Hear It Here: Nitty Gritty Dirt Band, Jason Isbell, Steve Earle, Rosanne Cash & The War and Treaty Collaborate On "The Times They Are A-Changin'"

The Nitty Gritty Dirt Band, Jason Isbell, Steve Earle, Rosanne Cash and The War and Treaty collaborate on the old 1964 Bob Dylan classic, "The Times They Are A-Changin'." 

All proceeds from the song will support Feeding America. Their mission is to feed America’s hungry through a nationwide network of member food banks and engage our country in the fight to end hunger. Just $1 can help provide at least 10 meals to kids, families and individuals facing hunger.

Nitty Gritty Dirt Band lead singer Hanna begins and ends the song on lead vocals, but each guest adds their own vocal approach to their respective verse. Isbell’s brings a country-folk drawl while Cash takes an elegant ballad approach, all before Michael and Tanya Blount Trotter of the War and Treaty bring home the song’s fourth verse.

“I’ve been a fan of Bob Dylan’s since I was a teenager, living in California,” said Hanna. “I was fortunate enough to see him sing ‘The Times They Are A-Changin’ in concert the year the song was released.”

“It moved me deeply then and that hasn’t changed,” Hanna said of the song upon its release. “The lyrics are as relevant today as they were when Dylan wrote it. Maybe even more so.”

Rory Feek To Release Solo Album Gentle Man In June

Artist: Rory Feek

Album: Gentle Man

Label: Gaither Music Group

Release date: June 18, 2021

Grammy award-winning musician and New York Times bestselling author Rory Feek has released a stirring cover of Bob Dylan's "The Times They Are A-Changin'" - the first single off of Rory's upcoming album, Gentle Man.

With Gentle Man, Rory tells stories that are familiar to him as they are to many - those of everyday life in a small town, heartbreak, healing, and salvation. "The Times They Are A-Changin'," one of Dylan's most famous anthems, was written amidst turbulent times that have echoed loudly through recent weeks and months. In Rory's hands, the song resonates with profound meaning both personal and universal. It's a reminder of the constant current of relentless change that sweeps everyone along... and the way that time and the search for truth and meaning impacts us all.

Set for release via Gaither Music on June 18th, a week before Father's Day, Gentle Man marks the musician's first album release since the loss of his wife, Joey, to cancer in 2016. It's also the singer-songwriter's first-ever solo album. He's not alone, however; on Gentle Man, Rory welcomes some of his closest friends and fellow musicians to join him, including Vince Gill.

Respected Singer/Songwriter David Olney Passes Away At The Age of 71

Longtime singer/songwriter David Olney (born March 23, 1948) died Saturday, January 18, 2020, after suffering an apparent heart attack during a performance in Santa Rosa Beach, Florida. He was 71. A key member of Nashville’s music community since his move to Music City in 1973, the Lincoln, Rhode Island native was a compelling and enigmatic presence. He wrote sonnets and starred at the Nashville Shakespeare Festival, and his live concerts blended tenderness and ferocity, theater and sincerity, agitation and embrace.

Country Music Hall of Fame member Emmylou Harris said “David Olney tells marvelous stories, with characters who cling to the hope of enduring love, all the while crossing the deep divide into that long, dark night of the soul.” Troubadour Steve Earle called Olney “One of the best songwriters working in the world today,” and the late Townes Van Zandt once said, “Anytime anyone asks me who my favorite music writers are, I say Mozart, Lightnin’ Hopkins, Bob Dylan and Dave Olney."

Olney’s songs have been recorded by Harris, Del McCoury, Linda Ronstadt, Steve Young, and many others. His lyrics are products of a remarkable inquisitiveness that allowed him to explore subjects that few songwriters would consider: He wrote of a Nashville train disaster, of baseball shortstop Phil Rizzuto, and of actor John Barrymore. He wrote about Jesus Christ from the narrative perspective of the donkey that carried him into Jerusalem, and about the Titanic from the perspective of the iceberg that sank the ship.

His friend and songwriting great Guy Clark said that Olney’s art “transcends craftsmanship. It’s inspired, for sure.”

Olney moved to Nashville after briefly studying English at the University of North Carolina. He quickly fell in with a group of like-minded songwriters that included Clark, Van Zandt, Rodney Crowell, and Richard Dobson. In the early 1980s, he formed The X-Rays, a jagged rock band that secured a contract with Rounder Records. In 1986, he embarked on a solo recording career that produced more than 20 albums and allowed him to travel the world making music.

He is survived by wife, Regine, daughter, Lillian, and son, Redding, and by a devastated music community.

Previously Unheard and Unreleased Bob Dylan and Johnny Cash Demo Sessions To Be Released Nov. 1

Artist: Bob Dylan and Johnny Cash
Album: Bob Dylan (Featuring Johnny Cash) – Travelin’ Thru, 1967 – 1969: The Bootleg Series Vol. 15
Label: Columbia/Legacy
Release date: November 1, 2019

With the world abuzz with the release of Ken Burns' recent Country Music documentary on PBS, Johnny Cash's story has been brought front and center again to the collective consciousness... not that he really left at all. Cash fans can rejoice yet again, however, with the announcement that Dylan will be releasing two full CD's of previously unreleased and unheard demo sessions featuring the two icons collaborating with one-another.

Disc One includes audio from Dylan’s recording sessions at Columbia’s Studio A in Nashville, including alternate versions of compositions written for John Wesley Harding (Oct. 17 and Nov. 6, 1967) and Nashville Skyline (Feb. 13-14, 1969), including “All Along The Watchtower” and “Lay Lady Lay.” The set also introduces a new song, “Western Road.”

Discs Two and Three of Travelin’ Thru include Dylan’s collaborations with Cash, including the Columbia Studio A sessions and on-stage performances at the Ryman Auditorium (May 1, 1969) for the recording of the premiere episode of The Johnny Cash Show, which originally broadcast June 7, 1969 on ABC. Disc Three concludes the set with tracks Dylan recorded with bluegrass legend Earl Scruggs on May 17, 1970 for the PBS television special “Earl Scruggs: His Family and Friends,” which originally aired in January 1971.

The period captures the second hard pivot of Dylan’s career: Just as he’d turned away from his galvanizing folk recordings of the early ‘60s by adopting a rock format with the “Bringing It All Back Home” and “Blonde on Blonde” albums, here he turned away from that sound by embracing a more laid-back, country-influenced approach

New Music Video - Margo Price Covers Bob Dylan - "Wallflower"

Interview Flashback - Talking Bob Dylan Influence With Love and Theft

I have been blessed to write contributions/reviews/interviews/opinion pieces for several country music and roots-oriented websites and publications over the years including Saving Country Music, Nashville Scene, Country California, Country Weekly, American Noise, The 9513 and Engine 145. As a regular contributor to the last two in that list, I did close to a 100 interviews with different artists- and since both of those great sites have come down, I will reprint some of those interviews here to give them a home in perpetuity. This interview was originally published in January 2010 on The 9513.

1984. Ronald Reagan is re-elected President. The Summer Olympics were held in Los Angeles. Transformers are unleashed on the world. And from three different points across the United States, three baby boys are born that will eventually form the country group, Love and Theft. 

Stephen Barker Liles grew up in Palm Harbor, Florida on early gospel and contemporary Christian music. Eric Gunderson was raised in Charlotte, North Carolina developing a deep love for his family’s favorite artists such as Johnny Cash, Roy Orbison and the Eagles. Brian Bandas spent his youth in Austin, Texas. His was a very music-oriented family with his grandfather and uncle both were well-respected jazz players. 

All points converged on Nashville just a few short years ago when all three came to Music City looking to make their mark in country music. They first began working with one-another as songwriting partners, but as they began to work out demos, they realized that they had something unique in their ability to fluidly trade lead vocals and in their love of harmonies. From there, Love and Theft was born. 

They signed with Disney’s Carolwood Records- now Lyric Street after a consolidation- and opened up for Taylor Swift’s 2008 World Tour. (Swift’s song “Hey Stephen” is widely accepted to be written about Barker Liles.). In March of this year, they released their first single, "Runaway" which ran away to number ten on the Billboard Hot Country Songs charts. They followed up that with the debut of their first album, World Wide Open.  

The 9513 had a chance to catch the guys in person before going on to do a fundraising performance for the Sacramento Sheriff’s Toy Project to chat about their first full year on the national music scene. 

Ken Morton, Jr.- I recognize the name of the band from an old Bob Dylan album, what made you guys decide on that as a band name?

Brian Bandas- We are influenced heavily by all kinds of classic music. It could everything and anything by Dylan, Elvis, the Rolling Stones, Johnny Cash- anything in that classic musical style. When we started looking for a name, we started going through old discographies of artists we had idolized for years. We came across that name and loved the phrase. And as songwriters, who better to pay tribute to than Bob Dylan? We think he’s one of the best songwriters of all time. And there you go.

KMJ- How did you guys all meet up in Nashville?

Eric Gunderson- We all got there around the same time but we didn’t know each other then. We all dropped out of college and moved to Nashville with the hopes of getting a publishing deal or a record deal somehow. We all met through the songwriting community in Nashville. We met through some mutual friends of ours and different roommates we were living with. We actually wrote a track together- it’s the last track on our album called “Drowning” together. We recorded in the attic of my house and when we were putting the harmony part on there, we thought, “Wow, this is pretty cool.” And now we’re Love and Theft. 

KMJ- You guys mentioned some classic country artists that you were influenced by. Are there some more modern country artists who you’d say you influenced by as well?

Stephen Barker Liles- Tim McGraw is one. And the fact that we’re going to be on his tour next year is amazing.

BB- Yeah, that is pretty amazing.  George Strait. I think I have every single one of his albums. And he has a lot of albums. (Laughing)

KMJ- For someone who hasn’t had the opportunity to hear your new album, World Wide Open, describe it from the artist’s perspective.

BB- We wrote everything on there and our first goal was to not have any filler. We didn’t want to have three or four good singles on there and fill up the rest with eight more tracks. We wanted to put the same amount of energy and passion into every song. We wanted every song to stand on its own. We feel like we accomplished that. It’s definitely a work of passion, it’s all very personal to us. Everything comes from something in our lives, something that’s happened to us. Any of us could sit down and write a song about anything.

SBL- Like Bill Nye the Science Guy.

BB- It’s about one of us coming into the room and saying, “This just happened in my life,” and us writing a song about it. It’s writing about it from that point of personal place. That’s something we’re proud of, that sort of raw kind of authenticity. It’s a little scary kind of baring your soul like that. You’re kind of open to the world like that. 

KMJ- Is that where the title of the album, World Wide Open, comes from?

BB- Absolutely. Eric wrote that song about a specific situation he found himself in and after he wrote it, we all felt it applied to our own lives and to the band as a whole. This ride could go anywhere, we just don’t know where. 

KMJ- It’s not often that bands will share lead vocals like you guys do. Was that a conscious decision to do it differently or did it just evolve that way?

EG- A little bit of both. We all came into it as solo singers. So I don’t think any of us were anxious or willing to totally give up the lead vocals. We all love to sing and we all love that time when we get to sing solo. 

SBL- If you look at the Eagles, they tried it out that way. And it worked out pretty well.

BB- Yeah, we’re huge Eagles fans. 

EG- As for as lead vocals and group harmonies, that’s really what we’re striving towards. It really never ever came up though between us who would sing what. I never had to defend my position and say, “No no no, I want to sing too.” No one even ever asked that question. We all sing. We just all kept singing. 

KMJ- Were you guys ever encouraged to do it differently and find that one lead singer?

SBL- (Stephen pretends he’s a music executive) “How are you guys going to do that without one lead singer? That’s impossible to establish.” We just told them, “You know, we’re going to try it.” 

EG- Especially when we were going around looking for a record deal at different studios. I don’t remember who it was, but they were like, “You guys sound great, but I can’t see this ever working in this town. It’s hard enough with one lead singer, I don’t know how they’ll ever react positively to three.” Which is valid I guess.

BB- But that was definitely one of the biggest responses and reactions to our thing. “We love it… but the multiple lead singer thing isn’t going to work.” But through all of our songs, we’ve never had a problem of who was going to sing what. It’s never really mattered. I think the three of us have worked enough together so we know who sings what parts best. Now it’s only our first record… (laughter from all three)

KMJ- What’s been the highlight of the year for each of you so far?

SBL- The Jason Aldean Tour was the highlight for me. Oh, and playing the Grand Ole Opry. We’ve got a chance to play the Grand Ole Opry three times this year which is awesome. And this last time, we got to play the Ryman. Incredible. 

EG- For me, that’s probably our favorite thing this year. It was our second time playing at the Ryman. The first time we got to play a J.D. Souther tribute. That was an incredible honor for us. We got to get up there with Lee Ann Womack. But then we got the chance to go up and do the Grand Ole Opry right there at the Ryman. So that was pretty special. 

BB- For me, it was Jimmy Fallon. For years, that was one of my little pipe dreams. “Someday, I’m going to be on the Late Night Show.” That was the coolest thing for me.

KMJ- Great experiences for you guys. Stephen, you wrote a track on Martina McBride’s latest album Shine called “Wrong Baby Wrong Baby Wrong.” That has to be a pretty remarkable accomplishment for you this year in itself.

SBL- Yeah. I mean songwriting is my favorite thing in the whole world. I was very honored that she picked it to record. And I just found out it’s going to be her next single that’ll be coming out right around the end of the year. I’m so very excited about that. 

KMJ- You guys opened up for Taylor Swift in 2008. How important was that to your successful launch?

EG- At that point we didn’t have a single. We didn’t have a record.

SBL- Anything.

EG- We didn’t have anything. Halfway through that tour we recorded a live EP because we wanted people to have something that wanted it something to take home. But it was really important because it gave us the opportunity to go out in front of 6,000 to 10,000 fans almost every single night. And it helped to fine-tune our live show and our acoustic show. There wasn’t any pressure to out there and sound like our record because there wasn’t a record. We could go out there and work on performing in front of a huge audience. So it was really unique in that perspective. And it was very cool for them to take a chance on us. 

KMJ- You guys mentioned the upcoming tour, you’ll be going out with Lady Antebellum and Tim McGraw. How many dates- how long will you guys be out on tour?

EG- I think forty-something dates.

SBL- It goes from April to August. 

KMJ- So you won’t be seeing anyone you know- no family or friends- for five months, will you?

BB- But that’s how it’s been all year long, anyways. I think we’ve only been home 30 days the whole year. But we love it.

SBL- Yeah we do. We had like six days off at home. And I started to feel weird. We hadn’t had that many days off all year. So I actually had to go to Florida to take a vacation and go do something. 

BB- It does feel weird. I know for me, I get antsy if I’m not doing something with the band, if we’re just not doing anything.

KMJ- This last one’s meant pretty open-ended. What is country music to Love and Theft?

EG- For me, country music is really just all about the song. Songwriting is such a big part of country music. From Johnny Cash to Waylon to Hank to all these others great songwriters- all those great writers that came before us make it really inspiring to go back and listen to their songs and then go write a song. It’s cool to me to see that they were writing about some of the same things back then. It’s just the world evolving and moving on a bit. It’s about relationships and the things you love. It’s all about the songwriting. 

BB- That has been the other thing that has been eye-opening through this process. It’s the fans. It’s these people that are passionate about it. They put it on as they’re driving across the country or are listening to it as they’re working in the shops or whatever it may be. This is their soundtrack of their life. And they embrace it passionately. We’re constantly blown away by what it means to people, what a huge part of people’s lives it is. 

Edge of Country Releases: Upcoming Live Albums From Bonnie Raitt, Tom Petty, John Prine, Lynyrd Skynyrd, Stevie Ray Vaughn, Joni Mitchell & Bob Dylan in 2016

While they don't fall directly under the country music umbrella, several of these rock or folk-leaning artists easily fall into the roots-oriented music category. Several big names have upcoming live performance releases in early 2016 to look forward to if you're a fan of any of them.

Artist: Bonnie Raitt
Album: Same Old Love: The Minneapolis Broadcast 1979
Label: Sutra
Release date: Jan. 15, 2016

In 1979 and with her big commercial breakthrough still being more than a decade away, Bonnie Raitt was well on her way to blending raw blues, R&B and rock into a decidedly more adult contemporary style. Typically for the time, when this show was broadcast in 1979, Raitt was on the road promoting her then new Warner Brothers album, The Glow. Since her first Warners LP, Give It Up in 1972, Raitt had expanded her live line-up from an acoustic duo consisting of herself and bassist Freebo, to a full-fledged electric band playing a much more hybrid style of blues, rock, R&B and folk, than she had in her early years. This show marked the end of nine weeks on the road, and the band is as tight as any Bonnie has ever worked with. She opens with "Baby I Love You" and moves straight into Sam & Dave's classic "I Thank You." The gig moves from one highlight to the next. Raitt's take on Mable John's "You're Good Thing Is About to End" is a particular standout, as is "Angel from Montgomery." The show also features a one-two punch of "Runaway" (Raitt had achieved a hit in 1977 with a rocked-up version of the 1961 Del Shannon number) and raucous replay of Robert Palmer's "You're Gonna Get What's Coming." The show closes with a powerhouse version of "Under the Falling Sky" featuring Pat Hayes' smoking harmonica work. When Raitt performed this show at the Orpheum in Minneapolis, she and her band were only a few months away from the historic No Nukes rally held in the fall of 1979 in Battery Park, New York City. That event, organized by Bonnie, would forever place her on the top-table of activist artists, and she has consistently supported multiple causes to this day.

Artist: Tom Petty
Album: In the Coliseum: Live Radio Broadcast, Jacksonville, Florida, 1989
Label: Goldfish Records
Release date: Feb. 12, 2016

From a gig at the Florida Coliseum in Jacksonville during summer of 1987, this show finds Tom and the Heartbreakers (Mike Campbell on lead guitar, Benmont Tench on keyboards, Howie Epstein on bass and mandolin, and Stan Lynch on drums) on tour to promote the April '87 release Let Me Up ( I've Had Enough). This particular show however featured only one cut from the album, Runaway Trains, notably omitting the record's hit single "Jammin' Me," a song composed by Petty and Campbell with Bob Dylan. The band were in playful mood however and performed a total of five rousing cover versions and a number of old favorites to compliment the one new song. Petty would neither tour nor record with the Heartbreakers again for another four years, in the meantime he became a founding member of the super-group The Travelling Wilburys following which he recorded and released his first solo album before reuniting with the group in 1991.

Artist: John Prine
Album: Bottom Line: 1978 New York Broadcast
Label: All Access
Release date: Jan. 15, 2016

This live performance from John Prine was broadcast live by King Biscuit on July 11th 1978 from the Bottom Line Club in New York's Greenwich Village, several years into the man's career. His debut album had been released to huge critical acclaim, albeit somewhat modest sales (reaching only 153 on Billboard), in 1971 on the Atlantic label. Featuring such legendary numbers as 'Hello in There' and 'Angel from Montgomery' (versions of both are featured) it was voted into Rolling Stone's All Time Greatest 500 Albums list in 2003. The tour, of which this gig was part, was performed in support of Bruised Orange (1978), Prine's 5th studio album, and the lengthy 30-song set list features no fewer than 6 of the album's 10 cuts, although strangely John omits to perform the marvelous title track. The remainder of the songs played are a mix from 3 out of 4 previous albums (he doesn't play anything from his sophomore record, 1972's Diamonds In The Rough) plus a smattering of cuts yet to be released at show-time, but made available on 1979's Pink Cadillac and post-1980 releases. A few well-chosen covers are additionally played, including a rollicking versions of 'Treat Me Nice' (from the pens of Messrs. Leiber and Stoller of course) and a nice 'Ballad of a Teenage Queen' - made famous by Johnny Cash but composed by Prine's friend Jack Clement.

Artist: Lynyrd Skynyrd
Album: Back for More in '94: FM Radio Broadcast from Atlanta, Georgia 1994
Label: Goldfish
Release date: Feb. 12, 2016

The horrific 1977 plane crash that wiped out members of Lynyrd Skynyrd and their entourage, including the man who had led the group across the best part of a decade, the inimitable Ronnie Van Zandt, was at the time seen as the end of the group. Those surviving members reunited only once to perform an instrumental 'Free Bird' at Charlie Daniels' charity event Volunteer Jam V in 1979, otherwise the group went on hiatus for the next 10 years, with four ex-members performing and recording as the Rossington-Collins band between 1980 and 1983, choosing a female lead vocalist to avoid claims that they were merely a rebooted Skynyrd. through this period. In 1987 however, Lynyrd Skynyrd reunited for a full-scale tour with five major members of the pre-crash band; survivors Gary Rossington, Billy Powell, Leon Wilkeson and Artimus Pyle, along with guitarist Ed King - who had left the band two years before the crash - and with Ronnie Van Zant's younger brother, Johnny, taking over on lead vocals and as primary songwriter. The show presented on this CD was performed at The Lakewood in Atlanta, Georgia, on August 24th, when the band performed a dynamic set featuring many LS classics alongside a superb new composition in 'Devil In The Bottle,' which has gone on to become a live favorite.

Artist: Stevie Ray Vaughn
Album: Happy New Years Blues: Live FM Broadcast from Atlanta, GA, December 1986
Label: Hobo
Release date: Jan. 15, 2016

By late 1986, Stevie Ray Vaughan had been through rehab in London and, according to all reports, was feeling like a new man. His dependency problems, which had haunted him right through his career, were, he felt, now behind him and he was intent on two things; getting back to playing the blues and helping others overcome their own, similar problems. He achieved the former with ease and passion - this was, after all, what the master guitarist existed to do. The latter did not come so naturally, but SRV made commendable effort in his oft-witnessed stage announcements, advising and guiding his audience members, sharing the wisdom he had garnered in going through the hell he had suffered. The concert featured on this CD is taken from an FM radio broadcast, transmitted live from the Fox Theatre in Atlanta, Georgia, on New Year's Eve '86, was clearly a dynamic event. Stevie and Double Trouble perform with gusto and flare, whilst the audience are wild with ecstasy. Joining Vaughan on stage after the new year kicks in is none other than guitar legend Lonnie Mack, and the two bluesmen bounce off each other beautifully for a magical rendition of Mack's 'Oreo Cookie Blues,' which ends this extraordinary performance and readies Stevie Ray to enter what, tragically, would become the final, albeit majestic, era of his career - and sadly his life.

Artist: Joni Mitchell
Album: Bread and Roses Festival 1978
Label: Iconography
Release date: Feb. 12, 2016

The second annual Bread and Roses Festival of Music, held at the Greek Theatre in Berkeley over Labor Day weekend 1978, 2nd - 4th September, proved to be one of the most exciting musical events of the year. The three-day concert series was sponsored by singer Mimi Farina's Bread and Roses organization, which supported free live entertainment in Marin County hospitals, nursing homes and rehabilitation clinics. The highlight of the '78 festival was the appearance on the evening of Saturday 2nd by Joni Mitchell and Herbie Hancock. Joni had not performed in public since The Band's Last Waltz in November of '76, and this show marked the first time she had teamed up with Hancock. Herbie joined Joni onstage after a couple of solo numbers, and together they performed two songs from Joni's upcoming album featuring her words and jazz great Charlie Mingus' music. The tunes were challenging to say the least - 'A Chair In The Sky' painted a stunning visual portrait of the aging, ailing Mingus alone in New York and featured moments of dissonance and moments that swung. On the Sunday afternoon Joni and Herbie played a couple more numbers to help boost poor ticket sales, and with another rendition of 'The Dry Cleaner From Des Moines' notably different to Saturday's version plus a charming 'The Circle Game', with The Persuasions, Tim Hardin, Tom Paxton and Odetta - all of whom had played that afternoon - helping out on vocals, it was magical indeed. This CD also boasts a couple of dynamic bonus cuts, recorded a decade later but again featuring Joni and Herbie Hancock, but now alongside a plethora of further jazz masters; Wayne Shorter, David Sanborn, Bobby McFerrin and Larry Klein. The occasion was an episode of the Showtime Coast To Coast TV show - a program dedicated to live performance, regularly presented by Hancock who would play alongside the studio guests.

Artist: Bob Dylan
Album: Minneapolis Hotel Tape & The Gaslight Café: September & December 1961
Label: BDA
Release date: Jan. 15, 2016

Further to BDA's previous collections (Carnegie Hall & The Minnesota Party Tape) comes the third album in the 1961 series of rare and previously unreleased Dylan material, this time showcasing an early stint at the infamous Gaslight Cafe in NYC's Greenwich Village, and the December recordings made at his friend Bonnie Beecher's apartment back in Minnesota - the same venue that witnessed the 'Party Tape' in May of the same year. Dylan played the Gaslight a number of times but this particular performance is one of only two for which any recordings exist - it is believed to be the set he played there on 6th September '61. Bonnie Beecher's apartment (aka the Minneapolis Hotel) was a regular stopping off point for Bob on his way home to visit his parents in Hibbing, and while there he would often play in front of old college friends. This recording was made a few days before Christmas - on 22nd December 1961- en route to spending the festivities with his folks. The recording here features all the known songs that were recorded, except those the 5 that have previously been released by Sony on various of the Official Bootleg Series or on the Highway 61 cd-rom. Both recordings here feature the very best sound recordings known to exist making this CD both a hugely important historical document and a delightful collection of Bob Dylan's earliest work.