T-Bone / Dylan project: Lost On The River

Pretty self-explanatory
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cwr
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Re: T-Bone / Dylan project: Lost On The River

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I love it. This is my favorite of all the tracks that have been previewed so far, and I also like that it's the one track that seems to most noticeably utilize everybody in this band (at least in ways that are noticeable without looking at credits as to who is playing what.)
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Re: T-Bone / Dylan project: Lost On The River

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The following Bob Dylan / Elvis Costello songs have we heard so far:
Married To My Hack: http://www.youtube.com/watch?v=74cnDr64vNE
Six Months in Kansas City (Liberty Street): http://www.youtube.com/watch?v=N_qS7LkgHjs
Lost On The River: https://www.youtube.com/watch?v=aiyHilC ... HC1K-jlGPf
Santa Cruz: http://www.youtube.com/watch?v=NnIyv10qBLM
Golden Tom / Silver Judas: https://www.youtube.com/watch?v=Ql0mpf- ... HC1K-jlGPf
Matthew Met Mary: http://www.youtube.com/watch?v=Cojypq4GaOk

What do we find of the songs so far?
Initially I was a little underwhelmed, but now I hear lovely melodies and some great studio performances.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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Re: T-Bone / Dylan project: Lost On The River

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There's a review in this month's Uncut magazine which no doubt someone will post.

Within it there's an interview with T Bone Burnett. One of the questions is "Will there be more?" To which the reply is "Hopefully there will be a second volume, because there was some 40-odd songs recorded. We have several versions of some. There's another album that could be finished quickly, and it's equally as good and interesting and different. It turned into a wonderful band, so it would be exciting to take it out on the road. It could be a wild show".
Who’s this kid with his mumbo jumbo?
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Re: T-Bone / Dylan project: Lost On The River

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sweetest punch wrote:The following Bob Dylan / Elvis Costello songs have we heard so far,
What do we find of the songs so far?
Initially I was a little underwhelmed, but now I hear lovely melodies and some great studio performances.
First things first SP- a huge thank you for putting all these links in one place.

Think I'm taking my time getting to love these too, biggest impression is how great EC sounds with his new backing band the mighty Larkin Poe! Not been lucky enough to see this combo live, here's hoping my luck changes in 2015.

Colin Top Balcony
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Re: T-Bone / Dylan project: Lost On The River

Post by bronxapostle »

verbal gymnastics wrote:There's a review in this month's Uncut magazine which no doubt someone will post.

Within it there's an interview with T Bone Burnett. One of the questions is "Will there be more?" To which the reply is "Hopefully there will be a second volume, because there was some 40-odd songs recorded. We have several versions of some. There's another album that could be finished quickly, and it's equally as good and interesting and different. It turned into a wonderful band, so it would be exciting to take it out on the road. It could be a wild show".
real good news from T-Bone here. i would enjoy a small tour sooner or later. and i still hold out hope for SOME (NYC...haha) appearance (maybe Letterman?) around release day! :wink: :wink:
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Re: T-Bone / Dylan project: Lost On The River

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Please Ellen, don't make EC dance.
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Re: T-Bone / Dylan project: Lost On The River

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The full album is supposed to be on Spotify (in the US at least) on Tuesday. I don't know if it's already available in parts of the world where it's already Tuesday.

http://twitter.com/SpotifyUSA/status/522768456010457089
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Re: T-Bone / Dylan project: Lost On The River

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http://www.glidemagazine.com/126414/new ... -november/

The New Basement Tapes To Perform Live For The First Time Via Three National TV Appearances In November

The New Basement Tapes – Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes), Jim James (My Morning Jacket) and Marcus Mumford (Mumford & Sons) – will make their first live performances via three national television appearances in November. They will perform on the Tonight Show with Jimmy Fallon on November 10, Ellen on November 14 and Jimmy Kimmel Live on November 19.

The New Basement Tapes’ T Bone Burnett-produced album, Lost On the River: The New Basement Tapes, was founded on a treasure trove of recently discovered lyrics handwritten by Bob Dylan in 1967 during the period that generated the recording of his original Basement Tapes. With Dylan having entrusted the lyrics to Burnett, the artists and T Bone convened in March 2014 at Capitol Studios in Hollywood to write and create music together for the long-lost lyrics, swapping instrumental and vocal roles throughout the marathon sessions. The result was dozens of new songs and recordings, 20 of which are included on Lost On the River: The

New Basement Tapes, which will be released by Electromagnetic Recordings/Harvest Records on November 10.Additionally, the original documentary Lost Songs: The Basement Tapes Continued will premiere on SHOWTIME on Friday, November 21st at 9 P.M. ET/PT. The documentary, which is directed by Sam Jones, will present an exclusive and intimate look at the making of Lost On The River. A rare look inside the creative process of recording an album and the discovery of long-lost Dylan lyrics, Lost Songs: The Basement Tapes Continued captures this unprecedented musical collaboration between these musicians and their producer, the 13-time Grammy winner T Bone Burnett, as they record these newly completed compositions. A trailer for the film can be viewed below as well as a performance of “Six Months In Kansas City (Liberty Street)” by The New Basement Tapes.
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Re: T-Bone / Dylan project: Lost On The River

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http://renownedforsound.com/index.php/a ... the-river/

Album Review: The New Basement Tapes - Lost On The River

Bob Dylan, possibly the greatest songwriter and lyricist to have ever lived, has been paid due tribute in The New Basement Tapes interpretation of previously unseen words written by the man himself in 1967. Produced by T Bone Burnett and featuring the musical input of Elvis Costello, Jim James, Rhiannon Giddens, Taylor Goldsmith and Marcus Mumford, Lost On The River breathes life into the previously forgotten lyrics of a twenty-six year old Dylan, reminding us of his unparalleled talent and lasting cultural impact. Capturing more than forty recordings, each musician brings their own unique interpretations to the table and Burnett has allowed us to hear different takes of the same song by including them on the album with the originator in the lead making for a particularly interesting listen.

Opening with Jim James’ version of Down on the Bottom, we are immediately drawn in by the inviting tones and steady, comfortable grooves that emit a warm, progressive, laid back yet still epic, rock feel. Of particular mention is Kansas City, which secretly features Johnny Depp on guitar after Elvis Costello couldn’t make it to the recording. A great track that makes listeners feel happy and sad at the same time with classic folk chord progressions and lyrics translated magically by the vocal styling of Marcus Mumford.

Spanish Mary has a quietly simmering layer of instruments woven together with a smooth sounding electric bass. Distinctly country and yet mysterious in nature, the tune floats and weaves between moments of quiet, where Giddens’ vocals soar through Dylan’s evocative lyrics and crescendos of sound, with driving toms and minstrel styled banjo lines. Equally as rich is the whimsical sound of Hidee Hidee Ho which brings to mind the feeling of hot Summer breezes and makeshift rafts drifting down lazy rivers in the Deep South. Bluesy and playful there’s a real sense of improvisation which echoes the original off-the-cuff recordings captured in 1967.

Married To My Hack, Nothing To It and When I Get My Hands On You capture the free spirited and collaborative energy of the original basement sessions while the varied instrumentation of the entire album that includes 12 string guitars, mandocasters, organs, ukuleles, mellotrons, banjos, fiddles, mandolins and synths adds a wonderful spectrum of textures.

It seems incredibly hard these days to find an album full of quality tracks but the crew in The New Basement Tapes have done just that. Thanks to the distinctive guidance of Grammy winning musician, songwriter and producer T Bone Burnett, Lost On The River offers something for everyone. Bob Dylan fans, country/folk/rock listeners, and modern music lovers alike will all find something to connect with, whether it be Dylan’s words themselves, or the musicians interpretations of them.

With such great material to work with the collaborators here have not let us down, honouring the greatness of their original creator. Forty-seven years in the making the first edition of The New Basement Tapes is a wonderful addition to any listeners library. Stayed tuned for volume two set to be released November 11 along with the much anticipated documentary captured by filmmaker Sam Jones.

5 stars (out of 5)
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Re: T-Bone / Dylan project: Lost On The River

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http://www.telegraph.co.uk/culture/musi ... blues.html

Bob Dylan’s thrilling basement tapes blues

As Bob Dylan's famous tapes are released in full, T Bone Burnett tells Neil McCormick how he persuaded today’s stars to record a sequel


The Basement Tapes is one of the most mythical treasure troves of popular music. Now we have two new versions to contemplate.

From June 1966 to October 1967, recuperating from a motorcycle accident in the aftermath of his rise to global super stardom, Bob Dylan hid away from the world in Woodstock, upstate New York, writing and recording. The demos he made with friends in the Band at the basement of their house, the Big Pink, were never intended for release. Widely bootlegged, they eventually emerged in 1975, as a strange and magical 24-track double album, The Basement Tapes. But these only represented the tip of a creative iceberg.

Today, Columbia releases a six-CD set of all Dylan’s basement recordings. It runs to 138 tracks, with previously unknown Dylan originals among alternate takes, and snatches of folk and country covers. It is an extraordinary, playful and revealing document of a great artist at a musical crossroads. And it turns out there’s even more.

Last year, revered Americana producer T Bone Burnett was contacted by Dylan’s publisher with a gift from the bard. “It was a little file box, about three inches high. There were probably 60 sheets of paper in there. I don’t think they’d been looked at since 1967. They had just been put in a box and forgotten.” The handwritten pages contained unused Dylan lyrics from the basement sessions. Burnett was given a free hand with them. “I did feel it was a sacred treasure trove. But implicit in Bob entrusting those to me was the idea that we would continue in the same vein he has been digging in all these years. He’s a freelance poet, he’s a jazz-age artist. Bob grows out of the post-World War II avant-garde of the Forties, the Beat Generation.

And so I wanted to proceed in that Beat spirit, which was improvisational, not concerned with eternity. Very collaborative, working very quickly. We weren’t trying to make anything perfect. Perfection is a second-rate idea.”

Burnett assembled some of his favourite songwriters, all band leaders and multi-instrumentalists, in the basement of the Capitol studio in LA to record a belated sequel. The band features Elvis Costello, Marcus Mumford (of Mumford & Sons), Jim James (My Morning Jacket), Rhiannon Giddens (Carolina Chocolate Drops) and Taylor Goldsmith (Dawes). “None of us felt we were dealing with something sacrosanct,” says Costello. “There’s a sense of playfulness in the folio. They range from the completely barmy to wonderful, beautiful, well-constructed lyrics that are right there waiting to be sung.

“We were walking in, all this time later, to find ideas in a box and turn them into songs.”

Lost on the River: the New Basement is a fantastic, free-flowing, shape-shifting work of Americana. “I think Dylan’s off-cuts are better than anyone else’s prime cuts,” says Marcus Mumford. “Some were undeveloped but others were complete ideas that never saw the light of day. There was enough to write 40 songs, which is extraordinary, because that was like one summer’s writing for him. It was a fascinating period of his life. He spent the summer of love holed up in a house while everyone else was down the road at Woodstock dropping acid and taking their clothes off. Reading through the lyrics, I think there’s a conflict. He has post-tour blues, where you come off the road and it’s a weird adjustment to normal life. He was really relishing it, newly married and enjoying domesticity and rural life. But you can see him battle with it too.”

Mumford performed with Dylan at the Grammy Awards in 2012 and vividly recalls their first encounter. “We were in a rehearsal studio in LA and there was no sign of the great man, just two packets of cigarettes, an ashtray and a microphone, right in the middle of the room. So I went out the toilet and there was this figure hunched over in a chair in a coat with the hood up, chain-smoking cigarettes. I figured it was someone in the crew having a bad day and I just walked past. And as I was in the toilet, I thought, oh s---, that’s Dylan! I waited for about five minutes because I didn’t want to have wet hands when I first shook his hand.”

Dylan remains fascinatingly inscrutable to the young English folk-rock star.

“He can be aloof, because he’s Bob Dylan, but it’s like a switch, and suddenly he’s the most engaged, intelligent, articulate person in the world.

“And then the switch will go off, and he’ll just grunt. It’s so bad-ass.”

“He is definitely set apart, he is touched,” says Burnett. “He’s the smartest person I know in music.” He thought some of these lyrics may have been too personal for Dylan to record at the time. Burnett interprets the breezy Nothing To It as a declaration of Dylan’s intimations of his own genius. The bittersweet Kansas City, he felt, was a riposte to old associates. “In 1967, he had gone, in five years, from being an obscure folk singer to an international rock ’n’ roll icon of the highest magnitude.

“And, in the process, his original supporters turned on him and it seems like he’s saying: 'Just how long can I keep singing the same old song?’ There’s a great line: 'You invite me into your house / then you say you got to pay for what you break.’ I think that resonated very strongly with Marcus, because he has had a similar trajectory. He came out of the box very strong, became internationally successful and suffered an extreme backlash. Kansas City is his song as well.”

For Costello, Dylan’s manuscripts proved key to the writing process. “We were originally handed a sheet of typescripts and transcriptions. And actually, when it came to making an emotional connection with something written so long ago, the final piece of the puzzle was to see the handwritten originals. Because then you see the rhythm, you see choices being made on the fly because there are crossed out words. That’s a glimpse into the working method that you usually don’t get. You could see where thoughts were joined together, where the emphasis was placed a bit more.

“Quite a lot of the sheets had little doodles and just the kind of things I would find my own notebooks.”

Costello suggests a degree of irreverence was vital to the process. “We didn’t hire a cabin in the woods and imagine ourselves back into a kind of imitation. It shouldn’t become too precious. You can’t worry that you are tampering with a classic canon, those big headlines are a little bit like tombstones, they’re epitaphs for the arts of songwriting. As far as I know, Bob Dylan is a living artist, writing new songs and redefining old ones. It runs counter to the idea of making a definitive statement, because it’s actually moving all the time. If Bob Dylan is a benchmark, what happens if we saw the legs off the bench? What does it become then? Is it just a lower benchmark? Or is there a higher one? If we throw it in the ocean and it floats away, does it become a ship? To me, this is just some words and music that I care about.”
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Re: T-Bone / Dylan project: Lost On The River

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And No Coffee Table wrote:The full album is supposed to be on Spotify (in the US at least) on Tuesday.
I can't find any evidence that it's available on Spotify, but the album is streaming on iTunes:
http://itunes.apple.com/us/station/firs ... .927055928
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Re: T-Bone / Dylan project: Lost On The River

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Official music video of Hidee Hidee Ho #16: http://www.youtube.com/watch?v=JRHs51F0wkY
It's written by Rhiannon, Elvis and Bob.
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Re: T-Bone / Dylan project: Lost On The River

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sweetest punch wrote:Official music video of Hidee Hidee Ho #16: http://www.youtube.com/watch?v=JRHs51F0wkY
It's written by Rhiannon, Elvis and Bob.
Also:

Down On The Bottom (Jim James with EC on guitar):
http://www.youtube.com/watch?v=vsYSxkbgW-M

Diamond Ring (Taylor Goldsmith with EC on guitar):
http://www.youtube.com/watch?v=qrRpdaaw6cE

Kansas City (Marcus Mumford with Johnny Depp as EC):
http://www.youtube.com/watch?v=7MwOarNpBcw
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Re: T-Bone / Dylan project: Lost On The River

Post by MOJO »

OK, I am freaking out, people. This is so good. Loving this. Digging the percussion side of it. Mellow. Would love to see this group live IN SF.
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Re: T-Bone / Dylan project: Lost On The River

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http://www.heraldscotland.com/arts-ents ... s.25697164

Mining for diamonds in Dylan's basement tapes


When Bob Dylan calls, says T Bone Burnett in his amiable Texan drawl, the tendency is to listen.

When he calls inviting you to collaborate on a sheaf of his previously unrecorded lyrics, you listen very hard indeed. "Bob's publisher rang up and said they'd found a box of his lyrics from 1967, and would I be interested in doing something with them?" says Burnett, still faintly amazed by it all. "He'd forgotten all about them. The idea of working with a 26-year-old Bob Dylan with almost 50 years of hindsight was intriguing, and I think Bob was equally intrigued by what other people could do with these words now."

The result is Lost on the River: The New Basement Tapes, a fascinating album on which the likes of Elvis Costello and Marcus Mumford set Dylan's recently unearthed lines and lyrics to vibrant new music.

The choice of Burnett to oversee the project was an obvious one. His relationship with Dylan stretches back to the days of the Rolling Thunder Revue in the mid-seventies, when Burnett played guitar in his band. "He's a friend of mine who I love, and I understand him in ways that not many people do," says Burnett. "I feel Bob, if you know what I'm saying!"

Just as significant as the "feel" are Burnett's credentials as unofficial curator-in-chief of American roots music. Describing his work as "preservation and conservation," he sounds more like some gnarly backwoodsman than a celebrated musician and producer. Burnett has released more than ten solo albums but insists "my goal was never to be a rock and roll star. I was never comfortable on stage or in front of the camera. I like being in the shadows, keeping some smoke between me and the rest of the world."

Behind that smokescreen Burnett has become one of American music's great facilitators, so much so that his quest for anonymity has proved singularly doomed. He won multiple Grammies for his work as executive music producer on the Coen Brothers' bluegrass Odyssey O Brother, Where Art Thou? and an Academy Award for the Jeff Bridges cowboy country vehicle Crazy Heart.

Now he has added a fresh twist to these Basement Tapes, a vast, untamed vault of sombre originals, skew-whiff standards, drunken nonsense songs and country, blues and folk excavations recorded in 1967 by Dylan and The Band in the basement of a rented house in upstate New York. Because the box of newly recovered Dylan lyrics dates from the same year, Burnett used the original Basement Tapes sessions as a map for Lost on the River. He even assembled his idea of a modern-day version of The Band in the form of Costello, Mumford, My Morning Jacket's Jim James, Taylor Goldsmith from Californian folk-rockers Dawes and Rhiannon Giddens from old time revivalists Carolina Chocolate Drops.

"I was looking for people, like The Band, who could all sing and play multiple instruments in their own right as well as being band leaders. People who I knew to be collaborative, too, because the idea was to let it find its own course."

He gave the ensemble 24 previously unseen Dylan lyrics - typed and handwritten, ranging from multiple complete verses to doodled fragments - for which they wrote music. Occasionally, they added a line or two of their own, or turned two songs into one. The approach was not overly reverential. The idea, says Burnett, was not to replicate the original Basement Tapes but to honour its freewheeling spirit.

He says: "The arrangements were done on the fly, with a lot of courage and generosity. I think the fact that Bob was so generous with his lyrics encouraged everyone else. Mostly it was one or two takes, live in the studio. Everybody played on each other's songs, sometimes on their second or third instrument, to try to keep that devil-may-care attitude alive."

Two of Costello's three contributions -Married to my Hack and Six Months in Kansas City - are among the album's loosest tracks. Costello and Burnett are old friends. Burnett produced Costello's classic 1986 album King of America - "It was a precursor to a lot of Americana music, and looked ahead to what I've gone on to do" - as well as his most recent solo record, National Ransom. In the mid-80s the pair toured and recorded as The Coward Brothers, a dysfunctional spoof sibling duo in the mould of the Everly Brothers. As 'Henry' (Burnett) and 'Howard' (Costello), they once conducted an entire interview in character. "We're going to get back into the Coward Brothers," says Burnett. "Actually, we're already sort of back into it, working with a brilliant animator. But that's a tale for another day..."

While work on Lost on the River was continuing at Capitol Studios in Los Angeles, Dylan was in the adjoining studio, beavering away on a new album of standards which Burnett describes as sounding "like Debussy or something."

Rather than interfering, the great singer-songwriter "just left us to it. He was mixing his record in the next room, so he was there as a presence for us, but he didn't intrude. He was happy to let us have our way with this stuff.

"As he famously once said, 'Don't look back.' He knows that I've done lots of period films and that I understand different eras of music, and my guess is he was interested in what our team might cook up. I've had feedback since, and it's been positive."

Lost on the River fits the wider narrative of Burnett's career, during which he has consistently championed the range and richness of US roots music. "There's a great treasury of American music, and I've been spending a lot of time adding to that, hopefully, and preserving and conserving it," he says.

"Music is to the United States as wine is to France. It's our greatest power, the way we spread our culture all over the world, but technology has taken us way backwards. Our culture is deeply important and needs to be cared for with great respect and intention."

As far as Lost on the River goes, there may be more treasure to come.

"Hopefully there will be a second volume, because 40-odd songs were recorded, with multiple versions of some sets of lyrics," he says.

"There's another album right behind this one that could be finished quickly, and it's equally as good."

He's pleased to see that the songs have already got a life beyond the album. Costello played a couple on his recent European dates.

If Dylan himself adds one or two to his Never Ending Tour set list the circle will be satisfyingly complete. Burnett is tickled by the idea.

"You know, I bet he will, that sounds about right!" he chuckles, imagining how it might sound. "Wouldn't that be great?"
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Re: T-Bone / Dylan project: Lost On The River

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http://www.americansongwriter.com/2014/ ... us-artists

Lost On The River: The New Basement Tapes – Various Artists

Rating: 4 out of 5 stars

On Nov. 4, Bob Dylan released The Basement Tapes Complete: The Bootleg Series Volume 11, a six-disc, 138-track box set that marks the first time every recording from his 1967 Basement Tapes sessions will be compiled in one volume. Following a near fatal motorcycle accident, the tome was produced over a period of several months where Dylan and the Band (then known as the Hawks) wrote and recorded effusively in the relative isolation of several homes in the Woodstock, New York vicinity. Yet, despite the claim that it’s the end-all-be-all chronicle of that era, the collection wasn’t fully “complete.”

That fact came to light earlier this year when Dylan’s publisher contacted producer T Bone Burnett about a recently discovered box of handwritten lyrics from those sessions that apparently remained unused. So with Dylan’s blessing and the gift of creative freedom, Burnett enlisted Elvis Costello, Jim James of My Morning Jacket, Rhiannon Giddens of the Carolina Chocolate Drops, Taylor Goldsmith of Dawes and Marcus Mumford of Mumford and Sons to act as a sort of Americana/folk super-group that would bring the lyrics to life with original music.

Two weeks in the studio with session drummer Jay Bellerose produced Lost On The River: The New Basement Tapes, 20 of 48 tracks derived from the lyrical treasure trove. Because of the way the record was made – with each musician taking the lead on certain songs, filling in gaps with the others as backing players – the album’s music doesn’t so much reflect the style of Dylan and the Band as much as it does the poetry and the original demos’ democratic manifestation. It’s a record that’s likely to be abhorred by Dylan’s most hardcore fans, yet one that will nevertheless become infinitely important to Dylan historians.

For the most part, the musicians involved intimate their own styles. Mumford sounds like he’s writing for his namesake band, though his voice is noticeably (perhaps purposefully) more Americanized, and with the help of Goldsmith on “When I Get My Hands On You,” he formulates the most serene of alt-country ballads that underscores the timeless simplicity of Dylan’s lyrics during this period: “When I get my hands on you/ Gonna make you carry me/ When I get my hands on you/ Gonna make you marry me/ And now you know everywhere you go/ You’re gonna have me as your man.”

Goldsmith’s selections – “Liberty Street,” “Florida Key,” “Card Shark” and “Diamond Ring” – similarly echo anything he might make with Dawes, and Giddens handily transforms “Spanish Mary” and “Duncan and Jimmy” into narrative-heavy backcountry marches. Still, she adds a spine-tingling air to the intention of the former when she whisper-sings “Beggar man, beggar man, tell me no lie/ Is it a mystery to live?/ Or is it a mystery to die?” and amps up the latter with a tack-sharp, rollicking banjo line in way that went beyond the somewhat lazed, reefer-laden sessions of the Hawks.

James meanwhile asserts his inimitable falsetto on opening track “Down On The Bottom” and the swanky love ballad “Hidee Hidee Ho,” then injects his love of Motown – so obvious across his MMJ catalogue – into the sweetly sung waltz of “Hidee Hidee Ho.” It’s during this cut that he drops his guard and lets a bit of the Dylan inside truly shine through when he half-laughs while delivering a line just as Dylan does amidst the marijuana-fueled mirth of “Rainy Day Women #12 & 35.”

Yet among all the tunes, those that most reverently imitate the original songwriter are Costello’s. His seemingly intentional speak-singing on the bluesy “Married To My Hack” takes after Dylan’s effusive whimsy. Then he strains his nasally tone to the limit for “Six Months In Kansas City (Liberty Street),” and he otherwise honors the off-the-cuff creative process behind those original recordings by keeping his choices at minimally produced, demo lengths (under four minutes for each).

It’s the concept behind that last bit that makes this album such a treasure and an essential addendum to the original Basement Tapes session: a 20-track collection may seem bloated at first, but the expansiveness of the recordings hold true to the Band’s willingness to test out varying versions. There are three “repeat” tracks here, with the switch of “Liberty Street” from downhome ballad by Goldsmith to the soulful “Hey Jude”-esque shouter when it’s handled by Costello and retitled “Six Months In Kansas City (Liberty Street).”

There’s something magical about imagining this gaggle of talents – just as Dylan and his collaborators might’ve done – sitting around after a song is finished and saying, “But what if we did thisinstead?” Keeping that idea in mind while listening to the title track, it seems more significant that it, too, crops up twice.

“Like an invitation to follow you in/ I got lost on the river, but I got found/ I got lost on the river, but I didn’t drown/ I got lost on the river, but I didn’t go down,” sing Costello and Giddens on their respective versions, the latter’s to close out the record. Interestingly, they each change the gender of the narrator according to their own, but either way, the repeated message feels unified: the Basement Tapes collection was lost on the river of time, meandering along until eager collectors cast their nets out to catch them in the form of various bootlegs.

These forgotten lyrics, however, were caught in a different tide, but Dylan himself cast the line to fish them out. So maybe they’re mostly polished pop songs where the ’67 cuts embodied the raw, haphazard spirit of a songwriting era long gone – one that intuitively anticipated the impeccably executed Americana and folk heard on these new recordings – but the idea behind their origin will help them remain as timeless as the originals.
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Re: T-Bone / Dylan project: Lost On The River

Post by sweetest punch »

http://www.sho.com/sho/reality-docs/tit ... ued#/index

Lost Songs: The Basement Tapes Continued

A documentary that goes behind the scenes with some of today's most talented songwriters as they make new music based on long-lost, newly discovered lyrics from Bob Dylan's legendary Basement Tapes sessions. T Bone Burnett brings Elvis Costello, Rhiannon Gddens, Taylor Goldsmith, Jim James and Marcus Mumford together in a dramatic two-week studio session in the basement of Capitol Records. Features an exclusive interview with Bob Dylan. Directed by Sam Jones.

Written by: Sam Jones
Directed by:Sam Jones
Duration: 106 mins
Genre:Documentary, Music & Musicals
Advisories: Adult Language, Adult Content, Brief Nudity

Rating:TVMA
Audio Format: Unavailable
Video Format: HDTV

Music From This Documentary

song title - written by - performed by:

The Whistle Is Blowing - Bob Dylan and Marcus Mumford - Marcus Mumford
Odds And Ends - Bob Dylan - Bob Dylan and The Band
Spanish Mary - Bob Dylan and Rhiannon Giddens - Rhiannon Giddens
Lost on the River - Bob Dylan and Jim James - Jim James
Down on the Bottom - Bob Dylan and Elvis Costello - Elvis Costello
Florida Key - Bob Dylan and Taylor Goldsmith - Taylor Goldsmith
Open the Door Homer - Bob Dylan - Bob Dylan and The Band
Apple Suckling Tree - Bob Dylan - Bob Dylan and The Band
Trying To Catch That Train - Bob Dylan and Marcus Mumford - The New Basement Tapes
Florida Key - Bob Dylan and Elvis Costello - The New Basement Tapes
You Ain't Going Nowhere - Bob Dylan - Bob Dylan and The Band
Hidee Hidee Ho - Bob Dylan and Elvis Costello - The New Basement Tapes
Hidee Hidee Ho #16 - Bob Dylan, Rhiannon Giddens, and Elvis Costello - The New Basement Tapes
The Cave - Marcus Mumford, Edward Dwane, Benjamin Lovett, Winston Marshall - Mumford & Sons
Waterboy - Jacques Wolf - Rhiannon Giddens
Holdin' On To Black Metal - Jim James - My Morning Jacket
Diamond Ring - Bob Dylan and Jim James - The New Basement Tapes
Diamond Ring - Bob Dylan and Elvis Costello - The New Basement Tapes
Diamond Ring - Bob Dylan and Taylor Goldsmith - The New Basement Tapes
Lost On The River #12 - Bob Dylan and Elvis Costello - The New Basement Tapes
Lost On The River - Bob Dylan and Jim James - The New Basement Tapes
Nothing To It - Bob Dylan and Jim James - The New Basement Tapes
Spanish Mary - Bob Dylan and Rhiannon Giddens - The New Basement Tapes
When I Get High - Bob Dylan and Taylor Goldsmith - Taylor Goldsmith
Down On The Bottom - Bob Dylan and Jim James - The New Basement Tapes
Lost On The River #20 - Bob Dylan, Rhiannon Giddens, Marcus Mumford - The New Basement Tapes
Going To Acapulco - Bob Dylan - Bob Dylan and The Band
Million Dollar Bash - Bob Dylan - Bob Dylan and The Band
Kansas City - Bob Dylan and Marcus Mumford and Taylor Goldsmith - Marcus Mumford
Nothing Was Delivered - Bob Dylan - Bob Dylan and The Band
Kansas City - Bob Dylan and Marcus Mumford and Taylor Goldsmith - The New Basement Tapes
Liberty Street - Bob Dylan and Taylor Goldsmith - The New Basement Tapes
I Shall Be Released - Bob Dylan - Bob Dylan and The Band
When I Get My Hands On You - Bob Dylan and Marcus Mumford and Taylor Goldsmith - The New Basement Tapes
Lost On The River - Bob Dylan, Rhiannon Giddens, and Marcus Mumford -The New Basement Tapes, with S.I. Istwa, Jessica Kiley, Megan Lovell and Rebecca Lovell
Quinn The Eskimo - Bob Dylan - Bob Dylan and The Band
Tears Of Rage - Bob Dylan and Richard Manuel - Ian & Sylvia
Crash On The Levee (Down In The Flood) - Bob Dylan - Blood Sweat & Tears
I Shall Be Released - Bob Dylan - Joan Baez
You Ain't Going Nowhere - Bob Dylan - The Byrds
This Wheel's On Fire - Bob Dylan - Julie Driscoll and Brian Auger
The Mighty Quinn (Quinn The Eskimo) - Bob Dylan - Manfred Mann
Duncan And Jimmy - Bob Dylan and Rhiannon Giddens - The New Basement Tapes
Golden Tom - Silver Judas - Bob Dylan and Elvis Costello - Taylor Goldsmith
Six Months In Kansas City (Liberty Street) - Bob Dylan and Elvis Costello - The New Basement Tapes

Slide show: http://www.sho.com/sho/reality-docs/tit ... #/images/1
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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And No Coffee Table
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Re: T-Bone / Dylan project: Lost On The River

Post by And No Coffee Table »

http://www.chicagotribune.com/entertain ... olumn.html

The task before T Bone Burnett was something similar when the Dylan camp sent him the newly discovered “Basement Tapes”-era lyrics that provide the foundation for “Lost on the River.”

“The idea was to put together a small group who could accompany each other on multiple instruments, and also take the lead themselves, much like the Band was able to do,” Burnett says. He dialed up Costello, Mumford, James, Rhiannon Giddens of the Carolina Chocolate Drops and Taylor Goldsmith of Dawes. The five convened in a different kind of a basement, a full-blown below-ground recording studio at Capitol Records in Los Angeles. But the vibe was similarly relaxed and collaborative.

“It's hard to work with one artist, let alone five and their managers,” Mumford says. “T Bone did well managing it. There was an element of competition that really wasn't spoken about, but everybody wanted to keep up. The first song we did, 'Down on the Bottom,' by Jim (James) really set the tempo for the whole thing. He set the bar. You didn't want to let the team down after that. I was honestly surprised at the level of musicianship and how much people were willing to help each other. I was trying to shred (on guitar) on one of Jim's songs and I kind of knew. I looked at him and he just cocked his head, and I understood immediately that for the sake of the song, I should leave my Van Halen licks out.”

Costello says there wasn't much talk about the long shadow cast by the original “Basement Tapes” session. It was more about creating on the fly, and as the two-week session proceeded, the songs came faster. “You'd sound like an arrogant (jerk) if you didn't think about what people will make of something named after 'The Basement Tapes,' but you can't be too intimidated to even do this,” he says. “There was a sense of humor running through the whole idea, in '67 and in the lighthearted way we went into it. I'm glad we didn't approach it like it was some kind of holy quest.”

Indeed, the last day saw the musicians so comfortable they recorded two songs sitting around a table before the “proper” recording session was even supposed to start. “I was hoping for 16 songs, we got 45,” Burnett says, enough to release a second volume if desired. The loose, spirited interplay gave the producer some insights into why the original sessions proved so productive.

“That was a serious time in Bob's life,” Burnett says. “After being in the public eye for so long, he had freedom, and no one was standing over his shoulder telling him what to do. He had a chance to get a lot of ideas on the table with a bunch of guys who were not only friends, but could really play, and really understood him. I'm not surprised he was writing all these great songs. He'd found something good, and he wasn't going to waste that opportunity.”
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Re: T-Bone / Dylan project: Lost On The River

Post by FAVEHOUR »

Here's something cool: Elvis and Larkin Poe doing a version of Golden Tom/Silver Judas for the cameras!

https://www.youtube.com/watch?v=zvpKoFSk3B4


Dave
Last edited by FAVEHOUR on Fri Nov 07, 2014 4:51 pm, edited 1 time in total.
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Re: T-Bone / Dylan project: Lost On The River

Post by And No Coffee Table »

sweetest punch wrote:Music From This Documentary

song title - written by - performed by:
With a such a long list of songs, I assume many will be short excerpts, but it looks like we'll hear quite a few songs from the potential second album:

Diamond Ring (Elvis Costello)
Diamond Ring (Jim James)
Down On The Bottom (Elvis Costello)
Florida Key (Elvis Costello)
Hidee Hidee Ho (Elvis Costello)
Lost On The River (Jim James)
Trying To Catch That Train (Marcus Mumford)
When I Get High (Taylor Goldsmith)
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Re: T-Bone / Dylan project: Lost On The River

Post by Eugene »

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Re: T-Bone / Dylan project: Lost On The River

Post by cwr »

I think "Golden Tom - Silver Judas" captures something of the feel of the songs on Dylan's John Wesley Harding album.

It's a lovely melody by EC. What a terrific song, it's basically everything I would've wanted from a Costello/Dylan co-write.
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Re: T-Bone / Dylan project: Lost On The River

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Best Buy will have the CD with a "bonus t-shirt."

Image

http://www.bestbuy.com/site/lost-on-the ... Id=9493192
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Re: T-Bone / Dylan project: Lost On The River

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http://www.independent.ie/entertainment ... 28689.html

Lost on the River: The New Basement Tapes
By Eamon Carr

Published 08/11/2014 | 17:15

“He would pull these songs out of nowhere,” said guitarist Robbie Robertson of Bob Dylan’s output in the summer of 1967. “We didn’t know if he wrote them, or if he remembered them.”

4*

After a whirlwind six years, when he reinvented popular music and shaped sets of stylistic blueprints which are still in use, Dylan crashed, literally and metaphorically.

His recuperation involved innumerable playful sessions with The Band at their house in up-state New York, during which they explored new songs, ancient songs and ragged surreal jams.

This week, 138 of the tracks they taped for fun are released. The Basement Tapes Complete: The Bootleg Series Vol. 11 are both a crucial pop touchstone and contemporary musical talisman.

But there was even more.

This time last year, Dylan rang his friend and sometimes collaborator T Bone Burnett and revealed that he had a box of lyrics written around that time. When he asked Burnett if he could do anything with them, the man who supervised the soundtrack for O Brother, Where Art Thou? didn’t need persuading.

His idea was to approach the task in an adventurous spirit similar to the original basement sessions. He’s described the musicians he invited to get involved as “music archaeologists” who knew “how to dig without breaking the thing they were digging”.

Everyone pitched in, writing and performing across a range of songs. This album has 15 tracks. The deluxe version has another five. Sources say there’s another bunch that may eventually be released.

Remarkably, this doesn’t sound like a compilation album. Or one of those patchy tribute albums.

Burnett’s ability to create a sound that, in itself, tells a story is probably why Dylan rang him in the first place. There are many wonderful surprises in this package.

The front of house crew include Elvis Costello, Marcus Mumford, Jim James of My Morning Jacket, Rhiannon Giddens (The Carolina Chocolate Drops) and Taylor Goldsmith of Dawes. Jim James is particularly impressive, capable of tender vulnerability while capturing a sense of night terrors on Down In The Bottom. On Hidee Hidee Ho #11, his mischievous phrasing matches Dylan’s ability to turn a single syllable into a jazz riff.

Rhiannon Giddens stamps a powerful folk authority on Spanish Mary. With rattling old-timey banjo and declamatory voice, she nails Duncan and Jimmy.

Costello taps into his wired younger persona and feels perfectly at home with Dylan’s acrobatic wordplay, Bo Diddley meets Tennessee Williams on Married To My Hack.

Marcus Mumford pitches Stranger (“Never fall in love with a stranger”) into an anthemic singalong.

Giddens’ turns Lost On The River into a haunting and timeless spiritual. Dylan must surely be very pleased.
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Re: T-Bone / Dylan project: Lost On The River

Post by sweetest punch »

Interview with T-Bone Burnett on NPR (with fragments of the album - including Elvis's Lost On The River): http://www.npr.org/2014/11/07/361758046 ... dream-team
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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