So you want to know if it’s worth buying the boxed set Tell-Tale Signs? It’s worth every penny and not simply for a die-hard Dylan fan, but if you don’t know bootlegs or like the rest of us until now, know the alternate takes of many of the songs (particularly from Oh Mercy), then you’re in for a real treat. Buy it. Get it. This is worth the time because it’s Dylan at his recent best, covering the 90s through the recent-present.

What this set makes clear, and that other discs have not done, is show us just how many different ways Dylan can perform the same song. We may hear it differently in concert, that’s true, so we know variants. But what is interesting here is just how different a song like “Most Of The Time” sounds on one cut (particulary Disc One, cut number two). It’s so totally different, so absolutely lovely, as I say, so absolutely everything that it just may beat out the album version, which for me is saying which a lot because I’m rather wedded to this song: then I heard the cut from Disc One and it’s the sweet harmonica that makes the piece. How it weds so beautifully with the simple guitar. The rhythm I could not sort out because it is changeable (or seems to be to this untrained ear, perhaps). For the most part it stays in one plays, but it’s difficult to follow on the harmonica all the way through (at least the first few times, until you get the rhythm), so it’s not “obvious”. Regardless, it works exactly right. This is the song I listen to the most, but that too is changeable for me and likely will be for you to (unless you are able to pick a favorite Dylan song, which I personally cannot because this is so mercurial, depending on my mind and age and stage and more, what he may have recently released).

Dignity is another notable, of many, tracks and this one (as some others) appears more than once (again, I think I prefer the piano take because I have always loved Dylan on the piano as he is gifted there, no question).

I could go on and when I have had more time to listen to the entire album over the course of the coming days or week, then another review forthcoming, perhaps more of a summation of how the albums hang together and the experience on the whole (if you listen to all three, that is). A total non-sequitor, does anybody listen to a whole album these days? It seems more and more with the advent of iPods and iTunes and Windows Media Player and mixes and MP3s, that we most often listen to mixes, rarely to albums and songs within context, but that’s another article).

The packaging of the three-boxed set is beautiful and comes with an excellent brochure with liner notes (which I did not read for my own evaluations of the song, so I may agree or disagree, but always good to have two opinions at least). There is also a vinyl CD single available for Dreamin’ Of You with a tremendous cover photograph by Randee St. Nicholas. There is a woman on the cover with Dylan this time (who?). She may be a stand-in model or she may be a real love-interest, and this definitely crossed my mind. Regardless, music always sounds different on vinyl (richer, to my ear: CDs are almost too clean, as a friend recently pointed out).

The three-disc set comes with an excellent, rather deluxe reproduction of the most graphically interesting covers of singles (45s), some that were released, some foreign, and some that were for promotional or special event purposes only. Since has been with Columbia, Dylan has released over 1,200 singles and extended plays worldwide. The series began in 1963 with a promo sleeve for “Blowin’ In The Wind”.  I should note here that the deluxe book of CD singles covers is beatiful but I can’t help but think as a writer and publicist about branding. Dylan himself is obviously the brand, at this point, but I did note that the songs that are listed are listed like this “Most of the Time” instead of the all-capped “Most Of The Time” as they appear on bobdylan.com and as written by him from what I have seen. Someone is not talking to someone here because there should be a continuity between how the songs are listed as they are proper titles and this will pose a small problem for scholars in the future who won’t know how to “properly” and accurately (as Dylan would wish) his song titles. So which is it, Mr. Dylan? All caps or some? Please set me straight on this because as a writer and member of the Fourth Estate I was taught one way to do headlines and I’ve learned another way from you and I want to be sure to get it right.

The range here is from good ole porch rockin’ music to some real and true couble-dancing ballads to straight rock n’ roll to country to folk to contemporary, the implied religious at times, the traditional ballad. You name it, Dylan can and has done it – something most musicians, contemporary and otherwise, simply cannot do. Many may be good at one or two things even, but to be good at almost all genre, is virtually unheard of. Dylan has called himself a “musical expeditionary” and how exactly he meant it, perhaps as a voyager and that is exactly what he proves himself to be on Tell Tale Signs.

On the beautifully produced vinyl CD single of Dreamin’ of You, against a night-blue background, a very protective cowboy-like Dylan (hat and all) appears with a dark-haired woman whose face is not fully visible. He seems to be looking out for the both of them, staring or glaring straight ahead as if out for trouble while she gazes doe-like, eyes cast downward. There appears to be a closeness between the two, but photographs can be deceiving and it would not be the first time Dylan appeared on an album cover with a woman he was not involved with: think Bringing It All Back Home (1965) with Sally Grossman, Albert’s wife, who appears in the background. On the flipside, there is the undeniable and iconic image of Bob and Suze Rotolo on the cover of Freewheelin’ (1963). Most of the other covers, the majority, feature an image of Dylan himself (as photograph or illustration), or simply text (Pat Garrett & Billy The Kid, 1973 and the “red album” as I’ve dubbed it, “DYLAN” , 2007). Other albums have featured graphic art, but again, by and large, it has been Dylan on Dylan.

None of this is to say that women who were not involved with Dylan did have not appeared anywhere on his albums. One need only look at the inside gatefold to Blonde on Blonde  (1966) or the back-cover of New Morning (1970) or the montage on Desire (1976) and that’s all the albums I can think of now. I mention this minor factoid only because when I first saw the cover of the new single for Dreamin’ Of You, I thought perhaps this was a romantic interest (and given the ring I saw on his ring finger at the MGM Grand show through my handy binoculars (jewels and binoculars), I admit, it got me thinking could this be the she of all shes? But, ultimately, this is Dylan’s personal business. I for one, am curious about the woman on the cover yet I respect Dylan’s right private life. To be quite honest however, isn’t it provocative to put her on the cover in the first place and imagine that any writer worth his or her salt - any observer, is not going to wonder who she is? Yeah, right. It’s that push-pull play between fame and privacy and it’s a fine line to walk. Dylan does it well, but no doubt this is incredibly difficult. That we know as much about him as we do (or think we do) is somewhat startling, given the redirects and misdirects he’s thrown our way over the course of his career.


Overanalyzing is the sort of thing that Suze Rotolo says, and rightly, in her book “A Freewheelin’ Time”, that Dylan “fans” do too much of and that his work is put under a microscope (much to her amazement and amusement) – note: I’ll be reviewing Rotolo’s book very shortly, so if you want to keep an eye out, it will appear here and on Tant Mieux and the usual suspects.

I try not to over-think Dylan. I don’t think it’s necessary to examine or try to pick apart a Dylan song and, (big quotes), “analyze” his words as if any of us were qualified to do such a thing. More, doesn’t this very act take away from the enjoyment of the music itself? For me it does. As Rotolo says in her book and as I’ve long written the songs, the music exist for an emotional response (like any art). We live and we filter our own experiences through Dylan songs and in this way. By doing so, we validate and we redefine for ourselves, but in the final account, we do not define the song in and of itself.

But what about these three CDs and the vinyl and the book if you get the deluxe package (which I do recommend) – honestly, you really cannot go wrong. You may be wishing for bootlegs of some of the huge hits that are the standbys, but the thing about that is that most of those exist so prevalently on bootleg already that most of us have them. Who doesn’t have the “Judas” recording of Like A Rolling Stone? (Rhetorical question). The point is, the work here is different and fresh and gives us something to think about: many things, in fact. How hard it must be to “see” a song in myriad ways and know that how you play it, how you sing it, will make all of the difference in how it is received and interpreted: big decisions. That Bob has released some of what I consider here to be some of his best and previously unreleased work (much of it not available on any bootleg as they are alternate takes of songs or songs that were never before released officially or even unoffically a lot of them), then this is absolutely worth your time.

For quick reference, I’ve covered every song on all three CDs  below with some brief notes following each entry and some quick and cursory (read: immediate) thoughts after only two listens. As time goes on and as I listen more, no doubt I’ll have other thoughts, but for now, this is what I offer up. Enjoy the tale – s.r.p.,  September 30, 2008

Disc I

Mississippi (Unreleased, Time Out Of Mind)

This is the first cut of the first CD and the guitar is excellent, so Dylan comes on strong. Here’s a song you’d sing on your front porch with some friends (no doubt, this will be added to our repetoire). A story in a song, some familiar phrasings that are oh-so-Dylan. This song appears three times on the boxed set, and all are quite different, which proves that Dylan can take one thing and twist it into something else in the most beautiful way. Nothing is ever just one way.

Most of the Time (Alternate Version, Oh Mercy)

A faster and acoustic version – totally different from the other smoother version, that has a great, yearning sound. This too is yearning, but more soulful in some ways and quite obviuosly not as produced or slick (and I say that but not perjoratively) because I always loved and love this song. Now, I’m loving this version more – but only likely because I’ve been listening to the other for so long. There are gems in this set – and surely, this is one of the brightest of the lot.

Dignity (Demo Version No. 1, Oh Mercy)

Also from the Oh Mercy session is a piano only and solo demo of Dylan singing a very dignified version of Dignity. This is listed as a “demo” take, and while I like other versions of the song I have heard, I would have to say that this is the best because the piano really creates the right atmosphere. It hits all the right notes, both literally and metaphorically.

Someday Baby (Alternate Version, Modern Times)

The other, the version we know of this song, has more pop and jazz to it and I like that. You think of the girl dancing on the iPod commericial and has that some real zip to it. = This version is good, but it has more spit to it, if you follow. One senses less fun here and the lyrics come to the fore more and because of this, there’s a litle bit of foreboding for the future… Someday, baby.

Red River Shore (Unreleased, Time Out Of Mind)

Here’s Dylan the chameleon apparent in the vocals. Here is our man with a semi-southern country accent, appropriate because the song is much like a country-ballad: a short-story in a song about a wanderin’ man (He’s been out where “the black winds roar”), but he never gets far with “the girl from the Red River shore.

Tell Ol’ Bill (Alternate Version, North Country Soundtrack)

This reminds me of Things Have Changed. Perhaps not the words so much (which granted, I haven’t had a chance to look at the lyrics yet for this song), but the sound of it is along a similar note, which is a good note. The song rambles a bit, but it’s a go-along song – one you want to ride with, maybe even drive to. Either way, it picks you up and carries you along with it like an incoming tide.

Born in Time (Unreleased, Oh Mercy)

This is lovely from the first few bars, and it’s a shame it wasn’t released on Oh Mercy, but then, every artist must make choices since you can’t fit everything – this I know from publishing poetry. The lyrics here – pure poetry. It’s a melancholy song about a relationship that comes and goes – and inherent therein, the problems of complicated relationships. But regret here… A lot of regret. It’s a laid bare song, and perhaps that is why it wasn’t included. Who can say. He’s released it now and I’m glad of it. Sometimes it helps to just let it out and certainly, if it’s something we can relate to, it helps us.


Can’t Wait (Alternate Take, Time Out Of Mind)

“In B Flat”, as a voice says at the beginning of the tape. Has a jazzy, dark sound. A late night sound. So it all adds up to make it sultry and with a bit of roughness around the edges, a combination Dylan has proven he can combine the heartbreaking and heartache in songs that sound happily humming along – “Up To Me” comes to mind.

Everything is Broken (Alternate Take, Oh Mercy)

I’m glad he still says “broken meear”. Dylan-aze is not spelled like “mirror”. Not in this dictionary. Enough has been said about this song, so there you have it.

Dreamin’ of You (Unreleased, Time Out of Mind)

I wrote a whole piece on this one, so you can find it on the site. An excellent song, with a lot of familiar lyrics, but see my review. There’s too much to fit into one single space here because certain lines are repeats from another song, so look for my piece on this.

<Huck’s Tune (from “Lucky You” soundtrack)

“When I kiss your lips, the honey drips, I’m gonna have to put you down for a while.” I can’t think of a sexier, yet still subtle, and truly achingly romantic line, although I am certain they exist in other of Dylan’s songs, this particular line just stands out immediately. The song has a country sound and sounds like love in a small town with a girl with “girlish charm.” Lyrical. “I tried you twice, you can’t be nice, I’m gonna have to put you down for a while.” How he means “put you down” is what keeps this interesting: it’s a play on words, a double-entendre that may mean something  the first instance and another thing entirely in the second instance.

Marchin’ To The City (Unreleased, Time Out Of Mind)

Like a hymnal and this begins in a church (lyrically), where here again, he’s “lookin’ for nothin’ in anyone’s eyes”. It’s a slow bluesy number that again, combines grit and the rough stuff of life. This sounds Bluesy, religious-influenced, but not Gospel-like to me.


High Water (For Charlie Patton) (Live, 2003, no location given)

Rock n’ Roll to be sure. Not my favorite cut on this side, but good to get a crowd moving and I’m not surprised they picked a live recording of this. It gives the song more “ooomph”. It’s good, but to me, it lacks some of the grace of the other songs included in the boxed-set.

Disc II

Mississippi (Unreleased Version, Time Out Of Mind) *note a different cut of this exists on disc no. 1 as the first cut of the boxed set.

Another song about “time piling up”. A tell-it-like-it-is song from one man’s point of view or perhaps his tract. Indeed, tracts for the times.

32-20 Blues (Unreleased, World Gone Wrong)

Obviously, Blues and true Blues at that, foot-tapping and what I want to hear or play with my friends on the porch in the summer. Like any Blues song, this one has a story and it involves women, heartache, and some violence (here, guns). It’s a classic song in the Blues tradition, and as such, there is a story here that is fun to follow. The woman, of course, is the one who will get it here.

Series of Dreams (Unreleased, Oh Mercy)

This is more spoken than sang, but that’s somewhat true of any number Dylan songs. The sameness of this song made it difficult for this reviewer to really get into it. I wanted more variation than there is here. The lyrics, again, are outstanding (no surprise there), but the music hasn’t done them any justice. I can see what was supposed to happen here, but it just doesn’t come together right and ultimately, there isn’t enough variation to keep me interested.

God Knows (Unreleased, Oh Mercy)

Not what you think in the beginning. This isn’t a song about “God” per se. But more a song about someone who cannot be replaced. Religion may creep in here and there, but it’s a mix. There’s some relationship here and it’s optimistic and that makes me optimistic.

Can’t Escape From You (Unreleased, December 2005)

A ballad, that takes it’s cue from some of the older ballads of the fifty. In the lyrics, recurring themes of “bells” and “trains” which appear in many of Dylan songs (but here again, I’ve written about recurring words within any artists ouvre: I know that I’m guilty). One can see couples romantically dancing to this quite easily.

Dignity (Unreleased, Oh Mercy)

A boppier version of Dignity. The version on the first disc is superior, in my view. The Be-Bop doesn’t seem to suit the subject matter. No doubt it was fun to work with, but ultimately, this seems like a mismatch of music and lyric.

Ring Them Bells (Live at The Supper Club, 1993)

More bells – what’s nice about this is immediately, the guitar has a nice, clear, bell-like sound. Dylan himself has that nineties voice, not yet quite as husky as he sounds these days (by either design or necessity for he has always been a vocal stylist). There is some shouting in the background, but the sound is excellent. Just a little too much rah-rah in the background, in my view. Let the song speak for itself.

Cocaine Blues (Live, 1997)

As promised, a Blues song. You know the song well, most likely. It’s definitely about The Cocaine Blues – and as I said before of blues songs, it involves a woman and a shotgun.

Ain’t Talkin’ (Alternate version, Modern Times)

A good take and either would work on the album (now we have both), but either would stand solidly. This has a good firm, and forward moving sound, which makes sense given the lyrics. Here is a real mesh.

The Girl On The Greenbriar Shore (Live, 1992)

Such a beautiful acoustic song, and the sound here is crystal clear. Another story, but what are songs if not stories. What makes Dylan more of a poet is that not all songs by every artist are stories: this much is a real gift and Dylan has this in spades, as he’s proven time and time again. This could easily be a story in a book or a straight poem.

Lonesome Day Blues (Live, 2002, no location given)

This is the Dylan you know from these recent days in concert. He’s vital and sings this with verve. The band is excellent as is the sound quality here.

Miss The Mississippi (Unreleased, 1992)

Oh, the harmonica… This is really a beautiful song if you like a delicate, lilting harmonica, which is perfect for the song title. A slow song, once he begins singing, about returning home to Mississippi from the big city. Lyrics sound like a postcard, “Miss the Mississippi and you…” Just lovely.

The Lonesome River (with Ralph Stanley)

Country with fiddle in the background, this is fun and if you like country then you’ll really like this. It’s like a fun campfire song and you can see why it would be fun to sing as a duet, which is what Dylan does here with Ralph Stanley. It works very well and there are some excellent musicial solos for each instrument.

 ‘Cross The Green Mountain (From “Gods and Generals” soundtrack)

Probably the most intense song on this side of this CD in terms of lyrics (for the record, if you saw my recent article on Dylan’s eye logo, note that “eyes” feature in this song as well as the approx. 162 that I mention). Quite beautiful, but melancholy. What can one say? Bittersweet goodbye in some ways. Resignation and observation.

Disc III

Duncan & Brady (Unreleased, 1992)

This was originally published as “Brady” by Carl Sandburg in 1927 in his collection of folk songs. This song, the liner notes say, is from the Bromberg sessions. It moves along at a good clip and is, as the liner notes put it so aptly well, “brisk.”

Cold Irons Blood (Live, Bonnaroo, 2004)

This has some great raw power and Dylan comes charging out of the gate and here again, the lyrics are in perfect sync with the way Dylan wails it out as well as the power of the music.

Mississippi (Unreleased, Version No. 3, Time Out Of Mind)

Beautiful and probably the best version I’ve heard so far. Softer and more lilting, but this is beautiful. A little sadder than some of the others, but that is what lends this it’s quiet beauty.

Most Of The Time (Alternate Version No. 2, Time Out Of Mind)


Here I go again: This is one of my favorite songs, so it’s hard for me not to like any version, to be honest. This version is closer to the released version and totally different from the more acoustic version on the prior disc. This version too has a lot to recommend and is softer than the album version and doesn’t sound as produced or slick, which lends it a really melancholy sound and less of a “romantic” sound. Perhaps this is the one to have been on the album after all. Given the three I’ve heard so far, it’s hard to determine a favorite because they are all so different. This does include that marvelous bass line. It’s the inbetween what finally appears on the album and the other version on Disc I.

Ring Them Bells (Alternate Version, Oh Mercy)

Excellent piano playing here and that’s all Bob who shows his chops (as if we didn’t know). The lyrics stand out more in this version and for this reason, this and the clear piano, and the simplicity of the sound here, I’d have to pick this as a favorite take of this number.

Things Have Changed (Live, June 15, 2000, Portland, OR)

A true to the original live version. It’s slower, but that may add to it n some ways. Note that the liner notes point out that the Oscar on Dylan’s amp. that most of us have seen, is not the actual Oscar, but a replica. You know this song from “Wonder Boys” where it was wonderfully fitting with a terrific video with Tobey McGuire.  There are times when it has been difficult, some have said, to recognize Dylan’s songs in concert because he mixes them up (the sound) although for the most part, I haven’t found that to be a problem (particularly if you’ve listened to a lot of bootlegs, you are used to the mixing up and can recognize pretty quickly). This cut, however, you won’t need to sort it out as it’s crystal clear.

Red River Shore (Unreleased, Version No. 2, Time Out Of Mind)

A Southern-sounding Dylan here as in the other out-take and the story remains the same. Both takes are good. This is slightly different and even a little New Orleans in there in the background music. The previous version on prior disc appealed to me more, but this is simply a different aesthetic.

Born In Time (Unreleased, Version No. 2, from Oh Mercy)

Different from the prior version on prior disc, this one is the better of the two. The guitars suit the lyrics and Dylan’s voice better here. The liner-notes that the definitive version perhaps has yet to be done: that may be true, but this one is in the right direction, if not the final. Amen.

Tryin’ To Get To Heaven (Live, October 5th, London, England)

A slow, slow version of this one with a quiet and contemplative guitar. Dylan sounds more mellow here and because of the slower-speed of the song, the lyrics are clearer (the sound on this bootleg is crystal clear for this show). A really great take on what I consider to be one of the “newer” classics.

Marchin’ To The City (Unreleased Version No. 2, Time Out Of Mind)

As opposed to the last version on the previous disc, gone is the Gospel sound and welcome a be-boppy version that jumps along jauntily. The music gives the song a whole different meaning – or seem to. It’s all about context.

Can’t Wait (Alternate Take Version No. 2, Time Out Of Mind)

As the liner-notes say, “This is the version you listen to at 3 a.m.”  I can see that. The other version is sunrise. “Maybe for you it’s not that late…” Dylan sings, “But as for me, I don’t know how much longer, I can wait…” The song is slow and heavy as if weighted, and when he says “It’s got to end” you realize this adds to the entire weight of the song in every way. Weight matters lyrically as well as an instrumental heavy environment, so the slower and heavier music is perfectly suited.


Mary And The Soldier (Unreleased, World Gone Wrong)

This is from BD’s home studio. Like a number of Dylan songs, this song takes its cue from traditional folk ballads (think Dylan’s “Ballad In Plain D”, for starters). When I heard the first few notes, I thought of Donovan (Donovan!) because the guitar-style sounded a bit like that, but as the song moves on it becomes utterly Dylan spinning his own yarn. The guitar picking and playing are excellent (better than Donovan). It’s a nice note to end on… we’re still wandering, after all… or most of us anyway.

Thanks for reading,

s.r.p., September 30, 2008


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