Another rare sound source that became a hot topic at the end of last year is the “ANOTHER SIDE OF BOB DYLAN” session. It could be said that this album, which marks the end of the Real Folk era and the literal appearance of a new Dylan, was a kind of problematic work. In fact, Dylan's history is waiting for an even bigger leap (going electric) after this, and while the lyrics changed dramatically, the accompaniment was still recorded with acoustic guitar playing. However, the songs included here included famous songs such as "My Back Pages", which was later covered by various artists, and "It Ain't Me, Babe", which Dylan himself continued to perform live for many years. I think all Dylan fans are aware that this is an album that cannot be ignored, and can even be called important. What's more, this album was compiled in a remarkable feat of being recorded all at once in a one-day session. This was the only time Dylan ever completed an album in one day. This seems to have been due to adult circumstances such as wanting to submit the album to the record company as soon as possible, but when Dylan listened to the finished album, he seemed to accept it, and with the help of alcohol ( (That's what the singing voice sounds like, right?) It's like they were recorded all at once. However, when you listen to not only Dylan's voice but also the session sound source that appeared this time, there are many takes that could not be completed, and it seems that a performance worth listening to from among those failed takes appeared at the end of last year. What’s more, the atmosphere is different for each take, which is something you can enjoy only with Dylan’s session sound source. Among the surprises on the album is that the early take of "Black Crow Blues," in which he first performed the song on the piano, was performed using his usual guitar. This song was recorded towards the end of the session, and Dylan may have felt stuck between the two takes recorded here (perhaps with the advice of the producer) and tried it out on the piano and got an OK take. I don't know. Similarly, an early take of "I Don't Believe You (She Acts Like Never Have Met)" was played with a feel similar to Dylan's previous albums, but the arrangement was changed and the playing style was more innovative. It's really interesting to find out what was changed. In that respect, "I Shall Be Free No. 10" was played repeatedly in such a situation as the session was nearing the end and Dylan was tired (lol), so Dylan's tension was completely different depending on the take. What's more, perhaps because there were ups and downs in his singing in each take, in the end, two takes were combined and recorded on the album. In fact, the famous song "Mr. Tambourine Man" was also recorded at this session, but this time it was unearthed, including Take 1, which was immediately cut, and the recording of the recording by my mentor Jack Elliott, which made me feel intoxicated. It only sounds like a loose performance (bitter smile) Take 2 of the complete performance has already been released, but here it is recorded as a mono mix from the acetate. You will enjoy this outtake with a warmer, analog-like texture. The recording from that acetate is not limited to “Mr. Tambourine ~”. “All I Really Want To Do”, which was not included in the sound source excavated last year, is also included in the unedited complete version from the acetate. This song seems to have been OK in one take, but when you listen to the complete version here, Dylan messes up the song in some places, and it's surprising that he chopped it up and made it into the album's opening number. I often decided on this take when I should have done more takes. It's no exaggeration to say that "It Ain't Me, Babe" is a standard song, and was recorded at the beginning of the session, but the take 1 that was discovered this time is a struggling version in which the performance stopped midway through and then tried to continue. I can enjoy it (lol). In this way, we not only compiled the sound sources that appeared at the end of last year, but also combined the acetate sound sources that have been around for a while, and compiled them into a more complete collection of takes by album. Regarding the song order, the different takes follow the order of the songs on the album, not the actual recording order, making it easier to understand. Of course, the sound quality is perfect, but the scratch noise from last year's sound source LP has been thoroughly cleaned up. The title is a collection of session sound sources that everyone wanted to hear on CD along with the live performance at Royal Festival Hall! Columbia Studios, New York City, NY. USA 9th June 1964 SBD (62:53) 1. All I Really Want To Do (take 1 unedited version from acetate) 2. Black Crow Blues (take 1) 3. Black Crow Blues ( take 2) 4. Spanish Harlem Incident (take 3) 5. Spanish Harlem Incident (take 4) 6. Chimes Of Freedom (take 1) 7. Chimes Of Freedom (take 3) 8. I Shall Be Free No 10 (take 1 ) 9. I Shall Be Free No 10 (take 2) 10. I Shall Be Free No 10 (take 3) 11. I Shall Be Free No 10 (take 4) 12. I Shall Be Free No 10 (take 5 unedited version from acetate) 13. I Don't Believe You (She Acts Like Never Have Met) (take 1) 14. I Don't Believe You (She Acts Like Never Have Met) (take 3) 15. Ballad In Plain D ( take 2) 16. It Ain't Me, Babe (take 1) 17. Mr. Tambourine Man (with Jack Elliot take 1) 18. Mr. Tambourine Man (with Jack Elliot take 2 rough mono mix from acetate) 19. Denise
Free Shipping on Every Order!
