Packaging-wise, the five-CD version is one of the better Dylan reissues – it comes in a sturdy box, similar to the impressive 2018 deluxe edition of More Blood, More Tracks, which was the 14th entry in The Bootleg Series. The version on Springtime In New York is the first time the song’s been heard in full. A third previously released recording, ‘Death Is Not The End’, an outtake from 1983’s Infidels, first appeared in an edited version on Dylan’s 1988 album, Down In The Groove. Both are outtakes from his 21st studio album, Shot of Love, the third and final record in his Christianity trilogy. The songs that have been available elsewhere are ‘Let It Be Me’ – first released as a B-side to ‘Heart of Mine’, an international seven-inch single, and ‘Don’t Ever Take Yourself Away’, from the soundtrack album, Hawaii Five-0: Original Songs From the Television Series. The deluxe five-CD edition includes 57 Dylan recordings – 54 of them which have been previously unreleased in any format. Springtime In New York: The Bootleg Series Vol.16 1980-1985 essentially picks up where 2017’s Vol. It was Dylan’s worst decade for several reasons – bad album reviews, dodgy leather jackets and a disastrous Live Aid performance with Ronnie Wood and Keith Richards all spring to mind immediately – but it was also an inventive and varied one for him musically, as he dabbled with Christian rock, reggae and synths, albeit with mixed results. In manner and tone, that track connected back to the promise of Dylan's mid-'70s work, and gave us the first concrete hint at the third-act successes to come beginning with 1989's Oh Mercy.Welcome to the world of ’80s Bob Dylan – the most maligned and misunderstood period in a remarkable career that’s spanned almost 60 years. Credit there goes to Knopfler, and an all-star cast that included Mick Taylor, Robbie Shakespeare and Sly Dunbar - the latter of whom give "Jokerman" in particular a bouncy island feel. ("Someone's Got a Hold of My Heart" was subsequently re-drafted for 1985's Empire Burlesque.) In their place went "Union Sundown," a much lesser effort – though still one that exhibited a tougher political bent than had a previous trio of faith-focused recordings dating back to 1979's Slow Train Coming.Įlsewhere, Infidels made room for "Sweetheart Like You," which was talking down to either a woman or else the wayward church "License to Kill," which seemed to question the wisdom of space travel with so many unsolved issues down below and the now-expected album-closing paean to a lover, "Don't Fall Apart on Me Tonight."Įach of them had a sleek approach that updated his sound without dismantling its foundational wit. The sessions also included "Foot of Pride," a perfectly executed Dylan put-down about those trapped in ego.
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March 2023
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