BOB DYLAN : THE BOOTLEG SERIES VOL. 12 - THE CUTTING EDGE

Disc Two (69:18)

  1. Love Minus Zero/No Limit

  2. Love Minus Zero/No Limit

  3. Love Minus Zero/No Limit

  4. Love Minus Zero/No Limit

  5. I'll Keep It with Mine

  6. It's All Over Now, Baby Blue

  7. Bob Dylan's 115th Dream

  8. Bob Dylan's 115th Dream

  9. She Belongs to Me

  10. She Belongs to Me

  11. She Belongs to Me

  12. Subterranean Homesick Blues

  13. Subterranean Homesick Blues

  14. Outlaw Blues

  15. Outlaw Blues

  16. On the Road Again

  17. On the Road Again

  18. On the Road Again

  19. On the Road Again

  20. Farewell, Angelina

  21. If You Gotta Go, Go Now

  22. If You Gotta Go, Go Now

  23. You Don't Have to Do That

Disc Two (75:18)

  1. California

  2. It's Alright, Ma (I'm Only Bleeding)
  3. Mr. Tambourine Man
  4. Mr. Tambourine Man
  5. It Takes a Lot to Laugh, It Takes a Train to Cry
  6. It Takes a Lot to Laugh, It Takes a Train to Cry
  7. It Takes a Lot to Laugh, It Takes a Train to Cry
  8. It Takes a Lot to Laugh, It Takes a Train to Cry
  9. Sitting on a Barbed Wire Fence
  10. Tombstone Blues
  11. Tombstone Blues
  12. Positively 4th Street
  13. Positively 4th Street
  14. Positively 4th Street
  15. Desolation Row
  16. Desolation Row
  17. Desolation Row
  18. From a Buick 6
  19. From a Buick 6

Disc Three (65:34)

  1. Like a Rolling Stone

  2. Like a Rolling Stone

  3. Like a Rolling Stone
  4. Like a Rolling Stone
  5. Like a Rolling Stone
  6. Like a Rolling Stone
  7. Like a Rolling Stone
  8. Like a Rolling Stone
  9. Like a Rolling Stone
  10. Like a Rolling Stone
  11. Like a Rolling Stone
  12. Like a Rolling Stone
  13. Like a Rolling Stone
  14. Like a Rolling Stone
  15. Like a Rolling Stone
  16. Like a Rolling Stone
  17. Like a Rolling Stone
  18. Like a Rolling Stone
  19. Like a Rolling Stone
  20. Like a Rolling Stone

Disc Four (68:24)

  1. Can You Please Crawl Out Your Window
  2. Can You Please Crawl Out Your Window
  3. Highway 61 Revisited
  4. Highway 61 Revisited
  5. Highway 61 Revisited
  6. Just Like Tom Thumb's Blues
  7. Just Like Tom Thumb's Blues
  8. Just Like Tom Thumb's blues
  9. Queen Jane Approximately
  10. Queen Jane Approximately
  11. Ballad of a Thin Man
  12. Medicine Sunday
  13. Jet Pilot
  14. I Wanna Be Your Lover
  15. I Wanna Be Your Lover
  16. Unknown Instrumental
  17. Can You Please Crawl Out Your Window
  18. Visions of Johanna
  19. Visions of Johanna

Disc Five (76:03)

  1. Visions of Johanna
  2. Visions of Johanna
  3. Visions of Johanna
  4. She's Your Lover Now
  5. She's Your Lover Now
  6. She's Your Lover Now
  7. She's Your Lover Now
  8. One of Us Must Know (Sooner or Later)
  9. One of Us Must Know (Sooner or Later)
  10. One of Us Must Know (Sooner or Later)
  11. Lunatic Princess
  12. Fourth Time Around
  13. Leopard-Skin Pill-Box Hat
  14. Leopard-Skin Pill-Box Hat

Disc Six (75:19)

  1. Stuck Inside of Mobile with the Memphis Blues Again
  2. Stuck Inside of Mobile with the Memphis Blues Again
  3. Stuck Inside of Mobile with the Memphis Blues Again
  4. Stuck Inside of Mobile with the Memphis Blues Again
  5. Stuck Inside of Mobile with the Memphis Blues Again
  6. Absolutely Sweet Marie
  7. Just Like a Woman
  8. Just Like a Woman
  9. Just Like a Woman
  10. Pledging My Time
  11. Most Likely You Go Your Way (And I'll Go Mine)
  12. Temporary Like Achilles
  13. Obviously 5 Believers
  14. I Want You
  15. Sad-Eyed Lady of the Lowlands

Label : Columbia Records

Release Date : November 6th, 2015

Review (Wikipedia) : "I'll do this one more time and if I can't do it, we'll do another song. I'll do any song as good as I can do it the first time." Bob Dylan says these words once his first solo take of "Love Minus Zero/No Limit" breaks down after a minute. Dylan's definition of "good" is fluid, of course. Sometimes, a first take satisfied him -"Maggie's Farm" and "Gates of Eden" are two prime examples - but often he'd find he could do a song better or at least do it differently, swapping out words, speeding up the tempo, and changing the feel, occasionally radically transforming his song. Sometimes, these radical transformations are the versions that found their way to the finished record, so they're now seen as etched in stone but The Cutting Edge 1965-1966, the 12th volume of The Bootleg Series, shows Dylan didn't enter the studio with posterity in mind when he went to cut Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde: he was making music of and for the moment. Familiarity hasn't necessarily dulled the impact of these three records, all written and recorded within a span of 14 months - a period of time when Dylan also filmed Don't Look Back, electrified the Newport Folk Festival, and was declared a Judas at the Royal Albert Hall - but they have made them seem inevitable, works carved out of granite whose fates were preordained. The gift of The Cutting Edge is that it makes this, the greatest run of creativity in Dylan's career and perhaps in rock & roll in general, once again seems wild, nervy, and quicksilver, upending expectations and undercutting conventions. Within one of the three sets of liner notes, Bill Flanagan calls these six discs of outtakes, alternates, and rehearsals "work tapes," which is technically true, but undersells how this music crackles as it shape-shifts, sometimes soaring, sometimes stumbling, but always feeling fiercely alive. If it's difficult to claim that a solo "Bob Dylan's 115th Dream" and a locomotive "Visions of Johanna" recorded with the Band are superior to the versions on Home and Blonde, they're nevertheless magnificent in their own right while also shedding light on how Dylan worked; with producer Tom Wilson, the singer/songwriter wasted no time, while Bob Johnston allowed Bob to twist and test his songs, letting him discover the soul that lay within. Along the way, Dylan was truly fearless - he'd goose a tempo to see if it gave a ballad life, he'd let Mike Bloomfield and Robbie Robertson run wild; the fact that he abandoned a song as wonderful as "She's Your Lover Now," possibly because it never quite withstood such stress tests, speaks volumes -- and among the many gifts The Cutting Edge has to offer is that it illuminates these three great records while also illustrating that they were just mere snapshots in time. By breaking down the barriers that separated these three albums, The Cutting Edge shows how for Dylan during this blinding, brilliant peak his music was a living thing, evolving from song to song, take to take, where the quest itself was as transcendent as the final destination.