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Music : Tell Tale Signs: The Bootleg Series Vol. 8 (Deluxe)
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Rating: 
- "How About We Play It in B Flat..."
Before launching into a totally different, and great version of "Can't wait" from "Time out of mind", Dylan says "How About We Play It in B Flat...".
With those 8 words, he reveals a lot to this non musician about how he, and a precious few other musicians, keep reinventing their own songs.
For those of us who first began attending concerts during the age of
psychedelics, a favorite musician or group's live show could be a real revelation, not to mention tremendously exciting, when it didn't become apparent until well into a particular song which song was actually being played. Many in the audience waited with eager anticipation and hope that something unexpected, unrehearsed, or spontaneous might occur on stage, and when it did, the concert would become a transformative experience instead of simply a live performance that mostly adhered to the album versions of the songs.
It seems as time has passed, even some of the musicians and bands who were once more willing to be experiment and be spontaneous have become less inclined to do so, and in many instances, have lost all spontaneity.
Some musicians take less musical risks because it's easier for them not to, others do it, let's face it, because of money: Their (probably mostly accurate) perception that most of their fans come to hear the songs played note for note the way the studio (and radio) versions sound, not "..some weirded out version I could hardly recognize..".
Thankfully, Bob Dylan, Jim White, Robyn Hitchcock, Beck, along with splinter members from the Grateful Dead (just to name a few of the ones who come to my mind) still have that spirit of experimentation and improvisation with their own and others' songs, whether played live, or as bootlegs and alternate releases. The alternate versions of Beatles songs that were released in the 90s show that band was also not afraid to reinterpret their own songs. Interestingly, but not surprisingly, Paul McCartney pretty much sticks to the studio versions of Beatles songs live.
Back to Dylan, the music on Vol. 8 is taken from "Oh Mercy", "Time out of mind", and "Love and theft". These three records are just as strong, and stronger in some instances, as far as I'm concerned, than any of the so called "classic" Dylan releases from the 60s and 70s.
Over the years, I've come to know and love each of these albums, and will never tire of them. Hearing radically revised versions of the songs is unsettling for many people, but to me, these new versions reawaken that spirit of wonder and excitement I described above. Most of the songs sound fantastic on the first listen, but I look forward to hearing them again and again.
I suppose it's a similar feeling to the one you get when you step into that room in your house that you just remodeled and repainted the way you wanted. You've always loved the house, and always will, but now you're enjoying it even more than before.
Rating:
- Dylan's Tell Tale Signs
I have not heard all of Bob Dylan's recordings, but this one has to be his best yet. The maturity in his voice, his intonations and deep felt emotions. I can't decide whether I like Vol.I or Vol.II the best.
If this is Bob in his 60's, look out 70's.
Rating: - Must have for Dylan fans
This is a really great addition to the Bootleg series..all songs are from his more recent albums and there is, in some instances,more than one version of the original. I can listen to "Mississippi" practically all day, and now I have 3 versions of it.
Dylan's new songs seem adapted to his "new" voice...just perfect.
Rating: - The Bottomless Well of Genius
Bob Dylan's "also-rans" reach the heights of most artist's best work. This collection also makes you realize that there may be no definitive version of a Dylan song. The two versions of Mississippi included here are ample proof of that. While some may quibble that the "rockabilly" take on Dignity trivializes the song somewhat, it is still interesting to hear him attempt it. His band has perfected an elegant take on the blues that is very rich, while being blistering on the live takes. Overall, the variety here is dazzling. This set also makes clear that he has been doing some of his best work for movies lately. 'Cross The Green Mountain, written for "Gods and Generals", immediately ascends to the top 20 Dylan songs - ever. If you think you know Dylan, check this out and be amazed. If you're waiting with bated breath for his next album (as I am) buy this now for some instant gratification.
Rating: - The best outtakes of his life and that says it all.Thank you Bob
It is so fantastick that one man can make the best music that has ever been writen in the history of music.Thanks again Bob.And if you have the time please send us all a new brilliant CD.Eric
- "How About We Play It in B Flat..."Before launching into a totally different, and great version of "Can't wait" from "Time out of mind", Dylan says "How About We Play It in B Flat...".
With those 8 words, he reveals a lot to this non musician about how he, and a precious few other musicians, keep reinventing their own songs.
For those of us who first began attending concerts during the age of
psychedelics, a favorite musician or group's live show could be a real revelation, not to mention tremendously exciting, when it didn't become apparent until well into a particular song which song was actually being played. Many in the audience waited with eager anticipation and hope that something unexpected, unrehearsed, or spontaneous might occur on stage, and when it did, the concert would become a transformative experience instead of simply a live performance that mostly adhered to the album versions of the songs.
It seems as time has passed, even some of the musicians and bands who were once more willing to be experiment and be spontaneous have become less inclined to do so, and in many instances, have lost all spontaneity.
Some musicians take less musical risks because it's easier for them not to, others do it, let's face it, because of money: Their (probably mostly accurate) perception that most of their fans come to hear the songs played note for note the way the studio (and radio) versions sound, not "..some weirded out version I could hardly recognize..".
Thankfully, Bob Dylan, Jim White, Robyn Hitchcock, Beck, along with splinter members from the Grateful Dead (just to name a few of the ones who come to my mind) still have that spirit of experimentation and improvisation with their own and others' songs, whether played live, or as bootlegs and alternate releases. The alternate versions of Beatles songs that were released in the 90s show that band was also not afraid to reinterpret their own songs. Interestingly, but not surprisingly, Paul McCartney pretty much sticks to the studio versions of Beatles songs live.
Back to Dylan, the music on Vol. 8 is taken from "Oh Mercy", "Time out of mind", and "Love and theft". These three records are just as strong, and stronger in some instances, as far as I'm concerned, than any of the so called "classic" Dylan releases from the 60s and 70s.
Over the years, I've come to know and love each of these albums, and will never tire of them. Hearing radically revised versions of the songs is unsettling for many people, but to me, these new versions reawaken that spirit of wonder and excitement I described above. Most of the songs sound fantastic on the first listen, but I look forward to hearing them again and again.
I suppose it's a similar feeling to the one you get when you step into that room in your house that you just remodeled and repainted the way you wanted. You've always loved the house, and always will, but now you're enjoying it even more than before.
Rating:
- Dylan's Tell Tale SignsI have not heard all of Bob Dylan's recordings, but this one has to be his best yet. The maturity in his voice, his intonations and deep felt emotions. I can't decide whether I like Vol.I or Vol.II the best.
If this is Bob in his 60's, look out 70's.
Rating:
- Must have for Dylan fans This is a really great addition to the Bootleg series..all songs are from his more recent albums and there is, in some instances,more than one version of the original. I can listen to "Mississippi" practically all day, and now I have 3 versions of it.
Dylan's new songs seem adapted to his "new" voice...just perfect.
Rating:
- The Bottomless Well of GeniusBob Dylan's "also-rans" reach the heights of most artist's best work. This collection also makes you realize that there may be no definitive version of a Dylan song. The two versions of Mississippi included here are ample proof of that. While some may quibble that the "rockabilly" take on Dignity trivializes the song somewhat, it is still interesting to hear him attempt it. His band has perfected an elegant take on the blues that is very rich, while being blistering on the live takes. Overall, the variety here is dazzling. This set also makes clear that he has been doing some of his best work for movies lately. 'Cross The Green Mountain, written for "Gods and Generals", immediately ascends to the top 20 Dylan songs - ever. If you think you know Dylan, check this out and be amazed. If you're waiting with bated breath for his next album (as I am) buy this now for some instant gratification.
Rating:
- The best outtakes of his life and that says it all.Thank you BobIt is so fantastick that one man can make the best music that has ever been writen in the history of music.Thanks again Bob.And if you have the time please send us all a new brilliant CD.Eric