Bob Dylan – Between the Moments: Truly Obscure Fragments 1965-1966 Review 

A golden age for those so-called obscurities, Bob Dylan offered audiences plenty of little details during his heyday. The 1960s were certainly a golden period for Dylan, whose output across Highway 61 Revisited, Blonde on Blonde, and even Nashville Skyline, is untouched by any other artist. Prolific and often perfect material is what he offers, and the collections of bootleg releases only serve to add to this borderline mythical image. Between the Moments: Truly Obscure Fragments 1965-1966 serves as an opportunity to catch up on those lesser-known pieces. Those parts which were not a focus of the various Bootleg Series releases to come from the official Dylan camp. It may just be ten minutes of material, but what an abundance shared by this brief compilation. Some performances are just seconds long, but the snippets share a fascinating side to Dylan, heard pursuing fresh instrumental styles.  

It is ten minutes of experimental sound from Dylan. Brief moments of musical clarity or awakening ideas, with the likes of Let Me Die in My Footsteps and My Feet Are Soaking Wet featured. Hammering away on a piano appears to be the route to some of these songs, particularly Big Daddy’s Goin’ to Town. While few of these tracks would become staples of either live set or studio work, they are moments which give Dylan a sound to build from. Whether it takes him anywhere, nobody really knows until he gets to the point of no return. What Truly Obscure Fragments offers is a set of struggles. Not because there is an artistic block in the way or because the well has run dry, but because the frustrations of being on the cusp of a great moment are agonising. If it slips, what else is there to do but pursue the next one? 

That is what Between the Moments: Truly Obscure Fragments highlights best of all. A historical document is never going to be an experience needing a repeat listen, but for those interested in the creative process, this is a ten-minute slice worth hearing. Jingle Bells appearing halfway through in distorted form is one of those moments where Dylan dives into the traditional songs, the sounds of his youth, and hopes his subconscious does the rest. It is a fascinating style of writing, and few have come close. Between the Moments: Truly Obscure Fragments does not have a moment of appeal to the passing listener, but those who want improvised piano jam sessions are well-catered to. You would be hard-pressed to get anything more from this than information.  

But that is a worthy cause, a listening experience which has been sidelined through the ease of access we have with other modes of music. Between the Moments: Truly Obscure Fragments is a selection of cuts seemingly too short for The Cutting Edge, too obscure for proper release. You’re Glad It’s Through is a brief but beautiful opener, the likes of When Will I Be Loved and Slow Jam are decent spectacles, and above all, there is a sense of hearing the creative flow at play. There is an edginess to creativity which Dylan captures frequently in these demo tapes. You can hear it further on The Rundown Rehearsals a decade later, but here is a snippet of him hard at work during a ludicrously creative period.