The Bootleg Series, Vol. 13

Bob Dylan - The Best Of The Cutting Edge 1965-1966: The Bootleg Series Vol. 12 (2015) [2CD] {Columbia}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 877 Mb | MP3 @320 -> 348 Mb
Full Artwork @ 600 dpi (jpg) -> 485 Mb | 5% repair rar
© 2015 Columbia / Sony Music | 88875124422
Rock / Folk Rock / Folk / Roots Rock / Songwriter

"I'll do this one more time and if I can't do it, we'll do another song. I'll do any song as good as I can do it the first time." Bob Dylan says these words once his first solo take of "Love Minus Zero/No Limit" breaks down after a minute. Dylan's definition of "good" is fluid, of course. Sometimes, a first take satisfied him – "Maggie's Farm" and "Gates of Eden" are two prime examples – but often he'd find he could do a song better or at least do it differently, swapping out words, speeding up the tempo, and changing the feel, occasionally radically transforming his song.

Miles Davis Quintet - Live in Europe 1967: The Bootleg Series, Vol. 1 (2011) {3CD + Bonus DVD5 NTSC}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 782 Mb | MP3 @320 -> 474 Mb
DVD5 -> 3.86 Gb | All Regions | NTSC 4:3 | LinearPCM, 2 ch | ~ 65 min | ISO Image
Full Artwork @ 600 dpi (jpg) -> 305 Mb | 5% repair rar
© 1967, 2011 Columbia / Legacy / Sony Music | 88697 94053 2
Jazz / Hard Bop / Post Bop / Modal Music / Trumpet

The explosive transformation of Miles Davis’ “second great Quintet” with Wayne Shorter (tenor sax), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums) is laid bare on this release. Culled from original state-owned television and radio sources in Belgium, Denmark, France, Germany, and Sweden, the program spans five northern European festival performances over the course of nine days in October-November 1967. The audio shows consist entirely of previously unreleased or previously only bootlegged material. This is a 3-CD + DVD package, with an 8-panel digipak with 28-page booklet.

Bob Dylan - The Bootleg Series, Vol. 10. Another Self Portrait (1969-1971) [2CD] (2013) {Columbia}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 684 Mb | MP3 @320 -> 270 Mb
Full Artwork @ 300 dpi (jpg) -> 19 Mb | 5% repair rar
© 2013 Columbia / Legacy / Sony Music | CKA/B - 373488
Rock / Folk Rock / Songwriter

Another Self Portrait, the tenth volume in Bob Dylan's official bootleg series, assembles a slew of unreleased tracks, un-and over-dubbed alternate takes, and demos, mostly from 1970's Self Portrait and New Morning sessions – they were recorded simultaneously and released within months of one another – and other material. Dylan restlessly dug into the fakebook of folk, blues, and country tunes that nourished him from the beginning. The few original songs are minor ones. Twenty-six of these 35 selections were recorded between March and June. Dylan is in fine voice and he tries on many: some raspy, others crystal clear, all of them bold. The interconnected nature of these albums is revealed with the opening demo for "Went to See the Gypsy" (used on NM). It's just Dylan and guitarist David Bromberg. (Another take recorded three months later features just Dylan on electric piano.)

Bob Dylan & The Band - The Bootleg Series, Vol. 11: The Basement Tapes - Complete (2014) [6CD] {Columbia}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.11 Gb | MP3 @320 -> 944 Mb
Full Artwork @ 300 dpi (jpg) -> 78 Mb | 5% repair rar
© 2014 Columbia / Legacy / Sony Music | 8875016122
Rock / Folk Rock / Roots Rock / Songwriter

Preserving newly written Bob Dylan songs for copyright is the reason why the Band's Garth Hudson rolled tape at Big Pink but The Basement Tapes were something much more than songwriting demos. Greil Marcus dubbed it a celebration of the "Old, Weird America" in his 1997 book Invisible Republic, connecting these songs to Harry Smith's Anthology of American Folk Music, adding an extra layer of myth to tapes that were shrouded in mystery from the moment bootlegs started to circulate. The Basement Tapes Complete strengthens portions of that legend while simultaneously puncturing it. Certainly, the six-disc box – its first five discs assembled according to Hudson's numbering system, with the sixth disc collecting sessions discovered later – feels substantially different from the LP released in 1975, where the overall picture was distorted by Robbie Robertson adding sometimes significant overdubs and including Band recordings that weren't cut during those seven months in 1967.