Bob Dylan - Tell Tale Signs: the Bootleg Series Vol. 8
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Free Music Notes for Tell Tale Signs: the Bootleg Series Vol. 8
Free Music Review: 4 1/2 stars. High water everywhere
Hit: 5 Stars
Volume 8 of Bob Dylan's "Bootleg Series" presents 27 songs from 1989 onwards, most of them previously unreleased. It is not quite as revelatory as some of the previous installments, but it is nevertheless a worthy addition to the rich and vibrant musical legacy of Robert Allen Zimmermann.
This is a collection of alternates, rarities, and live versions, which means that there are few completely "new" songs to be found. But that doesn't make "Tell Tale Signs" a waste of your time (or your money), far from it. Many of these alternates are so vastly different from the "official" versions that they seem almost like a whole other song, like the opener, a completely stripped-down "Mississippi" featuring just Dylan and an electric guitar playing subtle blues licks, the rearranged blues standard "Someday Baby", or the lean and gritty solo rendition of "Most of the Time". Just Dylan, his guitar and his harmonica, pure and undestilled.
The casual listener may feel that this collection is lacking in variation...quite a lot of songs, especially on disc one, are set at approximately the same tempo, a lazy shuffle, and a number of them even sound like they're in the same key, which may make Dylan's vocals seem a little unvaried.
And yes, "Signs" may require a little bit of patience. But give it a chance and it'll grow on you. Seriously, everyone with even the slightest interest in His Bobness has to fall for this beautiful, majestic "Born in Time", which, to me, at least, completely overshadows the one released twenty years ago on "Under the Red Sky". The simple piano demo of "Dignity" is much more urgent and powerful than the one from "Greatest Hits III", and I also much prefer this punchy, energetic version of "Everything is Broken" to the original. It is leaner and meaner, with fewer instruments and a more bluesy vibe, freed from the sometimes rather glossy production of Dylan's 80s albums.
Disc one ends with another highlight, a searing, fully-electric live rendition of "High Water (for Charley Patton)", all pounding drums, sizzling electric guitars and a strong, precise vocal by Dylan, who also plays the piano. And disc two opens with the second alternate take of "Mississippi", a slow, hoarsely whispered folkish version with a full band backing Dylan, followed by a real treat, a solo acoustic performance of Robert Johnson's "32-20 Blues". Dylan plays the completely authentic acoustic blues guitar riff, and lays down a magnificent, craggy vocal. And his duet with bluegrass veteran Ralph Stanley on the swinging country number "The Lonesome River" shows the incredible bredth of Dylan's talents.
There are numerous other highlights to savour as well, like the potent mid-tempo hard rock of "God Knows", the punchy, full-band R&B-version of "Dignity", the wistful ballad "Miss the Mississippi", the spooky "Ain't Talkin'", and a tough live "Lonesome Day Blues". And don't forget the slow, moody "Cross the Green Mountain" which closes the album, an eight-minute Civil War narrative from a master lyricist.
The sound is absolutely phenomenal all the way through, and the liner notes are nothing if not thorough (the enclosed booklet is sixty pages!). "Tell Tale Signs" is not _quite_ as amazing as some of the earlier "Bootleg" albums, but judged on its own merits this collection of outtakes and alternates is head and shoulders above most singer-songwriters' finest, most laboured-over efforts. Fans will not want to be without it.
Free Music Review: Another vital installment
Hit: 5 Stars
The man is an icon. Years from now, just as Sinatra and Elvis will probably never disappear, nor will Bob.
This was a great period for him, a comeback; in his own words he felt revitalzed after a period in the early 80's of being uninspired and maybe a bit burnt out. Overall the bootleg series has done a great job of offering a deeper glimpse into his craft - the alternate versions are, well *alternate*, not just musically but sometimes lyrically. For anyone who was excited by the releases covered here (No Mercy thru Modern Times) this is absolutley essential.
Won't get into a track by track. And (for me) there are a few inclusions that while I admire, I am not (on 4th listen) jumping out of my socks over. But most of the 27 tracks are very powerful. This was a period of songs of love, resignation, contemplation and a return to some folk roots/covers. (Hmmm, sounds like any of his work?). As many know, Daniel Lanois and "Jack Frost" (guess who that is) really created an atmospheric surrounding unlike any of his prevoius work. The booklet included has lots of interesting info on the sessions.
Highlights for me... Always loved Mississippi; the two versions here are very different and I could listen to this song forever. Good contrasts on Dignity; the 1st (piano) sounds like it would fit well on New Morning. Most the the alternate versions are as good as the originals, and as mentioned earlier, are very different so worth having. I always look for the unreleased stuff as the real finds. Red River Shore is maybe the best of these. A real classic - the simplest of lyrics and phrasing to create a story of love and longing with some great backup (Duke robillard, augie myers, jim luther dickinson, jim keltner). Born in Time is a gorgeous song and for those who say he can't sing anymore, give this one a listen. Dreamin of You has the dense, blues-rock feel for Time Out of Mind and Marchin to the City (same sessions) is a slower blues based song. And I will always take Series of Dreams, the version here propelled by a driving deep emphasis on drums/bass; the guitars quickly keeping pace. Can't Escape From you is a slower ballad in 3-time. There's some folksy tunes with trademark harmonica; some raw acoustic blues - 32/20 and Cocaine Blues. A few tracks from movie soundtracks. Just a lot of variety and truly excellent material.
Last thing, two of the live cuts. Girl on the Greenbriar Shore is a standout. This would have fit his early sets at Newport. It has a timeless melody, deft strumming, and is a nice ode to again, a love lost. Then there's High Water. OMG. This is pure power - Bob on piano (well mixed) and three guitars fueling the energy. And hey, you can understand the words! (I've seen him 3 times in the past few years - loved every show, generally had no idea what he was singing except for knowing the songs).
Final comment - I have recommended this to friends and am tired of hearing "Yeah, but he can't sing anymore". Huh? There is more than ample proof here that Bob can still sing, and he still has that unique, magic way of turning a phrase with a wisp or a sneer. There is a lot of really great stuff here folks... a lot of variety too. For non-fans, doubtful they will have too much appreciation. For anyone else who likes or loves the man and his music I believe you will find a lot here to enjoy. Have fun!!
Free Music Review: Priceless documentation of one of the finest songwriters ever to live...
Hit: 5 Stars
The bootleg series has, if nothing else, provided an amazing document of some of the interesting side-roads that Dylan has taken. Some of the discs have been transcendental, showcasing little known or difficult to find songs; others have been full of alternate versions that have not been that different from versions that we know. Volume 8 is a revelation, shining a light on a period of Dylan's output that is much misunderstood for reasons that have never been completely clear to me. The 80's are a hard period for many musicians as they are changing from the 60's and 70's song craft that made them famous in the classic rock and roll or folk mold towards a more technology savvy and friendly time period. At worst, this decade has foisted an unconscionable amount of bad drum machine tracks onto otherwise amazing artists. At best, it has pushed legends like Dylan to find something genuine and timely. The early years of the 80's (not covered by this disc) found him searching--spiritually, musically, stylistically. By the late 80's and into the 90's, Dylan had reclaimed his visionary status.
This disk is an essential companion to some of his most listenable albums of his career. The opening track, Mississippi is an unreleased track from the Time Out of Mind album. For those who were agog at Daniel Lanois ability to coax more Bob out of Bob, this will be continued vindication of that period. Red River Shore, also from the same sessions is possessed of a languid beauty, and a raw power that is palpable.
In general, the rest of the tracks on this album are of similar quality--genuinely revelatory takes on pieces that you may have heard before in bootleg format or perhaps live, but always something new. Bob's gravelly baritone is shown in all its rough glory, and the production value on the tracks is generally high. The live tracks are, in my opinion, equally good, and show some of the live music spark that makes a Dylan show something special.
Probably none of this is revelation to you, if you are reading this. You probably already love Dylan, and are probably chomping at the proverbial bit to get this disc. You won't be sad that you did. For those of you who don't know much about Dylan, there are a lot worse places to get your feet wet than here. Sure, it isn't one of his albums, and therefore won't give you that sense of togetherness that his best vinyl collections give you, but the songs are uniformly strong. If you find yourself enjoying these songs, you've got some realy treasures yet to explore. Overall, it was all that I had hoped for from this much anticipated release, and I'm certain that Dylan fans will generally rank this among the most indispensable of his bootleg releases.
Free Music Review: Lost in a Land; Oh God.
Hit: 5 Stars
For me, it seems so clear that what Dylan wants, in his art, in his songs, he gets. When he wants to challenge the way people in general, at the time, think about the world, he reconstructs the simple folk tradition narrative, turns it on its side and says 'look.' When he wants to pull the carpet out under the very culture, society, he lives in, he does the same thing with pop music (or whatever you call the mid 60s stuff); when he wants to be content with his family and live in a simple world, his songs reflect that; when he wants to create a masterful, painterly drama (like Vermeer or any of the old greats) based on a series of Chekhov plays, he pulls from his heart and his life a masterwork indeed; when he seeks God, he creates some of the most urgent and personal spiritual gospel music of the past 50 years; and since then?
Post-'76 material by Bob Dylan should by no means be looked at simply as work by a legend that's past his prime but at least he's still trying. In my estimation, since the late 70s, Mr Dylan's work has taken on an added dimension, a spiritual component that looks beyond this world, drawing from this world while keeping it in the context of another, a greater world; and it seems to be no mythological world, but an earnest, heavily felt and believed in one. Not to say that everything since '77 has been great from this artist (formerly known as Zimmerman); much of the 80s material comes to mind, but I think it is more of the matter that he didn't know what he wanted, that he was lost, at least I think I can speak about that concerning the art, never mind the personal life, which isn't ours (you can't buy his personal life with a few clicks from this website). Actually, since Oh Mercy, there aren't any of his studio albums that I am particularly drawn to. But then this, like all the things that were previously scrapped were scrapped perfectly, to bring about a collection of songs that speak so directly to America and to the world we live in, throwing in proportions that are over and above it, beautiful arrangements and totally realized. If you get it, you can put it next to Highway 61 and say, of course that is great; but you can't accurately make a comparison. This stuff is looking at different things.
Of course, an album of outtakes is bound to be imperfect, so although some of the best songs in his career--again in my estimation--are here to be found, such as Red River Shore, Can't Escape From You, the live '93 version of Ring Them Bells, and Tell Ole Bill, to name but a few, there are unfinished songs on here, and not everything is top material. But don't dismiss it, is my take.
Free Music Review: Dylan's unreleased stuff is awesome as usual...often better than the offical versions....
Hit: 5 Stars
This is another awesome adventure in the bootleg series of Bob Dylan. This one is one of the best bootleg series out there. As usual, the material that Dylan keeps off of the record is as good and sometimes better than the stuff he officially releases.
The first alternative take of Mississippi, a song that appeared on Love and Theft although initially recorded at the Time Out of Mind sessions, is gorgeous. It's as good as the offically released version, and it many ways surprasses it. It's much more melancholy and spare, leaving Dylan's vocal to come to the fore. The 2nd alternative take of Mississippi is OK. The version of Someday Baby here is a much more atmospheric, subtly angry, and mysterious song. It's a lot better than the Modern Times version. Red River Shore was one of those unreleased tracks that obtained almost a god like reputation, and it deserves it. It's one of Dylan's most moving songs. Can't Wait and Everything is Broken are released here in alternative versions with completely different lyrics for both. Both versions are excellent, and I like the new version of Broken more than the official one. Marchin' to the City is a great, great gospel like number which eventually became Til I Fell in Love with You on Time Out of Mind. Marchin' is a much more powerful, moving song that what it became. Can't Escape from You is gorgeous. Dylan sings a lot like Tom Waits on this track, and it really works.
There are several live tracks that are essential for any Dylan fan. The versions of Lonesome Day Blues and High Water (for Charley Patton) are much more aggressive and rockin' than the album counterparts. The version of Ring Them Bells is much more livelier than its studio counterpart, and The Girl on the Greenbriar Shore is awesome too. There's a great duet with Ralph Stanley called The Lonesome River, a great song from the "Bloomberg" sessions called Miss the Mississippi, and the addition of Cross the Green Mountain is a godsend. I've always loved this song. It's from the soundtrack to the very underrated film Gods and Generals, and now it's available on a Dylan album, so you don't have to buy the soundtrack.
It's a testament to Bob Dylan's genius that he can take one of his songs and rework it so many ways. It's really remarkable, and it's one of the reasons he's remained such a vital artist his whole life. This is one of the best bootlegs series CD's out there, and a must for any Dylan fan.