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.

 

Some kids have to grow up fast. This is the story of Lonnie Tobin, one such young man. Weary of the physical abuse his mother is subjected to from his father, he takes matt ers into his own hands. Convincing her to flee their fearful home life, son and mother sneak away in the night to the small town of Rocky Branch, where they find peace with her family. It is a corner of the world he thought they had left behind forever. But mysteries abound in this little wooded village, and an unexpected adventure begins when word of a nightly monster on the loose stirs fear among the residents. Young Lonnie soon forgets about his father and becomes fascinated by the story, only to find he might be spending a litt le too much time on The Strange Side of the Tracks.

In February 2000, while excavating his property in St. George, Utah, Sheldon Johnson turned over a piece of ground and discovered a fully preserved dinosaur footprint. That track was the first of many fossils to be uncovered. Five years later, the St. George Dinosaur Discovery Site at Johnson Farm was established to preserve one of the richest and oldest dinosaur-age fossil sites in Utah.

Tracks in Deep Time presents, for the first time, an engaging, thoroughly readable account of the history, geology, and paleontology of this important site. Two hundred million years ago, Lake Dixie covered the site. Within its waters and along its shores, a diverse ecosystem of dinosaurs, early crocodylians, fishes, plants, and other organisms thrived, leaving behind thousands of footprints and other fossils preserved in layers of rock. Unusual fossils found here include the world’s largest collection of tracks left by swimming dinosaurs and one of only six traces known to have been made by a sitting, meat-eating dinosaur. With approachable text and lavish, full-color photographs and illustrations, Jerald Harris and Andrew Milner describe how geologists and paleontologists have painstakingly reconstructed a vivid “snapshot” of life from the Early Jurassic epoch. 

When construction of the Madeira-Mamoré Railroad began in 1867, Bolivia had lost its war with Chile, causing it to become landlocked and unable to ship its minerals and other products from the Pacific Coast. Since Bolivia needed to find a way to move products from the Atlantic Coast, the government decided a railroad should be built around the Madeira River—which originates in Bolivia and travels almost 2,000 miles through Brazil to the Amazon—facilitating shipment to foreign markets via the Amazonian waterway. Completion of the railroad was initially stalled by lack of funding, but the project was resurrected in the early twentieth century and completed in 1912. Intended as an integral piece of the rubber export industry, the railroad became unnecessary once the world supply of rubber moved from Brazil to Asia.

Although there have been many brief chronicles and writings about the Madeira-Mamoré Railroad over the years, most barely scratch the surface of this incredible story. Of particular import in Tracks in the Amazon are the photographs—which until now have rarely been seen—taken by Dana Merrill, a New York photographer hired to document the construction of the railroad. It also includes reproductions of the Porto Velho Marconigram, an English-language newspaper written for and by the American expatriates who lived in the construction headquarters at Porto Velho. Because this unique railroad traversed the densest tropical jungle on earth, more than 10,000 workers lost their lives laying the first five miles of track. The images and descriptions of the life of the workers on the railroad illustrate the challenges of working in the jungles—the unforgiving climate, malaria and yellow feverbearing mosquitoes, and the threat of wild animals—which made conditions for the workers next to impossible.

Finalist for the International Latino Book Awards: Best Book in Nonfiction in Portuguese. 
 

From Bill Clinton playing his saxophone on The Arsenio Hall Show to Barack Obama referencing Jay-Z’s song “Dirt Off Your Shoulder,” politicians have used music not only to construct their personal presidential identities but to create the broader identity of the American presidency. Through music, candidates can appear relatable, show cultural competency, communicate values and ideas, or connect with a specific constituency. On a less explicit level, episodes such as Clinton’s sax-playing and Obama’s shoulder brush operate as aural and visual articulations of race and racial identity. But why do candidates choose to engage with race in this manner? And why do supporters and detractors on YouTube and the Twittersphere similarly engage with race when they create music videos or remixes in homage to their favorite candidates?

With Barack Obama, Ben Carson, Kamala Harris, and Donald Trump as case studies, Tracks on the Trail: Popular Music, Race, and the US Presidency sheds light on the factors that motivate candidates and constituents alike to articulate race through music on the campaign trail and shows how the racialization of sound intersects with other markers of difference and ultimately shapes the public discourse surrounding candidates, popular music, and the meanings attached to race in the 21st century. Gorzelany-Mostak explores musical engagement broadly, including official music in the form of candidate playlists and launch event setlists, as well as unofficial music in the form of newly composed campaign songs, mashups, parodies, and remixes.