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Old 09.22.2018, 07:19 PM   #321
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Quote:
Originally Posted by The Soup Nazi
Just to clarify: I wasn't suggesting that the box set should use the same artwork as the original Blood On The Tracks, just something better and more pertinent than what we're seeing.

I dig, man. I dig.
Personally, I thought the artwork was kind of eye-catching and cool when I first saw it, but now that you mention it, it *feels* nothing like Blood on the Tracks. So I guess I’m with you on this one.
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Old 09.22.2018, 07:23 PM   #322
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The new Beak > album — which is actually called “>>>” — is pretty interesting and easy to krautjam out to. Would kill for a Portishead album, but I’m good with anything Geoff Barrow wants to release at this point.

Worth a listen. Good stuff.
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Old 09.22.2018, 10:00 PM   #323
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Oh man, this is gonna be MEGATONIC. Tracklisting for the 6 CD edish of More Blood, More Tracks:


DISC 1
A & R Studios
New York
September 16, 1974

If You See Her, Say Hello (Take 1) – solo
If You See Her, Say Hello (Take 2) – solo – previously released on The Bootleg Series, Vols. 1-3: Rare and Unreleased, 1961-1991
You’re a Big Girl Now (Take 1) – solo
You’re a Big Girl Now (Take 2) – solo
Simple Twist of Fate (Take 1) – solo
Simple Twist of Fate (Take 2) – solo
You’re a Big Girl Now (Take 3) – solo
Up to Me (Rehearsal) – solo
Up to Me (Take 1) – solo
Lily, Rosemary and the Jack of Hearts (Take 1) – solo
Lily, Rosemary and the Jack of Hearts (Take 2) – solo – included on Blood on the Tracks test pressing

Bob Dylan – vocals, guitar, harmonica


DISC 2
A & R Studios
New York
September 16, 1974

Simple Twist of Fate (Take 1A) – with band
Simple Twist of Fate (Take 2A) – with band
Simple Twist of Fate (Take 3A) – with band
Call Letter Blues (Take 1) – with band
Meet Me in the Morning (Take 1) – with band – edited version included on Blood on the Tracks test pressing and previously released on Blood on the Tracks
Call Letter Blues (Take 2) – with band – previously released on The Bootleg Series, Vols. 1-3: Rare and Unreleased, 1961-1991
Idiot Wind (Take 1) – with bass
Idiot Wind (Take 1, Remake) – with bass
Idiot Wind (Take 3 with insert) – with bass
Idiot Wind (Take 5) – with bass
Idiot Wind (Take 6) – with bass
You’re Gonna Make Me Lonesome When You Go (Rehearsal and Take 1) – with band
You’re Gonna Make Me Lonesome When You Go (Take 2) – with band
You’re Gonna Make Me Lonesome When You Go (Take 3) – with band
You’re Gonna Make Me Lonesome When You Go (Take 4) – with bass
You’re Gonna Make Me Lonesome When You Go (Take 5) – with band
You’re Gonna Make Me Lonesome When You Go (Take 6) – with band
You’re Gonna Make Me Lonesome When You Go (Take 6, Remake) – with band
You’re Gonna Make Me Lonesome When You Go (Take 7) – with band
You’re Gonna Make Me Lonesome When You Go (Take 8) – with band

Bob Dylan: vocals, guitar, harmonica
Eric Weissberg, Charles Brown III, Barry Kornfeld: guitars
Thomas McFaul: keyboards
Tony Brown: bass
Richard Crooks: drums
Buddy Cage: steel guitar (5-6)


DISC 3
A & R Studios
New York
September 16, 1974

Tangled Up in Blue (Take 1) – with bass

A & R Studios
New York
September 17, 1974

You’re a Big Girl Now (Take 1, Remake) – with bass and organ
You’re a Big Girl Now (Take 2, Remake) – with bass, organ, and steel guitar –included on Blood on the Tracks test pressing and previously released on Biograph
Tangled Up in Blue (Rehearsal) – with bass and organ
Tangled Up in Blue (Take 2, Remake) – with bass and organ
Spanish is the Loving Tongue (Take 1) – with bass and piano
Call Letter Blues (Rehearsal) – with bass and piano
You’re Gonna Make Me Lonesome When You Go (Take 1, Remake) – with bass and piano
Shelter From The Storm (Take 1) – with bass and piano – previously released on the Jerry McGuire original soundtrack
Buckets of Rain (Take 1) – with bass
Tangled Up in Blue (Take 3, Remake) – with bass
Buckets of Rain (Take 2) – with bass
Shelter From The Storm (Take 2) – with bass
Shelter From The Storm (Take 3) – with bass
Shelter From The Storm (Take 4) – with bass – previously released on Blood on the Tracks

Bob Dylan: vocals, guitar, harmonica
Tony Brown: bass
Paul Griffin: keyboards (2-9)
Buddy Cage: steel guitar (3)


DISC 4
A & R Studios
New York
September 17, 1974

You’re Gonna Make Me Lonesome When You Go (Take 1, Remake 2) – with bass
You’re Gonna Make Me Lonesome When You Go (Take 2, Remake 2) – with bass – previously released on Blood on the Tracks

A & R Studios
New York
September 18, 1974

Buckets of Rain (Take 1, Remake) – solo
Buckets of Rain (Take 2, Remake) – solo
Buckets of Rain (Take 3, Remake) – solo
Buckets of Rain (Take 4, Remake) – solo

A & R Studios
New York
September 19, 1974

Up to Me (Take 1, Remake) – with bass
Up to Me (Take 2, Remake) – with bass
Buckets of Rain (Take 1, Remake 2) – with bass
Buckets of Rain (Take 2, Remake 2) – with bass
Buckets of Rain (Take 3, Remake 2) – with bass
Buckets of Rain (Take 4, Remake 2) – with bass – previously released on Blood on the Tracks
If You See Her, Say Hello (Take 1, Remake) – with bass – previously included on Blood on the Tracks test pressing
Up to Me (Take 1, Remake 2) – with bass
Up to Me (Take 2, Remake 2) – with bass
Up to Me (Take 3, Remake 2) – with bass
Buckets of Rain (Rehearsal) – with bass
Meet Me in the Morning (Take 1, Remake) – with bass – previously released on the “Duquesne Whistle” 7” single
Meet Me in the Morning (Take 2, Remake) – with bass
Buckets of Rain (Take 5, Remake 2) – with bass

Bob Dylan: vocals, guitar, harmonica
Tony Brown: bass (1-2, 7-20)


DISC 5
A & R Studios
New York
September 19, 1974

Tangled Up in Blue (Rehearsal and Take 1, Remake 2) – with bass
Tangled Up in Blue (Take 2, Remake 2) – with bass
Tangled Up in Blue (Take 3, Remake 2) – with bass – included on Blood on the Tracks test pressing and previously released on The Bootleg Series, Vols. 1-3: Rare and Unreleased, 1961-1991
Simple Twist of Fate (Take 2, Remake) – with bass
Simple Twist of Fate (Take 3, Remake) – with bass – previously released on Blood on the Tracks
Up to Me (Rehearsal and Take 1, Remake 3) – with bass
Up to Me (Take 2, Remake 3) – with bass – previously released on Biograph
Idiot Wind (Rehearsal and Takes 1-3, Remake) – with bass
Idiot Wind (Take 4, Remake) – with bass
Idiot Wind (Take 4, Remake) – with organ overdub – included on Blood on the Tracks test pressing and previously released on The Bootleg Series, Vols. 1-3: Rare and Unreleased, 1961-1991
You’re a Big Girl Now (Take 1, Remake 2) – with bass
Meet Me in the Morning (Take 1, Remake 2) – with bass
Meet Me in the Morning (Takes 2-3, Remake 2) – with bass

Bob Dylan: vocals, guitar, harmonica
Tony Brown: bass


DISC 6
A & R Studios
New York
September 19, 1974

You’re a Big Girl Now (Takes 3-6, Remake 2) – with bass
Tangled Up in Blue (Rehearsal and Takes 1-2, Remake 3) – with bass
Tangled Up in Blue (Take 3, Remake 3) – with bass

Sound 80 Studio
Minneapolis, MN
December 27, 1974

Idiot Wind – with band – previously released on Blood on the Tracks
You’re a Big Girl Now – with band – previously released on Blood on the Tracks

Sound 80 Studio
Minneapolis, MN
December 30, 1974

Tangled Up in Blue – with band – previously released on Blood on the Tracks
Lily, Rosemary and the Jack of Hearts – with band – previously released on Blood on the Tracks
If You See Her, Say Hello – with band – previously released on Blood on the Tracks
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Old 09.23.2018, 09:31 AM   #324
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Damn SN, thanks for making that unquotable.

Yeah, that’s a damn appealing tracklist. I haven’t personally purchased a Bootleg Seires entry since 2010 (I think), but I’m tempted on this one.

These tend to have some seriously good finds in them, too. Not sure if you know this, but the best version of “One Too Many Mornings” ever recorded turns up on the 1966 “Royal Albert Hall” entry.

Goddamn Dylan, man.
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Old 09.24.2018, 04:48 PM   #325
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Quote:
Originally Posted by Severian
Not sure if you know this, but the best version of “One Too Many Mornings” ever recorded turns up on the 1966 “Royal Albert Hall” entry.

Are you kidding me? Ya think I started listening to Dylan yesterday and that my first album was Empire Burlesque or some shit? Fuckin' A the "One Too Many Mornings" from The Bootleg Series Vol. 4 is the greatest! It's just... fuckin'... VOLCANIC is what it is. And Danko (or is it Manuel? Both?) adding raw, almost desperate backing vocals to the end of each chorus... MAN OH MAN.

 


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Old 09.24.2018, 05:19 PM   #326
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Out November 30: Jeff Tweedy, WARM.

 


https://mailchi.mp/wilcoworld/new-je...bum-out-nov-30

Quote:
"Essential Jeffness" is the term George Saunders uses to describe Jeff's new solo album WARM, and we think you'll agree.

Available for preorder now, WARM features 11 new songs by Jeff (with additional drums by Spencer Tweedy + Glenn Kotche).

Head over to The New Yorker to read the full liner notes by George Saunders, plus check out the single and video for "Some Birds."
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Old 09.24.2018, 05:30 PM   #327
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Quote:
Originally Posted by The Soup Nazi
Out November 30: Jeff Tweedy, WARM.

 


https://mailchi.mp/wilcoworld/new-je...bum-out-nov-30

N
O
I
C
E
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Old 09.24.2018, 05:46 PM   #328
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Quote:
Originally Posted by Severian
N
O
I
C
E

Indeed. And just a couple of weeks before that his "memoir" comes out, so it's gonna be Tweedin' cooliosity galore.

Having said that... I think I would like my favorite artists to stop releasing new stuff for, I dunno, six months or something so I can CATCH THE FUCK UP. I mean, guys, please, cool it with the new shit for a bit — my wallet is A-HURTIN'...
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Old 10.02.2018, 11:18 PM   #329
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Best new/most anticipated album TWENTY-NINETEEN, muthafuckas!

 


http://jagjaguwar.com/release/JAG331/

https://sharonvanetten.bandcamp.com/...nd-me-tomorrow

Quote:
Sharon Van Etten's Remind Me Tomorrow comes four years after Are We There, and reckons with the life that gets lived when you put off the small and inevitable maintenance in favor of something more present. Throughout Remind Me Tomorrow, Sharon Van Etten veers towards the driving, dark glimmer moods that have illuminated the edges of her music and pursues them full force. With curling low vocals and brave intimacy, Remind Me Tomorrow is an ambitious album that provokes our most sensitive impulses: reckless affections, spirited nurturing, and tender courage.

"I wrote this record while going to school, pregnant, after taking the OA audition," says Van Etten. "I met Katherine Dieckmann while I was in school and writing for her film. She's a true New Yorker who has lived in her rent controlled west village apartment for over 30 years. Her husband lives across the hall. They raised two kids this way. When I expressed concern about raising a child as an artist in New York City, she said 'you're going to be fine. Your kids are going to be fucking fine. If you have the right partner, you'll figure it out together.'" Van Etten goes on, "I want to be a mom, a singer, an actress, go to school, but yeah, I have a stain on my shirt, oatmeal in my hair and I feel like a mess, but I'm here. Doing it. This record is about pursuing your passions." The reality is Remind Me Tomorrow was written in stolen time: in scraps of hours wedged between myriad endeavors - Van Etten guest-starred in The OA, and brought her music onstage in David Lynch's revival of Twin Peaks. Off-screen, she wrote her first score for Katherine Dieckmann's movie Strange Weather and the closing title song for Tig Notaro's show Tig. She goes on, "The album title makes me giggle. It occurred to me one night when I, on auto-pilot, clicked 'remind me tomorrow' on the update window that pops up all the time on my computer. I hadn't updated in months! And it's the simplest of tasks!"

The songs on Remind Me Tomorrow have been transported from Van Etten's original demos through John Congleton's arrangement. Congleton helped flip the signature Sharon Van Etten ratio, making the album more energetic-upbeat than minimal-meditative. "I was feeling overwhelmed. I couldn't let go of my recordings - I needed to step back and work with a producer." She continues, "I tracked two songs as a trial run with John ['Jupiter 4' and 'Memorial Day']. I gave him Suicide, Portishead, and Nick Cave's Skeleton Tree as references and he got excited. I knew we had to work together. It gave me the perspective I needed. It's going to be challenging for people in a good way." The songs are as resonating as ever, the themes are still an honest and subtle approach to love and longing, but Congleton has plucked out new idiosyncrasies from Van Etten's sound.

For Remind Me Tomorrow, Van Etten put down the guitar. When she was writing the score for Strange Weather her reference was Ry Cooder, so she was playing her guitar constantly and getting either bored or getting writer's block. At the time, she was sharing a studio space with someone who had a synthesizer and an organ, and she wrote on piano at home, so she naturally gravitated to keys when not working on the score - to clear her mind. Remind Me Tomorrow shows this magnetism towards new instruments: piano keys that churn, deep drones, distinctive sharp drums. It was "reverb universe" she says of the writing. There are intense synths, a propulsive organ, a distorted harmonium.

The demo version of "Comeback Kid" was originally a piano ballad, but driven by Van Etten's assertion that she "didn't want it to be pretty", it evolved into a menacing anthem. Cavernous drones pull the freight for "Memorial Day," which fleshes out an introvert in warrior mode. The spangled "Seventeen" began as a Lucinda Williams-esque dirge but wound up more of a nod to Bruce Springsteen, exploring gentrification and generational patience. Van Etten shows the chain reaction, of moving to a city bright-eyed and hearing the elders complain about the city changing, and then being around long enough to know what they were talking about. She wrote the song semi-inter-generationally with Kate Davis, who sang on a demo version when the song was in its infancy.

Since her last album, Van Etten has had a young son, and family life is joyful. Preparing and finishing these songs, she found herself expressing deep doubts about the world around him, and a complicated need to present a bright future for him. "There is a tear welling up in the back of my eye as I'm singing these love songs," she says, "I am trying to be positive. There is strength to them. It's - I wouldn't say it's a mask, but it's what the parents have to do to make their kid feel safe."

Alongside working on Remind Me Tomorrow, Van Etten has been exploring her talents (musical, emotional, otherwise) down other paths. She's continuing to act, to write scores and soundtrack contributions, and she's returning to school for psychology. The breadth of these passions, of new careers and projects and lifelong roles, have inflected Remind Me Tomorrow with a wise sense of a warped-time perspective. This is the tension that arches over the album, fusing a pained attentive realism and radiant lightness about new love.
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Old 10.03.2018, 01:48 AM   #330
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pssst, wrong thread :-)
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Old 10.03.2018, 06:33 AM   #331
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Originally Posted by _tunic_
pssst, wrong thread :-)

^^ He knows because he stole this thread idea from me and already made a fucking 2019 version to get the jump on me for the second straight year.
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Old 10.04.2018, 03:22 PM   #332
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St. Vincent Announces Stripped Down Version of Last Album, Shares Reworked "Savior"
MassEducation Due Out October 12 via Loma Vista
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Old 10.04.2018, 05:09 PM   #333
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So...

This time it *is* called “MassEducation?”
Because remember the first time it was called “MASSEDUCTION” and consistently mistyped as “MASSEDUCATION.”

But... the stripped down, reworked version of “MASSEDUCTION” is indeed called “MassEducation?”
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Old 10.04.2018, 05:37 PM   #334
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Quote:
Originally Posted by Severian
So...

This time it *is* called “MassEducation?”
Because remember the first time it was called “MASSEDUCTION” and consistently mistyped as “MASSEDUCATION.”

But... the stripped down, reworked version of “MASSEDUCTION” is indeed called “MassEducation?”

Just look at the goddamn cover, will ya?

ETA: And https://ilovestvincent.com/
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Old 10.04.2018, 07:56 PM   #335
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Quote:
Originally Posted by The Soup Nazi
Just look at the goddamn cover, will ya?

ETA: And https://ilovestvincent.com/

Yeah, yeah I did look at the cover, that’s how I knew you weren’t just spacing out. Because the title of the album that is being reworked here is “Masseduction.” That Album was frequently — on this very board — mistakenly referred to as “Mass-Education.” And now a “stripped back” version of the album is being released and its official name is the erroneous name of the album being reworked.

Just sayin’

Like y’know lol
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Old 10.04.2018, 10:18 PM   #336
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noisereductions kicks all y'all's assesnoisereductions kicks all y'all's assesnoisereductions kicks all y'all's assesnoisereductions kicks all y'all's assesnoisereductions kicks all y'all's assesnoisereductions kicks all y'all's assesnoisereductions kicks all y'all's assesnoisereductions kicks all y'all's assesnoisereductions kicks all y'all's assesnoisereductions kicks all y'all's assesnoisereductions kicks all y'all's asses
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Originally Posted by The Soup Nazi
Out November 30: Jeff Tweedy, WARM.

 


https://mailchi.mp/wilcoworld/new-je...bum-out-nov-30

Awesome
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Old 10.05.2018, 07:32 AM   #337
Severian
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Originally Posted by noisereductions
Awesome

Did you empty your PMs?
Where the hell you been?

Miss u dawg
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Old 10.05.2018, 08:51 AM   #338
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New Kristin Hersh album 'Possible Dust Clouds'. Loving it after the first listen, a lot more aggressive and noisy than her last solo album. No one else makes music like this.

https://kristinhershfire.bandcamp.co...le-dust-clouds
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Old 10.06.2018, 07:07 PM   #339
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Quote:
Originally Posted by Kuhb
New Kristin Hersh album 'Possible Dust Clouds'. Loving it after the first listen, a lot more aggressive and noisy than her last solo album. No one else makes music like this.

https://kristinhershfire.bandcamp.co...le-dust-clouds

Nice, thanks for posting this.
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