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Tell Tale Signs - Bob Dylans Neue Fast Normal Im Plattenhandel Zu Bekom- "Bootleg Series" Vol

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Tell Tale Signs - Bob Dylans Neue Fast Normal Im Plattenhandel Zu Bekom- Tonträger “Some of these bootleggers...” Sessions, die als erste größere "Raub- pressung" der Pop-Geschichte zunächst Tell Tale Signs - Bob Dylans neue fast normal im Plattenhandel zu bekom- "Bootleg Series" Vol. 8 men war, dann unter die Ladentheke und als Deluxe-Ausgabe schließlich in den Untergrund wanderte - und dort unter verändertem Namen und von Axel Jost immer neuen Song-Zusammenstellun- gen dutzendfache Wiedergeburten feier- Bootlegs in der Popmusik? Noch so te. ein Phänomen, das Bob Dylan zu ver- Aufgrund des Erfolges der Scheibe antworten hat - und das kam so: Nach kamen recht schnell weitere Dylan-Boot- Dylans Motorradunfall 1966 hielt er im legs (und auch solche von anderen Jahr darauf lange Sessions mit Musikern Bands wie etwa Led Zeppelin, Pink der späteren The Band im berühmten Floyd oder den Beatles) auf den Markt: "Big Pink"-Haus in Woodstock NY ab. Aufnahmen von Radio-Shows, Live-Mit- Das dabei eingespielte umfangreiche schnitte, alternative Song-Versionen, Song-Material war zunächst nicht für verworfene oder vergessene Titel, im eine offizielle Veröffentlichung vorgese- einschlägigen Jargon allesamt gerne als hen - und da schlug die Stunde der "Raritäten" oder "Outtakes" bezeichnet. ersten modernen Bootlegger: "The Great Und obwohl offizielle Zahlen über die mit White Wonder" hieß 1969 die Scheibe den Bootlegs erzielten Verkäufe natür- mit einigen Songs aus den "Big Pink"- lich nicht existieren, sind den Platten- firmen dadurch mit Sicherheit hohe Um- sätze entgangen, zumal die Vinyl- Scheiben aus dem Underground oft in- telligent zusammengestellt und mit liebe- vollem Begleitmaterial versehen waren. "Some of these bootleggers / they make beautiful stuff" bekannte Bob Dylan im Jahre 2001 zutreffend in seinem Song "Sugar Baby". Schließlich sah sich Columbia Re- cords 1975 zum ersten Mal veranlasst, den Bootleggern nicht nur mit juristi- schen Mitteln zu begegnen, sondern sie Dick und glänzend - die Deluxe-Schuber-Box. Im Innern sind die beiden Hardcover-Bücher zu erkennen. 1 Tonträger Tonträger auf ihrem eigenen Felde zu schlagen: Schuber aufgestellt: Das erste Buch mitsamt ausklappbarem Eine Doppel-LP mit etlichen (aber bei Anhang - den drei CDs. weitem nicht allen) Titeln aus den acht Jahre zuvor im "Big Pink" eingespielten fundgrube an höchst interessantem Sessions wurde offiziell veröffentlicht, Dylan-Material quer durch alle Schaf- und sie brachte es - zur Riesenüber- fensperioden in bis dato unerhörter raschung von Bob Dylan selbst - zu klanglicher Qualität, darunter auch der hohen Chartplatzierungen in den USA legendäre Song "Blind Willie McTell", der (Nr. 7) und Großbritannien (Nr. 8). Die unbestritten zu Dylans besten überhaupt CD 3: Das Objekt der Begierde: Die dritte CD "Royal Albert Hall" bezeichnet), 1975 der Deluxe-Ausgabe. Bootlegger ließen sich dadurch freilich gehört. So groß die Freude über die Die drei CDs in der Box sind wie alte Columbia- (Rolling Thunder Tour) und 1964 (Phil- nicht entmutigen, sondern warfen im schöne Kompilation und deren klangli- Promo-Platten aufgemacht. harmonic Hall, New York City). Die sieb- Ihr Klang ist angeblich nicht nur "stereo" son- Gegenteil eine Scheibe nach der ande- che Aufbereitung bei den Fans auch war, dern sogar "spectra-morphic". te Ausgabe schließlich beinhaltete ren auf den (Schwarz-)Markt, so dass bereits damals wurde vielerorts ein Kon- Songs aus dem Umfeld von "No sich Dylans Plattenfirma zu weiteren Ge- zept für die weitere plattentechnische fentlichtes Material (insgesamt 18 Direction Home", dem vielgelobten Film genmaßnahmen gezwungen sah: Aufbereitung von Dylans Werk vermisst: Songs) präsentiert hatte. (Gut, wenn von Martin Scorsese über Bob Dylans 1991 schließlich wurde nämlich die Unveröffentlichtes, alternative Fassun- man musikhistorisch noch weiter zurück- Entwicklung in den Jahren 1961 bis "Bootleg Series" geboren. Dylans Plat- gen, Live-Versionen, alles fand sich hier gehen will, dann hatte Dylans 1971er 1966, darunter auch hochinteressantes, tenfirma war gewillt, den Bootleggern bunt nebeneinander; das erste Dreier- Hit-Kompilation "Bob Dylan's Greatest für die breite Zuhörerschaft unbekanntes dauerhaft den Wind aus ihren Segeln zu pack der "Bootleg Series" bot in dieser Hits Vol. II" bereits einige zum damaligen Material - welches allerdings lediglich bis nehmen: Regelmäßig sollte nun endlich Form keinen logischen Anknüpfungs- Zeitpunkt unveröffentlichte Songs, auf zum Jahr 1966 reichte. unveröffentlichtes Material neben den punkt für weitere Veröffentlichungen - Dylans Wunsch hin übrigens, enthalten). Diesem allgemeinen Bootleg- regulären und aktuellen Veröffentlich- ebenso wenig wie es übrigens "Bio- Weitere "Bootleg Series" folgten: Die Durcheinander folgte nun im Oktober ungen dem interessierten Publikum graph" getan hatte, eine Bob-Dylan- Vols. 4, 5 und 6 lieferten Live-Auftritte 2008 ein weiteres: The "Bootleg Series" zugänglich gemacht werden. Die Vols. 1- Werkschau, die bereits im Jahre 1985 aus den Jahren 1966 (Manchester Free Vol. 8 nämlich, die auf einer bzw. zwei 3 boten auf drei CDs insgesamt 58 bis auf fünf LPs bzw. drei CDs neben 35 Trade Hall, von den Bootleggern und oder gar drei CDs (beziehungsweise vier dato unveröffentlichte Titel - eine Riesen- bekannten Dylan-Titeln auch unveröf- auch von der Plattenfirma fälschlich als LPs, welche den beiden ersten CDs ent- 2 3 Tonträger Tonträger sprechen) die bereits bekannten Boot- "Elder Statesman" des zeitgenössischen leg-Series-Überraschungstüten ergänzt. Rock'n'Roll. Sein neues L&T-Outfit mit Mit - Sie erraten es - Live-Aufnahmen, Menjou-Bärtchen und Hut erinnert mich unveröffentlichten Songs und alternati- zudem sehr an Vincent van Goghs ven Tracks knüpft Vol. 8 inhaltlich und Gemälde "Armand Roulin" aus dem Ja- thematisch an die Zusammenstellung hre 1888 - derzeit zu besichtigen in der der Erstausgabe der "Bootleg Series" Villa Hügel in Essen - und lässt assozia- an, nunmehr immerhin zeitlich einge- tiv erahnen, wie weit Dylan zurückgreift, grenzt auf die Jahre 1989 bis 2006 (also der tief in der reichen amerikanischen auf den aktuellen Dylan), einen Zeit- Musiktradition gräbt und Elemente aus raum, in welchem - jetzt darf ich mich Blues, Country, Rockabilly und Rhyth- selber aus meinem "Traveling Wilburys"- m'n'Blues neben dem noch älteren "klas- Artikel aus Heft 61 (S. 7) zitieren - "Dylan sischen" Balladen-Stil zu einem dichten übrigens keine schlechte Platte mehr Klangteppich verwebt. Textlich setzen gemacht" hat. Das lässt für die neue sich die Scheiben auf höchst kunstvolle, Ausgabe der "Bootleg Series" hoffen. höchst poetische Weise mit dem Zu- Vier Alben sind es im Wesentlichen, stand unserer Zivilisation und dem die in diesem Zeitraum Dylan- und auch Schicksal der darin lebenden einzelnen Buch aufgeklappt (bitte auf die 27 achten!): Songs, die es aus welchen Gründen Eine Doppelseite des Musik-Geschichte geschrieben haben: Menschen auseinander; es geht um Le- Begleitbuches: Unten rechts erahnt man die auch immer nicht auf das TOOM-Album Oh Mercy (1989), Time Out Of Mind ben, es geht um Tod, es geht um Liebe Abbildung des ersten Dylan-Bootlegs geschafft hatten. namens "Great White Wonder". (TOOM) (1997), Love and Theft (L&T) und es geht um persönliches Schicksal, Ebenso fielen fertig produzierte (2001) und Modern Times (2006) - und um Sehnsucht und Verlust, um Hoff- ten und kontrollierten Produktionen doch Alternativ-Fassungen weg, die ihren ver- genau um diese kreist ein wichtiger Teil nung, Spiritualität, Obsessionen und um das "Aus" für etliche hervorragende öffentlichten Versionen in nichts nach- der Songs auf der "Bootleg Series" Vol. Seelenqual. Jeder Titel bietet eine ande- Songs, die bei den Sessions zwar kom- stehen, freilich dank modifizierten Tempi, 8, die "Tell Tale Signs", auf gut Deutsch re poetische Facette dieser vielgestalti- plett aufgenommen worden waren, aber abgewandelten Textzeilen oder umge- die "Menetekel", düstere Orakelworte, gen Sicht auf die Welt - jedenfalls für die- thematisch, musikalisch oder aus ande- formten Akkorden nicht der jeweiligen die nichts wirklich Gutes versprechen. jenigen Hörer, die bereit sind, sich auf ren Gründen nicht in das atmosphäri- musikalisch-textlich-atmosphärischen Im Gegensatz zu einigen vorausge- die zu Songs verdichteten Essay-Mini- sche Gesamtbild des jeweiligen Album- Gesamtidee entsprachen. Mal war gangenen Platten Dylans, insbesondere aturen einzulassen. Und es wurden die- konzepts passten. Auf der aktuellen Dylans Gesang zu munter (seine ge- der - auch nach eigenem Eingeständnis jenigen immer mehr, die sich an Dylans "Bootleg Series" gibt es nun viele dieser sanglichen Leistungen auf dieser Boot- in seinem Buch "Chronicles" - inkonsis- bilderreichen Kommentaren und seinen liegen gebliebenen Titel in sehr ersprieß- leg-Series zählen übrigens zu den be- tenten Periode ab Ende der Siebziger, oft sehr eingängigen kleinen Melodie- licher Klangqualität zu hören. Entsprech- sonders positiven Überraschungen: Man handelte es sich bei diesen vier Schei- linien erfreuen wollten: "Modern Times" ende Highlights sind beispielsweise die glaubt gar nicht, wie vielseitig, wie ge- ben um wohlproduzierte (Daniel Lanois schaffte es 2006 schließlich wieder an bislang unveröffentlichten Titel "Red konnt und artikuliert dieser Mann phra- zum Beispiel hatte bei zwei Alben Regie die Spitze der US-Charts, 30 Jahre nach River Shore", "Marchin' to the City" oder sieren kann), mal die Stimmung zu ent- geführt) und wohlklingende, kohärente, der "Desire"-LP aus dem Jahre 1976. "Dreamin' Of You" (zu dem ein neuer spannt,
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