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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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Day After Day

Music Review: Badfinger – ‘Timeless… The Musical Legacy’

Is Timeless a fitting introduction to the music of Badfinger?

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If you were not around in the ’60s and’70s, or simply did not listen to music then, Apple Records has released a compilation to introduce you to the band Badfinger, Timeless. The Musical Legacy contains 16 tracks, 14 of which were originally recorded for Apple and two for Warner. I will not revisit the sad personal story of the band as it’s well covered in Dan Matinova’s definitive book, Without You: The Tragic Story of Badfinger (Revised Edition; 2000).

Let’s take a look at the songs on Timeless so that you can decide whether it should be in your collection. (All comments about recording sessions and band member quotes are sourced from Matinova’s book.)

Beatles Yellow Submarine

Badfinger B&W

[Look-alikes, The Beatles and Badfinger.]

Timeless opens with “Day After Day” from Straight Up, Badfinger’s masterpiece. George Harrison handled the production and played the lead guitar with Pete Ham. Harrison’s friend Leon Russell was brought in to play the piano. This remastered version allows you to hear the beautiful piano work as well as the harmony vocals.

“Without You” is the original version by the band, later covered and made into a smash single by Harry Nilsson. Badfinger’s version is understated compared to Nilsson’s dramatic take, but there’s a nice Procol Harum-style organ line that carries the song along. Ham said this about Nilsson’s version, “We knew that was the way we wanted to do it, but never had the nerve.”

Tom Evans intended “Rock of All Ages” to be a screamer in the style of Little Richard’s “Long Tall Sally,” but as recorded – with Pete Ham and Mike Gibbins – it came off like a variation on The Beatles’ “I’m Down.” This was especially true as Paul McCartney played piano on the track, which he also produced. A great live number (I saw Badfinger in Berkeley in 1972), the fine remaster allows you to hear the background vocals. “Dear Angie” was a track from the days when Badfinger was known as The Iveys. It’s a pleasant song sung by Ron Griffiths, the band’s original bass player. The tune has nice stereo sound effects, but it is far from essential.

McCartney was also involved in the song that made Badfinger famous, “Come and Get It,” which he wrote and produced. The sound is great here and McCartney proved to the doubting band members that he could fashion a hit single using sparse instrumentation: bass, drums, tambourine, and piano. It worked.

McCartney told Badfinger that “Maybe Tomorrow” was bound to be a hit single. That was not to be and today it sounds like an ornate song from the Bee Gees 1st album. “No Matter What” was a great, chunky-sounding single that reached number eight on the Billboard singles chart in 1970. It segues quite well into “Baby Blue,” the band’s best-ever, Beatles-quality single. Matinova called it “a superb showcase of Badfinger’s classic chemistry.” The version included on Timeless is the American stereo single release, which included an added snare drum. It’s snappy but the sound is fuller and richer on the Straight Up mix.

“Believe Me” is one of the best songs from No Dice. It is followed by a track from Straight Up, “Name of the Game.” The drumming gives it a “Let It Be” and “Hey Jude” feel. This version comes off as a bit dull compared to the earlier version, with horns, that’s a bonus track on the remastered Straight Up CD. “I’ll Be The One” was recorded for, but dropped from, Straight Up. It should have been a single as it sounds like the Beatles doing country rock.

“Apple of My Eye” was Ham’s bittersweet tribute to Apple Records. “Suitcase” is included and it’s the right take. This is the early “Pusher, pusher on the run” version recorded before the modified “Butcher, butcher…” take found on Straight Up. It’s a heavier version and reflects what the band sounded like live. As Molland said, “The original ‘Suitcase’ was more of what Badfinger was.”

The title track “Timeless” is a good song that, unfortunately, goes on too long, dissolving into a type of Baroque Traffic jam. At 7:40 it is needlessly longer than “Hey Jude.”

“Dennis” is another non-essential track, but it’s interesting because of a few Brian Wilson-like touches. The compilation concludes with “Love Is Gonna Come At Last,” a nice, airy, pleasant pop song written by Molland that sounds like Badfinger crossed with America. This may be an alternate take from the 1979 Airwaves sessions since Matinova writes that the album version was “tepid and slow.”

Longtime Badfinger fans will have all or most of this music in their physical or digital collections. But the compilation will work for those who would like a decent sampler. Keep in mind, however, that if you want to hear Badfinger at their very best you should consider acquiring either Straight Up or No Dice (or both).

Well recommended, for its intended audience.

Joseph Arellano

A review copy was provided by Apple Records.

This article was originally posted on the Blogcritics site:

http://blogcritics.org/music-review-badfinger-timeless-the-musical-legacy/

It was also used by the Seattle Post-Intelligencer newspaper site:

http://m.seattlepi.com/lifestyle/blogcritics/article/Music-Review-Badfinger-Timeless-The-Musical-5144246.php

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Coming Up Next…

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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