It’s safe to say that Columbia Records, and or any other music conglomerate to arise, will be releasing and re-releasing the music of Bob Dylan forever. A musician of this magnitude will always sell records, no matter how they are packaged. New material will always be absorbed, critiqued and ultimately revisited and no matter how many Deluxe or Special Edition versions of Dylan’s back catalogue are reissued, the spruced up discs will undoubtedly be coveted by hardcore fans.
Today marks the release of another piece of Dylan’s growing sub catalogue of “official” bootleg recordings, with Tell Tale Signs: The Bootleg Series Vol. 8. This hearty serving of unreleased live and rarity tracks taken from Dylan’s late 80s to present day recordings is yet another piece of the puzzle in unraveling this musician’s wildly varied, epic career.
While the collection of songs all warrant further listening, with many of the cuts actually besting the official album release (see not one but two superior alternate versions of “Mississippi,” officially released on 2001’s Love and Theft, with a third set to be released on a third special edition companion disc) this eighth Bootleg Series outing ultimately begs the question, what’s in store for future volumes in the series.
The previous seven Bootleg releases chronologically jumped around a bit, with the initial three-disc Vol. 1-3 edition spanning from Dylan’s earliest works up until 1989s Oh Mercy (a truly remarkable, often forgotten LP that is covered more extensively on Tell Tale Signs). Still Vol. 4-7 mainly encompassed the artist’s 60s decade (Live 1964 and Live 1966), with the Rolling Thunder Revue extensively covering Dylan’s acclaimed mid 70s gypsy rock, multi-artist tour (a much more accessible time capsule of this legendary tour than the original Hard Rain live LP release).
While not entirely sequential in their nature (Live at Royal Albert Hall 1966 was released before The Concert at Philharmonic Hall 1964) it does seems like Tell Tale Signs jumps ahead towards the latter end of Dylan’s career, passing over a largely misunderstood chapter in Dylan’s life.
Dylan’s ‘Born Again’ years are often overlooked when perusing the artist’s canon. Encompassing three official album’s–1979s Slow Train Coming, ‘80s Saved and ending with ‘81s Shot of Love–this radical epoch in Dylan’s life is just aching to be reexamined and for many discovered.
To be fair Dylan briefly covered his spiritual years with The Bootleg Series Vol. 1-3. A rough outtake of Shot of Love’s haunting “Every Grain of Sand,” featuring a female backup singer is the highlight of three outtakes featured from this era.
Considering the Shot of Love sessions alone produced roughly 50 other unreleased outtakes and instrumental cuts and both Train and Saved had their share of studio experimentation, an official release chronicling this era would be interesting to hear. Even Dylan’s live sets from his non-secular years, which focused solely on the new material at hand, ignoring his classics, have yet to see an official release (the Real Live LP of the time was a return to the classics tackled in less than desirable style.
Dylan’s “Born Again” years never receive the credit they deserve. Train was decently received by critics and was propelled to mass success by the track, “You Gotta Serve Somebody,” which won Dylan his first official Grammy for Best Rock Vocal Performance. The LPs true highlights are heard in “Precious Angel” “I Believe in You” and “Slow Train,” a sequential trio of tracks that showcase Dylan’s lyrical strength with just a hint of Dire Straits’ front-man Mark Knopfler’s unique melodic guitar pickings as an added bonus (Knopfler also served as producer).
Saved was quickly dismissed for being too polarizing for Dylan’s more secular fans (its heavy gospel overtones were not for everyone) and Shot of Love, while returning to the roots rock and roll of earlier Dylan was still heavily Christian in the eyes of most of its listeners. Still, if one overlooks Dylan’s then newfound love of Christ and the lyrics spawned from this conversion, the artist was still making some of the most beautiful music of his career, and once again showing another side of the Dylan most thought they knew.
With 32-studio albums behind him and countless other live and B-Sides recordings collecting dust in the closet Dylan never seems comfortable staying in one genre or style. His legacy will always be rooted in his folk and traditional Americana upbringing, with later accolades for his rallying lyricism. More importantly though Dylan success comes from his willingness to shed all preconceptions and follow new directions.
His “Born Again” years are undoubtedly rooted in American Gospel music with a focus on the call and response, sermon style songwriting. Flash-forward to his current return to Americana and blues inspired folk and its easy to see a natural progression throughout his career, one that benefited from his “Born Again” recordings.
Tell Tale Signs is a treat for fans of Dylan’s recent works, and unlike other artists’ who simply release outtakes to profit off tracks that were rightfully scrapped, the majority of Dylan’s B-Sides are often radically different giving each song an entirely new feel. The stripped down piano version of “Dignity” accentuates the song’s brilliant storytelling while the previously unreleased track (and first single) “Dreaming of You” is one of those rarities you wish had seen an official release during its incarnation.
With every Bootleg Series release fans and newcomers alike are granted a glimpse into truly ‘Another Side’ of Bob Dylan. Tell Tale Signs is a welcome release but one can only hope that Dylan is willing to revisit some of his forgotten years, perhaps in conjunction with his upcoming follow up to the autobiography Chronicles Vol. 1, an equally rewarding look behind some of Dylan’s most popular and underrated albums (the chapter on New Morning alone was worth the read). For now we can revisit Dylan’s not too distant past.