These sound just as good and clear as anything he was putting on his albums at the time. The only instance in this whole album where I hear any audience noise is in a couple of the choruses of "A Hard Rain's A-Gonna Fall," where you can faintly hear the audience singing along.Īs a result of that, plus the total lack of banter, in my mind I treat this like a collection of studio takes instead of a concert. ("John Brown" was one I forget the other.) But I removed that during my editing. There were two songs where a bit of clapping could be heard during the fade out. Basically, this whole thing sounds exactly like versions professionally recorded in a studio. No clapping, no coughing, no talking, nothing. Due to the way it was recorded as described above, there is virtually no audience response captured whatsoever. But even in those cases the endings are longer by a few seconds and sound more natural instead of abrupt. There's only one or two, with "Barbara Allen" being such a case, where I couldn't come up with a clear ending, so I had the song fade out. Now, when you listen, the songs sound complete, with proper beginnings and ends. But in fact I think I made little tweaks to all of the songs, but the others weren't as significant. As you can see, I have "" added to 12 of the 17 songs. Songs have repetitive patterns, so I usually was able to take a section in one part of a song and move that to another part of the song to fill in the missing bits. Although my sound editing skills are very basic, this is the kind of thing I can tinker with. But for whatever reason, the editing was so severe that most of the songs were lacking a few seconds either at the beginnings or the ends. It could be the taper had a limited amount of tape and was trying hard to save it to squeeze more songs in - that happened a lot with bootleg recordings back in those days. For whatever reason, on all known versions, there's no banter between songs, and the starts and ends of the songs are often abruptly faded in or faded out. The other songs eventually did get officially released, but only as part of the "50th Anniversary Collection," which was sold in extremely limited numbers (maybe 100 or so) for an extremely limited time to allow the record company to retain the copyrights on the performances. That means it's only 46 minutes long, when the full recording is an hour and five minutes long. For starters, the official album only included 10 of the 17 known recorded songs. An album of the concert called "Live at the Gaslight 1962" was released in 2005. And sure enough, these songs sound great. If you don't know what that means, basically, that's as good of a soundboard as you could hope to get with 1962 technology and expertise. A professional sound engineer, Richard Alderson, patched a reel-to-reel tape recorder into the P.A. In October 1962, Dylan played at the Gaslight Cafe in New York City. So there's a lot from him that's worth posting. He's been very prolific for many decades, and much of his interesting music hasn't made it to his official albums. In the past few days, I've really gotten into a Bob Dylan mood, so I'm going to post a bunch of his stuff soon (knock on wood).
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