After 2013' s, and given the continued brilliance of Dylan's bootleg series in general, you start to get the idea that Bob Dylan has alternate versions of damn near every album in his career in the hopper. The Cutting Edge, gathering music Dylan recorded over 14 months in 1965 and 1966, for the album s Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde, does not dispel this notion. Ess 1983 pci sound card driver windows 7. The set exists in several editions (2xCD highlights, ultra-limited 18xCD complete, and this set, the deluxe 6xCD edition) and could conceivably be mined to assemble two or three alternate versions of each of those three albums.

The Complete Album Collection Vol. One is a forty-seven disc box set released on November 4, 2013 by Bob Dylan.It includes thirty-five albums released between 1962 and 2012, six live albums, and a compilation album unique to the set, Side Tracks, which contains previously released material unavailable on regular studio albums. Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released June 20, 1966 on Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks.

Pick a random deep cut like Highway 61's 'It Takes a Lot to Laugh, It Takes a Train to Cry', and it appears here in four versions, three of them complete. The five versions of Blonde on Blonde's 'Visions of Johanna' total 33 minutes. No fewer than 20 of the tracks are given over to 'Like a Rolling Stone', including the various rehearsals, alternate versions, false starts, and tracks highlighting the stems containing individual instruments from the master take. So The Cutting Edge is the last word on obsessive studio documentation designed for rabid superfans. But it also happens to contain an almost unbelievable amount of great music that, broken into more digestible portions, any Bob Dylan fan can appreciate. During the period covered by this compilation—the transitional, acoustic-leaning folk-rock of Bringing It All Back Home, the gnarled blues-rock of Highway 61, and the Americana fusion of Blonde on Blonde, enabled by producer Bob Johnston and his Nashville session pros—Dylan recorded in a way that has become rare in the era of unlimited tracks and non-destructive editing: He got a band of musicians in a room and recorded live.

In a 1985 interview with Bill Flanagan (who also happens to contribute an essay to this set), Dylan claimed, 'I don't think I knew you could do an overdub until 1978.' That approach partially explains why this massive trove exists in the first place. With the recent, we were left mostly with early and alternate mixes as bonuses because the masters were carefully constructed in the studio from fragments. With 's ongoing archival series, he's been liberal about recording new instruments and even vocals in the present day to fill in blanks. But Dylan's alternate versions could more accurately be called alternate performances, meaning each one is unique. And given the way he refined and re-worked songs during this period—trying them with just voice and acoustic, adding a full band, changing tempos, time signatures, and lyrics—the different versions can be sharply different in mood and effect. 'She's Your Lover Now', a song recorded during the Blonde on Blonde sessions but not included on that album, is a good case study in what makes this set fascinating.

It wasn't included because Dylan was never able to record it properly—it's a complicated song, with some unusual changes and held notes, and he and his band were never able to get through it without mistakes. Eventually Dylan grew frustrated and moved on. But it's easily one of the best songs Dylan had written to that point, meaning it's one of the best songs he's ever written period, an alternately hilarious and pained story of a guy, his ex-girlfriend, and her new boyfriend encountering each other at a party. The title refrain basically amounts to Dylan saying 'You deal with it—she's your problem now,' and his disdain for the new guy reinforces how much it still hurts, and how he thinks this dude isn't anywhere nearly enough for her ('And you—just what do you do anyway?' Songs this rich were coming fast and hard for Dylan during this period, and 'She's Your Lover Now' is so powerful it's almost a shock to the system when it breaks down after six minutes, a bum note and everyone stops playing, and you are reminded that they were living inside this song and the famously oblique 'wild mercury sound' Dylan hoped to conjure at the exact same moment.