It's part of the Bob Dylan mythology that the iconic singer-songwriter shoots from the hip in the studio, forgoing preparation in the name of spontaneity.
Although that's certainly an aspect of his work, the generous and enlightening trove of unreleased material on the new "Tell Tale Signs: The Bootleg Series Vol. 8" illustrates that even his throwaways qualify as works of art.
This exceptional two-disc edition, released last week, 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 less embryonic and 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 particular 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 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 so intimate 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.
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