And the extra sides of outtakes from the convoluted sessions that produced this gem are equally as compelling. Dylan, ever the role player, was inhabiting a persona, slipping into a black jacket and working the character for fresh angles. If “Not Dark Yet” sounded like it was in the beginning stages of evaporation, “Mississippi” felt like fumes itself—far too ethereal and light for Time Out of Mind. The compilation includes a remix of the original Time Out of Mind album, outtakes, alternate versions and live recordings.

All in all at least 12 musicians found themselves crowded in Criteria, with Bob Dylan as their bandleader (“Two of everything, like Noah’s Ark,” marveled pedal steel guitarist Cindy Cashdollar). All of these live versions are previously unreleased, apart from the 1998 recording of ‘Make You Feel My Love’ from L. Disc five is a bonus disc containing all Time Out Of Mind related tracks that were previously available on The Bootleg Series Vol.

On Disc 2’s take on the folk standard “The Water Is Wide,” Dylan leans into the performance as if he might reach out and touch the shoulder of his beloved. Disc 4 contains live versions from the years 1998-2001 - I love live Dylan but for this period, I'm primarily interested in studio recordings, but the sound quality of these recordings seems underwhelming on first listen. Die Bootleg Recordings Nummer 17 in allen Editionen sind wieder eine edle Publikation in gewohnter Manier wie die anderen davor für die große Gefolgschaft des Poeten der bis zu Weihnachten 2024 seine Rough and Rowdy Ways World Wide Tour noch bestreitet. Disc 1 is a new mix of the original album, with a less gloomy feel, and bringing Dylan's feral growl right up front in your living room.

Dylan’s voice is cleaner and more audible in the mix, which will please listeners who thought Lanois’ original production was too murky and swampy, and with too many effects on Dylan’s vocals. Listening to the evolution of Time Out of Mind’s most beloved song, “Not Dark Yet,” shows how these lurching, unsteady sessions wound up yielding their particular exhausted glitter. Brauer, of the eleven original recordings on Time Out of Mind, sounding more like how the songs came across when the musicians originally played them in the room. This set gets it right, consisting as it does of well over 60 minute discs but it also has more impact focussing on one album.follows the evolution of songs written for the album, from intimate early incarnations in the previously unreleased 1996 Teatro sessions through incandescent live renditions showcasing Dylan and his touring ensemble channeling the songs on-stage from 1998-2001. Bob is always capable of pulling surprises within different versions of the same song, so it is all there to argue about, enjoy or not.

Although the band here is solid, the live songs also differ from the album versions, Love Sick for example really rocks. These are not driving rock numbers, and yet they were three or four drum kits rolling away at any point. This makes for a really fascinating and rewarding listen as you not only trace the evolution of the songs but can decide whether you prefer the album as released or as a more upbeat version. The definitive version of “Mississippi,” which wasn’t released until 2008 and included on the fifth disc, is suffused with air and light. I felt that his voice, which was at one of it's least easy on the ears stages in the mid-1990s, was being propped up, or glossed over, by the production.

You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice. Conversely, Version 2 of ‘Can’t Wait’ (CD 3 – 1997) slows things right down – it’s sultry, dubby, late-night blues, while Version 1 of ‘Love Sick’ (CD 2 – 1997) is seriously spooky, with Dylan’s voice sounding husky and cracked. Standing in The Doorway’ in ‘Version 1’ mode (CD 2 – 1997) sees Dylan trying out a much quicker tempo – it’s sprightly and really swings, with extra lyrics that didn’t make the album cut, while Version 1 of ‘Mississippi’ (CD 2 – 1997) a song that wasn’t on Time Out of Mind but was destined for 2001’s Love and Theft, is a delight – kind of honky-tonk-funk-meets-Cajun. A fifth unreleased performance, Dylan's interpretation of "The Water is Wide," a traditional folk song of Scottish origin (and spiritual precursor of "Highlands," Time Out of Mind's epic closer) opens Disc Two. The story began, appropriately enough, in a picaresque old playhouse Lanois dubbed the Teatro, filled with storybook touches—cob-webbed 16mm projectors, dusty mirror balls.

Lanois rarely spoke to Dylan before and after takes, and entire days unfolded in icy, uncomfortable silence.What becomes abundantly clear over the course of the set’s six hours is that Time Out of Mind is primarily the story of a mood, and one ensemble’s single-minded pursuit of it.