1
00:00:09,139 --> 00:00:13,186
♪ Odds and ends
odds and ends

2
00:00:13,360 --> 00:00:16,537
♪ Lost time
is not found again ♪

3
00:00:26,721 --> 00:00:30,725
Roy Silver, now he was
a character who showed up.

4
00:00:33,424 --> 00:00:34,555
Kind of a...

5
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[CHUCKLES] He's kind of like...
How can you put it?

6
00:00:40,822 --> 00:00:46,089
He was kind of like a hustler
type on the street, you know,
somebody...

7
00:00:47,742 --> 00:00:50,005
You know, trying to make a deal
about this

8
00:00:50,180 --> 00:00:52,269
and make a deal about that.
He was a fast talker.

9
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Well, I saw him perform
all the time.

10
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I hung out with him.

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I was the guy.
I was his manager.

12
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I mean...
So I was there wearing,

13
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at that time,
as was my practice,

14
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I was the only one

15
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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,

20
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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.

25
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There was so much talent around
at that point,

26
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and in an undiscovered area,

27
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folk music.

28
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My God, who knew
from folk music?

29
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I mean, the only person
that was alive that any of us
knew was Pete Seeger.

30
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No one understood
what was happening at that time.

31
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I mean, no one woke up and said,
"Oh, my God, it's folk music!"

32
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We were just out there.

33
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I mean, Pete Seeger was God,

34
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and we were just people working
and trying to make a buck

35
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and hoping that this would all
turn into something fabulous.

36
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And it did. You could smell it,
that there was something
going on

37
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at that period of time
that would do away
with the old stuff.

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No one ever thought,

39
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no one that I remember
at that time period

40
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ever thought that this
was one day going to
who'd be Bob Dylan.

41
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I remember that he was strange
and that I was not going to...

42
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This was not anyone
that I was going to have

43
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an easy time communicating with.

44
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This would be... I'd have to
pull everything out of him

45
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because he didn't know
where he was

46
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or what he was doing,
and so forth and so on.

47
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I mean, he was new
to the Village.

48
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Gerde's Folk City
was the highest
his dreams had ever gone to.

49
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So, you know,
it was hard to figure out

50
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where we were all
going to go with this.

51
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With Bob, I took a piece of
paper out of whatever,
or I asked someone,

52
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and wrote down that,
"I, Bob Dylan, do hereby

53
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"agree to be managed
by Roy Silver for 20%."

54
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I forget what the period of time
was and so forth.

55
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And Bobby signed it.
It was really no big deal.

56
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He was strange.

57
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You were dealing with a guy
who had a strange voice,

58
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who had a strange rhythm,

59
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who was playing a guitar
in a strange, humdrum fashion.

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I mean, that was
really the response.

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No one leaped up from their seat
at the end of the show

62
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and said,
"My God, the Messiah has come."

63
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No one. I mean, it was hard.

64
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He went up. He did a show.
He came off.
He didn't do a show.

65
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No one ever accused Bob
of being a great performer.

66
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I mean, at any time.

67
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Bob came running up to see me
to play a new song for me.

68
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So I said okay, and I sat there,

69
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and Bob whipped out
his rusty guitar

70
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and he played this song for me
and I said,

71
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"This is the greatest song
I've ever heard."

72
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And he was thrilled
that I said to him

73
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that this was a great song,
and I said,

74
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"We have to
record it immediately

75
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"because I know a place
where this should go."

76
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"I'm going to call Artie Mogull
and everything,

77
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"but first, we've got to go in
and record it."

78
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And my memory tells me
that we went...

79
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I went downstairs
at Third Avenue, at the place
that we were at.

80
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It was a Chinese laundry,
and I borrowed $50,

81
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'cause no one
had any money then.

82
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I borrowed $50

83
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so that I could go
to 1619 Broadway,

84
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or wherever it was,
to make a record.

85
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That's how we spoke
in those days.

86
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We were going to make
an acetate.

87
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Bob would sing
and play simultaneously,

88
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and we would run and record it.

89
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And I did that,

90
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and then I sent him home
because he was boring to be with

91
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and I didn't want to hang out
anymore with him.

92
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And then I went over to...

93
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the publishing company, Witmark.

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It was one of those songs
that you knew,

95
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if you were
in the music business,

96
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you knew that a gold mine
had just been discovered.

97
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We just arbitrarily decided
that we would do it

98
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with Peter, Paul and Mary.

99
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Came out three weeks later,

100
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a little song called
Blowin' in the Wind,

101
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went on to absolutely establish
who Bob was

102
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and what his place was
in the world, and deservedly so.

103
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I mean it was, to this day...
I mean, I can listen to it.

104
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I just heard it the other day
on someone and it just...

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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,

108
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who had changed his name,
which was a big enough shanda,

109
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that means "disgrace,"

110
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at that time period, you know.

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And then it was onward
and upward.

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♪ How many roads
must a man walk down

113
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♪ Before you call him a man?

114
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♪ How many seas
must the white dove sail

115
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♪ Before she sleeps
in the sand?

116
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♪ Yes, and how many times
must the cannonballs fly

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♪ Before they're
forever banned?

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♪ The answer, my friend
is blowin' in the wind

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♪ The answer is blowin'
in the wind

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♪ Yes, and how many years
must a mountain exist

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♪ Before it is washed
to the sea?

122
00:09:03,977 --> 00:09:08,547
♪ And how many years
can some people exist

123
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♪ Before they're allowed
to be free?

124
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♪ Yes, and how many times
can a man turn his head

125
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♪ And pretend that
he just doesn't see?

126
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♪ The answer, my friend
is blowin' in the wind

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♪ The answer is blowin'
in the wind

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[COUGHS]

129
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♪ Yes, and how many times
must a man look up

130
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♪ Before he can see the sky?

131
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♪ And how many ears
must one man have

132
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♪ Before he can hear
people cry?

133
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♪ Yes, and how many deaths
will it take till he knows

134
00:10:05,560 --> 00:10:09,129
♪ That too many people
have died?

135
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♪ The answer, my friend
is blowin' in the wind

136
00:10:15,005 --> 00:10:18,704
♪ The answer is blowin'
in the wind ♪

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[CHUCKLING] Albert Grossman.

138
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The thing that I love
the most about Albert.

139
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Albert had this trick.

140
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He could sit there in a room

141
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longer than anyone in the world
and not say a word.

142
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It was such an amazing...
So that people
would find themselves

143
00:10:52,999 --> 00:10:56,568
all of a sudden
getting up and saying,
"I did it, I killed him."

144
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I mean, they would
confess to anything

145
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so as not to have to sit
in a room with Albert

146
00:11:04,794 --> 00:11:07,971
and let that silence swell out.

147
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He had an office.

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00:11:09,755 --> 00:11:10,930
[WHISTLES]

149
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[LAUGHS]

150
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Not many people had offices
at that point.

151
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We were all living
in the Village.

152
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So, Albert and I
went into business together.

153
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I could see that Albert Grossman

154
00:11:30,950 --> 00:11:34,084
really wanted to take over...

155
00:11:36,695 --> 00:11:38,784
Dylan. I could see that.

156
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I mean, and he...
Albert had the money to do it.

157
00:11:43,963 --> 00:11:48,489
Albert is, at best,
a strange guy,

158
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and I have no money.

159
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And I see that Bobby,

160
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who is easily,
in my opinion, manipulated

161
00:12:03,069 --> 00:12:05,724
because he didn't give a shit
in any way.

162
00:12:05,898 --> 00:12:10,598
He was just busy
"writing them songs."

163
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I see that I'm going to
lose out on this.

164
00:12:17,736 --> 00:12:22,741
That it's not going to work
the way that I want it to work.

165
00:12:22,915 --> 00:12:29,835
So I better move quickly,
and I come up with the scheme

166
00:12:30,009 --> 00:12:35,406
of selling my share
of Dylan's contract.

167
00:12:35,580 --> 00:12:38,104
We had split it 50-50,

168
00:12:39,149 --> 00:12:42,195
and my share should be sold,

169
00:12:42,369 --> 00:12:44,763
and I should get $10,000.

170
00:12:44,937 --> 00:12:48,462
I have to tell you that $10,000

171
00:12:48,636 --> 00:12:53,119
in 1961 was a fortune.

172
00:12:54,077 --> 00:12:57,384
That was a lot of money
at that point.

173
00:12:59,169 --> 00:13:04,304
But he was always
very sweet to me,

174
00:13:06,045 --> 00:13:10,093
you know, after the dissolution
and so forth and so on.

175
00:13:10,267 --> 00:13:15,489
And I felt that,
my own personal feeling...

176
00:13:15,663 --> 00:13:20,886
I always thought that
Albert took away so much
of the fun of him.

177
00:13:21,931 --> 00:13:24,150
But that's my opinion.

178
00:13:24,324 --> 00:13:29,373
I thought he was a warmer,
more mellow guy

179
00:13:29,547 --> 00:13:32,289
than Albert had turned him into.

180
00:13:33,986 --> 00:13:37,381
The song Blowin' in the Wind,
my favorite song.

181
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And I was there.

182
00:13:40,645 --> 00:13:46,042
"How many roads
must a man walk down
before they call him a man?

183
00:13:46,216 --> 00:13:50,655
"Yes, and how many seas
must a white dove sail

184
00:13:50,829 --> 00:13:53,223
"before she sleeps in the sand?

185
00:13:53,397 --> 00:13:57,662
"Yes, and how many times
must the cannonballs fly

186
00:13:57,836 --> 00:14:00,012
"before they're forever banned?

187
00:14:00,186 --> 00:14:03,668
"The answer, my friend,
is blowing in the wind.

188
00:14:03,842 --> 00:14:05,626
"The answer is blowing
in the wind."

189
00:14:12,633 --> 00:14:14,070
Okay.

190
00:14:17,073 --> 00:14:19,945
It's so funny
to read this lyric now.

191
00:14:20,990 --> 00:14:23,340
That's 100 years old.

192
00:14:23,514 --> 00:14:27,257
We've all heard it for,
you know, so long.

193
00:14:27,431 --> 00:14:31,435
Now it's become...
It's moved beyond what it was

194
00:14:31,609 --> 00:14:33,524
in a strange kind of a way.

195
00:14:35,352 --> 00:14:37,963
Although, I told you,
I heard it the other day.

196
00:14:39,225 --> 00:14:42,489
I forget where,
and I started to cry.

197
00:14:52,195 --> 00:14:54,414
DYLAN: I got out of the current
George Washington Bridge,

198
00:14:54,588 --> 00:14:56,547
took the subway down the road.

199
00:14:56,721 --> 00:14:59,898
Went to the Cafe Wha?,
I looked out at the crowd.

200
00:15:00,072 --> 00:15:04,729
"Does anybody know
where a couple of people
could stay tonight?"

201
00:15:04,903 --> 00:15:06,557
I was ready for New York.

202
00:15:08,385 --> 00:15:10,474
IZZY YOUNG:
So, this guy comes in.

203
00:15:10,648 --> 00:15:14,739
He didn't look
too prepossessing,
didn't look the wild sort.

204
00:15:14,913 --> 00:15:17,655
He looked like an ordinary kid.

205
00:15:20,440 --> 00:15:23,356
He said,
"Listen, I got some songs
I want you to hear."

206
00:15:23,530 --> 00:15:26,794
So I was, "Oh, God.
Can you come tomorrow?
Get out of here."

207
00:15:26,969 --> 00:15:28,753
He said,
"No, I want to
sing you a song."

208
00:15:28,927 --> 00:15:30,320
So I let him sing the song.

209
00:15:30,494 --> 00:15:32,409
And then I started
pointing people.

210
00:15:32,583 --> 00:15:34,193
I said, "Listen,
see that guy in the back room?

211
00:15:34,367 --> 00:15:36,369
"His name is Bob Dylan.
You should listen to him.

212
00:15:36,543 --> 00:15:38,937
"The guy's writing good songs,
he's terrific."

213
00:15:39,111 --> 00:15:42,158
Al Jolson was the first
successful folk manager

214
00:15:42,332 --> 00:15:44,551
who knew how to make money
out of the singles.

215
00:15:44,725 --> 00:15:46,814
ARTIE MOGUL:
Albert tells me one day
they're going to send a guy

216
00:15:46,989 --> 00:15:48,947
over to see me
named Bob Dylan.

217
00:15:49,121 --> 00:15:53,778
He's got a guitar
with some kind of a contraption
around his neck,

218
00:15:53,952 --> 00:15:56,476
so that the harmonica
is up to his mouth.

219
00:15:56,650 --> 00:16:00,915
Now, believe me
when I tell you, nobody had
ever seen this before.

220
00:16:01,090 --> 00:16:03,005
And he starts singing for me.

221
00:16:03,179 --> 00:16:08,053
♪ How many roads
must a man walk down

222
00:16:08,227 --> 00:16:11,970
♪ Before you call him a man?

223
00:16:13,406 --> 00:16:18,020
♪ How many seas
must the white dove sail...

224
00:16:18,194 --> 00:16:22,894
The music business per se
was dominated
by music publishers.

225
00:16:23,068 --> 00:16:25,244
In those days,
the song was important.

226
00:16:25,418 --> 00:16:27,333
♪ ...must the cannonballs
fly...

227
00:16:27,507 --> 00:16:29,944
When I heard
"How many ears
must one man have

228
00:16:30,119 --> 00:16:33,035
"before he can hear people cry?"
I flipped.

229
00:16:33,209 --> 00:16:35,907
I can't even remember
what the songs were
that he played me that day.

230
00:16:36,081 --> 00:16:38,257
But I said, "Okay, that's it.
I want you.

231
00:16:38,431 --> 00:16:40,346
"I'll give you
a writer's contract."

232
00:16:40,520 --> 00:16:43,175
And we got a contract ready
and he signed it.

233
00:16:43,349 --> 00:16:46,309
DYLAN:
I didn't tell anybody for a bit
because, you know,

234
00:16:46,483 --> 00:16:48,311
I almost wasn't sure
it was happening myself.

235
00:16:48,485 --> 00:16:50,878
So I don't think
I really told anybody

236
00:16:51,053 --> 00:16:53,881
until I actually
went through with the sessions.

237
00:16:54,056 --> 00:16:56,188
♪ ...is blowin' in the wind

238
00:16:56,362 --> 00:17:00,105
♪ The answer is blowin'
in the wind ♪

239
00:17:01,498 --> 00:17:04,022
Now, Bob, when he started
to bring me songs,

240
00:17:04,196 --> 00:17:07,417
the lyrics were written
on this long
yellow legal-size paper.

241
00:17:07,591 --> 00:17:10,681
Every one of the songs
came to me that way.

242
00:17:11,725 --> 00:17:14,424
The Times They Are A-Changin',
all the classics.

243
00:17:14,598 --> 00:17:17,253
And we would take him
into this little tiny studio

244
00:17:17,427 --> 00:17:20,299
that was across from my office
and he would make a tape,

245
00:17:20,473 --> 00:17:24,086
singing the song,
playing the guitar.

246
00:17:24,260 --> 00:17:28,046
I would then take the tape
and give it to our head copyist,

247
00:17:28,220 --> 00:17:31,049
who was a guy
named Simeon Saber.

248
00:17:31,223 --> 00:17:33,530
Simeon Saber was about
65 years old,

249
00:17:33,704 --> 00:17:38,056
and he'd been sitting there with
his green eyeshade for 45 years,

250
00:17:38,230 --> 00:17:42,060
copying the songs
of Victor Herbert, Rudolf Friml,

251
00:17:42,234 --> 00:17:46,891
and now I'm bringing him songs
about rats eating babies.

252
00:17:47,065 --> 00:17:49,023
He comes to me one day
and he says,

253
00:17:49,198 --> 00:17:52,288
"We've got to get
a young copyist in.
I just can't do this."

254
00:17:52,462 --> 00:17:55,552
Strangely enough,
even the old people there,

255
00:17:55,726 --> 00:17:58,207
everybody got on
the Dylan bandwagon.

256
00:17:58,381 --> 00:18:01,427
Everybody started
to record Bob Dylan songs.

257
00:18:01,601 --> 00:18:03,777
Helped, of course, by the fact
that Peter, Paul and Mary

258
00:18:03,951 --> 00:18:06,519
didBlowin' in the Wind
and thenDon't Think Twice.

259
00:18:10,044 --> 00:18:12,395
And I think it was the fact

260
00:18:12,569 --> 00:18:15,528
that all these other artists
did Bob,

261
00:18:15,702 --> 00:18:18,531
is what made him
start to become so big.

262
00:18:18,705 --> 00:18:24,102
♪ 'Cause the times
they are a-changing

263
00:18:26,626 --> 00:18:29,412
♪ Come mothers
and fathers... ♪

264
00:18:29,586 --> 00:18:34,025
He was the first artist
who could record an album

265
00:18:34,199 --> 00:18:39,335
of 10 or 12 songs and be
the writer and publisher
of all the songs.

266
00:18:39,509 --> 00:18:44,470
Previous to that, if Nat Cole
recorded an album of 12 songs,

267
00:18:44,644 --> 00:18:47,125
12 different writers
and 12 different publishers

268
00:18:47,299 --> 00:18:49,562
wrote those songs.

269
00:18:49,736 --> 00:18:52,304
In Bob's case,
he really was writing all
these great original songs

270
00:18:52,478 --> 00:18:55,699
and on all the publishing
and all the writing.

271
00:18:56,830 --> 00:18:59,529
It was the beginning of the end

272
00:18:59,703 --> 00:19:01,922
of what used to be known as
Tin Pan Alley.

273
00:19:03,794 --> 00:19:08,929
♪ Well, I ain't got
my childhood

274
00:19:09,103 --> 00:19:12,933
♪ Or friends I once did know

275
00:19:14,326 --> 00:19:16,154
♪ But I still...

276
00:19:16,328 --> 00:19:17,808
DYLAN: I wrote a lot of songs
in a quick amount of time.

277
00:19:17,982 --> 00:19:19,462
I could do that then.

278
00:19:19,636 --> 00:19:24,336
Because the process
was new to me.

279
00:19:24,510 --> 00:19:30,777
♪ Hey, hey, so I guess
I'm doin' fine ♪

280
00:19:37,175 --> 00:19:40,526
Yes, I don't think
a lot of people realize.

281
00:19:40,700 --> 00:19:44,008
Even I question,
where did this come from?

282
00:19:44,182 --> 00:19:46,228
How does he come up with these?

283
00:19:46,402 --> 00:19:50,232
How did this kid
from Hibbing, Minnesota...

284
00:19:52,016 --> 00:19:53,931
How was this in him?

285
00:19:54,105 --> 00:19:56,325
I'll tell you something else
interesting about those demos

286
00:19:56,499 --> 00:19:58,109
that we used to make with Bob.

287
00:19:58,283 --> 00:20:00,329
Someplace there exists
the tapes on those.

288
00:20:00,503 --> 00:20:02,679
MAN: I have the tapes.

289
00:20:02,853 --> 00:20:05,159
MOGULL: You actually
found the tapes
from those demos he made?

290
00:20:05,334 --> 00:20:08,380
MAN: We have all the original
tapes from the demos
in the original boxes.

291
00:20:08,554 --> 00:20:09,903
MOGULL: Well, that could be
a great album.

292
00:20:31,621 --> 00:20:34,232
ANNOUNCER: Today's young people
have more leisure time

293
00:20:34,406 --> 00:20:36,626
than any previous generation,

294
00:20:36,800 --> 00:20:40,412
and more ways
to fill those hours
between work and play.

295
00:20:42,501 --> 00:20:45,765
For practically everyone
twixt 12 and 20,

296
00:20:45,939 --> 00:20:49,595
one activity to beat the band
is music.

297
00:20:49,769 --> 00:20:53,686
Whether blasting from
a transistor radio at the beach

298
00:20:53,860 --> 00:20:56,515
or the record player
in your bedroom,

299
00:20:56,689 --> 00:21:00,214
music is in the air
that teenagers breathe.

300
00:21:00,389 --> 00:21:03,261
But like any healthy
teenage activity,

301
00:21:03,435 --> 00:21:07,918
music could be corrupted
by unscrupulous profiteers

302
00:21:08,092 --> 00:21:13,793
out to push the latest
dubious gimmick
in the name of progress.

303
00:21:13,967 --> 00:21:16,405
You kids have to be careful
of these snake oil salesmen

304
00:21:16,579 --> 00:21:18,102
trying to sell you stereo sound.

305
00:21:18,276 --> 00:21:20,713
It's just a scam
to raise the price of records.

306
00:21:20,887 --> 00:21:23,586
But my boyfriend says that
stereo makes it sound

307
00:21:23,760 --> 00:21:26,545
like a group is playing
right in your bedroom.

308
00:21:26,719 --> 00:21:28,504
Yeah, and how would your dad
feel if one of these rock groups

309
00:21:28,678 --> 00:21:30,462
did come and play
in your bedroom?

310
00:21:30,636 --> 00:21:33,770
Well, I guess he wouldn't
really go for that.

311
00:21:33,944 --> 00:21:37,991
ANNOUNCER: Darn right
he wouldn't, and neither
would your neighbors.

312
00:21:38,165 --> 00:21:41,908
Stereo sound purports to split
the signal between two speakers,

313
00:21:42,082 --> 00:21:45,042
putting half the music
in one side
and half in the other.

314
00:21:45,216 --> 00:21:47,958
They claim that when the music
is reassembled in your brain,

315
00:21:48,132 --> 00:21:49,699
it fools you into thinking

316
00:21:49,873 --> 00:21:51,918
you're hearing a band
spread out around the room.

317
00:21:52,092 --> 00:21:53,877
Why would I want
to fool my brain?

318
00:21:54,051 --> 00:21:56,140
ANNOUNCER: Exactly, Scottie.

319
00:21:56,314 --> 00:21:59,665
By introducing
deceptive patterns
into the adolescent mind,

320
00:21:59,839 --> 00:22:03,713
stereo sound plays havoc
with the still-developing
tissue

321
00:22:03,887 --> 00:22:08,413
of the teenage brain.
Stereo is designed
to lie to you.

322
00:22:08,587 --> 00:22:10,546
The fallacy
of the stereo sales pitch

323
00:22:10,720 --> 00:22:12,635
is that it's based
on the false syllogism

324
00:22:12,809 --> 00:22:16,900
that two speakers
equal your two ears.

325
00:22:17,074 --> 00:22:19,772
But what it ignores
is that you only have one brain,

326
00:22:19,946 --> 00:22:22,079
and you don't listen to music
with your ears,

327
00:22:22,253 --> 00:22:23,820
you listen with your brain.

328
00:22:25,387 --> 00:22:27,911
ANNOUNCER: What is the antidote
to stereo?

329
00:22:28,085 --> 00:22:32,002
Well, it's been right
in your home all along.

330
00:22:32,176 --> 00:22:35,048
Good old American mono.

331
00:22:36,354 --> 00:22:37,529
In the recording studio,

332
00:22:37,703 --> 00:22:40,271
each instrument
has its own microphone.

333
00:22:40,445 --> 00:22:43,361
Trained technicians
on the other side
of the protective window

334
00:22:43,535 --> 00:22:46,103
balance the volume levels
to achieve an ideal blend.

335
00:22:47,844 --> 00:22:50,499
With mono recording,
you hear that same perfect blend

336
00:22:50,673 --> 00:22:52,370
wherever you're standing.

337
00:22:52,544 --> 00:22:54,111
However, with stereo recording,

338
00:22:54,285 --> 00:22:55,895
you may hear a blaring trumpet
in the left speaker,

339
00:22:56,069 --> 00:22:58,681
an out-of-tune electric guitar
in the right speaker,

340
00:22:58,855 --> 00:23:02,075
and a honking Lowrey organ
somewhere on the ceiling.

341
00:23:02,249 --> 00:23:04,513
ANNOUNCER: And here's
something you may not know.

342
00:23:04,687 --> 00:23:09,213
Today's most with-it groups
mix all their records in mono.

343
00:23:09,387 --> 00:23:11,302
That's the true recording.

344
00:23:11,476 --> 00:23:13,435
Stereo mixes are often done

345
00:23:13,609 --> 00:23:17,656
after the musicians you love
have left the room.

346
00:23:18,918 --> 00:23:21,312
This whole stereo stampede
is nothing but a flimflam

347
00:23:21,486 --> 00:23:23,880
to trick teenagers
into paying more for records.

348
00:23:24,707 --> 00:23:26,317
$3.50?

349
00:23:26,491 --> 00:23:28,450
That's more than
my whole allowance.

350
00:23:28,624 --> 00:23:30,843
Once customers
swallow high stereo prices,

351
00:23:31,017 --> 00:23:34,107
many stores may stop
selling mono records altogether.

352
00:23:34,281 --> 00:23:36,719
They can't do that, can they?

353
00:23:36,893 --> 00:23:40,244
ANNOUNCER: Teenagers are
the future of America.

354
00:23:40,418 --> 00:23:43,682
These young twisters, swingers
and go-go kids

355
00:23:43,856 --> 00:23:46,076
will someday be our senators,

356
00:23:46,250 --> 00:23:49,079
astronauts and homemakers,

357
00:23:49,253 --> 00:23:51,298
but to live in the future,

358
00:23:51,473 --> 00:23:54,258
everyone will need
a fully functioning brain.

359
00:23:54,432 --> 00:24:01,526
Everyone will need to be able
to think clearly,
straightforwardly in mono.

360
00:24:01,700 --> 00:24:03,223
I'm sticking with mono.

361
00:24:04,355 --> 00:24:06,226
I'm sticking with mono.

362
00:24:06,400 --> 00:24:09,534
ANNOUNCER: Let's all
stick with mono.

363
00:24:18,630 --> 00:24:20,806
♪ Columbia
That's the magic word

364
00:24:20,980 --> 00:24:23,461
♪ For the greatest records
you've ever heard

365
00:24:23,635 --> 00:24:28,466
♪ You even get past the hi-lo
on Columbia! ♪

366
00:24:43,960 --> 00:24:47,920
♪ When you're lost in the rain
down in Juarez

367
00:24:48,094 --> 00:24:50,227
♪ When it's Easter, too

368
00:24:53,796 --> 00:24:55,798
♪ And your gravity drops

369
00:24:55,972 --> 00:25:00,193
♪ And negativity
don't pull you through ♪

370
00:25:04,415 --> 00:25:06,678
♪ Don't put on any airs

371
00:25:06,852 --> 00:25:10,726
♪ When you're walking
on Rue Morgue Avenue

372
00:25:13,511 --> 00:25:16,514
♪ They got some
hungry women there

373
00:25:16,688 --> 00:25:20,562
♪ And they really make
a mess outta you

374
00:25:33,183 --> 00:25:39,668
♪ Well if you see Saint Annie
please tell her thanks a lot

375
00:25:43,715 --> 00:25:49,852
♪ I cannot move
My fingers are all in a knot

376
00:25:53,464 --> 00:25:55,945
♪ I do not have the strength

377
00:25:56,119 --> 00:26:00,079
♪ To get up
and take another shot

378
00:26:03,213 --> 00:26:05,911
♪ And the doctor
who's my best friend

379
00:26:06,085 --> 00:26:10,655
♪ Won't even tell me
what it is I've got

380
00:26:32,590 --> 00:26:39,641
♪ I started out on burgundy
and soon hit the harder stuff

381
00:26:42,600 --> 00:26:46,082
♪ Everybody said
they'd stand behind me

382
00:26:46,256 --> 00:26:49,259
♪ When the game got rough

383
00:26:52,610 --> 00:26:54,612
♪ But it was all a laugh

384
00:26:54,786 --> 00:26:59,704
♪ Because there was no one
there to call my bluff

385
00:27:02,054 --> 00:27:04,796
♪ I'm going back
to New York City

386
00:27:04,970 --> 00:27:09,061
♪ I believe I've had enough ♪

387
00:27:48,840 --> 00:27:54,063
NARRATOR: Between 1965
and 1966, Bob Dylan
recorded three albums

388
00:27:54,237 --> 00:27:57,370
that many believe
changed the course
of modern music.

389
00:27:57,544 --> 00:27:59,111
Bringing It All Back Home,

390
00:27:59,285 --> 00:28:02,158
Highway 61 Revisited
andBlonde on Blonde.

391
00:28:02,332 --> 00:28:05,683
The Cutting Edge,
The Bootleg Series Volume 12

392
00:28:05,857 --> 00:28:07,554
takes you inside the studio

393
00:28:07,729 --> 00:28:10,775
during the recording of
these three legendary albums.

394
00:28:10,949 --> 00:28:13,952
♪ Well, the rainman's coming
and he's waving his wand

395
00:28:15,475 --> 00:28:18,914
♪ And the judge says
"Mona can't have no bond"

396
00:28:20,611 --> 00:28:23,309
♪ Mona, she starts to cry

397
00:28:25,224 --> 00:28:28,314
♪ Rainman leaves
in a wolf's disguise... ♪

398
00:28:30,142 --> 00:28:32,971
NARRATOR: With a staggering
wealth of unreleased songs,

399
00:28:33,145 --> 00:28:35,800
outtakes, rehearsals
and alternate versions,

400
00:28:35,974 --> 00:28:38,063
The Cutting Edge
provides a unique look

401
00:28:38,237 --> 00:28:41,327
into one man's
astonishing creative process.

402
00:28:41,937 --> 00:28:43,286
MAN: My Girl, take one.

403
00:28:44,896 --> 00:28:47,769
NARRATOR: January 1965,
Dylan arrives

404
00:28:47,943 --> 00:28:52,861
at CBS Recording Studios
in Manhattan
looking for a new sound.

405
00:28:53,035 --> 00:28:55,777
♪ She's got everything
she needs

406
00:28:55,951 --> 00:29:00,172
♪ She's an artist
She don't look back

407
00:29:03,610 --> 00:29:05,743
♪ She's got everything
she needs

408
00:29:05,917 --> 00:29:09,399
♪ She's an artist
She don't look back

409
00:29:12,097 --> 00:29:14,230
♪ She can take the dark
out of the night time

410
00:29:14,404 --> 00:29:18,060
♪ And paint
the day time black ♪

411
00:29:22,151 --> 00:29:24,414
NARRATOR: OnThe Cutting Edge,
we follow that journey

412
00:29:24,588 --> 00:29:28,287
as the elements ofBringing It
All Back Home fall into place.

413
00:29:30,246 --> 00:29:36,295
♪ Ain't it hard to stumble and
land in some funny lagoon? ♪

414
00:29:38,471 --> 00:29:43,346
♪ Hey, Mr. Tambourine Man
play a song for me... ♪

415
00:29:43,520 --> 00:29:45,783
DYLAN: Hey, I can't...

416
00:29:45,957 --> 00:29:48,220
Hey, the drumming
is driving me mad.
I'm going out of my brain.

417
00:29:54,618 --> 00:29:57,621
NARRATOR: Six months later,
Bob Dylan is back
in the studio.

418
00:29:57,795 --> 00:29:59,797
♪ People call, say
"Beware doll

419
00:29:59,971 --> 00:30:01,494
♪ "You're bound to fall"

420
00:30:01,668 --> 00:30:03,801
♪ You thought they were
all kiddin' you ♪

421
00:30:07,674 --> 00:30:09,807
DYLAN: At this point,
his switch to electric music

422
00:30:09,981 --> 00:30:11,983
has already alienated
some fans,

423
00:30:12,157 --> 00:30:15,465
at the same time
created a whole new audience.

424
00:30:17,206 --> 00:30:20,209
The resulting album,
Highway 61 Revisited

425
00:30:20,383 --> 00:30:23,734
is Dylan's first
fully realized rock album.

426
00:30:23,908 --> 00:30:26,476
♪ Well, I ride
on a mailtrain, baby

427
00:30:26,650 --> 00:30:28,870
♪ Can't buy no thrill

428
00:30:31,046 --> 00:30:34,005
♪ I've been up all night, baby

429
00:30:35,093 --> 00:30:37,313
♪ Leanin' on the windowsill

430
00:30:39,010 --> 00:30:45,408
♪ Well, if I die
on top of the hill

431
00:30:45,582 --> 00:30:47,758
♪ And if I don't make it

432
00:30:47,932 --> 00:30:50,413
♪ You know my baby will ♪

433
00:30:53,677 --> 00:30:57,942
NARRATOR: On his next album,
the sonic landscape
shifts once again.

434
00:30:58,116 --> 00:31:00,249
It takes several tries
and multiple cities

435
00:31:00,423 --> 00:31:03,730
to finally realize
Dylan's distinctive vision

436
00:31:03,905 --> 00:31:06,255
for rock's first double album

437
00:31:06,995 --> 00:31:08,518
Blonde on Blonde.

438
00:31:10,563 --> 00:31:12,391
But onThe Cutting Edge,

439
00:31:12,565 --> 00:31:15,264
even the wrong directions
can yield glorious results.

440
00:31:16,178 --> 00:31:18,441
♪ Ain't it just like the night

441
00:31:18,615 --> 00:31:23,185
♪ To play tricks when
you're tryin' to be so quiet? ♪

442
00:31:23,359 --> 00:31:25,578
The Cutting Edge
presents an alternate history

443
00:31:25,752 --> 00:31:29,104
for some of
the most distinctive songs
ever recorded.

444
00:31:29,278 --> 00:31:34,022
♪ Oh, Mama
this might be the end

445
00:31:34,196 --> 00:31:39,331
♪ I'm down here in Mobile
with the Memphis blues again ♪

446
00:31:47,122 --> 00:31:51,430
NARRATOR: You are there
for the evolution
of one classic after another,

447
00:31:51,604 --> 00:31:54,825
and all of it is tied together
with Dylan's unerring sense

448
00:31:54,999 --> 00:31:57,567
of lyrical and musical mastery.

449
00:31:57,741 --> 00:32:00,309
♪ Now your dancing child
with his Chinese suit

450
00:32:00,483 --> 00:32:02,833
♪ He spoke to me
I took his flute

451
00:32:03,007 --> 00:32:07,055
♪ No, I wasn't
very cute to him, was I?

452
00:32:07,229 --> 00:32:09,927
♪ But I did it to him
because he lied

453
00:32:10,101 --> 00:32:12,190
♪ Because he took you
for a ride...

454
00:32:12,364 --> 00:32:14,410
♪ Because time was
on his side

455
00:32:14,584 --> 00:32:16,499
♪ And because I...

456
00:32:16,673 --> 00:32:18,240
♪ Want you

457
00:32:19,023 --> 00:32:21,025
♪ I want you

458
00:32:21,199 --> 00:32:24,376
♪ I want you so bad

459
00:32:25,421 --> 00:32:27,379
♪ Honey, I want you ♪

460
00:32:33,124 --> 00:32:35,300
Hello, I'm Bob Egan of PopSpots,

461
00:32:35,474 --> 00:32:38,303
the website where I track down
where old record album covers
were made.

462
00:32:38,477 --> 00:32:42,394
Today we're going to
look at Bob Dylan's
Bringing It All back Home.

463
00:32:42,568 --> 00:32:45,136
Now, today I'm on Minetta Street
in Greenwich Village,

464
00:32:45,310 --> 00:32:47,051
the center of
the folk movement,

465
00:32:47,225 --> 00:32:49,967
and I'm standing next to what
used to be called The Commons.

466
00:32:50,141 --> 00:32:53,362
And in 1962, Dylan wrote
Blowin' in the Windright here.

467
00:32:53,536 --> 00:32:57,018
Now, back in that era,
he was a scruffy looking kid

468
00:32:57,192 --> 00:33:00,325
who just blew in from
the Midwest, and he would be
photographed that way.

469
00:33:00,499 --> 00:33:03,459
But three years later,
he's a changed guy.

470
00:33:03,633 --> 00:33:05,156
Rock 'n' roll has come.

471
00:33:05,330 --> 00:33:06,027
The Beatles have come,
The Rolling Stones have come.

472
00:33:06,201 --> 00:33:08,246
New fashions have come.

473
00:33:08,420 --> 00:33:10,509
When he put out this album,
he's dressed like
a country squire.

474
00:33:10,683 --> 00:33:12,207
He's in the middle
of a nice, beautiful house

475
00:33:12,381 --> 00:33:14,687
next to a beautiful woman,
he's got a Persian cat.

476
00:33:14,861 --> 00:33:19,475
Basically, what he's trying
to do here is say,
"I'm past the folk movement.

477
00:33:19,649 --> 00:33:23,479
"I'm moving on."
As a matter of fact,
half the record is acoustic,

478
00:33:23,653 --> 00:33:26,177
that's the old world,
and half is electric.

479
00:33:26,351 --> 00:33:28,179
Right here,
this is Sally Grossman.

480
00:33:28,353 --> 00:33:31,008
Bob's manager
was Albert Grossman
and that was his wife.

481
00:33:31,182 --> 00:33:33,924
This photograph is taken
on the Grossman's estate

482
00:33:34,098 --> 00:33:38,842
up in Bearsville, New York,
which is just
west of Woodstock.

483
00:33:39,016 --> 00:33:41,584
How many pictures
did you take like this?

484
00:33:41,758 --> 00:33:43,194
Ten.

485
00:33:43,368 --> 00:33:45,327
And how did you decide
on this particular shot?

486
00:33:45,501 --> 00:33:48,504
-The only one in which the cat
was looking at the lens.
-[CHUCKLES]

487
00:33:48,678 --> 00:33:50,723
How'd you get that
yellow circle of light?

488
00:33:50,897 --> 00:33:52,377
As I explained to Bob that

489
00:33:52,551 --> 00:33:55,685
what would happen
if we do this effect,

490
00:33:55,859 --> 00:34:00,559
-we will have things
blurry and moving...
-Yeah.

491
00:34:00,733 --> 00:34:03,649
...but you won't be moving
because you're the center.

492
00:34:03,823 --> 00:34:05,303
You know what's going on.

493
00:34:05,477 --> 00:34:10,091
But around you, there's
the turning of the world.

494
00:34:10,265 --> 00:34:12,484
Also the turning of the record.

495
00:34:12,658 --> 00:34:15,226
Any reason why you put
Dylan's own album in the back?

496
00:34:15,400 --> 00:34:16,880
Just kind of like his history,
is that it?

497
00:34:17,054 --> 00:34:19,404
My back pages.

498
00:34:19,578 --> 00:34:22,015
KRAMER: Bob put a lot
of things in that had
some meaning for him.

499
00:34:22,190 --> 00:34:24,061
Bob Dylan with Daniel Kramer,

500
00:34:24,235 --> 00:34:26,237
they spent about three hours
going through the house,

501
00:34:26,411 --> 00:34:28,283
just picking up
all sorts of old stuff,

502
00:34:28,457 --> 00:34:30,981
including the record album
and, you know, movies.

503
00:34:31,155 --> 00:34:32,635
And then, you know,
like old world paintings.

504
00:34:32,809 --> 00:34:34,419
He's got these pink cufflinks.

505
00:34:34,593 --> 00:34:37,030
They were a present to him
by Joan Baez.

506
00:34:37,205 --> 00:34:41,426
And he's got, you know, a lot of
the objects of his past,

507
00:34:41,600 --> 00:34:43,559
including one of his
old albums in the middle.

508
00:35:08,192 --> 00:35:09,889
Hi, I'm Bob Egan of PopSpots,
and on my website,

509
00:35:10,063 --> 00:35:13,110
I searched down where famous
record album covers were done.

510
00:35:13,284 --> 00:35:15,286
Today I'm sitting
on the front steps

511
00:35:15,460 --> 00:35:18,855
of where Bob Dylan lived
for two years,
starting in 1961.

512
00:35:19,029 --> 00:35:23,947
Today we're going to
go look at the location of
Highway 61 Revisited.

513
00:35:24,121 --> 00:35:26,036
Bob lived here
and he took this photograph

514
00:35:26,210 --> 00:35:28,081
right down these steps,
down the street,

515
00:35:28,256 --> 00:35:29,735
right over to the corner
of Jones Street.

516
00:35:29,909 --> 00:35:31,824
They probably walked
right by this spot,

517
00:35:31,998 --> 00:35:34,131
where they took the shot
for Freewheelin'
several years before.

518
00:35:34,305 --> 00:35:37,134
So now follow me
and we're gonna go see

519
00:35:37,308 --> 00:35:39,745
the rest of where
the other part of the shoot was

520
00:35:39,919 --> 00:35:41,921
for Highway 61.

521
00:35:42,095 --> 00:35:43,836
The street corner
at Sixth Avenue
and West Fourth Street.

522
00:35:44,010 --> 00:35:47,144
And where they went,
this place called O' Henry's.

523
00:35:47,318 --> 00:35:49,668
And it was a famous,
old fashioned,

524
00:35:49,842 --> 00:35:53,063
you know, kind of
barbershop-quartet-era
type restaurant

525
00:35:53,237 --> 00:35:55,021
that was located right here.

526
00:35:55,196 --> 00:35:59,112
After lunch, Bob and Daniel
went up to Gramercy Park.

527
00:35:59,287 --> 00:36:01,854
So, I'm always on the lookout
for different locations,

528
00:36:02,028 --> 00:36:05,423
you know, where album covers
were done and I saw a book
that said

529
00:36:05,597 --> 00:36:09,166
that Janis Joplin used to sit on
the front steps of the building

530
00:36:09,340 --> 00:36:12,691
where it was taken,
and look out at Gramercy Park.

531
00:36:12,865 --> 00:36:15,651
When I found that Janis Joplin

532
00:36:15,825 --> 00:36:19,524
had been
at Albert Grossman's apartment,

533
00:36:19,698 --> 00:36:23,311
I zoomed in on the door
and I said,
"This is the same door."

534
00:36:23,485 --> 00:36:25,008
I couldn't believe it because

535
00:36:25,182 --> 00:36:27,402
the whole time that I was
thinking about this album,

536
00:36:27,576 --> 00:36:32,189
I thought that it was done
indoors inside of a stage,

537
00:36:32,363 --> 00:36:34,017
because it looks like
it's kind of like a theater arch

538
00:36:34,191 --> 00:36:35,714
on the right hand side.

539
00:36:35,888 --> 00:36:37,586
So I was... My mind was blown
when it turns out

540
00:36:37,760 --> 00:36:39,936
that it's outdoors
after all this time.

541
00:36:40,110 --> 00:36:42,112
This is a place
where Dylan stayed for,

542
00:36:42,286 --> 00:36:43,418
you know, long periods of time.

543
00:36:43,592 --> 00:36:46,377
When they got here, Dylan said,

544
00:36:46,551 --> 00:36:49,250
"I want to go in
and have you take a picture

545
00:36:49,424 --> 00:36:51,556
"using my new Triumph T-shirt."

546
00:36:51,730 --> 00:36:55,125
So he went and got the Triumph
T-shirt and he sat down.

547
00:36:55,299 --> 00:36:58,476
Usually, you have a plan,
especially for a cover.

548
00:36:58,650 --> 00:36:59,521
Yeah.

549
00:36:59,695 --> 00:37:01,827
And this wasn't the plan.

550
00:37:02,001 --> 00:37:04,569
This was kind of all naked here.

551
00:37:04,743 --> 00:37:07,964
So I asked Neuwirth
if he'd stand here.

552
00:37:08,138 --> 00:37:13,926
So I grabbed my camera and I
said, "Bob, hold this camera."

553
00:37:14,100 --> 00:37:19,018
Now, once he did that, it seems
like something's going on.

554
00:37:19,192 --> 00:37:23,588
Not that we're taking a picture,
but there's a making
of a picture.

555
00:37:23,762 --> 00:37:26,635
There's a photographer,
he's got his camera.

556
00:37:26,809 --> 00:37:29,333
This wasn't the plan.

557
00:37:29,507 --> 00:37:34,077
This wasn't even expected that
we would do a picture like this.

558
00:37:34,251 --> 00:37:36,122
Kramer then took
two different pictures

559
00:37:36,297 --> 00:37:37,776
and one of the pictures...

560
00:37:37,950 --> 00:37:40,562
You know, the last picture
of the day that they shot

561
00:37:40,736 --> 00:37:44,261
was the one that became
the album cover.

562
00:37:44,435 --> 00:37:47,743
♪ And have it on Highway 61 ♪

563
00:38:09,068 --> 00:38:10,505
This is Bob Egan from PopSpots.

564
00:38:10,679 --> 00:38:12,071
It's a website
where I track down

565
00:38:12,245 --> 00:38:13,943
where famous record album covers
were done.

566
00:38:14,117 --> 00:38:17,773
Today we're gonna look at where
Blonde On Blonde

567
00:38:17,947 --> 00:38:21,777
from 1966, Bob Dylan's album,
was photographed.

568
00:38:21,951 --> 00:38:24,780
Standing next to
Jerry Schatzberg,
who took that photograph.

569
00:38:24,954 --> 00:38:26,869
This is your studio.
It was right up here.

570
00:38:27,043 --> 00:38:29,393
Dylan picked you
and one of your assistants up.

571
00:38:29,567 --> 00:38:31,090
And where did you go
to take the picture?

572
00:38:31,264 --> 00:38:34,616
What I remember was the
Meatpacking District downtown.

573
00:38:34,790 --> 00:38:37,096
-Okay, that's about 14th Street.
-Possibly.

574
00:38:37,270 --> 00:38:38,271
Way over on the west side.

575
00:38:38,446 --> 00:38:39,621
Let's go check it out.

576
00:38:43,625 --> 00:38:45,801
We're going to
the Meatpacking District

577
00:38:45,975 --> 00:38:50,632
because I know that
I photographed Dylan there
for Blonde on Blonde.

578
00:38:50,806 --> 00:38:52,285
Or I think
I photographed him there.

579
00:38:52,460 --> 00:38:55,506
We're just trying
to discover where

580
00:38:55,680 --> 00:38:58,814
because they've gentrified
the areas so much.

581
00:38:58,988 --> 00:39:02,818
We're hoping to
uncover the mystery.

582
00:39:06,169 --> 00:39:10,652
Tell me exactly why the pictures
are blurred on the cover.

583
00:39:10,826 --> 00:39:12,523
It was pretty cold out,
you know.

584
00:39:12,697 --> 00:39:15,570
I know all the critics,
everybody trying to figure,

585
00:39:15,744 --> 00:39:19,530
"Oh, they were trying
to do a drug shot
or something."

586
00:39:19,704 --> 00:39:23,752
It's not true. It was February.
He was wearing just that jacket.

587
00:39:23,926 --> 00:39:26,624
I was wearing something similar.
The two of us were really cold.

588
00:39:26,798 --> 00:39:29,888
And to his credit, he's the one
that chose that photograph.

589
00:39:31,368 --> 00:39:35,938
Someplace in here
might be the building,

590
00:39:36,112 --> 00:39:38,027
but it's totally disguised now.

591
00:39:41,247 --> 00:39:45,208
So far, this is
the closest thing that
I've seen in all these years.

592
00:39:45,382 --> 00:39:47,428
They covered
over the brick here.

593
00:39:47,602 --> 00:39:49,865
It could be this building, too,
without this top.

594
00:39:50,039 --> 00:39:53,390
I think this building
looks very possible.

595
00:39:54,347 --> 00:39:56,088
It's been a good experience
for me

596
00:39:56,262 --> 00:39:58,308
because I really thought that
the building would be torn down.

597
00:39:58,482 --> 00:40:00,223
Now I think that it might be
up here somewhere.

598
00:40:00,397 --> 00:40:02,617
-Still might be up...
-I think the job is
up to you now.

599
00:40:02,791 --> 00:40:04,836
-I'll see you. Thanks, guys.
-Okay.

600
00:40:05,707 --> 00:40:09,928
♪ I'm pledging my time to you

601
00:40:10,102 --> 00:40:12,148
♪ Hopin' you'll
come through, too... ♪

602
00:40:28,120 --> 00:40:30,427
♪ Ain't it just like the night

603
00:40:30,601 --> 00:40:34,692
♪ To play tricks when
you're tryin' to be quiet?

604
00:40:38,740 --> 00:40:41,612
♪ We sit here stranded

605
00:40:41,786 --> 00:40:45,616
♪ Though we're all doin'
our best to deny it

606
00:40:49,490 --> 00:40:52,449
♪ And Louise holds
a handful of rain

607
00:40:52,623 --> 00:40:55,626
♪ Temptin' you to defy it

608
00:40:59,717 --> 00:41:03,591
♪ Lights flicker
from the opposite loft

609
00:41:05,244 --> 00:41:08,900
♪ In this room
the heat pipes, they cough

610
00:41:10,554 --> 00:41:13,688
♪ The country music station
plays soft

611
00:41:13,862 --> 00:41:18,083
♪ But there's nothing
Really nothing to turn off

612
00:41:20,259 --> 00:41:27,615
♪ Just Louise and her lover
so entwined

613
00:41:31,314 --> 00:41:36,537
♪ And these visions of Johanna

614
00:41:36,711 --> 00:41:40,497
♪ That conquer my mind

615
00:41:47,504 --> 00:41:49,898
♪ The fiddler now speaks

616
00:41:50,072 --> 00:41:54,772
♪ To the princess who's
pretending to care for him

617
00:41:58,123 --> 00:42:01,953
♪ He says, "Name me someone
that's not a parasite

618
00:42:02,127 --> 00:42:05,609
♪ "And I'll say a prayer
for him"

619
00:42:08,307 --> 00:42:10,483
♪ And like Louise always says

620
00:42:10,658 --> 00:42:12,442
♪ "Ya can't look at much
can ya, man?"

621
00:42:12,616 --> 00:42:15,010
♪ As she prepares for him

622
00:42:19,188 --> 00:42:22,234
♪ Madonna, she still
has not showed

623
00:42:24,193 --> 00:42:29,067
♪ And we see the empty cage
now corrode

624
00:42:29,241 --> 00:42:33,594
♪ Where her cape of the stage
once had flowed

625
00:42:34,899 --> 00:42:38,294
♪ The peddler
he steps to the road

626
00:42:40,078 --> 00:42:45,040
♪ Everything's gone
which was owed

627
00:42:45,214 --> 00:42:50,132
♪ He examines
the nightingale's cold

628
00:42:50,306 --> 00:42:54,223
♪ Still written on
a fish truck that loads

629
00:42:54,397 --> 00:42:57,226
♪ My conscience explodes

630
00:43:00,359 --> 00:43:07,671
♪ The harmonicas play the
skeleton keys and the rain

631
00:43:11,327 --> 00:43:16,288
♪ And these visions of Johanna

632
00:43:16,462 --> 00:43:20,728
♪ Are all that remain ♪

633
00:43:51,802 --> 00:43:54,152
-[INDISTINCT CHATTER]
-[RHYTHMIC CLAPPING]

634
00:43:56,677 --> 00:43:58,287
MAN: The big show special!

635
00:44:13,955 --> 00:44:16,348
DYLAN: Well, if it isn't
the Hunchback
of Notre Dame himself.

636
00:44:19,003 --> 00:44:20,483
How's it going to sound tonight?

637
00:44:20,657 --> 00:44:21,789
-[CHUCKLES]
-MAN: Great.

638
00:44:21,963 --> 00:44:23,878
Better than it has in days.

639
00:44:25,662 --> 00:44:27,751
INTERVIEWER: Well, what was
life like on the road then?

640
00:44:27,925 --> 00:44:31,320
-You know, on that tour?
-ALDERSON: Hectic.

641
00:44:31,494 --> 00:44:35,193
Hard, sleepless, driving.

642
00:44:37,108 --> 00:44:38,414
Crazy. [CHUCKLES]

643
00:44:39,110 --> 00:44:40,242
[CROWD SHOUTING]

644
00:44:40,416 --> 00:44:42,331
You talking to me?

645
00:44:52,602 --> 00:44:54,386
Come up here and say that.

646
00:44:54,560 --> 00:44:55,997
DYLAN: It was the worst thing
anyone could go through, man.

647
00:44:56,171 --> 00:44:59,304
Can't even hear the guitar
to put it in tune.

648
00:44:59,478 --> 00:45:01,524
There's something wrong
with the sound system.

649
00:45:01,698 --> 00:45:03,874
It has got to be fixed.

650
00:45:04,048 --> 00:45:05,658
ALDERSON: It never occurred
to me to question it.

651
00:45:05,833 --> 00:45:07,225
I was just doing it.

652
00:45:07,399 --> 00:45:10,489
They asked me to do it
and I did it. [CHUCKLES]

653
00:45:10,663 --> 00:45:12,013
-You can follow him.
-On the other side.

654
00:45:12,187 --> 00:45:13,971
-Show him what side.
-On the other side.

655
00:45:14,145 --> 00:45:16,017
You want me to show you
where I'm plugged in?

656
00:45:16,191 --> 00:45:17,932
I'll show you where
I'm plugged in, over here.

657
00:45:18,846 --> 00:45:20,369
I was always about the music.

658
00:45:20,543 --> 00:45:24,721
I was never about the mechanics
of being a sound man.

659
00:45:24,895 --> 00:45:27,202
So if the music was good,
I was happy.

660
00:45:29,378 --> 00:45:31,423
♪ He looks so truthful

661
00:45:32,598 --> 00:45:35,079
♪ Is this how he feels

662
00:45:37,081 --> 00:45:41,042
♪ As he tries to peel the moon
and expose it? ♪

663
00:45:43,740 --> 00:45:45,394
I can't...[STRUMMING]

664
00:45:46,438 --> 00:45:48,876
It's not the same, you know?

665
00:45:49,746 --> 00:45:52,444
I can't hear it coming back.

666
00:45:52,618 --> 00:45:53,924
I don't know what it is, man.

667
00:45:54,098 --> 00:45:55,360
One, two.

668
00:45:56,579 --> 00:45:57,885
One, two.

669
00:45:58,799 --> 00:46:00,713
I didn't change anything.

670
00:46:00,888 --> 00:46:02,890
I bet something's wrong
with the wires.

671
00:46:26,696 --> 00:46:30,656
ALDERSON: I lived
in a fifth floor walk-up
on Bleecker Street,

672
00:46:30,831 --> 00:46:33,964
right across the street from
where the Village Gate was.

673
00:46:34,138 --> 00:46:36,749
And I just hung out
in the Village.

674
00:46:36,924 --> 00:46:39,448
And I met Bob
for the first time

675
00:46:39,622 --> 00:46:42,581
when he was just playing
folk music and hanging out.

676
00:46:42,755 --> 00:46:47,282
My friend introduced me
to the new owners
of the Gaslight.

677
00:46:47,456 --> 00:46:49,458
They had me
put in the sound system,

678
00:46:49,632 --> 00:46:51,329
and then somebody said,

679
00:46:51,503 --> 00:46:54,942
"Well, Dylan's going to premiere
a bunch of songs after hours

680
00:46:55,116 --> 00:46:57,945
"and you should
come and tape it."

681
00:47:00,164 --> 00:47:02,950
The atmosphere was so wonderful
in the Gaslight.

682
00:47:03,124 --> 00:47:05,169
And it had a special quality

683
00:47:05,343 --> 00:47:08,303
that studio recordings
could never have.

684
00:47:08,477 --> 00:47:12,089
♪ Oh, where have you been
my blue-eyed son?

685
00:47:14,526 --> 00:47:18,313
♪ Where have you been
my darling young one? ♪

686
00:47:20,010 --> 00:47:21,969
It was just overwhelming.

687
00:47:22,143 --> 00:47:26,669
I mean, I had seen all kinds
of people perform,

688
00:47:26,843 --> 00:47:29,019
and nobody gave me chills
like that.

689
00:47:29,193 --> 00:47:31,456
Nothing even came close to it.

690
00:47:32,370 --> 00:47:36,505
Tito, listen,
we seem to have a problem.

691
00:47:36,679 --> 00:47:40,248
ALDERSON: I'd done
a lot of live sound work
for Grossman.

692
00:47:40,422 --> 00:47:43,642
When it came time
for Dylan to go on tour,

693
00:47:43,816 --> 00:47:46,428
Grossman asked me
to build the sound system

694
00:47:46,602 --> 00:47:48,952
and I said yes.

695
00:47:49,126 --> 00:47:51,999
I need an electrician.
My power's all gone.

696
00:47:52,173 --> 00:47:54,436
It's Richard's power, man.
Come on.

697
00:47:54,610 --> 00:47:57,047
ALDERSON: I fit perfectly
into that situation

698
00:47:57,221 --> 00:48:00,529
because I was really
a kind of hi-fi purist

699
00:48:00,703 --> 00:48:02,226
as far as sound is concerned.

700
00:48:02,400 --> 00:48:04,881
DYLAN: Richard's power.
Give him his power back.

701
00:48:05,490 --> 00:48:07,014
Let's have the power.

702
00:48:07,188 --> 00:48:11,714
I had no rehearsals with Dylan
because I was busy

703
00:48:11,888 --> 00:48:14,543
getting the gear together
and setting it up.

704
00:48:19,722 --> 00:48:21,593
I built the sound system.

705
00:48:21,767 --> 00:48:24,205
I had to make up the tables
and I had to connect everything

706
00:48:24,379 --> 00:48:26,424
and I had to put it
into the road cases

707
00:48:26,598 --> 00:48:28,122
and get it on the plane.

708
00:48:28,992 --> 00:48:30,951
It was shipped to Honolulu.

709
00:48:32,082 --> 00:48:34,084
The first time I used
the whole sound system

710
00:48:34,258 --> 00:48:36,130
was on the stage in Honolulu.

711
00:48:36,304 --> 00:48:39,785
And I was still soldering wires
on the stage in Stockholm.

712
00:48:39,960 --> 00:48:42,397
I remember that very well.

713
00:48:42,571 --> 00:48:44,442
Just give me time
to get across to the other side.

714
00:48:44,616 --> 00:48:48,707
I mean, I barely had time
to get everything set up

715
00:48:48,881 --> 00:48:50,927
at every venue we were at.

716
00:48:54,931 --> 00:48:57,412
I knew that he had been
performing electric,

717
00:48:57,586 --> 00:49:00,806
but I had no idea
that the second half

718
00:49:00,981 --> 00:49:03,244
was going to be
what it turned out to be.

719
00:49:03,418 --> 00:49:06,464
♪ Once upon a time
you dressed so fine

720
00:49:06,638 --> 00:49:09,990
♪ You threw the bums a dime
in your prime

721
00:49:10,991 --> 00:49:13,341
♪ Didn't you? ♪

722
00:49:23,786 --> 00:49:25,092
Richard.

723
00:49:26,963 --> 00:49:29,705
ALDERSON: Everybody knew
that they came
to see the Bob Dylan

724
00:49:29,879 --> 00:49:31,620
that they were expecting.

725
00:49:31,794 --> 00:49:35,450
Rock 'n' roll was something
that no one expected.

726
00:49:37,626 --> 00:49:39,932
There was a lot of booing.

727
00:49:40,107 --> 00:49:42,239
I mean, it was practically
everywhere we went.

728
00:49:42,413 --> 00:49:45,547
The audiences were hostile.

729
00:49:45,721 --> 00:49:49,638
And the band responded
to the hostility
of the audience

730
00:49:49,812 --> 00:49:51,683
by playing more aggressively.

731
00:49:53,642 --> 00:49:55,687
♪ You walk into the room

732
00:49:57,907 --> 00:50:00,083
♪ With your pencil in your hand

733
00:50:01,345 --> 00:50:05,436
♪ You see somebody naked

734
00:50:05,610 --> 00:50:07,482
♪ And you say
"Who is that man?" ♪

735
00:50:07,656 --> 00:50:11,355
The audience reaction,
that was mystifying...

736
00:50:11,529 --> 00:50:13,836
to everybody.
It was mystifying to me.

737
00:50:14,010 --> 00:50:16,099
I can remember, like,

738
00:50:16,273 --> 00:50:19,320
"Why doesn't everybody think
this stuff is as great as I do?"
[CHUCKLES]

739
00:50:21,278 --> 00:50:24,281
The tapings began
when we were in Europe

740
00:50:24,455 --> 00:50:26,544
because Bob wanted
to make a movie.

741
00:50:26,718 --> 00:50:29,373
♪ I'd stand by her roil

742
00:50:30,244 --> 00:50:33,290
♪ In the lonely water

743
00:50:35,292 --> 00:50:40,819
♪ I've stood there many times
before this, you see

744
00:50:40,993 --> 00:50:44,997
ALDERSON: He wanted to make
kind of a nouvelle vague movie

745
00:50:45,172 --> 00:50:47,348
of the whole process.

746
00:50:49,176 --> 00:50:50,655
Nobody ever thought
that those tapes

747
00:50:50,829 --> 00:50:54,006
would ever be issued
in the way they're being issued.

748
00:50:54,181 --> 00:50:55,356
MAN: All the stuff
that came from Paris

749
00:50:55,530 --> 00:50:57,619
is still being cleared
through customs.

750
00:50:58,620 --> 00:50:59,708
There's nothing here?

751
00:51:02,450 --> 00:51:05,061
-I can't believe it.
-ALDERSON: It's a 7:30 show.

752
00:51:05,235 --> 00:51:07,237
-Nothing is there now?
-That's right.

753
00:51:07,411 --> 00:51:10,153
Just the stuff
that was left here.

754
00:51:10,327 --> 00:51:12,416
Two speakers and the organ,
and that's all set up.

755
00:51:12,590 --> 00:51:15,289
The stage is all set up,
but there's nothing else there.

756
00:51:17,029 --> 00:51:19,771
The gear was just the gear
that I was used to using.

757
00:51:19,945 --> 00:51:21,947
It was good microphones.

758
00:51:22,122 --> 00:51:24,515
They were all
individually mic'ed.

759
00:51:24,689 --> 00:51:27,301
There was one microphone
for everybody,

760
00:51:27,475 --> 00:51:29,738
maybe two microphones for Bob.

761
00:51:31,566 --> 00:51:32,567
DYLAN: Thank you.

762
00:51:43,621 --> 00:51:45,667
ALDERSON: There wasn't
any theory.

763
00:51:45,841 --> 00:51:51,194
There wasn't any map to follow
about how you mic
an electric band.

764
00:52:01,552 --> 00:52:05,600
It was just the way
the music sounded on stage.

765
00:52:05,774 --> 00:52:08,907
There was all one mix,
so I had to compromise.

766
00:52:09,081 --> 00:52:14,783
I mean, most of the concern
was about the music and
about the performances,

767
00:52:14,957 --> 00:52:19,440
and the recordings
were just whatever
went out into the hall.

768
00:52:19,614 --> 00:52:21,616
We'd all listen
to the tapes afterwards.

769
00:52:21,790 --> 00:52:24,793
I made some changes
and it definitely got better.

770
00:52:26,011 --> 00:52:30,494
He was singing wonderfully
and performing wonderfully,

771
00:52:30,668 --> 00:52:34,716
and the songs
were very exciting,
and I was wrapped up in that.

772
00:52:35,282 --> 00:52:36,761
I don't know.

773
00:52:36,935 --> 00:52:38,676
You put good microphones up
in front of good music

774
00:52:38,850 --> 00:52:40,330
and it sounds good.

775
00:52:41,940 --> 00:52:44,682
♪ Yes, but the joke was on me

776
00:52:44,856 --> 00:52:51,646
♪ There was nobody even there
to call my bluff

777
00:52:51,820 --> 00:52:54,562
♪ I'm going back
to New York City

778
00:52:54,736 --> 00:53:01,308
♪ I do believe
I've had enough ♪

779
00:53:03,397 --> 00:53:07,531
ALDERSON: I mean,
obviously, the musicians
played their asses off.

780
00:53:07,705 --> 00:53:10,534
It wasn't even like
the studio recordings

781
00:53:10,708 --> 00:53:13,494
or like the performance
at Newport

782
00:53:13,668 --> 00:53:16,366
because Mickey Jones
was a much louder drummer

783
00:53:16,540 --> 00:53:18,629
and much more
aggressive drummer

784
00:53:18,803 --> 00:53:22,154
than anybody else that
had played with him before.

785
00:53:22,329 --> 00:53:25,245
And it drove the music harder.

786
00:53:25,419 --> 00:53:28,813
It made Robbie play
some of the greatest stuff

787
00:53:28,987 --> 00:53:30,685
he ever played in his life.

788
00:53:30,859 --> 00:53:32,339
[CROWD CHEERING]

789
00:53:36,081 --> 00:53:39,868
The Paris show was problematic
for any number of reasons.

790
00:53:41,086 --> 00:53:42,262
[STRUMMING]

791
00:53:45,047 --> 00:53:46,266
[TUNING]

792
00:53:49,486 --> 00:53:52,707
You see, my electric guitar
never goes out of tune.

793
00:53:52,881 --> 00:53:55,579
[CROWD LAUGHS]

794
00:53:55,753 --> 00:53:59,235
ALDERSON: Bob took forever
tuning his guitar, I think,
just to irritate everybody.

795
00:53:59,409 --> 00:54:02,586
He took like 20 minutes
to tune his guitar.

796
00:54:03,587 --> 00:54:07,330
The audience was hostile
from the get-go.

797
00:54:07,504 --> 00:54:09,332
-[CHUCKLES]
-[CROWD SHOUTING]

798
00:54:10,420 --> 00:54:12,248
Oh, I love you.
[LAUGHS DRYLY]

799
00:54:13,205 --> 00:54:14,946
You're all so wonderful.

800
00:54:16,121 --> 00:54:19,429
ALDERSON: They had an attitude
about America already,

801
00:54:19,603 --> 00:54:23,781
that we were a bunch
of fascist warmongers.

802
00:54:23,955 --> 00:54:27,350
They opened the second half
with the biggest American flag

803
00:54:27,524 --> 00:54:29,439
that Bob could find in Paris.

804
00:54:29,613 --> 00:54:32,529
And the audience
didn't get the joke at all.

805
00:54:33,313 --> 00:54:35,793
♪ Tell me, momma

806
00:54:37,969 --> 00:54:40,450
♪ Tell me, momma

807
00:54:42,409 --> 00:54:45,542
♪ Tell me, momma, what is it?

808
00:54:46,630 --> 00:54:53,028
♪ What's wrong with you
this time? ♪

809
00:54:55,378 --> 00:54:57,511
ALDERSON: It was
kind of dismissed.

810
00:54:58,686 --> 00:55:02,733
The recordings
weren't very important.

811
00:55:03,255 --> 00:55:04,953
It broke my heart.

812
00:55:05,127 --> 00:55:08,173
And Columbia just mishandled it

813
00:55:08,348 --> 00:55:09,784
because they wanted to use
their tapes.

814
00:55:09,958 --> 00:55:13,004
And they'd sent
expensive crews over.

815
00:55:13,178 --> 00:55:16,617
And the fact that Bob
wanted to use my recording

816
00:55:16,791 --> 00:55:22,797
was not compatible
with their desires.

817
00:55:22,971 --> 00:55:26,627
I think Grossman told me
to take the tapes to Columbia

818
00:55:26,801 --> 00:55:29,717
and turn them over,
and that was it.

819
00:55:29,891 --> 00:55:30,979
I never saw them again.

820
00:55:32,372 --> 00:55:34,374
I wanted the tapes
to sound good.

821
00:55:34,548 --> 00:55:37,159
I don't know why because...

822
00:55:37,333 --> 00:55:39,030
[LAUGHS]

823
00:55:39,204 --> 00:55:42,599
I didn't know till now that they
would ever become anything.

824
00:55:42,773 --> 00:55:46,995
And I'm glad that it's getting
appreciated after all this time.

825
00:55:47,996 --> 00:55:50,520
♪ Just Louise

826
00:55:50,694 --> 00:55:55,395
♪ And her lover so entwined

827
00:55:58,136 --> 00:56:03,185
♪ And these visions of Johanna

828
00:56:03,359 --> 00:56:08,016
♪ That conquer my mind ♪

829
00:56:30,517 --> 00:56:33,911
NARRATOR: The year is 1967.

830
00:56:34,085 --> 00:56:36,087
It's winter in West Saugerties,

831
00:56:36,261 --> 00:56:40,004
a small town
about a two-hour drive
north of Manhattan.

832
00:56:40,178 --> 00:56:44,095
Here, Bob Dylan
is laid up recovering
from a motorcycle accident,

833
00:56:44,269 --> 00:56:48,622
a canceled tour
and the newfound pressures
of fame.

834
00:56:48,796 --> 00:56:51,755
"Escaping the rat race,"
Dylan said.

835
00:56:52,582 --> 00:56:55,063
His touring group lived nearby.

836
00:56:55,237 --> 00:56:56,847
They're called The Hawks,

837
00:56:57,021 --> 00:56:59,633
but we'd soon come to know them
as "The Band."

838
00:56:59,807 --> 00:57:03,071
♪ With another tale to tell

839
00:57:04,855 --> 00:57:09,599
♪ And you know
that we shall meet again...

840
00:57:09,773 --> 00:57:11,645
NARRATOR: Together with
Bob Dylan in the basement

841
00:57:11,819 --> 00:57:14,125
of a little country house
called Big Pink,

842
00:57:14,299 --> 00:57:19,522
they start recording originals,
country, folk
and rockabilly classics,

843
00:57:19,696 --> 00:57:21,829
song sketches and ideas.

844
00:57:22,003 --> 00:57:25,876
Over the course of a year,
they have reels of new songs,

845
00:57:26,050 --> 00:57:28,400
but none of it
would see the light of day.

846
00:57:28,575 --> 00:57:30,794
No, these were demos

847
00:57:30,968 --> 00:57:33,754
made to hand over
to Dylan's publishing company.

848
00:57:33,928 --> 00:57:36,408
Music for other artists
to record.

849
00:57:36,583 --> 00:57:39,411
The cover versions
come almost overnight.

850
00:57:39,586 --> 00:57:42,589
And what happens next
surprises everyone.

851
00:57:42,763 --> 00:57:46,897
♪ If your memory
serves you well

852
00:57:47,637 --> 00:57:49,334
♪ I was goin' to...

853
00:57:49,509 --> 00:57:52,990
NARRATOR: The songs,
they spark a public demand.

854
00:57:53,164 --> 00:57:54,818
They want the originals.

855
00:57:54,992 --> 00:57:57,560
Demo tapes recorded
in a country basement

856
00:57:57,734 --> 00:57:59,780
have found a following.

857
00:57:59,954 --> 00:58:01,782
And by 1969

858
00:58:01,956 --> 00:58:05,481
the first bootleg of the modern
rock 'n' roll age appears

859
00:58:05,655 --> 00:58:08,223
calledGreat White Wonder.

860
00:58:13,837 --> 00:58:16,144
The album compiles
the basement recordings

861
00:58:16,318 --> 00:58:19,669
and some lesser known
Dylan tracks into one album.

862
00:58:19,843 --> 00:58:21,758
More bootlegs
follow more demand,

863
00:58:21,932 --> 00:58:24,892
and soon an underground
industry is born.

864
00:58:25,501 --> 00:58:27,590
Eventually, in 1975,

865
00:58:27,764 --> 00:58:31,333
Dylan and The Band bend to
the demand for the real deal

866
00:58:31,507 --> 00:58:34,379
and they release
The Basement Tapes.

867
00:58:34,554 --> 00:58:38,862
The record is
an instant success,
but you know how it goes.

868
00:58:39,036 --> 00:58:43,258
The fans,[CHUCKLES]
they want more,
to hear it all, to know it all.

869
00:58:43,432 --> 00:58:45,652
♪ ...next of kin

870
00:58:45,826 --> 00:58:50,787
♪ This wheel shall explode...

871
00:58:50,961 --> 00:58:52,876
NARRATOR: It's been 47 years

872
00:58:53,050 --> 00:58:55,836
since Bob Dylan and The Band
made that two-hour drive

873
00:58:56,010 --> 00:58:58,403
north of New York City
to Big Pink.

874
00:58:58,578 --> 00:59:03,626
And the fans[CHUCKLES]
were still curious
aboutThe Basement Tapes.

875
00:59:03,800 --> 00:59:06,063
Are there more hidden reels
to be discovered?

876
00:59:06,237 --> 00:59:09,980
What do the original recordings
really sound like?

877
00:59:10,154 --> 00:59:16,117
Forty-seven years
we've wondered, and now
we get to find out.

878
00:59:16,770 --> 00:59:21,209
♪ This wheel's on fire

879
00:59:21,383 --> 00:59:28,651
♪ It's rolling down the road

880
00:59:28,825 --> 00:59:34,701
♪ Best notify my next of kin

881
00:59:34,875 --> 00:59:41,751
♪ This wheel shall explode ♪

882
00:59:49,019 --> 00:59:53,284
GREIL MARCUS: In early '68,
this guy calls me up

883
00:59:53,458 --> 00:59:55,896
and we do the equivalent
of a dope deal,

884
00:59:56,070 --> 00:59:58,028
except there's
no money involved.

885
00:59:58,202 --> 01:00:01,815
He surreptitiously hands me
this cassette and said,

886
01:00:01,989 --> 01:00:04,078
"Don't tell anybody
where you got this."

887
01:00:05,557 --> 01:00:06,994
And I take it home
and listen to it

888
01:00:07,168 --> 01:00:09,083
and call up all my friends
and they come over

889
01:00:09,257 --> 01:00:12,564
and we all listen to it,
completely awestruck.

890
01:00:12,739 --> 01:00:14,654
[HARMONICA PLAYING]

891
01:00:17,831 --> 01:00:19,441
CLINTON HEYLIN: To me,
it's always been the Holy Grail

892
01:00:19,615 --> 01:00:21,791
to actually fondle
the original reel.

893
01:00:21,965 --> 01:00:24,489
To actually... To say,
"Yeah, this is it.

894
01:00:24,664 --> 01:00:26,317
"This is the real thing."

895
01:00:26,491 --> 01:00:28,929
The goal was to get as much
out of the tapes as possible

896
01:00:29,103 --> 01:00:31,758
and to allow you
to be on the stairs

897
01:00:31,932 --> 01:00:33,455
that led down to the basement

898
01:00:33,629 --> 01:00:34,978
so you could hear,
"What are those guys playing?"

899
01:00:35,152 --> 01:00:36,414
You're in the room.
You're right there.

900
01:00:36,588 --> 01:00:38,460
You feel people breathing.

901
01:00:38,634 --> 01:00:42,812
Everything that's been
mythologized or turned
into legend

902
01:00:42,986 --> 01:00:45,162
on behalf of what happened
in that Woodstock basement

903
01:00:45,336 --> 01:00:47,295
in the summer of '67 is true.

904
01:00:47,469 --> 01:00:51,473
The history of the reels
themselves. It's like
a detective story.

905
01:00:51,647 --> 01:00:54,345
Robbie told me
he remembered Bob saying,

906
01:00:54,519 --> 01:00:58,175
"We ought to destroy this stuff.
We ought to just erase it."

907
01:00:58,349 --> 01:01:01,744
What if we recorded songs
that could never be released?

908
01:01:01,918 --> 01:01:03,485
What would they sound like?

909
01:01:03,659 --> 01:01:05,095
That's what you're hearing.

910
01:01:09,143 --> 01:01:11,449
I think The Basement Tapes
stars.

911
01:01:11,623 --> 01:01:14,670
I think there's no question
with that world tour of '65-'66.

912
01:01:14,844 --> 01:01:16,672
HEYLIN: They were unbelievably
grueling shows

913
01:01:16,846 --> 01:01:19,240
because, of course,
everywhere Bob went,

914
01:01:19,414 --> 01:01:22,504
he was badly received
by sections of the audience.

915
01:01:22,678 --> 01:01:28,292
At some shows, a large section
of the audience turned on him.

916
01:01:28,466 --> 01:01:29,772
[CROWD SHOUTING]

917
01:01:29,946 --> 01:01:32,166
Usually during
the electric set.

918
01:01:32,340 --> 01:01:33,863
DYLAN: This is a folk song.

919
01:01:35,038 --> 01:01:37,214
This is a folk song.
I wanna sing a folk song now.

920
01:01:37,388 --> 01:01:38,781
[CROWD CHEERING]

921
01:01:40,522 --> 01:01:44,134
People did feel that
something had been
taken away from them.

922
01:01:44,308 --> 01:01:48,835
Or something beautiful
had been destroyed by Bob Dylan

923
01:01:49,009 --> 01:01:54,231
leaving the music of the people
behind and going for the charts.

924
01:01:54,405 --> 01:02:01,108
It's taken as this outrage,
as this sellout,
as this betrayal.

925
01:02:01,282 --> 01:02:03,197
Dylan talked about it
afterwards,

926
01:02:03,371 --> 01:02:06,026
he talked about it
with a sense of great defiance.

927
01:02:06,200 --> 01:02:07,592
Don't you think
your first records

928
01:02:07,767 --> 01:02:09,943
were much better than the ones
that you do now?

929
01:02:10,117 --> 01:02:11,683
Who said that?

930
01:02:11,858 --> 01:02:14,034
MARCUS: The sense of,
you know, "Fuck you.

931
01:02:14,208 --> 01:02:15,949
"This is the music
I'm making, this is the music
I want to sing,

932
01:02:16,123 --> 01:02:17,777
"this is the music
I want to play.

933
01:02:17,951 --> 01:02:20,475
"If you don't like it,
stay away."

934
01:02:20,649 --> 01:02:23,086
Didn't you boo me last night?

935
01:02:23,260 --> 01:02:25,132
-I didn't, I didn't.
Please, just a minute.
-We didn't boo you, Bob.

936
01:02:25,306 --> 01:02:28,613
DYLAN: Well, I want the names
of all of people that booed me.

937
01:02:28,788 --> 01:02:30,746
DYLAN: First half,
when they're all so quiet.

938
01:02:30,920 --> 01:02:33,270
I'll just break it, right?
I'll play four or five songs.

939
01:02:33,444 --> 01:02:37,100
They just don't make a sound.
All of a sudden, "Boo."

940
01:02:37,274 --> 01:02:38,406
[LAUGHTER]

941
01:02:39,320 --> 01:02:41,713
Boo.

942
01:02:41,888 --> 01:02:44,586
MARCUS: Robbie Robertson,
Richard Manuel, Rick Danko,
Garth Hudson

943
01:02:44,760 --> 01:02:47,154
Levon Helm,
they become Bob Dylan's band.

944
01:02:47,328 --> 01:02:50,461
These guys are now
a band of brothers.

945
01:02:50,635 --> 01:02:52,768
This brings
these people together.

946
01:02:52,942 --> 01:02:54,944
By the time they reach
the United Kingdom

947
01:02:55,118 --> 01:02:59,644
in the spring of April 1966,

948
01:02:59,819 --> 01:03:01,908
they're meeting audiences
that made

949
01:03:02,082 --> 01:03:06,086
the angry audiences
they faced before
look like nothing.

950
01:03:06,260 --> 01:03:07,957
This is a war.

951
01:03:08,131 --> 01:03:12,309
People come in organized groups
in order to stage walkouts.

952
01:03:12,483 --> 01:03:15,791
In other words, they're paying
money not to see the show.

953
01:03:15,965 --> 01:03:18,533
We paid to see
a flipping folk singer, not a...

954
01:03:18,707 --> 01:03:20,187
Not a big loser.

955
01:03:20,361 --> 01:03:21,362
MAN: Judas!

956
01:03:21,536 --> 01:03:22,842
[CROWD SHOUTING]

957
01:03:26,802 --> 01:03:28,282
I don't believe you.

958
01:03:32,329 --> 01:03:33,809
You're a liar.

959
01:03:33,983 --> 01:03:35,985
MARCUS: The effects
were apocalyptic.

960
01:03:37,291 --> 01:03:41,382
In Torrance it's July '65,
with people booing him.

961
01:03:41,556 --> 01:03:43,210
You can't do that for a year

962
01:03:43,384 --> 01:03:45,038
without it getting to you
at some point.

963
01:03:45,212 --> 01:03:50,130
Effectively, you can carry on
for so long like that.

964
01:03:50,304 --> 01:03:54,177
But when you get to the end,
there's a crash.

965
01:03:54,351 --> 01:03:56,397
And the crash
can be metaphoric,

966
01:03:56,571 --> 01:04:00,314
or, as proved to be the case
in Dylan's life, literal.

967
01:04:07,147 --> 01:04:11,151
GRIFFIN: After that
long, grueling tour,
he was going to take a break.

968
01:04:11,325 --> 01:04:13,109
June 1st, 1966.

969
01:04:13,283 --> 01:04:16,199
He was going to kick back up at
the Yale Bowl on August 2, 1966,

970
01:04:17,070 --> 01:04:18,462
another whole leg of shows,

971
01:04:18,636 --> 01:04:20,943
and Dylan went back
to Woodstock to relax.

972
01:04:21,117 --> 01:04:22,684
They're supposed to be
going back on the road

973
01:04:22,858 --> 01:04:25,034
to promote his new album,

974
01:04:25,208 --> 01:04:27,341
which had only come out
a couple of weeks
before the accident,

975
01:04:27,515 --> 01:04:28,820
Blonde on Blonde.

976
01:04:28,995 --> 01:04:30,910
Except Bob didn't want
to go back on the road.

977
01:04:31,084 --> 01:04:34,870
He decides, "I'm not going back
to this crazy life,

978
01:04:35,044 --> 01:04:38,221
"at least for a while.
I'm gone."

979
01:04:38,787 --> 01:04:40,832
This is 1966.

980
01:04:41,007 --> 01:04:44,619
He doesn't go back on the road
again till 1974.

981
01:04:44,793 --> 01:04:46,577
That's a long time.

982
01:04:46,751 --> 01:04:48,623
Dylan took a year-a-half

983
01:04:48,797 --> 01:04:51,365
betweenBlonde on Blonde
andJohn Wesley Harding.

984
01:04:51,539 --> 01:04:55,586
People referred to this
as the period of silence.

985
01:04:55,760 --> 01:05:01,810
As if is that this was
some kind of a strange violation

986
01:05:01,984 --> 01:05:04,726
of the rules of time and space.

987
01:05:04,900 --> 01:05:07,207
In record business terms,
it was.

988
01:05:07,381 --> 01:05:10,340
GRIFFIN: The guy's 25 years
old. He's had this
motorcycle accident.

989
01:05:10,514 --> 01:05:14,127
He has to come up
with some sort of a battle plan.

990
01:05:14,301 --> 01:05:16,651
And this is one reason
I find him so infatuating.

991
01:05:16,825 --> 01:05:19,045
I think in a way, he does it.

992
01:05:19,219 --> 01:05:22,135
He knows he wants to regress
but he doesn't know
exactly how.

993
01:05:22,309 --> 01:05:24,180
When he finally gets better,

994
01:05:24,354 --> 01:05:26,052
I think it was that point
that Dylan had the moment of,

995
01:05:26,226 --> 01:05:28,097
"What am I doing with my life?

996
01:05:28,271 --> 01:05:32,406
"Could we not stop for a moment
and reassess where we are

997
01:05:32,580 --> 01:05:34,625
"and where I, Bob Dylan,
want to go?"

998
01:05:34,799 --> 01:05:38,542
MARCUS: Dylan is saying,
"No, I'm not giving you
a new album.

999
01:05:38,716 --> 01:05:41,241
"No, I'm not going back on tour.

1000
01:05:41,415 --> 01:05:43,156
"No, no.

1001
01:05:43,330 --> 01:05:46,986
"I've got a note from my doctor
says I don't have to do this.

1002
01:05:47,160 --> 01:05:49,989
"I can stay home."
And that's what he did.

1003
01:05:55,037 --> 01:05:57,692
HEYLIN: This is January '67.

1004
01:05:57,866 --> 01:06:02,392
So they have been recording
and Bob had ideas for a film.

1005
01:06:02,566 --> 01:06:04,612
Originally, the idea of
getting the guys

1006
01:06:04,786 --> 01:06:07,136
to come up to Woodstock
was actually to work on that.

1007
01:06:07,310 --> 01:06:08,964
GRIFFIN: And they're initially
filmed backing

1008
01:06:09,138 --> 01:06:11,880
Tiny Tim singing in the snow
one morning.

1009
01:06:12,054 --> 01:06:15,014
And then they continue on
with other things.

1010
01:06:15,188 --> 01:06:17,625
MARCUS: And they work
on the movie or they don't
work on the movie.

1011
01:06:17,799 --> 01:06:21,846
And they're bored.
What are they going to do?

1012
01:06:22,021 --> 01:06:24,284
That's the way
these songs came together.

1013
01:06:24,458 --> 01:06:27,852
HEYLIN: Initially,
it was just that, getting back
into playing music.

1014
01:06:28,027 --> 01:06:30,464
Not making music,
but playing music.

1015
01:06:43,868 --> 01:06:47,829
GRIFFIN: Initial sessions are
held in the Red Room,
Bob Dylan's own house.

1016
01:06:48,003 --> 01:06:49,570
And in typical
Bob Dylan fashion,

1017
01:06:49,744 --> 01:06:52,355
I can report to you now
that the Red Room wasn't red.

1018
01:06:52,529 --> 01:06:55,837
It had previously been red,
but it had been painted
by the Dylans.

1019
01:06:56,011 --> 01:06:58,187
The point of the Red Room
sessions is

1020
01:06:58,361 --> 01:07:00,668
it's where Bob Dylan
starts to get his mojo back.

1021
01:07:00,842 --> 01:07:02,757
♪ Ooh, baby, ooh... ♪

1022
01:07:02,931 --> 01:07:05,151
They got all this equipment
together to record this stuff,

1023
01:07:05,325 --> 01:07:07,327
and I can just see
all The Hawks going...

1024
01:07:07,501 --> 01:07:11,548
Garth, you know,
you could figure out
how that works, right?

1025
01:07:11,722 --> 01:07:13,898
DYLAN: Once you set it up,
you can see how it's recording.

1026
01:07:14,073 --> 01:07:15,248
[GUITAR PLAYING]

1027
01:07:17,337 --> 01:07:22,211
♪ Well, we're living
on the edge of the ocean

1028
01:07:22,385 --> 01:07:27,521
♪ With the mocking rumble
ready to drown... ♪

1029
01:07:27,695 --> 01:07:29,914
STEVE BERKOWITZ:
Fortunately, in this case,
Garth Hudson

1030
01:07:30,089 --> 01:07:34,310
is a very meticulous
person who seemed to be
the responsible party

1031
01:07:34,484 --> 01:07:36,747
to put the tape recorder
on top of his organ

1032
01:07:36,921 --> 01:07:39,881
and a couple of mixers
with microphones

1033
01:07:40,055 --> 01:07:42,797
leading in an experiment
how to record.

1034
01:07:42,971 --> 01:07:48,281
Red Room tapes. My understanding
is that the microphone was put

1035
01:07:48,455 --> 01:07:51,284
on top of a Wurlitzer
electric panel which was
being played,

1036
01:07:51,458 --> 01:07:54,243
it was like a little broadcast
mic stand without rubber feet.

1037
01:07:54,417 --> 01:07:56,158
The mic is picking up
that vibration,

1038
01:07:56,332 --> 01:07:58,247
and some of that stuff's
pretty distorted,

1039
01:07:58,421 --> 01:08:00,684
but there's still good music
that you can hear through it.

1040
01:08:07,256 --> 01:08:09,737
GRIFFIN:
They leave Dylan's house
and they go where?

1041
01:08:09,911 --> 01:08:12,392
Well, they're going to go
to where the guys...

1042
01:08:12,566 --> 01:08:15,612
There's no female presence,
there's no family.

1043
01:08:15,786 --> 01:08:19,442
There's no one to really bother,
so they go to Big Pink.

1044
01:08:19,616 --> 01:08:23,272
Rick Danko said,
"You have to understand."

1045
01:08:23,446 --> 01:08:25,405
He said,
"This was a club house."

1046
01:08:26,580 --> 01:08:28,016
It was wonderful.

1047
01:08:28,190 --> 01:08:29,713
GRIFFIN: Big Pink's
on the side of a hill.

1048
01:08:29,887 --> 01:08:31,628
It's calledThe Basement Tapes

1049
01:08:31,802 --> 01:08:33,195
because you leave the kitchen
and walk down to it.

1050
01:08:39,288 --> 01:08:42,422
♪ Oh, you sound so sweet ♪

1051
01:08:44,946 --> 01:08:46,643
And they started recording,

1052
01:08:46,817 --> 01:08:51,257
where the lion's share were done
in the basement of Big Pink.

1053
01:08:53,737 --> 01:08:57,132
♪ Well, those old
whole back-strappers

1054
01:08:57,306 --> 01:08:58,829
♪ A re a dime a dozen

1055
01:09:01,310 --> 01:09:04,183
♪ And I can get a cup
for a nickel

1056
01:09:05,880 --> 01:09:10,537
♪ Look what an earful I get
and it's awful, too

1057
01:09:10,711 --> 01:09:13,583
♪ Every time I try
to go get a little tickle

1058
01:09:15,411 --> 01:09:20,721
♪ Flies from dawn to dawn

1059
01:09:20,895 --> 01:09:23,158
♪ Look at that old floor-bird
He just...

1060
01:09:23,332 --> 01:09:27,293
♪ Flies from dawn to dawn

1061
01:09:27,467 --> 01:09:28,468
♪ What a floor-bird
He...

1062
01:09:28,642 --> 01:09:33,995
♪ Flies from dawn to dawn... ♪

1063
01:09:34,169 --> 01:09:38,434
And at some point,
somebody flicks the trigger.

1064
01:09:38,608 --> 01:09:42,308
You know, and suddenly
the floodgates open.

1065
01:09:43,700 --> 01:09:45,659
It's speculation
when that happens.

1066
01:09:45,833 --> 01:09:49,315
The evidence would appear to be
Tiny Montgomery,

1067
01:09:49,489 --> 01:09:51,317
which is one of
the acetate songs.

1068
01:09:51,491 --> 01:09:53,188
It's the first one
to be recorded.

1069
01:09:53,362 --> 01:09:56,539
♪ Well, you can tell everybody
down in ol' Frisco

1070
01:09:56,713 --> 01:10:00,456
♪ Tell 'em Tiny Montgomery
says hello

1071
01:10:07,811 --> 01:10:11,380
♪ Now every boy and girl's
gonna get their bang

1072
01:10:11,554 --> 01:10:15,384
♪ 'Cause Tiny Montgomery's
gonna shake that thing

1073
01:10:15,558 --> 01:10:18,561
♪ Tell everybody
down in ol' Frisco

1074
01:10:18,735 --> 01:10:23,131
♪ That Tiny Montgomery's
comin' down to say hello ♪

1075
01:10:23,305 --> 01:10:25,786
And, suddenly, all the imagery

1076
01:10:25,960 --> 01:10:28,397
and all the ideas that are gonna
make The Basement Tapes

1077
01:10:28,571 --> 01:10:31,008
this extraordinary body of work
come together in one song,

1078
01:10:31,182 --> 01:10:32,358
and it's there.

1079
01:10:37,580 --> 01:10:41,062
And it kind of opens up
the history of
American popular music

1080
01:10:41,236 --> 01:10:46,937
in this extraordinary way
for these guys
during these sessions.

1081
01:10:47,111 --> 01:10:49,853
DYLAN: You come in
on the second line
all the time, it's very easy...

1082
01:10:50,027 --> 01:10:53,335
Robbie said at one point,
"Bob was very subtle
about this."

1083
01:10:53,509 --> 01:10:55,685
♪ Well, the high sheriff...

1084
01:10:55,859 --> 01:10:58,427
MARCUS: But he was
taking us to school.

1085
01:10:58,601 --> 01:11:00,037
He had prepped for this.

1086
01:11:01,952 --> 01:11:05,086
These very sessions
when he would just drop in.

1087
01:11:05,260 --> 01:11:08,568
♪ Johnny Todd, he took a notion

1088
01:11:08,742 --> 01:11:12,049
♪ For to cross the ocean wide ♪

1089
01:11:12,223 --> 01:11:15,792
He'd come over with something
he wanted them to learn.

1090
01:11:15,966 --> 01:11:20,144
Folk, blues, country music,

1091
01:11:20,319 --> 01:11:24,410
child ballads,
contemporary folk music.

1092
01:11:24,584 --> 01:11:26,760
Bob Dylan was teaching them.

1093
01:11:26,934 --> 01:11:28,979
So here are these people.

1094
01:11:29,153 --> 01:11:30,416
They learned
to trust each other.

1095
01:11:30,590 --> 01:11:32,809
They can pick up
each other's cues.

1096
01:11:32,983 --> 01:11:35,116
Nothing needs to be explained.

1097
01:11:35,290 --> 01:11:37,466
They can work out
arrangements together.

1098
01:11:37,640 --> 01:11:41,252
They are all speaking
the same language,

1099
01:11:41,427 --> 01:11:43,385
and it's their language.

1100
01:11:43,559 --> 01:11:46,214
And in a way, that's what
The Basement Tapesare.

1101
01:11:46,388 --> 01:11:48,303
It's five people,

1102
01:11:48,477 --> 01:11:51,437
later six,
speaking their own language.

1103
01:11:52,176 --> 01:11:55,005
♪ Tears of rage

1104
01:11:55,179 --> 01:11:58,661
♪ Tears of grief

1105
01:11:58,835 --> 01:12:05,494
♪ Why am I always the one
who must be the thief?

1106
01:12:05,668 --> 01:12:11,500
♪ Come to me now
You know we're so alone

1107
01:12:12,806 --> 01:12:18,377
♪ And life is brief... ♪

1108
01:12:19,769 --> 01:12:23,251
Once the dam burst,
I mean, it really burst.

1109
01:12:23,425 --> 01:12:26,167
I mean, he just...
He seems to have been

1110
01:12:26,341 --> 01:12:29,562
turning out masterpieces
on an almost daily basis.
[CHUCKLES]

1111
01:12:29,736 --> 01:12:32,216
GRIFFIN: An acetate
is a recording.

1112
01:12:32,391 --> 01:12:36,786
You give it to Jane or Joe
so they can hear the song
and learn it.

1113
01:12:36,960 --> 01:12:40,355
BERKOWITZ: There were
some acetates made
that got distributed

1114
01:12:40,529 --> 01:12:42,618
for the purpose of
publishing demos.

1115
01:12:42,792 --> 01:12:45,099
I think they decided
to do the acetate

1116
01:12:45,273 --> 01:12:47,188
once they'd recorded
a whole slew

1117
01:12:47,362 --> 01:12:52,454
of original songs
that sounded great,
that they were proud of.

1118
01:12:53,499 --> 01:12:55,979
They weren't
just fooling around.

1119
01:12:56,153 --> 01:12:57,764
They weren't just experiments.

1120
01:12:57,938 --> 01:12:59,418
These songs are demanding

1121
01:12:59,592 --> 01:13:02,464
from the musicians who made
them, "Finish me."

1122
01:13:02,638 --> 01:13:05,206
And that's what happens
with Tears of Rage,

1123
01:13:05,380 --> 01:13:08,905
I Shall be Released,
Too Much of Nothing,

1124
01:13:09,079 --> 01:13:10,603
and so many other songs.

1125
01:13:12,474 --> 01:13:14,476
♪ Too much of nothing

1126
01:13:14,650 --> 01:13:17,653
♪ Can make a man ill at ease

1127
01:13:20,395 --> 01:13:22,005
♪ One man's temper rises

1128
01:13:22,179 --> 01:13:25,052
♪ Where another man's temper
might freeze

1129
01:13:28,142 --> 01:13:34,061
♪ Too much of nothing
can make a man feel ill at ease

1130
01:13:34,235 --> 01:13:36,629
♪ One man's temper might rise

1131
01:13:36,803 --> 01:13:39,414
♪ While the other man's temper
might freeze... ♪

1132
01:13:39,588 --> 01:13:41,242
The hits that came out
of The Basement Tapes

1133
01:13:41,416 --> 01:13:42,591
were people like The Byrds

1134
01:13:42,765 --> 01:13:43,897
and Manfred Mann
and Fairport Convention.

1135
01:13:44,071 --> 01:13:45,072
Quinn the Eskimo.

1136
01:13:45,246 --> 01:13:46,639
How the guys in Manfred Mann

1137
01:13:46,813 --> 01:13:48,684
picked that and pulled it out,
it's great.

1138
01:13:48,858 --> 01:13:53,428
♪ Come all without
Come all within

1139
01:13:53,602 --> 01:13:58,520
♪ You'll not see nothing
like the mighty Quinn

1140
01:13:58,694 --> 01:14:03,612
♪ Come all without
Come all within

1141
01:14:03,786 --> 01:14:08,574
♪ You'll not see nothing
like the mighty Quinn ♪

1142
01:14:08,748 --> 01:14:11,838
You Ain't Going Nowhere
is just one of the funniest
things you'll ever hear.

1143
01:14:12,012 --> 01:14:15,624
Here is a song
that everybody knows.
The Byrds obviously put it out.

1144
01:14:15,798 --> 01:14:17,800
It's a single that's been
covered a million times,

1145
01:14:17,974 --> 01:14:20,890
and it has that
very, very memorable chorus.

1146
01:14:21,064 --> 01:14:22,936
"Whoo-ee, ride me high.

1147
01:14:23,110 --> 01:14:25,460
"Today is the day
my bride's gonna come."

1148
01:14:25,634 --> 01:14:28,811
And suddenly you hear
this version where he's
almost sending himself up.

1149
01:14:28,985 --> 01:14:30,813
"You ain't
no bunch of basement...

1150
01:14:30,987 --> 01:14:34,513
"You ain't no head of lettuce,
just a bunch of basement noise."

1151
01:14:34,687 --> 01:14:37,516
♪ Look here, you bunch of
basement noise...

1152
01:14:37,690 --> 01:14:39,300
I mean, just, what is going on?

1153
01:14:39,474 --> 01:14:41,084
♪ You ain't no head of lettuce

1154
01:14:41,258 --> 01:14:43,522
♪ Feed that buzzard
Lay 'em on the rug...♪

1155
01:14:43,696 --> 01:14:45,567
Yeah, they're definitely having
a good time on that one.

1156
01:14:54,097 --> 01:14:58,275
The original publishing demos
start to circulate in 1968.

1157
01:14:58,449 --> 01:15:01,061
They get bootlegged on vinyl
in 1969.

1158
01:15:01,235 --> 01:15:05,065
Two well-meaning long haired
guys in Los Angeles, California,

1159
01:15:05,239 --> 01:15:09,896
decided that they would create a
Bob Dylan album of this material

1160
01:15:10,070 --> 01:15:14,030
that they had heard, they had
assembled, as Dylan fanatics

1161
01:15:14,204 --> 01:15:17,033
that no one else had heard, none
of the general public had heard.

1162
01:15:17,207 --> 01:15:21,560
And they created
a very haphazard two-LP set

1163
01:15:21,734 --> 01:15:23,387
called The Great White Wonder.

1164
01:15:23,562 --> 01:15:27,522
It was the first pop music
bootleg of any real substance.

1165
01:15:27,696 --> 01:15:31,657
It was literally just
a white cover that they had
a rubber stamp made

1166
01:15:31,831 --> 01:15:33,180
that said "Great White Wonder."

1167
01:15:33,354 --> 01:15:34,790
And they went... Next.

1168
01:15:34,964 --> 01:15:36,966
It's not a great recording.

1169
01:15:37,140 --> 01:15:38,881
Some of
the basement tape songs,
they're running fast.

1170
01:15:39,055 --> 01:15:41,928
They didn't cut the record
particularly well.

1171
01:15:42,102 --> 01:15:43,669
But how could they?

1172
01:15:43,843 --> 01:15:45,888
They were enthusiastic amateurs
that loved Bob Dylan.

1173
01:15:46,062 --> 01:15:48,761
Who would have dreamed
that in Sweden,

1174
01:15:48,935 --> 01:15:51,372
a guy took their stuff,
added a couple things

1175
01:15:51,546 --> 01:15:53,504
and put out another one?

1176
01:15:53,679 --> 01:15:54,723
Who would've known
a guy in New York would have,
you know...

1177
01:15:54,897 --> 01:15:56,986
And this whole thing was like

1178
01:15:57,160 --> 01:16:00,642
throwing a pebble
in the placid lake
and the waves go like this...

1179
01:16:00,816 --> 01:16:03,036
People start bootlegging
the bootleg.

1180
01:16:03,210 --> 01:16:06,561
HEYLIN: Almost immediately,
and possibly even
simultaneously,

1181
01:16:06,735 --> 01:16:09,520
other people who'd
got hold of the full acetate

1182
01:16:09,695 --> 01:16:12,480
started issuing
just the acetate.

1183
01:16:12,654 --> 01:16:15,744
And the proliferation
was so extreme

1184
01:16:15,918 --> 01:16:18,312
that there's no way
of cataloging
who was doing what.

1185
01:16:18,486 --> 01:16:22,359
GRIFFIN: It didn't just start
a minor Bob Dylan fan club.

1186
01:16:22,533 --> 01:16:24,710
It started a whole
bootleg industry.

1187
01:16:32,543 --> 01:16:36,243
MARCUS: There was a cover story
inRolling Stone by Jan Wenner

1188
01:16:36,417 --> 01:16:38,898
saying Bob Dylan's
Basement Tape,

1189
01:16:39,072 --> 01:16:41,248
and that's what
it was referred to,
asThe Tape,

1190
01:16:41,422 --> 01:16:44,991
The Basement Tape, not "tapes,"
should be released.

1191
01:16:45,165 --> 01:16:49,212
And he made an argument
about how this music
not only was terrific,

1192
01:16:49,386 --> 01:16:51,388
it was a different way
of looking at the world,

1193
01:16:51,562 --> 01:16:52,607
and it had to be released.

1194
01:16:52,781 --> 01:16:54,522
And why in the world wasn't it?

1195
01:16:54,696 --> 01:16:55,958
Didn't make any sense.

1196
01:16:56,132 --> 01:16:58,482
It was a secret
hidden in plain sight.

1197
01:16:58,657 --> 01:17:02,095
All these songs
were on the radio
so why not put it out?

1198
01:17:03,096 --> 01:17:04,097
Good question.

1199
01:17:10,146 --> 01:17:12,583
By 1975,
the band needed a boost,

1200
01:17:12,758 --> 01:17:16,936
and I think putting
this stuff out was a way
to make that happen.

1201
01:17:17,110 --> 01:17:21,549
Plus, the music was obviously
stuff that the world
ought to hear.

1202
01:17:21,723 --> 01:17:23,594
Even if Bob Dylan said
he didn't understand

1203
01:17:23,769 --> 01:17:27,207
why it made the top 10,
he thought everybody
already had them.

1204
01:17:27,381 --> 01:17:29,731
HEYLIN: And Bob agreed
to let them put it out.

1205
01:17:29,905 --> 01:17:31,602
GRIFFIN: I remember
John Rockwell

1206
01:17:31,777 --> 01:17:34,083
inNew York Times said
it was the greatest record

1207
01:17:34,257 --> 01:17:37,260
of the Western popular
music sphere, period.

1208
01:17:37,434 --> 01:17:39,654
That's a paraphrasing.
But he did, he wrote that.

1209
01:17:39,828 --> 01:17:42,135
When the two LP-set
came out in 1975,

1210
01:17:42,309 --> 01:17:45,747
it should have, in theory,
one might think
quench the thirst

1211
01:17:45,921 --> 01:17:47,836
of the public
for The Basement Tapes...
A-ha!

1212
01:17:48,010 --> 01:17:50,665
People are going,
"What the hell is this?"

1213
01:17:50,839 --> 01:17:55,931
Probably the two most famous
songs on The Basement Tapes
are missing.

1214
01:17:56,105 --> 01:17:59,718
I mean I Should Be Released
and Mighty Quinnare not on.

1215
01:17:59,892 --> 01:18:03,330
GRIFFIN: If anything,
it was like putting kerosene
on that flame

1216
01:18:03,504 --> 01:18:06,812
andThe Basement Tapes myth
got another rocket boost.

1217
01:18:06,986 --> 01:18:08,901
HEYLIN: Very quickly...

1218
01:18:09,989 --> 01:18:11,991
people realized that,
"This isn't it.

1219
01:18:12,165 --> 01:18:13,557
"We need more."

1220
01:18:13,732 --> 01:18:15,516
"There must be more.
Can't there be more?"

1221
01:18:15,690 --> 01:18:17,474
"Sure, there's more.
We hope there's more."

1222
01:18:17,648 --> 01:18:19,085
And the fans got out there

1223
01:18:19,259 --> 01:18:21,391
and doing their detective work
soon found out

1224
01:18:21,565 --> 01:18:23,654
these guys recorded for months.

1225
01:18:23,829 --> 01:18:25,700
Anybody else, the two-LP set
would have come out,

1226
01:18:25,874 --> 01:18:28,311
"Oh, great, that's what
they did. This is great.
Now we've got it."

1227
01:18:28,485 --> 01:18:31,445
But the Dylan fans,
they began to dig, dig, dig,

1228
01:18:31,619 --> 01:18:33,882
and they found out there was
a lot more stuff done there,

1229
01:18:34,056 --> 01:18:36,363
and it took 40-something years,
but here we are.

1230
01:18:36,537 --> 01:18:42,804
♪ Ain't no more cane
on the Brazos... ♪

1231
01:18:42,978 --> 01:18:45,198
Stuff came out
in dribs and drabs

1232
01:18:45,372 --> 01:18:50,333
on LPs that included
tons of other stuff.

1233
01:18:50,507 --> 01:18:54,424
On tapes that people passed
from hand to hand.

1234
01:18:54,598 --> 01:19:00,996
Then in 1986, several reel to
reels turned up recordings

1235
01:19:01,170 --> 01:19:05,740
of Dylan and the band
doing reams and reams
of country and folk

1236
01:19:05,914 --> 01:19:09,396
and all this amazing material
that nobody knew about.

1237
01:19:09,570 --> 01:19:12,442
And they came out on two famous
double albums, bootleg.

1238
01:19:12,616 --> 01:19:16,446
Those tapes originally came
from an ex-roadie of the band.

1239
01:19:16,620 --> 01:19:20,973
And then, six years later,
another ex-roadie of the band

1240
01:19:21,147 --> 01:19:24,193
helped himself to another bunch
of tapes that were lying around

1241
01:19:24,367 --> 01:19:28,154
in Garth's locker
and released those.

1242
01:19:28,328 --> 01:19:33,289
Suddenly, the scale
of the amount of material
that had been recorded

1243
01:19:33,463 --> 01:19:37,337
becomes more than one
could necessarily comprehend.

1244
01:19:43,343 --> 01:19:46,912
♪ Down the street
the dogs are barkin'

1245
01:19:47,086 --> 01:19:50,437
♪ And the day is growing dark

1246
01:19:55,311 --> 01:19:58,749
♪ 'Cause I'm one
too many mornings

1247
01:19:58,924 --> 01:20:02,231
♪ And a thousand miles

1248
01:20:07,367 --> 01:20:10,283
♪ Behind

1249
01:20:14,026 --> 01:20:17,638
♪ From the crossroads
of my doorstep

1250
01:20:17,812 --> 01:20:19,640
♪ My eyes, they begin to fade

1251
01:20:19,814 --> 01:20:23,687
BERKOWITZ: One Too Many Mornings
with Richard and Bob singing.

1252
01:20:23,862 --> 01:20:26,038
The Richard part
has been inaudible.

1253
01:20:26,212 --> 01:20:30,129
You cannot hear it
because the left channel
was recorded so low,

1254
01:20:30,303 --> 01:20:32,348
and we're able to raise
and level the channels

1255
01:20:32,522 --> 01:20:36,570
and then get rid of a lot
of the swirl of the hiss on top

1256
01:20:36,744 --> 01:20:38,877
so that their voices
could be equal.

1257
01:20:39,051 --> 01:20:40,748
Now, for the first time
on this set,

1258
01:20:40,922 --> 01:20:43,446
you can hear Richard and Dylan
sing that song at the same time.

1259
01:20:43,620 --> 01:20:49,235
♪ Behind... ♪

1260
01:20:51,324 --> 01:20:54,240
We finally are getting
the real basement tapes

1261
01:20:54,414 --> 01:20:56,546
because they're
off the real reels.

1262
01:20:56,720 --> 01:21:00,115
And even in the instances
where they can't get access

1263
01:21:00,289 --> 01:21:03,727
to the real reels, nothing is
more than first generation.

1264
01:21:03,902 --> 01:21:07,383
♪ ...someone must explain

1265
01:21:07,557 --> 01:21:09,733
♪ That as long
as it takes to do this...

1266
01:21:09,908 --> 01:21:12,258
BERKOWITZ: There is one tape
called GHO 1,

1267
01:21:12,432 --> 01:21:16,349
the Garth Hudson 01 reel,
which is the tape
that he mixed.

1268
01:21:16,523 --> 01:21:20,353
That was the model
that we went after.
To how do you finish them?

1269
01:21:21,745 --> 01:21:24,052
We follow what Garth did.

1270
01:21:24,226 --> 01:21:28,535
♪ Take heed of this
and get plenty rest ♪

1271
01:21:28,709 --> 01:21:30,493
It was great
to work with Garth.

1272
01:21:30,667 --> 01:21:33,714
It was great having him be there
and touch it again and bless it

1273
01:21:33,888 --> 01:21:36,021
and give his approval
for it to come out.

1274
01:21:36,195 --> 01:21:39,676
It's great that we've got
30 songs that haven't
been in circulation,

1275
01:21:39,850 --> 01:21:43,942
and some of which are
as great as anything
we've previously heard.

1276
01:21:46,596 --> 01:21:50,600
♪ I don't hurt anymore

1277
01:21:50,774 --> 01:21:54,256
♪ All my teardrops have dried

1278
01:21:54,430 --> 01:21:57,781
The Basement Tapes
are a masterclass in Americana.

1279
01:21:57,956 --> 01:21:59,783
They help codify it.

1280
01:21:59,958 --> 01:22:01,307
They helped define it.

1281
01:22:01,481 --> 01:22:03,657
This is why
the Americana Acts of today

1282
01:22:03,831 --> 01:22:06,094
all revereThe Basement Tapes.

1283
01:22:06,268 --> 01:22:08,009
It's why I feel
The Basement Tapes

1284
01:22:08,183 --> 01:22:10,185
and so many others feel
The Basement Tapes
are important.

1285
01:22:10,359 --> 01:22:12,318
If you allow me
to say the inverted commas,
"important."

1286
01:22:12,492 --> 01:22:16,278
Certain records
and moments in time
are culturally important.

1287
01:22:16,452 --> 01:22:18,933
And the basement in Woodstock
is one of those times.

1288
01:22:19,107 --> 01:22:21,849
MARCUS: These people...
Think about it.

1289
01:22:22,023 --> 01:22:23,807
They're looking at the past.

1290
01:22:23,982 --> 01:22:27,811
♪ If your memory
serves you well...

1291
01:22:27,986 --> 01:22:32,338
And they're learning
from the past, and they're
listening to the past.

1292
01:22:32,512 --> 01:22:35,515
♪ ...again and wait

1293
01:22:35,689 --> 01:22:38,953
♪ So I'm going
to unpack all my things... ♪

1294
01:22:39,127 --> 01:22:43,044
But the idea that if
the past isn't alive in you,

1295
01:22:43,218 --> 01:22:45,525
then the future will be empty.

1296
01:22:45,699 --> 01:22:47,396
That's what the music says.

1297
01:22:49,137 --> 01:22:51,270
That's what was so different.

1298
01:22:53,576 --> 01:22:59,626
The notion that these guys are
23, 24, 25 is just nuts.

1299
01:22:59,800 --> 01:23:02,455
BERKOWITZ: The "Holy Grail"
as some people say.

1300
01:23:04,065 --> 01:23:06,024
Maybe it's the ultimate bootleg.

1301
01:23:06,198 --> 01:23:08,852
Maybe it because when you talk
about bootlegs,

1302
01:23:09,027 --> 01:23:11,551
what has been more desired
than this?

1303
01:23:11,725 --> 01:23:14,032
♪ This wheel's on fire

1304
01:23:14,206 --> 01:23:21,604
♪ Rolling down the road

1305
01:23:21,778 --> 01:23:27,697
♪ Best notify my next of kin

1306
01:23:27,871 --> 01:23:33,442
♪ This wheel shall explode ♪

1307
01:23:44,366 --> 01:23:46,499
DARIUS RUCKER: Something that
Dylan's had over his career,

1308
01:23:46,673 --> 01:23:48,762
he tries these things,
everybody goes, "I don't know."

1309
01:23:48,936 --> 01:23:50,720
And he does it and we get it.

1310
01:23:50,894 --> 01:23:52,809
We go, "Absolutely."

1311
01:23:52,983 --> 01:23:55,812
JASON ISBELL: I don't see him
attempting to reinvent himself.

1312
01:23:55,986 --> 01:23:57,640
People say that, you know.

1313
01:23:57,814 --> 01:23:59,816
But I don't see that.

1314
01:23:59,990 --> 01:24:02,558
I see him writing songs
and going, "What kind of songs
do I have?"

1315
01:24:02,732 --> 01:24:06,040
ROSANNE CASH: Bob Dylan
came from New York
to recordJohn Wesley Harding

1316
01:24:06,214 --> 01:24:11,263
and Nashville Skyline,
and it was a revolution.

1317
01:24:11,437 --> 01:24:15,005
♪ All of these awful things
that I have heard

1318
01:24:15,180 --> 01:24:16,877
♪ I don't want to believe them

1319
01:24:17,051 --> 01:24:18,879
♪ All I want is your word

1320
01:24:19,053 --> 01:24:22,883
♪ So, darling
you better come through

1321
01:24:23,057 --> 01:24:25,712
♪ Tell me that it isn't true

1322
01:24:25,886 --> 01:24:29,933
ROSANNE: It was a revolution
in music, in attitude

1323
01:24:30,108 --> 01:24:33,589
and understanding
how incredibly powerful

1324
01:24:33,763 --> 01:24:38,377
the cross pollination
of country and folk
and rock was,

1325
01:24:39,291 --> 01:24:41,641
and natural for the time.

1326
01:24:44,470 --> 01:24:49,301
Here was a guy who was,
in his way, a revolutionary.

1327
01:24:49,475 --> 01:24:54,697
Bob had an enormous impact on
what was going on in Nashville.

1328
01:24:54,871 --> 01:24:58,092
He was following his instincts
to seek out these musicians

1329
01:24:58,266 --> 01:25:00,312
because it was inspiring to him.

1330
01:25:01,139 --> 01:25:04,838
♪ I pity the poor immigrant

1331
01:25:05,012 --> 01:25:07,580
♪ Who tramples
through the mud ♪

1332
01:25:07,754 --> 01:25:09,582
A soon as I heard Dylan,

1333
01:25:09,756 --> 01:25:13,499
I realized that he needed
country background.

1334
01:25:13,673 --> 01:25:17,024
He needed the kind of musicians
we didn't have in New York.

1335
01:25:17,198 --> 01:25:20,114
The kind of people who work
with people like Johnny Cash.

1336
01:25:20,288 --> 01:25:24,597
Dad carried a record player
on the road with him on tour

1337
01:25:24,771 --> 01:25:28,644
and before his shows,
he would play Bob every night.

1338
01:25:28,818 --> 01:25:32,866
Bob was a fan of dad's, too,
to that famous line

1339
01:25:33,040 --> 01:25:35,260
of you heard him
coming out of the radio.

1340
01:25:35,434 --> 01:25:37,958
It was like a voice
from middle Earth.

1341
01:25:38,132 --> 01:25:40,439
Johnny Cash was the epitome
of country music.

1342
01:25:40,613 --> 01:25:43,659
He was the living
ultimate end.

1343
01:25:43,833 --> 01:25:47,794
He and I, we were writing
each other letters
before we'd ever met.

1344
01:25:47,968 --> 01:25:50,797
First time I met him
was at the Newport
Folk Festival.

1345
01:25:50,971 --> 01:25:54,148
He was an early supporter
of mine, told me so.

1346
01:25:54,322 --> 01:25:56,716
But I have been a fan of his
long before that.

1347
01:25:56,890 --> 01:26:00,285
JOHNNY CASH: Then one night,
Bob Johnston brought
Bob Dylan to Nashville.

1348
01:26:00,459 --> 01:26:03,853
I had Dylan there,
and then I had Cash coming in.

1349
01:26:04,027 --> 01:26:06,639
So when Dylan got through,
Cash walked through the door.

1350
01:26:06,813 --> 01:26:09,424
He said, "What are doing here?"
He said, "I came down
to record."

1351
01:26:09,598 --> 01:26:11,078
He said,
"Well, I just finished."

1352
01:26:11,252 --> 01:26:13,559
While he went to dinner,
I built a bar.

1353
01:26:13,733 --> 01:26:16,475
Blue lights,
I had whiskey bottle there,

1354
01:26:16,649 --> 01:26:19,739
clock and shit like that,
their guitars all tuned, ready.

1355
01:26:19,913 --> 01:26:23,090
Want me to get in closer on it?

1356
01:26:23,264 --> 01:26:25,310
When they came in,
they looked at each other,

1357
01:26:25,484 --> 01:26:27,877
and then they looked over at me
and they started smiling

1358
01:26:28,051 --> 01:26:31,359
and they took their guitars and
they went outside and tuned them

1359
01:26:31,533 --> 01:26:34,144
and started playing
for an hour-and-a-half.

1360
01:26:34,319 --> 01:26:36,495
And what do you want to hear?

1361
01:26:36,669 --> 01:26:39,237
♪ 'Cause you're right
from your side

1362
01:26:39,411 --> 01:26:43,676
♪ But I'm right from mine

1363
01:26:43,850 --> 01:26:46,983
♪ We're just
one too many mornings

1364
01:26:47,157 --> 01:26:51,684
♪ And a thousand miles behind

1365
01:26:51,858 --> 01:26:53,816
♪ That's right ♪

1366
01:26:53,990 --> 01:26:57,864
Record company
wouldn't release it
because they talked in it.

1367
01:26:58,038 --> 01:27:00,867
And they told me in Nashville,
"If you get a pair of scissors

1368
01:27:01,041 --> 01:27:03,870
"and cut the talking out
of Dylan and him

1369
01:27:04,044 --> 01:27:06,525
"then we can use the music
and all."

1370
01:27:06,699 --> 01:27:09,658
And I said,
"Oh, God, I'm so happy."

1371
01:27:09,832 --> 01:27:11,486
And he said, "Why?"

1372
01:27:11,660 --> 01:27:14,620
I said, "Not to have to be
around you fucking people."

1373
01:27:14,794 --> 01:27:18,058
And I walked out the door
and they still
didn't release it.

1374
01:27:18,232 --> 01:27:20,321
And that's the one
they're talking about.

1375
01:27:20,495 --> 01:27:23,150
ISBELL: In Nashville,
their approach is different.

1376
01:27:23,324 --> 01:27:25,021
The negotiations that you make

1377
01:27:25,195 --> 01:27:27,720
with producers and engineers
and studio musicians

1378
01:27:27,894 --> 01:27:30,462
have a different tone and they
move at a different speed.

1379
01:27:30,636 --> 01:27:33,073
These guys
weren't messing around.

1380
01:27:33,247 --> 01:27:36,729
They were so deep musically.

1381
01:27:52,658 --> 01:27:56,052
♪ All along the watchtower

1382
01:27:56,226 --> 01:27:59,621
♪ Princes kept the view

1383
01:27:59,795 --> 01:28:03,233
♪ While all the women
came and went

1384
01:28:03,408 --> 01:28:05,758
♪ Barefoot servants, too... ♪

1385
01:28:05,932 --> 01:28:07,673
RUCKER: The John Wesley
Harding record.

1386
01:28:07,847 --> 01:28:10,110
When I worked retail, and I
really discovered that record

1387
01:28:10,284 --> 01:28:13,983
back in the late '80s,
early '90s, that record,
I just went...

1388
01:28:14,897 --> 01:28:17,117
I mean, when does it stop?

1389
01:28:17,291 --> 01:28:19,206
When does he stop being great?

1390
01:28:19,380 --> 01:28:21,121
All that country stuff
that he did,

1391
01:28:21,295 --> 01:28:22,905
you listen to the singer,
it's not even the same singer.

1392
01:28:23,079 --> 01:28:24,559
You got that...

1393
01:28:24,733 --> 01:28:26,344
♪ Someone's got it in for me

1394
01:28:26,518 --> 01:28:28,650
♪ They're planting stories
in the press ♪

1395
01:28:28,824 --> 01:28:30,348
[VOCALIZES]

1396
01:28:30,522 --> 01:28:33,263
He'd sing in this warm,
beautiful way

1397
01:28:33,438 --> 01:28:35,135
that you've never heard
Dylan sing before.

1398
01:28:35,309 --> 01:28:38,094
♪ Lay, lady, lay

1399
01:28:38,268 --> 01:28:40,575
♪ Lay across
my big brass bed...

1400
01:28:40,749 --> 01:28:42,882
RUCKER: When you listen to
Lay Lady Lay
you really go,

1401
01:28:43,056 --> 01:28:47,539
"Wow, this is one of the best
singers in the world."
His voice is perfect.

1402
01:28:47,713 --> 01:28:50,672
It's beautiful.
It makes you feel every note.

1403
01:28:50,846 --> 01:28:56,330
♪ Whatever colors you have
in your mind

1404
01:28:57,592 --> 01:29:02,771
♪ I'll show them to you
and you'll see them shine

1405
01:29:04,512 --> 01:29:07,994
♪ Love is a burning thing

1406
01:29:09,778 --> 01:29:14,870
♪ It makes for a fiery ring ♪

1407
01:29:15,044 --> 01:29:19,571
It's beautiful that it arose
out of mutual respect
and friendship.

1408
01:29:19,745 --> 01:29:25,751
That it was again
an authentic organic response

1409
01:29:25,925 --> 01:29:27,753
to what they felt
for each other.

1410
01:29:27,927 --> 01:29:28,971
JOHNNY: All right.

1411
01:29:29,145 --> 01:29:30,582
[GUITAR PLAYING]

1412
01:29:30,756 --> 01:29:33,106
I grew up in the north country,
you know.

1413
01:29:34,237 --> 01:29:36,675
[HUMMING]

1414
01:29:36,849 --> 01:29:38,416
DYLAN: I don't know
if I could do that, John.

1415
01:29:38,590 --> 01:29:42,376
The night that Bob
was on The Johnny Cash Show,

1416
01:29:42,550 --> 01:29:45,118
and he and my dad
sat next to each other,

1417
01:29:45,292 --> 01:29:46,946
I was 13 years old.

1418
01:29:47,120 --> 01:29:48,643
I went to school the next day.

1419
01:29:48,817 --> 01:29:53,039
Suddenly, the coolest
13-year-old in the world.

1420
01:29:55,215 --> 01:29:58,000
It's like an explosion
happened in the country.

1421
01:29:58,174 --> 01:29:59,959
♪ If you're travelin'

1422
01:30:00,133 --> 01:30:03,702
♪ In the north country fair

1423
01:30:04,790 --> 01:30:07,445
♪ Where the winds hit heavy

1424
01:30:07,619 --> 01:30:10,796
♪ On the borderline

1425
01:30:12,275 --> 01:30:14,452
♪ Remember me

1426
01:30:15,409 --> 01:30:17,890
♪ To one who lives there

1427
01:30:19,892 --> 01:30:22,198
♪ She once was

1428
01:30:22,372 --> 01:30:26,725
♪ A true love of mine

1429
01:30:28,335 --> 01:30:29,423
♪ True love of mine

1430
01:30:29,597 --> 01:30:31,947
♪ A true love of mine... ♪

1431
01:30:32,121 --> 01:30:34,384
JOHNNY: Bob Dylan's appearance
brought a great deal of
attention to Nashville

1432
01:30:34,559 --> 01:30:36,778
and then a lot of my peers

1433
01:30:36,952 --> 01:30:39,955
did not give him credit for it,
and people to follow
who recorded

1434
01:30:40,129 --> 01:30:42,871
songs in Nashville
because Bob Dylan did.

1435
01:30:43,568 --> 01:30:45,091
[CROWD CHEERING]

1436
01:30:55,101 --> 01:30:57,451
♪ I went to see the gypsy

1437
01:31:00,454 --> 01:31:02,935
♪ Staying in a big hotel

1438
01:31:03,979 --> 01:31:07,243
♪ "How are you?"
He asked me

1439
01:31:07,417 --> 01:31:09,811
♪ And I asked the same of him ♪

1440
01:31:14,033 --> 01:31:17,123
It must have been
right around 1970.

1441
01:31:17,297 --> 01:31:18,864
I was living in New York City.

1442
01:31:19,038 --> 01:31:21,301
Bob used to come
when we'd play The Bitter End.

1443
01:31:21,475 --> 01:31:23,129
I know that
he'd seen me play there.

1444
01:31:23,303 --> 01:31:26,349
I didn't think he noticed me.

1445
01:31:26,524 --> 01:31:31,659
I was introduced to him
one night. We said maybe
six words to each other.

1446
01:31:31,833 --> 01:31:34,880
And that was all the personal
contact I had with him until

1447
01:31:35,054 --> 01:31:39,754
he called me one day
and asked me if I would
help him try out a studio.

1448
01:31:39,928 --> 01:31:42,975
Trying out the studio turned out
to be recording Self Portrait.

1449
01:31:45,368 --> 01:31:48,589
The studio that I went to was
one of the Columbia Studios,

1450
01:31:48,763 --> 01:31:50,809
so I'm sure he'd been in there
many times before.

1451
01:31:50,983 --> 01:31:52,637
I'm sure of that now,
I wasn't then.

1452
01:31:52,811 --> 01:31:54,290
-Bob?
-DYLAN: Yeah.

1453
01:31:54,464 --> 01:31:56,118
BROMBERG: Let's just
take this one. You ready?

1454
01:31:56,292 --> 01:31:57,642
[GUITAR PLAYING]

1455
01:31:59,339 --> 01:32:01,646
♪ Down in some lone valley

1456
01:32:03,909 --> 01:32:07,913
♪ In a sad, lonesome place... ♪

1457
01:32:08,087 --> 01:32:09,654
JOHNSTON: He told me
he wanted to come in.

1458
01:32:09,828 --> 01:32:11,612
Said, "What do you think
about me doing it?"

1459
01:32:11,786 --> 01:32:14,528
The other people saw it.
I said "Great idea."

1460
01:32:14,702 --> 01:32:17,226
It was a good idea
for him to do anything.

1461
01:32:17,400 --> 01:32:18,967
And especially
something like that.

1462
01:32:19,141 --> 01:32:21,709
You never knew
what he was going to do

1463
01:32:21,883 --> 01:32:23,232
or how he was going to do it.

1464
01:32:23,406 --> 01:32:25,452
Bob is always Bob.

1465
01:32:25,626 --> 01:32:29,195
So when we're working
on a session, Bob is
specifically always Bob.

1466
01:32:29,369 --> 01:32:33,678
I was there, I think,
for three, four days in a row.

1467
01:32:34,983 --> 01:32:40,423
And it was different than
the other sessions I had done.

1468
01:32:40,598 --> 01:32:44,340
I thought the album would be
called Folk Songs of America
or something.

1469
01:32:45,167 --> 01:32:46,386
It was bizarre.

1470
01:32:46,560 --> 01:32:49,171
He wanted to
do folk songs, great.

1471
01:32:49,345 --> 01:32:50,782
I love playing that stuff.

1472
01:32:50,956 --> 01:32:52,566
DYLAN: It's one of
our old favorites.

1473
01:32:52,740 --> 01:32:55,308
Copper Kettlewe recorded,
just the two of us.

1474
01:32:56,439 --> 01:32:59,878
♪ Get you a copper kettle

1475
01:33:03,838 --> 01:33:06,928
♪ Get you a copper coil...

1476
01:33:07,102 --> 01:33:09,931
He put his own twist to it,
you know, and it's good.

1477
01:33:10,105 --> 01:33:15,981
♪ You'll just lay there
by the juniper

1478
01:33:17,765 --> 01:33:22,770
♪ While the moon is bright... ♪

1479
01:33:22,944 --> 01:33:25,599
He'd play a little bit
and that wouldn't be it,

1480
01:33:25,773 --> 01:33:27,340
then he'd go
into something else.

1481
01:33:27,514 --> 01:33:29,908
That was always Dylan,
ever-changing thing, man.

1482
01:33:30,082 --> 01:33:32,084
He's going, "If this didn't
work, that would work.

1483
01:33:32,258 --> 01:33:34,086
"If this didn't work,
that would work."

1484
01:33:37,655 --> 01:33:40,005
DYLAN: Remember this?
Remember Bob Gibson.

1485
01:33:40,179 --> 01:33:42,137
I think maybe he just
wanted to do a record

1486
01:33:42,311 --> 01:33:45,271
where he was the interpreter,
as opposed to the composer,

1487
01:33:45,445 --> 01:33:48,578
because he wasn't doing
any songs that he wrote.

1488
01:33:48,753 --> 01:33:51,233
♪ Yes, tell old Bill

1489
01:33:51,407 --> 01:33:53,061
♪ When he comes home

1490
01:33:53,235 --> 01:33:57,239
♪ To leave them
downtown girls alone

1491
01:33:57,413 --> 01:33:59,328
♪ This morning

1492
01:33:59,502 --> 01:34:03,768
♪ This evening, so soon

1493
01:34:05,117 --> 01:34:07,989
♪ So soon

1494
01:34:09,295 --> 01:34:12,515
♪ So soon ♪

1495
01:34:12,690 --> 01:34:15,518
It seems to me that
he called it Self Portrait

1496
01:34:15,693 --> 01:34:18,652
because this was the music
that he came out of.

1497
01:34:21,699 --> 01:34:24,745
♪ All the tired horses
in the sun

1498
01:34:24,919 --> 01:34:28,140
♪ How am I supposed
to get any ridin' done?

1499
01:34:28,314 --> 01:34:30,403
♪ Mmm ♪

1500
01:34:30,577 --> 01:34:33,449
A lot of the critics
didn't want to hear
Bob do anything different.

1501
01:34:33,623 --> 01:34:38,498
A lot of the critics
wanted Bob to remain
what their idea of him was.

1502
01:34:38,672 --> 01:34:40,674
If he come with another album,

1503
01:34:40,848 --> 01:34:44,417
"Oh, yeah.
Let's criticize this one
and see what this is like."

1504
01:34:44,591 --> 01:34:48,073
He knows all that shit.
He's been out there
long enough for that.

1505
01:34:48,247 --> 01:34:51,598
They wanted what happened.
They wanted Rolling Stone.

1506
01:34:51,772 --> 01:34:53,339
They didn't want Self Portrait.

1507
01:34:53,513 --> 01:34:54,862
They didn't want
a change of pace.

1508
01:34:55,036 --> 01:34:56,690
They didn't want
a different sound.

1509
01:34:56,864 --> 01:34:58,387
People don't
really speak to you.

1510
01:34:58,561 --> 01:35:00,346
They speak to
their image of you.

1511
01:35:00,520 --> 01:35:02,348
They speak to your name
in caps.

1512
01:35:02,522 --> 01:35:04,393
[DYLAN VOCALIZING]

1513
01:35:08,006 --> 01:35:09,703
Some people don't get anything.

1514
01:35:09,877 --> 01:35:12,619
Some people don't get the Bible,
there's a devil or whatever.

1515
01:35:12,793 --> 01:35:14,708
It didn't matter
what anybody saw.

1516
01:35:14,882 --> 01:35:17,276
Some of the people who really
were very critical of it,

1517
01:35:17,450 --> 01:35:20,061
have realized that there's some
marvelous things,

1518
01:35:20,235 --> 01:35:22,324
they just weren't the things
that they wanted to get

1519
01:35:22,498 --> 01:35:24,022
out of a Bob Dylan album.

1520
01:35:24,196 --> 01:35:27,503
Self Portrait,you know,
stood by itself.

1521
01:35:27,677 --> 01:35:29,201
It was very different.

1522
01:35:37,513 --> 01:35:41,735
As far as I could tell,
New Morningwas a reaction

1523
01:35:41,909 --> 01:35:45,086
to the criticism
of Self Portrait.

1524
01:35:45,260 --> 01:35:48,698
It was more like another album,
and it was very comfortable,

1525
01:35:48,873 --> 01:35:51,919
and that's why it was hurried,
if you will.

1526
01:35:52,093 --> 01:35:53,834
But it wasn't really hurried.

1527
01:35:54,008 --> 01:35:57,229
Didn't rush anything. When he
got through, that's when...

1528
01:35:57,403 --> 01:35:58,404
When he said,

1529
01:35:58,578 --> 01:35:59,753
"That's it, Bob,"

1530
01:36:00,536 --> 01:36:01,711
that's when it came out.

1531
01:36:01,886 --> 01:36:05,063
At the time,
there was a brief...

1532
01:36:06,325 --> 01:36:11,286
Flirtation with
writing the songs
for a Broadway show.

1533
01:36:11,460 --> 01:36:17,510
I once accompanied him
to Archibald MacLeish's house

1534
01:36:17,684 --> 01:36:20,295
where they had
a discussion about that.

1535
01:36:20,469 --> 01:36:24,169
And it was some sort of
collaboration between
the two of them.

1536
01:36:24,343 --> 01:36:27,781
And then he decided
not to do that.
But he had written the songs.

1537
01:36:27,955 --> 01:36:32,133
That's what comprised
New Morning.

1538
01:36:32,307 --> 01:36:37,051
♪ Time passes slowly
up here in the daylight

1539
01:36:37,225 --> 01:36:41,882
♪ We stare straight ahead
and try so hard to stay right

1540
01:36:42,056 --> 01:36:46,974
♪ Like a cloud drifting over
that covers the day

1541
01:36:47,148 --> 01:36:52,066
♪ Time passes slowly
and fades away ♪

1542
01:36:52,240 --> 01:36:54,634
I was hearing the songs
for the very first time.

1543
01:36:54,808 --> 01:36:57,332
And sometimes
those first times through

1544
01:36:57,506 --> 01:36:58,986
are what was on this album.

1545
01:36:59,160 --> 01:37:01,554
I never heard Bob
do rehearsal with the band.

1546
01:37:01,728 --> 01:37:03,599
He knew what he wanted.

1547
01:37:03,773 --> 01:37:07,038
He didn't necessarily tell us,
but he knew.

1548
01:37:07,212 --> 01:37:09,257
I told everybody,
"Never quit playing."

1549
01:37:09,431 --> 01:37:12,043
If you quit playing, get some
boot briefcase, and your hat

1550
01:37:12,217 --> 01:37:14,959
and go out the door
and wave goodbye at us.

1551
01:37:17,309 --> 01:37:21,574
It's like taking off
in a rocket ship
to ever go in with Bob Dylan.

1552
01:37:21,748 --> 01:37:25,534
I was not at the sessions that
George Harrison did with Bob.

1553
01:37:25,708 --> 01:37:31,018
He was very careful about
working out every note
that he played.

1554
01:37:31,192 --> 01:37:34,717
Bob is very spontaneous,
and he he wants you to...

1555
01:37:34,892 --> 01:37:37,459
He wants to hear
what your first thought is.

1556
01:37:37,633 --> 01:37:41,376
So the sessions that they did
must have been very different.

1557
01:37:41,550 --> 01:37:48,296
It was nice to hear him
improvising, and I thought
I could hear at a point,

1558
01:37:48,470 --> 01:37:53,475
I thought I could hear him
thinking, "What's he doing now?"
[LAUGHS]

1559
01:37:53,649 --> 01:37:56,739
♪ Looking for a guru

1560
01:37:56,914 --> 01:37:58,959
♪ Working on a guru

1561
01:38:00,091 --> 01:38:02,223
♪ Working on a guru

1562
01:38:02,397 --> 01:38:05,226
♪ Before the sun goes down ♪

1563
01:38:06,314 --> 01:38:07,489
Play it again.

1564
01:38:12,886 --> 01:38:17,064
We had cut New Morning,
and I said to Bob,

1565
01:38:17,238 --> 01:38:20,328
"I have a really good
horn arrangement for this.

1566
01:38:22,417 --> 01:38:23,549
"Can I do that?"

1567
01:38:24,550 --> 01:38:26,595
And he said yeah.

1568
01:38:26,769 --> 01:38:28,380
And I brought in
the horn session
forNew Morning.

1569
01:38:28,554 --> 01:38:33,080
And he kept just the French horn
playing a downward scale.

1570
01:38:33,776 --> 01:38:35,169
All the rest of it,

1571
01:38:35,343 --> 01:38:36,736
he said, "No, I'm just
going to erase it."

1572
01:38:36,910 --> 01:38:39,521
♪ So happy just to be alive

1573
01:38:39,695 --> 01:38:42,133
♪ Underneath the sky of blue

1574
01:38:42,916 --> 01:38:46,572
♪ On this new morning

1575
01:38:47,529 --> 01:38:50,184
♪ New morning

1576
01:38:50,358 --> 01:38:53,535
♪ On this new morning ♪

1577
01:38:55,450 --> 01:38:59,846
I'm so delighted that
horns were still there

1578
01:39:00,020 --> 01:39:02,544
so I could mix it, properly.

1579
01:39:02,718 --> 01:39:05,852
Same thing happened
with the strings in
Sign on the Window.

1580
01:39:06,026 --> 01:39:09,943
On the original session,
I played an organ solo.

1581
01:39:10,117 --> 01:39:14,165
And my intention was to
take the organ out altogether.

1582
01:39:14,339 --> 01:39:15,296
He kept that.

1583
01:39:16,645 --> 01:39:18,952
And threw all those strings out.

1584
01:39:19,126 --> 01:39:25,306
♪ Looks like a-nothing
but rain

1585
01:39:25,480 --> 01:39:30,094
♪ Sure gonna be wet tonight
on Main Street

1586
01:39:32,183 --> 01:39:38,276
♪ Hope that it don't sleet ♪

1587
01:39:39,929 --> 01:39:41,757
I love the vocals.

1588
01:39:41,931 --> 01:39:46,110
The way he sings
the word "sleet" is amazing.

1589
01:39:46,284 --> 01:39:48,677
He puts "sleet" in his voice.

1590
01:39:48,851 --> 01:39:54,335
Those two tracks specifically
I've coveted for 40 years.

1591
01:39:54,509 --> 01:39:56,903
And then to find that
I could remix them

1592
01:39:57,077 --> 01:39:58,513
because he didn't erase them,

1593
01:39:58,687 --> 01:40:04,215
it was great to come back to it
and sit at my desk

1594
01:40:04,389 --> 01:40:06,608
and listen to the isolated vocal

1595
01:40:07,783 --> 01:40:09,611
and go, "Boy, this is great."

1596
01:40:09,785 --> 01:40:14,616
New MorningI thought was
a great time of his singing.

1597
01:40:14,790 --> 01:40:18,794
I don't think that Bob has
gotten credit for
what a great singer he is.

1598
01:40:18,968 --> 01:40:20,883
He is a great singer.

1599
01:40:21,058 --> 01:40:22,494
There's a difference between

1600
01:40:22,668 --> 01:40:24,452
having a great voice
and being a great singer.

1601
01:40:24,626 --> 01:40:27,673
The man can put across a song
like no one else can.

1602
01:40:27,847 --> 01:40:29,588
It just comes through.

1603
01:40:29,762 --> 01:40:34,375
♪ Sylvie came here Wednesday

1604
01:40:35,594 --> 01:40:40,729
♪ She came this morning
by the light of the dawn

1605
01:40:42,383 --> 01:40:48,911
♪ She comes up here now
nearly all of the time

1606
01:40:49,086 --> 01:40:54,352
♪ To see if she can carry on

1607
01:40:54,526 --> 01:41:00,706
♪ Now won't you bring me
a little water, Sylvie?

1608
01:41:02,621 --> 01:41:07,582
♪ Bring me
a little water now? ♪

1609
01:41:07,756 --> 01:41:12,239
I was very lucky to have been
asked to play on those records,

1610
01:41:12,413 --> 01:41:13,893
and I wouldn't trade it
for anything.

1611
01:41:14,067 --> 01:41:15,416
That's the way it was.

1612
01:41:15,590 --> 01:41:18,985
It was a complete
and utter joyous trip.

1613
01:41:19,159 --> 01:41:23,337
Bob is the equivalent
of William Shakespeare.

1614
01:41:24,295 --> 01:41:26,384
What Shakespeare did
in his time,

1615
01:41:27,036 --> 01:41:28,473
Bob does it in his time.

1616
01:41:28,647 --> 01:41:31,345
You think of all this
huge period of time

1617
01:41:31,519 --> 01:41:33,826
in which he's continued
to deliver,

1618
01:41:34,000 --> 01:41:35,436
it's pretty amazing.

1619
01:41:35,610 --> 01:41:37,960
Down the curve
and around the bend, he came.

1620
01:41:38,135 --> 01:41:41,660
And it'll never end now
'cause he's been
on this roller coaster ride

1621
01:41:41,834 --> 01:41:43,183
ever since he left Minnesota.

1622
01:41:43,357 --> 01:41:45,403
He's been brutalized, sunrised,

1623
01:41:45,577 --> 01:41:48,275
baptized in the waters
of the Village.

1624
01:41:48,449 --> 01:41:51,670
Still, it goes on from Soho
to Moscow to Oslo.

1625
01:41:51,844 --> 01:41:55,587
They speak of this trip,
this battleship who sailed

1626
01:41:55,761 --> 01:41:57,458
in the harbor of Tin Pan Alley

1627
01:41:57,632 --> 01:42:00,809
and sank it with his
Subterranean Homesick Blues.

1628
01:42:01,767 --> 01:42:04,117
There is none but one Bob Dylan.

1629
01:42:06,467 --> 01:42:11,603
♪ Someday everything is
gonna be different

1630
01:42:11,777 --> 01:42:17,304
♪ When I paint
that masterpiece ♪

1631
01:42:45,289 --> 01:42:47,813
When Bob was signed in '61,

1632
01:42:47,987 --> 01:42:51,338
he really changed the whole
image of Columbia Records.

1633
01:42:51,512 --> 01:42:54,080
Columbia was a MOR company.

1634
01:42:54,254 --> 01:42:57,649
It was sing-along with Mitch,
with Johnny Mathis.

1635
01:42:57,823 --> 01:42:59,825
It was the tried and true.

1636
01:42:59,999 --> 01:43:05,570
And suddenly Bob came along
with a revolutionary outlook

1637
01:43:05,744 --> 01:43:07,354
for a new generation.

1638
01:43:08,616 --> 01:43:11,532
What's wonderful about
having Bob back now is

1639
01:43:11,706 --> 01:43:16,233
he tried making it
away from the company,

1640
01:43:16,407 --> 01:43:19,671
and he found out
that Columbia was his home.

1641
01:43:19,845 --> 01:43:25,154
And I think the album is going
to prove how different Bob is

1642
01:43:25,329 --> 01:43:28,070
when he's completely comfortable
with his surroundings.

1643
01:43:28,245 --> 01:43:30,682
Than he was, last year.

1644
01:43:30,856 --> 01:43:32,292
I get phone calls every day.

1645
01:43:32,466 --> 01:43:33,946
Reviewers wants to hear it

1646
01:43:34,120 --> 01:43:36,688
and certain retail accounts
where the clerks,

1647
01:43:36,862 --> 01:43:38,864
are aware that it's going on,
have called.

1648
01:43:39,038 --> 01:43:41,083
It's just become everywhere.

1649
01:43:41,258 --> 01:43:42,737
There's a great deal of
anticipation and a great deal
of excitement

1650
01:43:42,911 --> 01:43:45,218
about this new
Blood on the Tracksalbum.

1651
01:43:45,392 --> 01:43:47,916
I was in the dentist chair
some morning...

1652
01:43:48,090 --> 01:43:49,701
Some afternoon in May.

1653
01:43:49,875 --> 01:43:51,311
I got a frantic call from

1654
01:43:52,356 --> 01:43:55,228
Owen Stegalstein's secretary

1655
01:43:55,402 --> 01:43:59,319
saying, "John,
Bob Dylan is in the building.

1656
01:43:59,493 --> 01:44:01,713
"Owen wants to know if you
could come right over."

1657
01:44:01,887 --> 01:44:05,760
I said, "I can't come
right over. I'll be over
as soon as I can."

1658
01:44:05,934 --> 01:44:10,678
I guess they called me
because some 13 years ago,

1659
01:44:10,852 --> 01:44:13,333
I was the guy who
sort of stuck my neck out

1660
01:44:13,507 --> 01:44:16,815
and signed Bobby
originally to Columbia.

1661
01:44:16,989 --> 01:44:19,644
And they thought it might be
a nice idea if I were around

1662
01:44:19,818 --> 01:44:22,516
at some certain point
in this thing, so...

1663
01:44:23,604 --> 01:44:27,129
I got back to the office
about 45 minutes later.

1664
01:44:27,304 --> 01:44:30,568
And Bobby and Owen
were just finishing

1665
01:44:30,742 --> 01:44:37,270
what looked like an extremely
successful and friendly talk.

1666
01:44:37,444 --> 01:44:40,621
And they were going into
Goddard Lieberson's office.

1667
01:44:40,795 --> 01:44:45,974
And Dylan has always had
a sort of very special respect
for Lieberson.

1668
01:44:46,148 --> 01:44:53,504
And they came in and Bobby
was very effusive with Goddard.

1669
01:44:53,678 --> 01:44:56,463
And Goddard looked up at Bobby
and said,

1670
01:44:56,637 --> 01:45:00,902
"Well, Bobby,
same temple, new rabbi".

1671
01:45:01,076 --> 01:45:05,864
When Bob came into the studio
this time, he was prepared.

1672
01:45:06,604 --> 01:45:09,302
Not only was he prepared,

1673
01:45:09,476 --> 01:45:15,613
he was marvelously certain
of what exactly he wanted to do.

1674
01:45:17,397 --> 01:45:21,270
When I used to record Bob
in '61 and '62,

1675
01:45:21,445 --> 01:45:23,447
it was a very different story.

1676
01:45:24,404 --> 01:45:26,101
Bob would come up,

1677
01:45:26,275 --> 01:45:30,976
he was writing
about 11 to 15 songs a week
in those days.

1678
01:45:31,150 --> 01:45:36,024
And every time he had something,
he wanted to put it on tape.

1679
01:45:36,198 --> 01:45:37,635
And it was simple
in those days.

1680
01:45:38,940 --> 01:45:40,551
That was before the time

1681
01:45:40,725 --> 01:45:44,859
when people had to pay
for studio time, editing.

1682
01:45:46,034 --> 01:45:48,733
All the rest of the things
that happen now days,

1683
01:45:48,907 --> 01:45:50,822
and this didn't
cost Bob anything.

1684
01:45:52,693 --> 01:45:54,129
Every time he had
something new,

1685
01:45:55,174 --> 01:45:56,741
I'd put 'em in.

1686
01:45:56,915 --> 01:45:58,960
He was sort of sloppy
about the way he worked.

1687
01:46:00,222 --> 01:46:03,008
We had to build a special guard
around the microphone

1688
01:46:03,182 --> 01:46:05,402
because he popped so many P's.

1689
01:46:05,576 --> 01:46:07,447
Poor George Kanawa,

1690
01:46:07,621 --> 01:46:10,842
who was the engineer
at that time, was going crazy.

1691
01:46:11,016 --> 01:46:15,934
So Bob had to work further away
from a microphone.

1692
01:46:16,108 --> 01:46:20,460
But Bob, of course, was just
absolutely unique, sensational,

1693
01:46:20,634 --> 01:46:23,028
marvelous artist in those days.

1694
01:46:23,202 --> 01:46:25,160
And he turned out to be

1695
01:46:25,334 --> 01:46:30,514
even more of a unique,
sensational and marvelous artist
this time.

1696
01:46:30,688 --> 01:46:34,648
Bob's always coming up
with a really unusual surprise.

1697
01:46:34,822 --> 01:46:37,129
On this one, he asked me
to get in touch with Pete Hamill

1698
01:46:37,303 --> 01:46:39,261
because we had talked
about liner notes,

1699
01:46:39,436 --> 01:46:42,439
and he said
he wanted Pete Hamill
to write the liner notes.

1700
01:46:42,613 --> 01:46:46,051
And we made
some maneuvers to contact Pete.

1701
01:46:46,225 --> 01:46:47,748
It was a little difficult
at first.

1702
01:46:47,922 --> 01:46:49,750
Bob and Pete
hit it off immediately.

1703
01:46:49,924 --> 01:46:53,928
Pete took notes and wrote
incredible liner notes
for the album.

1704
01:46:54,102 --> 01:46:58,933
So, we've got a really unusual
merchandising support there.

1705
01:46:59,107 --> 01:47:01,022
It kind of explains
a little bit about the music,

1706
01:47:01,196 --> 01:47:05,244
a little bit about the society
in which we live.

1707
01:47:05,418 --> 01:47:08,552
And Bob's music
is kind of a portrait on life.

1708
01:47:08,726 --> 01:47:11,119
He covers so many areas
of music.

1709
01:47:11,293 --> 01:47:15,080
For example,
his hard blues numbers like
Meet Me in the Morning.

1710
01:47:15,254 --> 01:47:16,777
Part of the album is acoustic.

1711
01:47:16,951 --> 01:47:19,432
Part of it has
Eric Weissberg's band.

1712
01:47:19,606 --> 01:47:22,870
On a few cuts,
Buddy Cage from the New Riders

1713
01:47:23,044 --> 01:47:24,829
plays steel guitar.

1714
01:47:25,003 --> 01:47:27,266
And as a matter of fact,
we should touch on

1715
01:47:27,440 --> 01:47:29,007
some things
that John had talked about,

1716
01:47:29,181 --> 01:47:31,575
with other musicians
or artists doing Bob's music.

1717
01:47:31,749 --> 01:47:34,621
The New Riders
have recorded You Angel You.

1718
01:47:34,795 --> 01:47:36,884
They used Bob's rough lyric,

1719
01:47:37,058 --> 01:47:40,105
as opposed to his finished lyric
on the Planet Wavealbum.

1720
01:47:40,279 --> 01:47:42,324
But they did a Dylan tune.

1721
01:47:42,499 --> 01:47:45,806
Dave Mason recorded
All Along the Watchtower.

1722
01:47:45,980 --> 01:47:49,636
And Richie Havens,
Sad-Eyed Lady of the Lowlands.

1723
01:47:49,810 --> 01:47:52,030
So people are still
recording his music.

1724
01:47:52,204 --> 01:47:54,902
Nothing has changed.
He's evolving, it's all growing.

1725
01:47:55,076 --> 01:47:59,124
And this album,
there'll be tons of songs that
people are going to record.

1726
01:47:59,298 --> 01:48:02,910
Many artists will record
the songs in
Blood on the Tracks.

1727
01:48:03,084 --> 01:48:04,956
There's a tune
calledIdiot Wind,

1728
01:48:05,826 --> 01:48:08,089
which you have to listen to.

1729
01:48:08,263 --> 01:48:10,744
You must listen to it
several times to get
the significance of it.

1730
01:48:10,918 --> 01:48:13,834
There's a tune,Lily Rosemary
and the Jack of Hearts,

1731
01:48:14,008 --> 01:48:18,273
which touches on
some of the...
You know, life is a gamble,

1732
01:48:18,447 --> 01:48:20,493
type of life that we all lead.

1733
01:48:20,667 --> 01:48:24,062
And the conflict
between women, men,

1734
01:48:24,236 --> 01:48:25,542
and just life in general.

1735
01:48:26,368 --> 01:48:28,632
But it kind of
paints a picture,

1736
01:48:29,633 --> 01:48:31,852
a story as it were

1737
01:48:32,026 --> 01:48:33,637
that's very different
than some of the things
he's done before,

1738
01:48:33,811 --> 01:48:35,160
and yet it's very familiar.

1739
01:48:36,117 --> 01:48:37,945
So...

1740
01:48:38,119 --> 01:48:40,600
The album has a continuity,
a cohesiveness

1741
01:48:42,471 --> 01:48:43,908
that's exciting.

1742
01:48:44,082 --> 01:48:45,605
And there's an enthusiasm
that just builds

1743
01:48:45,779 --> 01:48:48,216
the difference of having
a little bit of acoustic music

1744
01:48:48,390 --> 01:48:52,264
and a bit of music with a band,
steel guitar, organ, etcetera.

1745
01:48:52,438 --> 01:48:55,876
Kind of creates a contrast
that in itself is exciting.

1746
01:48:56,050 --> 01:48:59,053
I don't think Bob consciously
plans this sort of thing.

1747
01:48:59,227 --> 01:49:02,361
But it came off beautifully,
really came off beautifully.

1748
01:49:02,535 --> 01:49:04,189
Let me tell you
about this album.

1749
01:49:05,364 --> 01:49:07,061
This album,

1750
01:49:07,235 --> 01:49:12,110
unlike any album that's cut
with groups these days,

1751
01:49:12,284 --> 01:49:17,768
was finished in five days
and mixed in two days.

1752
01:49:17,942 --> 01:49:21,032
Now this is, you know,
absolutely unprecedented

1753
01:49:21,772 --> 01:49:24,296
the way Columbia works nowadays.

1754
01:49:26,428 --> 01:49:29,344
A Simon and Garfunkel album

1755
01:49:29,518 --> 01:49:33,914
or a Bruce Springsteen album.

1756
01:49:34,088 --> 01:49:36,525
This is six or seven months
in a studio

1757
01:49:36,700 --> 01:49:40,051
of, you know, experimentation,

1758
01:49:42,270 --> 01:49:45,926
of discarding this,
adding that, overdubbing.

1759
01:49:46,535 --> 01:49:48,102
None of that with Bob.

1760
01:49:48,276 --> 01:49:51,105
And this album has a flow

1761
01:49:51,279 --> 01:49:55,283
that you won't find in any other
album recorded in 1974.

1762
01:49:55,457 --> 01:49:58,243
The album cover
is a cover that

1763
01:49:58,417 --> 01:50:02,987
lends itself to everything,
the merchandiser's dream.

1764
01:50:03,161 --> 01:50:07,861
His name is big,
the title is big. He has
liner notes on the package.

1765
01:50:08,035 --> 01:50:11,604
We're going to be ready
with point of purchase support

1766
01:50:11,778 --> 01:50:13,737
before the album ships.

1767
01:50:13,911 --> 01:50:15,913
We'll have time-buys
ready to run

1768
01:50:16,087 --> 01:50:18,480
the day the album
hits the stores.

1769
01:50:18,655 --> 01:50:19,917
We'll have all our print ads.

1770
01:50:20,091 --> 01:50:23,355
We've really done a job
up-front on this album

1771
01:50:23,529 --> 01:50:27,664
because Bob has allowed us the
time in a very professional...

1772
01:50:29,187 --> 01:50:31,755
"Professional enthusiasm,"
I think, might be a good phrase.

1773
01:50:31,929 --> 01:50:33,582
He just loves being back,

1774
01:50:33,757 --> 01:50:35,933
and he just knows
that we can do the job for him,

1775
01:50:36,107 --> 01:50:38,413
and it's going to be
really exciting.

1776
01:50:38,587 --> 01:50:40,328
And you'll get to
hear the album.

1777
01:50:40,502 --> 01:50:41,982
And when you hear the album,

1778
01:50:42,156 --> 01:50:44,637
you know everything
that John and I have said

1779
01:50:44,811 --> 01:50:47,814
relates to an exciting future
with Bob Dylan.

1780
01:50:47,988 --> 01:50:50,121
This album, of course,
will get immediate airplay.

1781
01:50:50,295 --> 01:50:52,166
That's not unusual for Bob.

1782
01:50:52,340 --> 01:50:54,081
I think where
the difference comes here

1783
01:50:54,255 --> 01:50:57,302
is this album will stay
on the air for quite a while.

1784
01:50:57,476 --> 01:50:59,957
And it's certainly accessible
to Top 40 radio.

1785
01:51:01,523 --> 01:51:03,351
Part of this

1786
01:51:03,525 --> 01:51:06,311
enthusiasm for the new release
is generated in the company.

1787
01:51:06,485 --> 01:51:10,794
We've played the tapes
for in-house personnel,
of course,

1788
01:51:10,968 --> 01:51:13,710
and Larry Sloman wrote
the interview in Rolling Stone,

1789
01:51:13,884 --> 01:51:15,886
which you've probably
all read by now.

1790
01:51:16,060 --> 01:51:19,019
And part of what Larry talked
about was that this is the Dylan

1791
01:51:19,193 --> 01:51:21,805
that people have been
hungering for.

1792
01:51:21,979 --> 01:51:25,025
So there have been some little
rumbles of apprehension about,

1793
01:51:25,199 --> 01:51:27,811
"How are we going to sell
a new Dylan album?"

1794
01:51:27,985 --> 01:51:31,031
We've seen the problems electors
had the way they handle it.

1795
01:51:31,205 --> 01:51:33,555
I think we're unique.
We handle Bob differently.

1796
01:51:33,730 --> 01:51:35,949
We know Bob
and we understand Bob.

1797
01:51:36,123 --> 01:51:37,908
We know what to do
with his music.

1798
01:51:38,082 --> 01:51:39,953
We know how to handle
the reaction to the airplay,

1799
01:51:40,127 --> 01:51:42,129
and the reaction
in the market place.

1800
01:51:42,303 --> 01:51:46,090
So we're going to go
out there well-prepared,

1801
01:51:46,264 --> 01:51:48,092
better prepared
than we've ever been probably,

1802
01:51:48,266 --> 01:51:50,355
and really do a number
with this album.

1803
01:51:50,529 --> 01:51:51,922
And it's going to be accepted.

1804
01:51:52,096 --> 01:51:53,750
People are waiting
for this album.

1805
01:52:04,021 --> 01:52:06,240
NARRATOR : Over 2,000 concerts.

1806
01:52:08,677 --> 01:52:10,418
Six hundred songs.

1807
01:52:12,594 --> 01:52:14,292
Forty-four albums.

1808
01:52:16,685 --> 01:52:18,122
Five decades.

1809
01:52:20,472 --> 01:52:21,952
One artist.

1810
01:52:25,216 --> 01:52:27,827
♪ Johnny's in the basement
mixing up the medicine

1811
01:52:28,001 --> 01:52:29,568
♪ I'm on the pavement

1812
01:52:29,742 --> 01:52:30,917
♪ Thinkin' about
the government... ♪

1813
01:52:31,091 --> 01:52:33,528
♪ Like a rolling stone ♪

1814
01:52:36,357 --> 01:52:40,013
♪ Knock-knock-knockin'
on heaven's door ♪

1815
01:52:40,927 --> 01:52:43,538
♪ All along the watchtower ♪

1816
01:52:44,496 --> 01:52:46,063
♪ Tangled up in blue ♪

1817
01:52:48,108 --> 01:52:51,938
♪ Someday, baby
you ain't gonna worry for me ♪

1818
01:52:52,112 --> 01:52:57,161
♪ Hey, Mr. Tambourine Man
play a song for me ♪

1819
01:52:57,335 --> 01:53:02,775
♪ The answer, my friend
is blowin' in the wind

1820
01:53:02,949 --> 01:53:06,431
♪ The answer is blowin'
in the wind ♪

1821
01:53:07,649 --> 01:53:08,825
NARRATOR: Dylan.

1822
01:53:09,826 --> 01:53:14,265
His greatest songs.
October, '07.

1823
01:53:32,761 --> 01:53:35,068
♪ Everything went
from bad to worse

1824
01:53:35,242 --> 01:53:37,941
♪ Money never changed a thing

1825
01:53:38,115 --> 01:53:40,465
♪ Death kept followin'
Trackin' us down

1826
01:53:40,639 --> 01:53:43,250
♪ At least I heard
your bluebird sing ♪

1827
01:53:43,424 --> 01:53:46,297
♪ Now somebody's got to
show their hand

1828
01:53:46,471 --> 01:53:48,516
♪ Time is an enemy

1829
01:53:49,778 --> 01:53:51,911
♪ I know you're long gone

1830
01:53:52,085 --> 01:53:54,479
♪ I guess it must be up to me

1831
01:53:59,179 --> 01:54:00,833
♪ If I'd thought about it

1832
01:54:01,007 --> 01:54:02,400
♪ I never would've done it

1833
01:54:02,574 --> 01:54:04,837
♪ I guess I would've
let it slide

1834
01:54:05,011 --> 01:54:07,927
♪ If I'd lived my life by what
others were thinkin'

1835
01:54:08,101 --> 01:54:10,669
♪ The heart inside me
would've died

1836
01:54:10,843 --> 01:54:12,453
♪ I was a bit too stubborn

1837
01:54:12,627 --> 01:54:16,718
♪ To ever be governed
by enforced insanity

1838
01:54:16,893 --> 01:54:19,678
♪ Someone had to reach
for the risin' star

1839
01:54:19,852 --> 01:54:22,376
♪ I guess it was up to me

1840
01:54:26,859 --> 01:54:29,949
♪ Now, the Union Central
is pullin' out

1841
01:54:30,123 --> 01:54:32,952
♪ The orchids are in bloom

1842
01:54:33,126 --> 01:54:35,694
♪ I've only got
one good shirt left

1843
01:54:35,868 --> 01:54:38,653
♪ It smells of stale perfume

1844
01:54:38,827 --> 01:54:41,308
♪ In 14 months
I've only smiled once

1845
01:54:41,482 --> 01:54:44,703
♪ And I didn't
do it consciously

1846
01:54:44,877 --> 01:54:47,662
♪ Somebody's got to
find your trail

1847
01:54:47,836 --> 01:54:50,274
♪ I guess it must be
up to me

1848
01:54:55,018 --> 01:54:57,846
♪ It was like a revelation

1849
01:54:58,021 --> 01:55:01,198
♪ When you betrayed me
with your touch

1850
01:55:01,372 --> 01:55:04,201
♪ I'd just about
convinced myself

1851
01:55:04,375 --> 01:55:06,725
♪ Nothin' had changed
that much

1852
01:55:06,899 --> 01:55:09,946
♪ The old rounder
in the iron mask

1853
01:55:10,120 --> 01:55:12,861
♪ He slipped me the master key

1854
01:55:13,036 --> 01:55:15,603
♪ Somebody had to
unlock your heart

1855
01:55:15,777 --> 01:55:18,389
♪ He said it was up to me

1856
01:55:23,176 --> 01:55:26,571
♪ Well, I watched you
slowly disappearing

1857
01:55:26,745 --> 01:55:29,966
♪ Down into the officers' club

1858
01:55:30,140 --> 01:55:32,185
♪ I would've followed you
in the door

1859
01:55:32,359 --> 01:55:35,101
♪ But I didn't have
a ticket stub

1860
01:55:35,275 --> 01:55:38,322
♪ So I waited all night
'til the break of day

1861
01:55:38,496 --> 01:55:41,194
♪ Hopin' one of us
could get free

1862
01:55:41,368 --> 01:55:44,676
♪ When the dawn came over
the river bridge

1863
01:55:44,850 --> 01:55:47,461
♪ I knew it was up to me