Remarkably, some of Bob Dylan’s most cherished songs spawned from these sessions and the Basement Tapes set the standard for Dylan’s concise songwriting method and style for his following albums, from John Wesley Harding up to Planet Waves. But the most notable characteristics are the full band arrangements, which often included: Dylan’s 12-string acoustic guitar and idiosyncratic voice Rick Danko’s electric bass keeping the rhythm in Levon Helm's absence, reminiscent of Sun Records' drumless recordings Richard Manuel’s piano keeping the backbone with Dylan’s acoustic only Robbie Robertson’s tasteful electric lead guitar and Garth Hudson’s celestial electric organ remained from the previous year’s 'wild mercury sound’. Dylan’s lyrics were paired down from the verbose poetics of Blonde on Blonde to be concise, with every singular line being important and justified many songs became structurally and even thematically similar to sea shanties and drinking songs.

Even though Dylan tailor-wrote each serious original for a specific artist, his originals were very different during this period, informed by the structure of the folk standards the quintet had jammed on during the previous months. Thus the gears eventually shifted and the daily basement jams evolved into demo sessions for new Dylan compositions, intended to be sold to other artists. Note that this is not necessarily an upgrade from my previous Basement Tapes reconstruction Big Pink, even though the sound quality certainly is an upgrade and they share 13 of the same 14 songs both Songs For Dwarf Music and Big Pink attempt different goals through the same body of music.īut without a new Dylan album or tour on the horizon, manager Albert Grossman needed new product. As opposed to the overdubbed 1975 Basement Tapes album or even the 2014 Bootleg Series vol 11 box set, this reconstruction is how the material was originally presented and meant to be heard in early 1968. This reconstruction of that acetate uses the very best sources (namely the Bootleg Series vol 11) uses the correct takes in correct sequence and is presented in a unique mono mix. Many believe this specific collection is the closest official word to a vintage, proper Dylan album compiled from the 1967 Basement Tapes recordings. Intended for distribution to recording industry insiders in order to shop the songs around for other artists to cover, it was this acetate that was used to create the very first bootleg album, Great White Wonder.

This is a reconstruction of the 14-song acetate compiled in January 1968 of Bob Dylan’s Basement Tapes recordings for his music publishing company, Dwarf Music.

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