Another Self Portrait takes on a contentious period in history; specifically, the “lost years” that began with the surprising Nashville Skyline, continued with the confounding Self Portrait, followed by the misleading New Morning, and capped by the improperly named Greatest Hits Vol. II. The easy thing would have been to follow the “naked” trend and do a rejigged Self Portrait, stripped of all the overdubs, along with the tracks from the even worse Dylan. Instead, they’ve gone back to the original sessions and present a clearer picture of what was really going on when the album came together: Bob, accompanied by David Bromberg and Al Kooper, going through a bunch of folk songs, and occasionally trying out the few originals he’d piled up of late.
While those originals were few, he still put his all into the covers that did spring from his mouth. He apparently adored a song called “Spanish Is The Loving Tongue”, a third variation appearing here (the only only tie-in to the Dylan album, which speaks volumes). The unadorned takes of “Wigwam”, “Days Of 49”, “Copper Kettle” and “Belle Isle” bring out further charms, while the same treatment given both “Little Sadie”s is subjective. There’s even a third “Alberta”, but sadly, “All The Tired Horses” is still just acoustic guitar with women singing. Simple songs like “Pretty Saro” and “Thirsty Boots”, unheard until now, give weight to the revisionist belief that Self Portrait was really a precursor to Good As I Been To You and World Gone Wrong (and indeed, Dylan did some sessions with Bromberg in the same era as those albums, as heard on Tell Tale Signs). But even if he’d released the unadorned cuts back then, the album still would have been panned as being “unrepresentative”, so there.
At the same time, maybe he did think of New Morning as an all-original antidote, as proven by the more ornate and/or heavier mixes of “Time Passes Slowly”, “New Morning” and “Sign On The Window”, all wisely left aside then but welcome today. Neither of the two songs included from the day George Harrison spent in the studio with him are very revealing, except from a novelty point of view; at least they sound like they’re having fun. But demos of “Went To See The Gypsy” and “When I Paint My Masterpiece” sport lyrical variations, while a solo-piano-with-violin version of “If Not For You” might be his best one of all. And who knew “If Dogs Run Free” once had a chorus?
To fill in some of the space, “Only A Hobo” is the only other song re-recorded with the Basement batch for the 1971 hits album. Not only are there two more songs from the Isle of Wight and two alternate takes from Nashville Skyline, but a never-before-heard “Minstrel Boy”, purportedly from Big Pink itself, had us drooling for the Basement Tapes volume in the works, along with a long-promised expansion of Blood On The Tracks.
There’s certainly enough on Another Self Portrait to keep the mildly obsessive Dylan fan busy. Those who shelled out the extra bucks for the deluxe version got a remastered Self Portrait disc to contrast and compare, plus more enticingly, the complete Isle of Wight show, in excellent sound. His voice slips back and forth between the new croon and the raspier shout, but he’s already started to play with the arrangements of his best-known songs, such as the curious wander through “It Ain’t Me Babe” and an almost honky-tonk “One Too Many Mornings”. We get to hear how John Wesley Harding and Nashville Skyline might have sounded with the Band, but the highlight is his lovely solo rendition of “Wild Mountain Thyme”.
Bob Dylan Another Self Portrait (1969-1971): The Bootleg Series Vol. 10 (2013)—3½