New CD Set -- "The Ultimate Bootleg Series (Angelina's Revenge)"
judge_...@hotmail.com
Dranac Special Projects Matrix code 08-15-01-24
Last weekend, at a small store selling "field recordings" in Lower
Manhattan, I paid an extravagant ($125) amount for this new CD boxed set. It
came in an elaborate package, including a 73-page booklet explaining how most
of these recordings once belong to a major Dylan collector for the American
midwest, who has been going through a messy divorce and who foolishly left
his wife (who calls herself 'Angelina' here) in control of the safety deposit
box where he stored his rarest tapes. She has not only been producing this
box set (the booklet reports), but plans to auction off the original tapes
(starting at prices ranging from 500$ to 15,000$ at www.dranac.com/angelina
later this summer. The CDs are a bit amateurishly produced, and some of the
technical stuff is badly done, but that shouldn't stop you from buying it if
you come across it! The details --
DISC 1:
1. Accentuate the Positive (4:03). Supposedly from newsreel footage which
turned up in the archives of a Minnesota TV/radio station. It begins with a
nearly 2-minute introduction about returning World War 2 veterans celebrating
their first Mother's Day after returning home. Then, as the announcer
comments, 'But young men as well as their fathers were celebrating today,' we
can hear a young boy singing 3 verses of 'Accentuate the Positive', drowned
out at the end by 'The Starspangled Banner' closing the programme. The
booklet quotes Robert Shelton about young Bob singing this at a Mother's Day
party in 1946 in a Duluth restaurant.
2. Rock and Roll Will Never Die (2:25) 3. Tutti Frutti (2:03). Tapes of
one of young Bob Zimmerman's high school bands, recorded by Shelton when they
were played back for him by Dylan's father in 1966. You can hear Shelton and
the elder Zimmerman conversing during the music, which is enthusiastic but
pretty awful.
4. Matchbox (2:25). From a recording made by the Shadow Blasters for a
Duluth radio station, where it turned up along with track 1. Lots of surface
noise, but Dylan's voice is unmistakeable.
5. I Ain't Got No Home (2:50) (Cisco Houston, Bob harp)
6. The Great Historical Bum (3:13) (Jack Eliot, Bob harp)
7. This Land is Your Land (5:09) (Bob, plus unidentified guy on chorus). The
booklet says this is from 'Sid's Party Tape', dated 6/2/61, at 'Sheridan's'.
The first two tracks are pretty good, but the third one drags, as Bob seems to
slow the choruses down for his backup singer, who doesn't sound all that
healthy. After they finish, the backup says 'The boy's got it' and there's a
round of applause.
8. This Life is Killing Me (2:38). 'Victor's Audition Tape', from a Gerde's
Folk City soundboard, April 1961. Pretty good, but derivative.
9. Big Boat on the River (7:28) (Bob guitar, harp, backup voc). Creditted
to 'Cynthia's Birthday Party', August '61. The lead singer is not
identified, but during a comedy bit in the middle of the song somebody (not
Bob) calls him 'John'.
10. Hard Rain (4:04) but not the right title
11. Emmett Till (2:35). Apparently from a college radio broadcast, because
after 'Emmett Till' an announcer says 'That was Bobby Dylan performing here on
campus last Friday night'. Date by the booklet is 26/2/62. The first song
isn't 'Hard Rain's a-Gonna Fall', but its a pretty good song anyway, every
vverse begins 'There's a strange rain pouring down'. It sounds like a
traditional folk song melody. The audience loves 'Emmett Till'.
12. Don't Think Twice (8:31). 'Freewheelin' BD outtakes, 14/11/62. There's
a band on this, and it's a really bad idea. They stop and start three times,
and finally give up in the middle of the third verse. At the end, the bass
player is fidgeting and plucking after John Hammond says to take a break, and
a little boy say 'Daddy can we go home now.' -- There's laughter, the bass
player stops, and Bob laughs hysterically.
13. You've Lost that Loving Feeling (w/JoanB) (4:45). Live, Sacramento,
14/10/63. Its fun to listen to, but the audience hated it.
14. Pan American (w/Johnny Cash & JoanB) (3:29) 15. It Ain't Me Babe
(w/Johnny & Joan) (2:49). Supposedly at the 1964 Newpoert Folk Festival. I
don't hear an audience and I never read about Bob and Johnny performing at
Newport. Workshop? Rehearsal. The first song is a train song, written by
Johnny I guess.
16. Can You Please Crawl out Your Window? (live Austin 24/9/65) (4:39) From
acetates, missing the first line or so. The fast version, like the single.
A surprise for this to show up. It sounds a bit rushed. Played instead of
'Buick 6', Angelina says.
17. Please Don't Leave Me.(3:59) The 'Carnegie Hall Rehearsal Tape'. I've
never heard this song before, is it a Dylan original? Roobbie R takes a long
guitar solo before the last verse!
18. Positively 4th Street (live Chicago 26/11/65) (3:05). Easily the wrost
sounding track on the album, but a very listen-able audience recording.
19. Van Gogh's Last Ear (4:45) 20. She's Under Control (2:54). The booklet
says these are from 'The L.A. Demo Tape', dated 16/3/66. I've heard the Van
Gogh song on the Denver hotel tape, the lyrics here are very different.
'Control' shares a few lines with the Basement song, but the music is
completely changed, much slower. The booklet says there are four more demos
cut at the session -- 'Long Distance Operator', 'You Smile Like a Reptile',
'Save It Now or Save It LAter', 'Free Champagne for Mona Lisa'.
DISC 2
1. Wild Wolf (2:49) 2. No Work for the Blacksmith (5:04) 3. Hang on Sloopy
(6:55). From the Basement tapes, with the 1st 2 tracks in 'wide stereo'. A
standard basement rave-up, a rather dire lament for a blacksmith who can't
make a living so he spends his day 'standing around making shoes for the same
horse', then the highlight, that begins as the famous single until Bob breaks
out into a hilarious monolog about what terrible things will happen to Sloopy
if she leaves him, with the boys in the Band howling 'Hang on' in the
background. My personal favourite.
4. Lay Lady Lay (2:30). The demo sent to the director of 'Midnight Cowboy',
sung in the JWH voice and pretty odd.
5. Tonight I'll Be Staying Here with You (3:03). 'An Outtake From Bob's
Storage Locker.' Different lyrics, less developed melody, maybe the 1st take,
faster than the official one.
6. I Ain't Got No Home (4:00). From 'The Elmer Johnson Tape,' the booklet
says, it sounds live to me. A quieter version of the Guthrie Show
arrangement. Dated July '69.
7. Alligator Man (1:25). A 'New Morning' outtake -- but a fragment, a
mock-Cajun riff with a mention of Doug Kershaw and a 'see you later alligator
man' finish.
8. Love Minus Zero - No Limit (3:07)
9. It Takes a Train to Cry (4:20)
10. Just like a Woman (2:53). PA recordings from the afternoon Bangla Desh
show. They sound really good.
11. Please Mrs Henry (3:44) 12. Like a Rolling Stone (7:05). PA recordings
from the Band's 'Rock of Ages' concert 31/12/71. These sound really good
too, although the horns on 'LARS' are weird, especially the trumpet solo.
13. Forever Young (3:55). 'Planet Waves' outtake with female backup singers.
Angelina says the backup singers are Cher (!) and Jacky De Shannon.
14. North Country Blues (3:47). Friends of Chile concert 9/5/74. Much
better sound than the audience tape I heard, but Bob is plainly stewed.
15. Isis (7:08). The booklet calls it a 'Fire Island Demo', but it sounds
like a little club to me -- you can even hear somebody breaking a glass and
cursing. Bob on guitar, somebody on piano, very different lyrics, a changing
chorus, and a very folky melody.
16. Hard Rain's a-Gonna Fall (4:55) 17. I Shall Be Released (w/band) (3:59)
18. Lily Rosemary & the Jack of Hearts (9:07) (w/JoanB). Fort Collins hotel
rehearsals, May 1976. Pretty sloppy, colourful, lots of fun to listen to.
Very metallic lead guitar on 'Hard Rain'. Angelina says 'Lily Rosemary' is
live at Salt Lake City 25 May 1976, but I don't think Bob stopped the song in
concert, said 'let's try it in A', and started over.
DISC 3
1. Senor (4:11) 2. First To Say Goodbye (5:16). Rundown studios 26/12/77.
Two solo piano demos. Bob is really energized at the end of 'Senor', but
'1st' is one of those divorce songs from 'Street Legal' that make him sound
real mean-spirited, like 'New Pony'. Real nasty. Now C. Heylin and I can
both say we heard this song!
3. When He Returns (4:23) (w/band). 'Slow Train' outtake, interesting but
not a patch on the official version.
4. She's Not for You (3:49) 5. Let's Keep it Between Us (3:30). Rundown
studios demos October '80. The 1st one is surprisingly catchy with a nice
harp solo. The 2nd is solo Bob piano with a lot of humming where he hadn't
finished up the lyrics. Where's 'Caribbean Wind'?
6. Mountain of Love (3:41). 'Empire Burlesque' outtake and not one of Bob's
top efforts.
7. Hollis Brown (2:01) 8. Mr Tambourine Man (3:16) 9. Gotta Serve Somebody
(1:45) 10. Masters of War (1:09) 11. Jokerman (3:26) 12. Hurricane (0:48)
13. Satisfaction (1:57) 14. Sweet Virginia (7:34) 15. Jumpin Jack Flash
(2:49) 16. Forever Young (3:58). The '"Live Aid" Rehearsals', Angelina
says, and it certainly sounds like Bob, Ronnie and Keef screwing around.
They play the 1st 2 songs straight, but Bob cracks up when Ronnie suggests
some new lyrics in the middle of 'Serve Somebody', and he really doesn't get
it together again until the tape stops (but it's not continuous, but there's
lots of conversation between songs). Keith tries to sing lead on 'Hurricane'
but all he knows is the first few lines of the chorus so Bob stops the song
after he has to sing the 'champion of the worrrrrllllllllddd' part. He
returns the favor to Keith by massacreing 'Satisfaction'. Everybody has fun
on 'Sweet Virginia' and when the work up 'Forever Young' it sounds like
something you might actually hear in concert.
17. Red Cadillac & a Black Moustache (3:59) 18. Uranium Rock (2:42) 19.
Friend Of The Devil (3:16). 'Down in the Groove' outtakes. It's a lot of
fun to hear Bob rip through the first 2, but why an accordion player on
'Friend of the Devil'?
20. Karma Chameleon (1:45) 21. Come Together (4:14). From the 'Zoetrope
Rehearsals' with Tom Petty and his Heartbreakers. On 'Karma' Bob and the
Queens of Rhythym alternate lines onm a bit of acoustic whimsy. 'Come
Together' is interesting but rather ponderous.
22. Silvio (5:15)
23. Going Going Gone (3:30)
24. Country Pie (2:40). From the 'Front Street Rehearsals' in San Raphael.
Same sound quality as the common tapes of the other songs, not as good as the
cut on 'Genuine Bootleg 3'.
DISC 4
1. Love Rescue Me (wU2) (4:15). Bob sings lead on the entire song here and
it's much better than Bono's version.
2. You Just Keep Me Hangin' On (5:11) 3. Sweet Dreams Of You (3:09) 4.
Tears of Rage (3:33) 5. Walkin' After Midnite (3:59) 6. Dignity (5:36) 7.
Man in the Long Black Coat (3:33) 8. I Can See for Miles (2:19) 9. As I
Went Out One Morning (4:10) 10. High School Hop (2:17). October 1989
rehearsals, the booklet says. It sounds mostly like the regular GE Smith
band, and you can hear GE talking to Bob a few times when the 'Oh Mercy'
songs break down -- but it sounds like there are 2 drummers on 'Hangin On,'
'Miles' and 'Hop', and the 2nd one's none too good. Bob has fun on the covers
and tries hard on the new songs.
11. Dancing in the Dark (3:08)
12. Key to the Highway (3:45). Toad's Place, 12/1/90, PA recordings. PA
RECORDINGS!! P!A! RECORDINGS !!!!!!
13. Some Enchanted Evening (wNRBQ) (3:28)
14. Shirley Temple Won't be Coming Back Home. 'Red Sky' outtakes, one cover
(pretty grizzly), one new song with some good stuff, a really nice vocal, and
just a few dummy lyrics. Why didn't he finish this instead of 'Unbelievable'?
15. Mr Tambourine Man (w RogerMcG & Tom P) (6:45). Bobfest rehearsals,
acoustic. Bob Roger and Tom each take a verse, sing the chorus and last verse
together. It's fascinating, but their voices don't sound so good together and
it's easy to say why this was cut from the programme.
16. Lady Came from Baltimore (2:59). From the first 'World Gone Wrong'
session says the booklet, but this is really weird -- solo acoustic, but with
a backing choir on the chorus. I wonder a little if this isn't really from
'Self-Portrait', but Bob's voice is too rough.
17. I Pity The Poor Immigrant (3:47). From the 'MTV Unplugged Rehearsals',
and even slower than that first 'Rolling Stone'.
18. Well Well Well (3:14). Demo sent to Maria Muldaur. Real rough.
19. To Make You Feel My Love (4:30). Demo sent to Billy Joel. Bob solo
paino with a long harp solo at the end (which is pretty silly on a demo so
maybe this was supposed to be an album track?)
20. Mississippi (4:48). Demo-outtake sent to Sheryl Crow. Sounds like most
of the 'TooM' tracks probably did before Daniel Lanois worked them over. A
very good song, a great performance, and the perfect way to finish this album
Probably left off 'TOOM' because it has the same rhythm as 'Trying to Get to
Heaven.'
Whew. There you have it. If you find it, don't miss it.
MANGEY J.
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judge_...@hotmail.com wrote:
> THE ULTIMATE BOOTLEG SERIES (ANGELINA'S REVENGE) 4CDRs
> Dranac Special Projects Matrix code 08-15-01-24
>
> Last weekend, at a small store selling "field recordings" in Lower
> Manhattan, I paid an extravagant ($125) amount for this new CD boxed set. It
> came in an elaborate package, including a 73-page booklet explaining how most
> of these recordings once belong to a major Dylan collector for the American
> midwest, who has been going through a messy divorce and who foolishly left
> his wife (who calls herself 'Angelina' here) in control of the safety deposit
> box where he stored his rarest tapes. She has not only been producing this
> box set (the booklet reports), but plans to auction off the original tapes
> (starting at prices ranging from 500$ to 15,000$ at www.dranac.com/angelina
> later this summer. The CDs are a bit amateurishly produced, and some of the
> technical stuff is badly done, but that shouldn't stop you from buying it if
> you come across it! The details --.................
Yes! This is an *INCREDIBLE* set. Just sorry to read that you got the
CDR version. Did you get yours over on the West Side? They were selling
the original CD box set over in the East Village for just under $100. Mine
is on the Drallam label--not sure if they've issued anything prior to this
set, but wow!, what a job with this one.
I see from your track listing that the CDR version doesn't include Bob's
singing of his bar mitzvah verses, his speech to the congregation (that
"Today, I am a man" opening brought tears to my eyes--even then, he knew
how to put things in a way no one before ever had). You also don't seem
to have the later thank-yous for all the fountain pens (someone must have
left the tape running, I guess). But those are all a bit muddy-sounding
anyway, so probably no great loss.
Also, does your copy of the booklet not have the tentative tracklisting
Drallam is planning for Angelina's Revenge, vol. II? Kinda mean to put
out the more ordinary stuff on volume I and hold out all the really rare
stuff for another volume. Anything to make a few extra bucks, eh?
Ejnels
Erik
P.S. Extremely well done!!!
Ejnels
Dranac Special Projects Matrix code 08-15-01-24>
The only thing that gave away the joke is the Matrix Code. EVERYBODY knows that
Dranac numbers begin with an "07", NOT "08".
Be more careful next time!!
Richard Batey
>Yes! This is an *INCREDIBLE* set. Just sorry to read that you got the
>CDR version. Did you get yours over on the West Side?
Isn't this the same collection played over KCUD, the pirate station out of
Mallard Bay?
Richard
christopher michael coyle
the TooM demos that were sent out to other artists, particulary Mississippi.
How do the demos sound without the Lanois production? How stripped are they and
how do they sound like that?
thanks
chris-blue eyed son
20. Mississippi (4:48). Demo-outtake sent to Sheryl Crow. Sounds like
most
of the 'TooM' tracks probably did before Daniel Lanois worked them over. A
very good song, a great performance, and the perfect way to finish this
album
Probably left off 'TOOM' because it has the same rhythm as 'Trying to Get
to
Heaven.'
--
“In fourteen months I've only smiled once and I didn't do it consciously.”-Bob
Dylan “Up To Me”
WScott2805
>
>9. Big Boat on the River (7:28) (Bob guitar, harp, backup voc). Creditted
>to 'Cynthia's Birthday Party', August '61. The lead singer is not
>identified, but during a comedy bit in the middle of the song somebody (not
>Bob) calls him 'John'.
>
This is incredible. I must have it. You don't realise it but the John mentioned
is none other than John Lennon (gasp!!) I have the rest of the Birthday party
tape. BTW the date is 1964 not 1961 - the tape box was misdated. John and Bob's
duet on Wake Up Little Susie is superb. A major find.
Wes
PS nice one judge!
The post office has been stolen
and the mailbox is locked