Artist  | Bob Dylan and The Band
Title   | The Basement Tapes Raw

Genre   | Rock                                 Format  | Album
Source  | CD                                   Time    | 121:18

Label   | Columbia Records                     Store   | 2014
Catalog | 88875019672                          Rip     | 2022

Bitrate | 759 kbps                             Size    | 692.42 MB
Freq    | 44.1 kHz                             Encoder | FLAC 1.3.1

CD 1/2

01. Open The Door, Homer (Restored Version)                     2:52
02. Odds And Ends (Alternate Version                            1:48
03. Million Dollar Bash (Alternate Version)                     2:52
04. One Too Many Mornings (Unreleased)                          3:23
05. I Don't Hurt Anymore (Unreleased)                           2:15
06. Ain't No More Cane (Alternate Version)                      1:57
07. Crash On The Levee (Restored Version)                       2:05
08. Tears Of Rage (Without Overdubs)                            4:14
09. Dress It Up, Better Have It All (Unreleased)                2:52
10. I'm Not There (Previously Released)                         5:12
11. Johnny Todd (Unreleased)                                    2:04
12. Too Much Of Nothing (Alternate Version)                     2:52
13. Quinn The Eskimo (Restored Version)                         2:16
14. Get Your Rocks Off (Unreleased)                             3:46
15. Santa-Fe (Previously Released)                              2:08
16. Silent Weekend (Unreleased)                                 3:00
17. Clothes Line Saga (Restored Version)                        2:59
18. Please, Mrs. Henry (Restored Version)                       2:34
19. I Shall Be Released (Restored Version)                      3:55

CD 2/2

01. You Ain't Goin' Nowhere (Alternate Version)                 2:48
02. Lo And Behold! (Alternate Version)                          2:53
03. Minstrel Boy (Previously Released)                          1:39
04. Tiny Montgomery (Without Overdubs)                          2:56
05. All You Have To Do Is Dream (Unreleased)                    3:23
06. Goin' To Acapulco (Without Overdubs)                        5:36
07. Miles From My Home (Unreleased)                             2:13
08. One For The Road (Unreleased)                               4:49
09. I'm Alright (Unreleased)                                    1:45
10. Blowin' In The Wind (Unreleased)                            6:35
11. Apple Suckling Tree (Restored Version)                      2:50
12. Nothing Was Delivered (Restored Version)                    4:26
13. Folsom Prison Blues (Unreleased)                            2:46
14. This Wheel's On Fire (Without Overdubs)                     3:54
15. Yea! Heavy And A Bottle Of Bread (Restored Version)         2:15
16. Don't Ya Tell Henry (Alternate Version)                     2:30
17. Baby, Won't You Be My Baby (Unreleased)                     2:52
18. Sign On The Cross (Unreleased)                              7:21
19. You Ain't Goin' Nowhere (Without Overdubs)                  2:43

Bob Dylan's influence on popular music is incalculable. As a songwriter, he
pioneered several different schools of pop songwriting, from confessional
singer/songwriter to winding, hallucinatory, stream-of-consciousness
narratives. As a vocalist, he broke down the notion that a singer must have
a conventionally good voice in order to perform, thereby redefining the
vocalist's role in popular music.

As a musician, he sparked several genres of pop music, including
electrified folk-rock and country-rock. And that just touches on the tip of
his achievements. Dylan's force was evident during his height of popularity
in the '60s - the Beatles' shift toward introspective songwriting in the
mid-'60s never would have happened without him - but his influence echoed
throughout several subsequent generations, as many of his songs became
popular standards and his best albums became undisputed classics of the
rock & roll canon.

Dylan's influence throughout folk music was equally powerful, and he marks
a pivotal turning point in its 20th century evolution, signifying when the
genre moved away from traditional songs and toward personal songwriting.
Even when his sales declined in the '80s and '90s, Dylan's presence rarely
lagged, and his commercial revival in the 2000s proved his staying power.

Dylan made his way to New York City in January of 1961, immediately making
a substantial impression on the folk community of Greenwich Village. He
began visiting his idol Guthrie in the hospital, where he was slowly dying
from Huntington's chorea. Dylan also began performing in coffeehouses, and
his rough charisma won him a significant following. In April, he opened for
John Lee Hooker at Gerde's Folk City.

Five months later, Dylan performed another concert at the venue, which was
reviewed positively by Robert Shelton in The New York Times. Columbia A&R
man John Hammond sought out Dylan on the strength of the review, and signed
the songwriter in the fall of 1961. Hammond produced Dylan's eponymous
debut album (released in March 1962), a collection of folk and blues
standards that boasted only two original songs.

A double-disc distillation of the six-disc box "The Basement Tapes
Complete", "The Basement Tapes: Raw" can't quite be seen as an expansion of
the 1975 double-LP "The Basement Tapes" but rather a necessary revision.
Shepherded by the Band's Robbie Robertson, that 1975 double-vinyl inserted
Band recordings where they didn't belong, suggesting the group were equal
partners when it was really Dylan's show.

"The Basement Tapes: Raw" rights this wrong, stripping away the excess
overdubs and excising the ten Band songs - a process which includes handing
some of the tunes back over to Bob, including a wildly careening version of
"Don't Ya Tell Henry" - and then adding in all the major Dylan originals
missing from the 1975 LP ('I'm Not There', 'Santa-Fe', 'Minstrel Boy',
'Quinn The Eskimo', 'Get Your Rocks Off', 'Sign On The Cross') and then
adding hints of the covers and general madness that can be found in the
complete haul.

Naturally, some gems are available only in the big box, including a bunch
of folk tunes, a rangy "Big River" and "Kickin' My Dog Around," plus the
goofs "See You Later Allen Ginsberg" and "All American Boy", but that's the
kind of stuff that seems better in context, when it's surrounded by the
heavyweight songs showcased here. On their own on this superb two-disc set,
those songs amount to a version of the Basement Tapes that not only
represents what happened at Big Pink more accurately, but is a thrilling,
endlessly captivating listen in its own right.