BOB DYLAN BLOOD ON TRACKS INSANELY RARE ORIGINAL'74 ACETATE COMPLETELY DIFFERENT
THIS RECORD COMES FROM OUR PERSONAL COLLECTION
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· BOB DYLAN - BLOOD ON THE TRACKS – ORIGINAL 1974 COLUMBIA RECORDS STEREO LP (NO NUMBER ON THE LABEL AND NO MATRIX STAMP -- ACETATES TYPICALLY DO NOT HAVE MATRIX STAMPS)
· ORIGINAL US PRESSING
*** INSANELY RARE ORIGINAL 1974 COLUMBIA ACETATE WITH UNRELEASED - COMPLETELY DIFFERENT - VERSION OF THE ALBUM (PRESUMABLY PARTIALLY RECORDED WITH THE ERIC WEISSBERG'S GROUP) AND NEVER AVAILABLE IN ITS COMPLETE, UNABRIDGED FORM - - EVER!!!
· WHILE BOB DYLAN ELECTED LATER TO RELEASE SOME OF THE UNRELEASED TRACKS ON HIS OTHER RELEASES (NOTABLY IN HIS 'BOOTLEG' SERIES), TO THE BEST OF OUR KNOWLEDGE AND UNDERSTANDING, THE COMPLETE UNRELEASED VERSION OF THIS LEGENDARY ALBUM HAS NEVER BEEN COMMERCIALLY AVAILABLE (PARTICULARLY IN ITS ORIGINAL, INTEGRAL FORM) IN ANY SHAPE , MANNER OR FORM WHATSOEVER.
· THIS ACETATE COMES IN ITS PLAIN, WHITE, GENERIC COVER
· THIS IS THE ORIGINAL, AUTHENTIC, U.S. ACETATE ; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.
· CLEAN, WEAR-FREE LABELS
· COPYRIGHT NOTICE: THIS TITLE IS BEING OFFERED FOR SALE AS IT IS DEEMED TO BE (OR HAVE BEEN) PUBLICLY AND COMMERCIALLY AVAILABLE (ALTHOUGH IN A VARIETY OF FORMS AND FORMATS). IF YOU ARE THE OWNER OF THE COPYRIGHT AND HAVE QUESTIONS, COMMENTS OR DOUBTS, PLEASE CONTACT US DIRECTLY THROUGH EBAY.
(?PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)
(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get. GUARANTEED!)
Well folks, here it is. One of the singularly important Rock items we have ever held in our hands. We would be entirely disingenuous if we told you that our hands were not trembling and shaking like a little kid's while holding this precious object, a veritable sacred relic or an object of veneration. This was like touching Elvis Presley's first guitar.
The story about how this unreleased version of what is probably the most beloved of all Bob Dylan albums (and certainly the most critically acclaimed one) came to be is a very short one, although in reality I am sure it was accompanied by hundreds of complications both big and small. In late 1974, Bob Dylan approached a group of his friends with his new recording (an acetate of what would ultimately become Blood on the Tracks album). He may have handed a few of these precious pressings to some of his personal friends, but, in any event, judging by how rare these specimens are (you are more likely to get hit by a stray asteroid than find another one in your lifetime) it appears likely that that those privileged ones who received them from Bob Dylan are either determined to be buried with their copies or have already left this vale of tears. In any event, original Columbia acetates of the unreleased version of Blood on the Tracks are a sight unseen. You see this now, and you may not see another one. Ever. Again.
The reaction from Bob Dylan's friends - and even his own brother, who actively participated in the proceedings - was uniformly discouraging. It appears that none of the people he played the first (unreleased) version to were particularly impressed, with Steven Stills and Mike Bloomfield voicing their strongest reservations.
Now, before you proceed, a word of caution: Most record books and guides and alike will tell you an official version of the story: that the album Bob Dylan later re-recorded and released (the version we are all familiar with) is infinitely better than the unreleased version.
Let me tell you: THIS IS A TOTAL LIE AND A PIECE OF BLATANT HAGIOGRAPHY. The unreleased version of Blood on the Tracks is in EVERY MANNER IMAGINABLE superior to the better known commercially released version. It literally slays, skins and eats for breakfast the released version of the album. Another falsehood that seem to be in circulation is that Bob Dylan re-recorded only five songs, while leaving the other tracks untouched. I don't know about this (I have great reservations), but after repeated playing (3 spins altogether), I can confidently state that my ears find EACH AND EVERY track to be in some ways different from the ones re-recorded and released later. And if you look at the track timings on the acetate's label (see the comparison chart below), you will notice that the timing discrepancies between the unreleased and unreleased versions are present in every single case -- the discrepancies vary anywhere from a mere few seconds to more than a minute. It is simply not possible that only five songs are different. After listening to the album repeatedly, we came to the conclusion that ALL tracks have been in some ways changed for the commercial release. Granted, it is possible that only five were re-recorded in its entirety but that the remaining ones were simply remixed differently, but the differences are present, and massive, in ALL cases.
Probably the biggest difference is found on 'Lilly, Rosemary and the Jack of Hearts', the proverbial centerpiece and the focal point of the album. The unreleased version is a full minute longer, and the difference could not possibly be more dramatic. It literally leaps out of the grooves, grabs you by your throat and kicks you in your, um...posterior. Not only is the song completely different, top-down, inside-out and all around, with added musical content, it is also taken at a much slower, more leisurely and stately pace. Gone is the sped-up circus atmosphere of the better known, released version, and in its stead we have Bob Dylan crying his heart out in a slow, and much more dignified version. How ANYONE in the right mind could consider the released version of this song to be superior to the unreleased one is truly one of the most baffling metaphysical secrets of life.
My favorite "unreleased" track is probably "You are a big girl now". Not only is it drastically different, it also includes some brilliant arrangement flourishes, organ touch-ups and alike, which are - to my huge chagrin - absent from the later version.
I could go on and on, but there is no need to. You get the idea: you are looking at something truly and massively different from the album Bob Dylan later re-recorded.
At the risk of sounding sacrilegious, I would like to convey this to Bob Dylan: your friends were pathetically wrong (it is hard to believe that Mike Bloomberg, one of our big heroes, could be so brain-dead, and brain-deaf. What was he thinking?). You were right, and your judgment and instinct were DEFINITELY spot-on the first time around.
For everyone's education and guidence, here is the full reprint of the article on Blood on the Tracks sessions, as found in Wikipedia. It sums up things very succinctly and concisely.
"Blood on the Tracks is the fifteenth studio album by American musician Bob Dylan, released on January 17, 1975 on Columbia Records. The album marked Dylan's return to Columbia after a two-album stint with Asylum Records. Most of the lyrics on the album revolve around heartache, anger, and loneliness.
The album, which followed on the resurgence of critical acclaim for Dylan's work after Planet Waves, was greeted enthusiastically by fans and critics. In the years following its release it has come to be regarded as one of his best albums; it is quite common for subsequent records to be labeled his "best since Blood on the Tracks." It is also commonly seen as a standard for confessional singer-songwriter albums; though Dylan has denied that the songs are autobiographical, his son Jakob Dylan has stated: "The songs are my parents talking." In 2003, the album was ranked number 16 on Rolling Stone's list of the 500 greatest albums of all time.
The album reached #1 on the Billboard 200 charts and #4 on the UK Albums Chart. The single "Tangled Up in Blue" peaked at #31 on the Billboard Hot 100 singles chart. The album remains one of Dylan's all-time best-selling studio releases, with a double-platinum US certification by the Recording Industry Association of America (RIAA).
Prior to recording, and while details regarding his return to Columbia Records were being fleshed out, Dylan previewed the songs that would make up Blood on the Tracks to a number of friends and peers in the music world. According to biographer Jimmy McDonough, Dylan visited Neil Young in his home in Florida to showcase the songs on the album and seek out Young's opinion. Dylan also previewed the songs to David Crosby, Graham Nash, Stephen Stills, Tim Drummond, and Peter Rowan. Notably, Graham Nash recalled that Stephen Stills disliked Dylan's private performance of his new songs: immediately after Dylan left the room, Stills remarked to Nash, "He's a good songwriter...but he's no musician."
Initially, Dylan considered recording Blood on the Tracks with an electric backing group, and even contacted Mike Bloomfield, a guitarist who had worked with him on Highway 61 Revisited. The two met, and Dylan showcased the songs he was planning to record, but he played them too quickly for Bloomfield to learn. Bloomfield later recalled the experience: "They all began to sound the same to me; they were all in the same key; they were all long. It was one of the strangest experiences of my life. He was sort of pissed off that I didn't pick it up". In the end, Dylan rejected the idea of recording the album with a band, and instead substituted stripped-down acoustic arrangements for all of his songs.
Dylan arrived at Columbia Records' A&R Recording Studios in New York City on September 16, 1974, where it was soon realized that he was taking a "spontaneous" approach to recording. The session engineer at the time, Phil Ramone, later said that he would "go from one song to another like a medley. Sometimes he will have several bars, and in the next version, he will change his mind about how many bars there should be in between a verse. Or eliminate a verse. Or add a chorus when you don't expect". Eric Weissberg and his band, Deliverance, originally recruited as session men, were rejected after two days of recording because they could not keep up with Dylan's pace. Dylan retained bassist Tony Brown from the band, and soon added organist Paul Griffin (who had also worked on Highway 61 Revisited) and steel guitarist Buddy Cage. After ten days and four sessions with the current lineup, Dylan had finished recording and mixing, and, by November, had cut a test pressing on the album [NOTE: WE HAVE AN ACETATE HERE, NOT TEST PRESSING -- AN ACETATE TYPICALLY PRECEDES TEST PRESSING BY AT LEAST A FEW WEEKS -- op.ed]. Columbia soon began to prepare for the album's imminent release, but, three months later, just before the scheduled launch, Dylan re-recorded several songs at the last minute, in Minneapolis' Sound 80 Studios, utilizing local musicians organized by his brother, David Zimmerman. Even with this setback, Columbia managed to release Blood on the Tracks by January 17, 1975.
The songs that make up Blood on the Tracks are seen by most Dylan biographers as having been inspired by his personal turmoil at the time, particularly his separation from his then-wife Sara Dylan. However, Dylan has never said as much, and in his 2004 memoir, Chronicles, Vol. 1, he stated that the songs have nothing to do with his own personal life, and that they were inspired by the short stories of Anton Chekhov.
Dylan's fans theorize endlessly about his reasons for revamping the album, with one unconfirmed view being that the musical feel of the album had been monotonous, with too many songs in the same key and the same languid rhythm. It has also been said that, just two weeks before the release of Blood on the Tracks, Dylan played an acetate disc pressing of the record for his brother, his ensuing comments leading Dylan to re-cut five of the songs. Although the original test pressing is widely bootlegged, only one of the five original takes from it has seen official release ("You're a Big Girl Now", released on 1985's Biograph). Alternate takes of "Tangled Up in Blue", "Idiot Wind", and "If You See Her, Say Hello" from the same sessions were released on The Bootleg Series, Vol. 1–3, which also includes "Call Letter Blues", an outtake. "Up to Me", another outtake from these sessions, was released on Biograph. "Lily, Rosemary and the Jack of Hearts" is the only song from the New York sessions that has not been officially released. [WHICH IS A CRYING SHAME, BECAUSE IT IS PRECISELY HERE THAT THE DIFFERENCE BETWEEN THE RELEASED AND UNRELEASED VERSION IS THE MOST DRAMATIC -- op.ed]
Told of the album's lasting popularity, Dylan was later to say (in a radio interview by Mary Travers): "A lot of people tell me they enjoy that album. It's hard for me to relate to that. I mean, it, you know, people enjoying that type of pain, you know?" When speaking as to how the album seems to speak of the artist's own personal pain, Dylan replied that he didn't write "confessional songs".
Length (the officially released version)
Length (the acetate / unreleased version)
Tangled Up in Blue
Simple Twist of Fate
You're a Big Girl Now
You're Gonna Make Me Lonesome When You Go
Meet Me in the Morning
Lily, Rosemary and the Jack of Hearts
If You See Her, Say Hello
Shelter from the Storm
Buckets of Rain
For its extraordinary contribution to the modern music, superb production, craftsmanship, fine musicianship, revolutionary significance and influence it exerted on numerous generations of musicians, writers and general public, or for some other innate quality, this album was voted one of top-200 albums of all time in one of the largest poll of critics, music reviewers, professionals and producers ever organized: the poll, which was conducted by Paul Gambaccini, legendary BBC Radio A&R man, surveyed more than 50 top music professionals (including Roy Carr, Jonathan Cott, Robert Christgau, Cameron Crowe, Chet Flippo, Ben Fong-Torres, Charlie Gillett, Greil Marcus, Murray the K., Lenny Kaye, Bruce Morrow (a/k/a "Cousin Brucie"), Tim Rice (of "Jesus Christ Superstar" and "Evita" fame), Lisa Robinson, Robert Shelton (who wrote liner notes for Bob Dylan's first album), Ed Ward, Joel Whitburn, Pete Wingfield, etc.). For more details, see: "Critics Choice: Top-200 albums" compiled by Paul Gambaccini, Omnibus Press, Library of Congress Catalog No.7855565 (or ?click here for the complete album listing).
For additional historical or discography information on this album, including track listing ?click here
PLEASE NOTE: THIS ACETATE APPARENTLY NEVER HAD A CUSTOM COVER; THE ALBUM WILL BE SHIPPED IN A PLAIN, GENERIC [WHITE] CARDBOARD COVER. ACETATES AND REFERENCE PRESSINGS ARE RARELY – IF EVER – FOUND IN CUSTOM (STOCK) COVERS.
While this acetate is in a BEAUTIFUL state of preservation, we do expect bidders to understand that the aluminum-based, shellac-coated acetates can never be graded by using the exact, same stringent standards used by collectors for modern long-play, hi-fi LPs or singles. The buyer – if not familiar with acetate (reference) recordings - should be cautioned that these discs were intended for brief, limited use only; they were meant to be played only a few times, then discarded or destroyed. In view of this, the surface layer of the disc is manufactured in such a manner that it will wear off pretty quickly, even under normal conditions -- and specially if not handled with due care. Each subsequent playing increases wear and tear of the disc’s surface layer and diminishes the disc’s playability. This disc appears to have been unplayed recently and the grooves are still well-formed and fully visible.
This acetate is in about VERY GOOD++ (VG++) condition, with some MINOR, superficial but visible scuffs on the surface, and some light loss of surface sheen and lustre (nothing major). Absolutely NO part of the shellac (surface layer) of the disc is missing, and the surface layer is NOT dented, chipped, broken or otherwise compromised. The disc plays beautifully, with only a light crackling noise on first track on each side, in full frequency and dynamic range and without any distortion whatsoever.
ON A SCALE FROM 1-10 (where 10 is the best), WE GRADE RECORD AS 7, POSSIBLY 7.5
· COVER : This acetate comes without any custom jacket, and will be shipped in a plain, generic, white cardboard cover.
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