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♪ Odds and ends
odds and ends
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♪ Lost time
is not found again ♪
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Roy Silver, now he was
a character who showed up.
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Kind of a...
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[CHUCKLES] He's kind of like...
How can you put it?
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He was kind of like a hustler
type on the street, you know,
somebody...
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You know, trying to make a deal
about this
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00:00:50,137 --> 00:00:52,226
and make a deal about that.
He was a fast talker.
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Well, I saw him perform
all the time.
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I hung out with him.
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I was the guy.
I was his manager.
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00:01:03,019 --> 00:01:07,328
I mean...
So I was there wearing,
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00:01:07,502 --> 00:01:10,722
at that time,
as was my practice,
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I was the only one
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00:01:12,594 --> 00:01:16,685
in the entire Village
that wore a suit.
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Everyone else was in jeans,
etcetera, etcetera.
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But I had my little outfit
and so forth...
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that I wore.
So, I saw him all the time.
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I mean, we met on a daily basis,
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trying to figure out
what to do next.
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And I was trying to...
There was no question.
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I was trying to make him a star,
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and I knew that he could
and would be a star.
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In the '60s, it was...
It was great.
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There was so much talent around
at that point,
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and in an undiscovered area,
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folk music.
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My God, who knew
from folk music?
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I mean, the only person
that was alive that any of us
knew was Pete Seeger.
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00:02:13,263 --> 00:02:18,921
No one understood
what was happening at that time.
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I mean, no one woke up and said,
"Oh, my God, it's folk music!"
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We were just out there.
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I mean, Pete Seeger was God,
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and we were just people working
and trying to make a buck
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00:02:34,458 --> 00:02:40,334
and hoping that this would all
turn into something fabulous.
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And it did. You could smell it,
that there was something
going on
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00:02:45,556 --> 00:02:51,823
at that period of time
that would do away
with the old stuff.
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No one ever thought,
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00:02:54,696 --> 00:02:58,090
no one that I remember
at that time period
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ever thought that this
was one day going to
who'd be Bob Dylan.
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I remember that he was strange
and that I was not going to...
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This was not anyone
that I was going to have
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an easy time communicating with.
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This would be... I'd have to
pull everything out of him
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00:03:25,988 --> 00:03:28,643
because he didn't know
where he was
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00:03:28,817 --> 00:03:32,081
or what he was doing,
and so forth and so on.
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00:03:32,255 --> 00:03:36,433
I mean, he was new
to the Village.
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Gerde's Folk City
was the highest
his dreams had ever gone to.
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00:03:45,050 --> 00:03:48,663
So, you know,
it was hard to figure out
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00:03:48,837 --> 00:03:52,057
where we were all
going to go with this.
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With Bob, I took a piece of
paper out of whatever,
or I asked someone,
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00:03:57,193 --> 00:04:01,197
and wrote down that,
"I, Bob Dylan, do hereby
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00:04:01,371 --> 00:04:06,681
"agree to be managed
by Roy Silver for 20%."
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00:04:08,291 --> 00:04:13,078
I forget what the period of time
was and so forth.
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00:04:13,253 --> 00:04:17,909
And Bobby signed it.
It was really no big deal.
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00:04:19,694 --> 00:04:21,304
He was strange.
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You were dealing with a guy
who had a strange voice,
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00:04:28,355 --> 00:04:31,880
who had a strange rhythm,
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00:04:33,490 --> 00:04:40,280
who was playing a guitar
in a strange, humdrum fashion.
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00:04:40,454 --> 00:04:42,891
I mean, that was
really the response.
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No one leaped up from their seat
at the end of the show
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and said,
"My God, the Messiah has come."
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No one. I mean, it was hard.
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He went up. He did a show.
He came off.
He didn't do a show.
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No one ever accused Bob
of being a great performer.
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00:05:02,171 --> 00:05:04,434
I mean, at any time.
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00:05:04,608 --> 00:05:10,048
Bob came running up to see me
to play a new song for me.
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00:05:11,180 --> 00:05:14,270
So I said okay, and I sat there,
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00:05:14,444 --> 00:05:17,665
and Bob whipped out
his rusty guitar
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and he played this song for me
and I said,
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"This is the greatest song
I've ever heard."
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And he was thrilled
that I said to him
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that this was a great song,
and I said,
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00:05:31,592 --> 00:05:33,681
"We have to
record it immediately
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"because I know a place
where this should go."
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"I'm going to call Artie Mogull
and everything,
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"but first, we've got to go in
and record it."
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00:05:43,255 --> 00:05:46,476
And my memory tells me
that we went...
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00:05:46,650 --> 00:05:51,307
I went downstairs
at Third Avenue, at the place
that we were at.
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00:05:51,481 --> 00:05:55,964
It was a Chinese laundry,
and I borrowed $50,
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00:05:56,138 --> 00:05:59,576
'cause no one
had any money then.
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I borrowed $50
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00:06:01,535 --> 00:06:05,321
so that I could go
to 1619 Broadway,
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00:06:05,495 --> 00:06:10,457
or wherever it was,
to make a record.
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That's how we spoke
in those days.
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We were going to make
an acetate.
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00:06:16,158 --> 00:06:20,467
Bob would sing
and play simultaneously,
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and we would run and record it.
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00:06:22,860 --> 00:06:24,471
And I did that,
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and then I sent him home
because he was boring to be with
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and I didn't want to hang out
anymore with him.
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And then I went over to...
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the publishing company, Witmark.
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It was one of those songs
that you knew,
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00:06:45,535 --> 00:06:48,016
if you were
in the music business,
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00:06:48,190 --> 00:06:52,760
you knew that a gold mine
had just been discovered.
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We just arbitrarily decided
that we would do it
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00:06:57,504 --> 00:07:00,071
with Peter, Paul and Mary.
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00:07:00,245 --> 00:07:02,204
Came out three weeks later,
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00:07:02,378 --> 00:07:05,033
a little song called
Blowin' in the Wind,
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00:07:06,774 --> 00:07:11,735
went on to absolutely establish
who Bob was
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00:07:11,909 --> 00:07:17,828
and what his place was
in the world, and deservedly so.
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I mean it was, to this day...
I mean, I can listen to it.
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00:07:23,094 --> 00:07:27,447
I just heard it the other day
on someone and it just...
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00:07:29,100 --> 00:07:32,930
Blowin' in the Wind.
I mean, it brings tears
to your eyes.
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How he could think of all of
that, how he made that all work.
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This nice little Jewish kid,
with nice little Jewish parents,
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00:07:46,770 --> 00:07:50,557
who had changed his name,
which was a big enough shanda,
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00:07:50,731 --> 00:07:52,559
that means "disgrace,"
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00:07:52,733 --> 00:07:56,171
at that time period, you know.
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And then it was onward
and upward.
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00:08:05,485 --> 00:08:10,533
♪ How many roads
must a man walk down
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00:08:10,707 --> 00:08:14,058
♪ Before you call him a man?
116
00:08:15,843 --> 00:08:20,412
♪ How many seas
must the white dove sail
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00:08:20,587 --> 00:08:25,156
♪ Before she sleeps
in the sand?
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00:08:25,330 --> 00:08:30,684
♪ Yes, and how many times
must the cannonballs fly
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00:08:30,858 --> 00:08:35,384
♪ Before they're
forever banned?
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00:08:35,558 --> 00:08:40,476
♪ The answer, my friend
is blowin' in the wind
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00:08:40,650 --> 00:08:44,219
♪ The answer is blowin'
in the wind
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00:08:53,707 --> 00:08:58,842
♪ Yes, and how many years
must a mountain exist
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00:08:59,016 --> 00:09:02,585
♪ Before it is washed
to the sea?
124
00:09:03,934 --> 00:09:08,504
♪ And how many years
can some people exist
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00:09:08,678 --> 00:09:13,030
♪ Before they're allowed
to be free?
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00:09:13,204 --> 00:09:17,774
♪ Yes, and how many times
can a man turn his head
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00:09:17,948 --> 00:09:22,866
♪ And pretend that
he just doesn't see?
128
00:09:23,040 --> 00:09:27,958
♪ The answer, my friend
is blowin' in the wind
129
00:09:28,132 --> 00:09:32,006
♪ The answer is blowin'
in the wind
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00:09:39,840 --> 00:09:41,493
[COUGHS]
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♪ Yes, and how many times
must a man look up
132
00:09:46,455 --> 00:09:49,980
♪ Before he can see the sky?
133
00:09:51,068 --> 00:09:55,769
♪ And how many ears
must one man have
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00:09:55,943 --> 00:10:00,164
♪ Before he can hear
people cry?
135
00:10:00,338 --> 00:10:05,343
♪ Yes, and how many deaths
will it take till he knows
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00:10:05,517 --> 00:10:09,086
♪ That too many people
have died?
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00:10:10,174 --> 00:10:14,788
♪ The answer, my friend
is blowin' in the wind
138
00:10:14,962 --> 00:10:18,661
♪ The answer is blowin'
in the wind ♪
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00:10:33,241 --> 00:10:34,677
[CHUCKLING] Albert Grossman.
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00:10:34,851 --> 00:10:38,028
The thing that I love
the most about Albert.
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Albert had this trick.
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00:10:40,509 --> 00:10:43,599
He could sit there in a room
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00:10:43,773 --> 00:10:48,343
longer than anyone in the world
and not say a word.
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00:10:48,517 --> 00:10:52,782
It was such an amazing...
So that people
would find themselves
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00:10:52,956 --> 00:10:56,525
all of a sudden
getting up and saying,
"I did it, I killed him."
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00:10:56,699 --> 00:10:59,876
I mean, they would
confess to anything
147
00:11:00,050 --> 00:11:04,576
so as not to have to sit
in a room with Albert
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00:11:04,751 --> 00:11:07,928
and let that silence swell out.
149
00:11:08,102 --> 00:11:09,233
He had an office.
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00:11:09,712 --> 00:11:10,887
[WHISTLES]
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00:11:11,061 --> 00:11:12,584
[LAUGHS]
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00:11:12,759 --> 00:11:15,370
Not many people had offices
at that point.
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00:11:15,544 --> 00:11:17,111
We were all living
in the Village.
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00:11:18,155 --> 00:11:23,770
So, Albert and I
went into business together.
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00:11:24,945 --> 00:11:30,733
I could see that Albert Grossman
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00:11:30,907 --> 00:11:34,041
really wanted to take over...
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00:11:36,652 --> 00:11:38,741
Dylan. I could see that.
158
00:11:38,915 --> 00:11:43,746
I mean, and he...
Albert had the money to do it.
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00:11:43,920 --> 00:11:48,446
Albert is, at best,
a strange guy,
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00:11:49,578 --> 00:11:52,668
and I have no money.
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00:11:53,321 --> 00:11:57,542
And I see that Bobby,
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00:11:57,717 --> 00:12:02,852
who is easily,
in my opinion, manipulated
163
00:12:03,026 --> 00:12:05,681
because he didn't give a shit
in any way.
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00:12:05,855 --> 00:12:10,555
He was just busy
"writing them songs."
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00:12:10,730 --> 00:12:17,519
I see that I'm going to
lose out on this.
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00:12:17,693 --> 00:12:22,698
That it's not going to work
the way that I want it to work.
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00:12:22,872 --> 00:12:29,792
So I better move quickly,
and I come up with the scheme
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00:12:29,966 --> 00:12:35,363
of selling my share
of Dylan's contract.
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00:12:35,537 --> 00:12:38,061
We had split it 50-50,
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00:12:39,106 --> 00:12:42,152
and my share should be sold,
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00:12:42,326 --> 00:12:44,720
and I should get $10,000.
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00:12:44,894 --> 00:12:48,419
I have to tell you that $10,000
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00:12:48,593 --> 00:12:53,076
in 1961 was a fortune.
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00:12:54,034 --> 00:12:57,341
That was a lot of money
at that point.
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00:12:59,126 --> 00:13:04,261
But he was always
very sweet to me,
176
00:13:06,002 --> 00:13:10,050
you know, after the dissolution
and so forth and so on.
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00:13:10,224 --> 00:13:15,446
And I felt that,
my own personal feeling...
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00:13:15,620 --> 00:13:20,843
I always thought that
Albert took away so much
of the fun of him.
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00:13:21,888 --> 00:13:24,107
But that's my opinion.
180
00:13:24,281 --> 00:13:29,330
I thought he was a warmer,
more mellow guy
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00:13:29,504 --> 00:13:32,246
than Albert had turned him into.
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00:13:33,943 --> 00:13:37,338
The song Blowin' in the Wind,
my favorite song.
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00:13:38,469 --> 00:13:40,428
And I was there.
184
00:13:40,602 --> 00:13:45,999
"How many roads
must a man walk down
before they call him a man?
185
00:13:46,173 --> 00:13:50,612
"Yes, and how many seas
must a white dove sail
186
00:13:50,786 --> 00:13:53,180
"before she sleeps in the sand?
187
00:13:53,354 --> 00:13:57,619
"Yes, and how many times
must the cannonballs fly
188
00:13:57,793 --> 00:13:59,969
"before they're forever banned?
189
00:14:00,143 --> 00:14:03,625
"The answer, my friend,
is blowing in the wind.
190
00:14:03,799 --> 00:14:05,583
"The answer is blowing
in the wind."
191
00:14:12,590 --> 00:14:14,027
Okay.
192
00:14:17,030 --> 00:14:19,902
It's so funny
to read this lyric now.
193
00:14:20,947 --> 00:14:23,297
That's 100 years old.
194
00:14:23,471 --> 00:14:27,214
We've all heard it for,
you know, so long.
195
00:14:27,388 --> 00:14:31,392
Now it's become...
It's moved beyond what it was
196
00:14:31,566 --> 00:14:33,481
in a strange kind of a way.
197
00:14:35,309 --> 00:14:37,920
Although, I told you,
I heard it the other day.
198
00:14:39,182 --> 00:14:42,446
I forget where,
and I started to cry.
199
00:14:52,152 --> 00:14:54,371
DYLAN: I got out of the current
George Washington Bridge,
200
00:14:54,545 --> 00:14:56,504
took the subway down the road.
201
00:14:56,678 --> 00:14:59,855
Went to the Cafe Wha?,
I looked out at the crowd.
202
00:15:00,029 --> 00:15:04,686
"Does anybody know
where a couple of people
could stay tonight?"
203
00:15:04,860 --> 00:15:06,514
I was ready for New York.
204
00:15:08,342 --> 00:15:10,431
IZZY YOUNG:
So, this guy comes in.
205
00:15:10,605 --> 00:15:14,696
He didn't look
too prepossessing,
didn't look the wild sort.
206
00:15:14,870 --> 00:15:17,612
He looked like an ordinary kid.
207
00:15:20,397 --> 00:15:23,313
He said,
"Listen, I got some songs
I want you to hear."
208
00:15:23,487 --> 00:15:26,751
So I was, "Oh, God.
Can you come tomorrow?
Get out of here."
209
00:15:26,926 --> 00:15:28,710
He said,
"No, I want to
sing you a song."
210
00:15:28,884 --> 00:15:30,277
So I let him sing the song.
211
00:15:30,451 --> 00:15:32,366
And then I started
pointing people.
212
00:15:32,540 --> 00:15:34,150
I said, "Listen,
see that guy in the back room?
213
00:15:34,324 --> 00:15:36,326
"His name is Bob Dylan.
You should listen to him.
214
00:15:36,500 --> 00:15:38,894
"The guy's writing good songs,
he's terrific."
215
00:15:39,068 --> 00:15:42,115
Al Jolson was the first
successful folk manager
216
00:15:42,289 --> 00:15:44,508
who knew how to make money
out of the singles.
217
00:15:44,682 --> 00:15:46,771
ARTIE MOGUL:
Albert tells me one day
they're going to send a guy
218
00:15:46,946 --> 00:15:48,904
over to see me
named Bob Dylan.
219
00:15:49,078 --> 00:15:53,735
He's got a guitar
with some kind of a contraption
around his neck,
220
00:15:53,909 --> 00:15:56,433
so that the harmonica
is up to his mouth.
221
00:15:56,607 --> 00:16:00,872
Now, believe me
when I tell you, nobody had
ever seen this before.
222
00:16:01,047 --> 00:16:02,962
And he starts singing for me.
223
00:16:03,136 --> 00:16:08,010
♪ How many roads
must a man walk down
224
00:16:08,184 --> 00:16:11,927
♪ Before you call him a man?
225
00:16:13,363 --> 00:16:17,977
♪ How many seas
must the white dove sail...
226
00:16:18,151 --> 00:16:22,851
The music business per se
was dominated
by music publishers.
227
00:16:23,025 --> 00:16:25,201
In those days,
the song was important.
228
00:16:25,375 --> 00:16:27,290
♪ ...must the cannonballs
fly...
229
00:16:27,464 --> 00:16:29,901
When I heard
"How many ears
must one man have
230
00:16:30,076 --> 00:16:32,992
"before he can hear people cry?"
I flipped.
231
00:16:33,166 --> 00:16:35,864
I can't even remember
what the songs were
that he played me that day.
232
00:16:36,038 --> 00:16:38,214
But I said, "Okay, that's it.
I want you.
233
00:16:38,388 --> 00:16:40,303
"I'll give you
a writer's contract."
234
00:16:40,477 --> 00:16:43,132
And we got a contract ready
and he signed it.
235
00:16:43,306 --> 00:16:46,266
DYLAN:
I didn't tell anybody for a bit
because, you know,
236
00:16:46,440 --> 00:16:48,268
I almost wasn't sure
it was happening myself.
237
00:16:48,442 --> 00:16:50,835
So I don't think
I really told anybody
238
00:16:51,010 --> 00:16:53,838
until I actually
went through with the sessions.
239
00:16:54,013 --> 00:16:56,145
♪ ...is blowin' in the wind
240
00:16:56,319 --> 00:17:00,062
♪ The answer is blowin'
in the wind ♪
241
00:17:01,455 --> 00:17:03,979
Now, Bob, when he started
to bring me songs,
242
00:17:04,153 --> 00:17:07,374
the lyrics were written
on this long
yellow legal-size paper.
243
00:17:07,548 --> 00:17:10,638
Every one of the songs
came to me that way.
244
00:17:11,682 --> 00:17:14,381
The Times They Are A-Changin',
all the classics.
245
00:17:14,555 --> 00:17:17,210
And we would take him
into this little tiny studio
246
00:17:17,384 --> 00:17:20,256
that was across from my office
and he would make a tape,
247
00:17:20,430 --> 00:17:24,043
singing the song,
playing the guitar.
248
00:17:24,217 --> 00:17:28,003
I would then take the tape
and give it to our head copyist,
249
00:17:28,177 --> 00:17:31,006
who was a guy
named Simeon Saber.
250
00:17:31,180 --> 00:17:33,487
Simeon Saber was about
65 years old,
251
00:17:33,661 --> 00:17:38,013
and he'd been sitting there with
his green eyeshade for 45 years,
252
00:17:38,187 --> 00:17:42,017
copying the songs
of Victor Herbert, Rudolf Friml,
253
00:17:42,191 --> 00:17:46,848
and now I'm bringing him songs
about rats eating babies.
254
00:17:47,022 --> 00:17:48,980
He comes to me one day
and he says,
255
00:17:49,155 --> 00:17:52,245
"We've got to get
a young copyist in.
I just can't do this."
256
00:17:52,419 --> 00:17:55,509
Strangely enough,
even the old people there,
257
00:17:55,683 --> 00:17:58,164
everybody got on
the Dylan bandwagon.
258
00:17:58,338 --> 00:18:01,384
Everybody started
to record Bob Dylan songs.
259
00:18:01,558 --> 00:18:03,734
Helped, of course, by the fact
that Peter, Paul and Mary
260
00:18:03,908 --> 00:18:06,476
didBlowin' in the Wind
and thenDon't Think Twice.
261
00:18:10,001 --> 00:18:12,352
And I think it was the fact
262
00:18:12,526 --> 00:18:15,485
that all these other artists
did Bob,
263
00:18:15,659 --> 00:18:18,488
is what made him
start to become so big.
264
00:18:18,662 --> 00:18:24,059
♪ 'Cause the times
they are a-changing
265
00:18:26,583 --> 00:18:29,369
♪ Come mothers
and fathers... ♪
266
00:18:29,543 --> 00:18:33,982
He was the first artist
who could record an album
267
00:18:34,156 --> 00:18:39,292
of 10 or 12 songs and be
the writer and publisher
of all the songs.
268
00:18:39,466 --> 00:18:44,427
Previous to that, if Nat Cole
recorded an album of 12 songs,
269
00:18:44,601 --> 00:18:47,082
12 different writers
and 12 different publishers
270
00:18:47,256 --> 00:18:49,519
wrote those songs.
271
00:18:49,693 --> 00:18:52,261
In Bob's case,
he really was writing all
these great original songs
272
00:18:52,435 --> 00:18:55,656
and on all the publishing
and all the writing.
273
00:18:56,787 --> 00:18:59,486
It was the beginning of the end
274
00:18:59,660 --> 00:19:01,879
of what used to be known as
Tin Pan Alley.
275
00:19:03,751 --> 00:19:08,886
♪ Well, I ain't got
my childhood
276
00:19:09,060 --> 00:19:12,890
♪ Or friends I once did know
277
00:19:14,283 --> 00:19:16,111
♪ But I still...
278
00:19:16,285 --> 00:19:17,765
DYLAN: I wrote a lot of songs
in a quick amount of time.
279
00:19:17,939 --> 00:19:19,419
I could do that then.
280
00:19:19,593 --> 00:19:24,293
Because the process
was new to me.
281
00:19:24,467 --> 00:19:30,734
♪ Hey, hey, so I guess
I'm doin' fine ♪
282
00:19:37,132 --> 00:19:40,483
Yes, I don't think
a lot of people realize.
283
00:19:40,657 --> 00:19:43,965
Even I question,
where did this come from?
284
00:19:44,139 --> 00:19:46,185
How does he come up with these?
285
00:19:46,359 --> 00:19:50,189
How did this kid
from Hibbing, Minnesota...
286
00:19:51,973 --> 00:19:53,888
How was this in him?
287
00:19:54,062 --> 00:19:56,282
I'll tell you something else
interesting about those demos
288
00:19:56,456 --> 00:19:58,066
that we used to make with Bob.
289
00:19:58,240 --> 00:20:00,286
Someplace there exists
the tapes on those.
290
00:20:00,460 --> 00:20:02,636
MAN: I have the tapes.
291
00:20:02,810 --> 00:20:05,116
MOGULL: You actually
found the tapes
from those demos he made?
292
00:20:05,291 --> 00:20:08,337
MAN: We have all the original
tapes from the demos
in the original boxes.
293
00:20:08,511 --> 00:20:09,860
MOGULL: Well, that could be
a great album.
294
00:20:31,578 --> 00:20:34,189
ANNOUNCER: Today's young people
have more leisure time
295
00:20:34,363 --> 00:20:36,583
than any previous generation,
296
00:20:36,757 --> 00:20:40,369
and more ways
to fill those hours
between work and play.
297
00:20:42,458 --> 00:20:45,722
For practically everyone
twixt 12 and 20,
298
00:20:45,896 --> 00:20:49,552
one activity to beat the band
is music.
299
00:20:49,726 --> 00:20:53,643
Whether blasting from
a transistor radio at the beach
300
00:20:53,817 --> 00:20:56,472
or the record player
in your bedroom,
301
00:20:56,646 --> 00:21:00,171
music is in the air
that teenagers breathe.
302
00:21:00,346 --> 00:21:03,218
But like any healthy
teenage activity,
303
00:21:03,392 --> 00:21:07,875
music could be corrupted
by unscrupulous profiteers
304
00:21:08,049 --> 00:21:13,750
out to push the latest
dubious gimmick
in the name of progress.
305
00:21:13,924 --> 00:21:16,362
You kids have to be careful
of these snake oil salesmen
306
00:21:16,536 --> 00:21:18,059
trying to sell you stereo sound.
307
00:21:18,233 --> 00:21:20,670
It's just a scam
to raise the price of records.
308
00:21:20,844 --> 00:21:23,543
But my boyfriend says that
stereo makes it sound
309
00:21:23,717 --> 00:21:26,502
like a group is playing
right in your bedroom.
310
00:21:26,676 --> 00:21:28,461
Yeah, and how would your dad
feel if one of these rock groups
311
00:21:28,635 --> 00:21:30,419
did come and play
in your bedroom?
312
00:21:30,593 --> 00:21:33,727
Well, I guess he wouldn't
really go for that.
313
00:21:33,901 --> 00:21:37,948
ANNOUNCER: Darn right
he wouldn't, and neither
would your neighbors.
314
00:21:38,122 --> 00:21:41,865
Stereo sound purports to split
the signal between two speakers,
315
00:21:42,039 --> 00:21:44,999
putting half the music
in one side
and half in the other.
316
00:21:45,173 --> 00:21:47,915
They claim that when the music
is reassembled in your brain,
317
00:21:48,089 --> 00:21:49,656
it fools you into thinking
318
00:21:49,830 --> 00:21:51,875
you're hearing a band
spread out around the room.
319
00:21:52,049 --> 00:21:53,834
Why would I want
to fool my brain?
320
00:21:54,008 --> 00:21:56,097
ANNOUNCER: Exactly, Scottie.
321
00:21:56,271 --> 00:21:59,622
By introducing
deceptive patterns
into the adolescent mind,
322
00:21:59,796 --> 00:22:03,670
stereo sound plays havoc
with the still-developing
tissue
323
00:22:03,844 --> 00:22:08,370
of the teenage brain.
Stereo is designed
to lie to you.
324
00:22:08,544 --> 00:22:10,503
The fallacy
of the stereo sales pitch
325
00:22:10,677 --> 00:22:12,592
is that it's based
on the false syllogism
326
00:22:12,766 --> 00:22:16,857
that two speakers
equal your two ears.
327
00:22:17,031 --> 00:22:19,729
But what it ignores
is that you only have one brain,
328
00:22:19,903 --> 00:22:22,036
and you don't listen to music
with your ears,
329
00:22:22,210 --> 00:22:23,777
you listen with your brain.
330
00:22:25,344 --> 00:22:27,868
ANNOUNCER: What is the antidote
to stereo?
331
00:22:28,042 --> 00:22:31,959
Well, it's been right
in your home all along.
332
00:22:32,133 --> 00:22:35,005
Good old American mono.
333
00:22:36,311 --> 00:22:37,486
In the recording studio,
334
00:22:37,660 --> 00:22:40,228
each instrument
has its own microphone.
335
00:22:40,402 --> 00:22:43,318
Trained technicians
on the other side
of the protective window
336
00:22:43,492 --> 00:22:46,060
balance the volume levels
to achieve an ideal blend.
337
00:22:47,801 --> 00:22:50,456
With mono recording,
you hear that same perfect blend
338
00:22:50,630 --> 00:22:52,327
wherever you're standing.
339
00:22:52,501 --> 00:22:54,068
However, with stereo recording,
340
00:22:54,242 --> 00:22:55,852
you may hear a blaring trumpet
in the left speaker,
341
00:22:56,026 --> 00:22:58,638
an out-of-tune electric guitar
in the right speaker,
342
00:22:58,812 --> 00:23:02,032
and a honking Lowrey organ
somewhere on the ceiling.
343
00:23:02,206 --> 00:23:04,470
ANNOUNCER: And here's
something you may not know.
344
00:23:04,644 --> 00:23:09,170
Today's most with-it groups
mix all their records in mono.
345
00:23:09,344 --> 00:23:11,259
That's the true recording.
346
00:23:11,433 --> 00:23:13,392
Stereo mixes are often done
347
00:23:13,566 --> 00:23:17,613
after the musicians you love
have left the room.
348
00:23:18,875 --> 00:23:21,269
This whole stereo stampede
is nothing but a flimflam
349
00:23:21,443 --> 00:23:23,837
to trick teenagers
into paying more for records.
350
00:23:24,664 --> 00:23:26,274
$3.50?
351
00:23:26,448 --> 00:23:28,407
That's more than
my whole allowance.
352
00:23:28,581 --> 00:23:30,800
Once customers
swallow high stereo prices,
353
00:23:30,974 --> 00:23:34,064
many stores may stop
selling mono records altogether.
354
00:23:34,238 --> 00:23:36,676
They can't do that, can they?
355
00:23:36,850 --> 00:23:40,201
ANNOUNCER: Teenagers are
the future of America.
356
00:23:40,375 --> 00:23:43,639
These young twisters, swingers
and go-go kids
357
00:23:43,813 --> 00:23:46,033
will someday be our senators,
358
00:23:46,207 --> 00:23:49,036
astronauts and homemakers,
359
00:23:49,210 --> 00:23:51,255
but to live in the future,
360
00:23:51,430 --> 00:23:54,215
everyone will need
a fully functioning brain.
361
00:23:54,389 --> 00:24:01,483
Everyone will need to be able
to think clearly,
straightforwardly in mono.
362
00:24:01,657 --> 00:24:03,180
I'm sticking with mono.
363
00:24:04,312 --> 00:24:06,183
I'm sticking with mono.
364
00:24:06,357 --> 00:24:09,491
ANNOUNCER: Let's all
stick with mono.
365
00:24:18,587 --> 00:24:20,763
♪ Columbia
That's the magic word
366
00:24:20,937 --> 00:24:23,418
♪ For the greatest records
you've ever heard
367
00:24:23,592 --> 00:24:28,423
♪ You even get past the hi-lo
on Columbia! ♪
368
00:24:43,917 --> 00:24:47,877
♪ When you're lost in the rain
down in Juarez
369
00:24:48,051 --> 00:24:50,184
♪ When it's Easter, too
370
00:24:53,753 --> 00:24:55,755
♪ And your gravity drops
371
00:24:55,929 --> 00:25:00,150
♪ And negativity
don't pull you through ♪
372
00:25:04,372 --> 00:25:06,635
♪ Don't put on any airs
373
00:25:06,809 --> 00:25:10,683
♪ When you're walking
on Rue Morgue Avenue
374
00:25:13,468 --> 00:25:16,471
♪ They got some
hungry women there
375
00:25:16,645 --> 00:25:20,519
♪ And they really make
a mess outta you
376
00:25:33,140 --> 00:25:39,625
♪ Well if you see Saint Annie
please tell her thanks a lot
377
00:25:43,672 --> 00:25:49,809
♪ I cannot move
My fingers are all in a knot
378
00:25:53,421 --> 00:25:55,902
♪ I do not have the strength
379
00:25:56,076 --> 00:26:00,036
♪ To get up
and take another shot
380
00:26:03,170 --> 00:26:05,868
♪ And the doctor
who's my best friend
381
00:26:06,042 --> 00:26:10,612
♪ Won't even tell me
what it is I've got
382
00:26:32,547 --> 00:26:39,598
♪ I started out on burgundy
and soon hit the harder stuff
383
00:26:42,557 --> 00:26:46,039
♪ Everybody said
they'd stand behind me
384
00:26:46,213 --> 00:26:49,216
♪ When the game got rough
385
00:26:52,567 --> 00:26:54,569
♪ But it was all a laugh
386
00:26:54,743 --> 00:26:59,661
♪ Because there was no one
there to call my bluff
387
00:27:02,011 --> 00:27:04,753
♪ I'm going back
to New York City
388
00:27:04,927 --> 00:27:09,018
♪ I believe I've had enough ♪
389
00:27:48,797 --> 00:27:54,020
NARRATOR: Between 1965
and 1966, Bob Dylan
recorded three albums
390
00:27:54,194 --> 00:27:57,327
that many believe
changed the course
of modern music.
391
00:27:57,501 --> 00:27:59,068
Bringing It All Back Home,
392
00:27:59,242 --> 00:28:02,115
Highway 61 Revisited
andBlonde on Blonde.
393
00:28:02,289 --> 00:28:05,640
The Cutting Edge,
The Bootleg Series Volume 12
394
00:28:05,814 --> 00:28:07,511
takes you inside the studio
395
00:28:07,686 --> 00:28:10,732
during the recording of
these three legendary albums.
396
00:28:10,906 --> 00:28:13,909
♪ Well, the rainman's coming
and he's waving his wand
397
00:28:15,432 --> 00:28:18,871
♪ And the judge says
"Mona can't have no bond"
398
00:28:20,568 --> 00:28:23,266
♪ Mona, she starts to cry
399
00:28:25,181 --> 00:28:28,271
♪ Rainman leaves
in a wolf's disguise... ♪
400
00:28:30,099 --> 00:28:32,928
NARRATOR: With a staggering
wealth of unreleased songs,
401
00:28:33,102 --> 00:28:35,757
outtakes, rehearsals
and alternate versions,
402
00:28:35,931 --> 00:28:38,020
The Cutting Edge
provides a unique look
403
00:28:38,194 --> 00:28:41,284
into one man's
astonishing creative process.
404
00:28:41,894 --> 00:28:43,243
MAN: My Girl, take one.
405
00:28:44,853 --> 00:28:47,726
NARRATOR: January 1965,
Dylan arrives
406
00:28:47,900 --> 00:28:52,818
at CBS Recording Studios
in Manhattan
looking for a new sound.
407
00:28:52,992 --> 00:28:55,734
♪ She's got everything
she needs
408
00:28:55,908 --> 00:29:00,129
♪ She's an artist
She don't look back
409
00:29:03,567 --> 00:29:05,700
♪ She's got everything
she needs
410
00:29:05,874 --> 00:29:09,356
♪ She's an artist
She don't look back
411
00:29:12,054 --> 00:29:14,187
♪ She can take the dark
out of the night time
412
00:29:14,361 --> 00:29:18,017
♪ And paint
the day time black ♪
413
00:29:22,108 --> 00:29:24,371
NARRATOR: OnThe Cutting Edge,
we follow that journey
414
00:29:24,545 --> 00:29:28,244
as the elements ofBringing It
All Back Home fall into place.
415
00:29:30,203 --> 00:29:36,252
♪ Ain't it hard to stumble and
land in some funny lagoon? ♪
416
00:29:38,428 --> 00:29:43,303
♪ Hey, Mr. Tambourine Man
play a song for me... ♪
417
00:29:43,477 --> 00:29:45,740
DYLAN: Hey, I can't...
418
00:29:45,914 --> 00:29:48,177
Hey, the drumming
is driving me mad.
I'm going out of my brain.
419
00:29:54,575 --> 00:29:57,578
NARRATOR: Six months later,
Bob Dylan is back
in the studio.
420
00:29:57,752 --> 00:29:59,754
♪ People call, say
"Beware doll
421
00:29:59,928 --> 00:30:01,451
♪ "You're bound to fall"
422
00:30:01,625 --> 00:30:03,758
♪ You thought they were
all kiddin' you ♪
423
00:30:07,631 --> 00:30:09,764
DYLAN: At this point,
his switch to electric music
424
00:30:09,938 --> 00:30:11,940
has already alienated
some fans,
425
00:30:12,114 --> 00:30:15,422
at the same time
created a whole new audience.
426
00:30:17,163 --> 00:30:20,166
The resulting album,
Highway 61 Revisited
427
00:30:20,340 --> 00:30:23,691
is Dylan's first
fully realized rock album.
428
00:30:23,865 --> 00:30:26,433
♪ Well, I ride
on a mailtrain, baby
429
00:30:26,607 --> 00:30:28,827
♪ Can't buy no thrill
430
00:30:31,003 --> 00:30:33,962
♪ I've been up all night, baby
431
00:30:35,050 --> 00:30:37,270
♪ Leanin' on the windowsill
432
00:30:38,967 --> 00:30:45,365
♪ Well, if I die
on top of the hill
433
00:30:45,539 --> 00:30:47,715
♪ And if I don't make it
434
00:30:47,889 --> 00:30:50,370
♪ You know my baby will ♪
435
00:30:53,634 --> 00:30:57,899
NARRATOR: On his next album,
the sonic landscape
shifts once again.
436
00:30:58,073 --> 00:31:00,206
It takes several tries
and multiple cities
437
00:31:00,380 --> 00:31:03,687
to finally realize
Dylan's distinctive vision
438
00:31:03,862 --> 00:31:06,212
for rock's first double album
439
00:31:06,952 --> 00:31:08,475
Blonde on Blonde.
440
00:31:10,520 --> 00:31:12,348
But onThe Cutting Edge,
441
00:31:12,522 --> 00:31:15,221
even the wrong directions
can yield glorious results.
442
00:31:16,135 --> 00:31:18,398
♪ Ain't it just like the night
443
00:31:18,572 --> 00:31:23,142
♪ To play tricks when
you're tryin' to be so quiet? ♪
444
00:31:23,316 --> 00:31:25,535
The Cutting Edge
presents an alternate history
445
00:31:25,709 --> 00:31:29,061
for some of
the most distinctive songs
ever recorded.
446
00:31:29,235 --> 00:31:33,979
♪ Oh, Mama
this might be the end
447
00:31:34,153 --> 00:31:39,288
♪ I'm down here in Mobile
with the Memphis blues again ♪
448
00:31:47,079 --> 00:31:51,387
NARRATOR: You are there
for the evolution
of one classic after another,
449
00:31:51,561 --> 00:31:54,782
and all of it is tied together
with Dylan's unerring sense
450
00:31:54,956 --> 00:31:57,524
of lyrical and musical mastery.
451
00:31:57,698 --> 00:32:00,266
♪ Now your dancing child
with his Chinese suit
452
00:32:00,440 --> 00:32:02,790
♪ He spoke to me
I took his flute
453
00:32:02,964 --> 00:32:07,012
♪ No, I wasn't
very cute to him, was I?
454
00:32:07,186 --> 00:32:09,884
♪ But I did it to him
because he lied
455
00:32:10,058 --> 00:32:12,147
♪ Because he took you
for a ride...
456
00:32:12,321 --> 00:32:14,367
♪ Because time was
on his side
457
00:32:14,541 --> 00:32:16,456
♪ And because I...
458
00:32:16,630 --> 00:32:18,197
♪ Want you
459
00:32:18,980 --> 00:32:20,982
♪ I want you
460
00:32:21,156 --> 00:32:24,333
♪ I want you so bad
461
00:32:25,378 --> 00:32:27,336
♪ Honey, I want you ♪
462
00:32:33,081 --> 00:32:35,257
Hello, I'm Bob Egan of PopSpots,
463
00:32:35,431 --> 00:32:38,260
the website where I track down
where old record album covers
were made.
464
00:32:38,434 --> 00:32:42,351
Today we're going to
look at Bob Dylan's
Bringing It All back Home.
465
00:32:42,525 --> 00:32:45,093
Now, today I'm on Minetta Street
in Greenwich Village,
466
00:32:45,267 --> 00:32:47,008
the center of
the folk movement,
467
00:32:47,182 --> 00:32:49,924
and I'm standing next to what
used to be called The Commons.
468
00:32:50,098 --> 00:32:53,319
And in 1962, Dylan wrote
Blowin' in the Windright here.
469
00:32:53,493 --> 00:32:56,975
Now, back in that era,
he was a scruffy looking kid
470
00:32:57,149 --> 00:33:00,282
who just blew in from
the Midwest, and he would be
photographed that way.
471
00:33:00,456 --> 00:33:03,416
But three years later,
he's a changed guy.
472
00:33:03,590 --> 00:33:05,113
Rock 'n' roll has come.
473
00:33:05,287 --> 00:33:05,984
The Beatles have come,
The Rolling Stones have come.
474
00:33:06,158 --> 00:33:08,203
New fashions have come.
475
00:33:08,377 --> 00:33:10,466
When he put out this album,
he's dressed like
a country squire.
476
00:33:10,640 --> 00:33:12,164
He's in the middle
of a nice, beautiful house
477
00:33:12,338 --> 00:33:14,644
next to a beautiful woman,
he's got a Persian cat.
478
00:33:14,818 --> 00:33:19,432
Basically, what he's trying
to do here is say,
"I'm past the folk movement.
479
00:33:19,606 --> 00:33:23,436
"I'm moving on."
As a matter of fact,
half the record is acoustic,
480
00:33:23,610 --> 00:33:26,134
that's the old world,
and half is electric.
481
00:33:26,308 --> 00:33:28,136
Right here,
this is Sally Grossman.
482
00:33:28,310 --> 00:33:30,965
Bob's manager
was Albert Grossman
and that was his wife.
483
00:33:31,139 --> 00:33:33,881
This photograph is taken
on the Grossman's estate
484
00:33:34,055 --> 00:33:38,799
up in Bearsville, New York,
which is just
west of Woodstock.
485
00:33:38,973 --> 00:33:41,541
How many pictures
did you take like this?
486
00:33:41,715 --> 00:33:43,151
Ten.
487
00:33:43,325 --> 00:33:45,284
And how did you decide
on this particular shot?
488
00:33:45,458 --> 00:33:48,461
-The only one in which the cat
was looking at the lens.
-[CHUCKLES]
489
00:33:48,635 --> 00:33:50,680
How'd you get that
yellow circle of light?
490
00:33:50,854 --> 00:33:52,334
As I explained to Bob that
491
00:33:52,508 --> 00:33:55,642
what would happen
if we do this effect,
492
00:33:55,816 --> 00:34:00,516
-we will have things
blurry and moving...
-Yeah.
493
00:34:00,690 --> 00:34:03,606
...but you won't be moving
because you're the center.
494
00:34:03,780 --> 00:34:05,260
You know what's going on.
495
00:34:05,434 --> 00:34:10,048
But around you, there's
the turning of the world.
496
00:34:10,222 --> 00:34:12,441
Also the turning of the record.
497
00:34:12,615 --> 00:34:15,183
Any reason why you put
Dylan's own album in the back?
498
00:34:15,357 --> 00:34:16,837
Just kind of like his history,
is that it?
499
00:34:17,011 --> 00:34:19,361
My back pages.
500
00:34:19,535 --> 00:34:21,972
KRAMER: Bob put a lot
of things in that had
some meaning for him.
501
00:34:22,147 --> 00:34:24,018
Bob Dylan with Daniel Kramer,
502
00:34:24,192 --> 00:34:26,194
they spent about three hours
going through the house,
503
00:34:26,368 --> 00:34:28,240
just picking up
all sorts of old stuff,
504
00:34:28,414 --> 00:34:30,938
including the record album
and, you know, movies.
505
00:34:31,112 --> 00:34:32,592
And then, you know,
like old world paintings.
506
00:34:32,766 --> 00:34:34,376
He's got these pink cufflinks.
507
00:34:34,550 --> 00:34:36,987
They were a present to him
by Joan Baez.
508
00:34:37,162 --> 00:34:41,383
And he's got, you know, a lot of
the objects of his past,
509
00:34:41,557 --> 00:34:43,516
including one of his
old albums in the middle.
510
00:35:08,149 --> 00:35:09,846
Hi, I'm Bob Egan of PopSpots,
and on my website,
511
00:35:10,020 --> 00:35:13,067
I searched down where famous
record album covers were done.
512
00:35:13,241 --> 00:35:15,243
Today I'm sitting
on the front steps
513
00:35:15,417 --> 00:35:18,812
of where Bob Dylan lived
for two years,
starting in 1961.
514
00:35:18,986 --> 00:35:23,904
Today we're going to
go look at the location of
Highway 61 Revisited.
515
00:35:24,078 --> 00:35:25,993
Bob lived here
and he took this photograph
516
00:35:26,167 --> 00:35:28,038
right down these steps,
down the street,
517
00:35:28,213 --> 00:35:29,692
right over to the corner
of Jones Street.
518
00:35:29,866 --> 00:35:31,781
They probably walked
right by this spot,
519
00:35:31,955 --> 00:35:34,088
where they took the shot
for Freewheelin'
several years before.
520
00:35:34,262 --> 00:35:37,091
So now follow me
and we're gonna go see
521
00:35:37,265 --> 00:35:39,702
the rest of where
the other part of the shoot was
522
00:35:39,876 --> 00:35:41,878
for Highway 61.
523
00:35:42,052 --> 00:35:43,793
The street corner
at Sixth Avenue
and West Fourth Street.
524
00:35:43,967 --> 00:35:47,101
And where they went,
this place called O' Henry's.
525
00:35:47,275 --> 00:35:49,625
And it was a famous,
old fashioned,
526
00:35:49,799 --> 00:35:53,020
you know, kind of
barbershop-quartet-era
type restaurant
527
00:35:53,194 --> 00:35:54,978
that was located right here.
528
00:35:55,153 --> 00:35:59,069
After lunch, Bob and Daniel
went up to Gramercy Park.
529
00:35:59,244 --> 00:36:01,811
So, I'm always on the lookout
for different locations,
530
00:36:01,985 --> 00:36:05,380
you know, where album covers
were done and I saw a book
that said
531
00:36:05,554 --> 00:36:09,123
that Janis Joplin used to sit on
the front steps of the building
532
00:36:09,297 --> 00:36:12,648
where it was taken,
and look out at Gramercy Park.
533
00:36:12,822 --> 00:36:15,608
When I found that Janis Joplin
534
00:36:15,782 --> 00:36:19,481
had been
at Albert Grossman's apartment,
535
00:36:19,655 --> 00:36:23,268
I zoomed in on the door
and I said,
"This is the same door."
536
00:36:23,442 --> 00:36:24,965
I couldn't believe it because
537
00:36:25,139 --> 00:36:27,359
the whole time that I was
thinking about this album,
538
00:36:27,533 --> 00:36:32,146
I thought that it was done
indoors inside of a stage,
539
00:36:32,320 --> 00:36:33,974
because it looks like
it's kind of like a theater arch
540
00:36:34,148 --> 00:36:35,671
on the right hand side.
541
00:36:35,845 --> 00:36:37,543
So I was... My mind was blown
when it turns out
542
00:36:37,717 --> 00:36:39,893
that it's outdoors
after all this time.
543
00:36:40,067 --> 00:36:42,069
This is a place
where Dylan stayed for,
544
00:36:42,243 --> 00:36:43,375
you know, long periods of time.
545
00:36:43,549 --> 00:36:46,334
When they got here, Dylan said,
546
00:36:46,508 --> 00:36:49,207
"I want to go in
and have you take a picture
547
00:36:49,381 --> 00:36:51,513
"using my new Triumph T-shirt."
548
00:36:51,687 --> 00:36:55,082
So he went and got the Triumph
T-shirt and he sat down.
549
00:36:55,256 --> 00:36:58,433
Usually, you have a plan,
especially for a cover.
550
00:36:58,607 --> 00:36:59,478
Yeah.
551
00:36:59,652 --> 00:37:01,784
And this wasn't the plan.
552
00:37:01,958 --> 00:37:04,526
This was kind of all naked here.
553
00:37:04,700 --> 00:37:07,921
So I asked Neuwirth
if he'd stand here.
554
00:37:08,095 --> 00:37:13,883
So I grabbed my camera and I
said, "Bob, hold this camera."
555
00:37:14,057 --> 00:37:18,975
Now, once he did that, it seems
like something's going on.
556
00:37:19,149 --> 00:37:23,545
Not that we're taking a picture,
but there's a making
of a picture.
557
00:37:23,719 --> 00:37:26,592
There's a photographer,
he's got his camera.
558
00:37:26,766 --> 00:37:29,290
This wasn't the plan.
559
00:37:29,464 --> 00:37:34,034
This wasn't even expected that
we would do a picture like this.
560
00:37:34,208 --> 00:37:36,079
Kramer then took
two different pictures
561
00:37:36,254 --> 00:37:37,733
and one of the pictures...
562
00:37:37,907 --> 00:37:40,519
You know, the last picture
of the day that they shot
563
00:37:40,693 --> 00:37:44,218
was the one that became
the album cover.
564
00:37:44,392 --> 00:37:47,700
♪ And have it on Highway 61 ♪
565
00:38:09,025 --> 00:38:10,462
This is Bob Egan from PopSpots.
566
00:38:10,636 --> 00:38:12,028
It's a website
where I track down
567
00:38:12,202 --> 00:38:13,900
where famous record album covers
were done.
568
00:38:14,074 --> 00:38:17,730
Today we're gonna look at where
Blonde On Blonde
569
00:38:17,904 --> 00:38:21,734
from 1966, Bob Dylan's album,
was photographed.
570
00:38:21,908 --> 00:38:24,737
Standing next to
Jerry Schatzberg,
who took that photograph.
571
00:38:24,911 --> 00:38:26,826
This is your studio.
It was right up here.
572
00:38:27,000 --> 00:38:29,350
Dylan picked you
and one of your assistants up.
573
00:38:29,524 --> 00:38:31,047
And where did you go
to take the picture?
574
00:38:31,221 --> 00:38:34,573
What I remember was the
Meatpacking District downtown.
575
00:38:34,747 --> 00:38:37,053
-Okay, that's about 14th Street.
-Possibly.
576
00:38:37,227 --> 00:38:38,228
Way over on the west side.
577
00:38:38,403 --> 00:38:39,578
Let's go check it out.
578
00:38:43,582 --> 00:38:45,758
We're going to
the Meatpacking District
579
00:38:45,932 --> 00:38:50,589
because I know that
I photographed Dylan there
for Blonde on Blonde.
580
00:38:50,763 --> 00:38:52,242
Or I think
I photographed him there.
581
00:38:52,417 --> 00:38:55,463
We're just trying
to discover where
582
00:38:55,637 --> 00:38:58,771
because they've gentrified
the areas so much.
583
00:38:58,945 --> 00:39:02,775
We're hoping to
uncover the mystery.
584
00:39:06,126 --> 00:39:10,609
Tell me exactly why the pictures
are blurred on the cover.
585
00:39:10,783 --> 00:39:12,480
It was pretty cold out,
you know.
586
00:39:12,654 --> 00:39:15,527
I know all the critics,
everybody trying to figure,
587
00:39:15,701 --> 00:39:19,487
"Oh, they were trying
to do a drug shot
or something."
588
00:39:19,661 --> 00:39:23,709
It's not true. It was February.
He was wearing just that jacket.
589
00:39:23,883 --> 00:39:26,581
I was wearing something similar.
The two of us were really cold.
590
00:39:26,755 --> 00:39:29,845
And to his credit, he's the one
that chose that photograph.
591
00:39:31,325 --> 00:39:35,895
Someplace in here
might be the building,
592
00:39:36,069 --> 00:39:37,984
but it's totally disguised now.
593
00:39:41,204 --> 00:39:45,165
So far, this is
the closest thing that
I've seen in all these years.
594
00:39:45,339 --> 00:39:47,385
They covered
over the brick here.
595
00:39:47,559 --> 00:39:49,822
It could be this building, too,
without this top.
596
00:39:49,996 --> 00:39:53,347
I think this building
looks very possible.
597
00:39:54,304 --> 00:39:56,045
It's been a good experience
for me
598
00:39:56,219 --> 00:39:58,265
because I really thought that
the building would be torn down.
599
00:39:58,439 --> 00:40:00,180
Now I think that it might be
up here somewhere.
600
00:40:00,354 --> 00:40:02,574
-Still might be up...
-I think the job is
up to you now.
601
00:40:02,748 --> 00:40:04,793
-I'll see you. Thanks, guys.
-Okay.
602
00:40:05,664 --> 00:40:09,885
♪ I'm pledging my time to you
603
00:40:10,059 --> 00:40:12,105
♪ Hopin' you'll
come through, too... ♪
604
00:40:28,077 --> 00:40:30,384
♪ Ain't it just like the night
605
00:40:30,558 --> 00:40:34,649
♪ To play tricks when
you're tryin' to be quiet?
606
00:40:38,697 --> 00:40:41,569
♪ We sit here stranded
607
00:40:41,743 --> 00:40:45,573
♪ Though we're all doin'
our best to deny it
608
00:40:49,447 --> 00:40:52,406
♪ And Louise holds
a handful of rain
609
00:40:52,580 --> 00:40:55,583
♪ Temptin' you to defy it
610
00:40:59,674 --> 00:41:03,548
♪ Lights flicker
from the opposite loft
611
00:41:05,201 --> 00:41:08,857
♪ In this room
the heat pipes, they cough
612
00:41:10,511 --> 00:41:13,645
♪ The country music station
plays soft
613
00:41:13,819 --> 00:41:18,040
♪ But there's nothing
Really nothing to turn off
614
00:41:20,216 --> 00:41:27,572
♪ Just Louise and her lover
so entwined
615
00:41:31,271 --> 00:41:36,494
♪ And these visions of Johanna
616
00:41:36,668 --> 00:41:40,454
♪ That conquer my mind
617
00:41:47,461 --> 00:41:49,855
♪ The fiddler now speaks
618
00:41:50,029 --> 00:41:54,729
♪ To the princess who's
pretending to care for him
619
00:41:58,080 --> 00:42:01,910
♪ He says, "Name me someone
that's not a parasite
620
00:42:02,084 --> 00:42:05,566
♪ "And I'll say a prayer
for him"
621
00:42:08,264 --> 00:42:10,440
♪ And like Louise always says
622
00:42:10,615 --> 00:42:12,399
♪ "Ya can't look at much
can ya, man?"
623
00:42:12,573 --> 00:42:14,967
♪ As she prepares for him
624
00:42:19,145 --> 00:42:22,191
♪ Madonna, she still
has not showed
625
00:42:24,150 --> 00:42:29,024
♪ And we see the empty cage
now corrode
626
00:42:29,198 --> 00:42:33,551
♪ Where her cape of the stage
once had flowed
627
00:42:34,856 --> 00:42:38,251
♪ The peddler
he steps to the road
628
00:42:40,035 --> 00:42:44,997
♪ Everything's gone
which was owed
629
00:42:45,171 --> 00:42:50,089
♪ He examines
the nightingale's cold
630
00:42:50,263 --> 00:42:54,180
♪ Still written on
a fish truck that loads
631
00:42:54,354 --> 00:42:57,183
♪ My conscience explodes
632
00:43:00,316 --> 00:43:07,628
♪ The harmonicas play the
skeleton keys and the rain
633
00:43:11,284 --> 00:43:16,245
♪ And these visions of Johanna
634
00:43:16,419 --> 00:43:20,685
♪ Are all that remain ♪
635
00:43:51,759 --> 00:43:54,109
-[INDISTINCT CHATTER]
-[RHYTHMIC CLAPPING]
636
00:43:56,634 --> 00:43:58,244
MAN: The big show special!
637
00:44:13,912 --> 00:44:16,305
DYLAN: Well, if it isn't
the Hunchback
of Notre Dame himself.
638
00:44:18,960 --> 00:44:20,440
How's it going to sound tonight?
639
00:44:20,614 --> 00:44:21,746
-[CHUCKLES]
-MAN: Great.
640
00:44:21,920 --> 00:44:23,835
Better than it has in days.
641
00:44:25,619 --> 00:44:27,708
INTERVIEWER: Well, what was
life like on the road then?
642
00:44:27,882 --> 00:44:31,277
-You know, on that tour?
-ALDERSON: Hectic.
643
00:44:31,451 --> 00:44:35,150
Hard, sleepless, driving.
644
00:44:37,065 --> 00:44:38,371
Crazy. [CHUCKLES]
645
00:44:39,067 --> 00:44:40,199
[CROWD SHOUTING]
646
00:44:40,373 --> 00:44:42,288
You talking to me?
647
00:44:52,559 --> 00:44:54,343
Come up here and say that.
648
00:44:54,517 --> 00:44:55,954
DYLAN: It was the worst thing
anyone could go through, man.
649
00:44:56,128 --> 00:44:59,261
Can't even hear the guitar
to put it in tune.
650
00:44:59,435 --> 00:45:01,481
There's something wrong
with the sound system.
651
00:45:01,655 --> 00:45:03,831
It has got to be fixed.
652
00:45:04,005 --> 00:45:05,615
ALDERSON: It never occurred
to me to question it.
653
00:45:05,790 --> 00:45:07,182
I was just doing it.
654
00:45:07,356 --> 00:45:10,446
They asked me to do it
and I did it. [CHUCKLES]
655
00:45:10,620 --> 00:45:11,970
-You can follow him.
-On the other side.
656
00:45:12,144 --> 00:45:13,928
-Show him what side.
-On the other side.
657
00:45:14,102 --> 00:45:15,974
You want me to show you
where I'm plugged in?
658
00:45:16,148 --> 00:45:17,889
I'll show you where
I'm plugged in, over here.
659
00:45:18,803 --> 00:45:20,326
I was always about the music.
660
00:45:20,500 --> 00:45:24,678
I was never about the mechanics
of being a sound man.
661
00:45:24,852 --> 00:45:27,159
So if the music was good,
I was happy.
662
00:45:29,335 --> 00:45:31,380
♪ He looks so truthful
663
00:45:32,555 --> 00:45:35,036
♪ Is this how he feels
664
00:45:37,038 --> 00:45:40,999
♪ As he tries to peel the moon
and expose it? ♪
665
00:45:43,697 --> 00:45:45,351
I can't...[STRUMMING]
666
00:45:46,395 --> 00:45:48,833
It's not the same, you know?
667
00:45:49,703 --> 00:45:52,401
I can't hear it coming back.
668
00:45:52,575 --> 00:45:53,881
I don't know what it is, man.
669
00:45:54,055 --> 00:45:55,317
One, two.
670
00:45:56,536 --> 00:45:57,842
One, two.
671
00:45:58,756 --> 00:46:00,670
I didn't change anything.
672
00:46:00,845 --> 00:46:02,847
I bet something's wrong
with the wires.
673
00:46:26,653 --> 00:46:30,613
ALDERSON: I lived
in a fifth floor walk-up
on Bleecker Street,
674
00:46:30,788 --> 00:46:33,921
right across the street from
where the Village Gate was.
675
00:46:34,095 --> 00:46:36,706
And I just hung out
in the Village.
676
00:46:36,881 --> 00:46:39,405
And I met Bob
for the first time
677
00:46:39,579 --> 00:46:42,538
when he was just playing
folk music and hanging out.
678
00:46:42,712 --> 00:46:47,239
My friend introduced me
to the new owners
of the Gaslight.
679
00:46:47,413 --> 00:46:49,415
They had me
put in the sound system,
680
00:46:49,589 --> 00:46:51,286
and then somebody said,
681
00:46:51,460 --> 00:46:54,899
"Well, Dylan's going to premiere
a bunch of songs after hours
682
00:46:55,073 --> 00:46:57,902
"and you should
come and tape it."
683
00:47:00,121 --> 00:47:02,907
The atmosphere was so wonderful
in the Gaslight.
684
00:47:03,081 --> 00:47:05,126
And it had a special quality
685
00:47:05,300 --> 00:47:08,260
that studio recordings
could never have.
686
00:47:08,434 --> 00:47:12,046
♪ Oh, where have you been
my blue-eyed son?
687
00:47:14,483 --> 00:47:18,270
♪ Where have you been
my darling young one? ♪
688
00:47:19,967 --> 00:47:21,926
It was just overwhelming.
689
00:47:22,100 --> 00:47:26,626
I mean, I had seen all kinds
of people perform,
690
00:47:26,800 --> 00:47:28,976
and nobody gave me chills
like that.
691
00:47:29,150 --> 00:47:31,413
Nothing even came close to it.
692
00:47:32,327 --> 00:47:36,462
Tito, listen,
we seem to have a problem.
693
00:47:36,636 --> 00:47:40,205
ALDERSON: I'd done
a lot of live sound work
for Grossman.
694
00:47:40,379 --> 00:47:43,599
When it came time
for Dylan to go on tour,
695
00:47:43,773 --> 00:47:46,385
Grossman asked me
to build the sound system
696
00:47:46,559 --> 00:47:48,909
and I said yes.
697
00:47:49,083 --> 00:47:51,956
I need an electrician.
My power's all gone.
698
00:47:52,130 --> 00:47:54,393
It's Richard's power, man.
Come on.
699
00:47:54,567 --> 00:47:57,004
ALDERSON: I fit perfectly
into that situation
700
00:47:57,178 --> 00:48:00,486
because I was really
a kind of hi-fi purist
701
00:48:00,660 --> 00:48:02,183
as far as sound is concerned.
702
00:48:02,357 --> 00:48:04,838
DYLAN: Richard's power.
Give him his power back.
703
00:48:05,447 --> 00:48:06,971
Let's have the power.
704
00:48:07,145 --> 00:48:11,671
I had no rehearsals with Dylan
because I was busy
705
00:48:11,845 --> 00:48:14,500
getting the gear together
and setting it up.
706
00:48:19,679 --> 00:48:21,550
I built the sound system.
707
00:48:21,724 --> 00:48:24,162
I had to make up the tables
and I had to connect everything
708
00:48:24,336 --> 00:48:26,381
and I had to put it
into the road cases
709
00:48:26,555 --> 00:48:28,079
and get it on the plane.
710
00:48:28,949 --> 00:48:30,908
It was shipped to Honolulu.
711
00:48:32,039 --> 00:48:34,041
The first time I used
the whole sound system
712
00:48:34,215 --> 00:48:36,087
was on the stage in Honolulu.
713
00:48:36,261 --> 00:48:39,742
And I was still soldering wires
on the stage in Stockholm.
714
00:48:39,917 --> 00:48:42,354
I remember that very well.
715
00:48:42,528 --> 00:48:44,399
Just give me time
to get across to the other side.
716
00:48:44,573 --> 00:48:48,664
I mean, I barely had time
to get everything set up
717
00:48:48,838 --> 00:48:50,884
at every venue we were at.
718
00:48:54,888 --> 00:48:57,369
I knew that he had been
performing electric,
719
00:48:57,543 --> 00:49:00,763
but I had no idea
that the second half
720
00:49:00,938 --> 00:49:03,201
was going to be
what it turned out to be.
721
00:49:03,375 --> 00:49:06,421
♪ Once upon a time
you dressed so fine
722
00:49:06,595 --> 00:49:09,947
♪ You threw the bums a dime
in your prime
723
00:49:10,948 --> 00:49:13,298
♪ Didn't you? ♪
724
00:49:23,743 --> 00:49:25,049
Richard.
725
00:49:26,920 --> 00:49:29,662
ALDERSON: Everybody knew
that they came
to see the Bob Dylan
726
00:49:29,836 --> 00:49:31,577
that they were expecting.
727
00:49:31,751 --> 00:49:35,407
Rock 'n' roll was something
that no one expected.
728
00:49:37,583 --> 00:49:39,889
There was a lot of booing.
729
00:49:40,064 --> 00:49:42,196
I mean, it was practically
everywhere we went.
730
00:49:42,370 --> 00:49:45,504
The audiences were hostile.
731
00:49:45,678 --> 00:49:49,595
And the band responded
to the hostility
of the audience
732
00:49:49,769 --> 00:49:51,640
by playing more aggressively.
733
00:49:53,599 --> 00:49:55,644
♪ You walk into the room
734
00:49:57,864 --> 00:50:00,040
♪ With your pencil in your hand
735
00:50:01,302 --> 00:50:05,393
♪ You see somebody naked
736
00:50:05,567 --> 00:50:07,439
♪ And you say
"Who is that man?" ♪
737
00:50:07,613 --> 00:50:11,312
The audience reaction,
that was mystifying...
738
00:50:11,486 --> 00:50:13,793
to everybody.
It was mystifying to me.
739
00:50:13,967 --> 00:50:16,056
I can remember, like,
740
00:50:16,230 --> 00:50:19,277
"Why doesn't everybody think
this stuff is as great as I do?"
[CHUCKLES]
741
00:50:21,235 --> 00:50:24,238
The tapings began
when we were in Europe
742
00:50:24,412 --> 00:50:26,501
because Bob wanted
to make a movie.
743
00:50:26,675 --> 00:50:29,330
♪ I'd stand by her roil
744
00:50:30,201 --> 00:50:33,247
♪ In the lonely water
745
00:50:35,249 --> 00:50:40,776
♪ I've stood there many times
before this, you see
746
00:50:40,950 --> 00:50:44,954
ALDERSON: He wanted to make
kind of a nouvelle vague movie
747
00:50:45,129 --> 00:50:47,305
of the whole process.
748
00:50:49,133 --> 00:50:50,612
Nobody ever thought
that those tapes
749
00:50:50,786 --> 00:50:53,963
would ever be issued
in the way they're being issued.
750
00:50:54,138 --> 00:50:55,313
MAN: All the stuff
that came from Paris
751
00:50:55,487 --> 00:50:57,576
is still being cleared
through customs.
752
00:50:58,577 --> 00:50:59,665
There's nothing here?
753
00:51:02,407 --> 00:51:05,018
-I can't believe it.
-ALDERSON: It's a 7:30 show.
754
00:51:05,192 --> 00:51:07,194
-Nothing is there now?
-That's right.
755
00:51:07,368 --> 00:51:10,110
Just the stuff
that was left here.
756
00:51:10,284 --> 00:51:12,373
Two speakers and the organ,
and that's all set up.
757
00:51:12,547 --> 00:51:15,246
The stage is all set up,
but there's nothing else there.
758
00:51:16,986 --> 00:51:19,728
The gear was just the gear
that I was used to using.
759
00:51:19,902 --> 00:51:21,904
It was good microphones.
760
00:51:22,079 --> 00:51:24,472
They were all
individually mic'ed.
761
00:51:24,646 --> 00:51:27,258
There was one microphone
for everybody,
762
00:51:27,432 --> 00:51:29,695
maybe two microphones for Bob.
763
00:51:31,523 --> 00:51:32,524
DYLAN: Thank you.
764
00:51:43,578 --> 00:51:45,624
ALDERSON: There wasn't
any theory.
765
00:51:45,798 --> 00:51:51,151
There wasn't any map to follow
about how you mic
an electric band.
766
00:52:01,509 --> 00:52:05,557
It was just the way
the music sounded on stage.
767
00:52:05,731 --> 00:52:08,864
There was all one mix,
so I had to compromise.
768
00:52:09,038 --> 00:52:14,740
I mean, most of the concern
was about the music and
about the performances,
769
00:52:14,914 --> 00:52:19,397
and the recordings
were just whatever
went out into the hall.
770
00:52:19,571 --> 00:52:21,573
We'd all listen
to the tapes afterwards.
771
00:52:21,747 --> 00:52:24,750
I made some changes
and it definitely got better.
772
00:52:25,968 --> 00:52:30,451
He was singing wonderfully
and performing wonderfully,
773
00:52:30,625 --> 00:52:34,673
and the songs
were very exciting,
and I was wrapped up in that.
774
00:52:35,239 --> 00:52:36,718
I don't know.
775
00:52:36,892 --> 00:52:38,633
You put good microphones up
in front of good music
776
00:52:38,807 --> 00:52:40,287
and it sounds good.
777
00:52:41,897 --> 00:52:44,639
♪ Yes, but the joke was on me
778
00:52:44,813 --> 00:52:51,603
♪ There was nobody even there
to call my bluff
779
00:52:51,777 --> 00:52:54,519
♪ I'm going back
to New York City
780
00:52:54,693 --> 00:53:01,265
♪ I do believe
I've had enough ♪
781
00:53:03,354 --> 00:53:07,488
ALDERSON: I mean,
obviously, the musicians
played their asses off.
782
00:53:07,662 --> 00:53:10,491
It wasn't even like
the studio recordings
783
00:53:10,665 --> 00:53:13,451
or like the performance
at Newport
784
00:53:13,625 --> 00:53:16,323
because Mickey Jones
was a much louder drummer
785
00:53:16,497 --> 00:53:18,586
and much more
aggressive drummer
786
00:53:18,760 --> 00:53:22,111
than anybody else that
had played with him before.
787
00:53:22,286 --> 00:53:25,202
And it drove the music harder.
788
00:53:25,376 --> 00:53:28,770
It made Robbie play
some of the greatest stuff
789
00:53:28,944 --> 00:53:30,642
he ever played in his life.
790
00:53:30,816 --> 00:53:32,296
[CROWD CHEERING]
791
00:53:36,038 --> 00:53:39,825
The Paris show was problematic
for any number of reasons.
792
00:53:41,043 --> 00:53:42,219
[STRUMMING]
793
00:53:45,004 --> 00:53:46,223
[TUNING]
794
00:53:49,443 --> 00:53:52,664
You see, my electric guitar
never goes out of tune.
795
00:53:52,838 --> 00:53:55,536
[CROWD LAUGHS]
796
00:53:55,710 --> 00:53:59,192
ALDERSON: Bob took forever
tuning his guitar, I think,
just to irritate everybody.
797
00:53:59,366 --> 00:54:02,543
He took like 20 minutes
to tune his guitar.
798
00:54:03,544 --> 00:54:07,287
The audience was hostile
from the get-go.
799
00:54:07,461 --> 00:54:09,289
-[CHUCKLES]
-[CROWD SHOUTING]
800
00:54:10,377 --> 00:54:12,205
Oh, I love you.
[LAUGHS DRYLY]
801
00:54:13,162 --> 00:54:14,903
You're all so wonderful.
802
00:54:16,078 --> 00:54:19,386
ALDERSON: They had an attitude
about America already,
803
00:54:19,560 --> 00:54:23,738
that we were a bunch
of fascist warmongers.
804
00:54:23,912 --> 00:54:27,307
They opened the second half
with the biggest American flag
805
00:54:27,481 --> 00:54:29,396
that Bob could find in Paris.
806
00:54:29,570 --> 00:54:32,486
And the audience
didn't get the joke at all.
807
00:54:33,270 --> 00:54:35,750
♪ Tell me, momma
808
00:54:37,926 --> 00:54:40,407
♪ Tell me, momma
809
00:54:42,366 --> 00:54:45,499
♪ Tell me, momma, what is it?
810
00:54:46,587 --> 00:54:52,985
♪ What's wrong with you
this time? ♪
811
00:54:55,335 --> 00:54:57,468
ALDERSON: It was
kind of dismissed.
812
00:54:58,643 --> 00:55:02,690
The recordings
weren't very important.
813
00:55:03,212 --> 00:55:04,910
It broke my heart.
814
00:55:05,084 --> 00:55:08,130
And Columbia just mishandled it
815
00:55:08,305 --> 00:55:09,741
because they wanted to use
their tapes.
816
00:55:09,915 --> 00:55:12,961
And they'd sent
expensive crews over.
817
00:55:13,135 --> 00:55:16,574
And the fact that Bob
wanted to use my recording
818
00:55:16,748 --> 00:55:22,754
was not compatible
with their desires.
819
00:55:22,928 --> 00:55:26,584
I think Grossman told me
to take the tapes to Columbia
820
00:55:26,758 --> 00:55:29,674
and turn them over,
and that was it.
821
00:55:29,848 --> 00:55:30,936
I never saw them again.
822
00:55:32,329 --> 00:55:34,331
I wanted the tapes
to sound good.
823
00:55:34,505 --> 00:55:37,116
I don't know why because...
824
00:55:37,290 --> 00:55:38,987
[LAUGHS]
825
00:55:39,161 --> 00:55:42,556
I didn't know till now that they
would ever become anything.
826
00:55:42,730 --> 00:55:46,952
And I'm glad that it's getting
appreciated after all this time.
827
00:55:47,953 --> 00:55:50,477
♪ Just Louise
828
00:55:50,651 --> 00:55:55,352
♪ And her lover so entwined
829
00:55:58,093 --> 00:56:03,142
♪ And these visions of Johanna
830
00:56:03,316 --> 00:56:07,973
♪ That conquer my mind ♪
831
00:56:30,474 --> 00:56:33,868
NARRATOR: The year is 1967.
832
00:56:34,042 --> 00:56:36,044
It's winter in West Saugerties,
833
00:56:36,218 --> 00:56:39,961
a small town
about a two-hour drive
north of Manhattan.
834
00:56:40,135 --> 00:56:44,052
Here, Bob Dylan
is laid up recovering
from a motorcycle accident,
835
00:56:44,226 --> 00:56:48,579
a canceled tour
and the newfound pressures
of fame.
836
00:56:48,753 --> 00:56:51,712
"Escaping the rat race,"
Dylan said.
837
00:56:52,539 --> 00:56:55,020
His touring group lived nearby.
838
00:56:55,194 --> 00:56:56,804
They're called The Hawks,
839
00:56:56,978 --> 00:56:59,590
but we'd soon come to know them
as "The Band."
840
00:56:59,764 --> 00:57:03,028
♪ With another tale to tell
841
00:57:04,812 --> 00:57:09,556
♪ And you know
that we shall meet again...
842
00:57:09,730 --> 00:57:11,602
NARRATOR: Together with
Bob Dylan in the basement
843
00:57:11,776 --> 00:57:14,082
of a little country house
called Big Pink,
844
00:57:14,256 --> 00:57:19,479
they start recording originals,
country, folk
and rockabilly classics,
845
00:57:19,653 --> 00:57:21,786
song sketches and ideas.
846
00:57:21,960 --> 00:57:25,833
Over the course of a year,
they have reels of new songs,
847
00:57:26,007 --> 00:57:28,357
but none of it
would see the light of day.
848
00:57:28,532 --> 00:57:30,751
No, these were demos
849
00:57:30,925 --> 00:57:33,711
made to hand over
to Dylan's publishing company.
850
00:57:33,885 --> 00:57:36,365
Music for other artists
to record.
851
00:57:36,540 --> 00:57:39,368
The cover versions
come almost overnight.
852
00:57:39,543 --> 00:57:42,546
And what happens next
surprises everyone.
853
00:57:42,720 --> 00:57:46,854
♪ If your memory
serves you well
854
00:57:47,594 --> 00:57:49,291
♪ I was goin' to...
855
00:57:49,466 --> 00:57:52,947
NARRATOR: The songs,
they spark a public demand.
856
00:57:53,121 --> 00:57:54,775
They want the originals.
857
00:57:54,949 --> 00:57:57,517
Demo tapes recorded
in a country basement
858
00:57:57,691 --> 00:57:59,737
have found a following.
859
00:57:59,911 --> 00:58:01,739
And by 1969
860
00:58:01,913 --> 00:58:05,438
the first bootleg of the modern
rock 'n' roll age appears
861
00:58:05,612 --> 00:58:08,180
calledGreat White Wonder.
862
00:58:13,794 --> 00:58:16,101
The album compiles
the basement recordings
863
00:58:16,275 --> 00:58:19,626
and some lesser known
Dylan tracks into one album.
864
00:58:19,800 --> 00:58:21,715
More bootlegs
follow more demand,
865
00:58:21,889 --> 00:58:24,849
and soon an underground
industry is born.
866
00:58:25,458 --> 00:58:27,547
Eventually, in 1975,
867
00:58:27,721 --> 00:58:31,290
Dylan and The Band bend to
the demand for the real deal
868
00:58:31,464 --> 00:58:34,336
and they release
The Basement Tapes.
869
00:58:34,511 --> 00:58:38,819
The record is
an instant success,
but you know how it goes.
870
00:58:38,993 --> 00:58:43,215
The fans,[CHUCKLES]
they want more,
to hear it all, to know it all.
871
00:58:43,389 --> 00:58:45,609
♪ ...next of kin
872
00:58:45,783 --> 00:58:50,744
♪ This wheel shall explode...
873
00:58:50,918 --> 00:58:52,833
NARRATOR: It's been 47 years
874
00:58:53,007 --> 00:58:55,793
since Bob Dylan and The Band
made that two-hour drive
875
00:58:55,967 --> 00:58:58,360
north of New York City
to Big Pink.
876
00:58:58,535 --> 00:59:03,583
And the fans[CHUCKLES]
were still curious
aboutThe Basement Tapes.
877
00:59:03,757 --> 00:59:06,020
Are there more hidden reels
to be discovered?
878
00:59:06,194 --> 00:59:09,937
What do the original recordings
really sound like?
879
00:59:10,111 --> 00:59:16,074
Forty-seven years
we've wondered, and now
we get to find out.
880
00:59:16,727 --> 00:59:21,166
♪ This wheel's on fire
881
00:59:21,340 --> 00:59:28,608
♪ It's rolling down the road
882
00:59:28,782 --> 00:59:34,658
♪ Best notify my next of kin
883
00:59:34,832 --> 00:59:41,708
♪ This wheel shall explode ♪
884
00:59:48,976 --> 00:59:53,241
GREIL MARCUS: In early '68,
this guy calls me up
885
00:59:53,415 --> 00:59:55,853
and we do the equivalent
of a dope deal,
886
00:59:56,027 --> 00:59:57,985
except there's
no money involved.
887
00:59:58,159 --> 01:00:01,772
He surreptitiously hands me
this cassette and said,
888
01:00:01,946 --> 01:00:04,035
"Don't tell anybody
where you got this."
889
01:00:05,514 --> 01:00:06,951
And I take it home
and listen to it
890
01:00:07,125 --> 01:00:09,040
and call up all my friends
and they come over
891
01:00:09,214 --> 01:00:12,521
and we all listen to it,
completely awestruck.
892
01:00:12,696 --> 01:00:14,611
[HARMONICA PLAYING]
893
01:00:17,788 --> 01:00:19,398
CLINTON HEYLIN: To me,
it's always been the Holy Grail
894
01:00:19,572 --> 01:00:21,748
to actually fondle
the original reel.
895
01:00:21,922 --> 01:00:24,446
To actually... To say,
"Yeah, this is it.
896
01:00:24,621 --> 01:00:26,274
"This is the real thing."
897
01:00:26,448 --> 01:00:28,886
The goal was to get as much
out of the tapes as possible
898
01:00:29,060 --> 01:00:31,715
and to allow you
to be on the stairs
899
01:00:31,889 --> 01:00:33,412
that led down to the basement
900
01:00:33,586 --> 01:00:34,935
so you could hear,
"What are those guys playing?"
901
01:00:35,109 --> 01:00:36,371
You're in the room.
You're right there.
902
01:00:36,545 --> 01:00:38,417
You feel people breathing.
903
01:00:38,591 --> 01:00:42,769
Everything that's been
mythologized or turned
into legend
904
01:00:42,943 --> 01:00:45,119
on behalf of what happened
in that Woodstock basement
905
01:00:45,293 --> 01:00:47,252
in the summer of '67 is true.
906
01:00:47,426 --> 01:00:51,430
The history of the reels
themselves. It's like
a detective story.
907
01:00:51,604 --> 01:00:54,302
Robbie told me
he remembered Bob saying,
908
01:00:54,476 --> 01:00:58,132
"We ought to destroy this stuff.
We ought to just erase it."
909
01:00:58,306 --> 01:01:01,701
What if we recorded songs
that could never be released?
910
01:01:01,875 --> 01:01:03,442
What would they sound like?
911
01:01:03,616 --> 01:01:05,052
That's what you're hearing.
912
01:01:09,100 --> 01:01:11,406
I think The Basement Tapes
stars.
913
01:01:11,580 --> 01:01:14,627
I think there's no question
with that world tour of '65-'66.
914
01:01:14,801 --> 01:01:16,629
HEYLIN: They were unbelievably
grueling shows
915
01:01:16,803 --> 01:01:19,197
because, of course,
everywhere Bob went,
916
01:01:19,371 --> 01:01:22,461
he was badly received
by sections of the audience.
917
01:01:22,635 --> 01:01:28,249
At some shows, a large section
of the audience turned on him.
918
01:01:28,423 --> 01:01:29,729
[CROWD SHOUTING]
919
01:01:29,903 --> 01:01:32,123
Usually during
the electric set.
920
01:01:32,297 --> 01:01:33,820
DYLAN: This is a folk song.
921
01:01:34,995 --> 01:01:37,171
This is a folk song.
I wanna sing a folk song now.
922
01:01:37,345 --> 01:01:38,738
[CROWD CHEERING]
923
01:01:40,479 --> 01:01:44,091
People did feel that
something had been
taken away from them.
924
01:01:44,265 --> 01:01:48,792
Or something beautiful
had been destroyed by Bob Dylan
925
01:01:48,966 --> 01:01:54,188
leaving the music of the people
behind and going for the charts.
926
01:01:54,362 --> 01:02:01,065
It's taken as this outrage,
as this sellout,
as this betrayal.
927
01:02:01,239 --> 01:02:03,154
Dylan talked about it
afterwards,
928
01:02:03,328 --> 01:02:05,983
he talked about it
with a sense of great defiance.
929
01:02:06,157 --> 01:02:07,549
Don't you think
your first records
930
01:02:07,724 --> 01:02:09,900
were much better than the ones
that you do now?
931
01:02:10,074 --> 01:02:11,640
Who said that?
932
01:02:11,815 --> 01:02:13,991
MARCUS: The sense of,
you know, "Fuck you.
933
01:02:14,165 --> 01:02:15,906
"This is the music
I'm making, this is the music
I want to sing,
934
01:02:16,080 --> 01:02:17,734
"this is the music
I want to play.
935
01:02:17,908 --> 01:02:20,432
"If you don't like it,
stay away."
936
01:02:20,606 --> 01:02:23,043
Didn't you boo me last night?
937
01:02:23,217 --> 01:02:25,089
-I didn't, I didn't.
Please, just a minute.
-We didn't boo you, Bob.
938
01:02:25,263 --> 01:02:28,570
DYLAN: Well, I want the names
of all of people that booed me.
939
01:02:28,745 --> 01:02:30,703
DYLAN: First half,
when they're all so quiet.
940
01:02:30,877 --> 01:02:33,227
I'll just break it, right?
I'll play four or five songs.
941
01:02:33,401 --> 01:02:37,057
They just don't make a sound.
All of a sudden, "Boo."
942
01:02:37,231 --> 01:02:38,363
[LAUGHTER]
943
01:02:39,277 --> 01:02:41,670
Boo.
944
01:02:41,845 --> 01:02:44,543
MARCUS: Robbie Robertson,
Richard Manuel, Rick Danko,
Garth Hudson
945
01:02:44,717 --> 01:02:47,111
Levon Helm,
they become Bob Dylan's band.
946
01:02:47,285 --> 01:02:50,418
These guys are now
a band of brothers.
947
01:02:50,592 --> 01:02:52,725
This brings
these people together.
948
01:02:52,899 --> 01:02:54,901
By the time they reach
the United Kingdom
949
01:02:55,075 --> 01:02:59,601
in the spring of April 1966,
950
01:02:59,776 --> 01:03:01,865
they're meeting audiences
that made
951
01:03:02,039 --> 01:03:06,043
the angry audiences
they faced before
look like nothing.
952
01:03:06,217 --> 01:03:07,914
This is a war.
953
01:03:08,088 --> 01:03:12,266
People come in organized groups
in order to stage walkouts.
954
01:03:12,440 --> 01:03:15,748
In other words, they're paying
money not to see the show.
955
01:03:15,922 --> 01:03:18,490
We paid to see
a flipping folk singer, not a...
956
01:03:18,664 --> 01:03:20,144
Not a big loser.
957
01:03:20,318 --> 01:03:21,319
MAN: Judas!
958
01:03:21,493 --> 01:03:22,799
[CROWD SHOUTING]
959
01:03:26,759 --> 01:03:28,239
I don't believe you.
960
01:03:32,286 --> 01:03:33,766
You're a liar.
961
01:03:33,940 --> 01:03:35,942
MARCUS: The effects
were apocalyptic.
962
01:03:37,248 --> 01:03:41,339
In Torrance it's July '65,
with people booing him.
963
01:03:41,513 --> 01:03:43,167
You can't do that for a year
964
01:03:43,341 --> 01:03:44,995
without it getting to you
at some point.
965
01:03:45,169 --> 01:03:50,087
Effectively, you can carry on
for so long like that.
966
01:03:50,261 --> 01:03:54,134
But when you get to the end,
there's a crash.
967
01:03:54,308 --> 01:03:56,354
And the crash
can be metaphoric,
968
01:03:56,528 --> 01:04:00,271
or, as proved to be the case
in Dylan's life, literal.
969
01:04:07,104 --> 01:04:11,108
GRIFFIN: After that
long, grueling tour,
he was going to take a break.
970
01:04:11,282 --> 01:04:13,066
June 1st, 1966.
971
01:04:13,240 --> 01:04:16,156
He was going to kick back up at
the Yale Bowl on August 2, 1966,
972
01:04:17,027 --> 01:04:18,419
another whole leg of shows,
973
01:04:18,593 --> 01:04:20,900
and Dylan went back
to Woodstock to relax.
974
01:04:21,074 --> 01:04:22,641
They're supposed to be
going back on the road
975
01:04:22,815 --> 01:04:24,991
to promote his new album,
976
01:04:25,165 --> 01:04:27,298
which had only come out
a couple of weeks
before the accident,
977
01:04:27,472 --> 01:04:28,777
Blonde on Blonde.
978
01:04:28,952 --> 01:04:30,867
Except Bob didn't want
to go back on the road.
979
01:04:31,041 --> 01:04:34,827
He decides, "I'm not going back
to this crazy life,
980
01:04:35,001 --> 01:04:38,178
"at least for a while.
I'm gone."
981
01:04:38,744 --> 01:04:40,789
This is 1966.
982
01:04:40,964 --> 01:04:44,576
He doesn't go back on the road
again till 1974.
983
01:04:44,750 --> 01:04:46,534
That's a long time.
984
01:04:46,708 --> 01:04:48,580
Dylan took a year-a-half
985
01:04:48,754 --> 01:04:51,322
betweenBlonde on Blonde
andJohn Wesley Harding.
986
01:04:51,496 --> 01:04:55,543
People referred to this
as the period of silence.
987
01:04:55,717 --> 01:05:01,767
As if is that this was
some kind of a strange violation
988
01:05:01,941 --> 01:05:04,683
of the rules of time and space.
989
01:05:04,857 --> 01:05:07,164
In record business terms,
it was.
990
01:05:07,338 --> 01:05:10,297
GRIFFIN: The guy's 25 years
old. He's had this
motorcycle accident.
991
01:05:10,471 --> 01:05:14,084
He has to come up
with some sort of a battle plan.
992
01:05:14,258 --> 01:05:16,608
And this is one reason
I find him so infatuating.
993
01:05:16,782 --> 01:05:19,002
I think in a way, he does it.
994
01:05:19,176 --> 01:05:22,092
He knows he wants to regress
but he doesn't know
exactly how.
995
01:05:22,266 --> 01:05:24,137
When he finally gets better,
996
01:05:24,311 --> 01:05:26,009
I think it was that point
that Dylan had the moment of,
997
01:05:26,183 --> 01:05:28,054
"What am I doing with my life?
998
01:05:28,228 --> 01:05:32,363
"Could we not stop for a moment
and reassess where we are
999
01:05:32,537 --> 01:05:34,582
"and where I, Bob Dylan,
want to go?"
1000
01:05:34,756 --> 01:05:38,499
MARCUS: Dylan is saying,
"No, I'm not giving you
a new album.
1001
01:05:38,673 --> 01:05:41,198
"No, I'm not going back on tour.
1002
01:05:41,372 --> 01:05:43,113
"No, no.
1003
01:05:43,287 --> 01:05:46,943
"I've got a note from my doctor
says I don't have to do this.
1004
01:05:47,117 --> 01:05:49,946
"I can stay home."
And that's what he did.
1005
01:05:54,994 --> 01:05:57,649
HEYLIN: This is January '67.
1006
01:05:57,823 --> 01:06:02,349
So they have been recording
and Bob had ideas for a film.
1007
01:06:02,523 --> 01:06:04,569
Originally, the idea of
getting the guys
1008
01:06:04,743 --> 01:06:07,093
to come up to Woodstock
was actually to work on that.
1009
01:06:07,267 --> 01:06:08,921
GRIFFIN: And they're initially
filmed backing
1010
01:06:09,095 --> 01:06:11,837
Tiny Tim singing in the snow
one morning.
1011
01:06:12,011 --> 01:06:14,971
And then they continue on
with other things.
1012
01:06:15,145 --> 01:06:17,582
MARCUS: And they work
on the movie or they don't
work on the movie.
1013
01:06:17,756 --> 01:06:21,803
And they're bored.
What are they going to do?
1014
01:06:21,978 --> 01:06:24,241
That's the way
these songs came together.
1015
01:06:24,415 --> 01:06:27,809
HEYLIN: Initially,
it was just that, getting back
into playing music.
1016
01:06:27,984 --> 01:06:30,421
Not making music,
but playing music.
1017
01:06:43,825 --> 01:06:47,786
GRIFFIN: Initial sessions are
held in the Red Room,
Bob Dylan's own house.
1018
01:06:47,960 --> 01:06:49,527
And in typical
Bob Dylan fashion,
1019
01:06:49,701 --> 01:06:52,312
I can report to you now
that the Red Room wasn't red.
1020
01:06:52,486 --> 01:06:55,794
It had previously been red,
but it had been painted
by the Dylans.
1021
01:06:55,968 --> 01:06:58,144
The point of the Red Room
sessions is
1022
01:06:58,318 --> 01:07:00,625
it's where Bob Dylan
starts to get his mojo back.
1023
01:07:00,799 --> 01:07:02,714
♪ Ooh, baby, ooh... ♪
1024
01:07:02,888 --> 01:07:05,108
They got all this equipment
together to record this stuff,
1025
01:07:05,282 --> 01:07:07,284
and I can just see
all The Hawks going...
1026
01:07:07,458 --> 01:07:11,505
Garth, you know,
you could figure out
how that works, right?
1027
01:07:11,679 --> 01:07:13,855
DYLAN: Once you set it up,
you can see how it's recording.
1028
01:07:14,030 --> 01:07:15,205
[GUITAR PLAYING]
1029
01:07:17,294 --> 01:07:22,168
♪ Well, we're living
on the edge of the ocean
1030
01:07:22,342 --> 01:07:27,478
♪ With the mocking rumble
ready to drown... ♪
1031
01:07:27,652 --> 01:07:29,871
STEVE BERKOWITZ:
Fortunately, in this case,
Garth Hudson
1032
01:07:30,046 --> 01:07:34,267
is a very meticulous
person who seemed to be
the responsible party
1033
01:07:34,441 --> 01:07:36,704
to put the tape recorder
on top of his organ
1034
01:07:36,878 --> 01:07:39,838
and a couple of mixers
with microphones
1035
01:07:40,012 --> 01:07:42,754
leading in an experiment
how to record.
1036
01:07:42,928 --> 01:07:48,238
Red Room tapes. My understanding
is that the microphone was put
1037
01:07:48,412 --> 01:07:51,241
on top of a Wurlitzer
electric panel which was
being played,
1038
01:07:51,415 --> 01:07:54,200
it was like a little broadcast
mic stand without rubber feet.
1039
01:07:54,374 --> 01:07:56,115
The mic is picking up
that vibration,
1040
01:07:56,289 --> 01:07:58,204
and some of that stuff's
pretty distorted,
1041
01:07:58,378 --> 01:08:00,641
but there's still good music
that you can hear through it.
1042
01:08:07,213 --> 01:08:09,694
GRIFFIN:
They leave Dylan's house
and they go where?
1043
01:08:09,868 --> 01:08:12,349
Well, they're going to go
to where the guys...
1044
01:08:12,523 --> 01:08:15,569
There's no female presence,
there's no family.
1045
01:08:15,743 --> 01:08:19,399
There's no one to really bother,
so they go to Big Pink.
1046
01:08:19,573 --> 01:08:23,229
Rick Danko said,
"You have to understand."
1047
01:08:23,403 --> 01:08:25,362
He said,
"This was a club house."
1048
01:08:26,537 --> 01:08:27,973
It was wonderful.
1049
01:08:28,147 --> 01:08:29,670
GRIFFIN: Big Pink's
on the side of a hill.
1050
01:08:29,844 --> 01:08:31,585
It's calledThe Basement Tapes
1051
01:08:31,759 --> 01:08:33,152
because you leave the kitchen
and walk down to it.
1052
01:08:39,245 --> 01:08:42,379
♪ Oh, you sound so sweet ♪
1053
01:08:44,903 --> 01:08:46,600
And they started recording,
1054
01:08:46,774 --> 01:08:51,214
where the lion's share were done
in the basement of Big Pink.
1055
01:08:53,694 --> 01:08:57,089
♪ Well, those old
whole back-strappers
1056
01:08:57,263 --> 01:08:58,786
♪ A re a dime a dozen
1057
01:09:01,267 --> 01:09:04,140
♪ And I can get a cup
for a nickel
1058
01:09:05,837 --> 01:09:10,494
♪ Look what an earful I get
and it's awful, too
1059
01:09:10,668 --> 01:09:13,540
♪ Every time I try
to go get a little tickle
1060
01:09:15,368 --> 01:09:20,678
♪ Flies from dawn to dawn
1061
01:09:20,852 --> 01:09:23,115
♪ Look at that old floor-bird
He just...
1062
01:09:23,289 --> 01:09:27,250
♪ Flies from dawn to dawn
1063
01:09:27,424 --> 01:09:28,425
♪ What a floor-bird
He...
1064
01:09:28,599 --> 01:09:33,952
♪ Flies from dawn to dawn... ♪
1065
01:09:34,126 --> 01:09:38,391
And at some point,
somebody flicks the trigger.
1066
01:09:38,565 --> 01:09:42,265
You know, and suddenly
the floodgates open.
1067
01:09:43,657 --> 01:09:45,616
It's speculation
when that happens.
1068
01:09:45,790 --> 01:09:49,272
The evidence would appear to be
Tiny Montgomery,
1069
01:09:49,446 --> 01:09:51,274
which is one of
the acetate songs.
1070
01:09:51,448 --> 01:09:53,145
It's the first one
to be recorded.
1071
01:09:53,319 --> 01:09:56,496
♪ Well, you can tell everybody
down in ol' Frisco
1072
01:09:56,670 --> 01:10:00,413
♪ Tell 'em Tiny Montgomery
says hello
1073
01:10:07,768 --> 01:10:11,337
♪ Now every boy and girl's
gonna get their bang
1074
01:10:11,511 --> 01:10:15,341
♪ 'Cause Tiny Montgomery's
gonna shake that thing
1075
01:10:15,515 --> 01:10:18,518
♪ Tell everybody
down in ol' Frisco
1076
01:10:18,692 --> 01:10:23,088
♪ That Tiny Montgomery's
comin' down to say hello ♪
1077
01:10:23,262 --> 01:10:25,743
And, suddenly, all the imagery
1078
01:10:25,917 --> 01:10:28,354
and all the ideas that are gonna
make The Basement Tapes
1079
01:10:28,528 --> 01:10:30,965
this extraordinary body of work
come together in one song,
1080
01:10:31,139 --> 01:10:32,315
and it's there.
1081
01:10:37,537 --> 01:10:41,019
And it kind of opens up
the history of
American popular music
1082
01:10:41,193 --> 01:10:46,894
in this extraordinary way
for these guys
during these sessions.
1083
01:10:47,068 --> 01:10:49,810
DYLAN: You come in
on the second line
all the time, it's very easy...
1084
01:10:49,984 --> 01:10:53,292
Robbie said at one point,
"Bob was very subtle
about this."
1085
01:10:53,466 --> 01:10:55,642
♪ Well, the high sheriff...
1086
01:10:55,816 --> 01:10:58,384
MARCUS: But he was
taking us to school.
1087
01:10:58,558 --> 01:10:59,994
He had prepped for this.
1088
01:11:01,909 --> 01:11:05,043
These very sessions
when he would just drop in.
1089
01:11:05,217 --> 01:11:08,525
♪ Johnny Todd, he took a notion
1090
01:11:08,699 --> 01:11:12,006
♪ For to cross the ocean wide ♪
1091
01:11:12,180 --> 01:11:15,749
He'd come over with something
he wanted them to learn.
1092
01:11:15,923 --> 01:11:20,101
Folk, blues, country music,
1093
01:11:20,276 --> 01:11:24,367
child ballads,
contemporary folk music.
1094
01:11:24,541 --> 01:11:26,717
Bob Dylan was teaching them.
1095
01:11:26,891 --> 01:11:28,936
So here are these people.
1096
01:11:29,110 --> 01:11:30,373
They learned
to trust each other.
1097
01:11:30,547 --> 01:11:32,766
They can pick up
each other's cues.
1098
01:11:32,940 --> 01:11:35,073
Nothing needs to be explained.
1099
01:11:35,247 --> 01:11:37,423
They can work out
arrangements together.
1100
01:11:37,597 --> 01:11:41,209
They are all speaking
the same language,
1101
01:11:41,384 --> 01:11:43,342
and it's their language.
1102
01:11:43,516 --> 01:11:46,171
And in a way, that's what
The Basement Tapesare.
1103
01:11:46,345 --> 01:11:48,260
It's five people,
1104
01:11:48,434 --> 01:11:51,394
later six,
speaking their own language.
1105
01:11:52,133 --> 01:11:54,962
♪ Tears of rage
1106
01:11:55,136 --> 01:11:58,618
♪ Tears of grief
1107
01:11:58,792 --> 01:12:05,451
♪ Why am I always the one
who must be the thief?
1108
01:12:05,625 --> 01:12:11,457
♪ Come to me now
You know we're so alone
1109
01:12:12,763 --> 01:12:18,334
♪ And life is brief... ♪
1110
01:12:19,726 --> 01:12:23,208
Once the dam burst,
I mean, it really burst.
1111
01:12:23,382 --> 01:12:26,124
I mean, he just...
He seems to have been
1112
01:12:26,298 --> 01:12:29,519
turning out masterpieces
on an almost daily basis.
[CHUCKLES]
1113
01:12:29,693 --> 01:12:32,173
GRIFFIN: An acetate
is a recording.
1114
01:12:32,348 --> 01:12:36,743
You give it to Jane or Joe
so they can hear the song
and learn it.
1115
01:12:36,917 --> 01:12:40,312
BERKOWITZ: There were
some acetates made
that got distributed
1116
01:12:40,486 --> 01:12:42,575
for the purpose of
publishing demos.
1117
01:12:42,749 --> 01:12:45,056
I think they decided
to do the acetate
1118
01:12:45,230 --> 01:12:47,145
once they'd recorded
a whole slew
1119
01:12:47,319 --> 01:12:52,411
of original songs
that sounded great,
that they were proud of.
1120
01:12:53,456 --> 01:12:55,936
They weren't
just fooling around.
1121
01:12:56,110 --> 01:12:57,721
They weren't just experiments.
1122
01:12:57,895 --> 01:12:59,375
These songs are demanding
1123
01:12:59,549 --> 01:13:02,421
from the musicians who made
them, "Finish me."
1124
01:13:02,595 --> 01:13:05,163
And that's what happens
with Tears of Rage,
1125
01:13:05,337 --> 01:13:08,862
I Shall be Released,
Too Much of Nothing,
1126
01:13:09,036 --> 01:13:10,560
and so many other songs.
1127
01:13:12,431 --> 01:13:14,433
♪ Too much of nothing
1128
01:13:14,607 --> 01:13:17,610
♪ Can make a man ill at ease
1129
01:13:20,352 --> 01:13:21,962
♪ One man's temper rises
1130
01:13:22,136 --> 01:13:25,009
♪ Where another man's temper
might freeze
1131
01:13:28,099 --> 01:13:34,018
♪ Too much of nothing
can make a man feel ill at ease
1132
01:13:34,192 --> 01:13:36,586
♪ One man's temper might rise
1133
01:13:36,760 --> 01:13:39,371
♪ While the other man's temper
might freeze... ♪
1134
01:13:39,545 --> 01:13:41,199
The hits that came out
of The Basement Tapes
1135
01:13:41,373 --> 01:13:42,548
were people like The Byrds
1136
01:13:42,722 --> 01:13:43,854
and Manfred Mann
and Fairport Convention.
1137
01:13:44,028 --> 01:13:45,029
Quinn the Eskimo.
1138
01:13:45,203 --> 01:13:46,596
How the guys in Manfred Mann
1139
01:13:46,770 --> 01:13:48,641
picked that and pulled it out,
it's great.
1140
01:13:48,815 --> 01:13:53,385
♪ Come all without
Come all within
1141
01:13:53,559 --> 01:13:58,477
♪ You'll not see nothing
like the mighty Quinn
1142
01:13:58,651 --> 01:14:03,569
♪ Come all without
Come all within
1143
01:14:03,743 --> 01:14:08,531
♪ You'll not see nothing
like the mighty Quinn ♪
1144
01:14:08,705 --> 01:14:11,795
You Ain't Going Nowhere
is just one of the funniest
things you'll ever hear.
1145
01:14:11,969 --> 01:14:15,581
Here is a song
that everybody knows.
The Byrds obviously put it out.
1146
01:14:15,755 --> 01:14:17,757
It's a single that's been
covered a million times,
1147
01:14:17,931 --> 01:14:20,847
and it has that
very, very memorable chorus.
1148
01:14:21,021 --> 01:14:22,893
"Whoo-ee, ride me high.
1149
01:14:23,067 --> 01:14:25,417
"Today is the day
my bride's gonna come."
1150
01:14:25,591 --> 01:14:28,768
And suddenly you hear
this version where he's
almost sending himself up.
1151
01:14:28,942 --> 01:14:30,770
"You ain't
no bunch of basement...
1152
01:14:30,944 --> 01:14:34,470
"You ain't no head of lettuce,
just a bunch of basement noise."
1153
01:14:34,644 --> 01:14:37,473
♪ Look here, you bunch of
basement noise...
1154
01:14:37,647 --> 01:14:39,257
I mean, just, what is going on?
1155
01:14:39,431 --> 01:14:41,041
♪ You ain't no head of lettuce
1156
01:14:41,215 --> 01:14:43,479
♪ Feed that buzzard
Lay 'em on the rug...♪
1157
01:14:43,653 --> 01:14:45,524
Yeah, they're definitely having
a good time on that one.
1158
01:14:54,054 --> 01:14:58,232
The original publishing demos
start to circulate in 1968.
1159
01:14:58,406 --> 01:15:01,018
They get bootlegged on vinyl
in 1969.
1160
01:15:01,192 --> 01:15:05,022
Two well-meaning long haired
guys in Los Angeles, California,
1161
01:15:05,196 --> 01:15:09,853
decided that they would create a
Bob Dylan album of this material
1162
01:15:10,027 --> 01:15:13,987
that they had heard, they had
assembled, as Dylan fanatics
1163
01:15:14,161 --> 01:15:16,990
that no one else had heard, none
of the general public had heard.
1164
01:15:17,164 --> 01:15:21,517
And they created
a very haphazard two-LP set
1165
01:15:21,691 --> 01:15:23,344
called The Great White Wonder.
1166
01:15:23,519 --> 01:15:27,479
It was the first pop music
bootleg of any real substance.
1167
01:15:27,653 --> 01:15:31,614
It was literally just
a white cover that they had
a rubber stamp made
1168
01:15:31,788 --> 01:15:33,137
that said "Great White Wonder."
1169
01:15:33,311 --> 01:15:34,747
And they went... Next.
1170
01:15:34,921 --> 01:15:36,923
It's not a great recording.
1171
01:15:37,097 --> 01:15:38,838
Some of
the basement tape songs,
they're running fast.
1172
01:15:39,012 --> 01:15:41,885
They didn't cut the record
particularly well.
1173
01:15:42,059 --> 01:15:43,626
But how could they?
1174
01:15:43,800 --> 01:15:45,845
They were enthusiastic amateurs
that loved Bob Dylan.
1175
01:15:46,019 --> 01:15:48,718
Who would have dreamed
that in Sweden,
1176
01:15:48,892 --> 01:15:51,329
a guy took their stuff,
added a couple things
1177
01:15:51,503 --> 01:15:53,461
and put out another one?
1178
01:15:53,636 --> 01:15:54,680
Who would've known
a guy in New York would have,
you know...
1179
01:15:54,854 --> 01:15:56,943
And this whole thing was like
1180
01:15:57,117 --> 01:16:00,599
throwing a pebble
in the placid lake
and the waves go like this...
1181
01:16:00,773 --> 01:16:02,993
People start bootlegging
the bootleg.
1182
01:16:03,167 --> 01:16:06,518
HEYLIN: Almost immediately,
and possibly even
simultaneously,
1183
01:16:06,692 --> 01:16:09,477
other people who'd
got hold of the full acetate
1184
01:16:09,652 --> 01:16:12,437
started issuing
just the acetate.
1185
01:16:12,611 --> 01:16:15,701
And the proliferation
was so extreme
1186
01:16:15,875 --> 01:16:18,269
that there's no way
of cataloging
who was doing what.
1187
01:16:18,443 --> 01:16:22,316
GRIFFIN: It didn't just start
a minor Bob Dylan fan club.
1188
01:16:22,490 --> 01:16:24,667
It started a whole
bootleg industry.
1189
01:16:32,500 --> 01:16:36,200
MARCUS: There was a cover story
inRolling Stone by Jan Wenner
1190
01:16:36,374 --> 01:16:38,855
saying Bob Dylan's
Basement Tape,
1191
01:16:39,029 --> 01:16:41,205
and that's what
it was referred to,
asThe Tape,
1192
01:16:41,379 --> 01:16:44,948
The Basement Tape, not "tapes,"
should be released.
1193
01:16:45,122 --> 01:16:49,169
And he made an argument
about how this music
not only was terrific,
1194
01:16:49,343 --> 01:16:51,345
it was a different way
of looking at the world,
1195
01:16:51,519 --> 01:16:52,564
and it had to be released.
1196
01:16:52,738 --> 01:16:54,479
And why in the world wasn't it?
1197
01:16:54,653 --> 01:16:55,915
Didn't make any sense.
1198
01:16:56,089 --> 01:16:58,439
It was a secret
hidden in plain sight.
1199
01:16:58,614 --> 01:17:02,052
All these songs
were on the radio
so why not put it out?
1200
01:17:03,053 --> 01:17:04,054
Good question.
1201
01:17:10,103 --> 01:17:12,540
By 1975,
the band needed a boost,
1202
01:17:12,715 --> 01:17:16,893
and I think putting
this stuff out was a way
to make that happen.
1203
01:17:17,067 --> 01:17:21,506
Plus, the music was obviously
stuff that the world
ought to hear.
1204
01:17:21,680 --> 01:17:23,551
Even if Bob Dylan said
he didn't understand
1205
01:17:23,726 --> 01:17:27,164
why it made the top 10,
he thought everybody
already had them.
1206
01:17:27,338 --> 01:17:29,688
HEYLIN: And Bob agreed
to let them put it out.
1207
01:17:29,862 --> 01:17:31,559
GRIFFIN: I remember
John Rockwell
1208
01:17:31,734 --> 01:17:34,040
inNew York Times said
it was the greatest record
1209
01:17:34,214 --> 01:17:37,217
of the Western popular
music sphere, period.
1210
01:17:37,391 --> 01:17:39,611
That's a paraphrasing.
But he did, he wrote that.
1211
01:17:39,785 --> 01:17:42,092
When the two LP-set
came out in 1975,
1212
01:17:42,266 --> 01:17:45,704
it should have, in theory,
one might think
quench the thirst
1213
01:17:45,878 --> 01:17:47,793
of the public
for The Basement Tapes...
A-ha!
1214
01:17:47,967 --> 01:17:50,622
People are going,
"What the hell is this?"
1215
01:17:50,796 --> 01:17:55,888
Probably the two most famous
songs on The Basement Tapes
are missing.
1216
01:17:56,062 --> 01:17:59,675
I mean I Should Be Released
and Mighty Quinnare not on.
1217
01:17:59,849 --> 01:18:03,287
GRIFFIN: If anything,
it was like putting kerosene
on that flame
1218
01:18:03,461 --> 01:18:06,769
andThe Basement Tapes myth
got another rocket boost.
1219
01:18:06,943 --> 01:18:08,858
HEYLIN: Very quickly...
1220
01:18:09,946 --> 01:18:11,948
people realized that,
"This isn't it.
1221
01:18:12,122 --> 01:18:13,514
"We need more."
1222
01:18:13,689 --> 01:18:15,473
"There must be more.
Can't there be more?"
1223
01:18:15,647 --> 01:18:17,431
"Sure, there's more.
We hope there's more."
1224
01:18:17,605 --> 01:18:19,042
And the fans got out there
1225
01:18:19,216 --> 01:18:21,348
and doing their detective work
soon found out
1226
01:18:21,522 --> 01:18:23,611
these guys recorded for months.
1227
01:18:23,786 --> 01:18:25,657
Anybody else, the two-LP set
would have come out,
1228
01:18:25,831 --> 01:18:28,268
"Oh, great, that's what
they did. This is great.
Now we've got it."
1229
01:18:28,442 --> 01:18:31,402
But the Dylan fans,
they began to dig, dig, dig,
1230
01:18:31,576 --> 01:18:33,839
and they found out there was
a lot more stuff done there,
1231
01:18:34,013 --> 01:18:36,320
and it took 40-something years,
but here we are.
1232
01:18:36,494 --> 01:18:42,761
♪ Ain't no more cane
on the Brazos... ♪
1233
01:18:42,935 --> 01:18:45,155
Stuff came out
in dribs and drabs
1234
01:18:45,329 --> 01:18:50,290
on LPs that included
tons of other stuff.
1235
01:18:50,464 --> 01:18:54,381
On tapes that people passed
from hand to hand.
1236
01:18:54,555 --> 01:19:00,953
Then in 1986, several reel to
reels turned up recordings
1237
01:19:01,127 --> 01:19:05,697
of Dylan and the band
doing reams and reams
of country and folk
1238
01:19:05,871 --> 01:19:09,353
and all this amazing material
that nobody knew about.
1239
01:19:09,527 --> 01:19:12,399
And they came out on two famous
double albums, bootleg.
1240
01:19:12,573 --> 01:19:16,403
Those tapes originally came
from an ex-roadie of the band.
1241
01:19:16,577 --> 01:19:20,930
And then, six years later,
another ex-roadie of the band
1242
01:19:21,104 --> 01:19:24,150
helped himself to another bunch
of tapes that were lying around
1243
01:19:24,324 --> 01:19:28,111
in Garth's locker
and released those.
1244
01:19:28,285 --> 01:19:33,246
Suddenly, the scale
of the amount of material
that had been recorded
1245
01:19:33,420 --> 01:19:37,294
becomes more than one
could necessarily comprehend.
1246
01:19:43,300 --> 01:19:46,869
♪ Down the street
the dogs are barkin'
1247
01:19:47,043 --> 01:19:50,394
♪ And the day is growing dark
1248
01:19:55,268 --> 01:19:58,706
♪ 'Cause I'm one
too many mornings
1249
01:19:58,881 --> 01:20:02,188
♪ And a thousand miles
1250
01:20:07,324 --> 01:20:10,240
♪ Behind
1251
01:20:13,983 --> 01:20:17,595
♪ From the crossroads
of my doorstep
1252
01:20:17,769 --> 01:20:19,597
♪ My eyes, they begin to fade
1253
01:20:19,771 --> 01:20:23,644
BERKOWITZ: One Too Many Mornings
with Richard and Bob singing.
1254
01:20:23,819 --> 01:20:25,995
The Richard part
has been inaudible.
1255
01:20:26,169 --> 01:20:30,086
You cannot hear it
because the left channel
was recorded so low,
1256
01:20:30,260 --> 01:20:32,305
and we're able to raise
and level the channels
1257
01:20:32,479 --> 01:20:36,527
and then get rid of a lot
of the swirl of the hiss on top
1258
01:20:36,701 --> 01:20:38,834
so that their voices
could be equal.
1259
01:20:39,008 --> 01:20:40,705
Now, for the first time
on this set,
1260
01:20:40,879 --> 01:20:43,403
you can hear Richard and Dylan
sing that song at the same time.
1261
01:20:43,577 --> 01:20:49,192
♪ Behind... ♪
1262
01:20:51,281 --> 01:20:54,197
We finally are getting
the real basement tapes
1263
01:20:54,371 --> 01:20:56,503
because they're
off the real reels.
1264
01:20:56,677 --> 01:21:00,072
And even in the instances
where they can't get access
1265
01:21:00,246 --> 01:21:03,684
to the real reels, nothing is
more than first generation.
1266
01:21:03,859 --> 01:21:07,340
♪ ...someone must explain
1267
01:21:07,514 --> 01:21:09,690
♪ That as long
as it takes to do this...
1268
01:21:09,865 --> 01:21:12,215
BERKOWITZ: There is one tape
called GHO 1,
1269
01:21:12,389 --> 01:21:16,306
the Garth Hudson 01 reel,
which is the tape
that he mixed.
1270
01:21:16,480 --> 01:21:20,310
That was the model
that we went after.
To how do you finish them?
1271
01:21:21,702 --> 01:21:24,009
We follow what Garth did.
1272
01:21:24,183 --> 01:21:28,492
♪ Take heed of this
and get plenty rest ♪
1273
01:21:28,666 --> 01:21:30,450
It was great
to work with Garth.
1274
01:21:30,624 --> 01:21:33,671
It was great having him be there
and touch it again and bless it
1275
01:21:33,845 --> 01:21:35,978
and give his approval
for it to come out.
1276
01:21:36,152 --> 01:21:39,633
It's great that we've got
30 songs that haven't
been in circulation,
1277
01:21:39,807 --> 01:21:43,899
and some of which are
as great as anything
we've previously heard.
1278
01:21:46,553 --> 01:21:50,557
♪ I don't hurt anymore
1279
01:21:50,731 --> 01:21:54,213
♪ All my teardrops have dried
1280
01:21:54,387 --> 01:21:57,738
The Basement Tapes
are a masterclass in Americana.
1281
01:21:57,913 --> 01:21:59,740
They help codify it.
1282
01:21:59,915 --> 01:22:01,264
They helped define it.
1283
01:22:01,438 --> 01:22:03,614
This is why
the Americana Acts of today
1284
01:22:03,788 --> 01:22:06,051
all revereThe Basement Tapes.
1285
01:22:06,225 --> 01:22:07,966
It's why I feel
The Basement Tapes
1286
01:22:08,140 --> 01:22:10,142
and so many others feel
The Basement Tapes
are important.
1287
01:22:10,316 --> 01:22:12,275
If you allow me
to say the inverted commas,
"important."
1288
01:22:12,449 --> 01:22:16,235
Certain records
and moments in time
are culturally important.
1289
01:22:16,409 --> 01:22:18,890
And the basement in Woodstock
is one of those times.
1290
01:22:19,064 --> 01:22:21,806
MARCUS: These people...
Think about it.
1291
01:22:21,980 --> 01:22:23,764
They're looking at the past.
1292
01:22:23,939 --> 01:22:27,768
♪ If your memory
serves you well...
1293
01:22:27,943 --> 01:22:32,295
And they're learning
from the past, and they're
listening to the past.
1294
01:22:32,469 --> 01:22:35,472
♪ ...again and wait
1295
01:22:35,646 --> 01:22:38,910
♪ So I'm going
to unpack all my things... ♪
1296
01:22:39,084 --> 01:22:43,001
But the idea that if
the past isn't alive in you,
1297
01:22:43,175 --> 01:22:45,482
then the future will be empty.
1298
01:22:45,656 --> 01:22:47,353
That's what the music says.
1299
01:22:49,094 --> 01:22:51,227
That's what was so different.
1300
01:22:53,533 --> 01:22:59,583
The notion that these guys are
23, 24, 25 is just nuts.
1301
01:22:59,757 --> 01:23:02,412
BERKOWITZ: The "Holy Grail"
as some people say.
1302
01:23:04,022 --> 01:23:05,981
Maybe it's the ultimate bootleg.
1303
01:23:06,155 --> 01:23:08,809
Maybe it because when you talk
about bootlegs,
1304
01:23:08,984 --> 01:23:11,508
what has been more desired
than this?
1305
01:23:11,682 --> 01:23:13,989
♪ This wheel's on fire
1306
01:23:14,163 --> 01:23:21,561
♪ Rolling down the road
1307
01:23:21,735 --> 01:23:27,654
♪ Best notify my next of kin
1308
01:23:27,828 --> 01:23:33,399
♪ This wheel shall explode ♪
1309
01:23:44,323 --> 01:23:46,456
DARIUS RUCKER: Something that
Dylan's had over his career,
1310
01:23:46,630 --> 01:23:48,719
he tries these things,
everybody goes, "I don't know."
1311
01:23:48,893 --> 01:23:50,677
And he does it and we get it.
1312
01:23:50,851 --> 01:23:52,766
We go, "Absolutely."
1313
01:23:52,940 --> 01:23:55,769
JASON ISBELL: I don't see him
attempting to reinvent himself.
1314
01:23:55,943 --> 01:23:57,597
People say that, you know.
1315
01:23:57,771 --> 01:23:59,773
But I don't see that.
1316
01:23:59,947 --> 01:24:02,515
I see him writing songs
and going, "What kind of songs
do I have?"
1317
01:24:02,689 --> 01:24:05,997
ROSANNE CASH: Bob Dylan
came from New York
to recordJohn Wesley Harding
1318
01:24:06,171 --> 01:24:11,220
and Nashville Skyline,
and it was a revolution.
1319
01:24:11,394 --> 01:24:14,962
♪ All of these awful things
that I have heard
1320
01:24:15,137 --> 01:24:16,834
♪ I don't want to believe them
1321
01:24:17,008 --> 01:24:18,836
♪ All I want is your word
1322
01:24:19,010 --> 01:24:22,840
♪ So, darling
you better come through
1323
01:24:23,014 --> 01:24:25,669
♪ Tell me that it isn't true
1324
01:24:25,843 --> 01:24:29,890
ROSANNE: It was a revolution
in music, in attitude
1325
01:24:30,065 --> 01:24:33,546
and understanding
how incredibly powerful
1326
01:24:33,720 --> 01:24:38,334
the cross pollination
of country and folk
and rock was,
1327
01:24:39,248 --> 01:24:41,598
and natural for the time.
1328
01:24:44,427 --> 01:24:49,258
Here was a guy who was,
in his way, a revolutionary.
1329
01:24:49,432 --> 01:24:54,654
Bob had an enormous impact on
what was going on in Nashville.
1330
01:24:54,828 --> 01:24:58,049
He was following his instincts
to seek out these musicians
1331
01:24:58,223 --> 01:25:00,269
because it was inspiring to him.
1332
01:25:01,096 --> 01:25:04,795
♪ I pity the poor immigrant
1333
01:25:04,969 --> 01:25:07,537
♪ Who tramples
through the mud ♪
1334
01:25:07,711 --> 01:25:09,539
A soon as I heard Dylan,
1335
01:25:09,713 --> 01:25:13,456
I realized that he needed
country background.
1336
01:25:13,630 --> 01:25:16,981
He needed the kind of musicians
we didn't have in New York.
1337
01:25:17,155 --> 01:25:20,071
The kind of people who work
with people like Johnny Cash.
1338
01:25:20,245 --> 01:25:24,554
Dad carried a record player
on the road with him on tour
1339
01:25:24,728 --> 01:25:28,601
and before his shows,
he would play Bob every night.
1340
01:25:28,775 --> 01:25:32,823
Bob was a fan of dad's, too,
to that famous line
1341
01:25:32,997 --> 01:25:35,217
of you heard him
coming out of the radio.
1342
01:25:35,391 --> 01:25:37,915
It was like a voice
from middle Earth.
1343
01:25:38,089 --> 01:25:40,396
Johnny Cash was the epitome
of country music.
1344
01:25:40,570 --> 01:25:43,616
He was the living
ultimate end.
1345
01:25:43,790 --> 01:25:47,751
He and I, we were writing
each other letters
before we'd ever met.
1346
01:25:47,925 --> 01:25:50,754
First time I met him
was at the Newport
Folk Festival.
1347
01:25:50,928 --> 01:25:54,105
He was an early supporter
of mine, told me so.
1348
01:25:54,279 --> 01:25:56,673
But I have been a fan of his
long before that.
1349
01:25:56,847 --> 01:26:00,242
JOHNNY CASH: Then one night,
Bob Johnston brought
Bob Dylan to Nashville.
1350
01:26:00,416 --> 01:26:03,810
I had Dylan there,
and then I had Cash coming in.
1351
01:26:03,984 --> 01:26:06,596
So when Dylan got through,
Cash walked through the door.
1352
01:26:06,770 --> 01:26:09,381
He said, "What are doing here?"
He said, "I came down
to record."
1353
01:26:09,555 --> 01:26:11,035
He said,
"Well, I just finished."
1354
01:26:11,209 --> 01:26:13,516
While he went to dinner,
I built a bar.
1355
01:26:13,690 --> 01:26:16,432
Blue lights,
I had whiskey bottle there,
1356
01:26:16,606 --> 01:26:19,696
clock and shit like that,
their guitars all tuned, ready.
1357
01:26:19,870 --> 01:26:23,047
Want me to get in closer on it?
1358
01:26:23,221 --> 01:26:25,267
When they came in,
they looked at each other,
1359
01:26:25,441 --> 01:26:27,834
and then they looked over at me
and they started smiling
1360
01:26:28,008 --> 01:26:31,316
and they took their guitars and
they went outside and tuned them
1361
01:26:31,490 --> 01:26:34,101
and started playing
for an hour-and-a-half.
1362
01:26:34,276 --> 01:26:36,452
And what do you want to hear?
1363
01:26:36,626 --> 01:26:39,194
♪ 'Cause you're right
from your side
1364
01:26:39,368 --> 01:26:43,633
♪ But I'm right from mine
1365
01:26:43,807 --> 01:26:46,940
♪ We're just
one too many mornings
1366
01:26:47,114 --> 01:26:51,641
♪ And a thousand miles behind
1367
01:26:51,815 --> 01:26:53,773
♪ That's right ♪
1368
01:26:53,947 --> 01:26:57,821
Record company
wouldn't release it
because they talked in it.
1369
01:26:57,995 --> 01:27:00,824
And they told me in Nashville,
"If you get a pair of scissors
1370
01:27:00,998 --> 01:27:03,827
"and cut the talking out
of Dylan and him
1371
01:27:04,001 --> 01:27:06,482
"then we can use the music
and all."
1372
01:27:06,656 --> 01:27:09,615
And I said,
"Oh, God, I'm so happy."
1373
01:27:09,789 --> 01:27:11,443
And he said, "Why?"
1374
01:27:11,617 --> 01:27:14,577
I said, "Not to have to be
around you fucking people."
1375
01:27:14,751 --> 01:27:18,015
And I walked out the door
and they still
didn't release it.
1376
01:27:18,189 --> 01:27:20,278
And that's the one
they're talking about.
1377
01:27:20,452 --> 01:27:23,107
ISBELL: In Nashville,
their approach is different.
1378
01:27:23,281 --> 01:27:24,978
The negotiations that you make
1379
01:27:25,152 --> 01:27:27,677
with producers and engineers
and studio musicians
1380
01:27:27,851 --> 01:27:30,419
have a different tone and they
move at a different speed.
1381
01:27:30,593 --> 01:27:33,030
These guys
weren't messing around.
1382
01:27:33,204 --> 01:27:36,686
They were so deep musically.
1383
01:27:52,615 --> 01:27:56,009
♪ All along the watchtower
1384
01:27:56,183 --> 01:27:59,578
♪ Princes kept the view
1385
01:27:59,752 --> 01:28:03,190
♪ While all the women
came and went
1386
01:28:03,365 --> 01:28:05,715
♪ Barefoot servants, too... ♪
1387
01:28:05,889 --> 01:28:07,630
RUCKER: The John Wesley
Harding record.
1388
01:28:07,804 --> 01:28:10,067
When I worked retail, and I
really discovered that record
1389
01:28:10,241 --> 01:28:13,940
back in the late '80s,
early '90s, that record,
I just went...
1390
01:28:14,854 --> 01:28:17,074
I mean, when does it stop?
1391
01:28:17,248 --> 01:28:19,163
When does he stop being great?
1392
01:28:19,337 --> 01:28:21,078
All that country stuff
that he did,
1393
01:28:21,252 --> 01:28:22,862
you listen to the singer,
it's not even the same singer.
1394
01:28:23,036 --> 01:28:24,516
You got that...
1395
01:28:24,690 --> 01:28:26,301
♪ Someone's got it in for me
1396
01:28:26,475 --> 01:28:28,607
♪ They're planting stories
in the press ♪
1397
01:28:28,781 --> 01:28:30,305
[VOCALIZES]
1398
01:28:30,479 --> 01:28:33,220
He'd sing in this warm,
beautiful way
1399
01:28:33,395 --> 01:28:35,092
that you've never heard
Dylan sing before.
1400
01:28:35,266 --> 01:28:38,051
♪ Lay, lady, lay
1401
01:28:38,225 --> 01:28:40,532
♪ Lay across
my big brass bed...
1402
01:28:40,706 --> 01:28:42,839
RUCKER: When you listen to
Lay Lady Lay
you really go,
1403
01:28:43,013 --> 01:28:47,496
"Wow, this is one of the best
singers in the world."
His voice is perfect.
1404
01:28:47,670 --> 01:28:50,629
It's beautiful.
It makes you feel every note.
1405
01:28:50,803 --> 01:28:56,287
♪ Whatever colors you have
in your mind
1406
01:28:57,549 --> 01:29:02,728
♪ I'll show them to you
and you'll see them shine
1407
01:29:04,469 --> 01:29:07,951
♪ Love is a burning thing
1408
01:29:09,735 --> 01:29:14,827
♪ It makes for a fiery ring ♪
1409
01:29:15,001 --> 01:29:19,528
It's beautiful that it arose
out of mutual respect
and friendship.
1410
01:29:19,702 --> 01:29:25,708
That it was again
an authentic organic response
1411
01:29:25,882 --> 01:29:27,710
to what they felt
for each other.
1412
01:29:27,884 --> 01:29:28,928
JOHNNY: All right.
1413
01:29:29,102 --> 01:29:30,539
[GUITAR PLAYING]
1414
01:29:30,713 --> 01:29:33,063
I grew up in the north country,
you know.
1415
01:29:34,194 --> 01:29:36,632
[HUMMING]
1416
01:29:36,806 --> 01:29:38,373
DYLAN: I don't know
if I could do that, John.
1417
01:29:38,547 --> 01:29:42,333
The night that Bob
was on The Johnny Cash Show,
1418
01:29:42,507 --> 01:29:45,075
and he and my dad
sat next to each other,
1419
01:29:45,249 --> 01:29:46,903
I was 13 years old.
1420
01:29:47,077 --> 01:29:48,600
I went to school the next day.
1421
01:29:48,774 --> 01:29:52,996
Suddenly, the coolest
13-year-old in the world.
1422
01:29:55,172 --> 01:29:57,957
It's like an explosion
happened in the country.
1423
01:29:58,131 --> 01:29:59,916
♪ If you're travelin'
1424
01:30:00,090 --> 01:30:03,659
♪ In the north country fair
1425
01:30:04,747 --> 01:30:07,402
♪ Where the winds hit heavy
1426
01:30:07,576 --> 01:30:10,753
♪ On the borderline
1427
01:30:12,232 --> 01:30:14,409
♪ Remember me
1428
01:30:15,366 --> 01:30:17,847
♪ To one who lives there
1429
01:30:19,849 --> 01:30:22,155
♪ She once was
1430
01:30:22,329 --> 01:30:26,682
♪ A true love of mine
1431
01:30:28,292 --> 01:30:29,380
♪ True love of mine
1432
01:30:29,554 --> 01:30:31,904
♪ A true love of mine... ♪
1433
01:30:32,078 --> 01:30:34,341
JOHNNY: Bob Dylan's appearance
brought a great deal of
attention to Nashville
1434
01:30:34,516 --> 01:30:36,735
and then a lot of my peers
1435
01:30:36,909 --> 01:30:39,912
did not give him credit for it,
and people to follow
who recorded
1436
01:30:40,086 --> 01:30:42,828
songs in Nashville
because Bob Dylan did.
1437
01:30:43,525 --> 01:30:45,048
[CROWD CHEERING]
1438
01:30:55,058 --> 01:30:57,408
♪ I went to see the gypsy
1439
01:31:00,411 --> 01:31:02,892
♪ Staying in a big hotel
1440
01:31:03,936 --> 01:31:07,200
♪ "How are you?"
He asked me
1441
01:31:07,374 --> 01:31:09,768
♪ And I asked the same of him ♪
1442
01:31:13,990 --> 01:31:17,080
It must have been
right around 1970.
1443
01:31:17,254 --> 01:31:18,821
I was living in New York City.
1444
01:31:18,995 --> 01:31:21,258
Bob used to come
when we'd play The Bitter End.
1445
01:31:21,432 --> 01:31:23,086
I know that
he'd seen me play there.
1446
01:31:23,260 --> 01:31:26,306
I didn't think he noticed me.
1447
01:31:26,481 --> 01:31:31,616
I was introduced to him
one night. We said maybe
six words to each other.
1448
01:31:31,790 --> 01:31:34,837
And that was all the personal
contact I had with him until
1449
01:31:35,011 --> 01:31:39,711
he called me one day
and asked me if I would
help him try out a studio.
1450
01:31:39,885 --> 01:31:42,932
Trying out the studio turned out
to be recording Self Portrait.
1451
01:31:45,325 --> 01:31:48,546
The studio that I went to was
one of the Columbia Studios,
1452
01:31:48,720 --> 01:31:50,766
so I'm sure he'd been in there
many times before.
1453
01:31:50,940 --> 01:31:52,594
I'm sure of that now,
I wasn't then.
1454
01:31:52,768 --> 01:31:54,247
-Bob?
-DYLAN: Yeah.
1455
01:31:54,421 --> 01:31:56,075
BROMBERG: Let's just
take this one. You ready?
1456
01:31:56,249 --> 01:31:57,599
[GUITAR PLAYING]
1457
01:31:59,296 --> 01:32:01,603
♪ Down in some lone valley
1458
01:32:03,866 --> 01:32:07,870
♪ In a sad, lonesome place... ♪
1459
01:32:08,044 --> 01:32:09,611
JOHNSTON: He told me
he wanted to come in.
1460
01:32:09,785 --> 01:32:11,569
Said, "What do you think
about me doing it?"
1461
01:32:11,743 --> 01:32:14,485
The other people saw it.
I said "Great idea."
1462
01:32:14,659 --> 01:32:17,183
It was a good idea
for him to do anything.
1463
01:32:17,357 --> 01:32:18,924
And especially
something like that.
1464
01:32:19,098 --> 01:32:21,666
You never knew
what he was going to do
1465
01:32:21,840 --> 01:32:23,189
or how he was going to do it.
1466
01:32:23,363 --> 01:32:25,409
Bob is always Bob.
1467
01:32:25,583 --> 01:32:29,152
So when we're working
on a session, Bob is
specifically always Bob.
1468
01:32:29,326 --> 01:32:33,635
I was there, I think,
for three, four days in a row.
1469
01:32:34,940 --> 01:32:40,380
And it was different than
the other sessions I had done.
1470
01:32:40,555 --> 01:32:44,297
I thought the album would be
called Folk Songs of America
or something.
1471
01:32:45,124 --> 01:32:46,343
It was bizarre.
1472
01:32:46,517 --> 01:32:49,128
He wanted to
do folk songs, great.
1473
01:32:49,302 --> 01:32:50,739
I love playing that stuff.
1474
01:32:50,913 --> 01:32:52,523
DYLAN: It's one of
our old favorites.
1475
01:32:52,697 --> 01:32:55,265
Copper Kettlewe recorded,
just the two of us.
1476
01:32:56,396 --> 01:32:59,835
♪ Get you a copper kettle
1477
01:33:03,795 --> 01:33:06,885
♪ Get you a copper coil...
1478
01:33:07,059 --> 01:33:09,888
He put his own twist to it,
you know, and it's good.
1479
01:33:10,062 --> 01:33:15,938
♪ You'll just lay there
by the juniper
1480
01:33:17,722 --> 01:33:22,727
♪ While the moon is bright... ♪
1481
01:33:22,901 --> 01:33:25,556
He'd play a little bit
and that wouldn't be it,
1482
01:33:25,730 --> 01:33:27,297
then he'd go
into something else.
1483
01:33:27,471 --> 01:33:29,865
That was always Dylan,
ever-changing thing, man.
1484
01:33:30,039 --> 01:33:32,041
He's going, "If this didn't
work, that would work.
1485
01:33:32,215 --> 01:33:34,043
"If this didn't work,
that would work."
1486
01:33:37,612 --> 01:33:39,962
DYLAN: Remember this?
Remember Bob Gibson.
1487
01:33:40,136 --> 01:33:42,094
I think maybe he just
wanted to do a record
1488
01:33:42,268 --> 01:33:45,228
where he was the interpreter,
as opposed to the composer,
1489
01:33:45,402 --> 01:33:48,535
because he wasn't doing
any songs that he wrote.
1490
01:33:48,710 --> 01:33:51,190
♪ Yes, tell old Bill
1491
01:33:51,364 --> 01:33:53,018
♪ When he comes home
1492
01:33:53,192 --> 01:33:57,196
♪ To leave them
downtown girls alone
1493
01:33:57,370 --> 01:33:59,285
♪ This morning
1494
01:33:59,459 --> 01:34:03,725
♪ This evening, so soon
1495
01:34:05,074 --> 01:34:07,946
♪ So soon
1496
01:34:09,252 --> 01:34:12,472
♪ So soon ♪
1497
01:34:12,647 --> 01:34:15,475
It seems to me that
he called it Self Portrait
1498
01:34:15,650 --> 01:34:18,609
because this was the music
that he came out of.
1499
01:34:21,656 --> 01:34:24,702
♪ All the tired horses
in the sun
1500
01:34:24,876 --> 01:34:28,097
♪ How am I supposed
to get any ridin' done?
1501
01:34:28,271 --> 01:34:30,360
♪ Mmm ♪
1502
01:34:30,534 --> 01:34:33,406
A lot of the critics
didn't want to hear
Bob do anything different.
1503
01:34:33,580 --> 01:34:38,455
A lot of the critics
wanted Bob to remain
what their idea of him was.
1504
01:34:38,629 --> 01:34:40,631
If he come with another album,
1505
01:34:40,805 --> 01:34:44,374
"Oh, yeah.
Let's criticize this one
and see what this is like."
1506
01:34:44,548 --> 01:34:48,030
He knows all that shit.
He's been out there
long enough for that.
1507
01:34:48,204 --> 01:34:51,555
They wanted what happened.
They wanted Rolling Stone.
1508
01:34:51,729 --> 01:34:53,296
They didn't want Self Portrait.
1509
01:34:53,470 --> 01:34:54,819
They didn't want
a change of pace.
1510
01:34:54,993 --> 01:34:56,647
They didn't want
a different sound.
1511
01:34:56,821 --> 01:34:58,344
People don't
really speak to you.
1512
01:34:58,518 --> 01:35:00,303
They speak to
their image of you.
1513
01:35:00,477 --> 01:35:02,305
They speak to your name
in caps.
1514
01:35:02,479 --> 01:35:04,350
[DYLAN VOCALIZING]
1515
01:35:07,963 --> 01:35:09,660
Some people don't get anything.
1516
01:35:09,834 --> 01:35:12,576
Some people don't get the Bible,
there's a devil or whatever.
1517
01:35:12,750 --> 01:35:14,665
It didn't matter
what anybody saw.
1518
01:35:14,839 --> 01:35:17,233
Some of the people who really
were very critical of it,
1519
01:35:17,407 --> 01:35:20,018
have realized that there's some
marvelous things,
1520
01:35:20,192 --> 01:35:22,281
they just weren't the things
that they wanted to get
1521
01:35:22,455 --> 01:35:23,979
out of a Bob Dylan album.
1522
01:35:24,153 --> 01:35:27,460
Self Portrait,you know,
stood by itself.
1523
01:35:27,634 --> 01:35:29,158
It was very different.
1524
01:35:37,470 --> 01:35:41,692
As far as I could tell,
New Morningwas a reaction
1525
01:35:41,866 --> 01:35:45,043
to the criticism
of Self Portrait.
1526
01:35:45,217 --> 01:35:48,655
It was more like another album,
and it was very comfortable,
1527
01:35:48,830 --> 01:35:51,876
and that's why it was hurried,
if you will.
1528
01:35:52,050 --> 01:35:53,791
But it wasn't really hurried.
1529
01:35:53,965 --> 01:35:57,186
Didn't rush anything. When he
got through, that's when...
1530
01:35:57,360 --> 01:35:58,361
When he said,
1531
01:35:58,535 --> 01:35:59,710
"That's it, Bob,"
1532
01:36:00,493 --> 01:36:01,668
that's when it came out.
1533
01:36:01,843 --> 01:36:05,020
At the time,
there was a brief...
1534
01:36:06,282 --> 01:36:11,243
Flirtation with
writing the songs
for a Broadway show.
1535
01:36:11,417 --> 01:36:17,467
I once accompanied him
to Archibald MacLeish's house
1536
01:36:17,641 --> 01:36:20,252
where they had
a discussion about that.
1537
01:36:20,426 --> 01:36:24,126
And it was some sort of
collaboration between
the two of them.
1538
01:36:24,300 --> 01:36:27,738
And then he decided
not to do that.
But he had written the songs.
1539
01:36:27,912 --> 01:36:32,090
That's what comprised
New Morning.
1540
01:36:32,264 --> 01:36:37,008
♪ Time passes slowly
up here in the daylight
1541
01:36:37,182 --> 01:36:41,839
♪ We stare straight ahead
and try so hard to stay right
1542
01:36:42,013 --> 01:36:46,931
♪ Like a cloud drifting over
that covers the day
1543
01:36:47,105 --> 01:36:52,023
♪ Time passes slowly
and fades away ♪
1544
01:36:52,197 --> 01:36:54,591
I was hearing the songs
for the very first time.
1545
01:36:54,765 --> 01:36:57,289
And sometimes
those first times through
1546
01:36:57,463 --> 01:36:58,943
are what was on this album.
1547
01:36:59,117 --> 01:37:01,511
I never heard Bob
do rehearsal with the band.
1548
01:37:01,685 --> 01:37:03,556
He knew what he wanted.
1549
01:37:03,730 --> 01:37:06,995
He didn't necessarily tell us,
but he knew.
1550
01:37:07,169 --> 01:37:09,214
I told everybody,
"Never quit playing."
1551
01:37:09,388 --> 01:37:12,000
If you quit playing, get some
boot briefcase, and your hat
1552
01:37:12,174 --> 01:37:14,916
and go out the door
and wave goodbye at us.
1553
01:37:17,266 --> 01:37:21,531
It's like taking off
in a rocket ship
to ever go in with Bob Dylan.
1554
01:37:21,705 --> 01:37:25,491
I was not at the sessions that
George Harrison did with Bob.
1555
01:37:25,665 --> 01:37:30,975
He was very careful about
working out every note
that he played.
1556
01:37:31,149 --> 01:37:34,674
Bob is very spontaneous,
and he he wants you to...
1557
01:37:34,849 --> 01:37:37,416
He wants to hear
what your first thought is.
1558
01:37:37,590 --> 01:37:41,333
So the sessions that they did
must have been very different.
1559
01:37:41,507 --> 01:37:48,253
It was nice to hear him
improvising, and I thought
I could hear at a point,
1560
01:37:48,427 --> 01:37:53,432
I thought I could hear him
thinking, "What's he doing now?"
[LAUGHS]
1561
01:37:53,606 --> 01:37:56,696
♪ Looking for a guru
1562
01:37:56,871 --> 01:37:58,916
♪ Working on a guru
1563
01:38:00,048 --> 01:38:02,180
♪ Working on a guru
1564
01:38:02,354 --> 01:38:05,183
♪ Before the sun goes down ♪
1565
01:38:06,271 --> 01:38:07,446
Play it again.
1566
01:38:12,843 --> 01:38:17,021
We had cut New Morning,
and I said to Bob,
1567
01:38:17,195 --> 01:38:20,285
"I have a really good
horn arrangement for this.
1568
01:38:22,374 --> 01:38:23,506
"Can I do that?"
1569
01:38:24,507 --> 01:38:26,552
And he said yeah.
1570
01:38:26,726 --> 01:38:28,337
And I brought in
the horn session
forNew Morning.
1571
01:38:28,511 --> 01:38:33,037
And he kept just the French horn
playing a downward scale.
1572
01:38:33,733 --> 01:38:35,126
All the rest of it,
1573
01:38:35,300 --> 01:38:36,693
he said, "No, I'm just
going to erase it."
1574
01:38:36,867 --> 01:38:39,478
♪ So happy just to be alive
1575
01:38:39,652 --> 01:38:42,090
♪ Underneath the sky of blue
1576
01:38:42,873 --> 01:38:46,529
♪ On this new morning
1577
01:38:47,486 --> 01:38:50,141
♪ New morning
1578
01:38:50,315 --> 01:38:53,492
♪ On this new morning ♪
1579
01:38:55,407 --> 01:38:59,803
I'm so delighted that
horns were still there
1580
01:38:59,977 --> 01:39:02,501
so I could mix it, properly.
1581
01:39:02,675 --> 01:39:05,809
Same thing happened
with the strings in
Sign on the Window.
1582
01:39:05,983 --> 01:39:09,900
On the original session,
I played an organ solo.
1583
01:39:10,074 --> 01:39:14,122
And my intention was to
take the organ out altogether.
1584
01:39:14,296 --> 01:39:15,253
He kept that.
1585
01:39:16,602 --> 01:39:18,909
And threw all those strings out.
1586
01:39:19,083 --> 01:39:25,263
♪ Looks like a-nothing
but rain
1587
01:39:25,437 --> 01:39:30,051
♪ Sure gonna be wet tonight
on Main Street
1588
01:39:32,140 --> 01:39:38,233
♪ Hope that it don't sleet ♪
1589
01:39:39,886 --> 01:39:41,714
I love the vocals.
1590
01:39:41,888 --> 01:39:46,067
The way he sings
the word "sleet" is amazing.
1591
01:39:46,241 --> 01:39:48,634
He puts "sleet" in his voice.
1592
01:39:48,808 --> 01:39:54,292
Those two tracks specifically
I've coveted for 40 years.
1593
01:39:54,466 --> 01:39:56,860
And then to find that
I could remix them
1594
01:39:57,034 --> 01:39:58,470
because he didn't erase them,
1595
01:39:58,644 --> 01:40:04,172
it was great to come back to it
and sit at my desk
1596
01:40:04,346 --> 01:40:06,565
and listen to the isolated vocal
1597
01:40:07,740 --> 01:40:09,568
and go, "Boy, this is great."
1598
01:40:09,742 --> 01:40:14,573
New MorningI thought was
a great time of his singing.
1599
01:40:14,747 --> 01:40:18,751
I don't think that Bob has
gotten credit for
what a great singer he is.
1600
01:40:18,925 --> 01:40:20,840
He is a great singer.
1601
01:40:21,015 --> 01:40:22,451
There's a difference between
1602
01:40:22,625 --> 01:40:24,409
having a great voice
and being a great singer.
1603
01:40:24,583 --> 01:40:27,630
The man can put across a song
like no one else can.
1604
01:40:27,804 --> 01:40:29,545
It just comes through.
1605
01:40:29,719 --> 01:40:34,332
♪ Sylvie came here Wednesday
1606
01:40:35,551 --> 01:40:40,686
♪ She came this morning
by the light of the dawn
1607
01:40:42,340 --> 01:40:48,868
♪ She comes up here now
nearly all of the time
1608
01:40:49,043 --> 01:40:54,309
♪ To see if she can carry on
1609
01:40:54,483 --> 01:41:00,663
♪ Now won't you bring me
a little water, Sylvie?
1610
01:41:02,578 --> 01:41:07,539
♪ Bring me
a little water now? ♪
1611
01:41:07,713 --> 01:41:12,196
I was very lucky to have been
asked to play on those records,
1612
01:41:12,370 --> 01:41:13,850
and I wouldn't trade it
for anything.
1613
01:41:14,024 --> 01:41:15,373
That's the way it was.
1614
01:41:15,547 --> 01:41:18,942
It was a complete
and utter joyous trip.
1615
01:41:19,116 --> 01:41:23,294
Bob is the equivalent
of William Shakespeare.
1616
01:41:24,252 --> 01:41:26,341
What Shakespeare did
in his time,
1617
01:41:26,993 --> 01:41:28,430
Bob does it in his time.
1618
01:41:28,604 --> 01:41:31,302
You think of all this
huge period of time
1619
01:41:31,476 --> 01:41:33,783
in which he's continued
to deliver,
1620
01:41:33,957 --> 01:41:35,393
it's pretty amazing.
1621
01:41:35,567 --> 01:41:37,917
Down the curve
and around the bend, he came.
1622
01:41:38,092 --> 01:41:41,617
And it'll never end now
'cause he's been
on this roller coaster ride
1623
01:41:41,791 --> 01:41:43,140
ever since he left Minnesota.
1624
01:41:43,314 --> 01:41:45,360
He's been brutalized, sunrised,
1625
01:41:45,534 --> 01:41:48,232
baptized in the waters
of the Village.
1626
01:41:48,406 --> 01:41:51,627
Still, it goes on from Soho
to Moscow to Oslo.
1627
01:41:51,801 --> 01:41:55,544
They speak of this trip,
this battleship who sailed
1628
01:41:55,718 --> 01:41:57,415
in the harbor of Tin Pan Alley
1629
01:41:57,589 --> 01:42:00,766
and sank it with his
Subterranean Homesick Blues.
1630
01:42:01,724 --> 01:42:04,074
There is none but one Bob Dylan.
1631
01:42:06,424 --> 01:42:11,560
♪ Someday everything is
gonna be different
1632
01:42:11,734 --> 01:42:17,261
♪ When I paint
that masterpiece ♪
1633
01:42:45,246 --> 01:42:47,770
When Bob was signed in '61,
1634
01:42:47,944 --> 01:42:51,295
he really changed the whole
image of Columbia Records.
1635
01:42:51,469 --> 01:42:54,037
Columbia was a MOR company.
1636
01:42:54,211 --> 01:42:57,606
It was sing-along with Mitch,
with Johnny Mathis.
1637
01:42:57,780 --> 01:42:59,782
It was the tried and true.
1638
01:42:59,956 --> 01:43:05,527
And suddenly Bob came along
with a revolutionary outlook
1639
01:43:05,701 --> 01:43:07,311
for a new generation.
1640
01:43:08,573 --> 01:43:11,489
What's wonderful about
having Bob back now is
1641
01:43:11,663 --> 01:43:16,190
he tried making it
away from the company,
1642
01:43:16,364 --> 01:43:19,628
and he found out
that Columbia was his home.
1643
01:43:19,802 --> 01:43:25,111
And I think the album is going
to prove how different Bob is
1644
01:43:25,286 --> 01:43:28,027
when he's completely comfortable
with his surroundings.
1645
01:43:28,202 --> 01:43:30,639
Than he was, last year.
1646
01:43:30,813 --> 01:43:32,249
I get phone calls every day.
1647
01:43:32,423 --> 01:43:33,903
Reviewers wants to hear it
1648
01:43:34,077 --> 01:43:36,645
and certain retail accounts
where the clerks,
1649
01:43:36,819 --> 01:43:38,821
are aware that it's going on,
have called.
1650
01:43:38,995 --> 01:43:41,040
It's just become everywhere.
1651
01:43:41,215 --> 01:43:42,694
There's a great deal of
anticipation and a great deal
of excitement
1652
01:43:42,868 --> 01:43:45,175
about this new
Blood on the Tracksalbum.
1653
01:43:45,349 --> 01:43:47,873
I was in the dentist chair
some morning...
1654
01:43:48,047 --> 01:43:49,658
Some afternoon in May.
1655
01:43:49,832 --> 01:43:51,268
I got a frantic call from
1656
01:43:52,313 --> 01:43:55,185
Owen Stegalstein's secretary
1657
01:43:55,359 --> 01:43:59,276
saying, "John,
Bob Dylan is in the building.
1658
01:43:59,450 --> 01:44:01,670
"Owen wants to know if you
could come right over."
1659
01:44:01,844 --> 01:44:05,717
I said, "I can't come
right over. I'll be over
as soon as I can."
1660
01:44:05,891 --> 01:44:10,635
I guess they called me
because some 13 years ago,
1661
01:44:10,809 --> 01:44:13,290
I was the guy who
sort of stuck my neck out
1662
01:44:13,464 --> 01:44:16,772
and signed Bobby
originally to Columbia.
1663
01:44:16,946 --> 01:44:19,601
And they thought it might be
a nice idea if I were around
1664
01:44:19,775 --> 01:44:22,473
at some certain point
in this thing, so...
1665
01:44:23,561 --> 01:44:27,086
I got back to the office
about 45 minutes later.
1666
01:44:27,261 --> 01:44:30,525
And Bobby and Owen
were just finishing
1667
01:44:30,699 --> 01:44:37,227
what looked like an extremely
successful and friendly talk.
1668
01:44:37,401 --> 01:44:40,578
And they were going into
Goddard Lieberson's office.
1669
01:44:40,752 --> 01:44:45,931
And Dylan has always had
a sort of very special respect
for Lieberson.
1670
01:44:46,105 --> 01:44:53,461
And they came in and Bobby
was very effusive with Goddard.
1671
01:44:53,635 --> 01:44:56,420
And Goddard looked up at Bobby
and said,
1672
01:44:56,594 --> 01:45:00,859
"Well, Bobby,
same temple, new rabbi".
1673
01:45:01,033 --> 01:45:05,821
When Bob came into the studio
this time, he was prepared.
1674
01:45:06,561 --> 01:45:09,259
Not only was he prepared,
1675
01:45:09,433 --> 01:45:15,570
he was marvelously certain
of what exactly he wanted to do.
1676
01:45:17,354 --> 01:45:21,227
When I used to record Bob
in '61 and '62,
1677
01:45:21,402 --> 01:45:23,404
it was a very different story.
1678
01:45:24,361 --> 01:45:26,058
Bob would come up,
1679
01:45:26,232 --> 01:45:30,933
he was writing
about 11 to 15 songs a week
in those days.
1680
01:45:31,107 --> 01:45:35,981
And every time he had something,
he wanted to put it on tape.
1681
01:45:36,155 --> 01:45:37,592
And it was simple
in those days.
1682
01:45:38,897 --> 01:45:40,508
That was before the time
1683
01:45:40,682 --> 01:45:44,816
when people had to pay
for studio time, editing.
1684
01:45:45,991 --> 01:45:48,690
All the rest of the things
that happen now days,
1685
01:45:48,864 --> 01:45:50,779
and this didn't
cost Bob anything.
1686
01:45:52,650 --> 01:45:54,086
Every time he had
something new,
1687
01:45:55,131 --> 01:45:56,698
I'd put 'em in.
1688
01:45:56,872 --> 01:45:58,917
He was sort of sloppy
about the way he worked.
1689
01:46:00,179 --> 01:46:02,965
We had to build a special guard
around the microphone
1690
01:46:03,139 --> 01:46:05,359
because he popped so many P's.
1691
01:46:05,533 --> 01:46:07,404
Poor George Kanawa,
1692
01:46:07,578 --> 01:46:10,799
who was the engineer
at that time, was going crazy.
1693
01:46:10,973 --> 01:46:15,891
So Bob had to work further away
from a microphone.
1694
01:46:16,065 --> 01:46:20,417
But Bob, of course, was just
absolutely unique, sensational,
1695
01:46:20,591 --> 01:46:22,985
marvelous artist in those days.
1696
01:46:23,159 --> 01:46:25,117
And he turned out to be
1697
01:46:25,291 --> 01:46:30,471
even more of a unique,
sensational and marvelous artist
this time.
1698
01:46:30,645 --> 01:46:34,605
Bob's always coming up
with a really unusual surprise.
1699
01:46:34,779 --> 01:46:37,086
On this one, he asked me
to get in touch with Pete Hamill
1700
01:46:37,260 --> 01:46:39,218
because we had talked
about liner notes,
1701
01:46:39,393 --> 01:46:42,396
and he said
he wanted Pete Hamill
to write the liner notes.
1702
01:46:42,570 --> 01:46:46,008
And we made
some maneuvers to contact Pete.
1703
01:46:46,182 --> 01:46:47,705
It was a little difficult
at first.
1704
01:46:47,879 --> 01:46:49,707
Bob and Pete
hit it off immediately.
1705
01:46:49,881 --> 01:46:53,885
Pete took notes and wrote
incredible liner notes
for the album.
1706
01:46:54,059 --> 01:46:58,890
So, we've got a really unusual
merchandising support there.
1707
01:46:59,064 --> 01:47:00,979
It kind of explains
a little bit about the music,
1708
01:47:01,153 --> 01:47:05,201
a little bit about the society
in which we live.
1709
01:47:05,375 --> 01:47:08,509
And Bob's music
is kind of a portrait on life.
1710
01:47:08,683 --> 01:47:11,076
He covers so many areas
of music.
1711
01:47:11,250 --> 01:47:15,037
For example,
his hard blues numbers like
Meet Me in the Morning.
1712
01:47:15,211 --> 01:47:16,734
Part of the album is acoustic.
1713
01:47:16,908 --> 01:47:19,389
Part of it has
Eric Weissberg's band.
1714
01:47:19,563 --> 01:47:22,827
On a few cuts,
Buddy Cage from the New Riders
1715
01:47:23,001 --> 01:47:24,786
plays steel guitar.
1716
01:47:24,960 --> 01:47:27,223
And as a matter of fact,
we should touch on
1717
01:47:27,397 --> 01:47:28,964
some things
that John had talked about,
1718
01:47:29,138 --> 01:47:31,532
with other musicians
or artists doing Bob's music.
1719
01:47:31,706 --> 01:47:34,578
The New Riders
have recorded You Angel You.
1720
01:47:34,752 --> 01:47:36,841
They used Bob's rough lyric,
1721
01:47:37,015 --> 01:47:40,062
as opposed to his finished lyric
on the Planet Wavealbum.
1722
01:47:40,236 --> 01:47:42,281
But they did a Dylan tune.
1723
01:47:42,456 --> 01:47:45,763
Dave Mason recorded
All Along the Watchtower.
1724
01:47:45,937 --> 01:47:49,593
And Richie Havens,
Sad-Eyed Lady of the Lowlands.
1725
01:47:49,767 --> 01:47:51,987
So people are still
recording his music.
1726
01:47:52,161 --> 01:47:54,859
Nothing has changed.
He's evolving, it's all growing.
1727
01:47:55,033 --> 01:47:59,081
And this album,
there'll be tons of songs that
people are going to record.
1728
01:47:59,255 --> 01:48:02,867
Many artists will record
the songs in
Blood on the Tracks.
1729
01:48:03,041 --> 01:48:04,913
There's a tune
calledIdiot Wind,
1730
01:48:05,783 --> 01:48:08,046
which you have to listen to.
1731
01:48:08,220 --> 01:48:10,701
You must listen to it
several times to get
the significance of it.
1732
01:48:10,875 --> 01:48:13,791
There's a tune,Lily Rosemary
and the Jack of Hearts,
1733
01:48:13,965 --> 01:48:18,230
which touches on
some of the...
You know, life is a gamble,
1734
01:48:18,404 --> 01:48:20,450
type of life that we all lead.
1735
01:48:20,624 --> 01:48:24,019
And the conflict
between women, men,
1736
01:48:24,193 --> 01:48:25,499
and just life in general.
1737
01:48:26,325 --> 01:48:28,589
But it kind of
paints a picture,
1738
01:48:29,590 --> 01:48:31,809
a story as it were
1739
01:48:31,983 --> 01:48:33,594
that's very different
than some of the things
he's done before,
1740
01:48:33,768 --> 01:48:35,117
and yet it's very familiar.
1741
01:48:36,074 --> 01:48:37,902
So...
1742
01:48:38,076 --> 01:48:40,557
The album has a continuity,
a cohesiveness
1743
01:48:42,428 --> 01:48:43,865
that's exciting.
1744
01:48:44,039 --> 01:48:45,562
And there's an enthusiasm
that just builds
1745
01:48:45,736 --> 01:48:48,173
the difference of having
a little bit of acoustic music
1746
01:48:48,347 --> 01:48:52,221
and a bit of music with a band,
steel guitar, organ, etcetera.
1747
01:48:52,395 --> 01:48:55,833
Kind of creates a contrast
that in itself is exciting.
1748
01:48:56,007 --> 01:48:59,010
I don't think Bob consciously
plans this sort of thing.
1749
01:48:59,184 --> 01:49:02,318
But it came off beautifully,
really came off beautifully.
1750
01:49:02,492 --> 01:49:04,146
Let me tell you
about this album.
1751
01:49:05,321 --> 01:49:07,018
This album,
1752
01:49:07,192 --> 01:49:12,067
unlike any album that's cut
with groups these days,
1753
01:49:12,241 --> 01:49:17,725
was finished in five days
and mixed in two days.
1754
01:49:17,899 --> 01:49:20,989
Now this is, you know,
absolutely unprecedented
1755
01:49:21,729 --> 01:49:24,253
the way Columbia works nowadays.
1756
01:49:26,385 --> 01:49:29,301
A Simon and Garfunkel album
1757
01:49:29,475 --> 01:49:33,871
or a Bruce Springsteen album.
1758
01:49:34,045 --> 01:49:36,482
This is six or seven months
in a studio
1759
01:49:36,657 --> 01:49:40,008
of, you know, experimentation,
1760
01:49:42,227 --> 01:49:45,883
of discarding this,
adding that, overdubbing.
1761
01:49:46,492 --> 01:49:48,059
None of that with Bob.
1762
01:49:48,233 --> 01:49:51,062
And this album has a flow
1763
01:49:51,236 --> 01:49:55,240
that you won't find in any other
album recorded in 1974.
1764
01:49:55,414 --> 01:49:58,200
The album cover
is a cover that
1765
01:49:58,374 --> 01:50:02,944
lends itself to everything,
the merchandiser's dream.
1766
01:50:03,118 --> 01:50:07,818
His name is big,
the title is big. He has
liner notes on the package.
1767
01:50:07,992 --> 01:50:11,561
We're going to be ready
with point of purchase support
1768
01:50:11,735 --> 01:50:13,694
before the album ships.
1769
01:50:13,868 --> 01:50:15,870
We'll have time-buys
ready to run
1770
01:50:16,044 --> 01:50:18,437
the day the album
hits the stores.
1771
01:50:18,612 --> 01:50:19,874
We'll have all our print ads.
1772
01:50:20,048 --> 01:50:23,312
We've really done a job
up-front on this album
1773
01:50:23,486 --> 01:50:27,621
because Bob has allowed us the
time in a very professional...
1774
01:50:29,144 --> 01:50:31,712
"Professional enthusiasm,"
I think, might be a good phrase.
1775
01:50:31,886 --> 01:50:33,539
He just loves being back,
1776
01:50:33,714 --> 01:50:35,890
and he just knows
that we can do the job for him,
1777
01:50:36,064 --> 01:50:38,370
and it's going to be
really exciting.
1778
01:50:38,544 --> 01:50:40,285
And you'll get to
hear the album.
1779
01:50:40,459 --> 01:50:41,939
And when you hear the album,
1780
01:50:42,113 --> 01:50:44,594
you know everything
that John and I have said
1781
01:50:44,768 --> 01:50:47,771
relates to an exciting future
with Bob Dylan.
1782
01:50:47,945 --> 01:50:50,078
This album, of course,
will get immediate airplay.
1783
01:50:50,252 --> 01:50:52,123
That's not unusual for Bob.
1784
01:50:52,297 --> 01:50:54,038
I think where
the difference comes here
1785
01:50:54,212 --> 01:50:57,259
is this album will stay
on the air for quite a while.
1786
01:50:57,433 --> 01:50:59,914
And it's certainly accessible
to Top 40 radio.
1787
01:51:01,480 --> 01:51:03,308
Part of this
1788
01:51:03,482 --> 01:51:06,268
enthusiasm for the new release
is generated in the company.
1789
01:51:06,442 --> 01:51:10,751
We've played the tapes
for in-house personnel,
of course,
1790
01:51:10,925 --> 01:51:13,667
and Larry Sloman wrote
the interview in Rolling Stone,
1791
01:51:13,841 --> 01:51:15,843
which you've probably
all read by now.
1792
01:51:16,017 --> 01:51:18,976
And part of what Larry talked
about was that this is the Dylan
1793
01:51:19,150 --> 01:51:21,762
that people have been
hungering for.
1794
01:51:21,936 --> 01:51:24,982
So there have been some little
rumbles of apprehension about,
1795
01:51:25,156 --> 01:51:27,768
"How are we going to sell
a new Dylan album?"
1796
01:51:27,942 --> 01:51:30,988
We've seen the problems electors
had the way they handle it.
1797
01:51:31,162 --> 01:51:33,512
I think we're unique.
We handle Bob differently.
1798
01:51:33,687 --> 01:51:35,906
We know Bob
and we understand Bob.
1799
01:51:36,080 --> 01:51:37,865
We know what to do
with his music.
1800
01:51:38,039 --> 01:51:39,910
We know how to handle
the reaction to the airplay,
1801
01:51:40,084 --> 01:51:42,086
and the reaction
in the market place.
1802
01:51:42,260 --> 01:51:46,047
So we're going to go
out there well-prepared,
1803
01:51:46,221 --> 01:51:48,049
better prepared
than we've ever been probably,
1804
01:51:48,223 --> 01:51:50,312
and really do a number
with this album.
1805
01:51:50,486 --> 01:51:51,879
And it's going to be accepted.
1806
01:51:52,053 --> 01:51:53,707
People are waiting
for this album.
1807
01:52:03,978 --> 01:52:06,197
NARRATOR : Over 2,000 concerts.
1808
01:52:08,634 --> 01:52:10,375
Six hundred songs.
1809
01:52:12,551 --> 01:52:14,249
Forty-four albums.
1810
01:52:16,642 --> 01:52:18,079
Five decades.
1811
01:52:20,429 --> 01:52:21,909
One artist.
1812
01:52:25,173 --> 01:52:27,784
♪ Johnny's in the basement
mixing up the medicine
1813
01:52:27,958 --> 01:52:29,525
♪ I'm on the pavement
1814
01:52:29,699 --> 01:52:30,874
♪ Thinkin' about
the government... ♪
1815
01:52:31,048 --> 01:52:33,485
♪ Like a rolling stone ♪
1816
01:52:36,314 --> 01:52:39,970
♪ Knock-knock-knockin'
on heaven's door ♪
1817
01:52:40,884 --> 01:52:43,495
♪ All along the watchtower ♪
1818
01:52:44,453 --> 01:52:46,020
♪ Tangled up in blue ♪
1819
01:52:48,065 --> 01:52:51,895
♪ Someday, baby
you ain't gonna worry for me ♪
1820
01:52:52,069 --> 01:52:57,118
♪ Hey, Mr. Tambourine Man
play a song for me ♪
1821
01:52:57,292 --> 01:53:02,732
♪ The answer, my friend
is blowin' in the wind
1822
01:53:02,906 --> 01:53:06,388
♪ The answer is blowin'
in the wind ♪
1823
01:53:07,606 --> 01:53:08,782
NARRATOR: Dylan.
1824
01:53:09,783 --> 01:53:14,222
His greatest songs.
October, '07.
1825
01:53:32,718 --> 01:53:35,025
♪ Everything went
from bad to worse
1826
01:53:35,199 --> 01:53:37,898
♪ Money never changed a thing
1827
01:53:38,072 --> 01:53:40,422
♪ Death kept followin'
Trackin' us down
1828
01:53:40,596 --> 01:53:43,207
♪ At least I heard
your bluebird sing ♪
1829
01:53:43,381 --> 01:53:46,254
♪ Now somebody's got to
show their hand
1830
01:53:46,428 --> 01:53:48,473
♪ Time is an enemy
1831
01:53:49,735 --> 01:53:51,868
♪ I know you're long gone
1832
01:53:52,042 --> 01:53:54,436
♪ I guess it must be up to me
1833
01:53:59,136 --> 01:54:00,790
♪ If I'd thought about it
1834
01:54:00,964 --> 01:54:02,357
♪ I never would've done it
1835
01:54:02,531 --> 01:54:04,794
♪ I guess I would've
let it slide
1836
01:54:04,968 --> 01:54:07,884
♪ If I'd lived my life by what
others were thinkin'
1837
01:54:08,058 --> 01:54:10,626
♪ The heart inside me
would've died
1838
01:54:10,800 --> 01:54:12,410
♪ I was a bit too stubborn
1839
01:54:12,584 --> 01:54:16,675
♪ To ever be governed
by enforced insanity
1840
01:54:16,850 --> 01:54:19,635
♪ Someone had to reach
for the risin' star
1841
01:54:19,809 --> 01:54:22,333
♪ I guess it was up to me
1842
01:54:26,816 --> 01:54:29,906
♪ Now, the Union Central
is pullin' out
1843
01:54:30,080 --> 01:54:32,909
♪ The orchids are in bloom
1844
01:54:33,083 --> 01:54:35,651
♪ I've only got
one good shirt left
1845
01:54:35,825 --> 01:54:38,610
♪ It smells of stale perfume
1846
01:54:38,784 --> 01:54:41,265
♪ In 14 months
I've only smiled once
1847
01:54:41,439 --> 01:54:44,660
♪ And I didn't
do it consciously
1848
01:54:44,834 --> 01:54:47,619
♪ Somebody's got to
find your trail
1849
01:54:47,793 --> 01:54:50,231
♪ I guess it must be
up to me
1850
01:54:54,975 --> 01:54:57,803
♪ It was like a revelation
1851
01:54:57,978 --> 01:55:01,155
♪ When you betrayed me
with your touch
1852
01:55:01,329 --> 01:55:04,158
♪ I'd just about
convinced myself
1853
01:55:04,332 --> 01:55:06,682
♪ Nothin' had changed
that much
1854
01:55:06,856 --> 01:55:09,903
♪ The old rounder
in the iron mask
1855
01:55:10,077 --> 01:55:12,818
♪ He slipped me the master key
1856
01:55:12,993 --> 01:55:15,560
♪ Somebody had to
unlock your heart
1857
01:55:15,734 --> 01:55:18,346
♪ He said it was up to me
1858
01:55:23,133 --> 01:55:26,528
♪ Well, I watched you
slowly disappearing
1859
01:55:26,702 --> 01:55:29,923
♪ Down into the officers' club
1860
01:55:30,097 --> 01:55:32,142
♪ I would've followed you
in the door
1861
01:55:32,316 --> 01:55:35,058
♪ But I didn't have
a ticket stub
1862
01:55:35,232 --> 01:55:38,279
♪ So I waited all night
'til the break of day
1863
01:55:38,453 --> 01:55:41,151
♪ Hopin' one of us
could get free
1864
01:55:41,325 --> 01:55:44,633
♪ When the dawn came over
the river bridge
1865
01:55:44,807 --> 01:55:47,418
♪ I knew it was up to me
144304
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