Bob Dylan: Springtime In New York 1980-1985 - Bootleg Series Vol. 16
This five disc release from Bob Dylan's Bootleg Series includes tour rehearsals and outtakes/alternative versions from the sessions for the Shot Of Love, Infidels and Empire Burlesque albums. It covers the period that saw the end of Dylan's overtly Christian-themed output, merging into the distinctly secular (in the most part) Infidels and on to the very eighties synthesiser-dominated Empire Burlesque. The cuts from that album are actually far rockier and much less synth-dominated.
For many, this would not seem to be the most promising of periods, but, thinking about it, Infidels and Shot Of Love were both pretty well-received and the same is true of this collection. It shows an artist getting himself out of a particular lyrical rut and trying out all sorts of approaches, using many new musicians, such as legendary Jamaican rhythm duo Sly Dunbar and Robbie Shakespeare on Infidels for example, as well as Mark Knopfler and ex-Rolling Stone Mick Taylor.
After a slightly incongruous beginning with a run-through of 1978's Señor (Tales Of Yankee Power), the subsequent Shot Of Love material is very gospelly overall, with ramped up female backing vocals to the fore. It still has that religious fervour to its sound, but this time we find Dylan is telling us on occasions that he needs a woman as opposed to The Lord. The times were a-changin' once more for the old chameleon. Dylan is letting the blues back into his soul once more, too, such as on the grind of Mystery Train (with Ringo Starr on drums, incidentally). He also enthusiastically covers Michael Johnson's 1978 soft rock number, This Night Won't Last Forever. A number of other rather superfluous covers are given an airing - Sweet Caroline, Abraham, Martin & John, I Wish It Would Rain, Let It Be Me, Cold, Cold Heart, Fever - but it is the Dylan originals that are more interesting to me such as the beguiling, atmospheric ballad Angelina, the reggae-lite of Don't Ever Take Yourself Away and the organ-driven slightly Blonde On Blonde-style rock of Borrowed Time. The impressive Is It Worth It? also introduces the reggae-tinged rhythms that would so characterise the next album up, Infidels.
It is the Infidels material onwards that really does it for me, beginning with an alternative take on one of my all-time Dylan favourites, Jokerman. We then get a "full band" version of Blind Willie McTell, which I prefer to the acoustic one so loved by so many. The two alternate takes on Don't Fall Apart On Me Tonight are suitably lovely. Someone's Got A Hold Of My Heart is great. For me, this was Dylan with his mojo back, or at least a mojo with a wider appeal. All the Infidels outtakes are good ones, to be honest. I'm sure a couple more tracks could have been added to that album's eight. This Was My Love, Tell Me, Too Late, Foot Of Pride and Death Is Not The End are all strong candidates. The rocking Julius And Ethel has an unexpected appeal too, despite its repetitive chorus. Talking of unexpected, a cover of Tom Jones's lachrymose Green, Grass Of Home was a surprise.
The Empire Burlesque alternate takes are a revelation - shorn of their synthesisers and beautifully rocking, such as on the now riffy Seeing The Real You At Last and Clean Cut Kid. These are just so much better than the cuts Dylan used on the eventual album. Emotionally Yours is much better too but the real jewel in this box set's crown is the alternative version of Brownsville girl, titled New Danville Girl. It is a glorious addition to Dylan's long list of great narrative songs. Truly wonderful - as cinematic as the Gregory Peck movie Dylan is trying to recall throughout the song. When the night Comes Falling From the sky has a fine riffy version, although the best one is the one recorded with Bruce Springsteen's E St. Band that appeared on The Bootleg Series Volumes 1-3.
Just how much better an album would Empire Burlesque have been if these versions have been the ones used.
In conclusion, when I first heard this collection, I loved it, but recently I have been listening to The Cutting Edge, Tell Tell Signs and More blood More Tracks, so it hasn't seemed quite so good. While it isn't up the their standard it certainly throws a bright new light on a previously lambasted period in Dylan's career.
Below are the full track listings from the five CD collection but before that you may wish to check out my reviews of the albums that were eventually released -
