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A comprehensive listing and evaluation of all of the legendary musician's recording sessions includes data on every song Dylan ever recorded, a list of accompanying musicians, and other information.
- Sales Rank: #2539560 in Books
- Published on: 1995-11-15
- Original language: English
- Number of items: 1
- Dimensions: 9.48" h x .93" w x 6.38" l,
- Binding: Hardcover
- 256 pages
Review
“As informative a musical study of Dylan as we have.” ―David Hinckley, New York Daily News
“A must for rabid fans.” ―Seattle Times
About the Author
Clinton Heylin is the cofounder of Wanted Man, the British information office dedicated to studying Dylan's life and work. He is the author of "Bob Dylan: Behind the Shades,"" From the Velvets to the Voidoids,"" "and "Bob Dylan: The Recording Sessions 1960-1964".
Most helpful customer reviews
0 of 0 people found the following review helpful.
and Heylin makes a couple of dumb mistakes, such as Mike Bloomfield playing guitar on ...
By J.K. Williamson
not much new here, and Heylin makes a couple of dumb mistakes, such as Mike Bloomfield playing guitar on DEsolation Row when even nephyte Dylanologists know it was Charlie McCoy. he also said "Death Is Not The End" was basically the worst song Dylan ever did when in fact it was magnificent. Heylin puts in too much opinion and not enough fact, or new info. neverthless, it is a worthwhile effort.
15 of 15 people found the following review helpful.
Deceptive Title; Informative and Opinionated Text
By A Customer
This is a must have for Dylan fans and collectors, but there are some drawbacks which potential buyers should be aware of.
First, the title is deceptive. Heylin and his publisher obviously chose it to dupe unsuspecting readers into thinking they are getting a detailed, day-by-day account of Dylan's work in the studio, along the lines of Mark Lewisohn's extraordinary BEATLES RECORDING SESSIONS (Hamlyn, 1988). This is not such a chronicle, as Heylin points out - at length - in his introduction (an introduction that web buyers cannot read; hence, this review). Heylin's self-serving swipes at Lewisohn in the introduction are also unfortunate, and is "Bob-made-better-records-in-six-days-than-the-Beatles-did-in-six-months" rant is simply misguided. Methinks Clinton is jealous because Lewisohn had unprecedented access to the EMI archive, while Sony's gatekeeper - Jeff Rosen - allowed a rival Dylanologist to document the bard's work. Heylin's childish un-dedication to Rosen is surely a first in the history of publishing, and tarnishes an otherwise exemplary book.
If you can get past the petty dedication and bitchy introduction, you will find RECORDING SESSIONS to be a mostly informative, highly opinionated look at Dylan's career in the studio. You will need Michael Krogsgaard's authorised (sorry Clinton!) accounts in fanzines THE TELEGRAPH and THE BRIDGE for the most accurate session information (e.g. musicians and take numbers), but you don't read Clinton Heylin for these dry facts anyway. You read him because he has many insightful, provocative things to say about Bob Dylan, especially with regard to the songs and takes which were left behind, and have only appeared since on bootlegs, or Sony's pseudo-bootlegs. Here, Heylin simply shines.
You may not agree with what he has to say, but you will be entertained by the way he says it. This work deserves a place in your collection, next to Paul Williams's PERFORMING ARTIST I & II.
3 of 3 people found the following review helpful.
For obsessive fans only
By Bill R. Moore
Clinton Heylin, one of the leading writers on Bob Dylan (and author of, perhaps, the best biography on the man, Behind The Shades), deserves kudos for the exhausting amount of research he put into this book and the information he has presented. It is essential for obsessive Bob Dylan fans - is there any other kind? - who must have every little tidbit of information about the man and what he did in the studio. It is particulary interesting for collectors as it goes into detail about the many, many songs Dylan has recorded throughout the years and not released. It is a chronicle of absolutely everything that Dylan put to tape between the 1960 recordings made in the apartments of friends when he was still in college up to his Good As I Been To You album, as well as soundtracks and appearance on the albums of others, where relevant. Heylin includes not only a list of every song, but also the different takes, and shows what songs are circulating among collectors and which ones still have not seen the light of day. He also includes other relevant information such as what musicians played on the sessions, as well as several appendices such as a list of Dylan compositions, covers he has recorded, and even the session charts from the Desire sessions. The only thing that brings the book down is Heylin's own constant interjected commentary. It is unfortunate that seemingly every commentator on Dylan seems to see it as their duty to critize certain aspects of the man's work and say what he should have done differently - as if they had any right to question the genius of the greatest songwriter of the 20th century. Certainly, Heylin is entitled to his opinion, and never does he make the claim that this book is entirely objective, but, at times, it happens so often as to get in the way. Still, for the true Dylan fan, this book is still a must-have for the priceless information it gives. Casual fans need not bother.
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