BOB DYLAN : ANOTHER SELF PORTRAIT (1969-1971) - THE BOOTLEG SERIES VOL. 10

Disc One (51:07)

1. Went to See the Gypsy
2. Little Sadie
3. Pretty Saro
4. Alberta #3
5. Spanish is the Loving Tongue
6. Annie's Going to Sing Her Song
7. Time Passes Slowly #1
8. Only a Hobo
9. Minstrel Boy
10. I Threw It All Away
11. Railroad Bill
12. Thirsty Boots
13. This Evening So Soon
14. These Hands
15. In Search of Little Sadie
16. House Carpenter
17. All the Tired Horses

Disc Two (62:03)

1. If Not for You
2. Wallflower
3. Wigwam
4. Days of '49
5. Working on a Guru
6. Country Pie
7. I'll Be Your Baby Tonight
8. Highway 61 Revisited
9. Copper Kettle
10. Bring Me a Little Water
11. Sign on the Window
12. Tattle O'Day
13. If Dogs Run Free
14. New Morning
15. Went to See the Gypsy
16. Belle Isle
17. Time Passes Slowly #2
18. When I Paint My Masterpiece

Disc Three : Isle Of Wight Festival, 1969 (60:31)

1. Intro
2. She Belongs to Me
3. I Threw It All Away
4. Maggie's Farm
5. Wild Mountain Thyme
6. It Ain't Me Babe
7. To Ramona
8. Mr. Tambourine Man
9. I Dreamed I Saw St. Augustine
10. Lay Lady Lay
11. Highway 61 Revisited
12. One Too Many Mornings
13. I Pity the Poor Immigrant
14. Like a Rolling Stone
15. I'll Be Your Baby Tonight
16. Quinn the Eskimo (The Mighty Quinn)
17. Minstrel Boy
18. Rainy Day Women#12 & 35

Label : Columbia

Release Year : 2013

Review (AllMusic) : Another Self Portrait, the tenth volume in Bob Dylan's official bootleg series, assembles a slew of unreleased tracks, un-and over-dubbed alternate takes, and demos, mostly from 1970's Self Portrait and New Morning sessions - they were recorded simultaneously and released within months of one another - and other material. Dylan restlessly dug into the fakebook of folk, blues, and country tunes that nourished him from the beginning. The few original songs are minor ones. Twenty-six of these 35 selections were recorded between March and June. Dylan is in fine voice and he tries on many: some raspy, others crystal clear, all of them bold. The interconnected nature of these albums is revealed with the opening demo for "Went to See the Gypsy" (used on NM). It's just Dylan and guitarist David Bromberg. (Another take recorded three months later features just Dylan on electric piano.) There are two undubbed takes of "Little Sadie" at different tempos; two of "Time Passes Slowly" - the first a basic folk-rock read, the latter an aggressive one with Al Kooper's B-3 swelling to a crescendo from the jump. Dylan and Bromberg, with Kooper on piano, deliver a haunted, undubbed "Days of 49." Many of the unreleased tunes are gems. "Pretty Saro" - with Dylan in his cleanest Nashville Skyline croon displaying a real range - and the vocal and piano read of "Spanish Is the Loving Tongue" are deeply moving love songs. "House Carpenter" is a high lonesome blues. The skeletal "Alberta #3" puts the versions from SP to shame. Eric Andersen's "Thirsty Boots" has Bromberg's spidery guitar weaving a separate lyric through Dylan's vocal. A demo of "When I Paint My Masterpiece" from 1971, contains slightly different (better) lyrics. The stripped-down "Copper Kettle" stands out when contrasted with its released version. Dylan was impatiently experimenting with arrangements on both records, particularly the latter, and some don't work. "If Not for You" features a violin instead of George Harrison's guitar. The unreleased "Working on a Guru" is almost a throwaway, but Harrison's blues-rock guitar playing smokes. The alternate "New Morning," with a brassy, Stax-style horn arrangement, is great, but the full orchestral overdub on "Sign on a Window" - complete with harp - fails, as does the spoken word with female gospel backing chorus on "If Dogs Run Free." Arguably, of the NM material, Dylan made the right choices for the finished album, which doesn't make what's here less interesting. The remainder of these tracks includes "Minstrel Boy," an unreleased Basement Tapes number, and two tunes from the Isle of Wight with the Band, some alternates of Nashville Skyline, and others from 1971. Another Self Portrait asks many questions, but there is one that hounds because it's unanswerable, especially in regard to its namesake: why did Dylan record all this material, in this way, and then release something entirely different? It doesn't matter. For fans, this is more than a curiosity, it's an indispensable addition to the catalog.