Bob Dylan Another Self Portrait (The Bootleg Series Vol. 10)


Bob Dylan Bootleg Series Volume 10 comes from the 1969 1971 recording sessions that ultimately produced the Self Portrait and New Morning albums. All 35 tracks are previously unreleased, alternate takes, demos or live versions of that material. The versions of the songs on this package are radically different from the officially released versions. The cover is new artwork by Bob Dylan. The liner notes have been written by Greil Marcus, who wrote the original Self Portrait review for Rolling Stone that infamously asked, “What is this sh**?”. Also included is an extensive essay from well known journalist, Michael Simmons. The set also has extensive photographs of that era from John Cohen and Al Clayton many of them rare and unseen – as well as pictures of the original tape boxes and cue sheets.

The Standard Version contains 35 tracks on 2 CD’s, and soft cover perfect bound booklet
The Deluxe Version contains 4 CD s and two hardcover books housed in a hardcover slip case
Book # 1 contains 4 CD’s and liner notes
Book # 2 contains the photos from John Cohen and Al Clayton.
The 2 bonus CD’s will contain the newly remastered version of Self Portrait and the complete 17 song recording of Dylan & The Band performing live at the Isle Of Wight in 1969
The vinyl version contains 35 tracks on 3 LPs (and 2 CDs) plus a 12″ x 12″ booklet that includes the liner notes written by Greil Marcus, the essay from Michael Simmons, and the photographs from John Cohen and Al Clayton, and pictures of the original tape boxes and cue sheets.

CD 1

1 Went To See The Gypsy (demo)

2 In Search Of Little Sadie (without overdubs, Self Portrait)

3 Pretty Saro (unreleased, Self Portrait)

4 Alberta #3 (alternate version, Self Portrait)

5 Spanish Is The Loving Tongue (unreleased, Self Portrait)

6 Annie’s Going To Sing Her Song (unreleased, Self Portrait)

7 Time Passes Slowly #1 (alternate version, New Morning)

8 Only A Hobo (unreleased, Greatest Hits II)

9 Minstrel Boy (unreleased, The Basement Tapes)

10 I Threw It All Away (alternate version, Nashville Skyline)

11 Railroad Bill (unreleased, Self Portrait)

12 Thirsty Boots (unreleased, Self Portrait)

13 This Evening So Soon (unreleased, Self Portrait)

14 These Hands (unreleased, Self Portrait)

15 Little Sadie (without overdubs, Self Portrait)

16 House Carpenter (unreleased, Self Portrait)

17 All The Tired Horses (without overdubs, Self Portrait)

CD 2

1 If Not For You (alternate version, New Morning)

2 Wallflower (alternate version, 1971)

3 Wigwam (original version without overdubs, Self Portrait)

4 Days Of ’49 (original version without overdubs, Self Portrait)

5 Working On A Guru (unreleased, New Morning)

6 Country Pie (alternate version, Nashville Skyline)

7 I’ll Be Your Baby Tonight (Live With The Band, Isle Of Wight 1969)

8 Highway 61 Revisited (Live With The Band, Isle Of Wight 1969)

9 Copper Kettle (without overdubs, Self Portrait)

10 Bring Me A Little Water (unreleased, New Morning)

11 Sign On The Window (with orchestral overdubs, New Morning)

12 Tattle O’Day (unreleased, Self Portrait)

13 If Dogs Run Free (alternate version, New Morning)

14 New Morning (with horn section overdubs, New Morning)

15 Went To See The Gypsy (alternate version, New Morning)

16 Belle Isle (without overdubs, Self Portrait)

17 Time Passes Slowly #2 (alternate version, New Morning)

18 When I Paint My Masterpiece (demo)

Bob Dylan & The Band

Isle of Wight – August 31, 1969

1 She Belongs To Me

2 I Threw It All Away

3 Maggie’s Farm

4 Wild Mountain Thyme

5 It Ain’t Me, Babe

6 To Ramona/ Mr. Tambourine Man

7 I Dreamed I Saw St. Augustine

8 Lay Lady Lay

9 Highway 61 Revisited

10 One Too Many Mornings

11 I Pity The Poor Immigrant

12 Like A Rolling Stone

13 I’ll Be Your Baby Tonight

14 Quinn The Eskimo (The Mighty Quinn)

15 Minstrel Boy

16 Rainy Day Women #12 & 35


I’m Not There

I’m Not There
By: Bob Dylan
Album: The Genuine Bootleg Series Take 2

She came all rightoned and she’s all too tight in my neighborhood
She cried both day and night
I know it because it was there.
It’s a milestone, but she’s down on her luck
And she daily salooning, but to me too hot to book
I would then.

I believe where she’d stop in if she wants time to care
I believe that she’d look upon beside him to care
And I go by the Lord and where she’s on my way, but I don’t belong there.
No I don’t belong to her, I don’t belong to every choir
She’s my prize forsaken angel, but she don’t hear me cry
She’s a long hearted mystic and she can’t carry on
When I’m there she’s alright, but when she’s not when I’m gone.
Heaven knows that the answers she’s don’t calling no one
She’s the way for sailing beautiful
She’s mine for the one
And I lost her attention by tempation as it runs
But she don’t bother me
But I’m not there I’m gone.

Now I’ve cried tonight like I cried the night before
And I’m leased on the high some
But I dream about the door
It’s so long she’s forsaken by a fate with the tale
It don’t hang approximation
She smiled Fare Thee Well.

Now when I’ll treat the way we all was born to love her
But she knows that the kingdom weighs so high above her
And I run but I wait
And it’s not too fast or slam
But I’ll not perceive her
I’m not there I’m gone.

Well it’s all about division
And I cry for a bail
I don’t need anybody now beside me to tell
And it’s all affirmation I received but it’s not
She’s a long haunting beauty
But she’s gone like the spark
And she’s gone.

Yes she’s gone like the rainbow that shined in yesterday
But now she’s home beside me
And I’d like to hear to stay
She’s a bone forsaking beauty and it don’t trust anyone
Now I wish I was beside her but I’m not there I’m gone.

Well it’s too hard to stake in
And I don’t far believe
It’s a bag full it’s amusing
That she’s hard too hard to lead.
It’s a load, it’s a crime
The way she mauled me around
Was she told for to hate me, but just don’t forethink in clown.

Yes I believe that it’s rightful
Oh I believe it in my mind
I been told like I said one night before
Carry on the grind.
And this song gypsy told her like I said carry on
I wish I was there to help her
But I’m not there I’m gone.

Some Great Rare Bob Dylan Bootlegs Worth a Listen

The Freewheelin’ Bob Dylan Studio Outtakes



Folksingers Choice



Genuine Basement Tapes (A Tree With Roots)



Genuine Bootleg Series Vols 1-3






This Day in History (July 25)

Jul 25, 1965: Dylan goes electric at the Newport Folk Festival


Before he took the stage at the 1964 Newport Folk Festival—the annual event that had given him his first real national exposure one year earlier—Bob Dylan was introduced by Ronnie Gilbert, a member of The Weavers: “And here he is…take him, you know him, he’s yours.” In his 2004 memoir, Chronicles: Volume One, Dylan would write about how he “failed to sense the ominous forebodings in the introduction.” One year later, he would learn just how possessive the Newport audiences felt toward him. On this day in 1965, Bob Dylan went electric at the Newport Folk Festival, performing a rock-and-roll set publicly for the very first time while a chorus of shouts and boos rained down on him from a dismayed audience.

Six weeks earlier, Bob Dylan had recorded the single that marked his move out of acoustic folk and into the idiom of electrified rock and roll. “Like A Rolling Stone” had only been released five days before his appearance at Newport, however, so most in the audience had no idea what lay in store for them. Neither did festival organizers, who were as surprised to see Dylan’s crew setting up heavy sound equipment during sound check as that evening’s audience would be to hear what came out of it.

With guitarist Al Kooper and The Paul Butterfield Blues Band backing him, Dylan took to the stage with his Fender Stratocaster on the evening of July 25 and launched into an electrified version of “Maggie’s Farm.” Almost immediately, the jeering and yelling from the audience grew loud enough nearly to drown out the sound of Dylan and his band. It has been stated by some who witnessed the historic performance that some of the yelling from the audience that night was about the terrible sound quality of the performance—overloud in general and mixed so poorly that Dylan’s vocals were unintelligible. But what prompted the outright booing—even over Dylan’s next number, the now-classic “Like A Rolling Stone”—was a sense of dismay and betrayal on the part of an audience unprepared for the singer’s new artistic direction.

And what did the man himself think of the unfriendly reception he received from what should have been the friendliest of audiences? Some say he was extremely shaken at the time, but with four decades of hindsight, his feelings were clear. Reflecting on Ronnie Gilbert’s “Take him, he’s yours” comment, Dylan wrote, “What a crazy thing to say! Screw that. As far as I knew, I didn’t belong to anybody then or now.”

Bob Dylan Rolling Stone Magazine Covers


















This Day in History (July 9)

Jul 9, 1962: Bob Dylan records “Blowin’ In The Wind”


“This here ain’t no protest song or anything like that, ’cause I don’t write no protest songs.” That was how Bob Dylan introduced one of the most eloquent protest songs ever written when he first performed it publicly. It was the spring of his first full year in New York City, and he was onstage at Gerde’s Folk City in Greenwich Village, talking about a song he claims to have written in just 10 minutes: “Blowin’ In The Wind.” A few weeks later, on this day in 1962, Dylan walked into a studio and recorded the song that would make him a star.

Dylan’s recording of “Blowin’ In The Wind” would first be released nearly a full year later, on his breakthrough album, The Freewheelin’ Bob Dylan. This was not the version of the song that most people would first hear, however. That honor went to the cover version by Peter, Paul and Mary—a version that not only became a smash hit on the pop charts, but also transformed what Dylan would later call “just another song” into the unofficial anthem of the civil rights movement.


“Blowin’ In The Wind” bore little or no resemblance to the highly topical, highly literal protest songs of the day, but that may have been precisely what made it so effective as a protest song. A lyric like “How many roads must a man walk down, before you call him a man?” lends itself perfectly to those seeking racial justice, just as “How many seas must a white dove sail, before she sleeps in the sand?” does to those seeking peace. The moving, vaguely spiritual, clearly dissatisfied, yet ultimately ambiguous nature of “Blowin’ In the Wind” made it the quintessential protest song of the 1960s—”A song that the times seemed to call forth,” in the words of critic Greil Marcus.

It also represented a significant breakthrough for Bob Dylan as a songwriter. From “Blowin’ In The Wind” onward, Dylan’s songs would reflect a far more personal and poetic approach to self-expression—an approach that would lead him away from songs like “The Times They Are a-Changin'” and toward songs like “Like A Rolling Stone.” And Dylan’s development as a songwriter would, in turn, have a similar effect on The Beatles, whose own move from “I Wanna Hold Your Hand” to “A Day In The Life” can be traced directly to their exposure to The Freewheelin’ Bob Dylan in the spring of 1964.

The Man in Me

The Man in Me
By: Bob Dylan
Album: New Morning

The man in me will do nearly any task
And as for compensation, there’s little he would ask
Take a woman like you
To get through to the man in me

Storm clouds are raging all around my door
I think to myself I might not take it anymore
Take a woman like your kind
To find the man in me

But, oh, what a wonderful feeling
Just to know that you are near
Sets my heart a-reeling
From my toes up to my ears

The man in me will hide sometimes to keep from bein’ seen
But that’s just because he doesn’t want to turn into some machine
Took a woman like you
To get through to the man in me