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[SACD-R][OF] Bob Dylan And The Band – The Basement Tapes - 1975/2012 (Rock, Folk, Blues, Country)

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Bob Dylan And The Band – The Basement Tapes (1975/2012)

Жанр: Rock, Folk, Blues, Country
Носитель: SACD
Год издания: 1975/2012
Издатель: Mobile Fidelity
Номер по каталогу: UDSACD 2082
Аудиокодек: DSD64 2.0
Тип рипа: image (iso)
Продолжительность: 01:17:32
Наличие сканов в содержимом раздачи: да
Образ снят с помощью: Sony PlayStation 3 и утилиты sacd-ripper version 0.21
Релизёр:
Треклист:
01.Odds And Ends 01:47
02.Orange Juice Blues (Blues For Breakfast) 03:39
03.Million Dollar Bash 02:32
04.Yazoo Street Scandal 03:29
05.Goin’ To Acapulco 05:28
06.Katie’s Been Gone 02:49
07.Lo And Behold! 02:47
08.Bessie Smith 04:18
09.Clothes Line Saga 02:58
10.Apple Suckling Tree 02:49
11.Please, Mrs. Henry 02:33
12.Tears Of Rage 04:17
13.Too Much Of Nothing 03:03
14.Yea! Heavy And A Bottle Of Bread 02:15
15.Ain’t No More Cane 03:59
16.Crash On The Levee (Down In The Flood) 02:04
17.Ruben Remus 03:16
18.Tiny Montgomery 02:51
19.You Ain’t Goin’ Nowhere 02:43
20.Don’t Ya Tell Henry 03:13
21.Nothing Was Delivered 04:23
22.Open The Door, Homer 02:49
23.Long Distance Operator 03:40
24.This Wheel’s On Fire 03:49

#777#777

The Basement Tapes is a 1975 studio album by Bob Dylan and The Band. The songs featuring Dylan’s vocals were recorded in 1967, eight years before the album’s release, at houses in and around Woodstock, New York, where Dylan and the Band lived. Although most of the Dylan songs had appeared on bootleg records, The Basement Tapes marked their first official release.

During his world tour of 1965–66, Dylan was backed by a five-member rock group, the Hawks, who would subsequently become famous as the Band. After Dylan was injured in a motorcycle accident in July 1966, the Hawks’ members gravitated to the vicinity of Dylan’s home in the Woodstock area to collaborate with him on music and film projects. While Dylan was concealed from the public’s gaze during an extended period of convalescence in 1967, they recorded more than 100 tracks together, comprising original compositions, contemporary covers and traditional material. Dylan’s new style of writing moved away from the urban sensibility and extended narratives that had characterized his most recent albums, Highway 61 Revisited and Blonde On Blonde, toward songs that were more intimate and which drew on many styles of traditional American music. While some of the basement songs are humorous, others dwell on nothingness, betrayal and a quest for salvation. In general, they possess a rootsy quality anticipating the Americana genre. For some critics, the songs on The Basement Tapes, which circulated widely in unofficial form, mounted a major stylistic challenge to rock music in the late sixties.

When Columbia Records prepared the album for official release in 1975, eight songs recorded solely by the Band—in various locations between 1967 and 1975—were added to sixteen songs taped by Dylan and the Band in 1967. Overdubs were added in 1975 to songs from both categories. The Basement Tapes was critically acclaimed upon release, and reached number seven on the Billboard 200 album chart. Subsequently, the format of the 1975 album has led critics to question the omission of some of Dylan’s best-known 1967 compositions and the inclusion of material by the Band that was not recorded in Woodstock.

The official release of The Basement Tapes — which were first heard on a 1968 bootleg called The Great White Wonder — plays with history somewhat, as Robbie Robertson overemphasizes the Band’s status in the sessions, making them out to be equally active to Dylan, adding in demos not cut at the sessions and overdubbing their recordings to flesh them out. As many bootlegs (most notably the complete five-disc series) reveal, this isn’t entirely true and the Band were nowhere near as active as Dylan, but that ultimately is a bit like nitpicking, since the music here (including the Band’s) is astonishingly good. The party line on The Basement Tapes is that it is Americana, as Dylan and the Band pick up the weirdness inherent in old folk, country, and blues tunes, but it transcends mere historical arcana through its lively, humorous, full-bodied performances. Dylan never sounded as loose, nor was he ever as funny as he is here, and this positively revels in its weird, wild character. For all the apparent antecedents — and the allusions are sly and obvious in equal measure — this is truly Dylan’s show, as he majestically evokes old myths and creates new ones, resulting in a crazy quilt of blues, humor, folk, tall tales, inside jokes, and rock. The Band pretty much pick up where Dylan left off, even singing a couple of his tunes, but they play it a little straight, on both their rockers and ballads. Not a bad thing at all, since this actually winds up providing context for the wild, mercurial brilliance of Dylan’s work — and, taken together, the results (especially in this judiciously compiled form with its expert song selection, even if there’s a bit too much Band) rank among the greatest American music ever made.

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