We are spoiled, aren’t we? Even with the highlights available to everyone, The Bootleg Series Vol. 18: Through the Open Window 1956 – 1963, is a delight. A historical archive of real interest to anyone with even the most minor fascination in the early years of Bob Dylan. These periods may have been picked clean, to the bone, by other bootleg series and live album releases, but to have it all compiled here adds a refreshing context. A few clear discrepancies between this streaming version and the box set, which will no doubt be in the hands of those most dedicated to Dylan can be found. Through the Open Window is a document rather than an album. It’s a walk through historic early years and it’s a journey worth taking, be it for added context of a specific period (think The Cutting Edge but a little wider in scope) or for those who want alternate versions of very best songs.
Boots of Spanish Leather has a wonderful, different rendition here while originals such as Rocks and Gravel (Solid Road) are grand examples of just how deep the archival tapes can go. Through the Open Window may be built on the historic context and interest in learning of the past but there are more than a few songs here which are of impressive quality. They shine a light on the strength of Dylan as a songwriter from long before he laid down his debut album. As even passing listeners will know though, the covers are where you can find a whole new depth to Dylan, who manages to express a passionate love for a song without ever sounding too emotionally affected by the act of performing. Remember Me may as well be one of his own, rather than a song penned by Scott Wiseman. A story time interlude after a barrage of excellent covers is a nice break.
Pacing is everything for a massive project like Through the Open Window. There is no padding, but the structure is fantastic. Chronological but just so happening to find a wonderful route through essential material like I Was Young When I Left Home and a version of Corrina, Corrina from the Gerdes Folk City performance. That, and the Carnegie Hall performance from just a year later, are magnificent. Side by side they highlight just how much had changed. The songs in between, The Freewheelin’ Bob Dylan outtakes particularly, are crucial in hearing this artistic transition. There is a decent selection of material already available in official form featured here, but it serves the purpose of chronological storytelling. The Finjan Club material and Carnegie Hall pieces are out there on other releases, but having them here, particularly the Carnegie Hall performance, is a quality-of-life improvement.
Ease of access to historical document should be a rite of passage, and The Bootleg Series makes sure of it. Through the Open Window is one for the at-home historian. Those who want to know more about the formative years of Dylan as an artist would be hard-pressed to find a better documentation of this seven-year period than this. Don’t Think Twice, It’s All Right from The Gaslight Cafe and the selection of alternates, Masters of War and Girl from the North Country in particular from The Freewheelin’ Bob Dylan outtakes, are truly great experiences. A definitive look at the early years of Dylan is what this highlights package provides. No doubt the added context of the full release will offer a little more through sheer volume of material alone, but for those not willing to splash out on the set, this version is ample.
