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Member Since 22 Nov 2010
Offline Last Active Dec 29 2016 04:15 PM

Posts I've Made

In Topic: The Last Album You Bought

31 October 2016 - 03:34 AM

 Really love this album

In Topic: Vault Package 30

05 October 2016 - 12:27 PM



12 April 2016 - 03:21 PM

Thanks Pam didn,t know about that article ,This is from an article wich appeared today 


12 April 2016 - 12:21 PM

 Binnenkort worden er acht machines verscheept naar Detroit, waar Jack White’s Third Man een nieuwe perserij opent. De machines worden speciaal afgeleverd in de huiskleuren van Jack White: geel-zwart. Third Man Records wordt gerund door Ben Blackwell, onder garagerockliefhebbers ook wel bekend als een van de twee drummers van The Dirtbombs. “We zijn een jaar geleden serieus gaan nadenken over een nieuwe fabriek. Eigenlijk relatief kort geleden dus, maar we hebben al enorm veel bereikt. De machines zijn op dit moment onderweg naar Detroit. 

Soon there will be 8 new machines shipped to Detroit,where Jack White,s Third Man opens up a new pressing plant The machine,s will be special painted in yellow and black.third Man records is runned by Ben Blackwell "A couple of years back we seriously strated thinking about a new factory,Not that long a go but we,ve accomplished a lot in that period .At this moment the new pressing machines are on the way to Detroit"

In Topic: Dylan, Bob

24 September 2015 - 03:26 AM

I started out trying to listen to a vinyl copy, but it's mixed so quietly I couldn't rip it and had to download it in mp3 from Amazon for the car.  It's not shrillness that bugs me, it's the way his voice changed. Due to the motorcycle accident? Trying something different? Who knows? Whatever it was, it sounded better on the Basement Tapes and Nashville Skyline than on John Wesley Harding.  To my ears, at least.


I suspect my issue with the drumming on the record might have something to do with the fact that I listened to it in the car only a day or so after watching Jack's technique video, so I had drums on my mind and hearing such monotonous, boring drumming was inexcusable to me. The difference in that one element between JWH and BOTT is striking.

Dylan went to work on John Wesley Harding in the fall of 1967. By then, 18 months had passed since the completion of Blonde on Blonde. After recovering from the worst of the results of his motorcycle accident, Dylan spent a substantial amount of time recording the informal basement sessions at West Saugerties, New York. During that time, he stockpiled a large number of recordings, including many new compositions. He eventually submitted nearly all of them for copyright, but declined to include any of them in his next studio release (Dylan would not release any of those recordings to the commercial market until 1975's The Basement Tapes, by which time some of them had been bootlegged, usually sourced from an easy-to-find set of publisher's demos). Instead, Dylan used a different set of songs for John Wesley Harding.

It is not clear[to whom?] when these songs were actually written, but none of them have turned up in the dozens of basement recordings that have since surfaced. According to Robbie Robertson, "As I recall it was just on a kind of whim that Bob went down to Nashville. And there, with just a couple of guys, he put those songs down on tape."[citation needed] Those sessions took place in the autumn of 1967, requiring less than twelve hours over three stints in the studio.

Dylan brought to Nashville a set of songs similar to the feverish yet pithy compositions that came out of the Basement Tapes sessions. They would be given an austere sound sympathetic to their content. When Dylan arrived in Nashville, producer Bob Johnston recalls that "he was staying in the Ramada Inn down there, and he played me his songs and he suggested we just use bass and guitar and drums on the record. I said fine, but also suggested we add a steel guitar, which is how Pete Drake came to be on that record."[citation needed]

Dylan was once again recording with a band, but the instrumentation was very sparse. During most of the recording, the rhythm section of drummer Kenneth A. Buttrey and bassist Charlie McCoy were the only ones supporting Dylan, who handled all harmonica, guitar, piano, and vocal parts. "I didn't intentionally come out with some kind of mellow sound," Dylan said in 1971. "I would have liked… more steel guitar, more piano. More music… I didn't sit down and plan that sound."

The first session, held on October 17 at Columbia's Studio A, lasted only three hours, with Dylan recording master takes of "I Dreamed I Saw St. Augustine", "Drifter's Escape", and "The Ballad of Frankie Lee and Judas Priest". Dylan returned to the studio on November 6, recording master takes for "All Along the Watchtower", "John Wesley Harding", "As I Went Out One Morning", "I Pity the Poor Immigrant", and "I Am a Lonesome Hobo". Dylan returned for one last session on November 29, completing all of the remaining work.

The final session did break from the status quo by employing Pete Drake on the final two recordings. Cut between 9pm and 12 midnight, "I'll Be Your Baby Tonight" and "Down Along the Cove" would be the only two songs featuring Drake's light pedal steel guitar.

Sometime between the second and third session, Dylan approached Robbie Robertson and Garth Hudson of the Band to complete some overdub work on the basic tracks: "Then we did talk about doing some overdubbing on it, but I really liked it when I heard it and I couldn't really think right about overdubbing on it. So it ended up coming out the way he brought it back."

John Wesley Harding was released in stores less than four weeks after the final session, an unusually quick turnaround time, especially for a major label release.

This would be Dylan's last LP to be issued simultaneously in both monophonic (CL 2804) and stereophonic (CS 9604) formats; by the middle of the following year, most of Dylan's LPs would be released solely in stereophonic.