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https://www.theguardian.com/music/2014/oct/30/bob-dylan-the-band-basement-tapes-complete-review
But listening to it almost 50 years on, one striking thing is how much they sound like the songs Dylan wrote before The Basement Tapes, how little they resemble a game-changing stylistic rupture destined to jolt any musician who heard them. Sign on the Cross and I Shall Be Released do tap into a vein of Americana forgotten during pop’s headlong rush into the future in the mid-60s, but tapping into veins of Americana forgotten by others was pretty much what Dylan had been doing before he relocated to Woodstock: while the Beatles were playing tape loops backwards and inviting sitar players into Abbey Road, he was ensconced in Nashville, making Blonde on Blonde with country and western session men so deeply uncool that when the singer meaningfully enquired about recreational activities, one of them suggested a game of golf.
These: Die Basement Tapes sind gar nichts großartig neues gewesen, Dylan hat schon davor, zum Beispiel auf Blonde on Blonde, solche Songs geschrieben und ohne großen Aufwand, sondern sehr rootig und americana-mäßig, aufgenommen. Und die BT waren daher wohl eher kein musikalisches gamechanging Album. Scheint mir ganz plausibel.
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