BOB DYLAN - MORE BLOOD, MORE TRACKS –THE BOOTLEG SERIES VOLUME 14 - 2018

Magic Marc Productions

I am an independent concert, music and event promoter based in the Minneapolis / Saint Paul, Minnesota area.

I am interested in creating unique, one of a kind, once in a lifetime, never to be forgotten events!

I am open to all ideas, suggestions, and comments for any kind of artistic endeavor.

Please feel free to email me with your thoughts.

Thank you.

Marc Evan Percansky

marc@magicmarcproductions.com

Bob Dylan - More Blood, More Tracks - The Bootleg Series Vol. 14 to Be Released by Columbia Records/Legacy Recordings on Friday, November 2

The latest chapter in Columbia/Legacy's highly acclaimed Bob Dylan 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 masterpiece, Blood On The Tracks. One of the top-selling albums of Dylan's career, Blood On The Tracks redefined the boundaries and structures of modern pop songwriting (a genre Dylan had virtually invented a decade prior), reached #1 on the Billboard 200, achieved RIAA 2x Platinum status and was inducted into the Grammy Hall of Fame in 2015.

Bob Dylan - More Blood, More Tracks - The Bootleg Series Vol. 14 is available for pre-order now in digital, CD and 12" vinyl formats:

1CD/2LP: https://bobdylan.lnk.to/mbmt-cdlp!pr  
Deluxe: https://bobdylan.lnk.to/mbmt-dlx!pr  
Streaming: https://bobdylan.lnk.to/mbmt-strm!pr 

Blood On The Tracks was originally recorded during four days in New York City in September, 1974. Soon thereafter, the album was mastered and review copies began to circulate. A few months later, Dylan felt the album needed a different approach and rerecorded five of the tracks at Minneapolis Sound 80 Studios beginning in late December of that year. While a few of the outtakes from the original New York sessions have been highly prized by bootleggers and collectors, most of these recordings have never been available in any format.

The single disc / 2LP configuration of More Blood, More Tracks assembles 10 of the most emotionally resonant alternate takes of each of the 10 songs appearing the original Blood On The Tracks plus a previously unreleased version of "Up to Me."

The 6CD full-length deluxe version of Bob Dylan - More Blood, More Tracks - The Bootleg Series Vol. 14 includes the complete New York sessions in chronological order including outtakes, false starts and studio banter. The album's producers have worked from best sources available, in most cases utilizing the original multi-track session tapes.

The only recordings remaining from the Minneapolis Sound 80 sessions are the multi-track masters of the five performances included on the finished Blood On The Tracks album. Each of these has been remixed and remastered for the deluxe edition of More Blood, More Tracks.

In his liner notes for More Blood, More Tracks, Jeff Slate observes that, "Dylan cut each of these amazing performances – some of the best he ever committed to tape – one after the other, live in the studio, without headphones, and without the types of overdubs that most performers rely on to make their records sound finished. Instead, on these tracks, we find Dylan – just a singer with a guitar and a harmonica and a batch of great songs – delivering performances that thrill you when they're supposed to and break your heart when they need to.... The performances are also in the purest state we've ever experienced them. During the production of Blood On The Tracks, Dylan asked [producer Phil] Ramone to speed up many of the masters by 2-3%, a common practice in the 1960s and '70s, especially for records sent to AM radio. It was thought that doing so would give the songs a little extra bounce to better engage listeners. Most of the songs from the New York sessions that previously circulated, officially and unofficially, are the sped-up versions that Dylan requested. On More Blood, More Tracks, for the first time, we're hearing the songs exactly as Dylan recorded them."

Bob Dylan - More Blood, More Tracks - The Bootleg Series Vol. 14 will be available in a single disc (or 2LP) configuration showcasing 11 essential tracks from the New York A&R Studio sessions.

Two previous volumes in Columbia/Legacy's Bob Dylan Bootleg Series have taken home the Best Historical Album Grammy Award for its respective eligibility year: Bob Dylan - The Cutting Edge 1965-1966, The Bootleg Series Vol. 12 in 2017 and Bob Dylan - The Basement Tapes Complete, The Bootleg Series Vol. 11 in 2016.

The deluxe box set is a limited edition. After it sells out, no additional copies will be made. This set includes a hardcover photo book featuring liner notes by rock historian Jeff Slate and a complete reproduction of one of Dylan's legendary handwritten 57 page notebooks, where you can follow the lyrical development of the songs that would eventually comprise Blood On The Tracks.

bobdylan.com

BOB DYLAN 
MORE BLOOD, MORE TRACKS
THE BOOTLEG SERIES VOL. 14
1 CD / 2LP

Tangled Up in Blue (9/19/74, Take 3, Remake 3)

Simple Twist of Fate (9/16/74, Take 1)

Shelter from the Storm (9/17/74, Take 2)

You're a Big Girl Now (9/16/74, Take 2)

Buckets of Rain (9/18/74, Take 2, Remake)

If You See Her, Say Hello (9/16/74, Take 1)

Lily, Rosemary and the Jack of Hearts (9/16/74, Take 2)

Meet Me in the Morning (9/19/74, Take 1, Remake)

Idiot Wind (9/19/74, Take 4, Remake)

You're Gonna Make Me Lonesome When You Go (9/17/74, Take 1, Remake)

Up to Me (9/19/74, Take 2, Remake)

All Tracks Recorded
A & R Studios
New York 9/16 – 9/19/1974

Tracks Recorded 9/16 & 18
Bob Dylan – vocals, guitar, harmonica

Tracks Recorded 9/17 & 19
Bob Dylan – vocals, guitar, harmonica
Tony Brown – bass

All songs written by Bob Dylan

BOB DYLAN 
MORE BLOOD, MORE TRACKS
THE BOOTLEG SERIES VOL. 14
6 CD Deluxe Edition

DISC 1

A & R Studios
New York
September 16, 1974

If You See Her, Say Hello (Take 1) – solo
If You See Her, Say Hello (Take 2) – solo – previously released on The Bootleg Series, Vols. 1-3: Rare and Unreleased, 1961-1991
You're a Big Girl Now
 (Take 1) – solo
You're a Big Girl Now (Take 2) – solo
Simple Twist of Fate (Take 1) – solo
Simple Twist of Fate (Take 2) – solo
You're a Big Girl Now (Take 3) – solo
Up to Me (Rehearsal) – solo
Up to Me (Take 1) – solo
Lily, Rosemary and the Jack of Hearts (Take 1) – solo 
Lily, Rosemary and the Jack of Hearts (Take 2) – solo – included on Blood On The Tracks test pressing

Bob Dylan – vocals, guitar, harmonica

DISC 2

A & R Studios
New York
September 16, 1974

Simple Twist of Fate (Take 1A) – with band
Simple Twist of Fate (Take 2A) – with band
Simple Twist of Fate (Take 3A) – with band
Call Letter Blues (Take 1) – with band
Meet Me in the Morning (Take 1) – with band – edited version included on Blood On The Tracks test pressing and previously released on Blood On The Tracks
Call Letter Blues
 (Take 2) – with band – previously released on The Bootleg Series, Vols. 1-3: Rare and Unreleased, 1961-1991
Idiot Wind
 (Take 1) – with bass
Idiot Wind (Take 1, Remake) – with bass
Idiot Wind (Take 3 with insert) – with bass
Idiot Wind (Take 5) – with bass
Idiot Wind (Take 6) – with bass
You're Gonna Make Me Lonesome When You Go (Rehearsal and Take 1) – with band
You're Gonna Make Me Lonesome When You Go (Take 2) – with band 
You're Gonna Make Me Lonesome When You Go (Take 3) – with band
You're Gonna Make Me Lonesome When You Go (Take 4) – with bass
You're Gonna Make Me Lonesome When You Go (Take 5) – with band
You're Gonna Make Me Lonesome When You Go (Take 6) – with band
You're Gonna Make Me Lonesome When You Go (Take 6, Remake) – with band 
You're Gonna Make Me Lonesome When You Go (Take 7) – with band
You're Gonna Make Me Lonesome When You Go (Take 8) – with band

Bob Dylan: vocals, guitar, harmonica
Eric Weissberg, Charles Brown III, Barry Kornfeld: guitars
Thomas McFaul: keyboards
Tony Brown: bass
Richard Crooks: drums
Buddy Cage: steel guitar (5-6)

DISC 3

A & R Studios
New York
September 16, 1974

Tangled Up in Blue (Take 1) – with bass

A & R Studios
New York
September 17, 1974

You're a Big Girl Now (Take 1, Remake) – with bass and organ
You're a Big Girl Now (Take 2, Remake) – with bass, organ, and steel guitar –included on Blood On The Tracks test pressing and previously released on Biograph
Tangled Up in Blue
 (Rehearsal) – with bass and organ
Tangled Up in Blue (Take 2, Remake) – with bass and organ
Spanish Is the Loving Tongue (Take 1) – with bass and piano 
Call Letter Blues (Rehearsal) – with bass and piano
You're Gonna Make Me Lonesome When You Go (Take 1, Remake) – with bass and piano
Shelter from the Storm (Take 1) – with bass and piano – previously released on the Jerry McGuire original soundtrack
Buckets of Rain (Take 1) – with bass
Tangled Up in Blue (Take 3, Remake) – with bass
Buckets of Rain (Take 2) – with bass 
Shelter from the Storm (Take 2) – with bass
Shelter from the Storm (Take 3) – with bass
Shelter from the Storm (Take 4) – with bass – previously released on Blood On The Tracks

Bob Dylan: vocals, guitar, harmonica
Tony Brown: bass
Paul Griffin: keyboards (2-9)
Buddy Cage: steel guitar (3)

DISC 4

A & R Studios
New York
September 17, 1974

You're Gonna Make Me Lonesome When You Go (Take 1, Remake 2) – with bass
You're Gonna Make Me Lonesome When You Go (Take 2, Remake 2) – with bass – previously released on Blood On The Tracks

A & R Studios
New York
September 18, 1974

Buckets of Rain (Take 1, Remake) – solo
Buckets of Rain (Take 2, Remake) – solo 
Buckets of Rain (Take 3, Remake) – solo
Buckets of Rain (Take 4, Remake) – solo

A & R Studios
New York
September 19, 1974

Up to Me (Take 1, Remake) – with bass
Up to Me (Take 2, Remake) – with bass
Buckets of Rain (Take 1, Remake 2) – with bass
Buckets of Rain (Take 2, Remake 2) – with bass
Buckets of Rain (Take 3, Remake 2) – with bass
Buckets of Rain (Take 4, Remake 2) – with bass – previously released on Blood On The Tracks
If You See Her, Say Hello
 (Take 1, Remake) – with bass – previously included on Blood On The Tracks test pressing
Up to Me (Take 1, Remake 2) – with bass
Up to Me (Take 2, Remake 2) – with bass
Up to Me (Take 3, Remake 2) – with bass
Buckets of Rain (Rehearsal) – with bass 
Meet Me in the Morning (Take 1, Remake) – with bass – previously released on the "Duquesne Whistle" 7" single
Meet Me in the Morning (Take 2, Remake) – with bass
Buckets of Rain (Take 5, Remake 2) – with bass

Bob Dylan: vocals, guitar, harmonica
Tony Brown: bass (1-2, 7-20)

DISC 5

A & R Studios
New York
September 19, 1974

Tangled Up in Blue (Rehearsal and Take 1, Remake 2) – with bass
Tangled Up in Blue (Take 2, Remake 2) – with bass
Tangled Up in Blue (Take 3, Remake 2) – with bass – included on Blood On The Tracks test pressing and previously released on The Bootleg Series, Vols. 1-3: Rare and Unreleased, 1961-1991
Simple Twist of Fate
 (Take 2, Remake) – with bass 
Simple Twist of Fate (Take 3, Remake) – with bass – previously released on Blood On The Tracks
Up to Me
 (Rehearsal and Take 1, Remake 3) – with bass
Up to Me (Take 2, Remake 3) – with bass – previously released on Biograph
Idiot Wind
 (Rehearsal and Takes 1-3, Remake) – with bass 
Idiot Wind (Take 4, Remake) – with bass 
Idiot Wind (Take 4, Remake) – with organ overdub – included on Blood On The Tracks test pressing and previously released on The Bootleg Series, Vols. 1-3: Rare and Unreleased, 1961-1991
You're a Big Girl Now
 (Take 1, Remake 2) – with bass
Meet Me in the Morning (Take 1, Remake 2) – with bas
Meet Me in the Morning (Takes 2-3, Remake 2) – with bass

Bob Dylan: vocals, guitar, harmonica
Tony Brown: bass

DISC 6

A & R Studios
New York
September 19, 1974

You're a Big Girl Now (Takes 3-6, Remake 2) – with bass
Tangled Up in Blue (Rehearsal and Takes 1-2, Remake 3) – with bass
Tangled Up in Blue (Take 3, Remake 3) – with bass

Sound 80 Studio
Minneapolis, MN
December 27, 1974

Idiot Wind – with band – previously released on Blood On The Tracks
You're a Big Girl Now 
– with band – previously released on Blood On The Tracks

Sound 80 Studio
Minneapolis, MN
December 30, 1974

Tangled Up in Blue – with band – previously released on Blood On The Tracks
Lily, Rosemary and the Jack of Hearts 
– with band – previously released on Blood On The Tracks
If You See Her, Say Hello 
– with band – previously released on Blood On The Tracks

Bob Dylan: vocals, guitar, harmonica, organ (4-5), mandolin (8)
Tony Brown: bass (1-3)
Chris Weber: guitar (4-6, 8)
Kevin Odegard: guitar (6)
Peter Ostroushko: mandolin (8)
Gregg Inhofer: keyboards (4-8)
Billy Peterson: bass (4, 6-7)
Bill Berg: drums (4-8)

All songs written by Bob Dylan except Spanish Is the Loving Tongue (traditional, arranged by Bob Dylan)

New York sessions originally engineered by Phil Ramone

Minneapolis sessions originally engineered by Paul Martinson

SOURCE Legacy Recordings

Related Links

http://www.legacyrecordings.com

Original Article: https://www.prnewswire.com/news-releases/bob-dylan---more-blood-more-tracks---the-bootleg-series-vol-14-to-be-released-by-columbia-recordslegacy-recordings-on-friday-november-2-300715635.html


Minnesotans finally get credit for playing on Bob Dylan's 1975 classic 'Blood on the Tracks'

Six Minnesota musicians finally get official recognition for their contributions to Dylan's 1975 landmark album. 

By Jon Bream Star Tribune

October 31, 2018 — 2:24pm

unnamed-2.jpg

Ken ReganBob Dylan with a mandolin during the "Blood On the Tracks" sessions.

Busy bassist Billy Peterson showed up at Sound 80 studio in south Minneapolis like it was just another recording session. After all, producer David Zimmerman hired him all the time. But when he walked into the studio late that afternoon, he learned the surprise.

Bob Dylan, Zimmerman’s famous brother, stood in the smoke-filled room wearing a black leather jacket and jeans. The Minnesota icon had recorded an album in New York, due to be released in three weeks, but he wasn’t completely happy with the project.

So on Dec. 27, 1974, Peterson, along with a bunch of other local musicians in their early to mid-20s, were set to record with Dylan. Five of their songs ended up on the landmark “Blood on the Tracks,” Dylan’s bestselling studio album that landed in the Grammy Hall of Fame.

But the six Minnesota musicians never received official credit — until now.

Friday’s release of “More Blood, More Tracks — the Bootleg Series Vol. 14” belatedly recognizes Peterson and the others because 500,000 jackets for the original album were already printed when the Minneapolis recording sessions took place.

“I know the music business with all the faux pas that go on,” said Peterson, who has had a long career, including stints with the Steve Miller Band and Ben Sidran. “This is a rubber stamp of approval. It feels good. It’s the most prestigious recording I’ve been on.”

For acoustic guitarist Kevin Odegard, who has spent four decades campaigning for this recognition, the acknowledgment is not so much about “authentication and validation” but more importantly it made him feel like “a Musician with a capital M because my name is on that record.”

Four of the “Minnesota Six,” as they sometimes call themselves, got together last week to tape a cable TV program in northeast Minneapolis. The other two — guitarist Chris Weber from California and drummer Bill Berg from North Carolina — chimed in via technology.

Odegard, a singer-songwriter who was managed by Zimmerman at the time, was the only player who knew what the secret sessions were for. It was Odegard who contacted Weber, proprietor of Dinkytown’s popular Podium music shop, looking for a certain kind of smaller acoustic guitar. That got the ball rolling.

Weber demonstrated an acoustic Martin guitar for Dylan at Sound 80. The Hibbing bard took a liking to Weber’s guitar style and asked him to teach a song, “Idiot Wind,” to the rest of the musicians.

Berg, who had played in jazz combos with Zimmerman in their native Hibbing, had his car packed for an impending move to Los Angeles to pursue his dream of becoming an animator for Disney. He stuck around, joining Peterson as the most experienced of the local players.

Dylan “was comfortable because he was with his homeboys,” Odegard opined in an interview with the Star Tribune last week. “The sessions were relaxed.”

Dylan had written a batch of songs earlier that year at his newly purchased farm near Buffalo, Minn. The project marked his return to Columbia Records after a so-so two-album detour to David Geffen’s Asylum label.

First time in a studio

The Minnesota Six — who have played a series of live concerts in their home state over the years, starting in 2001 — have stories to tell.

Mandolinist/fiddler Peter Ostroushko, who was battling pneumonia, was summoned to the second session with Dylan, on Dec. 30, 1974. Not only was it his first recording project, it was his first time in a recording studio. He was 21 at the time. At one point, Dylan took the newcomer’s mandolin to play it himself because the notes were too high for Ostroushko to handle.

The next morning the still-ill Ostroushko woke up and thought he’d dreamed about playing a recording session with Dylan. No, his buddy from the Podium told him. It really happened.

Odegard famously forgot whom he was talking to and suggested changing “Tangled Up in Blue” from a common folk-song key to one associated with rock ‘n’ roll shuffles. Dylan bought it, and “Tangled” became one of his most frequently performed tunes over the years.

Peterson said he never felt tense recording with Dylan.

“He doesn’t go by the rules,” the well-traveled bassist pointed out. “He has more of a jazz mentality. He loves the first take.”

After the sessions, Peterson encountered Dylan in the Sound 80 parking lot. The superstar expressed his appreciation for the contributions of the Minnesota musicians.

There were no photos of the recording sessions in Minneapolis or New York. The musicians remember two of Dylan’s young sons hanging out at Sound 80. Drummer Berg crafted some drawings of the scene, depicting Dylan with sunglasses part of the time.

unnamed-3.jpg

Bill Berg

Bill Berg

N.Y. vs. Minneapolis versions

The deluxe six-CD boxed set of “More Blood, More Tracks” features 87 tracks (plus handwritten lyrics and photos from the era), including many outtakes of the New York sessions in September 1974. These versions were often bootlegged, featuring more of a folk approach with just Dylan and a bass player. With a full band, the Minnesota readings feature an angrier, more forceful Dylan. For years, aficionados have debated which is better: the New York or Minneapolis takes.

The boxed set — and a single CD version that is available — offers remastered versions of the five Minneapolis songs, without all the effects that album producer Phil Ramone added to make the record more radio-friendly.

“They de-processed it,” Peterson said of the new versions. “It cleans up everything and brings it right in front of your face. The reverb goes away. You can hear everything a lot better. It sounds like Bob’s voice is in your ear. You can hear the spit.”

There were a handful of Minneapolis outtakes for four of the five songs, but their whereabouts are a mystery.

In 2004, Odegard co-authored a book, “A Simple Twist of Fate: Bob Dylan and the Making of ‘Blood on the Tracks,’ ” calling attention to the anonymous contributions of the Minneapolis musicians.

On Dylan’s “Greatest Hits Volume 3” in 1994, there were acknowledgments for the Minnesota players on the hit song “Tangled Up in Blue” — but not totally accurate, recognizing guitarist Ken Odegard and bassist Bill Preston.

Odegard never gave up. As the de facto contractor for some of the musicians at Sound 80, he wanted to make sure that they got paid — $325 for each three-hour session — and received credit. The checks came quickly, the recognition did not.

Over the years, Odegard kept in touch with Dylan’s managers and officials at Columbia Records. “I never, ever doubted that this day would come,” he said. “I just didn’t know when.”

On “More Blood, More Tracks,” there is no acknowledgment of Zimmerman’s contributions as producer of half the album.

“David Zimmerman did everything right,” said Odegard, pointing out that the younger brother never took credit in the family business. “He knew it would work because of that Midwestern ethic. It was trust. And it applied to Bob, too. The vibe was like being in a garage band in Hibbing.”

Trust perhaps. On two cold December nights, these six Minnesota musicians found themselves in the right place at the right time accompanying the master on a masterpiece. As Dylan put it on one of the songs on the album, it was a simple twist of fate.

unnamed-1.jpg

Meet the Minnesota musicians who helped make Bob Dylan's 'Blood on the Tracks'

By Jon Bream Star Tribune

October 31, 2018 — 11:46am

unnamed.jpg

RENÉE JONES SCHNEIDER • renee.jones@startribune.com

Minnesota musicians Billy Peterson, Gregg Inhofer, Kevin Odegard and Peter Ostroushko got together recently to discuss their contributions to Bob Dylan’s 1975 album “Blood on the Tracks.”

Billy Peterson, bass: Before the Dylan sessions, he played with everyone from Lawrence Welk and the Righteous Brothers to Leo Kottke and Natural Life. He has since become one of Minnesota’s most recorded bass players, working with the Steve Miller Band for 23 years, Cat Stevens, Ben Sidran, Neal Schon, Phil Upchurch, Irv Williams and his own family jazz band, the Petersons.

Gregg Inhofer, keyboards: He played with the jazzy rockers This Oneness, which became Olivia Newton-John’s backup band. He’s made a couple of solo albums and still gigs around the Twin Cities.

Kevin Odegard, guitar: He was an active Twin Cities singer-songwriter, leading the KO Band before moving to Los Angeles for executive jobs in the music industry at the Recording Academy and the National Academy of Songwriters. In 2004, he co-authored “A Simple Twist of Fate: Bob Dylan and the Making of ‘Blood on the Tracks.’ ” This year he released a career retrospective album, “Artifacts.”

Peter Ostroushko, mandolin: He quickly became a regular on Garrison Keillor’s “A Prairie Home Companion” and a mainstay in the Minnesota acoustic scene. A virtuoso mandolinist/fiddler, he has played with such big names as Willie Nelson, Chet Atkins and Emmylou Harris, performed with the Minnesota Orchestra, lent his music to Ken Burns’ TV specials and released more than a dozen albums under his own name. He suffered a stroke in January 2018.

Bill Berg, drums: After playing with the likes of Leo Kottke and Flim & the BB’s, he moved to Los Angeles, where he worked as a Disney animator on such movies as “Beauty and the Beast.” Now living mostly in North Carolina, he does artwork and occasionally plays in a jazz group.

Chris Weber, guitar: He ran the Podium guitar shop in Dinkytown for years and relocated to Northern California, where he’s been repairing guitars.

Original Article: http://www.startribune.com/meet-the-minnesota-musicians-who-helped-make-bob-dylan-s-blood-on-the-tracks/499161371/

PHOTOS

Copyright © 2010 / 2011 / 2012 / 2013 / 2014 / 2015 / 2016/2017/2018  Magic Marc Productions | All Rights Reserved | Privacy Policy