Well worth breaking down into three separate pieces, the Rare and Unreleased tapes of Bob Dylan were a monumental effort and a thoroughly well-intended package. Deep cuts and all the alternative takes the heart could desire, collected in a neat spot and providing plenty of depth and discussion in what was the absolute peak of his career. Well, at least one of the great peaks anyway. Dylan had an endless supply of locked-up tracks and takes, hidden away were the likes of Rare and Unreleased, and for Volume 3, it means digging deep into the post-high days and into the likes of Oh Mercy, Infidels and, of all things, Empire Burlesque. It turns out this period was a shining example of Dylan working on pieces which would, decades later, find their sum. Every Grain of Sand did at least.
Comfort can be found in the likes of If You See Her, Say Hello, a rather calmed and quiet Dylan returns to the studio, still reeling from a busy period. But this turn of the times, the only Blood on the Tracks piece for the third disc, feels like a choice of placement rather than a storage space issue. Dylan fell out with himself and his career. Spotty patches and religiously inspired works showcased a struggle to break free from a former image and hone a new style. Those deep cuts of Desire, namely Golden Loom, linger on the mind. Whenever the Bootleg Tapes of this studio set releases will be a great day. However much is left over, even if it is just a shorter take of Hurricane, the fascinating pre-Gospel era of Dylan is not explored in all that much detail. A dark horse of an album, it would seem, despite its general brilliance. Rare and Unreleased Vol. 3 is instead hellbent on bringing in the darker days of his discography.
Still as adamant on stylish displays and blues-adjacent acoustics at times on the Shot of Love tracks, Dylan is off-centre and rattled by experiences of the past. That is not to say there is little quality shining through this final third of the first three Bootleg tapes, but these moments are way past their sell-by date. From forgettable bits and pieces like Need a Woman to the dire days of When the Night Comes Falling from the Sky, the focus switches to the pre-Oh Mercy period, those borderline harrowing mid-1980s experiences which Dylan distanced himself from through collaborations with George Harrison elsewhere. A sharp move though it still leaves fans of his solo work kicked in the teeth with the likes of Empire Burlesque and Knocked Out Loaded. It is unlikely we will hear much else from said period.
But do not let this detract from the double bill of Desire performances which sound fresh and winding, the country acoustics on Catfish are exceptional and the Infidels pieces are wonderful. Blind Willie McTell is a sharp piece which feels far better settled in Dylan’s discography now than it did at the time of its quiet push-out. Dylan has often confused and charmed with his track listings, though to subvert that song is a wild move. Even then, this final third of collected tunes and takes, as well as a live performance of Seven Days, is essential for those deep-cut enthusiasts. It does the job and offers a nice selection to cleanse the palette, parts to pick up on and dive into from there.
