At one point in the session they get into a great version of “I Don’t Believe You” lead by Klingman on the piano. We should change that word to “ecstasy.” They tinker a bit more with the words, “I like the heavenly way you look at me” changed from “I like the cool way” from the Blood On The Tracks recording.Īt one point Midler says, “I can’t sing ‘I ain’t no monkey'” but Dylan gets her to do it. At the very beginning of the tape they sing a piece, stop, and Dylan says, “everything about you is giving me misery. He also is very chatty and jocular, but his focus is upon altering the lyrics and encouraging Midler in this new arrangement. At one point she talks about her feud with Paul Simon and compares Dylan’s looks to Art Garfunkel.ĭylan on the other hand is not un-responsive. Her comments are peppered with insecure little jokes trying to elicit a response out of Dylan. It is obvious, and even a bit uncomfortable, hearing a nervous Midler working with Dylan. The twenty-seven minute long recording is in pristine sound quality and offers a candid glimpse into the creative process for the track. The supporting musicians for this session were Mark “Moogy” Klingman (Todd Rundgren’s Utopia) on harmonica and piano, Dave Webster on slide guitar, Ralph Schuckett on organ, John Siegler on bass, and John Wilcox on drums. The session was held at Secret Sound Studios in New York at the end of October 1975 several days before the start of the Rolling Thunder Revue. What is brand new on this disc is the recording from the session Dylan held with Bette Midler in October of 1975 to arrange and record a cover of “Buckets Of Rain” for her third LP Songs for the New Depression. New York Sessions 1974-1975 presents songs from the sessions for those two LPs, all of which have been available before. (79:28): Idiot Wind, Lily Rosemary & The Jack Of Hearts, You’re A Big Girl Now, If You See Her Say Hello, Tangled Up In Blue, Rita Mae, Hurricane, Bette Midler recording session for Buckets Of Rain, Buckets Of Rainīob Dylan’s sessions in the mid seventies are interesting because, with Blood On The Tracks and Desire, they form one of his artistic peaks.
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