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Dallas House Leveling Services Foundation Repair Proudly Servicing Dallas County
Dallas House Leveling Services Foundation Repair is your number one foundation repair Directory and foundation repair contractor network in the Dallas area. Experts efficiently handle all types of foundation issues so that you can return to normal life activities as quickly as possible. No foundations are out of our reach. Advanced technology is used creating solutions to solve every unwanted foundation problem you may have.
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The Basement Tapes
The Basement Tapes is a studio album by American singer-songwriter Bob Dylan and The Band. It was released on June 26, 1975, by Columbia Records and is Dylan's 16th studio album. The songs featuring Dylan's vocals were recorded in 1967, eight years before the album's release, at Big Pink and other houses in and around Woodstock, New York, where Dylan and The Band lived. Although most of the Dylan songs had appeared on bootleg records, The Basement Tapes marked the songs' first official release.
During his 1965-1966 world tour, Dylan was backed by a five-member rock group, The Hawks, who would later become famous as The Band. After Dylan was injured in a motorcycle accident in July 1966, four members of The Hawks came to Dylan's home in the Woodstock area to collaborate with him on music and film projects. While Dylan was out of the public's eye during an extended period of recovery in 1967, he and the members of The Hawks recorded more than 100 tracks together, incorporating original compositions, contemporary covers, and traditional material. Dylan's new style of writing moved away from the urban sensibility and extended narratives that had characterized his most recent albums, Highway 61 Revisited and Blonde on Blonde, toward songs that were more intimate and which drew on many styles of traditional American music. While some of the basement songs are humorous, others dwell on nothingness, betrayal and a quest for salvation. In general, they possess a rootsy quality anticipating the Americana genre. For some critics, the songs on The Basement Tapes, which circulated widely in unofficial form, mounted a major stylistic challenge to rock music in the late sixties.
When Columbia Records prepared the album for official release in 1975, eight songs recorded solely by The Band—in various locations between 1967 and 1975—were added to 16 songs taped by Dylan and The Band in 1967. Overdubs were added in 1975 to songs from both categories. The Basement Tapes was critically acclaimed upon release, reaching number seven on the Billboard 200 album chart. Subsequently, the format of the 1975 album has led critics to question the omission of some of Dylan's best-known 1967 compositions and the inclusion of material by The Band that was not recorded in Woodstock.
By July 1966, Bob Dylan was at the peak of both creative and commercial success. Highway 61 Revisited had reached number three on the US album chart in November 1965; the recently released double-LP Blonde on Blonde was widely acclaimed. From September 1965 to May 1966, Dylan embarked on an extensive tour across the US, Australia and Europe backed by The Hawks, a band that had formerly worked with rock and roll musician Ronnie Hawkins. The Hawks comprised four Canadian musicians—Rick Danko, Garth Hudson, Richard Manuel and Robbie Robertson—and one American, Levon Helm. Dylan's audiences reacted with hostility to the sound of their folk icon backed by a rock band. Dismayed by the negative reception, Helm quit The Hawks in November 1965 and drifted around the South, at one point working on an oil rig in the Gulf of Mexico. The tour culminated in a famously raucous concert in Manchester, England, in May 1966 when an audience member shouted "Judas!" at Dylan for allegedly betraying the cause of politically progressive folk music.[a 1] Returning exhausted from the hectic schedule of his world tour, Dylan discovered that his manager, Albert Grossman, had arranged a further 63 concerts across the US that year.
On July 29, 1966, Dylan crashed his Triumph motorcycle near his home in Woodstock, New York, suffering cracked vertebrae and a mild concussion. The concerts he was scheduled to perform had to be cancelled. Biographer Clinton Heylin wrote in 1990 on the significance of the crash: "A quarter of a century on, Dylan's motorcycle accident is still viewed as the pivot of his career. As a sudden, abrupt moment when his wheel really did explode. The great irony is that 1967—the year after the accident—remains his most prolific year as a songwriter." In a 1969 Rolling Stone interview with Jann Wenner, Dylan said, "I had a dreadful motorcycle accident which put me away for a while, and I still didn't sense the importance of that accident till at least a year after that. I realized that it was a real accident. I mean I thought that I was just gonna get up and go back to doing what I was doing before ... but I couldn't do it anymore."
Dylan was rethinking the direction of his life while recovering from a sense of having been exploited. Nine months after the crash, he told New York Daily News reporter Michael Iachetta, "Songs are in my head like they always are. And they're not going to get written down until some things are evened up. Not until some people come forth and make up for some of the things that have happened." After discussing the crash with Dylan, biographer Robert Shelton concluded that he "was saying there must be another way of life for the pop star, in which he is in control, not they. He had to find ways of working to his own advantage with the recording industry. He had to come to terms with his one-time friend, longtime manager, part-time neighbor, and sometime landlord, Albert Grossman."
Rick Danko recalled that he, Richard Manuel and Garth Hudson joined Robbie Robertson in West Saugerties, a few miles from Woodstock, in February 1967. The three of them moved into a house on Stoll Road nicknamed "Big Pink"; Robertson lived nearby with his future wife, Dominique. Danko and Manuel had been invited to Woodstock to collaborate with Dylan on a film he was editing, Eat the Document, a rarely seen account of Dylan's 1966 world tour. At some point between March and June 1967, Dylan and the four Hawks began a series of informal recording sessions, initially at the so-called Red Room of Dylan's house, Hi Lo Ha, in the Byrdcliffe area of Woodstock. In June, the recording sessions moved to the basement of Big Pink. Hudson set up a recording unit, using two stereo mixers and a tape recorder borrowed from Grossman, as well as a set of microphones on loan from folk trio Peter, Paul and Mary. Dylan would later tell Jann Wenner, "That's really the way to do a recording—in a peaceful, relaxed setting—in somebody's basement. With the windows open ... and a dog lying on the floor."
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