Bob Dylan – Pat Garrett and Billy the Kid – Alternate Version Review

A phenomenal soundtrack which provided listeners with Knockin’ on Heaven’s Door, some may wonder if there is more to this Bob Dylan piece. There is. Pat Garrett and Billy the Kid marks not just a screen appearance and hit song for Dylan, but some definitive deep cuts which stand tall when compared to the official releases. A copyright collection compiled many of the at-the-time unreleased moments, but this alternate version bootleg is a welcome addition to the crop of Pat Garrett and Billy the Kid material. Where many overlook the original release, particularly the instrumentals, there are some other songs, lyrics included, which highlight the strengths of Dylan in the lead-up to Blood on the Tracks. A hefty collection of instrumentals, sure, but worth a listen for those interested in how Dylan details his songs without the use of his voice. What wonderful additions he makes when reliant upon acoustic beauty. 

This unofficial compilation opens with the main title, a tremendous start which gives listeners the full scope of instrumental effectiveness. Dylan roars through with enough variety here, a delicate but demanding piece of work which informs the rest of his soundtrack choices. Stick around for a leftfield addition of Rock Me Mama (Wagon Wheel), a rough song which spawned country hits for bands decades later, despite it not being finished. Dylan’s influence knows no bounds, and hearing those rough edges is all part of the fun. The same goes for Blues Stay Away with Me, a song which is not from these sessions but has Dylan fiddling in the background on guitar and harmonica for a Doug Sahm song. His additions there may be from a different period but the similarities to the Pat Garrett and Billy the Kid performance is clear. Sweet tones can be found too on Billy I, a delightfully light song which calls back to those folk roots slightly, though advances them into the layered expectations of westerns.  

One crucial change to make when listening to Pat Garrett and Billy the Kid in its alternate form is to realise it is an album unfairly marginalised. This is a piece of work cast aside because it is not a true piece of studio work. True, it is not. But between Pink Floyd and Neil Young releases from around the same time, there is enough of an argument to make in favour of giving both Pat Garrett and Billy the Kid, as well as these alternate tracks, your attention. Pieces like Sweet Amarillo and Goodbye Holly are tremendous pieces which are worth hearing at least once or twice. Instrumental features throughout add that ever-needed layer of context and quality to the recordings too.  

Ultimately a compilation which is never going to last longer than the album it pulls its pieces from, but a thoroughly nice piece of work nonetheless. A compilation for those who can appreciate the instrumental efforts, a set of songs for those who want more of the western-tinged flow. There is much to love about Pat Garrett and Billy the Kid: Alternate Version, not least how separate recordings from around this time fit into place. Hearing how they gel with the official releases is all part of the thrill. An official compilation of these studio cuts is available, too, though this compilation has the elbow grease and extra legwork expected of any respectable, unofficial bootleg. Those extra flourishes turn this project from a mere collection to a competent and accessible piece of history.