CD REVIEW
Even Dylan’s leftovers are artful, fascinating
McClatchy Newspapers
Tuesday, October 07, 2008
ROCK
“Tell Tale Signs: The Bootleg Series Vol. 8”
Bob Dylan. Sony BMG.
Grade: A
It’s part of the Bob Dylan mythology that he shoots from the hip in the studio, forgoing preparation in the name of spontaneity.
- Brit-pop ensemble Oasis resurfaces to "Dig Out Your Soul."
- Legendary rockers the Pretenders "Break Up The Concrete."
- After a couple of solo contemporary gospel offerings Michelle Williams (of Destiny's Child") returns with the "Unexpected".
- "Those We Leave Behind" are not forgotten by goth-rock act I Am Ghost.
- Talk about a mouthful of an album title — "A Record In Two Parts ... Elephants and Teeth Sinking Into Heart" is the latest from singer-songwriter Rachael Yamagata.
- Atlanta producers Tricky and The Dream contributed to Jon McLaughlin's "OK Now."
- As their live and studio versions of "The Altar and the Door" continue to hold forth on the Christian charts, McDonough's Casting Crowns release "Peace On Earth."
- Also adding to the sleigh of holiday CDs headed our way is country superstar George Strait, with "Classic Christmas."
COMING NEXT TUESDAY: New albums from Nikka Costa, Billy Currington, Keane, Ray LaMontagne, Mary Mary, Dave Mason, Ingrid Michaelson, John Michael Montgomery and Lucinda Williams.
Although that’s an aspect of his work, the generous and enlightening trove of unreleased material on the new “Tell Tale Signs: The Bootleg Series Vol. 8” shows that even his throwaways qualify as works of art.
This exceptional two-disc edition, in stores Tuesday, stretches from 1989 to 2006. That encompasses “Oh Mercy” (1989), “Time Out of Mind” (1997), “Love and Theft” (2001) and “Modern Times” (2006).
Compared with earlier installments, these unheard versions are more akin to finished creative visions that show Dylan looking at the songs from unexpected angles. “Most of the Time,” for instance, is presented as an acoustic folk tune more reminiscent of Dylan’s Greenwich Village period than the atmospheric “Oh Mercy” rendition.
On that number, as well as a few others, the change isn’t necessarily better, but still fascinating.
In most cases, though, Dylan’s leftovers are so tasty that it’s a wonder he didn’t serve them the first time. Perhaps the reason is that, in his world, the evolution of a song can unfold at a glacial pace.
“Mississippi,” which originally surfaced on “Love and Theft,” traces its origin to “Time Out of Mind.” There are two unreleased takes from those sessions here, both worthy in different ways. Backed by a propulsive foundation of Jimmy Reed-style rhythm guitar, the Disc 1 version is solitary, yet almost breezy. The song returns again at the top of the second disc as a lazier, acoustic blues shuffle. On both, the combination of instruments and Dylan’s weathered voice is intimate enough to make it sound like one is eavesdropping.
“Tell Tale Signs” also includes impressive live tracks from stops on Dylan’s “Never Ending Tour,” including a 2002 tear through “Lonesome Day Blues.” For an example of Dylan’s knack for reinvention, listen to a 1993 version of “Ring Them Bells” recast above a lovely mix of acoustic guitars and pedal steel.
The most startling revelations, though, are the unreleased “Time Out of Mind” songs. Listening to the ghostly, gospelly blues of “Marchin’ to the City” or the exquisite, epic love tale “Red River Shore,” it’s hard to imagine how Dylan could leave such gems behind.
Luckily, years in the vault haven’t dulled the shine a bit.
