Monday, July 2, 2018

Bob Dylan - 2012 - The 50th Anniversary Collection 1962

Bob Dylan 
2012 
The 50th Anniversary Collection 1962



FREEWHEELIN' SESSION, April 24, 1962
101. Going Down to New Orleans - take 1
102. Going Down to New Orleans - take 2
103. Sally Gal - take 2
104. Sally Gal - take 3
105. Rambling Gambling Willie - take 1
106. Rambling Gambling Willie - take 3
107. Corrina, Corrina - take 1
108. Corrina, Corrina - take 2
109. The Death of Emmett Till - take 1
110. (I Heard That) Lonesome Whistle - take 2

FREEWHEELIN' SESSION, April 25, 1962
111. Rocks and Gravel (Solid Road) - take 3
112. Sally Gal - take 4
113. Sally Gal - take 5
114. Baby, Please Don't Go - take 1
115. Baby, Please Don't Go - take 3
116. Milk Cow (Calf's) Blues (Good Morning Blues) - take 1
117. Milk Cow (Calf's) Blues (Good Morning Blues) - take 3
118. Wichita Blues (Going to Louisiana) - take 1
119. Wichita Blues (Going to Louisiana) - take 2
120. Milk Cow (Calf's) Blues (Good Morning Blues) - take 4
121. Wichita Blues (Going to Louisiana) - take 2

FREEWHEELIN' SESSION, July 9, 1962
122. Baby, I'm in the Mood for You" - take 2
123. Blowin' in the Wind - take 1
124. Blowin' in the Wind - take 2
125. Worried Blues - take 1
126. Baby, I'm in the Mood for You - take 4


201. Bob Dylan's Blues - take 2
202. Bob Dylan's Blues - take 3

FREEWHEELIN SESSION, October 26, 1962
203. Corrina, Corrina - take 2
204. Corrina, Corrina - take 3
205. That's All Right, Mama - take 1
206. That's All Right, Mama - take 3
207. That's All Right, Mama - take 5
208. Mixed Up Confusion - take 3
209. Mixed Up Confusion - take 5

FREEWHEELIN' SESSION, November 1, 1962
210. Mixed Up Confusion - take 6
211. Mixed Up Confusion - take 7
212. Mixed Up Confusion - take 9
213. Mixed Up Confusion - take 10
214. Mixed Up Confusion - take 11
215. That's All Right, Mama - take 3
216. Rocks and Gravels (Solid Road) - take 2

FREEWHEELIN' SESSION, November 14, 1962
217. Ballad of Hollis Brown - take 2
218. Kingsport Town - take 1
219. When Death Comes Creepin' (Whatcha Gonna Do?) - take 1

FREEWHEELIN' SESSION, December 6, 1962
220. Hero Blues - take 1
221. When Death Comes Creepin' (Whatcha Gonna Do?) - take 1
222. I Shall Be Free - take 3
223. I Shall Be Free - take 5
224. Hero Blues - take 2
225. Hero Blues - take 4


McKENZIE HOME TAPES, January 29, 1962
301. Hard Times in New York Town
302. The Death of Emmett Till

McKENZIE HOME TAPES, autumn 1962
303. I Rode Out One Morning
304. House of the Rising Sun
305. See That My Grave Is Kept Clean
306. Ballad of Donald White

GERDE's FOLK CITY, April 16, 1962
307. Honey, Just Allow Me One More Chance
308. Talkin' New York
309. Corrina, Corrina
310. Deep Ellum Blues
311. Blowin' in the Wind

FINJAN CLUB, MONTREAL, July 2, 1962
312. The Death of Emmett Till
313. Stealin'
314. Hiram Hubbard
315. Blowin' in the Wind
316. Rocks and Gravel
317. Quit Your Low Down Ways
318. He Was a Friend of Mine
319. Let Me Die in My Footsteps
320. Two Trains Runnin'
321. Ramblin' on My Mind
322. Muleskinner Blues
323. Muleskinner Blues - part 2


CARNEGIE HALL HOOTENANNY, September 22, 1962
401. Sally Gal
402. Highway 51
403. Talking John Birch Paranoid Blues
404. Ballad of Hollis Brown
405. A Hard Rain's A-Gonna Fall

GASLIGHT CAFE, October 15, 1962
406. See That My Grave Is Kept Clean
407. No More Auction Block
408. Motherless Children
409. Kind Hearted Woman Blues
410. Black Cross
411. Ballad of Hollis Brown
412. Ain't No More Cane


It's almost as if the major labels aren't even trying to hide how they like to abuse the spirit of copyright law in order to keep things locked up as long as possible. Sony Music recently "issued" (and I use the term loosely) a special limited release Bob Dylan collection and didn't even bother to try to hide the real reason for putting it out. It's in the name of the damn release: "Bob Dylan: The Copyright Extension Collection Vol. 1." 

Yes, the entire purpose of releasing this is so that Sony Music can keep Bob Dylan songs under copyright in Europe for a longer period of time. As they're all too happy to explain, copyright term extension for recordings happened in Europe recently, bumping it up from 50 years to 70 years -- but there's a "use it or lose it" clause in there:

Two spokesmen for Sony confirmed that the set was legitimate, its bootleglike appearance notwithstanding. They explained that the point of the release was to keep the recordings under copyright protection in Europe, where the laws are in flux. Currently, recordings can be copyrighted in Europe for 50 years, a much shorter term than in the United States, where recordings made since 1978 will remain copyrighted until 70 years after the death of the last surviving author.

In 2011 the European Union revised its copyright laws to extend copyright to 70 years. The change is not yet in effect but will be by 2014. And there’s a catch, a “use it or lose it” provision: recordings cannot benefit from the 20-year extension unless they were published before the 50-year term expired. The recordings on “The 50th Anniversary Collection” were about to fall over that legal precipice. 

Of course, since this is all about protectionism rather than actually getting people to hear the music, this collection is somewhat difficult to find (well, unless you go to unauthorized sources for digital downloads -- not that we recommend such things). That's because they only made 100 copies of them and gave them to a few stores in key European countries.

Only about 100 copies of the four-CD set were produced, with sparse packaging and an insert listing the details of the set’s 86 tracks, all previously unreleased studio outtakes and live recordings from 1962 and 1963.

It also comes as a downloadable version, available through the singers’s Web site, bobdylan.com, but only to fans who log on from France or Germany. (Prices for the CD set vary from country to country, from the equivalent of $39 to, in Britain, $138)

American collectors are locked out, although for those desperate to have an original CD set, several have made their way to eBay, where bids have gone as high as about $1,450. 

Anyway, I'm sure all of this activity is creating incentive for Bob Dylan to make more music from 1962.


Sony Issues Dylan CDs to Extend Copyright

By ALLAN KOZINNJAN. 7, 2013

In an unusual response to provisions in a new European copyright law, scheduled to take effect by 2014, Sony Music has released a compilation of early Bob Dylan recordings that is bound to become one of his most collectible albums. “The 50th Anniversary Collection,” which carries a subtitle — “The Copyright Extension Collection, Vol. 1” — that explains its purpose, was rushed to only a handful of record shops in Germany, France, Sweden and Britain just after Christmas.

Only about 100 copies of the four-CD set were produced, with sparse packaging and an insert listing the details of the set’s 86 tracks, all previously unreleased studio outtakes and live recordings from 1962 and 1963.

It also comes as a downloadable version, available through the singers’s Web site, bobdylan.com, but only to fans who log on from France or Germany. (Prices for the CD set vary from country to country, from the equivalent of $39 to, in Britain, $138)

American collectors are locked out, although for those desperate to have an original CD set, several have made their way to eBay, where bids have gone as high as about $1,450. (For collectors who want the recordings, but who don’t care about having one of the 100 original CDs, the set has been turning up on file-sharing sites.)

Two spokesmen for Sony confirmed that the set was legitimate, its bootleglike appearance notwithstanding. They explained that the point of the release was to keep the recordings under copyright protection in Europe, where the laws are in flux. Currently, recordings can be copyrighted in Europe for 50 years, a much shorter term than in the United States, where recordings made since 1978 will remain copyrighted until 70 years after the death of the last surviving author.

In 2011 the European Union revised its copyright laws to extend copyright to 70 years. The change is not yet in effect but will be by 2014. And there’s a catch, a “use it or lose it” provision: recordings cannot benefit from the 20-year extension unless they were published before the 50-year term expired. The recordings on “The 50th Anniversary Collection” were about to fall over that legal precipice.
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Sony Music has released a new compilation of previously unreleased Bob Dylan studio outtakes and live recordings from 1962 and 1963.

Because Sony has been considering some tracks on “The 50th Anniversary Collection” for its Bootleg Series, a program of archival releases that now encompasses nine multidisc sets, the company decided to throw a few dozen tracks onto the market, however tenuously, to ensure their ownership.

There was another concern. In Europe smaller labels have been releasing recordings that have gone out of copyright as public domain compilations — so-called gray market discs — including some by Mr. Dylan. Typically, these companies have not had access to master tapes but have released material that has already appeared on bootlegs, often in superb but not master quality. Sony hopes to fight those labels with this release and any sequels.

“The 50th Anniversary Collection” is an idiosyncratic compilation, made up largely of recordings from the sessions for Mr. Dylan’s second album, “The Freewheelin’ Bob Dylan.” Included are alternative takes of several songs from that record, including “Blowin’ in the Wind,” “Bob Dylan’s Dream” and “I Shall Be Free,” as well songs that didn’t make the finished album, often in multiple versions.

Among the highlights is a series of seven increasingly rollicking versions of “Mixed Up Confusion,” which Mr. Dylan released as a single in 1962, and three takes — one on piano, two on guitar — of the Robert Johnson blues classic “Milkcow’s Calf Blues.”

Some of the studio recordings, as well as live performances from the Gaslight Cafe, Carnegie Hall and the Finjan Club, in Montreal, are familiar to collectors of bootlegs, though the quality here is improved. In fact, the outtakes from the “Freewheelin’ ” sessions sound notably clearer than “Freewheelin’” itself.

So far, few record labels have responded to the pending shift in European copyright protection by releasing copious amounts of archival material, although fans of bands like the Beatles and the Rolling Stones are hoping that such releases are in the offing.

But Sony is not alone. Universal, which owns the Motown catalog, has released a series of jazz, gospel and rhythm and blues albums under the rubric “Motown Unreleased 1962,” which makes a large body of its unissued archives eligible for the European copyright extension.


Released on the 27th of December 2012, the “50th Anniversary Collection” was released on 4 CDRs as a compilation of some of Bob Dylan’s earliest recordings for Columbia records. They were obviously a little too late to cover Dylan’s debut – or maybe unwilling to do so for so little return – an opportunity that had the grey market manufacturers leap to their feet with joy only for them to manage to squeeze out a stereo / mono hybrid 2 CD of the album.

The collection also featured long standing bootleg tracks from the Mackenzie Home Tapes (Originally released on Dandelion’s “I Was so much Younger Then” 4 CD set), Gerde’s Folk City (Released on the same set), the Finjan Club (Released on Yellow Dog’s “The Finjan Club), Carnegie Hall Hootenanny ( Hollow Horn’s ‘Just Like Marlon Brando’) and the Gaslight Cafe (Wildwolf/Scorpio’s “Second Gaslight Tape” as well as Rattlesnake’s “Gaslight Tapes 1962? )

The Anniversary release was doled out to a few renowned independent record stores within the UK, the Netherlands, Germany, France and Sweden while being made available for download as an MP3 in the U.S. The set was released without a specific recommended retail selling price so for some of the legends of industry, there was a free for all for what to charge. Before the advent of this silver pressed copy (and as I post this review) people are still trying to sell their original CDRs at the cost of c. £2000 or $3000 on the internets best auction sites but as we know CDRs can be turned around and printed in a matter of days or minutes, a simple copy could have been photo copied and burned in a morning, a silver CD is a much more stable and desirable artefact .

The sessions for “The Freewheelin’ Bob Dylan” album ran through the 24th of April 1962 up to the 6th of December the same year. While this compilation was released with the mind of making the various takes unbootlegable by the people who may have had them, not all of the takes from those sessions were included in this set (false starts and ‘outtakes’ were considered unworthy so only previously bootlegged tracks and a small handful of undiscovered tracks made it to this compendium.

Tracking back through the newer studio takes on the collection though would span a review as long as your arm so I’m indebted to the Eldis Appreciation Society group on Facebook for highlighting the newer takes on the set as outlined below;

Going Down To New Orleans (Mx. CO 70085-1) – NEW!
Going Down To New Orleans (Mx. CO 70085-2) – Previously circulated.
Sally Gal (Mx. CO 70086-2) – NEW!
Sally Gal (Mx. CO 70086-3) – Previously circulated.
Rambling Gambling Willie (Mx. CO 70087-1) – NEW!
Rambling Gambling Willie (Mx. CO 70087-3) – NEW!
Corrina, Corrina (Mx. CO 70088-1) – NEW!
Corrina, Corrina (Mx. CO 70088-2) – Previously circulated.
The Death Of Emmett Till (Mx. CO 70089-1) – Previously circulated.
(I Heard That) Lonesome Whistle (Mx. CO 70091-2) – Previously circulated.
Rocks And Gravel (Solid Road) (Mx. CO 70096-3) – Previously circulated.
Sally Gal (Mx. CO 70086-4) / Sally Gal (Mx. CO 70086-5) – Previously circulated.
Baby, Please Don’t Go (Mx. CO 70099-1) – NEW!
Baby, Please Don’t Go (Mx. CO 70099-3) – Previously circulated.
Milk Cow (Calf’s) Blues (Good Morning Blues) (Mx. CO 70100-1) – NEW!
Milk Cow (Calf’s) Blues (Good Morning Blues) (Mx. CO 70100-3) – Previously circulated.
Wichita Blues (Going To Louisiana) (Mx. CO 70101-1) – Previously circulated.
Talking Bear Mountain Picnic Massacre Blues (Mx. CO 70102-2) ( Same as track 21. )
Milk Cow (Calf’s) Blues (Good Morning Blues) (Mx. CO 70100-4) – Previously circulated.
Wichita Blues (Going To Louisiana) (Mx. CO 70101-2) – Previously circulated.
Baby, I’m In The Mood For You (Mx. CO 75717-2) – NEW!
Blowin’ In The Wind (Mx. CO 75719-1) – NEW!
Blowin’ In The Wind (Mx. CO 75719-2) – NEW!
Worried Blues (Mx. CO 75723-1) – NEW!
Baby, I’m In The Mood For You (Mx. CO 75717-4) – Previously circulated.

Bob Dylan’s Blues (Mx. CO 75718-2) – NEW!
Bob Dylan’s Blues (Mx. CO 75718-3) – (The “Free Wheelin'” Take)
Corrina, Corrina (Mx. CO 76981-2) – NEW!
Corrina, Corrina (Mx. CO 76981-3) – NEW!
That’s All Right, Mama (Mx. CO 76983-1) – Previously circulated.
That’s All Right, Mama (Mx. CO 76983-3) – ( Used for Nov. 1st remake )
That’s All Right, Mama (Mx. CO 76983-5) – NEW!
Mixed Up Confusion (Mx. CO 76982-3) – NEW!
Mixed Up Confusion (Mx. CO 76982-5) – Previously circulated.
Mixed Up Confusion (Mx. CO 76982-6) – NEW!
Mixed Up Confusion (Mx. CO 76982-7) – NEW!
Mixed Up Confusion (Mx. CO 76982-9) – NEW!
Mixed Up Confusion (Mx. CO 76982-10) – Previously circulated.
Mixed Up Confusion (Mx. CO 76982-11) – NEW!
That’s All Right, Mama (remake/overdub CO76893-3) – Previously circulated.
Rocks And Gravel (Solid Road) (Mx. CO 76986-2) – NEW!
Ballad Of Hollis Brown (Mx. CO 77003-2) – Previously circulated.
Kingsport Town (Mx. CO 77004-1) – NEW!
When Death Comes Creepin’ (Whatcha Gonna Do?) (Mx. CO 77005-1) – Previously circulated.
Hero Blues (mx. CO 77020-1) – Previously circulated.
When Death Comes Creepin’ (Whatcha Gonna Do?) (Mx. CO 77021-1) – Previously circulated.
I Shall Be Free (Mx. CO 77023-3) – Previously circulated.
I Shall Be Free (Mx. CO 77023-5) – Previously circulated.
Hero Blues (Mx. CO 77020-2) – Previously circulated.
Hero Blues (Mx. CO 77020-4) – Previously circulated.

Now as far as the live or none studio tracks are concerned they were recorded under beds, around people homes or in clubs without any real recording systems. However, the company was able to source the best quality of these recordings (IE: Probably not the tapes that were apparently mined by Anthony Scaduto while the originals were played for him) and they have been refurbished just as well as the best bootlegger might have mustered.

The 6 tracks here span two sides of the launch of Dylan’s fame. The first two tracks, “Hard Times In New York” and “The Death of Emmett Till”, both featured in this repotoire and 16 days earlier he had recorded the two songs in session for Cynthia Gooding’s record show, and was on the very cusp of rocketing to a revered cult following.
The four following tracks “I Rode Out One Morning”, “House Of The Rising Sun”, “See That My Grave Is Kept Clean” and “Ballad Of Donald White” were probably written or remembered in the interim and are performed on Dylan’s next recorded visit to Eve and Mac Mackenzie’s home.

Dylan’s show at Gerde’s Folk Club has Dylan playing the performer, storyteller and host. He’s much more animated than in private, jerky and playful while he mends with his performing voice and dry wit. The sound though suffers as the recording was no professional enough to be cleaned up properly or has been taken from old vinyl – “Honey, Just Allow Me One More Chance” suffers the most from this errant noise but it’s not too distracting due to the actual performance. It’s no wonder that Robert Shelton gave glowing praise from this performance and gave props to Dylan for his magnetism.

The Finjan club show has a much more rounded sound, just as good as it’s original Yellow Dog release and is no less fun as Dylan rips through more of his ever-expanding catalogue. The only unfortunate disappearances are the asides that Dylan squirrels between songs. Sony have seen fit to cut them out for time restrictions which is a shame as we lose more of Dylan’s formative stage presence to the cutting room floor.

On to disk four and the show at the Carnegie Hall Hootenanny, the songs like they were recorded from the venues grand balconies. An echoey, slightly distant sound this sounds like it was included just to give the label something to muscle in on. Were it released on a bootleg people would complain, as it stands, if only 100 people heard it it wouldn’t matter. Dylan but not worth the space.

The Gaslight tapes – another oft bootlegged piece and retail CD in Starbucks in North America – rounds up the set. Another quiet affair but not as quiet as the Carnegie Hall tape. Dylan was fast moving on in to more political, darker themes. Slipping in to a quieter, more closed, reserve but, of course, the in-between chatter has been chopped out again and for no good reason this time it would seem.

This set is essential for Dylan fans – taking it away from the exploitative price point being charged by others and this time it’s packaged properly. Sparsely but properly in a ‘fat-boy’ jewel case with real printed inserts and a basic booklet but that’s got to be better than 4 A4 stapled pages.

The CDs are silver but pressed to look like the basic CDRs that were originally released. For the amount of new material there is here, it’s a must have even if you might still have to keep your older CDs for the studio chatter in-between the live cuts.


Bob Dylan has made some puzzling moves in his celebrated career, but the compilation that his record label recently released may be as odd as anything he's ever put out.

The compilation, 50th Anniversary Collection, is a limited-edition, four-CD set that was only released in Europe. It seems to have been designed by the label to exploit a recent change in European copyright law.

The collection is a scrapbook of recordings from the first years of Bob Dylan's career: unreleased home tapes, live performances from Greenwich Village folk clubs and outtakes from the sessions for his second studio album, The Freewheelin' Bob Dylan.

The packaging of the 50th Anniversary Collection is minimal — just four discs, a brown paper cover and a cursory list of the 86 tracks.

Dylan's record label declined requests to talk about the collection or its unconventional release strategy.

But the subtitle, The Copyright Extension Collection, Volume 1, speaks for itself.

"Even record executives occasionally stray into honesty," says James Boyle, a law professor at Duke University. "This is, in fact, a copyright extension collection. That's what it is."

Boyle says Dylan's label appears to be exploiting an obscure but potentially lucrative change in European copyright law.

The European Union recently extended the term of copyright for sound recordings from 50 years to 70 years. But, there's a catch.

"You actually have to have, at some point, distributed these songs during that initial 50-year period. These were masters that were lying in the vaults," Boyle says, "and none of them had ever seen the light of day. And so he had to get them out before that 50-year period expired in order to get the extra 20 years."

Because this material was recorded in 1962 and 1963, the label essentially has to use it or lose it to the public domain.

In Britain, the European Union copyright extension is known as Cliff's Law — named after Sir Cliff Richard, the 1960s-era singer who pushed hard for its passage.

In an interview with the BBC, Richard says it's not fair that artists should lose the right to collect royalties from their records just because those records happen to be 50 years old.

"That's my creative juices," Richard says. "I created it, I helped to arrange it. I helped sometimes to produce it. And you make this record. And then someone takes it away before you're even dead."

But critics say the copyright extension will mainly help record companies and artists like The Beatles, The Rolling Stones and The Who, whose recordings might otherwise begin entering the public domain in the next few years.

"The vast majority of musicians won't see a dime," Boyle says. "The evidence was that in fact, the benefits would go to very, very few people — the megastars."

Boyle says the European Union law does include a few provisions that are supposed to help common musicians, too. After 50 years, for example, they can terminate their original contracts with their record labels and get ownership of their recordings back. But Boyle says there's a catch here, too.

"In order for them to be able to exercise this termination, it had to be that the record label hadn't put a new version out within a year of the directive passing," Boyle says. "So we're probably going to see a large number of reissued songs, or aging rockers are gonna be terminating their deals and getting their rights back over their recordings."

Whatever its intentions, Boyle thinks the copyright extension will ultimately end up hurting the public. Dylan fans in Europe might beg to differ, though: If they weren't lucky enough to snatch up one of the 100 physical copies of the discs, they can buy MP3s of the Copyright Extension Collection from Dylan's website.

The rest of us can bid for one of those copies on eBay — where one recently sold for more than $1,000 — or wait for a proper U.S. release.

1 comment:






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