| Identifier | 1089880 |
| Created At | Tue May 23 2023 23:54:00 GMT+0000 (Coordinated Universal Time) |
| Media Count | 3 |
| Trades Allowed |
Performance
| Bob Dylan 1961-??-?? The Genuine Bootleg Series, Vol. 1 (studio/live), Various, Various | |
|---|---|
| Set 1 | 1. Black Cross
recorded by Tony Gover in Bonnie Beecher's apartment, Minneapolis, 22 December 1961. 2. I Was Young When I Left Home recorded by Tony Gover in Bonnie Beecher's apartment, Minneapolis, 22 December 1961. 3. Ballad for a Friend recorded for Leeds Music as a publisher's demo, New York, January 1962. 4. Hero Blues recorded for "The Freewheelin' Bob Dylan" in Columbia Studios, New York, 6 December 1962. 5. Whatcha Gonna Do? recorded for "The Freewheelin' Bob Dylan" in Columbia Studios, New York, 6 December 1962. 6. Tomorrow Is a Long Time recorded for Witmark Music as a publisher's demo, New York, probably in December 1962. 7. Milk Cow Blues recorded for "The Freewheelin' Bob Dylan" in Columbia Studios, New York, 24 April 1962. 8. Rocks and Gravel this stereo cut was scheduled to appear on the original version of "The Freewheelin' Bob Dylan". It was recorded in Columbia Studios, New York, 13 November, 1962. 9. You've Been Hiding To Long recorded at the New York Town Hall, 12 April 1963. 10. Farewell recorded for Witmark Music as a publisher's demo, New York, probably in December 1963. 11. Baby Let Me Follow You Down recorded for Witmark Music as a publisher's demo, New York, probably in January 1964. 12. That's All Right Mama/Sally Free and Easy recorded for "Another Side of Bob Dylan" in Columbia Studios, New York, 9 June 1964. 13. New Orleans Rag recorded for "Another Side of Bob Dylan" in Columbia Studios, New York, 9 June 1964. 14. You Don't Have To Do That recorded for "Bringing It All Back Home" in Columbia Studios, New York, 9 June 1964. 15. Can You Please Crawl Out Your Window? this take was issued accidentally, in place of "Positively Fourth Street", on early copies of that 45. It was recorded for "Highway 61 Revisited" in Columbia Studios, New York, 16 June 1965. 16. Desolation Row recorded for "Highway 61 Revisited" in Columbia Studios, New York, 30 July 1965. This "electric" version was superceced by the original take. 17. (Seems Like a) Freeze Out recorded at Sunset Sound Studios, Los Angeles, 30 November/1 December, 1965. 18. She's Your Lover Now recorded at Columbia Studios, New York, 21 January 1966. |
| Set 2 | 1. Spuriously Seventeen Windows (The Painting By Van Gogh)
recorded by Robert Shelton in a Denver hotel room, 12 March 1966. 2. What Kind of Friend Is This? recorded in a Glasgow hotel rom, 18-19 May 1966. 3. One Too Many Mornings recorded at the Gaumont Theatre, Sheffield, 16 May 1966. 4. Sign on the Cross recorded in the basement of "Big Pink", West Saugerties, New York in the summer of 1967. 5. All American Boy recorded in the basement of "Big Pink", West Saugerties, New York in the summer of 1967. 6. Nothing Was Delivered (take 2 w/ monologue) recorded in the basement of "Big Pink", West Saugerties, New York in the summer of 1967. 7. I Threw It All away recorded for "Self Portrait" in Columbia Studios, Nashville, June 1969. 8. Honey, Just Allow Me One More Chance recorded for "Self Portrait" in Columbia Studios, Nashville, June 1969. 9. Working on a Guru recorded with George Harrison for "New Morning" in Columbia Studios, New York, 1 May 1970. 10. Down in the Flood recorded at the New York Academy of Music, for The Band's "Rock of Ages" album, on 1 January 1972. 11. Goodbye Holly recorded for the soundtrack to "Pat Garrett and Billy the Kid" at Columbia Disco Studios, Mexico City, 20 January 1973. 12. Rock Me Mama recorded for the soundtrack to "Pat Garrett and Billy the Kid" at Burbank Studios, Burbank, February 1973. 13. Nobody 'Cept You recorded for "Planet Waves" at Village Recorder Studios, Santa Monica, on 2 November 1973. 14. Idiot Wind this take was included on the original "Blood on the Tracks" test pressing. It was recorded at Columbia A&R Studios, New York, 17 December 1974. 15. Hurricane recorded for "Desire", this take was subsequently replaced with an October '75 version on legal advice. It was recorded at Columbia Sudios, New York, 30 July 1975. 16. Stop Now recorded at the "Street Legal" sessions at Rundown Studios, Santa Monica, 2 May 1978. 17. (You Treat Me Like a) Stepchild recorded at the Civic Center, Augusta, Maine, 15 September 1978. |
| Set 3 | 1. Trouble In Mind
recorded for "Slow Train Coming" and issued in edited form as a b-side. It was recorded at Muscle Shoals Studios, Sheffield, Alabama, 1-11 May 1979. 2. Yonder Comes Sin recorded at Rundown Studios, Santa Monica, October 1980. 3. Caribbean Wind recorded at Rundown Studios, Santa Monica, October 1980. 4. Don't Ever Take Yourself Away recorded for "Shot of Love" at Clovers Recorder Studio, Los Angeles, April-May 1981. 5. Thief on the Cross recorded at the Saenger Performing Arts Center, New Orleans, 10 November 1981. 6. Sweetheart like You recorded for "Infidels" at Power Station Studios, New York, mid April 1983. 7. Someone's Got a Hold of My Heart recorded for "Infidels" at Power Station Studios, New York, April/May 1983. 8. Tell Me recorded for "Infidels" at Power Station Studios, New York, April/May 1983. 9. Jokerman scheduled for inclusion on the original version of "Infidels". It was recorded at Power Station Studios, New York, April/May 1983. 10. Blind Willie McTell scheduled for inclusion on the original version of "Infidels". It was recorded at Power Station Studios, New York, April/May 1983. 11. New Danville Girl recorded for "Empire Burlesque" at Cherokee Studios, Los Angeles, December 1984. 12. Important Words scheduled for inclusion on the original version of "Down in the Groove". It was recorded at Sunset Sound Studios, Los Angeles, April/May 1987. 13. Dignity recorded for "Oh Mercy" in Studio on the Move, New Orleans, March/April 1989. 14. Like a Ship recorded for "Traveling Wilburys Volume Three" in Wilbury Mountain Studio (sic), Los Angeles, April 1990. 15. Series of Dreams recorded for "Oh Mercy" in Studio on the Move, New Orleans, March/April 1989. |
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