By Jacob Katel
By Laurie Charles
By Nate "Igor" Smith
By Abel Folgar
By Kat Bein
By Jacob Katel
Read through Clinton Heylin's authoritative and incredibly bitchy tome Bob Dylan: The Recording Sessions and you'll learn that Dylan never stopped creating music of value; he just got much worse at separating the wheat from th chaff. Albums such as Blood on the Tracks, Infidels, and Oh Mercy were all considerably stronger upon Dylan's first instinct. Once left to sit, however, Dylan went about methodically deconstructing the works until they were very different, less emotionally compelling albums. This isn't just idle speculation: Anyone with access to a decent bootleg network can turn up CDs of incredible quality that document the original albums, complete with an abundance of outtakes to further shed light on Dylan's unusual working methods. Believe me, it only takes hearing the original version of "Idiot Wind" on Tracks (not the stiff take included on Columbia Records' official The Bootleg Series Volumes 1-3 ) or the electric "Blind Willie McTell" to know there's something happening here, and Dylan ain't always the best person to tell you what it is.
What has always been most rewarding about being a Dylan fan is rediscovering the lost work, going back and listening to an album that on first review seemed forced or wrongheaded. Instead, once you've accepted that it isn't the album you wanted Dylan to make, it's still a damn fine piece of work. For all the deserved hoopla of Dylan's prime period (the mid-Sixties burst that produced Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde), there is still plenty of fire in 1970's New Morning, 1974's Planet Waves, and 1978's Street Legal to justify a complete re-evaluation of the man's work. To my ears only 1980's Saved is beyond redemption.
Most recently you may have heard that Dylan has been on one of his umpteenth comebacks. A Grammy for 1997's Time Out of Mind as Best Rock Album and another for "Cold Irons Bound" as Best Male Rock Vocal has led more than a few of his errant followers back to the fold. And the reissue last year (finally) of his infamous 1966 Royal Albert Hall concert has reminded all of us just how good he was. True to form, however, his most recent best music isn't the stuff so easily found. Sony Music has issued several CD singles from the Time Out of Mind collection that feature a slew of live B-sides that once and for all prove that critics extolling the virtues of his recent live concerts are not in fact being paid by Mr. Dylan or any promotional arm to say so. Naturally, Sony (or "Columbia," as his label imprint says, regardless of corporate ownership) has not issued these tracks domestically. Rather, they are printed in Austria and one must assume are readily available in Europe for the time being. (There's also an Australian version of Time that features these live tracks as a bonus disc, but import copies have been nearly impossible to find.)
Snatch up these singles now from your favorite importer because they'll probably never see official release here. If Dylan's track record is any indication, his next live album will be recorded sometime near the end of a tour when key members of his backing group have departed for other gigs. Dylan himself will be hung-over and sick. The track selection will be chosen by the marketing department with "input" from Bob. Think I'm being cruel? I've got copies of Real Live and Dylan and the Dead here that say I'm being kind. Or maybe you'd like to hear that live version of "I and I" one more time just to be sure.
The singles in question are "Love Sick" (released as a pair of discs each with different B-sides, a loathsome European marketing tactic) and "Not Dark Yet." The B-sides are as follows: "Love Sick," (recorded at the Grammys), "Cold Irons Bound," "Cocaine Blues," "Born in Time," "Can't Wait," "Roving Gambler," "Blind Willie McTell," "Tombstone Blues," "Ballad of a Thin Man," and "Boots of Spanish Leather," all recorded between 1997 and 1998. Taken together they make the case for Dylan's continued artistic endurance and his best damn live album since Dylan and the Band's 1974 set Before the Flood.
It's all there in his voice, the barbed wire croak that's inspired so many parodies and caused so many arguments. With age it resembles nothing so much as the ancient bluesmen's moans it sought to emulate from the beginning. "My brain is so wired," sings Dylan during "Love Sick," and the feeling is immediate. The electricity flows and transmits. Dylan reconnects with his music and his audience. For every one of us who has witnessed a distracted Bob straining his voice and rushing his lyrics to just get them over with, "Love Sick" is stunning. His voice is full-throated, the lyrics dramatically timed and spit forth with convincing emotion. Time Out of Mind's other tracks are equally affecting. "Cold Irons Bound" has an extra slab of muscle that makes the album version seem far too tame, while "Can't Wait," a song I barely noticed in its studio incarnation, takes on a fevered pace and, while still far from a Dylan classic, seems rightfully suited for the band's steamrolling abilities.