Talk:Blood on the Tracks

Personnel

The current personnel listing does not reflect what is documented in "Simple Twist Of Fate: Bob Dylan And The Making Of Blood On The Tracks", nor does it bear out from simple listening. I defy anyone to hear on the "NYC sessions" Paul Griffin--or anyone for that matter--on piano or keyboards, save for McFaul on Meet Me In The Morning. Further, there is no full band on any of these NYC songs other than on Meet Me In The Morning. There is no banjo on this album.

Here is what bears out from the book and from listening:

1. Dylan is on guitar (1-7, 9-10). harmonica (1-5, 7, 9), mandolin (8), organ (4), vocal (1-10).

2. All "NYC" songs besides Meet Me In The Morning feature Dylan accompanied by only Tony Brown on electric bass. The personnel listing as is gives the incorrect implication that the other players on Meet Me On The Morning play on four other songs as well.

3. Meet Me In The Morning is Weissberg/Brown III/Dylan - gtr, Cage - pedal steel, McFaul - keyboards, Brown - bass, Crooks - drums.

4. The Minneapolis songs are, other than Dylan as above, Odegard - gtr; Weber - gtr (1, 3-4, 7), 12-string gtr (8); Peterson - electric bass; Berg - drums; Inhofer - keyboards (1, 7-8), piano (3); Ostroshko - mandolin (8).

5. The Minneapolis engineer is Paul Markinson.

6. I don't know who Barry Kornfeld is but if he plays on the album he seems, like Griffin, to be mixed out. Per my notes he is not credited in the "Making Of" book.

The album warrants either a track-by-track personnel listing, or a listing with the song numbers in parentheses as above after each musician or engineer, rather than simply putting the city where the sessions took place in parentheses, as that approach leads to inaccurate implications.Cbben (talk) 11:39, 26 February 2011 (UTC)

Blood in the Tracks: The Minnesota Musicians Behind Dylan's Masterpiece tells the story of how the Minneapolis sessions came about. With the names of the Minnesota musicians left off the album and their contribution unacknowledged for more than forty years, it rather implies that had they gotten proper credit their music careers might not have been so struggling.

As I recall from reading the book, there was mention that a New York musician got a gold album for "Tangled Up in Blue" but he didn't play on the released version, and no Minnesota musician received such.

And this is not to mention the financial aspect on the Minnesota musicians who stood to pocket some more money than they ever did for their efforts.

Etc. M.mk (talk) 18:09, 18 October 2024 (UTC)

The Bootleg Series Vol. 14: Blood on the Tracks (2019)

Is this now well known enough for someone who knows how to add it to the entry?

https://us13.campaign-archive.com/?u=1e5e140ead6e44477f36ae629&id=28be6767a5

The Bootleg Series Vol. 14: Blood on the Tracks

"Our ace guitarist Steve Addabbo was back down to brass tacks in his NY studio mixing the new Dylan bootleg of “Blood on the Tracks.” He won a Grammy last year for mixing his other recent Dylan bootleg recordings." — Eric Andersen