Dylan is one of the performers at the Washington Civil Rights March. Photographs of the historic march show him perched on the steps of the Lincoln Memorial, singing with Baez. He also accompanies folk revivalist Len Chandler on the traditional “Hold On,” as well as performing solo versions of “Only a Pawn in Their Game” and “Blowin’ in the Wind.” “Only a Pawn in Their Game” appears in bastardized form on the Folkways’s We Shall Overcome documentary album, largely obliterated by some ill-considered polemic superimposed over the song.
~Clinton Heylin (Bob Dylan: A Life in Stolen Moments Day by Day 1941-1995)
But I thought Kennedy, both Kennedy’s – I just liked them. And I like Martin…. Martin Luther King. I thought those were people who were blessed and touched, you know? The fact that they all went out with bullets doesn’t change nothin’. Because the good they do gets planted. And those seeds live on longer than that.
~Bob Dylan (to Kurt Loder, March 1984)
The March on Washington for Jobs and Freedom or “The Great March on Washington“, as styled in a sound recording released after the event,was one of the largest political rallies for human rights in United States historyand called for civil and economic rights for African Americans. It took place in Washington, D.C..Thousands of Americans headed to Washington on Tuesday August 27, 1963. On Wednesday, August 28, 1963. Martin Luther King, Jr., standing in front of the Lincoln Memorial, delivered his historic “I Have a Dream” speech in which he called for an end to racism.
The Bootleg Series Vol. 10: Another Self Portrait (1969–1971) is an album of unreleased recordings, demo recordings, alternative takes mostly from Bob Dylan’s 1970 albums Self Portrait and New Morning, and a couple of live tracks from the Isle of Wight Festival (1969), released on August 27, 2013. It is the latest addition in the series of official “bootleg” recordings issued by Columbia Records.
Pretty Saro (official video)
The cover is new artwork by Bob Dylan. The liner notes have been written by Greil Marcus, who wrote the original Self Portrait review for Rolling Stone that infamously asked, “What is this shit?”. Also included is an extensive essay from journalist Michael Simmons. The set also contains rare photographs of that era from John Cohen and Al Clayton.
Johnny Cash at Madison Square Garden is an album by Johnny Cash that was recorded in December 1969 at Madison Square Garden in New York City, but which was not released until 2002 (making it his 86th album overall).
The album was recorded just 4 months after Cash’s seminal At San Quentin was released, which is probably why it was not released soon after its recording. As with all Cash live shows of this period, he was backed up by the Tennessee Three, which consisted of W.S. Holland, Marshall Grant and Bob Wooton. After the first 11 songs, Johnny Cash took a short break and the guests stepped up to the plate with their current hits. As if Johnny wasn’t enough, we get Carl Perkins and The Statler Brothers in tremendous form. The Carter Family was a standard part of the Johnny Cash Show, and it is a real treat hearing Mother Maybelle with her daughters. They also performs back up vocals on many of the songs.
As with most Cash shows, the genres covered ran the gamut from country music to rockabilly to even some folk rock. Similarly to “Johnny Cash At San Quentin”, Johnny Cash at Madison Square Garden includes numbers performed by Perkins, the Statlers and the Carters while Johnny was offstage.
It is an absolute must have for any Johnny Cash fan! I still wonder why Sony took 33 years to release this gem.
Last Night I Had The Strangest Dream (audio, with a great intro):
Two years later, back in the studios in London on July 27–28, 1986 for a Dylan session intended to provide fresh material for his ill-advised film Hearts of Fire—material that Dylan had signally failed to compose—the musicians assembled behind him included Clapton on guitar, RON WOOD on bass and guitar and several others. They managed to get through some takes of John Hyatt’s song ‘The Usual’, a ‘Ride This Train’, some stabs at Dylan’s anyone-could-havewritten- this-song ‘Had a Dream About You Baby’, some of Billy Joe Shaver’s ‘Old Five & Dimers Like Me’, a ‘To Fall in Love’, a ‘Night After Night’ and a pleasant cut of Shel Silverstein and Dennis Locorriere’s ‘A Couple More Years’. Several of these made it onto the soundtrack album, several made it into the film, one made it onto Down in the Groove and one further cut even made it onto the Argentine Down in the Groove release.
~Michael Gray (The Bob Dylan Encyclopedia: Revised and Updated Edition)
Townhouse Studio London, England 27 & 28 August 1986 Hearts Of Fire recording session, produced by Beau Hill
From Wikipedia: “During his world tour of 1965–66, Dylan was backed by a five-member rock group, the Hawks, who would subsequently become famous as the Band. After Dylan was injured in a motorcycle accident in July 1966, the Hawks’ members gravitated to the vicinity of Dylan’s home in the Woodstock area to collaborate with him on music and film projects. While Dylan was concealed from the public’s gaze during an extended period of convalescence in 1967, they recorded more than 100 tracks together, comprising original compositions, contemporary covers and traditional material. Dylan’s new style of writing moved away from the urban sensibility and extended narratives that had characterized his most recent albums,Highway 61 Revisited and Blonde On Blonde, toward songs that were more intimate and which drew on many styles of traditional American music. While some of the basement songs are humorous, others dwell on nothingness, betrayal and a quest for salvation. In general, they possess a rootsy quality anticipating the Americana genre. For some critics, the songs onThe Basement Tapes, which circulated widely in unofficial form, mounted a major stylistic challenge to rock music in the late sixties.”
In my view, the two most comprehensive un-official releases have been:
Bob Dylan: A Tree with roots
From Bobsboots: “A complete overhaul of the basement tapes. 128 tracks in total, completely remastered with a major leap forward in sound quality compared to the original 5CD set. Put together in a much more organized and logical sequence. High quality packaging, 2 booklets, extensive original source notes and reprints of important press coverage. Original pressing limited to 500 copies.”