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Summary: "How About We Play It in B Flat..."
Comment:
Before launching into a totally reworked, and great version of "Can't wait" from "Time out of mind", Dylan says "How About We Play It in B Flat...".
With those eight words, he reveals a lot 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 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.
Thankfully, Bob Dylan, Jim White, Robyn Hitchcock, Beck, along with former members of 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 spans from 1989's "Oh Mercy" through 2006's "Modern Times". Most of the records he released during that timeframe are every bit as strong, and stronger in some instances, as any of the so called "classic" Dylan releases from the 60s and 70s.
Over the years, the album versions of the songs have become familiar, yet never tiring. Hearing radically revised versions of the songs is unsettling for many people, but these new versions reawaken that spirit of wonder and excitement described above.
Maybe it's analagous to the feeling you get when you step into that room in your house that you just remodeled and had it repainted just the way you wanted. You've always loved the house, and always will, but it's even more enjoyable to experience it in that new light.
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Summary: Dylan's Tell Tale Signs
Comment: 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.
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Summary: Must have for Dylan fans
Comment: 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.
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Summary: The Bottomless Well of Genius
Comment: 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.
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Summary: The best outtakes of his life and that says it all.Thank you Bob
Comment: 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
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