- Blood On The Tracks New York Sessions Rar. 9/9/2018 0 Comments There’s a perfectly good reason that every time Bob Dylan has released an album of new material over the past decade it gets tagged as his “best since Blood On The Tracks”.
- BLOOD ON THE TRACKS - NEW YORK SESSIONS Scorpio 1CD T-556 Recently reissued on CDR by Head Columbia Records Studio A (New York, NY); September 1974 Tracklist: Tangled Up In Blue, Simple Twist Of Fate, You're A Big Girl Now, Idiot Wind, You're Gonna Make Me Lonesome When You Go, Meet Me In The Morning, Lily Rosemary And The Jack Of Hearts, If You See Her.
- Lucia Tuesday, September 01. Here you can download free bob dylan the new york sessions blood on the tapes shared files found in our database: Blood On The Tracks New York Sessions.zip from. Blood On The Tracks New York Sessions Torrent. Then, there is the changed line in 'If You See Her, Say Hello', as he.
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Introduction
Tracks 2, 5, 9, 10 recorded at Columbia A&R Studios, New York City, New York, September 16, 1974. Track 8 recorded at Columbia A&R Studios, New York City, New York, September 23, 1974. Tracks 1, 3, 4, 7, 8 are alternate takes recorded in New York City, they were not included on the original album, the same tracks recorded in Minneapolis were.
Drunk driving, formally called driving while intoxicated (DWI) in New York, is a serious crime. NY will suspend your license, impose expensive fines, and even put you in jail if you drink and drive.
New York DWI Defined
To determine whether you're legally driving while intoxicated, the state uses your blood alcohol concentration, or BAC.
Law enforcement will charge you with DWI if your BAC is:
- 0.08% and you're 21 years old or older.
- 0.04% and you're driving a commercial motor vehicle.
- 0.02% and you're younger than 21 years old.
Additional Drug and Alcohol Crimes
DWI is just one charge associated with driving under the influence.
Depending on your BAC and other factors, you could face:
- DWAI/Alcohol: The name for Driving While Ability Impaired specifically by alcohol.
- DWAI/Drugs: The specific name for Driving While Ability Impaired by a drug other than alcohol.
- DWAI/Combination: The specific name for Driving While Ability Impaired by both alcohol and other drugs.
- Aggravated DWI (A-DWI): Being charged with aggravated driving by having a 0.18% BAC or higher.
Penalties for these additional drug and alcohol crimes vary, as do those for other related crimes, like chemical test refusal and breaking the Zero Tolerance Law.
Understand Your DWI Penalties
Your DWI penalties depend on factors like:
- Your age.
- The substance impairing you (alcohol, drugs, or a combination of both).
- Your driver's license (regular passenger license vs. a special license like a CDL).
- Whether you submitted to a chemical test.
DWI Penalties: Younger Than 21
If you're younger than 21 years old and you're caught driving with a BAC of 0.02% or higher, you've broken NY's Zero Tolerance Law.
1st Offense
- Suspended license for 6 months.
- $125 civil penalty.
- $100 fee for suspension termination.
- Possible enrollment in the New York Drinking Driver Program (DDP) and all the associated costs (see below).
- Possible ignition interlock device installation, and all associated costs (see below).
2nd Offense
- License revocation for 1 year (or until you turn 21 years old).
- $125 civil penalty.
- $100 fee for suspension termination.
- Possible enrollment in the New York Drinking Driver Program (DDP) and all the associated costs (see below).
- Possible ignition interlock device installation, and all associated costs (see below).
Please see “Chemical Test Refusal' below to find out how NY handles drivers younger than 21 years old who refuse the chemical test.
DWI Penalties: 21 and Older
DWAI/Alcohol
1st Offense
- License suspension for 90 days.
- A $300 - $500 fine.
- A minimum $250 annual assessment fine, for a total of $750 in fines over 3 years. This is part of the state's Driver Responsibility Program.
- Up to 15 days in jail.
- Possible enrollment in the New York Drinking Driver Program (DDP) and all the associated costs (see below).
2nd Offense
If you get a second DWAI/Alcohol charge in 5 years, you face:
- License revocation for at least 6 months.
- A $500 - $750 fine.
- A minimum $250 annual assessment fine, for a total of $750 in fines over 3 years. This is part of the state's Driver Responsibility Program.
- Up to 30 days in jail.
- Possible enrollment in the New York Drinking Driver Program (DDP) and all the associated costs (see below).
DWI and DWAI/Drugs
DWI and DWAI/Drugs carry the same penalties.
1st Offense
- DWI: License revocation for 6 months.
- DWAI: License suspension for 6 months.
- A $500 - $1,000 fine.
- A minimum $250 annual assessment fine, for a total of $750 in fines over 3 years. This is part of the state's Driver Responsibility Program.
- Up to 1 year in jail.
- Possible enrollment in the New York Drinking Driver Program (DDP) and all the associated costs (see below).
2nd Offense
You face these penalties if you commit another DWI or DWAI/Drugs offense within 10 years of the first violation:
- License revocation for at least 1 year.
- A $1,000 - $5,000 fine.
- A minimum $250 annual assessment fine, for a total of $750 in fines over 3 years. This is part of the state's Driver Responsibility Program.
- Up to 4 years in jail, with a minimum of 5 days in jail or 30 days of community service.
- A Class E felony.
- Possible enrollment in the New York Drinking Driver Program (DDP) and all the associated costs (see below).
DWAI/Combination
DWAI/Combination means you were driving under the influence of both alcohol and drugs.
1st Offense
- License revocation for at least 6 months.
- A $500 - $1,000 fine.
- A minimum $250 annual assessment fine, for a total of $750 in fines over 3 years. This is part of the state's Driver Responsibility Program.
- Up to 1 year in jail.
- Possible enrollment in the New York Drinking Driver Program (DDP) and all the associated costs (see below).
2nd Offense
A second offense DWAI/Combination is when you are charged again within 10 years of the last conviction.
- License revocation for at least 1 year (18 months).
- A $1,000 - $5,000 fine.
- A minimum $250 annual assessment fine, for a total of $750 in fines over 3 years. This is part of the state's Driver Responsibility Program.
- Up to 4 years in jail.
- Class E Felony.
- Possible enrollment in the New York Drinking Driver Program (DDP) and all the associated costs (see below).
Aggravated DWI
If your BAC is 0.18% or higher, you'll get an Aggravated DWI―or A-DWI.
1st Offense
- License revocation for at least 1 year.
- A $1,000 - $2,500 fine.
- A minimum $250 annual assessment fine, for a total of $750 in fines over 3 years. This is part of the state's Driver Responsibility Program.
- Up to 1 year in jail.
- Possible enrollment in the New York Drinking Driver Program (DDP) and all the associated costs (see below).
2nd Offense
A second offense in 10 years brings:
- License revocation for at least 18 months.
- A $1,000 to $5,000 fine.
- A minimum $250 annual assessment fine, for a total of $750 in fines over 3 years. This is part of the state's Driver Responsibility Program.
- Up to 4 years in jail.
- A Class E Felony.
- Possible enrollment in the New York Drinking Driver Program (DDP) and all the associated costs (see below).
Commercial Drivers
CDL holders cannot legally operate commercial vehicles with a BAC of 0.04% or higher. Doing so brings much more severe penalties than those that regular passenger drivers experience―fines are higher and permanent license revocation is swifter.
Generally, the Federal Motor Carrier Safety Administration (FMCSA) handles all regulations and penalties associated with commercial vehicle drivers throughout the country.
Other DWI Penalties
Chemical Test Refusal Penalties
Per NY's Implied Consent Law, you give your consent to have your blood, breath, urine, or saliva tested for alcohol or drugs if an officer stops you.
NOTE: In addition to the fines and other penalties listed below, anyone convicted of refusing a chemical test must also pay a minimum $250 annual assessment fine for 3 years as part of the state's Driver Responsibility Program.
1st Offense
- License revocation for at least 1 year (18 months for commercial drivers).
- $500 civil penalty ($550 civil penalty for commercial drivers). You must pay this before you can reapply for your license.
2nd Offense
Refusing a chemical test within 5 years of a previous chemical test refusal or another DWI-related charge constitutes a second offense and carries the following penalties:
- $750 civil penalty.
- License revocation for at least 18 months (permanent CDL revocation).
Zero Tolerance Chemical Test Refusal
If you are younger than 21 years old and you violate the Zero tolerance law by refusing a chemical test, you face the following consequences:
1st offense:
- $300 civil penalty.
- $100 to reapply for your license.
- License revocation for at least 1 year.
2nd offense:
- $750 civil penalty.
- $100 fee to reapply for your license.
- License revocation for at least 1 year.
NOTE: These penalties also apply to subsequent offenses.
Ignition Interlock Device
Your judge might order you to use an ignition interlock device (IID) as part of a probation and maybe to make you eligible for a conditional license.
Generally, NY requires drivers to purchase and install their own IIDs. Drivers also are responsible for any costs related to the monthly fee, switching the IID to another vehicle, and uninstalling the IID.
NY's Division of Criminal Justice Services (DCJS) handles all the nuts and bolts. For more information, visit the Division's Ignition Interlock section or contact the DCJS at (518) 457-5837 or (800) 262-3257.
Enrolling in the Drinking Driver Program
New York's Drinking Driver Program (DDP) is the state's DWI program. It's a DWI-specific school that consists of weekly classroom sessions and the following enrollment fees:
- $75 fee, made payable to the Department of Motor Vehicles.
- Up to $234 in additional fees, made payable to the DDP program you attend and due on the first day of class.
Certain situations, such as switching to another DWI school or dropping out and re-entering the program, lead to additional costs.
Your judge and the DMV provide DDP information specific to your case. This is information you'll find out in court, and having a DWI attorney on your side is beneficial.
SR 22: Car Insurance and Proof of Financial Responsibility
Unlike some other states, New York doesn't require drivers with DWI convictions to file an SR 22, the financial responsibility certificate that shows you're carrying the state's required minimum liability insurance. However, that doesn't mean you're exactly off the hook.
DWI convictions are red flags to car insurance companies, and most charge higher rates once you have a DWI conviction on your driving history.
When it's time to renew your liability coverage, check with your agent and find out if you'll experience a rate increase. If so, you might find lower rates if you compare other insurance companies.
When to Hire a DWI Attorney
Most people end up in court after a DWI charge. Whether you plan to plead innocent or admit guilt, your best bet is to hire a DWI attorney―especially if your charge involves another serious crime such as:
- Aggravated DWAI.
- Vehicular homicide or manslaughter.
As you search for an attorney, keep these tips in mind:
- Choose an attorney based in New York, so he or she will be familiar with the state's laws.
- Make sure your attorney specializes in DWI cases. DWI attorneys are experts on the state's DWI laws.
- Ask the lawyer for information on past DWI cases they've had, and find out how they think your case compares to others―especially in terms of possible outcomes.
Applying for a Conditional License
All DWI offenses can leave you with a suspended license―but some drivers are eligible for temporary driving permits, called conditional licenses, which sometimes require IIDs.
Typically, you can get a conditional license if:
- This is your first DWI or DWAI conviction.
- You enroll in the Drinking Driver Program.
While the DMV determines whether you're eligible for a conditional license, your judge can stop you from applying for one.
Reinstate Your NY Driver's License
If you're eligible for reinstatement (i.e. the DMV and court haven't decided to permanently revoke your driving privileges), you must:
- Pay all applicable fines.
- Complete any jail time.
- Successfully complete the Drinking Driver Program, if ordered, as well as any ordered alcohol or drug treatment programs.
- Keep your ignition interlock device for the ordered amount of time, if applicable.
- Finish your suspension or revocation period.
- Pay the suspension termination fee, if ordered.
For more details specific to your case, contact the DMV or the court handling your case.
Blood On The Tracks New York Sessions Rar File
‘Eventually I would record an entire album based on Chekhov short stories–critics thought it was autobiographical…’ Chronicles: Volume I
The bloodletting began, fittingly, in a red notebook. Estranged from his wife at the time, living on a farm in Minnesota with his kids and his new girlfriend, he started filling up pages with story-laden imagery, thumbnail sketches that bled, one into another. The first to spill forth was the purgatorial Western of ‘Lily, Rosemary, and the Jack of Hearts,’ which appears in précis form in the notebook’s early pages, followed by ‘Tangled Up in Blue’ and then draft after draft of ‘Idiot Wind.’ About the latter, he later explained, ‘It wouldn’t stop. Where do you end? You could still be writing it, really. It’s something that could be a work continually in progress.’
Critics (and listeners too) tend to think of Blood on the Tracks as an excavation of Dylan’s own love life up to that time. The whole devastating break-up cliché just seems to chime so well with the mood and content of the music. Who cares if he was never a cook in the Great North Woods, or if Sara Dylan had never gone anywhere near Tangier, it’s all just a metaphor, one big allegory for the devastation he found himself surrounded by at the time. The key to the songs is that ‘he’ is only ever ‘Dylan’ and ‘she’ is only ever his wife or someone he slept with.
But to interpret the songs such a way, as if tracing a star map through the back roads of the songwriter’s life, is to do a disservice to the artistry of the storytelling. Blood on the Tracks is not a memoir, a confession, or even a roman î clef. What we encounter in these songs is layer upon layer of thematically-linked images, flicker-book fictions. Gone are the mythic Americana mash-ups of Highway 61 Revisited. Gone are the elaborate opium dreams and surrealist backrooms of Blonde on Blonde. What we get instead is a cast of couples and jilted lovers, their battered narratives composed of raggedy scraps–not biography. If these scenes are meant to correspond solely to Dylan and the various women in his life, then why did he bother with the artistic obfuscation, the multiplicity of perspectives? Why introduce the Man named Gray, the one-eyed undertaker, the roommates down on Montague Street? And why this determination to play Picasso with narrative?
Because, he said later, ‘I wanted to defy time, so that the story took place in the present and the past at the same time. When you look at a painting, you can see any part of it, or see all of it together.’
Blood On The Tracks New York Sessions Rar Files
The catalyst for all this may well have been the dissolution of his marriage, or it may have been painting classes he’d been taking the year before and from which he’d returned with a fire in his head (‘I went home and my wife never did understand me ever since that day’). On a purely technical level, however, the thing that definitively flicked the switch from heartbreak to newfound creativity was a matter of tuning. Specifically open-E (or, to be even more specific, open-E tuned down a whole step to D). Mythology tells us that a post-Blue Joni Mitchell taught this guitar tuning to him, although, if true, this would have to be qualified as re-taught, since he’d used it extensively during the Freewheelin’ sessions (see ‘Corrina, Corrina,’ ‘Oxford Town,’ ’I Shall Be Free’ etc.) What is undeniable is that, up to this point, he had never played in an open-tuning like this: flicking his way through the chords, alternating bluesy slides up the neck and Everly Brothers changes with vaguely medieval harmonics.
In the months prior to recording, he went around, trying the songs out on different people. He played them to Shel Silverstein on a houseboat in Marin County; he played them to Stephen Stills in a Minneapolis hotel room after a CSN gig (according to Graham Nash, who was standing in the doorway, Stills’s verdict afterwards was ‘He’s a good songwriter, but he’s no musician’); at one stage, he even played them to some Hasidic friends in a backyard in Crown Heights, Brooklyn. When he collared Mike Bloomfield, his foot was already tapping hyperactively, impatient to get the songs out. But Bloomfield (who’d been there onstage with him at Newport, who’d helped him turn ‘Like a Rolling Stone’ into what it was) was bewildered. It took the guitarist too long to realize he was being used more as a sounding board than a collaborator.
‘He came over and there was a whole lot of secrecy involved, there couldn’t be anybody in the house…He took out his guitar, tuned to open D tuning and he started playing the songs nonstop…He just did one after another and I got lost. They all began to sound the same to me, they were all in the same key, they were all long. I don’t know. It was one of the strangest experiences of my life. And it really hurt me…’
This was a songwriter wanting less to polish his newly minted songs than to be rid of them. In the studio, he similarly kept his head down, ignoring everyone. The musicians he took with him into A&R Recording’s Studio A (the same studio at which he’d recorded his first six albums) ended up feeling just as alienated as Bloomfield. Made up of Eric Weissberg and the band that had played on the Deliverance soundtrack, these were top session men who knew how to follow a lead. But the performer in question was not offering any leads. No quick rehearsals, no chord charts. They couldn’t even follow his hands along the fret board because of the weird tuning he was using. Phil Ramone, the producer (despite claiming greater responsibility after the fact), basically had the mic-stands set up and hit record. If the buttons on Dylan’s jacket were click-clacking against his guitar through every take–and he didn’t seem to mind–then so be it.
The New York Sessions of Blood on the Tracks were quick work, recorded over four inebriated nights in September of 1974. In the end, the drums and lead guitars were all dropped; after nailing down two tracks with a full band (‘Meet Me in the Morning’ and ‘Buckets of Rain’) the accompaniment would be reduced to just bass, some touches pedal steel and some overdubbed organ. On an album that thematically professed it was ‘doom alone that counts,’ minimalism seemed the obvious way forward.
Blood on the Tracks is not an album about a relationship (not Dylan’s, not anybody’s), but an album about the brokenness inherent, ultimately, in all relationships. The tarot deck is stacked from the start, romance can only play itself out. Lovers just have to ‘keep on, keeping on’ as best they can. Even in a song about the breathless, flower-picking, high-point of love (‘You’re Gonna Make Me Lonesome When You Go’), the inevitable end of the affair still haunts the proceedings. Philosophically, we’re very much in that post-Watergate wasteland of paranoid, Marathon Men, everyone trying unsuccessfully to extricate themselves from pantomimes of intrigue and gossip. Here, the very idea of finding shelter from the storm is an archaism from another lifetime, remembered nostalgically. What else to see buckets of rain/buckets of tears everywhere? If the songs on Blood on the Tracks give us a world in which heartbreak is endemic and inevitable, then it’s the New York Sessions that are still reeling, still hung up, still raw.
There are photos of him at the time of the recordings, waiting around in the swanky lobby of A&R’s Studio A. Standing in a white-walled room that looks like a set halfway between Logan’s Run and Emmanuelle, he poses with his guitar and what can only be the infamous blazer. In the first few shots he stands shyly, chin deep in his lapels. He strums a little bit beside a cup of coffee–but, eventually, he’s lying flat on the white shag throw rug, looking like he’s been run over.
Two months later, he was given a test pressing of the album which he took back with him to Minnesota and played for his brother. The younger Zimmerman sagely advised that said album was too dark and downbeat to be commercially viable. The album opener (‘Tangled Up in Blue’) was too laidback and melancholy; the solo version of ‘Lily, Rosemary, and the Jack of Hearts,’ was just too damn long; ‘Idiot Wind’ had no bite to match its bark; why was everything in the same weird tuning, and what about those noisy buttons on his jacket? Columbia HQ was phoned and told to apply the brakes. A group of local musicians were rounded up in Minneapolis and half the album was re-recorded over four more nights, with an aim towards revitalizing the songs.
In creating a far more dynamic album, however, some of the finer nuances on individual tracks were undeniably lost. Because Dylan was mostly unaccompanied on the New York Sessions (and because every song shared that same open-E blood-type) it was left primarily to his vocal to give the songs their shape. Throughout the early sessions, it is his phrasing that adds depth and emotional range, drives the songs down their storied paths. You need only compare the different versions of ‘If You See Here, Say Hello’; on the record-as-released, it sounds as if the band have all agreed that this is a torch song and supplied lugubrious atmospherics accordingly. Earlier, in New York, Dylan could have been singing from the floor of the studio lobby, so beaten-down is the performance (on one take, his vocal is nothing more than a deathbed whisper). ‘Idiot Wind,’ too, lost something in the space between September and December 1974: where the fiery official version spews forth increasingly mad accusations, the earlier, more subdued performance leans more towards regret and fatalism (to such the extent that it becomes ambiguous who’s hurting who, who’s fated to be lying in that ditch, blood on their saddle). The rawness of the songs recorded in New York all suggest an emotional vulnerability. The performer was still walking wounded, still howling in the night. On these tracks, the blood was still wet. words / dk o’hara