Dylan John

On the morning of April 25 1962, directly after the conclusion of his final Freewheelin' Bob Dylan album session, Bob journeyed to Chicago for a live club appearance and a radio interview. The gig, on the evening of the same day, was at a newly opened club called The Bear, in which manager Albert Grossman was a partner. But the primary reason for the 700-mile excursion west was for Dylan to appear on a radio show the following evening, hosted by the extraordinary Studs Terkel. Capturing the entire broadcast, during which Dylan is questioned and discusses with Studs his thoughts and ideas behind both the songs he performs and others he had written by this juncture, this CD contains a legendary event during which a 21 year old Bob Dylan also performs full acoustic versions of 7 self penned numbers. Across just over an hour of airtime, Studs and Bob chat like old friends as Dylan is prompted towards playing certain tracks from his then fairly slim body of work, but comes up trumps by pulling songs not just from his imminent second record, but including one from the album after that and showcasing 3 songs that wouldn't see the light of day on record until the 1990s. Serving both as a historic document of a little known event in the career of a true musical icon, but also as a wholly enjoyable listening experience that stands up to numerous repeat listens.

On the morning of April 25 1962, directly after the conclusion of his final Freewheelin' Bob Dylan album session, Bob journeyed to Chicago for a live club appearance and a radio interview. The gig, on the evening of the same day, was at a newly opened club called The Bear, in which manager Albert Grossman was a partner. But the primary reason for the 700-mile excursion west was for Dylan to appear on a radio show the following evening, hosted by the extraordinary Studs Terkel. Capturing the entire broadcast, during which Dylan is questioned and discusses with Studs his thoughts and ideas behind both the songs he performs and others he had written by this juncture, this CD contains a legendary event during which a 21 year old Bob Dylan also performs full acoustic versions of 7 self penned numbers. Across just over an hour of airtime, Studs and Bob chat like old friends as Dylan is prompted towards playing certain tracks from his then fairly slim body of work, but comes up trumps by pulling songs not just from his imminent second record, but including one from the album after that and showcasing 3 songs that wouldn't see the light of day on record until the 1990s. Serving both as a historic document of a little known event in the career of a true musical icon, but also as a wholly enjoyable listening experience that stands up to numerous repeat listens.

In 2003, Columbia/Legacy reissued 15 selected titles from Bob Dylan's catalog as hybrid SACDs. Each title was packaged as a digipak, containing the full original artwork. On each of the titles, and on each of the layers, the remastered sound was spectacular, a considerable upgrade from the initial CD pressings. Five of these titles – Another Side of Bob Dylan, Blonde on Blonde, Bringing It All Back Home, Slow Train Coming, Blood on the Tracks, Love and Theft – also had 5.1 Surround Sound mixes.

I don't know what to say about one of the more famous bootlegs of all time that has not already been said. 1961-1966. The front cover says: "The only definitive collection! 10 record set over 8 hours of music. 134 previously Unreleased tracks" This set has yet to be bettered in sound quality, even by some of the CDs that contain the same material. The cover on this great 1985 box set is simple but effective. A grainy looking black and white shot of Bob with all of the songs listed on the front. Each of the 10 LPs have deluxe full printed labels, and come in deluxe anti-static sleeves
The Label is Tarantula. The folks behind the Label were the best in the business. They released only the highest quality pieces in fantastic major label quality covers. One trick to spotting their work is by the name of the Label. The name of the Label was different for each artist they released, and had some tie-in with the artist that usually only a hard-core fan would recognize (i.e. Tarantula) All albums are pressed on high quality vinyl, and have full printed labels. All recordings are the best that were known to exist.

I don't know what to say about one of the more famous bootlegs of all time that has not already been said. 1961-1966. The front cover says: "The only definitive collection! 10 record set over 8 hours of music. 134 previously Unreleased tracks" This set has yet to be bettered in sound quality, even by some of the CDs that contain the same material. The cover on this great 1985 box set is simple but effective. A grainy looking black and white shot of Bob with all of the songs listed on the front. Each of the 10 LPs have deluxe full printed labels, and come in deluxe anti-static sleeves
The Label is Tarantula. The folks behind the Label were the best in the business. They released only the highest quality pieces in fantastic major label quality covers. One trick to spotting their work is by the name of the Label. The name of the Label was different for each artist they released, and had some tie-in with the artist that usually only a hard-core fan would recognize (i.e. Tarantula) All albums are pressed on high quality vinyl, and have full printed labels. All recordings are the best that were known to exist.

Born: May 24, 1941, Duluth, Minnesota, USA; singer, songwriter, "song and dance man".
Inducted into Songwriters Hall of Fame in 1982 and the Rock And Roll Hall of Fame in 1988 (Performer). Winner of the 2016 Nobel Prize in literature. His first marriage was to Sara Dylan (November 1965 - divorced June 1977), together they have five children, including Jesse Dylan and Jakob Dylan. His second marriage was to Carolyn Dennis (4 June 1986 - divorced 7 August 1990).

Dylan made his way to New York City in January of 1961, immediately making a substantial impression on the folk community of Greenwich Village. He began visiting his idol Guthrie in the hospital, where he was slowly dying from Huntington's chorea. Dylan also began performing in coffee houses, and his rough charisma won him a significant following. In April, he opened for John Lee Hooker at Gerde's Folk City. Five months later, Dylan performed another concert at the venue, which was reviewed positively by Robert Shelton in The New York Times. Columbia A&R man John Hammond sought Dylan out on the strength of the review, and signed the songwriter in the fall of 1961.