As is the case for many of the early tapes in Bob Dylan’s discography, The East Orange Sessions 1961 provides a chance to get to grips with his sound pre-Colombia. What it is for many is an opportunity to hear Dylan untapped and unmoved by studio influence, rare it was that anyone could move his idea or change his focus. Raw rips from the Gleason homestead, and you can tell. Let your brain disintegrate with the horrid padding and clunky noise of the vocal performance. Not a fault of Dylan or the recorder, just time eroding a tape. A brief encounter with Dylan in an intimate setting – a rarity in the modern day but a frequent part of the early years as he waded through New York, trying to find a suitable folk sound. He got it. The East Orange Sessions 1961 is another piece of a very satisfying puzzle.
Short bits and pieces worth listening to more to hear Dylan hone his voice, more than anything. Opener San Francisco Bay Blues showcases that broader vocal range, the elongation and nasally style which would come through rather well on his blend of covers and originals in the early years. His pen was not blessed by the likes of Desolation Row or Ballad of a Thin Man but even then, his more-than-capable covers are a delightful listen. Pastures of Plenty and Trail of the Buffalo are lengthy beasts, with well-rode beats which, like Jesus Met the Woman at the Well are filled with a lyrical comfort for Dylan. These are covers with a punchy sense to them, a swing in the right direction for an artist who would rely on them as he made his first steps in the studio.
These home tapes, then, feel like a chance for Dylan to play material to trusted friends in New York, to see what they think of songs which could be headed for the self-titled debut. Where he would rely on the likes of Highway 51 Blues and The House of the Rising Sun, these early tapes are a neat way of sifting through what benefits Dylan’s voice, and which songs rise in profile from Dylan covering them or even considering those tones as suitable for a folk-oriented debut. It is a bright and often rewarding listen where the early tones feel fluid and light. Gyspy Davey brings on the slower tempo which Dylan would shy away from the further into his career he got. As the confidence gained so too did the energies of his folk style.
The East Orange Sessions 1961 remains a shy experience for Dylan, but a necessary experience for those wanting to understand the changes and choices made in the run-up to his signing with Colombia. There is plenty of raw charm to be heard within this collection of recordings and, for what they are, they remain quality for dedicated Dylan fans. Those who not only want to hear more from the man but demand to know the origins. Somewhere in these early tapes is the key to unlocking his form and prose used for decades more. Probably, anyway. See what happens with a listen to The East Orange Sessions 1961. Some of it is eye-opening. Other parts are charming irrespective of historical context, which is the main reason to head into this set.
