Those were Bringing It All Back Home, Highway 61 Revisited and the double elpee Blonde on Blonde. The popularity of the previous 11 “Bootleg” volumes attests to that.įor the 12th collection in the series, the producers Jeff Rosen and Steve Berkowitz chose a more challenging task than any they’d previously attempted, which was to collect, catalog and curate every snippet of available music and sound produced by Bob Dylan in the astonishingly productive and creative period between January, 1965 and February, 1966.ĭylan himself probably can’t account for how, during those fourteen months, he recorded three albums that changed the course not only of his musical career, but that of popular music itself for decades to come if not forever.
Alternate takes, when they do surface, usually make clear why they were passed over in favor of the one programmed into your brain, though there are exceptions.īob Dylan is one of the few “song and dance men” (as Dylan once famously described himself in a 1965 interview broadcast on San Francisco station KQED when asked if he considered himself primarily a singer or a poet) where interest is high for every unearthed scrap of tape, scratchy acetate, or piece of paper containing a lyric.
The work leading up to the master often gets lost, tossed or erased and recorded over without a thought that it might be of interest to anyone. Recorded music comes to us pressed in plastic and frozen in time.
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