A CS production, December 2013
CD 1:
1. Hard Times - Willie Nelson Special, April 28, 1993
2. Political World - outtake, Oh Mercy
3. Pancho And Lefty - Cava dei Tireni, June 21, 1989
4. 2X2 - outtake, Under The Red Sky
5. Ragged & Dirty - Supper Club, November 17, 1993
6. Catskill Serenade - Bromberg sessions
7. Jim Jones - Supper Club, November 17, 1993
8. Born In Time - outtake, Under The Red Sky
9. Female Rambling Sailor - Melbourne, April 5, 1992
10. 20-20 Vision - Austin, October 25, 1991
11. Wiggle Wiggle - outtake, Under The Red Sky
12. Series of Dreams - Vienna, September 8, 1993
13. Lucky Old Sun - Madison, November 5, 1991
14. TV Talkin' Song - outtake, Under The Red Sky
15. Lakes Of Ponchartrain - Madrid, June 15, 1989
16. Jack-A-Roe - Supper Club, November 17, 1993
17. Most Of The Time - outtake, Oh Mercy
CD 2:
1. Trail Of The Buffalo - The Hague, June 10, 1989
2. Under The Red Sky - outtake, Under The Red Sky
3. Little Moses - Omaha, September 5, 1993
4. God Knows - outtake, Oh Mercy
5. Sloppy Drunk - Bromberg sessions
6. Golden Vanity - Maui, April 22, 1992
7. Unbelievable - outtake, Under The Red Sky
8. Has Anybody Seen My Love - Supper Club, November 16, 1993 Early
9. Shooting Star - outtake, Oh Mercy
10. Polly Vaughan - Bromberg sessions
11. Blood In My Eyes - Supper Club, November 17, 1993
12. Roving Blade - Reims, July 1, 1992
13. Born In Time - outtake, Oh Mercy
14. Delia - Supper Club, November 17, 1993
15. Handy Dandy - outtake, Under The Red Sky
16. The Water is Wide - Dublin, June 3, 1989
I have been working on this new compilation quite frequently, and it is finally ready for release. This project was exciting enough that, for the first time, I've broken my primary rule - the single disc format.
Standout tracks from the first volume include the first of three Bromberg Session tracks extensively remastered from the original circulating tapes (rather than the Dolby-ized version floating around), a grand performance of "Hard Times" from Willie Nelson's 60th Birthday Tribute, an expanded "Political World," a word-perfect rendition of "Series of Dreams," a darker outtake of "TV Talkin' Song," and a full suite of Supper Club performances from then-recently released World Gone Wrong and Good As I Been To You. Finally, not to be missed is the absolutely stunning "Female Rambling Sailor." Though many of the highlights from these years consist of Bob Dylan performing traditional songs with an otherworldly passion, "Female Rambling Sailor" stands out as heartbreaking.
The second of two volumes in my collection which pertain to the best of Bob Dylan's unreleased output between 1989 and 1993 should be equivalent to the first in quality, but I would like to make note of several highlights that may raise this part to a superior rank.
The first song, "Trail of the Buffalo," is a live outing of the track from 1989, and it appears here in its electric guise. It was played variously acoustically and electrically during the early years of the Never-Ending Tour, but I prefer the electric version. There is a violent kind of energy about this track that really puts the listener on edge. The band also briefly indulges in an almost klezmer-esque improvisation.
"Little Moses," also live, is about as fine a relationship as one can get between audience and singer. You can really hear the fans cheer as Dylan related the story of Moses in its old spiritual form, and you can hear the singer smile at times as he spins the tale.
"God Knows" is similar to the take heard on Tell Tale Signs, but has a slightly looser energy, culminating in a shouted "Aw!" between portions of the verse.
"Sloppy Drunk" is a jaunty tune recorded at the ill-fated Bromberg Sessions of 1992. These were intended to produce a full album follow-up to Under The Red Sky, but were found wanting for one reason or another; instead, Good As I Been To You was recorded. Though I am grateful for that fantastic record, one wonders at what other gems were recorded in 1992 but remain unreleased. The songs were drawn from various sources, including old country songs, mid-century rock songs, traditional ballads and contemporary singer-songwriter fare of the 1960s and 1970s. Many songs were connected to David Bromberg, who supervised the session.
"Has Anybody Seen My Love" is the esteemed recording from Dylan's 1993 live stint at The Supper Club, originally intended to be released officially; this was eventually shelved, ostensibly in favor of his MTV Unplugged record from the following year. Though this song is the only one that does not quite meet the criteria of this package (songs either originating in this period, or covers which are meaningful because of their significance to this time), it almost qualifies as a fully-formed reinvention of the Empire Burlesque original. There is something so free and jazz-like about this performance - the mood is so fully communicated.
"Shooting Star" is a good, though not great, performance and recording from the sessions for 1989's Oh Mercy record. It is interesting primarily because it has a radically different set of lyrics, an early draft that would be dramatically reworked for the final release.
"Polly Vaughan" is an allegedly original arrangement of an old Irish folk song, on which Wikipedia's knowledge is extensive. Dylan's arrangement and vocals are haunting, particularly the ambiguous final verse in which the eponymous woman appears as a ghost in a courtroom, "like a fountain of snow."
"Roving Blade" is one of my favorite live performances from this time period, and it sounds so fresh. The singer is committed to every word, and closes the song how he begins it. Though this would be performed twice more during the Never-Ending Tour, the 1992 rendition is the finest.
Finally, "The Water Is Wide" is one of the greatest extant recordings from Bob Dylan's live career, to my ears. It is so utterly passionate and courageous, sounding in no way like any other version of the song I've heard. The singer inhabits every syllable, culminating in a heartbreakingly harmonized final chorus. The band, too, is at the top of their game, providing all of the rhythm and sympathetic guitar that a listener could want. It's all been captured here in astounding clarity.
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