50 years later Bob Dylan’s The Basement Tapes still feel like a hidden gem

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In the span of about ten years, it appeared as though Bob Dylan’s stardom, comparable to a supernova, was fading. However, during the mid-1970s, he released a series of original albums that served as reminders to all why he was the preeminent figure where folk music and rock ‘n’ roll intersect.

1975 saw the unveiling of what is arguably one of the greatest split-up albums ever produced – “Blood on the Tracks.” A year afterwards, he presented “Desire,” a collection of musical short stories, which he collaboratively composed with Jacques Levy.

Without a shadow of a doubt, the powerful dual track solidified the belief that Dylan’s talent hadn’t waned, a viewpoint expressed by many during the early ’70s. Sandwiched between these two colossal releases, Dylan released another album, primarily original songs, which was both legendary and intriguing. This double album remains one of the most delightful records Bob Dylan has ever been connected to, even to this day.

Fifty years ago, in late June, 1975, the public got to hear The Basement Tapes.

Bob Dylan and the Band’s The Basement Tapes became a fascinating piece of musical history

Dylan significantly contributed to the development of what later evolved into “The Basement Tapes“, but he played a minimal role in its publication. The record is officially attributed to Dylan and The Band, with Band leader Robbie Robertson serving as the primary creative force shaping the album’s final form.

To fully grasp what Robertson accomplished, we need to travel back nearly a decade to the mid-1960s, a time when Dylan served as a symbol of the brewing turmoil in mainstream music.

As a gamer, stepping into Bob Dylan’s shoes, I found myself on an unprecedented journey following the whirlwind release of three groundbreaking albums – Bringing It All Back Home (1965), Highway 61 Revisited (1965), and Blonde on Blonde (1966). These masterpieces catapulted my musical evolution at an astonishing pace. However, fate had a twist in store. A devastating motorcycle accident took me away from the limelight for over a year, leaving me to contemplate life beyond music. The brush with death not only made me disappear from the public eye but also sparked a profound rethinking of my role as an artist.

In the mid-’60s, Dylan’s songs grew longer and more abstract, and other rock music started mirroring this trend. This was seen as a normal progression. However, Dylan felt uneasy about the increasing grandeur in rock music production. During his recovery period, he turned to composing simpler, more straightforward songs with a minimalistic orchestral arrangement.

Before they were officially named, his work contributed significantly to the development or perhaps even the modernization of roots music and Americana genres, which had already existed for quite some time.

Instead of being isolated during the creation of Nebraska in the early ’80s like Bruce Springsteen – an artist often considered as Dylan’s potential successor when Dylan was absent – Dylan actually had his band with him for company.

In 1966-67, only a few Canadians were capable of playing and singing roots-style music authentically alongside the best. Known later as The Band, they supported Bob Dylan during his mid-’60s tours, stirring up fans with their groundbreaking electric sound that both angered and energized audiences.

During Dylan’s recuperation following an accident in the town of Woodstock, New York, friends often visited for conversation and impromptu musical sessions. They performed a mix of traditional folk tunes, modern covers, and eventually, many fresh compositions that Dylan was swiftly writing on the spot.

In all, they documented over a hundred of these tunes, but during that period, there wasn’t much consideration about compiling them into an album.

Word-by-word rephrasing:

News about the sessions started circulating. When Dylan moved to Nashville to record some borderline and authentic country music albums, his four backup musicians joined forces with American drummer Levon Helm and officially formed The Band. They quickly gained a superb reputation for themselves from late 1960s through early ’70s.

Reports of the recording sessions became common knowledge. When Dylan shifted base to Nashville to produce some borderline country albums, his four backup musicians teamed up with Levon Helm (an American drummer) and established The Band. They soon garnered a remarkable reputation from 1960s till early ’70s.

Despite Dylan and The Band consistently putting out fresh music, the appeal of their 1966 recordings persisted and even escalated. While some of the tracks were circulating via unofficial concert recordings known as bootlegs, many fans hadn’t yet heard the authentic studio versions.

1975 marked a shift, as Dylan granted Robertson permission to compile any recordings he considered valuable from their Woodstock performances, which later became an “updated” album. Robertson selected 16 tracks from this collection and added eight additional songs that The Band had recorded since then.

There was enough material for a double album.

By the way, it seems I overlooked mentioning that the Woodstock recordings were made in the cellar of Bob Dylan’s rehabilitation center. That’s why the album is called The Basement Tapes.

Upon its release, some diehard Bob Dylan followers took issue with the Band tracks added by Robertson. Other enthusiasts mourned the exclusion of popular tunes that had been recorded but left out from the final album.

Fifty years down the line, I find myself barely able to remember the minor gripes I once had about these tracks. They run the gamut from carefree silliness to near tear-jerking beauty, but every single one of them – even the seemingly flippant ones – is a treasure trove of joy and emotion.

The album kicks off with “Ódds and Ends,” a lively tune by Dylan that sets the theme for the entire project. As we move through to the final track on Side Four, “This Wheel’s on Fire,” another powerful composition by Dylan, it becomes clear that each artist involved is performing at their absolute best.

1. They’re both laid-back and taut. The music feels ancient yet speaks to current events.

2. They’re loosely wound yet firm. The sound carries an air of antiquity while it addresses modern happenings.

3. They’re easygoing but tense. The music has a primordial feel, yet it touches upon contemporary topics.

4. They’re casual and rigid. The music gives off a sense of the past, but it tackles present-day issues.

5. They’re unworried yet vigilant. The sound feels ancient but discusses modern matters.

Speaking of which, let’s discuss what transpired approximately a decade prior to the current period. This is one fascinating aspect of “The Basement Tapes“. It carries a hint of timelessness because it truly belongs to another epoch. The tunes aren’t similar to “Blood on the Tracks ” or “Desire “, as they stem from a distinct era.

Half a century has passed since then, yet its relevance dwindles, but the record maintains an ageless charm. Somehow, it continues to embody both vintage and modern elements simultaneously.

Regarding the tunes without Dylan, I struggle to find another song as heart-wrenchingly beautiful as “Katie’s Been Gone,” a composition by Manuel and Robertson that showcases one of Manuel’s most moving vocal performances. The numbers sung by Levon Helm, such as the soulful “Ain’t No More Cane” or the lively “Yazoo Street Scandal,” are stunning examples of American folk and blues music at its finest.

Dylan’s original songs encompass the playful absurdity found in tunes like “Yea! Heavy and a Bottle of Bread” and “Lo and Behold.” There’s the lengthy, whimsical tale told in “Clothes Line Saga,” and the amusing, short-form drama presented in “Please Mrs. Henry.

Afterward, you’ll find character portrayals such as “Ruben Remus,” “Tiny Montgomery,” and the comprehensive Band depiction of “Bessie Smith.” Notably, the harmonies provided by Danko and Robertson shine in this piece, while Hudson’s organ adds a sense of grandeur.

Those tunes are all a blast, and if they filled up the entire album, “The Basement Tapes” would be an energetic collection of novelties. However, there are a few other songs that have become classics, and it’s hard to believe how powerful they are considering their laid-back creation process.

Dylan’s song “Too Much of Nothing,” featuring Manuel and Danko harmonizing beautifully, showcases timeless poetry from Dylan. A short while later, he sings about divine retribution in “Crash on the Levee,” backed by a catchy organ riff from the Hudson.

Initially, there are pairs of songs that correspond to each disc – “Tears of Rage” and the previously mentioned “Wheels on Fire”. These tracks could easily be mistaken for those from either “Blonde on Blonde” or its subsequent album, “John Wesley Harding”, as they were produced during these particular timeframes.

Musically speaking, The Basement Tapes share a common thread, be it from Bob Dylan or the Band members. This shared fabric weaves a beautifully authentic tapestry of American music that is truly enchanting to the ears. However, lyrically and conceptually, they do not present a unified message as Dylan’s albums from the mid-60s and 70s tend to do.

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2025-05-22 16:00