Tinkering away in the studio on one of several classic covers collections, hearing Bob Dylan perform his material must have been a real thrill. He took to the stage in 2018 with a well-formed sound and an early imprint of the Rough and Rowdy Ways experience was uncovered. Dylan and the band, in fine form following Triplicate, boom through some heavy classics of his discography and begin the arduous process of retrofitting the deep cuts with the tone necessary to carry forth the swinging fever found on his latest record of original materials. Dylan keeps his audience guessing. Impressive arrangements for classics like It Ain’t Me Babe make for mesmerising listens. Scarlet Town: Volume 1 marks an incredible collection of these live ventures. Another unofficial bootleg to seek out and listen in to. A hit-reliant range of tracks, where Highway 61 is given the spotlight.
Much of the tracks to follow the titular sixth studio album appearance are well-ranged surprises. When I Paint My Masterpiece returns to the fold and a few pieces of Tempest, like Scarlet Town, can be heard within. We listen to live versions of these Dylan classics because we hope to find something new to tickle the brain. Studio recordings capture the right mood and tempo but there is always the chance Dylan can add something more to a lacklustre recording. It happens for the Shot of Love tracks, which now feel essential rather than a collection of bloated mistakes. Tryin’ to Get to Heaven, from the exceptional Time Out of Mind, has a flowing, breezy appeal to it here. Those changes are subtle and for the experienced listener will mark a brief departure and a fresh boom of stylish flavour. It is what we need after wearing our records thin.
Powerful and slick changes to Don’t Think Twice, It’s Alright are of a surreal quality. They showcase a longstanding musician unafraid to take risks with his sound. At this stage in his career, just shy of Rough and Rowdy Ways, those changes would become essential. It is risks like these which make the most of his writing style. Latter pieces of this unofficial bootleg make good on the revamped discography. Dylan marks a Herculean effort in extracting the real joy of Gotta Serve Somebody while the moving beauty of Soon After Midnight – another Tempest rip – stands tall. Hits were the aim of this set and with the benefit of hindsight, we can see the importance. Dylan dives into what made those tracks so great. Their instrumental flurry and lyrical tempo are deconstructed for projects of the future.
Flickers of the Rough and Rowdy Ways appeal can be heard on Gotta Serve Somebody. The smooth rumble of percussion and bass slowly engulfs the track. Piano work feels soft and subtle but still a defiant momentum found within the track. A tremendous powerhouse of a tour and a setlist riddled with hits. Dylan is not in the business of traipsing down memory lane but he does so here, with purpose for the future and a failure to look back. Brilliant slices of his discography were brought to the stage and fundamentally changed, much to the delight of those in attendance. It Takes a Lot to Laugh, It Takes a Train to Cry marks a wonderful penultimate track for this bootleg and summarises the point of The Never Ending Tour 2018 nicely.
