The turn of the century would prove to be crucial for Bob Dylan. He had not just fallen back in favour with listeners, but permanently so. It was cool again to listen to Dylan. It never wasn’t for those dedicated fans, but for a time, when he was releasing the likes of Under the Red Sky, it seems lame. Little love to be had for those Stuttgart days or the pre-MTV Unplugged performances, where the juices were tapped. Fast forward a year, and the post-Love and Theft gigs highlight a monumental turn of form. Dylan is not just reinvigorated on these Expecting Rain: Volume Five recordings, but engaging once more, truthfully, with his classics. Another heavyweight entry into a series of bootleg compilations pieced together by those who likely know his music best of all. Rarities from the vault, hit compilations and more feature on the stage.
Expecting Rain: Volume Five offers more of the same quality as preceding entries in the series. Those long-lasting listeners have keener ears than the tinnitus-ravaged canals of those reviewing compilations. Consistent are the deep cuts in the hands of fans. Contemporary material of the times thrown in with the classics which snuck their way onto stage. Crucially, though, is the match-up of quality. Those performances of High Water (For Charley Patton) are of a similar quality, riotous thrills from the stage to your speakers, as classics like Desolation Row. The latter may often sound like Dylan is clearing his throat but that was his vocal choice of the times, and there is some beauty to be gauged from the lively piano work backing him. Crucial to these early additions to Expecting Rain: Volume Five is cutting through, as the compilations always do, with a collection of strong sound quality and unique instrumental moments.
Desolation Row is perhaps a more straightforward song, but given how differently Dylan now performs this now, it may be a treat for those heading to the Rough and Rowdy Ways tours of today. Rarities feel like an inevitability, and the likes of Quinn the Eskimo, A Change is Gonna Come, and compilation closer ‘Till I Fell in Love With You are tremendous additions. Quinn the Eskimo highlights the audience interaction, attendees singing along with a deeper cut from the endless discography. A lovely moment which will always prevail when compared to the whoops and hollers of every small detail in modern recordings. Blind Willie McTell is another extraordinary addition which offers those same shoutouts, but they add to the fabric of the song. The crowd has their place, Dylan has his.
Rocking adaptations in the post Love and Theft period. Lightning in a bottle for most of these performances. Borderline euphoric for both artist and audience. That is the thrill of live shows and the instrumental consistencies Dylan found with his backing band through these shows is masterful. They bring to life songs of old, songs of new, whatever the case they are putting their imprint on songs of marvellous quality to begin with. To excel in adapting these pieces is a brilliant move, and for Dylan, for those listening to Expecting Rain: Volume Five, too, it is a confirmation of quality. Beyond these songs being a great listen, the series of compilations from fans proves a brilliant tool for those unsure of where to start with bootleg recordings of Dylan. There are plenty out there, and this compilation shines a light on an unsung, brilliant part of his career.
