BLOOD IN THE TRACKS : the minnesota musicians behind dylan's masterpiece

The story of the Minneapolis musicians who were unexpectedly summoned to re-record half of the songs on Bob Dylan's most acclaimed album When Bob Dylan recorded Blood on the Tracks in New York in September 1974, it was a great album. But it was not the album now ranked by Rolling Stone as one of the ten best of all time. “When something’s not right, it’s wrong,” as Dylan puts it in “You’re Gonna Make Me Lonesome When You Go”—and something about that original recording led him to a studio in his native Minnesota to re-record five songs, including “Idiot Wind” and “Tangled Up in Blue.” Six Minnesota musicians participated in that two-night recording session at Sound 80, bringing their unique sound to some of Dylan’s best-known songs—only to have their names left off the album and their contribution unacknowledged for more than forty years. This book tells the story of those two nights in Minneapolis, introduces the musicians who gave the album so much of its ultimate form and sound, and describes their decades-long fight for recognition. Blood in the Tracks takes readers behind the scenes with these “mystery” Minnesota musicians: twenty-one-year-old mandolin virtuoso Peter Ostroushko; drummer Bill Berg and bass player Billy Peterson, the house rhythm section at Sound 80; progressive rock keyboardist Gregg Inhofer; guitarist Chris Weber, who owned The Podium guitar shop in Dinkytown; and Kevin Odegard, whose own career as a singer-songwriter had paralleled Dylan’s until he had to take a job as a railroad brakeman to make ends meet. Through in-depth interviews and assiduous research, Paul Metsa and Rick Shefchik trace the twists of fate that brought these musicians together and then set them on different paths in its wake: their musical experiences leading up to the December 1974 recording session, the divergent careers that followed, and the painstaking work required to finally obtain the official credit that they were due. A rare look at the making—or remaking—of an all-time great album, and a long overdue recognition of the musicians who made it happen, Blood in the Tracks brings to life a transformative moment in the history of rock and roll, for the first time in its true context and with its complete cast of players.

The story of the Minneapolis musicians who wereunexpectedly summoned to re-record half of the songs on Bob Dylan'smost acclaimed album

When Bob Dylan recorded Blood on the Tracks in New Yorkin September 1974, it was a great album. But it was not the albumnow ranked by Rolling Stone as one of the ten best of alltime. "When something's not right, it's wrong," as Dylan puts it in"You're Gonna Make Me Lonesome When You Go"-and something aboutthat original recording led him to a studio in his native Minnesotato re-record five songs, including "Idiot Wind" and "Tangled Up inBlue." Six Minnesota musicians participated in that two-nightrecording session at Sound 80, bringing their unique sound to someof Dylan's best-known songs-only to have their names left off thealbum and their contribution unacknowledged for more than fortyyears. This book tells the story of those two nights inMinneapolis, introduces the musicians who gave the album so much ofits ultimate form and sound, and describes their decades-long fightfor recognition.

Blood in the Tracks takes readers behind the sceneswith these "mystery" Minnesota musicians: twenty-one-year-oldmandolin virtuoso Peter Ostroushko; drummer Bill Berg and bassplayer Billy Peterson, the house rhythm section at Sound 80;progressive rock keyboardist Gregg Inhofer; guitarist Chris Weber,who owned The Podium guitar shop in Dinkytown; and Kevin Odegard,whose own career as a singer-songwriter had paralleled Dylan'suntil he had to take a job as a railroad brakeman to make endsmeet. Through in-depth interviews and assiduous research, PaulMetsa and Rick Shefchik trace the twists of fate that brought thesemusicians together and then set them on different paths in itswake: their musical experiences leading up to the December 1974recording session, the divergent careers that followed, and thepainstaking work required to finally obtain the official creditthat they were due.

A rare look at the making-or remaking-of an all-time greatalbum, and a long overdue recognition of the musicians who made ithappen, Blood in the Tracks brings to life atransformative moment in the history of rock and roll, for thefirst time in its true context and with its complete cast ofplayers.

The story of the Minneapolis musicians who were unexpectedly summoned to re-record half of the songs on Bob Dylan's most acclaimed album When Bob Dylan recorded Blood on the Tracks in New York in September 1974, it was a great album. But it was not the album now ranked by Rolling Stone as one of the ten best of all time. "When something's not right, it's wrong," as Dylan puts it in "You're Going to Make Me Lonesome When You Go"--and something about that original recording led him to a studio in his native Minnesota to re-record five of the songs on that landmark album, including "Idiot Wind" and "Tangled Up in Blue." Six Minnesota musicians sat in on that two-night recording session at Sound 80, bringing their unique sound to some of Dylan's best-known songs--only to have their names left off the album and their contribution unacknowledged for more than forty years. This book tells the story of those two nights in Minneapolis, of the musicians who gave the album so much of its ultimate form and sound, and of their decades-long fight for recognition. Blood in the Tracks takes readers behind the scenes with these "mystery" Minnesota musicians: twenty-one-year-old mandolin virtuoso Peter Ostroushko; drummer Bill Berg and bass player Billy Peterson, the house rhythm section at Sound 80; progressive rock keyboardist Gregg Inhofer; guitarist Chris Weber, who owned The Podium guitar shop in Dinkytown; and Kevin Odegard, whose own career as a singer-songwriter had paralleled Dylan's until he had to take a job as a railroad brakeman to make ends meet. Through in-depth interviews and assiduous research, Paul Metsa and Rick Shefchik trace the twists of fate that brought these musicians together and set them on different paths in its wake: their musical experiences leading up to the December 1974 recording session, the divergent careers that followed, and the painstaking work it took to finally get the official credit that was their due. A rare look at the making--or remaking--