" EVER contacted him, even though material from his tape (thus MOST DEFINITELY from an inferior source) has not only been released on this set, but also on the "Copyright Extension" releases.
Peter wrote to me in 1999:
"...But the Feb 8 tape was recorded in Gerde's by me for sure. I gave Stefan [Grossman] his tape probably the same year. The tape was recorded using a Tandberg tape machine and and EV 644 mike.
I was carrying the equipment because earlier the same night, I had recorded Bill Monroe's first NY show at the NYU auditorium also on 4th Street. That show featured Del McCoury on banjo, Jack Cooke on G/V, and Kenny Baker on fiddle. Good night huh? "
Also, look at Elliot Sharp's 2022 interview with Peter at https://pleasekillme.com/peter-k-siegel/ where he relates the info about the NYU show Manfred cites, and confirms the recording was made in the Gerdes basement, that "Dylan says [to Siegel], 'Would you record me?,' I said 'sure' I was hoping he was going to say that. .... He would just have me record him for the fun of it."
This is great, thank you so much. One very minor comment: I believe what is listed here as an introduction to "Tomorrow Is A Long Time" is actually an introduction to "A Hard Rain's A-Gonna Fall". If you play it between "Tomorrow" and "Hard Rain" from the Hollow Horn release, it sounds way more organic – to my ears at least.
Thanks so much for this, Ray! The only thing I want to add is that I know the intro to Tomorrow Is A Long Time from a bootleg of the original Columbia live album going back to a CD-R I got in a trade 20-ish (?) years now. At least, I think that's where I've heard the jokes about "that's not on my list" and stealing songs from other people.
This is very informative. However, one bit of information I question is that when you mention Terlinde Music Shop recordings, you cite "Confidential" as a cover of Little Richard. I believe the song, written by Dolinda Morgan, was recorded in 1956 by Sonny Knight on the Dot label. Dylan recorded another version on The Basement Tapes. I don't find a Little Richard version online. Do you know of one?
This is great Ray. I am waiting for the box set to arrive, and will be sure to keep your guide handy! I'm also looking fwd to reading Sean's extensive liners. Thanks also for the shout-out about that early one-of-a-kind record Bob cut with his 2 buddies (Howard Rutman & Larry Keagan) on X-mas Eve 1956. What else would 3 young Jewish guys have to do on that particular night??! I suspect one reason that there are not more tracks from that disc on this collection is that, well, somebody actually OWNS the thing (it was supposedly sold not too long ago, but I for one don't know who bought it, though I've tried to find out) and perhaps the new owner has designs on releasing it or otherwise monetizing it at some later point? I had to jump through some hoops just to listen to it, mainly heading to visit Mitch Blank a few times at his crib in the W Village to listen to it (always a pleasure!). I certainly wasn't allowed to take a copy of it. I also sort of clandestinely saw what seems to be the only available photograph of the disc itself, but the owner at that time wouldn't let it be printed, which is what led to Duncan Hannah's pretty faithful painted reproduction of the label as shown in that photograph. I finally saw his canvas hanging at the BDC this summer during the World of BD Conference. Great painting! Fascinating recording session!
In my research for that essay I even tracked down a guy who worked at Terlinde music, where the record was cut. He wasn't there when Bob+buddies came thru, but started working there shortly after, while the place was still in the same state. I'd thought it was one of those 'record yr song' booths but it wasn't at all, it was a proper 2nd floor recording studio where other local artists regularly cut demos and acetates. They had the ability to cut 'direct-to-disk' one-offs and that's the singular piece of black plastic that Bob and his buddies took away that evening. Kinda interesting side note that his first known recording has him on piano - and that's where he's ended up at the opposite end of his career as well...
The "Ready Teddy" segment from the 1956 Jokers acetate was played at the Tulsa conference in 2019 and sounds fantastic. There's a straight line from that to what Bob Dylan is doing on stage right now. Without Rock & Roll, without Little Richard there would be no Bob Dylan. The Jokers acetate is the earliest surviving example of Dylan celebrating the exuberant power of Rock & Roll. While the disc itself may be owned by an outside entity, the rights to the recording are owned by Sony (I think). The recording should be released in its entirety. Since it is not part of the new Bootleg Series set, they should let Third Man release a repro of the disc. Third Man did they same with Elvis' first acetate, so there is precedent.
I have waited 23 years for an opportunity to hear the COMPLETE Jokers acetate. I have waited ever since its existence became common knowledge on Saturday, October 5, 2002 via a post on the expectingrain frontpage. And now they are giving us just 30 secs from the 8 mins acetate? Biggest disappointment of the entire Bootleg Series project so far.
Wonderful, extraordinary effort here Ray. These should have been the official liner notes.
Superb analysis as always, Ray! This is one of my favorite posts that you’ve done, easily! Two quick little minor points:
1. The man talking to Dylan on the Columbia Studio A session tapes is absolutely John Hammond. Very distinctive voice! It is worth mentioning that copies of those master tapes were being offered for auction a few years ago, and the dialogue you hear at the end of Man Of Constant Sorrow on the box set actually appears on those tapes at the end of the released version. I do not know which one is correct. Presumably this one, since it is an alternate take.
2. I believe the lyric for “The Ballad Of The Gliding Swan” was not written by Dylan, but by the play’s author, Evan Jones. In the BBC Arena documentary on the play, Jones can be seen reciting the poem with its original NSFW lyrics, which were changed for the actual broadcast.
Excellent, truly excellent work! :-)
Scott Parker
Sorry, I disagree, Scott -- on my copy of these master tapes (Reel #02), Dylan presents THIS VERY "REHEARSAL" TAKE (seemingly to get John Hammond interested), with the exact dialogue. He then records "In My Time Of Dyin' (Take 01 -- album version), five takes of "Man On The Street" (two of them released on Bootleg Series Vol. 01 and Vol. 09), two takes of "(As I Go) Ramblin' Round", and only then returns to three more takes of "Man Of Constant Sorrow" (take 03 being the album version).
For a comparison, here's the very same track, with the very same dialogue (and more), from my copy of the master tapes -- the released version has a fade-in.
https://app.box.com/s/ocjx3hvuum6puxcpa5k0sxwy9ejmhm3j
Manfred, this is absolutely brilliant! I had no idea because I don’t have a copy of the raw tapes. Where did you ever find them? But yeah, I genuinely appreciate this! I hope the tapes will surface in a more general way soon! Thank you, brother! I consider myself corrected! :-)
Impressive overview--thanks for all your work on this one, Ray! I've only listened to the sampler version on Spotify, but I share a lot of your opinions about the ones I've heard. The cover of Hank Williams's "I Heard That Lonesome Whistle" is fantastic, and "North Country Blues" is spellbinding. And "Moonshiner" always bowls me over. I love "Liverpool Gal"! I hadn't thought of it as a precursor for "Simple Twist of Fate," but I hear what you mean. It reminded me of The Beatles' "Norwegian Wood" and Steve Earle's "Galway Girl." And to my untrained ear, the guitar lick on this version of "Tomorrow Is a Long Time" sounds a lot like "Mr. Tambourine Man." Quite a Halloween treat!
Great write up Ray. Only one disc in but all the worries are starting to evaporate. Extremely well curated listening experience. Your spot on about that "Fixin' To Die". News to me too that it was previously circulating.
This is going to be so helpful when my set arrives today. I imagine listening to it all will be my winter project! Thanks so much for taking the time to do this. As an aside, I’m currently reading your book and greatly enjoying it.
It will be a while before it lands in Singapore, but this really whets my appetite. Very excited about this one. It's been a long time coming.
I would have loved more of The Jokers ... and I'm surprised they didn't go after the Karen Wallace tape a little harder. I can wait a little longer!
Terrific, Ray, thanks. I appreciate your work. I've heard several of the tapes you reference. Though I hoped for something closer to complete, your run down orients me to this as a curation with a focus and a trajectory. I can get with that. I'll do my unboxing now. All the best.
With regards to "All Over You" one should FINALLY tell them that that the "Banjo Tape" was taped by Peter K. Siegel who recorded it with Bob's and everyone else's permission.
Peter, himself a musician (member of The Even Dozen Jug Band, with David Grisman, et al.) and in the recording business (employed by Elektra, recording, for example, Jackson Browne's earliest demos) still owns the original master tape and NOBODY of "Dylan's camp" EVER contacted him, even though material from his tape (thus MOST DEFINITELY from an inferior source) has not only been released on this set, but also on the "Copyright Extension" releases.
Peter wrote to me in 1999:
"...But the Feb 8 tape was recorded in Gerde's by me for sure. I gave Stefan [Grossman] his tape probably the same year. The tape was recorded using a Tandberg tape machine and and EV 644 mike.
I was carrying the equipment because earlier the same night, I had recorded Bill Monroe's first NY show at the NYU auditorium also on 4th Street. That show featured Del McCoury on banjo, Jack Cooke on G/V, and Kenny Baker on fiddle. Good night huh? "
All of this can be verified by Peter K. Siegel.
Also, look at Elliot Sharp's 2022 interview with Peter at https://pleasekillme.com/peter-k-siegel/ where he relates the info about the NYU show Manfred cites, and confirms the recording was made in the Gerdes basement, that "Dylan says [to Siegel], 'Would you record me?,' I said 'sure' I was hoping he was going to say that. .... He would just have me record him for the fun of it."
This is great, thank you so much. One very minor comment: I believe what is listed here as an introduction to "Tomorrow Is A Long Time" is actually an introduction to "A Hard Rain's A-Gonna Fall". If you play it between "Tomorrow" and "Hard Rain" from the Hollow Horn release, it sounds way more organic – to my ears at least.
Thanks so much for this, Ray! The only thing I want to add is that I know the intro to Tomorrow Is A Long Time from a bootleg of the original Columbia live album going back to a CD-R I got in a trade 20-ish (?) years now. At least, I think that's where I've heard the jokes about "that's not on my list" and stealing songs from other people.
This is a wonderful and helpful entry point into the box set. Thank you so much for putting it together.
Do you really think Bob had no idea who wrote Man of Constant Sorrow? I find that incredible.
This is very informative. However, one bit of information I question is that when you mention Terlinde Music Shop recordings, you cite "Confidential" as a cover of Little Richard. I believe the song, written by Dolinda Morgan, was recorded in 1956 by Sonny Knight on the Dot label. Dylan recorded another version on The Basement Tapes. I don't find a Little Richard version online. Do you know of one?
Thanks for catching that. I got mixed up - they also did Ready Teddy, a Little Richard tune. Fixed