T-Bone / Dylan project: Lost On The River
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Re: T-Bone / Dylan project: Lost On The River
All I can say is that I hope that Elvis's fingerprints are all over this more so than Marcus Mumford's.
Re: T-Bone / Dylan project: Lost On The River
Poor Mumford is getting slammed on this board. I say we give him a chance. He is young enough to grow as an artist. When is this coming out again?
- Otis Westinghouse
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Re: T-Bone / Dylan project: Lost On The River
Autumn.
M&S (the band not the shop) seem to produce contempt to the same measure that they project intense passion. It's so very easy to hate them. The fact that they created a video that was a self-parody was presumably a riposte to this, but at the same time an admission that there's a lot to make fun of about them. That they did it themselves makes them even more annoying. It's worth watching the video to the end, the last section is laugh out loud funny, and of course the song is typically dire:
http://noisey.vice.com/en_uk/blog/dont- ... iking-them
Elvis seems to be saying 'MM writes simplistic songs, but with big tunes'. As far as I'm concerned, they're big but shit. I will listen without prejudice, I always do, but I wish Elvis wasn't working with him.
M&S (the band not the shop) seem to produce contempt to the same measure that they project intense passion. It's so very easy to hate them. The fact that they created a video that was a self-parody was presumably a riposte to this, but at the same time an admission that there's a lot to make fun of about them. That they did it themselves makes them even more annoying. It's worth watching the video to the end, the last section is laugh out loud funny, and of course the song is typically dire:
http://noisey.vice.com/en_uk/blog/dont- ... iking-them
Elvis seems to be saying 'MM writes simplistic songs, but with big tunes'. As far as I'm concerned, they're big but shit. I will listen without prejudice, I always do, but I wish Elvis wasn't working with him.
There's more to life than books, you know, but not much more
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Re: T-Bone / Dylan project: Lost On The River
More news (from John F's post in another thread): http://m.knoxville.com/news/2014/jun/12 ... e-theatre/
(...)
In the spring he collaborated with Jim James (My Morning Jacket), Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes) and Marcus Mumford (Mumford and Sons) and producer T-Bone Burnett, to complete and record songs based on lyrics written by Bob Dylan in 1967.
“We ended up feeling like a group,” says Costello. “We played the instruments on each others’ renditions of these songs and in some cases, we ended up with four takes of these lyrics that were completely different and tremendous fun to play.”
He says the group might do some shows to support the album, but will have to wait until 2015.
(...)
(...)
In the spring he collaborated with Jim James (My Morning Jacket), Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes) and Marcus Mumford (Mumford and Sons) and producer T-Bone Burnett, to complete and record songs based on lyrics written by Bob Dylan in 1967.
“We ended up feeling like a group,” says Costello. “We played the instruments on each others’ renditions of these songs and in some cases, we ended up with four takes of these lyrics that were completely different and tremendous fun to play.”
He says the group might do some shows to support the album, but will have to wait until 2015.
(...)
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
Re: T-Bone / Dylan project: Lost On The River
Thanks 'Punch - saved me posting this!
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Re: T-Bone / Dylan project: Lost On The River
From a preview for the Atlanta show: http://www.accessatlanta.com/weblogs/at ... n-atlanta/
(...)
And Costello, T Bone Burnett, My Morning Jacket's Jim James, Mumford & Sons' Marcus Mumford, Carolina Chocolate Drops' Rhiannon Giddens and Dawes' Taylor Goldsmith recorded and wrote together on "Last on the River: The New Basement Tapes," due later this year and featuring songs using newly discovered Bob Dylan lyrics.
"Mostly, you don’t decide you’re going to do it — the circumstances present themselves," Costello said. "You can’t invite yourself round to Paul McCartney's house to write songs, you have to be asked. Somebody has to say, "Hey, it'd be great if you wrote a song," and that one song leads to a whole album."
His offbeat partnerships are often serendipitous. He offered the example of Georgia duo Larkin Poe, opening for him during his Atlanta stop. Costello saw them perform at MerleFest in North Carolina years ago, where they "stole the show," he said. That encounter led to the group opening up for him during shows in Canada and Europe. And, when a track needed some extra voices while recording "Basement Tapes," Costello called upon the sisters — who happened to be mixing their album down the street — to lend theirs.
(...)
(...)
And Costello, T Bone Burnett, My Morning Jacket's Jim James, Mumford & Sons' Marcus Mumford, Carolina Chocolate Drops' Rhiannon Giddens and Dawes' Taylor Goldsmith recorded and wrote together on "Last on the River: The New Basement Tapes," due later this year and featuring songs using newly discovered Bob Dylan lyrics.
"Mostly, you don’t decide you’re going to do it — the circumstances present themselves," Costello said. "You can’t invite yourself round to Paul McCartney's house to write songs, you have to be asked. Somebody has to say, "Hey, it'd be great if you wrote a song," and that one song leads to a whole album."
His offbeat partnerships are often serendipitous. He offered the example of Georgia duo Larkin Poe, opening for him during his Atlanta stop. Costello saw them perform at MerleFest in North Carolina years ago, where they "stole the show," he said. That encounter led to the group opening up for him during shows in Canada and Europe. And, when a track needed some extra voices while recording "Basement Tapes," Costello called upon the sisters — who happened to be mixing their album down the street — to lend theirs.
(...)
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
- And No Coffee Table
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Re: T-Bone / Dylan project: Lost On The River
In a video from Louisville, EC seems to confirm that the group assembled for this album is named The Group.
He previously referred to The Group in an April 1 tweet:
He previously referred to The Group in an April 1 tweet:
The Imposter wrote:Any truth to the rumour that The Group will now go on to write new music for Dylan's most famous songs? @jimjames @ElvisCostello
- And No Coffee Table
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Re: T-Bone / Dylan project: Lost On The River
Rolling Stone Argentina is the unlikely source for some new information about this project. If there's an English version of this article, I can't find it.
25.06.2014 | 11:10
Un supergrupo rescata a Dylan
Marcus Mumford, Elvis Costello y amigos convierten letras perdidas de Bob en canciones increíbles
Por Gavin Edwards
"Bob encontró una caja llena de letras de canciones de 1967", dice T Bone Burnett. "Bob" es Dylan y en 1967 estaba escondido en Woodstock grabando con The Band los demos que luego fueron The Basement Tapes. Durante esa época, Dylan "escribía todo el día en el piso de arriba, después bajaba y grababan lo que podían", según Burnett.
Dylan le pasó 24 letras inéditas a Burnett, que lo conoció cuando tocó la guitarra en la gira Rolling Thunder Revue Tour, de 1975. Burnett entonces reclutó una banda de estrellas: Elvis Costello, Marcus Mumford (de Mumford & Sons), Jim James (My Morning Jacket), Rhiannon Giddens (Carolina Chocolate Drops) y Taylor Goldsmith (Dawes). "No fue muy difícil convencerlos", dice.
Los músicos se reunieron con él durante dos semanas en marzo, en los estudios Capitol de Los Angeles, para convertir las letras de Dylan en canciones. El intercambio de instrumentos fue una constante: Costello agarró el bajo, Mumford tocó la batería. "Quería tratar el material como lo hacía Bob", dice Burnett.
Los músicos probaron distintas estrategias. Costello leyó atentamente las letras manuscritas, tratando de capturar el ritmo de la escritura de Dylan, donde un garabato podía indicar una pausa entre estrofas. James prefirió dejar que la música se expandiera. Mumford fue el menos respetuoso. "Que sean letras de Dylan no significa que no puedas jugar con ellas", dice. "No hay nada malo en sacar algo de la última parte y adornarla con frases de la primera. Estas eran letras sin terminar, el último orejón del tarro. Las más importantes iban a sus propios discos, después estaban las que iban a The Basement Tapes, y después los bootlegs."
El grupo grabó más de 40 canciones, en muchos casos versiones diferentes de un mismo track. Costello, James y Goldsmith trajeron cada uno un puñado de demos; Mumford, a veces, sacaba una canción en apenas diez minutos. O como dice Costello, "Marcus se iba al cuarto de al lado y componía lo que en una época más feliz habría sido un disco de hits".
Un lunes, cerca del final de las sesiones, Costello enchufa un iPod para ponerle play a un demo de "Diamond Ring", una canción muy bop que habría estado bien en un disco como This Year's Model. Sus compañeros en la banda hacen tres tomas con James en el bajo y Giddens en el banjo, pero Burnett los corta en seco. "¿Por qué consentirles sus inseguridades?", dice. Costello pela una naranja mientras escucha la grabación. La primera toma no le gusta ("A mitad de camino se apuran demasiado", explica) pero durante la segunda, levanta los brazos en señal de triunfo. Ahora sí.
Nadie sabe qué canciones llegarán al disco, pero sí cómo se titulará: Lost on the River: The New Basement Tapes. Se editará este año y algunos ya lo comparan con Mermaid Avenue, el álbum en el que Billy Bragg y Wilco adaptaron las letras de Woody Guthrie. Pero Costello no está de acuerdo con esta idea: "En este caso, el autor está vivo. Si no le llega a gustar, se la puede agarrar con nosotros". ¿Entregaría él su cuaderno de letras de canciones? "No sé si tengo un volumen suficiente", dice. "Dylan siempre estuvo un paso más adelante que todos nosotros, en muchos sentidos."
Google translation:
A supergroup rescues Dylan
Marcus Mumford, Elvis Costello and friends become lost in amazing lyrics Bob lyrics
By Gavin Edwards
"Bob found a box full of lyrics 1967," says T Bone Burnett. "Bob" is Dylan, and in 1967 was hidden in Woodstock with The Band recorded the demos that were later The Basement Tapes. During that time, Dylan "wrote all day upstairs, then down and recorded what they could," said Burnett.
Dylan spent 24 unpublished letters to Burnett, who knew him when he played guitar on the Rolling Thunder Revue tour Tour, 1975 Burnett then recruited a band star. Elvis Costello, Marcus Mumford (of Mumford & Sons), Jim James (my Morning Jacket), Rhiannon Giddens (Carolina Chocolate Drops) and Taylor Goldsmith (Dawes). "It was very difficult to convince them," he says.
The musicians joined him for two weeks in March, in the Capitol studios in Los Angeles, to make Dylan's lyrics in songs. The exchange of instruments was a constant: Costello grabbed the bass, Mumford played drums. "I wanted to treat the material as did Bob," says Burnett.
The musicians tried different strategies. Costello read carefully handwritten letters, trying to capture the rhythm of writing Dylan, where a scribble could indicate a pause between stanzas. James preferred to let the music to expand. Mumford was the least respectful. "What are lyrics to Dylan not mean you can not play with them," he says. "There is nothing wrong with taking something out of the last part and decorate it with the first sentences. Unfinished These were letters, the last orejón jar. Most important Las going to their own records, which were then going to The Basement Tapes and then bootlegs. "
The group recorded over 40 songs, in many cases different versions of the same track. Costello, James Goldsmith and each brought a handful of demos; Mumford sometimes drew a song in just ten minutes. Or as Costello says, "Marcus went to the next room and composed what in happier times would have been a record of hits."
One Monday, near the end of the session, Costello put plug an iPod to play a demo of "Diamond Ring", a song that would have been very good bop on a disc as This Year's Model. His bandmates do three shots with James on bass and Giddens on banjo, but Burnett's short dry. "Why pander their insecurities?" He says. Costello peeling an orange while listening to the recording. The first shot does not like ("Midway is too rush," explains) but during the second, raises his arms in triumph. Now it is.
Nobody knows what songs will reach the disk, but how to be titled: Lost on the River: The New Basement Tapes. Will be published this year and some already comparing him with Mermaid Avenue, the album that Billy Bragg and Wilco adapted the lyrics to Woody Guthrie. But Costello does not agree with this idea: "In this case, the author is alive it not to like, it can catch us.". Did he give his notebook lyrics? "I do not know if I have enough volume," he says. "Dylan was always one step ahead of all of us in many ways."
25.06.2014 | 11:10
Un supergrupo rescata a Dylan
Marcus Mumford, Elvis Costello y amigos convierten letras perdidas de Bob en canciones increíbles
Por Gavin Edwards
"Bob encontró una caja llena de letras de canciones de 1967", dice T Bone Burnett. "Bob" es Dylan y en 1967 estaba escondido en Woodstock grabando con The Band los demos que luego fueron The Basement Tapes. Durante esa época, Dylan "escribía todo el día en el piso de arriba, después bajaba y grababan lo que podían", según Burnett.
Dylan le pasó 24 letras inéditas a Burnett, que lo conoció cuando tocó la guitarra en la gira Rolling Thunder Revue Tour, de 1975. Burnett entonces reclutó una banda de estrellas: Elvis Costello, Marcus Mumford (de Mumford & Sons), Jim James (My Morning Jacket), Rhiannon Giddens (Carolina Chocolate Drops) y Taylor Goldsmith (Dawes). "No fue muy difícil convencerlos", dice.
Los músicos se reunieron con él durante dos semanas en marzo, en los estudios Capitol de Los Angeles, para convertir las letras de Dylan en canciones. El intercambio de instrumentos fue una constante: Costello agarró el bajo, Mumford tocó la batería. "Quería tratar el material como lo hacía Bob", dice Burnett.
Los músicos probaron distintas estrategias. Costello leyó atentamente las letras manuscritas, tratando de capturar el ritmo de la escritura de Dylan, donde un garabato podía indicar una pausa entre estrofas. James prefirió dejar que la música se expandiera. Mumford fue el menos respetuoso. "Que sean letras de Dylan no significa que no puedas jugar con ellas", dice. "No hay nada malo en sacar algo de la última parte y adornarla con frases de la primera. Estas eran letras sin terminar, el último orejón del tarro. Las más importantes iban a sus propios discos, después estaban las que iban a The Basement Tapes, y después los bootlegs."
El grupo grabó más de 40 canciones, en muchos casos versiones diferentes de un mismo track. Costello, James y Goldsmith trajeron cada uno un puñado de demos; Mumford, a veces, sacaba una canción en apenas diez minutos. O como dice Costello, "Marcus se iba al cuarto de al lado y componía lo que en una época más feliz habría sido un disco de hits".
Un lunes, cerca del final de las sesiones, Costello enchufa un iPod para ponerle play a un demo de "Diamond Ring", una canción muy bop que habría estado bien en un disco como This Year's Model. Sus compañeros en la banda hacen tres tomas con James en el bajo y Giddens en el banjo, pero Burnett los corta en seco. "¿Por qué consentirles sus inseguridades?", dice. Costello pela una naranja mientras escucha la grabación. La primera toma no le gusta ("A mitad de camino se apuran demasiado", explica) pero durante la segunda, levanta los brazos en señal de triunfo. Ahora sí.
Nadie sabe qué canciones llegarán al disco, pero sí cómo se titulará: Lost on the River: The New Basement Tapes. Se editará este año y algunos ya lo comparan con Mermaid Avenue, el álbum en el que Billy Bragg y Wilco adaptaron las letras de Woody Guthrie. Pero Costello no está de acuerdo con esta idea: "En este caso, el autor está vivo. Si no le llega a gustar, se la puede agarrar con nosotros". ¿Entregaría él su cuaderno de letras de canciones? "No sé si tengo un volumen suficiente", dice. "Dylan siempre estuvo un paso más adelante que todos nosotros, en muchos sentidos."
Google translation:
A supergroup rescues Dylan
Marcus Mumford, Elvis Costello and friends become lost in amazing lyrics Bob lyrics
By Gavin Edwards
"Bob found a box full of lyrics 1967," says T Bone Burnett. "Bob" is Dylan, and in 1967 was hidden in Woodstock with The Band recorded the demos that were later The Basement Tapes. During that time, Dylan "wrote all day upstairs, then down and recorded what they could," said Burnett.
Dylan spent 24 unpublished letters to Burnett, who knew him when he played guitar on the Rolling Thunder Revue tour Tour, 1975 Burnett then recruited a band star. Elvis Costello, Marcus Mumford (of Mumford & Sons), Jim James (my Morning Jacket), Rhiannon Giddens (Carolina Chocolate Drops) and Taylor Goldsmith (Dawes). "It was very difficult to convince them," he says.
The musicians joined him for two weeks in March, in the Capitol studios in Los Angeles, to make Dylan's lyrics in songs. The exchange of instruments was a constant: Costello grabbed the bass, Mumford played drums. "I wanted to treat the material as did Bob," says Burnett.
The musicians tried different strategies. Costello read carefully handwritten letters, trying to capture the rhythm of writing Dylan, where a scribble could indicate a pause between stanzas. James preferred to let the music to expand. Mumford was the least respectful. "What are lyrics to Dylan not mean you can not play with them," he says. "There is nothing wrong with taking something out of the last part and decorate it with the first sentences. Unfinished These were letters, the last orejón jar. Most important Las going to their own records, which were then going to The Basement Tapes and then bootlegs. "
The group recorded over 40 songs, in many cases different versions of the same track. Costello, James Goldsmith and each brought a handful of demos; Mumford sometimes drew a song in just ten minutes. Or as Costello says, "Marcus went to the next room and composed what in happier times would have been a record of hits."
One Monday, near the end of the session, Costello put plug an iPod to play a demo of "Diamond Ring", a song that would have been very good bop on a disc as This Year's Model. His bandmates do three shots with James on bass and Giddens on banjo, but Burnett's short dry. "Why pander their insecurities?" He says. Costello peeling an orange while listening to the recording. The first shot does not like ("Midway is too rush," explains) but during the second, raises his arms in triumph. Now it is.
Nobody knows what songs will reach the disk, but how to be titled: Lost on the River: The New Basement Tapes. Will be published this year and some already comparing him with Mermaid Avenue, the album that Billy Bragg and Wilco adapted the lyrics to Woody Guthrie. But Costello does not agree with this idea: "In this case, the author is alive it not to like, it can catch us.". Did he give his notebook lyrics? "I do not know if I have enough volume," he says. "Dylan was always one step ahead of all of us in many ways."
- Jeremy Dylan
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Re: T-Bone / Dylan project: Lost On The River
If I had a nickel for every time I've said that.And No Coffee Table wrote: ("Midway is too rush," explains)
Re: T-Bone / Dylan project: Lost On The River
Maybe it's just the translation but this article seems to be going out of its way to give more ammo to the Mumford-haters. I would suggest that Costello-- always a fierce defender of his musical collaborators-- will have a few choice words if the Mumford backlash becomes pronounced.Mumford was the least respectful.Mumford sometimes drew a song in just ten minutes.
It should be noted that a brief perusal of the ExpectingRain message boards revealed that some of the Dylan diehards were about as enthusiastic about the idea of Costello as some here are regarding Mumford...
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Re: T-Bone / Dylan project: Lost On The River
http://www.ledevoir.com/culture/musique ... du+Devoir)
(...)
Faudra vraiment s’attendre à tout dimanche. Sauf aux textes « retrouvés » de Dylan qu’il vient de mettre en musique dans le cadre du projet des New Basement Tapes, en compagnie des T-Bone Burnett et autres Marcus Mumford. « Quelle fantastique occasion nous avons eu là, quelle joie d’enregistrer avec ces gens de qualité ! Ça va sortir en novembre, je crois. »
(...)
-----------------
(...)
Will really expect anything Sunday. Except texts "found" Dylan he just put music in the project of New Basement Tapes, along with T-Bone Burnett and other Marcus Mumford. "What a fantastic opportunity we got there, what a joy to record with these quality people! It will come out in November, I think. "
(...)
(...)
Faudra vraiment s’attendre à tout dimanche. Sauf aux textes « retrouvés » de Dylan qu’il vient de mettre en musique dans le cadre du projet des New Basement Tapes, en compagnie des T-Bone Burnett et autres Marcus Mumford. « Quelle fantastique occasion nous avons eu là, quelle joie d’enregistrer avec ces gens de qualité ! Ça va sortir en novembre, je crois. »
(...)
-----------------
(...)
Will really expect anything Sunday. Except texts "found" Dylan he just put music in the project of New Basement Tapes, along with T-Bone Burnett and other Marcus Mumford. "What a fantastic opportunity we got there, what a joy to record with these quality people! It will come out in November, I think. "
(...)
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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- Joined: Sat Apr 03, 2004 5:49 am
- Location: Belgium
Re: T-Bone / Dylan project: Lost On The River
http://www.theguardian.com/music/musicb ... rst-listen
Bob Dylan's New Basement Tapes – a first listen
Bob Dylan gave T-Bone Burnett a set of unrecorded lyrics to be set to music. The results are a credit to all concerned
Elvis Costello leaned forward in his chair to address the small gathering in a West London recording studio on the subject of a bunch of hitherto unknown Bob Dylan lyrics dating from 1967. “One of them,” he said, “has a line that goes ‘A thousand doors couldn’t hold me back from you.’ If you wrote a line like that, you wouldn’t keep it in a drawer for 47 years – unless you were Bob Dylan.”
The lyrics, two dozen of them, were scribbled down during the summer that Dylan was hunkered down in the basement of Big Pink, a house in upstate New York, recording the collection of songs that became known as The Basement Tapes. Recently, in one of the startling decisions that have marked the latter years of his career, he sent them to the producer T-Bone Burnett, suggesting that he might find a use for them.
Thinking he might get them set to music, Burnett contacted a group of sympathetic songwriters – Costello, Jim James of My Morning Jacket, Rhiannon Giddens of the Carolina Chocolate Drops, Marcus Mumford of Mumford & Sons and Taylor Goldsmith of Dawes – and set them to work, with a plan to convene at Capitol Records’ Los Angeles studio and concoct an album or two out of the results. The first of them will be released later this year, under the title Lost on the River: The New Basement Tapes Vol 1.
Each musician, Burnett explained to the audience in the studio, was free to have a go at whichever lyrics they fancied. As a result there were sometimes three or four radically different settings of the same words. Costello, however, pointed out how uncanny it was that two or three of them would sometimes come up with virtually identical melodic phrases for the same “key cadence” in a song: “It was like a magic trick.”
Burnett pointed out that the recordings – made in a basement studio, using real tape – offered his chosen songwriters an unusual opportunity to collaborate with the 27-year-old Dylan. “Everybody brought their A game,” he said. “But you don’t record all 44 versions of these songs in 12 days by being precious about it.”
Nevertheless the playback of an 11-song rough running order demonstrated that, unlike its predecessor, Lost on the River is a finished product. It would be a pointless affectation to imitate the rough and ready quality of the 100-plus songs recorded during that summer during which Dylan was recuperating firstly from fractured vertebrae suffered in a motorcycle crash, and secondly from the chemically fuelled intensity of his rise to world fame; exploring the constituent parts of his music in the company of Rick Danko, Robbie Robertson, Richard Manuel and Garth Hudson, and inventing not just the bootleg phenomenon but also the back-to-the-roots movement now loosely known as "Americana" in the process.
At this stage, even the most optimistic Dylanologist would not expect their hero to have a bunch of forgotten Desolation Rows or I Shall Be Releaseds mouldering in the attic, and the lyrics he passed on to Burnett are unlikely to provoke a radical reconsideration of his artistic development. There are indeed some nice lines, like these from the title track, which Costello set to a tune featuring a very un-Dylanish chromatic melody, teamed with a country-soul chorus that would not be out of place on a James Carr or Percy Sledge record: “Tears of loneliness hidden within/ As he goes from one woman to the next … Then falls in love with one/ It’s hard but true/ But it’s so much harder when the woman is you.”
Songs that stuck in the memory after a single listening included James’s Down on the Bottom, whose howling slow-motion rockabilly guitars and sepulchral echo cry out for the appearance of Roy Orbison; the sitting-on-a-barbed-wire-fence mood of Costello’s Married to My Hack; Giddens’s Spanish Mary and Duncan and Jimmy, with their banjo and fiddle and keening lead vocals; and Mumford’s sweet, ardent Kansas City.
It’ll be a nice record: something of a credit to all concerned, although Dylan’s motivation is likely to remain a mystery. Perhaps it will encourage him to fill the most glaring hole in the list of his official releases: a complete set of those extraordinary original Basement Tapes to replace the unsatisfactory official double album compiled by Robertson on behalf of Columbia Records in 1975. Here’s hoping.
Bob Dylan's New Basement Tapes – a first listen
Bob Dylan gave T-Bone Burnett a set of unrecorded lyrics to be set to music. The results are a credit to all concerned
Elvis Costello leaned forward in his chair to address the small gathering in a West London recording studio on the subject of a bunch of hitherto unknown Bob Dylan lyrics dating from 1967. “One of them,” he said, “has a line that goes ‘A thousand doors couldn’t hold me back from you.’ If you wrote a line like that, you wouldn’t keep it in a drawer for 47 years – unless you were Bob Dylan.”
The lyrics, two dozen of them, were scribbled down during the summer that Dylan was hunkered down in the basement of Big Pink, a house in upstate New York, recording the collection of songs that became known as The Basement Tapes. Recently, in one of the startling decisions that have marked the latter years of his career, he sent them to the producer T-Bone Burnett, suggesting that he might find a use for them.
Thinking he might get them set to music, Burnett contacted a group of sympathetic songwriters – Costello, Jim James of My Morning Jacket, Rhiannon Giddens of the Carolina Chocolate Drops, Marcus Mumford of Mumford & Sons and Taylor Goldsmith of Dawes – and set them to work, with a plan to convene at Capitol Records’ Los Angeles studio and concoct an album or two out of the results. The first of them will be released later this year, under the title Lost on the River: The New Basement Tapes Vol 1.
Each musician, Burnett explained to the audience in the studio, was free to have a go at whichever lyrics they fancied. As a result there were sometimes three or four radically different settings of the same words. Costello, however, pointed out how uncanny it was that two or three of them would sometimes come up with virtually identical melodic phrases for the same “key cadence” in a song: “It was like a magic trick.”
Burnett pointed out that the recordings – made in a basement studio, using real tape – offered his chosen songwriters an unusual opportunity to collaborate with the 27-year-old Dylan. “Everybody brought their A game,” he said. “But you don’t record all 44 versions of these songs in 12 days by being precious about it.”
Nevertheless the playback of an 11-song rough running order demonstrated that, unlike its predecessor, Lost on the River is a finished product. It would be a pointless affectation to imitate the rough and ready quality of the 100-plus songs recorded during that summer during which Dylan was recuperating firstly from fractured vertebrae suffered in a motorcycle crash, and secondly from the chemically fuelled intensity of his rise to world fame; exploring the constituent parts of his music in the company of Rick Danko, Robbie Robertson, Richard Manuel and Garth Hudson, and inventing not just the bootleg phenomenon but also the back-to-the-roots movement now loosely known as "Americana" in the process.
At this stage, even the most optimistic Dylanologist would not expect their hero to have a bunch of forgotten Desolation Rows or I Shall Be Releaseds mouldering in the attic, and the lyrics he passed on to Burnett are unlikely to provoke a radical reconsideration of his artistic development. There are indeed some nice lines, like these from the title track, which Costello set to a tune featuring a very un-Dylanish chromatic melody, teamed with a country-soul chorus that would not be out of place on a James Carr or Percy Sledge record: “Tears of loneliness hidden within/ As he goes from one woman to the next … Then falls in love with one/ It’s hard but true/ But it’s so much harder when the woman is you.”
Songs that stuck in the memory after a single listening included James’s Down on the Bottom, whose howling slow-motion rockabilly guitars and sepulchral echo cry out for the appearance of Roy Orbison; the sitting-on-a-barbed-wire-fence mood of Costello’s Married to My Hack; Giddens’s Spanish Mary and Duncan and Jimmy, with their banjo and fiddle and keening lead vocals; and Mumford’s sweet, ardent Kansas City.
It’ll be a nice record: something of a credit to all concerned, although Dylan’s motivation is likely to remain a mystery. Perhaps it will encourage him to fill the most glaring hole in the list of his official releases: a complete set of those extraordinary original Basement Tapes to replace the unsatisfactory official double album compiled by Robertson on behalf of Columbia Records in 1975. Here’s hoping.
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Re: T-Bone / Dylan project: Lost On The River
http://www.rte.ie/ten/news/2014/0716/63 ... e-burnett/
Bob Dylan lyrics set to music due for release
Musician and arranger T-Bone Burnett received a set of unrecorded lyrics written by Bob Dylan in 1967. Set to music by various artists, the resultant songs will be released as an album later this year.
“One of them has a line that goes: ‘A thousand doors couldn’t hold me back from you, ” Elvis Costello recently told a press conference. “If you wrote a line like that, you wouldn’t keep it in a drawer for 47 years – unless you were Bob Dylan.”
Lyrics sufficient for about 24 songs, were written during Dylan’s summer at Big Pink, the house in upstate New York, where he recorded The Basement Tapes. He sent them to Burnett, suggesting that he might be able to do something with them.
The musician duly lined up a number of sympathetic songwriters, including Costello, Jim James of My Morning Jacket, Rhiannon Giddens of the Carolina Chocolate Drops, Marcus Mumford of Mumford & Sons and Taylor Goldsmith of Dawes. He asked the relevant parties to set melodies to the lyrics, and to show up later at Capitol Records’ Los Angeles studio.
The aim was to forge at least one album from the salvaged material. The first album will be released later this year, under the title Lost on the River: The New Basement Tapes Vol 1.
Each musician was at liberty to chose whichever lyrics they liked, resulting in three or four different settings of the same words.
The recordings were made in a basement studio, using real tape. “Everybody brought their A game,” said producer Burnett. “But you don’t record all 44 versions of these songs in 12 days by being precious about it.”
Costello sings Married to My Hack and Mumford does a song called Kansas City.
Bob Dylan lyrics set to music due for release
Musician and arranger T-Bone Burnett received a set of unrecorded lyrics written by Bob Dylan in 1967. Set to music by various artists, the resultant songs will be released as an album later this year.
“One of them has a line that goes: ‘A thousand doors couldn’t hold me back from you, ” Elvis Costello recently told a press conference. “If you wrote a line like that, you wouldn’t keep it in a drawer for 47 years – unless you were Bob Dylan.”
Lyrics sufficient for about 24 songs, were written during Dylan’s summer at Big Pink, the house in upstate New York, where he recorded The Basement Tapes. He sent them to Burnett, suggesting that he might be able to do something with them.
The musician duly lined up a number of sympathetic songwriters, including Costello, Jim James of My Morning Jacket, Rhiannon Giddens of the Carolina Chocolate Drops, Marcus Mumford of Mumford & Sons and Taylor Goldsmith of Dawes. He asked the relevant parties to set melodies to the lyrics, and to show up later at Capitol Records’ Los Angeles studio.
The aim was to forge at least one album from the salvaged material. The first album will be released later this year, under the title Lost on the River: The New Basement Tapes Vol 1.
Each musician was at liberty to chose whichever lyrics they liked, resulting in three or four different settings of the same words.
The recordings were made in a basement studio, using real tape. “Everybody brought their A game,” said producer Burnett. “But you don’t record all 44 versions of these songs in 12 days by being precious about it.”
Costello sings Married to My Hack and Mumford does a song called Kansas City.
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Re: T-Bone / Dylan project: Lost On The River
So they are going to release a Volume 1 with only 11 songs, this means only two (and maybe three) EC/BD songs. This is a little disappointing.
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
Tweets by Neil McCormick:
https://twitter.com/neil_mccormick/stat ... 1415431169
![Image](https://pbs.twimg.com/media/BsmnCS5CUAAg8e6.jpg)
https://twitter.com/neil_mccormick/stat ... 5440427008
![Image](https://pbs.twimg.com/media/Bsmma-aIgAAK6Vp.jpg)
https://twitter.com/neil_mccormick/stat ... 1415431169
![Image](https://pbs.twimg.com/media/BsmnCS5CUAAg8e6.jpg)
https://twitter.com/neil_mccormick/stat ... 5440427008
![Image](https://pbs.twimg.com/media/Bsmma-aIgAAK6Vp.jpg)
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
That is disappointing, but I like that they're calling it Volume 1.sweetest punch wrote:So they are going to release a Volume 1 with only 11 songs, this means only two (and maybe three) EC/BD songs. This is a little disappointing.
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Re: T-Bone / Dylan project: Lost On The River
OR there could be a "deluxe edition" with a more expansive track listing. But yeah...And No Coffee Table wrote:That is disappointing, but I like that they're calling it Volume 1.sweetest punch wrote:So they are going to release a Volume 1 with only 11 songs, this means only two (and maybe three) EC/BD songs. This is a little disappointing.
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Re: T-Bone / Dylan project: Lost On The River
Because, after the pre-release hype, 11 tracks would be a monumental disappointment.
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Re: T-Bone / Dylan project: Lost On The River
don't fret, as ANCT says, the Volume 1 title implies Volume 2 will arrive probably sooner rather than later. my logic being, if as EC has said the group has a name "THE GROUP" (get it? instead of THE BAND
) and there is talk of a couple shows to coincide with the release. additionally, there appears more talk of a larger scale "small tour" of sorts in 2015, surely they would get the second volume out by then i would bet. or i will hope at least. and you can too.
![Wink :wink:](./images/smilies/icon_wink.gif)
Re: T-Bone / Dylan project: Lost On The River
i am looking forward to this in whatever fashion or form they want to release it. I will be patient.
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Re: T-Bone / Dylan project: Lost On The River
http://www.theaustralian.com.au/arts/re ... b41fc6204f
Johnny come lately strums on Dylan’s Basement Tapes
SOME of you may have seen mention of tennis legend John McEnroe in these pages recently, in the context of being a guest guitarist on the Pretenders head honcho Chrissie Hynde’s debut solo album.
Turns out McEnroe isn’t the only famous hobby guitarist who has been hanging out with seasoned professionals lately.
This week in London respected American producer T Bone Burnett revealed a video of his latest project, Lost in the River: The Basement Tapes, on which a handful of artists including Elvis Costello and Marcus Mumford have written music for lyrics penned and supplied by Bob Dylan.
Dylan found the long-forgotten scraps from his own Basement Tapes, recorded at the Big Pink in 1967, in a box last year and handed over the previously unseen words to Burnett with orders to do something with them.
We’ll hear the results in November, but ring-in Johnny Depp is on there, standing in for Costello on one song on guitar because the Liverpudlian had a gig to go to elsewhere on the day of recording. “I was glad to have him as an understudy,” Costello says.
(...)
Johnny come lately strums on Dylan’s Basement Tapes
SOME of you may have seen mention of tennis legend John McEnroe in these pages recently, in the context of being a guest guitarist on the Pretenders head honcho Chrissie Hynde’s debut solo album.
Turns out McEnroe isn’t the only famous hobby guitarist who has been hanging out with seasoned professionals lately.
This week in London respected American producer T Bone Burnett revealed a video of his latest project, Lost in the River: The Basement Tapes, on which a handful of artists including Elvis Costello and Marcus Mumford have written music for lyrics penned and supplied by Bob Dylan.
Dylan found the long-forgotten scraps from his own Basement Tapes, recorded at the Big Pink in 1967, in a box last year and handed over the previously unseen words to Burnett with orders to do something with them.
We’ll hear the results in November, but ring-in Johnny Depp is on there, standing in for Costello on one song on guitar because the Liverpudlian had a gig to go to elsewhere on the day of recording. “I was glad to have him as an understudy,” Costello says.
(...)
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
http://www.broadwayworld.com/bwwtv/arti ... 1-20140718
Showtime Documentary LOST SONGS: THE BASEMENT TAPES CONTINUED to Premiere Nov 21
Today, Showtime announced the premiere date for the network's captivating new original documentary LOST SONGS: THE BASEMENT TAPES CONTINUED, which will premiere on Friday, November 21st at 9:00 p.m. The documentary, which is produced by Oscar winner T Bone Burnett and Sam Jones and directed by Jones, chronicles the recording of new music from long-lost lyrics penned by legendary songwriter Bob Dylan.
LOST SONGS: THE BASEMENT TAPES CONTINUED is an exclusive and intimate look at five of today's most acclaimed artists - Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes), Jim James (My Morning Jacket) and Marcus Mumford (Mumford & Sons) -- as they create music for two-dozen recently discovered lyrics written by Bob Dylan. The Grammy-winning songwriter penned the songs in the summer of 1967 during a creative period.
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 13-time Grammy winner Burnett, as they record these newly completed compositions in Hollywood's famed Capitol Studios. Jones, who directs the film, weaves these studio sessions into a broader narrative that incorporates the stories behind the original Basement Tapes, expounding on their cultural significance and charting their enduring influence.
The premiere coincides with the release of the Burnett-produced studio album on Electromagnetic Recordings/Harvest Records (Capitol Music Group).
LOST SONGS: THE BASEMENT TAPES CONTINUED is a film and recording collaboration by Sam Jones and T Bone Burnett. Carol Cohen also serves as producer of the film.
![Image](http://1-ps.googleusercontent.com/x/www.broadwayworld.com/images.bwwstatic.com/columnpic6/2F8FEA2A4-D278-A19E-C0BE017613AAD561.jpg.pagespeed.ce.z1hFYXX9_9.jpg)
Showtime Documentary LOST SONGS: THE BASEMENT TAPES CONTINUED to Premiere Nov 21
Today, Showtime announced the premiere date for the network's captivating new original documentary LOST SONGS: THE BASEMENT TAPES CONTINUED, which will premiere on Friday, November 21st at 9:00 p.m. The documentary, which is produced by Oscar winner T Bone Burnett and Sam Jones and directed by Jones, chronicles the recording of new music from long-lost lyrics penned by legendary songwriter Bob Dylan.
LOST SONGS: THE BASEMENT TAPES CONTINUED is an exclusive and intimate look at five of today's most acclaimed artists - Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes), Jim James (My Morning Jacket) and Marcus Mumford (Mumford & Sons) -- as they create music for two-dozen recently discovered lyrics written by Bob Dylan. The Grammy-winning songwriter penned the songs in the summer of 1967 during a creative period.
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 13-time Grammy winner Burnett, as they record these newly completed compositions in Hollywood's famed Capitol Studios. Jones, who directs the film, weaves these studio sessions into a broader narrative that incorporates the stories behind the original Basement Tapes, expounding on their cultural significance and charting their enduring influence.
The premiere coincides with the release of the Burnett-produced studio album on Electromagnetic Recordings/Harvest Records (Capitol Music Group).
LOST SONGS: THE BASEMENT TAPES CONTINUED is a film and recording collaboration by Sam Jones and T Bone Burnett. Carol Cohen also serves as producer of the film.
![Image](http://1-ps.googleusercontent.com/x/www.broadwayworld.com/images.bwwstatic.com/columnpic6/2F8FEA2A4-D278-A19E-C0BE017613AAD561.jpg.pagespeed.ce.z1hFYXX9_9.jpg)
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Re: T-Bone / Dylan project: Lost On The River
Apparently whilst in London this week, Elvis met with journalists in Chiswick at a playback session for the new album. David Churchill in The London Evening Standard reported it thus on 17 July:
"Costello and Mumford bring Dylan lyrics to life
ELVIS COSTELLO today spoke of the honour of bringing lost lyrics by Bob Dylan to life nearly 50 years after they were written.
Costello has worked with artists including Mumford & Sons frontman Marcus Mumford to put music to words Dylan wrote in 1967 and recently found in an old box file.
Dylan gave them to producer T-Bone Burnett and he recruited Rhiannon Giddens from Carolina Chocolate Drops, Taylor Goldsmith of Dawes and Jim James from My Morning Jacket to work with Costello and Mumford. The result Lost On The River, has been billed as a 20-song follow-up to Dylan's legendary Basement Tapes album.
Launching the project at Metropolis Studios in Chiswick, Costello said there had been a number of traps to avoid: "One is to go back in time, the other is to be intimidated and the third is to think that you are Bob and The Band because we're not. We're us, playing today with our own histories and our own preferences."
Lost On The River: The New Basement Tapes will be released later this year along with a Showtime documentary."
MOOT
"Costello and Mumford bring Dylan lyrics to life
ELVIS COSTELLO today spoke of the honour of bringing lost lyrics by Bob Dylan to life nearly 50 years after they were written.
Costello has worked with artists including Mumford & Sons frontman Marcus Mumford to put music to words Dylan wrote in 1967 and recently found in an old box file.
Dylan gave them to producer T-Bone Burnett and he recruited Rhiannon Giddens from Carolina Chocolate Drops, Taylor Goldsmith of Dawes and Jim James from My Morning Jacket to work with Costello and Mumford. The result Lost On The River, has been billed as a 20-song follow-up to Dylan's legendary Basement Tapes album.
Launching the project at Metropolis Studios in Chiswick, Costello said there had been a number of traps to avoid: "One is to go back in time, the other is to be intimidated and the third is to think that you are Bob and The Band because we're not. We're us, playing today with our own histories and our own preferences."
Lost On The River: The New Basement Tapes will be released later this year along with a Showtime documentary."
MOOT
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Re: T-Bone / Dylan project: Lost On The River
http://www.telegraph.co.uk/news/celebri ... group.html
BOB DYLAN: NEW 'LOST' SONGS ARE RIGHT ON TRACK
For Dylanologists, the wait is almost over.
An all-star line-up of acclaimed musicians, which includes Elvis Costello and Mumford & Sons’ frontman Marcus Mumford, has completed a double album of tracks with unfinished and hitherto unheard Bob Dylan lyrics dating back to his late-1960s heyday.
The singer-songwriters have composed original music to go with the cache of dozens of ‘lost’ Dylan songs, written during a prodigious period of creativity as he recuperated from a motorcycle accident in 1966. According to the legendary producer T Bone Burnett, who is overseeing the project, “they’re lyrics he just never got around to finishing”.
At an intimate gathering in London last week, rough mixes of the historic collaboration were unveiled to Island Records.
“There’s a line in one song: ‘1,000 doors wouldn’t hold me back from you’,” said Costello, admiringly. “If you wrote a line that good, you wouldn’t keep it in a drawer for 47 years. Unless you’re Bob Dylan.”
The project came about after Dylan found a box containing lyrics thought to have been lost from his informal Basement Tapes sessions, the watershed 1967 recordings with his then-backing group, The Band. The original sessions, which took place over several months at a small house in West Saugerties, New York, produced more than a hundred songs, including classics such as This Wheel’s on Fire, The Mighty Quinn and I Shall Be Released.
Dylan handed the rediscovered material to Burnett to do with whatever he saw fit – which was to assemble contemporary musicians to complete the songs.
Recorded in Los Angeles, Lost on the River: The New Basement Tapes Vol 1 is due to be released later this year.
Filmed footage from the sessions show the band performing two versions of a song called Lost On The River. In the first version, Costello, wearing dark shades, is on guitar. In the second, it’s Johnny Depp, a keen amateur musician who dropped by Capitol Records’ Hollywood studio to watch the historic recording in progress and was invited to participate.
BOB DYLAN: NEW 'LOST' SONGS ARE RIGHT ON TRACK
For Dylanologists, the wait is almost over.
An all-star line-up of acclaimed musicians, which includes Elvis Costello and Mumford & Sons’ frontman Marcus Mumford, has completed a double album of tracks with unfinished and hitherto unheard Bob Dylan lyrics dating back to his late-1960s heyday.
The singer-songwriters have composed original music to go with the cache of dozens of ‘lost’ Dylan songs, written during a prodigious period of creativity as he recuperated from a motorcycle accident in 1966. According to the legendary producer T Bone Burnett, who is overseeing the project, “they’re lyrics he just never got around to finishing”.
At an intimate gathering in London last week, rough mixes of the historic collaboration were unveiled to Island Records.
“There’s a line in one song: ‘1,000 doors wouldn’t hold me back from you’,” said Costello, admiringly. “If you wrote a line that good, you wouldn’t keep it in a drawer for 47 years. Unless you’re Bob Dylan.”
The project came about after Dylan found a box containing lyrics thought to have been lost from his informal Basement Tapes sessions, the watershed 1967 recordings with his then-backing group, The Band. The original sessions, which took place over several months at a small house in West Saugerties, New York, produced more than a hundred songs, including classics such as This Wheel’s on Fire, The Mighty Quinn and I Shall Be Released.
Dylan handed the rediscovered material to Burnett to do with whatever he saw fit – which was to assemble contemporary musicians to complete the songs.
Recorded in Los Angeles, Lost on the River: The New Basement Tapes Vol 1 is due to be released later this year.
Filmed footage from the sessions show the band performing two versions of a song called Lost On The River. In the first version, Costello, wearing dark shades, is on guitar. In the second, it’s Johnny Depp, a keen amateur musician who dropped by Capitol Records’ Hollywood studio to watch the historic recording in progress and was invited to participate.
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
http://www.theguardian.com/music/shortc ... ne-burnett
T Bone Burnett: How I set lyrics for Bob Dylan's new Basement Tapes to music
Wanting to do justice to Dylan and be true to the spirit in which the lyrics were originally written, Burnett got together with musicians including Elvis Costello and Marcus Mumford to produce a new album.
Last autumn, I received a message from Bob Dylan's publisher telling me a box of lyrics had been found, all handwritten by Dylan in 1967, during the time of the original Basement Tapes recordings. The question to me was: "Would you like to do something with these?"
Shocked, I asked if Dylan was into this. Having been told he was, I asked no more questions, but set out to come up with something that would do justice to Dylan and be true to the spirit in which the lyrics were originally written.
Dylan had been collaborating with an extraordinarily talented group of musicians at the time, any of whom could have led their own band. So, the first step was to find a group of songwriter/band leaders who would be able to work together to write, sing, and perform melodies for these soulful and playful lyrics.
The artists we invited – Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes), Jim James (My Morning Jacket) and Marcus Mumford – were equal to the task. Not only do they have the talent and the same open and collaborative spirit needed for this to be good, they are all music archaeologists. They all know how to dig without breaking the thing they are digging. We sent 16 lyrics to each artist ahead of time, and they all showed up at Capitol Studios in the basement of the Capitol Records building in Hollywood in March of this year. Some had written a melody or two, others had written a dozen, but a couple of days before the sessions started, an additional eight lyrics from that same period showed up. Those lyrics, which no one had time to think about, led to some of the freest recordings.
The first day, we recorded one song – the killer Down on the Bottom, led by James and supported mightily by the others. At the end of that day, we started looking at the number of songs we had in front of us – there were going to be multiple versions of many of them – and we didn't want to turn this into a competition, so we decided to record everything.
What transpired during those two weeks was amazing for all of us. There was a deep well of generosity and support in the studio at all times, which reflected the tremendous trust and generosity shown by Dylan in sharing these lyrics with us in the first place. More than 40 recordings were created, the first 20 of which will be released this autumn on Lost on the River: The New Basement Tapes.
Sam Jones captured all of it on film, and we are creating a documentary that will give audiences an inside look at the making of this album and explore the historical context of Dylan's original.
T Bone Burnett: How I set lyrics for Bob Dylan's new Basement Tapes to music
Wanting to do justice to Dylan and be true to the spirit in which the lyrics were originally written, Burnett got together with musicians including Elvis Costello and Marcus Mumford to produce a new album.
Last autumn, I received a message from Bob Dylan's publisher telling me a box of lyrics had been found, all handwritten by Dylan in 1967, during the time of the original Basement Tapes recordings. The question to me was: "Would you like to do something with these?"
Shocked, I asked if Dylan was into this. Having been told he was, I asked no more questions, but set out to come up with something that would do justice to Dylan and be true to the spirit in which the lyrics were originally written.
Dylan had been collaborating with an extraordinarily talented group of musicians at the time, any of whom could have led their own band. So, the first step was to find a group of songwriter/band leaders who would be able to work together to write, sing, and perform melodies for these soulful and playful lyrics.
The artists we invited – Elvis Costello, Rhiannon Giddens (Carolina Chocolate Drops), Taylor Goldsmith (Dawes), Jim James (My Morning Jacket) and Marcus Mumford – were equal to the task. Not only do they have the talent and the same open and collaborative spirit needed for this to be good, they are all music archaeologists. They all know how to dig without breaking the thing they are digging. We sent 16 lyrics to each artist ahead of time, and they all showed up at Capitol Studios in the basement of the Capitol Records building in Hollywood in March of this year. Some had written a melody or two, others had written a dozen, but a couple of days before the sessions started, an additional eight lyrics from that same period showed up. Those lyrics, which no one had time to think about, led to some of the freest recordings.
The first day, we recorded one song – the killer Down on the Bottom, led by James and supported mightily by the others. At the end of that day, we started looking at the number of songs we had in front of us – there were going to be multiple versions of many of them – and we didn't want to turn this into a competition, so we decided to record everything.
What transpired during those two weeks was amazing for all of us. There was a deep well of generosity and support in the studio at all times, which reflected the tremendous trust and generosity shown by Dylan in sharing these lyrics with us in the first place. More than 40 recordings were created, the first 20 of which will be released this autumn on Lost on the River: The New Basement Tapes.
Sam Jones captured all of it on film, and we are creating a documentary that will give audiences an inside look at the making of this album and explore the historical context of Dylan's original.
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.