Springtime In New York. The Bootleg Series, vol. 16, 1980 - 1985. Bob Dylan

Being a Bob Dylan fan ever since 'Desire', having back-paddled since the mid-1980 and immensely enriched by the 'Biograph' and later 'The Bootleg Series', it is not difficult to state that the 1980s is not my favourite Dylan decade. Like with many of my other all time favourites and music in general, the 80s were rather bleak for Dylan. Because I had money to spend and bought the albums 'Shot of Love', 'I and I' and 'Empire Burlesque' without much question at the time, I can't remember when I played them last. The latter two sound totally outdated and did so very fast. So, 1980 - 1985? I was thinking to pass it by, not to mention the loads of euros charged for music that ought to be redundant.

Ever since the original bootleg release in 1991, Dylan fans know that a new release in the series is the moment to start paying attention. No, I do not own them all, but have scored another one, the two cd version recently. And once again I'm sort of blown away by what I'm hearing. How is it possible that this version of 'Angelina' does not open which ever album of the three? Why is it that some 'I and I' tracks come alive for the first time. Where is that soul coming from all of a sudden, from the sterile sounding 'Empire Burlesque'? Don't ask me, I do not have the answer.

It is said that Bob Dylan has kept his best tracks for himself; ever since he started to somehow dislike his fans and the world, if not himself, as it seems to me, I might add. Who knows? It is a mystery though that some of these great tracks or alternate versions remained on the shelf. 'Biograph' already showed a little of this, but 'The Bootleg Series' have started to really show what we have been missing before. The good thing is, it is all reaching us anyway and in star quality.

Springtime In New York is no exception to what we already know. Dylan had much more songs on his sleeve than he was willing to let on at the time. Songs full of warmth, soul and groove. Mostly singing with a great voice, already on his way to what we've been hearing the last two decades, yes. As always his timing is impeccable, creating tension in relaxed sounding songs. I can understand people, although quite often, in my world, the women, can't handle this voice. For those who do, the party really starts here.

Many songs in this selection are alternate versions of songs already known, even from a bootleg series' album, a few are outtakes that were not known to me. Including a few true treasures. Everything is looser, as if more fun was had by all, including Dylan. The result is a large dose of soul entering the songs. In part because of the backing vocals but also, most certainly, because the musicians were allowed to do their thing. What made it to the latter two albums, was all stylised and sterilised, drawn into a corset, that was to tight to breathe. Fun strictly not allowed. Here the combination of the reggae tandem Robertson-Shakespeare with Dire Straits and Dylan c.s. works a miracle. Nothing is overdone.

I will not take you down individual songs but wanted to share my general feelings on the two cds. It should be enough to get my drift. The five cd version comes with many of the covers the musicians played in the studio. Who knows, if it ever gets a cheap discount version I'll get it anyway. For now this is enough.

Wout de Natris