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Fragments - Time Out Of Mind Sessions (1996-1997): The Bootleg Series Vol. 17

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takes a fresh look at ‘Time Out Of Mind’, Dylan's mid-career masterpiece, celebrating the album and its enduring impact 25 years after its original release on September 30, 1997. There are too many times I've bought stuff that has "alternate versions" of songs, and invariably they're just alternate takes of the same song, no real noticeable differences. I felt that his voice, which was at one of it's least easy on the ears stages in the mid-1990s, was being propped up, or glossed over, by the production. follows the evolution of songs written for the album, from intimate early incarnations in the previously unreleased 1996 Teatro sessions through incandescent live renditions showcasing Dylan and his touring ensemble channeling the songs on-stage from 1998-2001. This is one of the most highly anticipated Bootleg Series releases and it follows the evolution of songs written for the album, from intimate early incarnations in the previously unreleased 1996 Teatro sessions through incandescent live renditions showcasing Dylan and his touring ensemble channeling the songs on-stage from 1998-2001.

For Dylan, the song had always been the thing: His catalog had always boasted the folk virtues of pliability.With such a vast amount of material available for Dylan's career, it is easy sometimes to go for years without hearing a particular album or era. Back cover variant to Fragments (Time Out Of Mind Sessions (1996-1997)), with three label logos instead of two.

The editors of AllMusic scored this album three out of five stars, with reviewer Stephen Thomas Erlewine noting that Daniel Lanois' original production on Time Out of Mind had a "murkiness [that] nagged at Dylan" and that the recordings are a chronicle of Dylan attempting to find the right sound for these songs. But the story of Fragments—the story of the album Time Out Of Mind isn’t, but almost was—rests with “Mississippi. The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. Although the band here is solid, the live songs also differ from the album versions, Love Sick for example really rocks.

Disc 5 has all the Time Out Of Mind tracks from the deluxe Tell Tale Signs, Bootleg Series 8 (2008) and has the amazing first takes of Mississippi, Can't Wait, Marching To The City and others. The song is mesmerizingly dark, but hearing Dylan bite down with panther’s teeth on “I’m getting old,” it’s easy to conclude that he was feeling nothing but the opposite.

Bob Dylan is my favourite recording artist and Daniel Lanois has produced some of my favourite albums, but Time Out Of Mind was never my Bob Dylan favourite album, despite having some great new (in 1997) writing on it. With its electric guitar licks and echoes of The Band, it could’ve been cooked up in the basement of Big Pink.Disc 4 contains live versions from the years 1998-2001 - I love live Dylan but for this period, I'm primarily interested in studio recordings, but the sound quality of these recordings seems underwhelming on first listen. But the true glory of these recordings is witnessing session legends like Mangurian, Jim Dickinson, and Bucky Baxter—giants whose playing pushed the blood through the veins of American song—sound momentarily lost, reverent, uncertain. Dylan’s voice is cleaner and more audible in the mix, which will please listeners who thought Lanois’ original production was too murky and swampy, and with too many effects on Dylan’s vocals.

Dylan's performances of Tryin' to Get to Heaven and Not Dark Yet are subtle and sad, difficult to deliver quietly live. But Fragments reveals the truth of the matter: The man who croaked about walking through “streets that are dead” already had his glittering blue eyes on the next horizon.

There are plenty of stories about how Dylan and Lanois clashed in the studio over the sound of Time Out of Mind and Lanois’ approach to production. At a push, it could have been a 4 disc set without the live material and still been as good, that shows how good the unreleased tracks are. The story began, appropriately enough, in a picaresque old playhouse Lanois dubbed the Teatro, filled with storybook touches—cob-webbed 16mm projectors, dusty mirror balls. follows the evolution of songs written for the album, from intimate early incarnations in the previously unreleased 1996 Teatro sessions featuring Dylan (vocals, guitar, and piano), Daniel Lanois (guitar and organ), Tony Garnier (bass) and Tony Mangurian (drums and percussion) through incandescent live renditions (also previously unreleased) showcasing Dylan and his touring ensemble channeling the songs on-stage from 1998-2001. But it was the beginning of a split between the two that would define and nearly overwhelm the sessions.

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