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In January this year I got a positive response to my earlier requests about
getting permission to seek factual information about Bob Dylan's recordings.
It read: "After careful consideration, it is our decision that you may examine
our recording logs as well as the files at Columbia Records."
Some Months later, I found myself in the Archives of Sony Records in New
York City, examining the original tapes (of which some are shown in the
booklet for The Bootleg Series), the recording diaries and a lot of material
kindly made available to me. The amount of material is so extensive that
it will take many hours and several additional visits to New York to go
through it all, but even after this first visit, I have been able to establish
many interesting and surprising factual details.
In this and subsequent issues of The Telegraph, this information will be
presented, concentrating primarily on Bob Dylan's Columbia Studio recordings.
The information will be presented chronologically.
First, though, some general information regarding the different sources
made available for the study:
- The Columbia Studios Recording Diaries are books, which for each day of the year (since 1941) list every planned
session in the different studios. Information includes: time of the day,
name of the studio, name of the producer and the engineers and the name
of the artist. For the New York studios one diary is missing, that which
covers the period January 1967 to December 1970. For the Nashville studios,
the diary for the period 1969 to 1971 is missing.
- Recording Sheets are lists made during each session and put into each tape box. The sheet
records the date, the studio, the artist, which tracks were recorded and
the CO number (Columbia's own reference number) for each composition (of
which, more later). Each recorded take is marked as complete (C), with a
short false start(b) or a long false start (B). It is indicated on these
sheet which takes are removed to other tapes for further use.
- The Tape Boxes themselves also usually contain information about each take and which takes
are removed for further use.
- CO Cards contain information about the CO (CO=Columbia) number and title for each
composition and usually also the recording date. The CO numbers are basically
a secure identification of each composition but they are not always chronological
(for instance: the CO numbers for songs recorded in Nashville are generally
higher than CO numbers for songs recorded at the same time in New York),
and, confusingly, sometimes one composition has several CO numbers, especially
(but not always) if it has been recorded several times at different sessions.
- Columbia Artist Cards contain information about every recorded composition, including recording
date, CO number and release information (if the track was indeed released).
Additional session-related papers made available for examination included
musicians' contracts, reports made by the producers and other material.
This was generally available from January 1, 1965 and onwards.
It is obvious that the material made available for examination is of extreme
importance in the efforts to establish the facts about Bob Dylan's many
recording sessions. As a result, it has been possible to clarify most of
the details. In some instances there are discrepancies in information from
the different sources mentioned above, and this can only be clarified by
listening through the tapes for those sessions. The following information
is therefore not necessarily 100 per cent correct, but until all the tapes
have been heard, I'm confident that it's pretty close to being a definitive
listing.
The format in which the information is given is strictly adhered to. For
each session (defined as an event with a job number in the studio diaries),
a headline specifies the location, date and planned time for the session.
The names of the producer an engineers are listed. Following this, each
take recorded at the session is listed chronologically, numbers from 1 onwards.
The songs are listed with their official title, followed by the CO number
(only given for the first take of each song if many take are recorded).
Then comes the take number and the indication of whether the take is complete
(C), with a short false start(b) or a long false start(B).
The take numbers are not always logical. To identify the takes with any
degree of certainty, they should be numbers from 1 onwards. But in some
instances, there are missing or duplicate take numbers, for instance 1,2,3,6,7,7,11.
This is probably because only stated takes (i.e. properly announced takes)
are listed, in some cases at least, or because they are listed as they are
slated (and the person who slates the take sometimes seems to have a bad
memory as to where he's up to). In other cases, when a composition is recorded
several times at different sessions, the same CO number is used at all sessions
(which is logical because it identifies the composition). Sometimes the
take numbers are continuous from one session to the next, but at other times
every session starts with take 1.
In the lists given, the take numbers are duplicated precisely from the recording
sheets and are therefore not always logical.
In the notes after the song listings, the following information is given:
the actual time of the session, if known; the titles of the composition
given on the recording sheet if they are not the official titles; the names
of backing musicians and an indication of which takes of which tracks were
eventually released on the official albums. Release information has been
limited to the first release for each take; additional releases on other
albums have not been included.
In this first part, the Columbia sessions in New York in the 1960s are listed,
starting with Dylan's sideman job for Carolyn Hester in 1961.
Studio A
Columbia Recording Studios
New York City, New York
September 29, 1961
Produced by John Hammond.
1. Swing and Turn Jubilee (trad.) CO68304 Take 1C
2. Swing and Turn Jubilee (trad.) Take 2C
3. Come Back, Baby (trad.) CO68305 Take 1C
4. Come Back, Baby (trad.) Take 2B
5. Come Back, Baby (trad.) Take 3b
6. Come Back, Baby (trad.) Take 4b
7. Come Back, Baby (trad.) Take 5C
8. Los Bibilicos (trad.) CO68306 Take 1C
9. Los Bibilicos (trad.) Take 2C
10. I'll Fly Away (Albert E. Brumley) CO68307 Take 1C
11. I'll Fly Away (Albert E. Brumley) Take 2C
12. Unidentified CO68308 Take 1b
13. Unidentified Take 2C
14. Unidentified Take 3C
15. Unidentified Take 4b
16. Unidentified Take 5C
Carolyn Hester (guitar & vocal), Bruce Langhorne (guitar & fiddle), William
E. Lee (bass) and Bob Dylan (harmonica).
3,4, a splice of 15 and 16, and 10 or 11 released on Carolyn Hester.
Bob Dylan signed with Columbia on October 26, 1961. It is not known whether there was a formal audition
before he signed the contract. Between September 29 and November 20 there
is no John Hammond audition listed in the recording diary (auditions are
not listed with the artist's name) and therefore no evidence of a Bob Dylan
audition.
The recordings for Dylan's first album were done during two days, but under
the same job number.
Studio A
Columbia Recording Studios
New York City, New York
November 20, 1961, 7-10 pm
Produced by John Hammond.
Engineers: Knuerr and Dauria
1. You're No Good (Jesse Fuller) CO68726 Take 1C
2. You're No Good (Jesse Fuller) Take 2C
3. You're No Good (Jesse Fuller) Take 3b
4. You're No Good (Jesse Fuller) Take 4b
5. You're No Good (Jesse Fuller) Take 5C
6. You're No Good (Jesse Fuller) Take 6b
7. You're No Good (Jesse Fuller) Take 7b
8. You're No Good (Jesse Fuller) Take 8C
9. Fixin' To Die (Bukka White) CO68727 Take 1C
10. Fixin' To Die (Bukka White) Take 2C
11. Fixin' To Die (Bukka White) Take 3C
12. He Was a Friend of Mine CO68728 Take 1b
13. He Was a Friend of Mine Take 2C
14. House of the Risin' Sun (trad.) CO68729 Take 1b
15. House of the Risin' Sun (trad.) Take 2C
16. House of the Risin' Sun (trad.) Take 3C
17. Talking New York CO68730 Take 1C
18. Talking New York Take 2C
19. Song To Woody CO68731 Take 1b
20. Song To Woody Take 2C
21. Baby, Let Me Follow You Down (Eric Von Schmidt)
CO68732 Take 1C
22. Man of Constant Sorrow (trad.) CO68745 Take 1C
23. In My Time of Dyin' (trad.) CO68733 Take 1C
Session: 7-9:45 pm.
Notes after November 22, 1962 session.
Studio A
Columbia Recording Studios
New York City, New York
November 22, 1961, 2:30-5:30 pm
Produced by John Hammond.
Engineers: Knuerr and Brosnan
24. Man on the Street CO68743 Take 1b
25. Man on the Street Take 2C
26. Man on the Street Take 3b
27. Man on the Street Take 4b
28. Man on the Street Take 6b
29. (As I Go) Ramblin' Round (Woody Guthrie) CO68744 Take 1C
30. (As I Go) Ramblin' Round (Woody Guthrie) Take 2C
31. Man of Constant Sorrow (trad.) CO68745 Take 1C
32. Man of Constant Sorrow (trad.) Take 2b
33. Man of Constant Sorrow (trad.) Take 3C
34. Pretty Peggy-O (trad.) CO68746 Take 1C
35. Pretty Peggy-O (trad.) Take 2C
36. See That My Grave Is Kept Clean (Blind Lemon Jefferson)
CO68747 Take 1b
37. See That My Grave Is Kept Clean (Blind Lemon Jefferson) Take 2C
38. See That My Grave Is Kept Clean (Blind Lemon Jefferson) Take 3C
39. See That My Grave Is Kept Clean (Blind Lemon Jefferson) Take 4C
40. Gospel Plow (trad., arr. Dylan) CO68748 Take 1C
41. Highway 51 (trad.) CO68749 Take 1C
42. Freight Train Blues (John Lair) CO68750 Take 1C
43. House Carpenter (trad.) CO68751 Take 1C
Session: 7-9:45 pm.
1-8 "You're No Good" on recording Sheet 29 and 30 "Ramblin' Blues" on recording
sheet.
20 overdubbed at Columbia Recording Studios, December 8, 1964
5,11,16,18,20,21,23,33,35,39,40,41 and 42 released on Bob Dylan.
13,25 and 43 released on The Bootleg Series.
16 released on the CD-ROM Highway 61 Interactive in overdubbed version.
(original track listing for "Free Wheeling" - 1st album):
Side 1:
- You're No Good
- Freight Train Blues
- In My Time of Dyin'
- Man of Constant Sorrow
- Fixin' To Die
- Pretty Peggy-O
- Highway 51
Side 2:
- Gospel Plow
- Baby Let Me Follow You Down
- House of the Risin' Sun
- Talkin' New York
- Song To Woody
- See That My Grave Is Kept Clean
The first surprise came up earlier than expected. Bob Dylan's first session with back-up musicians
was not the Mixed Up Confusion session in October 1962, but April 1962.
Studio A
Columbia Recording Studio
New York City, New York
April 24, 1962, 2:30-5:30 pm
Produced by John Hammond
Engineers: Knuerr and Dauria
1. Going To New Orleans (trad.) CO70085 Take 1C
2. Going To New Orleans (trad.) Take 2C
3. Sally Gal CO70086 Take 1C
4. Sally Gal Take 2C
5. Sally Gal Take 3C
6. Rambling Gambling Willie CO70087 Take 1C
7. Rambling Gambling Willie Take 2B
8. Rambling Gambling Willie Take 3C
9. Rambling Gambling Willie Take 4C
10. Corrina, Corrina CO70088 Take 1C
11. Corrina, Corrina Take 2C
12. The Death of Emmett Till CO70089 Take 1C
13. Talking John Birch Paranoid Blues CO70090 Take 1B
14. Talking John Birch Paranoid Blues Take 2B
15. Talking John Birch Paranoid Blues Take 3C
16. (I Heard That) Lonesome Whistle (Hank Williams/Jimmie Davis)
CO70091 Take 1B
17. (I Heard That) Lonesome Whistle (Hank Williams/Jimmie Davis)
Take 2C
1 and 2 "Going Down To New Orleans" on recording sheet.
6-9 "Gamblin' Willie" on recording sheet.
10-11 "Corinna" on recording sheet.
12 "Emmett Till" on recording sheet.
16 and 17 "Lonesome Whistle Blues" on recording sheet.
Backed by a bass player, probably William E. Lee, except takes 8 and 15
and probably others.
9 and 15 released on the promotional edition of The Freewheelin' Bob Dylan
9 released on The Bootleg Series
Studio A
Columbia Recording Studio
New York City, New York
April 25, 1962, 2:30-5:30 pm
Produced by John Hammond
Engineers: Knuerr and Dauria
1. Rocks and Gravel CO70096 Take 1b
2. Rocks and Gravel Take 2b
3. Rocks and Gravel Take 3C
4. Let Me Die In My Footsteps CO70097 Take 1C
5. Talking Havah Negeilah Blues CO70098 Take 1C
6. Sally Gal CO70086 Take 4C
7. Sally Gal Take 5C
8. Baby, Please Don't Go (Big Joe Williams) CO70099 Take 1C
9. Baby, Please Don't Go (Big Joe Williams) Take 2b
10. Baby, Please Don't Go (Big Joe Williams) Take 3C
11. Milk Cow's Calf's Blues (Robert Johnson) CO70100 Take 1C
12. Milk Cow's Calf's Blues (Robert Johnson) Take 2b
13. Milk Cow's Calf's Blues (Robert Johnson) Take 3C
14. Wichita (Going To Lousiana) (trad.) CO70101 Take 1C
15. Talking Bear Mountain Picnic Massacre Blues
CO70102 Take 1B
16. Talking Bear Mountain Picnic Massacre Blues Take 2B
17. Talking Bear Mountain Picnic Massacre Blues Take 3C
18. Milk Cow's Calf's Blues (Robert Johnson) CO70100 Take 4C
19. Wichita (Going To Lousiana) (trad.) CO70101 Take 2C
1-3 "Solid Rock" on recording sheet
4 "Footsteps" on recording sheet
5 "Hava Blues" on recording sheet
11-13 and 18 "Milk Cow Blues" on recording sheet
14 and 19 "Wichita Blues" on recording sheet
15-17 "Bear Mountain Picnic" on recording sheet
4,5 and 17 released on The Bootleg Series
Studio A
Columbia Recording Studio
New York City, New York
July 9, 1962, 2:30-5:30 pm
Produced by John Hammond
Engineers: Knuerr and Dauria
1. Baby, I'm In the Mood For You CO75717 Take 1b
2. Baby, I'm In the Mood For You Take 2C
3. Baby, I'm In the Mood For You Take 3C
4. Bob Dylan's Blues CO75718 Take 1C
5. Blowin' In the Wind CO75719 Take 1C
6. Blowin' In the Wind Take 2C
7. Blowin' In the Wind Take 3C
8. Quit Your Lowdown Ways CO75720 Take 1C
9. Honey, Just Allow Me One More Chance (Henry Thomas/Bob Dylan)
CO75721 Take 1C
10. Down the Highway CO75722 Take 1C
11. Worried Blues (Hally Wood) CO75723 Take 1C
12. Worried Blues (Hally Wood) Take 2C
13. Baby, I'm In the Mood For You CO75717 Take 4C
14. Bob Dylan's Blues CO75718 Take 2C
15. Bob Dylan's Blues Take 3C
5-7 "The Answer Is Blowing In the Wind" on recording sheet
9 "Just Allow Me One More Chance" on recording sheet
4,7,9 and 10 released on The Freewheelin' Bob Dylan
3 released on Biograph
8 and 12 released on The Bootleg Series
Studio A
Columbia Recording Studio
New York City, New York
October 26, 1962, 2:30-5:30 pm
Produced by John Hammond
Engineers: Knuerr and Dauria
1. Corrina, Corrina (trad.) CO76981 Take 1B
2. Corrina, Corrina (trad.) Take 2C
3. Corrina, Corrina (trad.) Take 3C
4. Corrina, Corrina (trad.) Take 4C
5. Corrina, Corrina (trad.) Take 5b
6. Corrina, Corrina (trad.) Take 6C
7. Mixed Up Confusion CO76982 Take 1b
8. Mixed Up Confusion Take 2
9. That's All Right Mama (Arthur Crudup) CO76983 Take 1C
10. That's All Right Mama (Arthur Crudup) Take 2b
11. That's All Right Mama (Arthur Crudup) Take 3C
12. That's All Right Mama (Arthur Crudup) Take 4b
13. That's All Right Mama (Arthur Crudup) Take 5C
14. Mixed Up Confusion CO76982 Take 3C
15. Mixed Up Confusion Take 4b
15. Mixed Up Confusion Take 5C
17. Corrina, Corrina (trad.) CO76981 Take 6C
1-6 and 17 "Corinna" on recording sheet.
9-13 "Allright Mama" on recording sheet.
Backed by Dick Wellstood (piano), Bruce Langhorne (guitar), Howie Collins
(guitar), Leonard Gaskin (bass) and Herb Lovelle (drums).
17 released on The Freewheelin' Bob Dylan.
Studio A
Columbia Recording Studio
New York City, New York
November 1, 1962, 2:30-5:30 pm
Produced by John Hammond
Engineers: Knuerr and Dauria
1. Mixed Up Confusion CO76982 Take 6C
2. Mixed Up Confusion Take 7C
3. Mixed Up Confusion Take 8b
4. Mixed Up Confusion Take 9C
5. Mixed Up Confusion Take 10C
6. Mixed Up Confusion Take 11C
7. That's All Right Mama (Arthur Crudup) CO76983 Take 3C
8. Rocks and Gravel CO76986 Take 1C
9. Rocks and Gravel Take 2C
7 "All Right Mama" on recording sheet.
Backing undocumented, but probably George Barnes (guitar), Bruce Langhorne
(guitar), Gene Ramey (bass), Dick Wellstood (piano) and Herb Lovelle (drums).
8 overdubbed at Columbia Recording Studios, December 8, 1964.
8 released on the promotional edition of The Freewheelin' Bob Dylan.
Unfortunately the tapes (and recording sheets) for the next session were not available. The information
given is based on the other sources. Later a complete listing of all takes
will hopefully be added. Could this be where the rumoured electric Don't Think Twice, It's All Right comes from?
Studio A
Columbia Recording Studio
New York City, New York
November 14, 1962, 3-6 pm
Produced by John Hammond.
Engineers: Knuerr and Dauria.
1. Mixed Up Confusion CO76982
2. Don't Think Twice, It's All Right CO77002
3. Ballad of Hollis Brown CO77003
4. Kingsport Town (trad.) CO77004
5. Whatcha Gonna Do CO77005
1 overdubbed at Columbia Recording Studios, December 8, 1964.
Backing undocumented, but probably same backing as November 1 for track
1 and Bruce Langhorne on guitar on tracks 3-5.
1 released on single.
2 released on The Freewheelin' Bob Dylan.
4 released on The Bootleg Series.
Studio A
Columbia Recording Studio
New York City, New York
December 6, 1962, 5-6 pm
Produced by John Hammond.
Engineers: Tonkel and Dauria .
1. Hero Blues CO77020 Take 1C
2. Whatcha Gonna Do CO77021 Take 1C
3. Oxford Town CO77022 Take 1C
4. I Shall Be Free CO77023 Take 1b
5. I Shall Be Free Take 2C
6. I Shall Be Free Take 3B
7. I Shall Be Free Take 4b
8. I Shall Be Free Take 5C
9. Hero Blues CO77020 Take 2C
10. Hero Blues Take 3b
11. Hero Blues Take 4C
12. A Hard Rain's A-Gonna Fall CO77024 Take 1C
12 "Hard Rain's Gonna Fall" on recording sheet.
3,5 and 12 released on The Freewheelin' Bob Dylan.
Studio A
Columbia Recording Studio
New York City, New York
April 23, 1963, 10-1 pm
Produced by John Hammond.
Engineers: Knuerr and Dauria.
1. Girl of the North Country CO78487 Take 1C
2. Girl of the North Country Take 2C
3. Masters of War CO78488 Take 1b
4. Masters of War Take 2b
5. Masters of War Take 3C
6. Walls of Red Wing CO78489 Take 1b
7. Walls of Red Wing Take 2b
8. Walls of Red Wing Take 3C
9. Talking World War III Blues CO78490 Take 1b
10. Talking World War III Blues Take 2b
11. Talking World War III Blues Take 3b
12. Talking World War III Blues Take 4b
13. Talking World War III Blues Take 5C
14. Bob Dylan's Dream CO78491 Take 1C
15. Bob Dylan's Dream Take 2C
16. Girl of the North Country CO78487 Take 3b
17. Girl of the North Country Take 4C
18. Girl of the North Country Take 5b
19. Girl of the North Country Take 6C
20. Masters of War CO78488 Take 4b
21. Masters of War Take 5C
22. Masters of War Take 6C
1,2 and 16-19 "Girl From the North Country" on recording sheet.
2,5,13 and 15 released on The Freewheelin' Bob Dylan.
8 released on The Bootleg Series.
Studio A
Columbia Recording Studio
New York City, New York
August 2, 1963, 7-10 pm
Produced by John Hammond.
Engineers: Tonkel and Catero.
Session cancelled.
Studio A
Columbia Recording Studio
New York City, New York
August 6, 1963, 2:30-5:30 pm
Produced by Tom Wilson.
Engineers: Tonkel and Dauria.
1. Boots of Spanish Leather CO78969 Take 1C
2. Only a Pawn In Their Game CO78970 Take 1b
3. Only a Pawn In Their Game Take 2b
4. Only a Pawn In Their Game Take 3b
5. Only a Pawn In Their Game Take 4C
6. Only a Pawn In Their Game Take 5b
7. Only a Pawn In Their Game Take 6C
8. North Country Blues CO78971 Take 1b
9. North Country Blues Take 2b
10. North Country Blues Take 3b
11. North Country Blues Take 4C
12. Ballad of Hollis Brown CO78972 Take 1b
13. Ballad of Hollis Brown Take 2B
14. Ballad of Hollis Brown Take 3C
15. Seven Curses CO78973 Take 1b
16. Seven Curses Take 2b
17. Seven Curses Take 3C
18. With God On Our Side CO78974 Take 1b
19. With God On Our Side Take 2B
20. With God On Our Side Take 3B
21. With God On Our Side Take 4C
22. With God On Our Side Take 5B
23. Farewell CO78975 Take 1B
24. Farewell Take 2b
25. Farewell Take 3b
26. Farewell Take 4B
27. Ballad of Hollis Brown CO78972 Take 4C
28. Bob Dylan's New Orleans Rag CO78976 Take 1C
8-11 "Title ?" on recording sheet.
12-14 and 27 "Hollis Brown" on recording sheet.
18-22 "With God On Your Side" on recording sheet.
28 "New Orleans Rag" on recording sheet.
1 released on The Times They Are A-Changin'.
17 released on The Bootleg Series.
Studio A
Columbia Recording Studio
New York City, New York
August 7, 1963, 2:30-5:30 pm
Produced by Tom Wilson.
Engineers: Tonkel and Dauria.
1. Ballad of Hollis Brown CO78972 Take 1C
2. With God On Our Side CO78974 Take 1C
3. Only a Pawn In Their Game CO78970 Take 1C
4. Boots of Spanish Leather CO78969 Take 1C
5. Walls of Red Wing CO78977 Take 1C
6. Eternal Circle CO78978 Take 1B
7. Eternal Circle Take 2B
8. Eternal Circle Take 3b
9. Eternal Circle Take 4C
10. Bob Dylan's New Orleans Rag CO78976 Take 1b
11. Bob Dylan's New Orleans Rag Take 2b
12. Bob Dylan's New Orleans Rag Take 3C
1 "Hollis Brown" on recording sheet.
2 "With God On Your Side" on recording sheet.
10-12 "New Orleans Rag" on recording sheet.
1-4 released on The Times They Are A-Changin'.
Studio A
Columbia Recording Studio
New York City, New York
August 12, 1963, 2:30-5:30 pm
Produced by Tom Wilson.
Engineers: Tonkel and Dauria.
1. Paths of Victory CO78979 Take 1C
2. Bob Dylan's New Orleans CO78976 Take 1b
3. Hero Blues CO78980 Take 1C
4. Hero Blues Take 2b
5. Hero Blues Take 3C
6. Moonshine Blues (trad.) CO78981 Take 1C
7. Eternal Circle CO78978 Take 1b
8. Eternal Circle Take 2b
9. Eternal Circle Take 3b
10. Eternal Circle Take 4C
11. Only a Hobo CO78982 Take 1C
12. Only a Hobo Take 2C
13. Moonshine Blues (trad.) CO78981 Take 1C
2 "New Orleans Rag" on recording sheet.
6 and 13 "Moonshiner Blues" on recording sheet.
1, 11 and 6 (most likely) or 13 released on The Bootleg Series.
Studio A
Columbia Recording Studio
New York City, New York
October 23, 1963, 10-1 pm
Produced by Tom Wilson.
Engineers: Knuerr and Dauria.
1. The Lonesome Death of Hattie Carroll CO79679 Take 1b
2. The Lonesome Death of Hattie Carroll Take 2C
3. When the Ship Comes In CO79680 Take 1b
4. When the Ship Comes In Take 2B
5. The Times They Are A-Changin' CO79681 Take 1B
6. Percy's Song CO79682 Take 1C
7. The Lonesome Death of Hattie Carroll CO79679 Take 3b
8. The Lonesome Death of Hattie Carroll Take 4C
9. When the Ship Comes In CO79680 Take 3b
10. When the Ship Comes In Take 4C
11. The Times They Are A-Changin' CO79681 Take 2C
12. The Times They Are A-Changin' Take 3B
13. The Times They Are A-Changin' Take 4b
14. The Times They Are A-Changin' Take 5b
15. The Times They Are A-Changin' Take 6b
16. The Times They Are A-Changin' Take 7C
17. East Laredo Blues CO79683 Take 1C
18. Tune J CO79684 Take 1C
19. That's All Right Mama (Arthur Crudup) CO79685 Take 1C
1,2,7 and 8 "Lonesome Death of Hattie Carroll" on recording sheet.
5,11-16 "The Times They Are Achanging" on recording sheet.
19. "It's Alright Mama" on recording sheet.
8 and 10 released on The Times They Are A-Changin'. 6 released on Biograph.
Studio A
Columbia Recording Studio
New York City, New York
October 24, 1963, 10-1 pm
Produced by Tom Wilson.
Engineers: Knuerr and Dauria.
1. Eternal Circle CO79689 Take 1C
2. Eternal Circle Take 2B
3. Eternal Circle Take 3b
4. Eternal Circle Take 4B
5. One Too Many Mornings CO79690 Take 1C
6. One Too Many Mornings Take 2b
7. One Too Many Mornings Take 3C
8. The Times They Are A-Changin' CO79682 Take 1b
9. Percy's Song CO79682 Take 1b
10. Percy's Song Take 2B
11. Percy's Song Take 3C
12. lay Down Your Weary Tune CO79691 Take 1C
13. One Too Many Mornings CO79690 Take 4b
14. One Too Many Mornings Take 5b
15. One Too Many Mornings Take 6C
16. Suze (The Cough Song) CO79693 Take 1C
17. Bob Dylan's New Orleans Rag CO79693 Take 1C
18. Bob Dylan's New Orleans Rag Take 2
9 "The Times They Are Changing" on recording sheet.
16 "Suzie" on recording sheet.
8 and 15 released on The Times They Are A-Changin'.
12 released on Biograph.
16 and probably 1 released on The Bootleg Series.
Studio A
Columbia Recording Studio
New York City, New York
October 31, 1963, 11-1 pm
Produced by Tom Wilson.
Engineers: Knuerr and Levine.
1. Restless Farewell CO79788 Take 1b
2. Restless Farewell Take 2C
3. Restless Farewell Take 3C
4. Restless Farewell Take 4C
5. Restless Farewell Take 5b
6. Restless Farewell Take 6b
7. Restless Farewell Take 7b
8. Restless Farewell Take 8b
9. Restless Farewell Take 9C
1-9 "Tune Z" on recording sheet.
9 released on The Times They Are A-Changin'.
After this extremely productive period there was a nine-month gap in Dylan's recordings. The extensive session
for Another Side of Bob Dylan on the evening of June 9, 1964 is well rumoured, but the track lists came
up with a few surprises:
Studio A
Columbia Recording Studio
New York City, New York
June 9, 1964, 7-10 pm
Produced by Tom Wilson.
Engineers: Hallie and Catero.
1. Denise CO82213 Take 1C
2. *Denise (Composite) Take 1C
3. *Denise (Composite #2) Take 1C
4. *Denise (Composite #2) Take 2C
5. It Ain't Me, Babe CO82214 Take 1B
6. It Ain't Me, Babe Take 2C
7. To Ramona CO82215 Take 1C
8. Spanish Harlem Incident CO82216 Take 1b
9. Spanish Harlem Incident Take 2b
10. Spanish Harlem Incident Take 3C
11. Spanish Harlem Incident Take 4C
12. Spanish Harlem Incident Take 5C
13. Last Thoughts On Woody Guthrie CO82217 Take 1b
14. Last Thoughts On Woody Guthrie Take 2B
15. Last Thoughts On Woody Guthrie Take 3B
16. Last Thoughts On Woody Guthrie Take 4C
17. *Last Thoughts On Woody Guthrie (Insert #1) Take 1C
18. I Don't Believe You (She Acts Like We Never Have Met)
CO82218 Take 1C
19. I Don't Believe You (She Acts Like We Never Have Met) Take 2b
20. I Don't Believe You (She Acts Like We Never Have Met) Take 3C
21. I Don't Believe You (She Acts Like We Never Have Met) Take 4b
22. I Don't Believe You (She Acts Like We Never Have Met) Take 5C
23. Chimes of Freedom CO82219 Take 1B
24. Chimes of Freedom Take 2b
25. Chimes of Freedom Take 3B
26. Chimes of Freedom Take 4b
27. Chimes of Freedom Take 5b
28. Chimes of Freedom Take 6b
29. Chimes of Freedom Take 7C
30. Motorpsycho Nitemare CO82220 Take 1b
31. Motorpsycho Nitemare Take 2b
32. Motorpsycho Nitemare Take 3b
33. Motorpsycho Nitemare Take 4C
34. Mr. Tambourine Man CO82221 Take 1b
35. Mr. Tambourine Man Take 2C
36. All I Really Want To Do CO82222 Take 1C
37. Black Crow Blues CO82223 Take 1B
38. Black Crow Blues Take 2
39. Black Crow Blues Take 3C
40. I Shall Be Free No. 10 CO82224 Take 1b
41. I Shall Be Free No. 10 Take 2B
42. I Shall Be Free No. 10 Take 3B
43. I Shall Be Free No. 10 Take 4B
44. *I Shall Be Free No. 10 (Insert #1) Take 1C
45. Mama, You Been On My Mind CO82225 Take 1C
46. My Back Pages CO82226 Take 1b
47. My Back Pages Take 2C
1-1 "Denise, Denise, Denise ?" on recording sheet.
5 and 6 "Candy" on recording sheet.
7 "Ramona" on recording sheet.
13-17 "Poem 1" on recording sheet.
30-33 "Motor Psycho" on recording sheet.
34-35 "Tambourine Man" on recording sheet.
37 "Weird Consumption" on recording sheet.
45 "Mamma, You've Been On My Mind" on recording sheet.
46 and 47 "Ancient Memories" on recording sheet.
34 and 35 Ramblin' Jack Elliott Back-up vocal.
6,7,12,22,29,33,36,39,47 and an edit of 43 and 44 released on Another Side of Bob Dylan.
45 released on The Bootleg Series.
Although the next Bob Dylan recording session was scheduled for January 1965 for Bringing It All Back Home, there was actually a session in December 1964, at which Dylan himself
was not present, when four of his earlier recordings were taken into the
studio to have new "folk-rock" backing added - producer Tom Wilson having
already had some sucess doing a similar job tinkering with Simon & Garfunkel's
original acoustic recording of Sounds Of Silence. This "overdubbing" session
is interesting for two reasons: It preceded the Bringing It All Back Home sessions, where the solo versions of the songs done the first day were
done with electric back-up on the two following days. It's also the source
of the CD-ROM misunderstanding about the apparent recording of an electric
version of House of the Risin' Sun as early as 1962 - long before The Animals' famous version. Of course,
Dylan never did make any such recording. Instead, an acoustic take of House of the Risin' Sun from his first album was put together with three "electric" songs recorded
in October/November 1962 for this overdub session. The final result was
four "electric" tracks with continuous CO-numbers. At first glance at the
tape boxes and the CO-numbers, it seemed logical to assume that the electric House of the Risin' Sun had also been recorded in 1962, along with the other three tracks that
were given the overdub treatment. Only a careful study of the Artists Contract
Card sorts out the true origin of the basic tracks.
20th Street Studio
Columbia Recording Studio
New York City, New York
December 8, 1964, 7-10 pm
Produced by Tom Wilson.
Engineers: Hallie and Brosnan.
Overdub session.
1. *Mixed Up Confusion CO84438 Take 1b
2. *Mixed Up Confusion Take 2b
3. *Mixed Up Confusion Take 3b
4. *Mixed Up Confusion Take 4B
5. *Mixed Up Confusion Take 5b
6. *Mixed Up Confusion Take 6b
7. *Mixed Up Confusion Take 7b
8. *Mixed Up Confusion Take 8C
9. *Mixed Up Confusion Take 9C
10. *Mixed Up Confusion Take 10b
11. *Mixed Up Confusion Take 11C
12. *Rocks and Gravel CO84439 Take 1b
13. *Rocks and Gravel Take 2B
14. *Rocks and Gravel Take 3b
15. *Rocks and Gravel Take 4C
16. *Rocks and Gravel Take 5b
17. *Rocks and Gravel Take 6b
18. *Rocks and Gravel Take 7b
19. *Rocks and Gravel Take 8C
20. *Rocks and Gravel Take 9b
21. *Rocks and Gravel Take 10C
22. *House of the Risin' Sun (trad.) CO84440 Take 1b
23. *House of the Risin' Sun (trad.) Take 2b
24. *House of the Risin' Sun (trad.) Take 3b
25. *House of the Risin' Sun (trad.) Take 4B
26. *House of the Risin' Sun (trad.) Take 5C
27. *House of the Risin' Sun (trad.) Take 6b
28. *House of the Risin' Sun (trad.) Take 7C
29. *Corrina, Corrina CO84441 Take 1C
30. *Corrina, Corrina Take 2b
22-28 "House Of Rising Sun" on recording sheet.
30 "Corina, Corina" on recording sheet.
1-11 original track CO76982 recorded November 14, 1962.
12-21 original track CO76986 take 1 recorded November 1, 1962.
22-28 original track CO68729 take 3 recorded November 20, 1961.
29-30 original CO number and recording date unknown.
Overdubbed by Robert Gregg (drums) and other, unidentified musicians.
28 released on CD-ROM Highway 61 Interactive.
Studio A
Columbia Recording Studio
New York City, New York
January 13, 1965, 7-10 pm
Produced by Tom Wilson.
Engineers: Hallie and Catero.
1. Love Minus Zero/No Limit CO85270 Take 1b
2. Love Minus Zero/No Limit Take 2C
3. I'll Keep It With Mine CO85271 Take 1C
4. It's All Over Now, Baby Blue CO85272 Take 1C
5. Bob Dylan's 115th Dream CO85273 Take 1b
6. Bob Dylan's 115th Dream Take 2C
7. She Belongs To Me CO85274 Take 1C
8. Subterranean Homesick Blues CO85275 Take 1C
9. Sitting On A Barbed Wire Fence CO85276 Take 1C
10. On The Road Again CO85277 Take 1C
11. Farewell Angelina CO85278 Take 1C
12. If You Gotta Go, Go Now CO85279 Take 1C
13. If You Gotta Go, Go Now (Addition) Take 1
14. Bending Down On My Stomick Lookin' West CO85280 Take 1C
15. Love Minus Zero/No Limit CO85270 Take 3C
16. She Belongs To Me CO85274 Take 2C
17. Outlaw Blues CO85281 Take 1b
18. Outlaw Blues Take 2C
1 and 2 "Dime Store" on recording sheet.
3 "Bank Account Blues" on recording sheet.
5-6 "B. Dylan's Later Dream" on recording sheet.
7 "Worse Than Money" on recording sheet.
8 "Subterranean Homesick Blues #10" on recording sheet.
9 "Barbwire" on recording sheet, corrected on the tape box to "Sitting
On A Barbed Wire Fence". On the copyright card listed as "Outlaw Blues".
11 "Alcatraz To The 5th Power" on recording sheet.
12 and 13 "You Gotta Go" on recording sheet.
17 and 18 "Tune X" on recording sheet, corrected to "Key To The Highway"
on one tape box and to "Outlaw Blues" on another. This CO number is not
listed in the contract cards.
3 released on Biograph.
8 and 11 released on The Bootleg Series.
At the January 13 session Bob Dylan performed solo. For the next two days he had a basic backing
group, with whom he recorded during the afternoons. On the evening of January
14 he made a number of recordings with a different backing group, but none
of these tracks was used for the album. Unfortunately the tapes and recording
sheets for this evening session were not available, so the list is based
on information from other sources, among them the artists' contract, which
includes the name of John Hammond Jr. Readers may recall that in the pages
of The Telegraph, Hammond denied having played on any such session but the
documentation includes details of the fee he received. Another small mystery
waiting to be solved, then. Hopefully a full list of all takes will be added
later.
Studio A
Columbia Recording Studio
New York City, New York
January 14, 1965, 2:30-5:30 pm
Produced by Tom Wilson.
Engineers: Hallie and Dauria.
1. Love Minus Zero/No Limit CO85270 Take 1C
2. Love Minus Zero/No Limit Take 2C
3. Love Minus Zero/No Limit (Insert #1) Take 1
4. Subterranean Homesick Blues CO85275 Take 1C
5. Subterranean Homesick Blues Take 2b
6. Subterranean Homesick Blues Take 3C
7. Outlaw Blues CO85282 Take 1b
8. Outlaw Blues Take 2b
9. Outlaw Blues Take 3C
10. *Outlaw Blues (overdub) Take 1C
11. She Belongs To Me CO85283 Take 1C
12. She Belongs To Me Take 2C
13. Bob Dylan's 115th Dream CO85284 Take 1b
14. Bob Dylan's 115th Dream Take 2C
15. On The Road Again CO85285 Take 1b
16. On The Road Again Take 2C
17. On The Road Again Take 3b
18. On The Road Again Take 4C
19. Love Minus Zero/No Limit CO85270
20. I'll Keep It With Mine CO85271
21. It's All Over Now, Baby Blue CO85272
22. Bob Dylan's 115th Dream CO85273
23. She Belongs To Me CO85274
24. Subterranean Homesick Blues CO85275
1 "(Tune Z) Dimestore" on recording sheet.
11 and 12 "My Girl" on recording sheet.
Session 1 (track 1-18): 2:30 - 6:00 pm backed by Robert Gregg (drums), Joseph
Macho jr. (bass), William E. Lee (bass), Bruce Langhorne (guitar), Al Gorgoni
(guitar), Kenneth J. Rankin (guitar) and Paul L. Griffin (piano).
Session 2 (track 19-24): 7 - 10 pm backed by John Hammond jr. (guitar),
Bruce Langhorne (guitar), John Sebastian (bass guitar) and John Boone (bass
guitar).
2, 6, 10, 12 and 14 released on Bringing It All Back Home.
Studio A
Columbia Recording Studio
New York City, New York
January 15, 1965, 2:30-5:30 pm
Produced by Tom Wilson.
Engineers: Hallie and Dauria.
1. Maggie's Farm CO85286 Take 1C
2. On The Road Again CO85285 Take 1C
3. On The Road Again Take 2b
4. On The Road Again Take 3b
5. On The Road Again Take 4b
6. On The Road Again Take 5b
7. On The Road Again Take 6b
8. On The Road Again Take 7C
9. On The Road Again Take 8b
10. On The Road Again Take 9b
11. On The Road Again Take 11b
12. On The Road Again Take 12b
13. On The Road Again Take 13C
14. It's Alright, Ma (I'm Only Bleeding) CO85287 Take 1b
15. It's Alright, Ma (I'm Only Bleeding) Take 2C
16. Gates Of Eden CO85288 Take 1C
17. Mr. Tambourine Man CO85289 Take 1b
18. Mr. Tambourine Man Take 2b
19. Mr. Tambourine Man Take 3C
20. Mr. Tambourine Man Take 4b
21. Mr. Tambourine Man Take 5b
22. Mr. Tambourine Man Take 6C
23. It's All Over Now, Baby Blue CO85290 Take 1C
24. If You Gotta Go, Go Now CO85291 Take 1C
25. If You Gotta Go, Go Now Take 2C
26. If You Gotta Go, Go Now Take 3C
27. If You Gotta Go, Go Now Take 4C
14 and 15 "It's All Right Ma" on recording sheet.
24-27 "You Gotta Go" on recording sheet.
Session 2:30 - 6:00 pm backed by Robert Gregg (drums), Joseph Macho jr.
(bass), William E. Lee (bass), Bruce Langhorne (guitar), Al Gorgoni (guitar),
Kenneth J. Rankin (guitar) and Frank Owens (piano).
1, 13, 15, 16, 22 and 23 released on Bringing It All Back Home.
While Bob Dylan was in the UK, there was a Dylan session in New York. If You Gotta Go, Go Now needed an overdub. There is no documentation of the musicians involved,
but it could have been the back-up singers, who are heard on this song.
Studio A
Columbia Recording Studio
New York City, New York
May 21, 1965, 2:30-5:30 pm
Produced by Tom Wilson.
Engineers: Laico and Dauria.
Overdub session:
1. *If You Gotta Go, Go Now (Composite 1) CO85291 Take 1C
2. *If You Gotta Go, Go Now (Composite 1) Take 2C
3. *If You Gotta Go, Go Now (Composite 1) Take 3C
4. *If You Gotta Go, Go Now (Composite 1) Take 4C
5. *If You Gotta Go, Go Now (Composite 1) Take 5C
6. *If You Gotta Go, Go Now (Composite 2) Take 1C
7. *If You Gotta Go, Go Now (Composite 2) Take 2C
1-7 "You Gotta Go" on recording sheet.
Original tracks CO85291 recorded January 15, 1965.
Musicians unidentified.
5 and 7 released on single and The Bootleg Series, respectively.
Studio A
Columbia Recording Studio
New York City, New York
June 15, 1965, 2:30-5:30 pm
Produced by Tom Wilson.
Engineers: Halee and Dauria.
1. It Takes A Lot To Laugh, It Takes A Train To Cry
CO86443 Take 1C
2. It Takes A Lot To Laugh, It Takes A Train To Cry Take 2b
3. It Takes A Lot To Laugh, It Takes A Train To Cry Take 3b
4. It Takes A Lot To Laugh, It Takes A Train To Cry Take 4B
5. It Takes A Lot To Laugh, It Takes A Train To Cry Take 5b
6. It Takes A Lot To Laugh, It Takes A Train To Cry Take 5C
7. It Takes A Lot To Laugh, It Takes A Train To Cry Take 6C
8. It Takes A Lot To Laugh, It Takes A Train To Cry Take 7C
9. It Takes A Lot To Laugh, It Takes A Train To Cry Take 8C
10. Sitting On A Barbed Wire Fence CO86444 Take 1B
11. Sitting On A Barbed Wire Fence Take 2C
12. Sitting On A Barbed Wire Fence Take 3C
13. It Takes A Lot To Laugh, It Takes A Train To Cry
CO86445 Take 1C
14. Sitting On A Barbed Wire Fence CO86444 Take 4b
15. Sitting On A Barbed Wire Fence Take 5b
16. Sitting On A Barbed Wire Fence Take 6C
17. Like A Rolling Stone CO86446 Take 1b
18. Like A Rolling Stone Take 2b
19. Like A Rolling Stone Take 3b
20. Like A Rolling Stone Take 4b
21. Like A Rolling Stone Take 5C
1-9 and 13 "Phantom Engineer Cloudy" on recording sheet.
10-12 "Over The Cliffs pt 1" on recording sheet. 14-16 "Over The Cliff"
on recording sheet.
Session 2:30 - 6:30 backed by Robert Gregg (drums), Al Kooper (organ), Joseph
Macho jr. (bass), Mike Bloomfield (guitar), Al Gorgoni (guitar) and Frank
Owens (piano).
13, 16 and one of 17-21 released on The Bootleg Series.
Studio A
Columbia Recording Studio
New York City, New York
June 16, 1965, 2:30-5:30 pm
Produced by Tom Wilson.
Engineers: Halee and Dauria.
1. Like A Rolling Stone CO86446 Take 1C
2. Like A Rolling Stone Take 2b
3. Like A Rolling Stone Take 3b
4. Like A Rolling Stone Take 4C
5. Like A Rolling Stone Take 5b
6. Like A Rolling Stone Take 6b
7. Like A Rolling Stone Take 7b
8. Like A Rolling Stone Take 8C
9. Like A Rolling Stone Take 9b
10. Like A Rolling Stone Take 10b
11. Like A Rolling Stone Take 11C
12. Like A Rolling Stone Take 12b
13. Like A Rolling Stone Take 13B
14. Like A Rolling Stone Take 14b
15. Like A Rolling Stone Take 15C
Backed by the same musicians as June 15, 1965.
4 released on single and on Highway 61 Revisited.
Studio A
Columbia Recording Studio
New York City, New York
July 29, 1965, 10 am - 1 pm, and 2:30-5:30 pm
Produced by Bob Johnston.
Engineers: Laico and Dauria (1st session) and Laico and Brosnan.
1. It Takes A Lot To Laugh, It Takes A Train To Cry
CO86837 Take 1C
2. It Takes A Lot To Laugh, It Takes A Train To Cry Take 2b
3. It Takes A Lot To Laugh, It Takes A Train To Cry Take 3C
4. Tombstone Blues CO86838 Take 1C
5. Tombstone Blues Take 2b
6. Tombstone Blues Take 3B
7. Tombstone Blues Take 4C
8. Tombstone Blues Take 5b
9. Tombstone Blues Take 6b
10. Tombstone Blues Take 7C
11. Tombstone Blues Take 9B
12. Tombstone Blues Take 10b
13. Tombstone Blues Take 11B
14. Tombstone Blues Take 12C
15. It Takes A Lot To Laugh, It Takes A Train To Cry
CO86839 Take 1C
16. It Takes A Lot To Laugh, It Takes A Train To Cry Take 2b
17. It Takes A Lot To Laugh, It Takes A Train To Cry Take 3b
18. It Takes A Lot To Laugh, It Takes A Train To Cry Take 4C
19. Positively 4th Street CO86840 Take 1b
20. Positively 4th Street Take 2b
21. Positively 4th Street Take 3b
22. Positively 4th Street Take 4C
23. Positively 4th Street Take 5C
24. Positively 4th Street Take 6b
25. Positively 4th Street Take 7B
26. Positively 4th Street Take 8C
27. Positively 4th Street Take 10B
28. Positively 4th Street Take 12C
1-3 and 15-18 "Phantom Engineers" on recording sheet.
4-14 "Tombstone" on recording sheet.
19-28 "Black Dalli Rue" on recording sheet.
Session 1: 10:00am - 1:00pm backed by Robert Gregg (drums), Joseph Macho
jr. (bass), Paul Griffin (piano), Al Kooper (organ) and Mike Bloomfield
(guitar).
Session 2: 2:30 - 6:00pm backed by Robert Gregg (drums), Russ Savakus (bass),
Frank Owens (piano), Al Kooper (organ) and Mike Bloomfield (guitar).
14 and 18 released on Highway 61 Revisited.
28 released on single.
Studio A
Columbia Recording Studio
New York City, New York
July 30, 1965, 2:30-5:30 and 7-10 pm
Produced by Bob Johnston.
Engineers: Halee and Dauria (1st session) and Halee and Keyes.
1. From A Buick 6 CO86843 Take 1b
2. From A Buick 6 Take 2b
3. From A Buick 6 Take 4C
4. From A Buick 6 Take 5C
5. Can You Please Crawl Out Your Window CO80844 Take 1b
6. Can You Please Crawl Out Your Window Take 2b
7. Can You Please Crawl Out Your Window Take 3b
8. Can You Please Crawl Out Your Window Take 1b
9. Can You Please Crawl Out Your Window Take 1b
10. Can You Please Crawl Out Your Window Take 1C
11. Can You Please Crawl Out Your Window Take 2b
12. Can You Please Crawl Out Your Window Take 3C
13. Can You Please Crawl Out Your Window Take 4b
14. Can You Please Crawl Out Your Window Take 5C
15. Can You Please Crawl Out Your Window Take 6b
16. Can You Please Crawl Out Your Window Take 7b
17. Can You Please Crawl Out Your Window Take 8b
18. Can You Please Crawl Out Your Window Take 9b
19. Can You Please Crawl Out Your Window Take lOb
20. Can You Please Crawl Out Your Window Take 11b
21. Can You Please Crawl Out Your Window Take 12C
22. Can You Please Crawl Out Your Window Take 13b
23. Can You Please Crawl Out Your Window Take 14b
24. Can You Please Crawl Out Your Window Take 15B
25. Can You Please Crawl Out Your Window Take 17C
26. Desolation Row CO80845 Take 1C
1-4 "Lunatic Princess No. 3" on recording sheet.
5-25 "Look At Barry Run" on recording sheet.
26 "???" on recording sheet.
Session 1: 2:30 - 5:30 backed by Robert Gregg (drums), Harvey Goldstein
(bass), Russ Savakus (bass), Arthur ...?? (piano), Al Kooper (organ) and
Mike Bloomfield (guitar).
Session 2: 7:00 - 10:00 pm backed by Robert Gregg (drums), Russ Savakus
(bass), Harvey Goldstein (bass), Paul Griffin (piano), Al Kooper (organ)
and Mike Bloomfield (guitar).
4 released on Highway 61 Revisited.
25 released on single.
Studio A
Columbia Recording Studio
New York City, New York
August 2, 1965, 8-11 pm and midnight 3 am
Produced by Bob Johnston.
Engineers: Halee and Keyes.
1. Highway 61 Revisited CO86846 Take 1b
2. Highway 61 Revisited Take 2b
3. Highway 61 Revisited Take 3C
4. Highway 61 Revisited Take 4b
5. Highway 61 Revisited Take 5C
6. Highway 61 Revisited Take 5C
7. Highway 61 Revisited Take 6C
8. Highway 61 Revisited Take 7b
9. Highway 61 Revisited Take 8b
10. Highway 61 Revisited Take 9C
11. Just Like Tom Thumb's Blues CO86847 Take 1B
12. Just Like Tom Thumb's Blues Take 2b
13. Just Like Tom Thumb's Blues Take 3C
14. Just Like Tom Thumb's Blues Take 4b
15. Just Like Tom Thumb's Blues Take 5C
16. Just Like Tom Thumb's Blues Take 6b
17. Just Like Tom Thumb's Blues Take 7C
18. Just Like Tom Thumb's Blues Take 8b
19. Just Like Tom Thumb's Blues Take 9B
20. Just Like Tom Thumb's Blues Take 1OB
21. Just Like Tom Thumb's Blues Take 11b
22. Just Like Tom Thumb's Blues Take 12b
23. Just Like Tom Thumb's Blues Take 13C
24. Just Like Tom Thumb's Blues Take 14b
25. Just Like Tom Thumb's Blues Take 15b
26. Just Like Tom Thumb's Blues Take 16C
27. Queen Jane Approximately CO86848 Take 1b
28. Queen Jane Approximately Take 2C
29. Queen Jane Approximately Take 3b
30. aueen Jane Approximately Take 4b
31. Queen Jane Approximately Take 5C
32. Queen Jane Approximately Take 6C
33. Queen Jane Approximately Take 7C
34. Ballad Of A Thin Man CO86849 Take 1b
35. Ballad Of A Thin Man Take 2C
36. Ballad Of A Thin Man Take 3C
37. Ballad Of A Thin Man (Insert #1) Take 1C
38. Desolation Row CO86845 Take 1b
39. Desolation Row Take 2b
40. Desolation Row Take 3b
41. Desolation Row Take 4b
42. Desolation Row Take 5
Session 8:00 pm - 3:30 am.
1-10 "Highway 61" on recording sheet.
11-26 "Juarez" on recording sheet.
27-33 "Queen Jane" on recording sheet.
Backing: Robert Gregg (drums), Al Kooper (organ), Harvey Goldstein (bass),
Mike Bloomfield (guitar), Frank Owens (piano) (8:00 - 11:30) Paul Griffin
(piano) (11:00 - 3:30) and Samuel ?? (probably Sam Lay (drums)) (8:00- 11:00).
10. 26, 33 and 36 released on Highway 61 Revisited.
Studio A
Columbia Recording Studio
New York City, New York
August 4, 1965, 1-4 pm
Produced by Bob Johnston.
Engineers: Laico and Dauria.
Overdub session:
1. Desolation Row CO86937 Take 1b
2. Desolation Row Take 2b
3. Desolation Row Take 1B
4. Desolation Row (Incut) Take 1C
5. Desolation Row Take 5C
6. Desolation Row (Composite 1) Take 6C
7. Desolation Row (Composite 1) Take 7b
8. Tombstone Blues (Composite 2) CO86838 Take 1C
It is unclear who is backing on these tracks, as well as when the basic
tracks were recorded.
6 and 7 edited into one track and released on Highway 61 Revisited.
Studio A
Columbia Recording Studio
New York City, New York
October 4, 1965, 2:30-5:30 pm
Produced by Bob Johnston.
Engineers: Halee and Dauria.
Session cancelled.
Studio A
Columbia Recording Studio
New York City, New York
October 5, 1965, 7-10 pm and 11:30-2:30 pm
Produced by Bob Johnston.
Engineers: Halee and Keyes.
1. Medicine Sunday CO87183 Take 1b
2. Medicine Sunday Take 2
3. Jet Pilot CO87186 Take 1b
4. Jet Pilot Take 2b
5. Jet Pilot Take 3b
6. Jet Pilot Take 4b
7. Jet Pilot Take 5b
8. Jet Pilot Take 6b
9. Jet Pilot Take 7b
10. Can You Please Crawl Out Your Window CO87184 Take 1B
11. Can You Please Crawl Out Your Window Take 2b
12. I Wanna Be Your Lover CO87185 Take 1b
13. I Wanna Be Your Lover Take 2C
14. I Wanna Be Your Lover Take 3C
15. I Wanna Be Your Lover Take 4B
16. I Wanna Be Your Lover Take 5C
17. I Wanna Be Your Lover Take 6C
18. I Wanna Be Your Lover Take 7C
19. Instrumental Track C087187 and CO87192 Take 1b
20. Instrumental Track Take 2C
1-2 "Medicine Sunday" on recording sheet.
3-9 Neither title nor CO number listed on the recording sheet, but on the
tape box listed as "Track (Title ? ?)" with no CO number. Title and CO number
is listed in the artists contract card.
10-11 "Crawl Out Your Window" on recording sheet.
12-18 "I Don't Want To Be Your Partner" on recording sheet.
19-20 "Unannounced" on recording sheet, "Trk No Vocal" on tape box, and
as "#1" on the copyright card. This song has two CO numbers.
Backing musicians undocumented.
3-9 One of the tracks released on Biograph.
11 released on Biograph.
12-18 One of these tracks released on Biograph.
Studio A
Columbia Recording Studio
New York City, New York
October 6, 1965, 11:30-2:30 pm
Produced by Bob Johnston.
Engineers: Halee and Keyes.
Session cancelled.
Studio A
Columbia Recording Studio
New York City, New York
November 30, 1965, 2:30-5:30 pm and 7 pm til finished
Produced by Bob Johnston.
Engineers: Halee and Dauria (first session) and Halee and Keyes.
1. Visions Of Johanna CO88581 Take 1B
2. Visions Of Johanna Take 2b
3. Visions Of Johanna Take 3B
4. Visions Of Johanna Take 4C
5. Visions Of Johanna Take 5C
6. Visions Of Johanna Take 6B
7. Visions Of Johanna Take 7C
8. Visions Of Johanna Take 8C
9. Visions Of Johanna Take 9b
10. Visions Of Johanna Take 10b
11. Visions Of Johanna Take 11b
12. Visions Of Johanna Take 12b
13. Visions Of Johanna Take 13C
14. Visions Of Johanna Take 14C
15. Can You Please Crawl Out Your Window CO88582 Take 1b
16. Can You Please Crawl Out Your Window Take 2b
17. Can You Please Crawl Out Your Window Take 3b
18. Can You Please Crawl Out Your Window Take 4b
19. Can You Please Crawl Out Your Window Take 5b
20. Can You Please Crawl Out Your Window Take 6C
21. Can You Please Crawl Out Your Window Take 7b
22. Can You Please Crawl Out Your Window Take 8C
23. Can You Please Crawl Out Your Window Take 9b
24. Can You Please Crawl Out Your Window Take 10C
1-14 "Freeze Out" on recording sheet.
15-24 "Crawl Out The Window" on recording sheet.
Session: 2:30 - 7:00 pm and 7:00 - 10:00 pm.
Musicians: Robert J. Gregg (drums), Richard Manuel (piano), Rick Danko (bass),
Garth Hudson (organ), Robbie Robertson (guitar) Bruce Langhorne (guitar),
Al Kooper (organ), Joseph Souter (guitar) (only 2:30 - 7:30) and Paul Griffin
(piano) (only 5:00 - 10:30).
15-24 one of the tracks released as single.
Studio A
Columbia Recording Studio
New York City, New York
January 20, 1966, 11:30-2:30 pm
Produced by Bob Johnston/Albert Grossman.
Engineers: Halee and Keyes.
Session cancelled.
Studio A
Columbia Recording Studio
New York City, New York
January 21, 1966, 2:30-5:30, 7-10 pm and 11:30-2:30 am
Produced by Bob Johnston.
Engineers: Halee, Dauria and Keyes.
1. She's Your Lover Now CO89210 Take 1b
2. She's Your Lover Now Take 2b
3. She's Your Lover Now Take 3b
4. She's Your Lover Now Take 4C
5. She's Your Lover Now Take 5C
6. She's Your Lover Now Take 6C
7. She's Your Lover Now Take 7b
8. She's Your Lover Now Take 8b
9. She's Your Lover Now Take 9b
10. She's Your Lover Now Take 10b
11. She's Your Lover Now Take 11b
12. She's Your Lover Now Take 12b
13. She's Your Lover Now Take 13C
14. She's Your Lover Now Take 14C
15. She's Your Lover Now Take 15C
16. She's Your Lover Now Take 16b
17. She's Your Lover Now Take 17C
18. She's Your Lover Now Take 18C
19. She's Your Lover Now Take 19C
1-19 "Just A Little Glass Of Water" on recording sheet.
Sessions: 2:30 - 5:30pm, 5:45 - 8:45, 9:00 - 12:00pm.
Musicians: Michael John ??, Sandy Konikoff (drums), Garth Hudson (organ),
Richard Manuel (piano), Rick Danko (bass) and Robbie Robertson (guitar).
19 released on The Bootleg Series.
Studio A
Columbia Recording Studio
New York City, New York
January 25, 1966, 2:30-5:30, 7-10 pm, and 11:30-2:30 am
Produced by Bob Johnston.
Engineers: Halee, Dauria and Keyes.
1. Leopard-Skin Pill-Box Hat CO89215 Take 1C
2. Leopard-Skin Pill-Box Hat Take 2C
3. One Of Us Must Know (Sooner Or Later) CO89216 Take 1C
4. One Of Us Must Know (Sooner Or Later) Take 2C
5. One Of Us Must Know (Sooner Or Later) Take 3b
6. One Of Us Must Know (Sooner Or Later) Take 4C
7. One Of Us Must Know (Sooner Or Later) Take 5b
8. One Of Us Must Know (Sooner Or Later) Take 6b
9. One Of Us Must Know (Sooner Or Later) Take 7b
10. One Of Us Must Know (Sooner Or Later) Take 8b
11. One Of Us Must Know (Sooner Or Later) Take 9b
12. One Of Us Must Know (Sooner Or Later) Take 3b
13. One Of Us Must Know (Sooner Or Later) Take 11C
14. One Of Us Must Know (Sooner Or Later) Take 16b
15. One Of Us Must Know (Sooner Or Later) Take 17b
16. One Of Us Must Know (Sooner Or Later) Take 18C
17. One Of Us Must Know (Sooner Or Later) Take 19C
18. One Of Us Must Know (Sooner Or Later) Take 21b
19. One Of Us Must Know (Sooner Or Later) Take 22B
20. One Of Us Must Know (Sooner Or Later) Take 23C
21. One Of Us Must Know (Sooner Or Later) Take 24C
1 and 2 "Brand New Leopardskin Pillbox Hat" on recording sheet. 3-21 "Song
Unknown" on recording sheet.
Sessions: 2:30 - 6:00pm, 7:00 - 11:00pm, and 11:30pm - 2:30am.
Musicians: Robert J. Gregg (drums), William E. Lee (bass), Paul Griffin
(piano), Richard Danko (bass), Al Kooper (organ) and Robbie Robertson (guitar).
21 released on single and on Blonde On Blonde.
Studio A
Columbia Recording Studio
New York City, New York
January 26, 1966, 2:30-5:30, 7-10 pm, and 11:30-2:30 am
Produced by Bob Johnston.
Engineers: Halee, Dauria and Keyes.
Session cancelled.
Studio A
Columbia Recording Studio
New York City, New York
January 27, 1966, 2:30-2:30 am
Produced by Bob Johnston.
Engineers: Halee, Dauria and Keyes.
1. I'll Keep It With Mine CO89218 Take 1C
2. Leopard-Skin Pill-Box Hat CO89219 Take 1C
3. Leopard-Skin Pill-Box Hat (Insert) Take 1
4. Leopard-Skin Pill-Box Hat Take C
5. Leopard-Skin Pill-Box Hat Take C
6. One Of Us Must Know (Sooner Or Later) (Insert #1)
CO89216 Take 1b
7. One Of Us Must Know (Sooner Or Later) (Insert #1) Take 2b
8. One Of Us Must Know (Sooner Or Later) (Insert #1) Take 3b
1 "Unknown" on recording sheets.
2-5 "Brand New Leopard Skin Pillbox Hat" on recording sheet.
6-8 "Unknown Song" on recording sheet.
Musicians: Robbie Robertson (guitar), Al Kooper (organ), Rick Danko (bass),
Bobby Gregg (drums).
1 released on The Bootleg Series.
Studio A
Columbia Recording Studio
New York City, New York
January 31, 1966, 11:30-2:30 am
Produced by Bob Johnston.
Engineers: Halee and Waxman.
Session cancelled.
Studio A
Columbia Recording Studio
New York City, New York
February 4, 1966, 7-10 pm and 11:30-2:30 am
Produced by Bob Johnston.
Engineers: Halee and Keyes.
Session cancelled.
So Bob Dylan's sessions in New York City in the 1960s ended with a number of cancellations. From February 1966 until
1970, Dylan would record all his material in Nashville, where a huge number
of musicians were readily available. One major argument for changing to
Nashville may well have been technical. In 1966 the New York studio was
still using 4-track equipment. Most of Blonde On Blonde was recorded in
8-track. which technology was available in Nashville.
ln the next issue of The Telegraph there'll be a full listing of Bob Dylan's
Nashville sessions, including many surprising details concerning the recordings
of Self Portrait and New Morning.
I am grateful to archivist Mark Kirkeby from Sony Music, who has, in a very
warm and talented way, been the link between the permission and the material.
Matthew and Joyce from Sony Archives have also been tremendously helpful
in all practical matters
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Bring It All Back Home
Krogsgaard's Sessions