Tag Archives: Legacy Recordings

Visions of Johanna

Inside the museums, Infinity goes up on trial. – Bob Dylan from 1966’s “Visions of Johanna”

Cutting Edge 5

Fourteen Months

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It took Bob Dylan, his lyrics, his voice, his imagination, and his various ensembles 14 months to create some of the most unbelievable music and three of the all-time greatest albums in history.

The Bootleg Series Vol. 12: Bob Dylan 1965-66 The Very Best of the Cutting Edge is one of three versions of the recording sessions that changed the music world and redefined art in the 20th Century. Those of you who do not have children in college might opt for the more deluxe versions and spend over $100 for the bells and whistles – and more power to you – but, for most of us, this two-disc version is plenty sufficient to remind us why we originally fell in love with this sound and these songs and why they turned the music world topsy-turvy.

Included here are 36 out-takes, alternate versions, and works in progress that morphed into the second holy trilogy of Bringing It All Back Home, Highway 61 Revisited (“…one of those albums that, quite simply, changed everything.” Rolling Stone), and Blonde on Blonde.

The original working titles, that were at times jokes, are a part of the story, as is the experimentation of enormous talent in the room, as they aimed for the precision of sound and style that was floating around in Bob’s head.

Along the lines of “You had me with hello,” one of the most underrated love songs of all time, “Love Minus Zero/No Limit,” kicks it off and there is no looking back. The rest is an endless stream of fun. “She Belongs to Me” is a keeper, and it is interesting that, 5 decades later, this is the second song of the most recent set live set lists, and current drummer, George Recile, employs mallets to move the band along, almost as if it is a march. There is so much texture to this music that the sound continues to evolve, seemingly without end.

Cutting Edge back

Back to 1965.

Some of the drum work of Bobby Gregg, particularly on “Mr. Tambourine Man,” is quite interesting, as is some of the guitar work of Robbie Robertson, although The Hawk’s (soon to be The Band) studio work did not mesh with Bob’s perspective for these albums, and none of these takes made it to vinyl.

But one could go on and on. Favorites will be in the eye – or, rather, the ears – of the beholder, and there are many, many to be had. It is all most interesting, and the gems included here are too numerous to mention in a track by track format.

The liner notes are also intriguing. While for the diehard Bob-Heads much of it is familiar territory, the take and telling of the stories is absorbing. Longtime Dylan chronicler Sean Wilentz adds his take, and it goes without saying that Al Kooper must again remind us that he snuck on the Highway 61 album after recognizing his inferiority to guitarist Mike Bloomfield. Kooper was informed that he was not an adequate organ player yet, despite all of this, Dylan instructed producer Tom Wilson to turn that famous organ mix up on the timeless “Like A Rolling Stone.” Listening to the evolution of this song alone, from waltz to classic is probably enough to justify a purchase.

Highly recommended.

Dave Moyer

The reviewer received a copy of this release from Santa Claus.

Mr. Moyer is a public school district superintendent in Illinois, and is the author of Life and Life Only: A Novel. He remains employed and married despite having seen Bob Dylan perform live 36 times.

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You Can Close Your Eyes

Music review: The Essential James Taylor

Does a buyer get his or her money’s worth with this 2 CD, 30 song collection?

Sony’s Legacy Recordings gets some props for truth in labeling with this collection. They could have simply placed James Taylor’s 20 best-selling singles on one CD and it would have constituted a purchase-worthy collection. Instead, on The Essential James Taylor the listener/purchaser has those 20 songs plus an additional 10 more on two CDs.

For any greatest hits collection there will be some quibbles. I would have left off the overly short “Long Ago and Far Away” (which seemed to be an idea for a song rather than a finished item, on which Taylor was accompanied by Joni Mitchell). Instead, I would have included “Mockingbird,” on which Taylor sang with his then-spouse Carly Simon – assuming the rights were available for licensing from Elektra/Warner. And I would have preferred “Suite for 20G” instead of the live take on “Steamroller.” Nevertheless, all of Taylor’s hits – as documented by their Pop and Adult Contemporary peak chart positions – and several lesser-known songs are found here.

The Essential James Taylor

“Honey Don’t Leave L.A.,” written by Danny Kortchmar, is one of the fun and unexpected selections in this compilation. Fortunately, “Her Town Too,” co-written and performed by Taylor and the very talented J.D. Souther, is included. There’s an interesting track, “Hard Times Come No More,” recorded with Yo-Yo Ma and a jaunty live version of the classic “Country Road.” “Secret O’ Life” – recorded live, is a nice surprise for those not previously familiar with it.

The second of the two CDs concludes almost perfectly with two inspiring and life-affirming songs performed live, “My Traveling Star” with the Tanglewood Festival Chorus and “You Can Close Your Eyes.”

A word about the sound. This compilation was produced by Bill Inglot and mastered by Vic Anesini. Anesini has been involved in mastering several Legacy discs, including Over the Bridge of Time: A Paul Simon Retrospective (1964-2011). Here, the Inglot-Anesini team has delivered a set of discs with a nice, warm mid-range tone that’s generally pleasing to the ear. This collection is not a case where artificial “punch” and jarring loudness are added for dramatic effect. The sound is as soothing as Taylor’s voice. And Taylor’s and Kortchmar’s guitar work is easily heard in the mix. There are a couple of tracks that sound a bit flat, as if one were listening to the songs over a set of television speakers. But all in all, it’s a compilation that sounds consistently fine whether one is listening at home or in the car.

It’s a bit of a puzzle as to why Inglot placed the songs in almost, but not quite, chronological order. Perhaps it has to do with the segues, deciding which song would sound best followed by another particular song. I would not change a thing about the song order on either disc.

This fresh look at Taylor’s career that spans the years 1968 through 2007 reminds us that he is, like Paul Simon, a true American treasure. James Taylor’s music has not just helped to – in the words of the liner notes – “define a generation,” it helped a generation to grow, survive and prosper even when times seemed to be at their worst (“Sweet dreams and flying machines in pieces on the ground.”).

Thank goodness we’ve been able to experience his artistry in our times. How sweet it was and still is.

Highly recommended.

Joseph Arellano

A review copy was provided by Sony Legacy Recordings.

This review first appeared on the Blogcritics site as an Editor’s Choice article:

http://blogcritics.org/music-review-james-taylor-the-essential-james-taylor/

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Essential James Taylor

A music review! We take a look at The Essential James Taylor, a 2 CD compilation with 30 songs.

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