Bob Dylan 70: Through The Open Window

After several volumes delving into distinct stages of Bob Dylan’s career, it took the Bootleg Series fifteen years and nine volumes before they went back to the beginning. Through The Open Window aims to tell the definitive story of his origin only touched on by his first three albums (and subsequent archival releases).

The years stated on the cover span 1956 through 1963, but after a 15-year-old Bobby Zimmerman pounding Shirley & Lee’s “Let The Good Times Roll” on a St. Paul music store piano and an acoustic ditty called “I Got A New Girl” three years later, the program really begins in 1960, where a college slacker has discovered Woody Guthrie. Before the end of the first disc he’s already made it to the Gaslight Café and Gerde’s Folk City in Greenwich Village. He enters a recording studio to blow harmonica on a Carolyn Hester session, plays a concert above Carnegie Hall, and two months later records his first album over two days. (Two familiar outtakes are included, along with two alternates, and a previously unreleased cover of Woody’s “Ramblin’ Round”.)

All the while, he’s learning how to pick guitar and play harmonica at the same time, memorizing song lyrics and attempting to write his own, and fabricating his own back story, as alluded to in the baffling “Dusty Old Fairgrounds”. Many of the selections are informal recordings, included more for historical purposes, far away from studio microphones and settings, so there are flubbed strings, off-key instruments, and the sound of a 20-year-old kid trying to sound four times his age (save a salacious ad-lib in a version of “Cocaine”; the compilers chose not to include any of the VD songs Woody wrote). When an audience is present, they are fascinated, and collaborators like Jim Kweskin and Dave Van Ronk clearly like what he has to offer. And we get to hear him improve and develop in a fairly short time.

By the third disc he’s moved on from aping Woody on vintage folk and blues songs, and started writing more topical songs about social injustice. After more harmonica work for Harry Belafonte, Victoria Spivey, and Big Joe Williams, he starts to record his second album. But it takes a while to complete, as he can’t decide whether it should be all protest songs (like the earlier, edgier “Ballad Of Hollis Brown”) or if he wants to rock out, which is why he attempts the familiar “That’s All Right Mama” and his own “Mixed-Up Confusion” with a band, eventually settle for just Bruce Langhorne on second guitar. “Worried Blues” is tried out on a 12-string, and “(I Heard That) Lonesome Whistle” shows off his Hank Williams yodel.

Come 1963, the surviving minute of his appearance on a British TV show kicks off disc five. After his April show at the Town Hall show—about a third of which is here, out of order, and including repeats of “Tomorrow Is A Long Time” and “Last Thoughts On Woody Guthrie”—he comes up with the last handful of songs, a fresh mix of protest and personal, needed to finish the Freewheelin’ album. But by the summer, he was caught up in the civil rights movement, with appearances at voter rallies and the March on Washington, and made a big splash at the Newport Folk Festival. He also made a big splash with Joan Baez, who sang with him every chance she got; three of their duets are included here, including the only known performance of “Troubled And I Don’t Know Why”.

Angrier topical songs would dominate his third album, though he was also writing songs like “Farewell”, “Liverpool Gal”, “Boots Of Spanish Leather”, and “One Too Many Mornings” (the latter two heard in alternate takes) and banging the piano for “Key To The Highway” and “Bob Dylan’s New Orleans Rag”. The final two discs contain his complete Carnegie Hall concert in October 1963, twenty years after it was first teased on a promo CD. It’s a good place to finish, as that third album would come out in the first few weeks of 1964, when everything changed, and for him too. Most of the songs in the set weren’t on albums yet, so they’re fresh for the crowd, but the performance would only reinforce his image as a protest singer and nothing but.

Some of this music had circulated on bootlegs for decades, but never in this quality. Through The Open Window of course only scratches the surface of what has survived from this period, and the individual listener will have their own missing favorites (for us it’s “Black Cross” and the electric “Rocks And Gravel”) in addition to resentment over repetition, both in song choice and things that had already appeared on earlier volumes and copyright releases. As had been the label’s habit, a two-CD “highlights” condensation was also made available, but we always wonder who would actually spring for those outside of completists. With most Bob, you’re either all in, or out.

Bob Dylan Through The Open Window: The Bootleg Series Vol. 18 1956-1963 (2025)—3

John Entwistle 7: Music From Van-Pires

Sporadic reunions with The Who helped keep John Entwistle’s wine cellar stocked, but it wasn’t enough to scratch his performing itch. While he waited, he took part in a supergroup with Keith Emerson, Joe Walsh, Jeff “Skunk” Baxter, and Simon Phillips, but even they didn’t make it past a tour of Japan. He toured with Ringo’s Third All-Starr Band, and filled a similar role in an Alan Parsons-sponsored Beatles tribute. But his most consistent supporters Stateside were the other members of the John Entwistle Band, anchored by Steve Luongo on drums and vocals, and featuring a guitarist who happened to have the surname of Townsend. The combo made the rounds of clubs and small theaters, as well as the “emerging artist” stage at Woodstock 99, with a mix of new numbers and Who favorites. Outside of their Left For Live album (first released in 1998 and expanded following his death in a so-called deluxe edition) the only studio work the band did was for the soundtrack of an animated kids’ TV series.

We’ve never seen Van-Pires—and apparently we’re not alone in that—but it reads like a cross between Transformers and Mighty Morphin Power Rangers. Supposedly John was asked to provide a new song per episode, more as a friendly gesture, yet it’s unclear how they thought, given the dark humor in his catalog, his stuff would fit. Nonetheless, well after the show was cancelled, he finally found a distributor for Music From Van-Pires, and had something else he could sell at shows.

The album did give him a chance to indulge his love of spooky movie music and macabre lyrics. “Horror Rock” is the instrumental theme for the show, and like a lot of the rest of the album has the guitar double the bass line, a habit he never quite shook. Likewise, Luongo’s drumming style encourages his boss’s worst arena rock tendencies, and just about everything is just too loud. “Bogey Man” stands out because it utilizes an unused Keith Moon drum track, but we only know that from the liner notes. Leslie West shouts and shreds on “Don’t Be A Sucker”. The piano-based “Back On The Road” is another plaint of the touring musician, and more along the lines of what we know he could do, though what it’s doing in a kids’ TV show is unknown, just like most of the rest of the album. Unfortunately, most of the rest of the album is also too much the same, lacking dynamics or variety, and when he’s not singing, it’s hard to care, frankly.

The John Entwistle Band Music From Van-Pires (2000)—2½

Chrissie Hynde 5: Duets Special

Between her Dylan tribute album and the Valve Bone Woe experiment, Chrissie Hynde has shown her love of songs from all over the popular music map. On the lowkey Duets Special, she tackles a baker’s dozen tunes with all sort of “pals” (her term) selected from various genres.

Most of the album is subdued and acoustic, though she and Cat Power bring in the fuzz for Morrissey’s “First Of The Gang To Die”, and there’s subtle electricity for “Every Little Bit Hurts” with Carleen Anderson. She does two songs associated with Elvis Presley (one a virtual duet with the late Mark Lanegan) and the slowcore band Low is also touched on twice, first with Debbie Harry (who sounds like an older Marianne Faithfull here) on their “Try To Sleep”, and then with the band’s Alan Sparhawk on Cass McCombs’ “County Line”. Beyond those, the choices aren’t too obscure, though k.d. lang does lead a gender-bent but faithful (odd word, we know) take on “Me And Mrs. Jones”. Lucinda Williams snarls her way through a mostly unplugged “Sway” via the Rolling Stones, but the most eye-raising collaboration would be with Julian Lennon on his father’s “It’s Only Love”.

Duets Special is nice, and if you like her, you might like this. Or you might not. We found it a pleasant side trip.

Chrissie Hynde & Pals Duets Special (2025)—3

Steve Winwood 1: Steve Winwood

Not long after appearing in Stomu Yamashta’s Go project, Steve Winwood finally put out his first album under his own name. The songs on the album are very much of the time, soundwise; Jim Capaldi is still a songwriting collaborator, and Reebop appears here and there, but the tunes aren’t really any more exciting than the ones on the last Traffic album. He plays all the keyboards and most of the guitars, and Willie Weeks and Andy Newmark are the rhythm section for most of it, which lends to some of the blandness.

The tone is set by “Hold On”, which but for his distinctive voice sounds like something off a contemporary Boz Scaggs album. The groove picks up a bit for “Time Is Running Out”, a wordy slice of social commentary that crams a lot of words, images, and rhymes into a mix that obscures them, even over the chanted coda, so any intended statement is lost in a reason to dance, which one would think defeats the purpose. “Midland Maniac” stands out because it’s performed entirely by the auteur. Unfortunately, it’s also eight-and-a-half minutes long. It does have distinct, not always cohesive sections, and the changes keep the ear’s attention, but there’s no reason to drag it out.

While it sports a different rhythm section and Junior Marvin of the Wailers on guitar, “Vacant Chair” isn’t that different from the rest of the album, but it’s simply a better, more developed song with an arrangement that belies its somber subject matter, that being the death of a friend. (We had to look up the meaning of the repeated African phrase; it translates as “the dead are weeping for the dead”.) “Luck’s In” begins promisingly, but turns its back on Latin jazz for more standard funk, albeit with an odd meter in the verses. The romantic lyrics don’t gel with the backing, and whatever hope lies therein has disappeared on “Let Me Make Something Of Your Life”. With echoes of “No Time To Live” and “(Sometimes I Feel So) Uninspired”, it certainly sounds like the obvious choice for a closer.

Steve Winwood isn’t bad, but it doesn’t really stick. We always forget what a good guitarist he could be, but we’re guessing the songs are all on the long side because that’s all he had, and they needed to fill up the sides somehow. If anything, it’s very much a harbinger for the solo career he would soon nurture and develop—in other words, safe adult-contemporary pop without much bite. Which is fine if you like that sort of thing.

Steve Winwood Steve Winwood (1977)—2½

Guided By Voices 1: Forever Since Breakfast

Robert Pollard was just your ordinary small town all-star athlete who got a job teaching fourth-grade math and science after college, but never lost his dream to be in a band. With a rotating lineup of local Dayton, Ohio friends, he settled on the moniker Guided By Voices, and tried playing the bar scene, but soon restricted their activities to recording the piles of song ideas he’d been accumulating. Unlike much of their future output, Forever Since Breakfast was recorded in an actual studio, and GBV pressed up copies of their debut EP themselves.

The chiming guitars that open “Land Of Danger” can’t help but bring R.E.M. to mind, and with Pollard’s voice often buried in the reverb-heavy mix, the comparison is even more unavoidable. “Let’s Ride” is in the same vein, but the vocals are more pronounced, and some of the hallmarks of his chording style, as well as melodic lead guitar, are in place. It’s even more striking to hear the lo-fi sound quality of “Like I Do”, with its simple acoustic strum and faraway vocal over what sounds like a TV or radio broadcast. “Sometimes I Cry” powers back with a more standard rock sound, continued on “She Wants To Know”, but it’s still hard to figure out the lyrics. The power chords on “Fountain Of Youth” are more Townshend than Page, and there’s something of a prog touch on the passages between verses. “The Other Place” brings all the influences together—except maybe prog—and more buried lyrics for a strong finish.

Once the band became more widely known, Forever Since Breakfast was very hard to find, but got wider distribution after it was included in 2003’s Hardcore UFOs box set, and another twenty years went by before it was made available for streaming. At 23 minutes, it’s no more nor less substantial than their other EPs, but at least it’s more accessible these days. It remains a curio in their sprawling catalog, yet hardly an embarrassment.

Guided By Voices Forever Since Breakfast (1986)—3

Flying Burrito Bros 5: Close Up The Honky Tonks and Sleepless Nights

Like any smart label, A&M cashed in on both Gram Parsons’ death as well as the first breakup of the Flying Burrito Brothers with a double-LP compilation. Close Up The Honky Tonks devoted the first half to a side each of selections from Gilded Palace Of Sin and Burrito Deluxe, plus the single “The Train Song”. The second half was all previously unreleased material. Side three was all covers—mostly country, but also the Bee Gees’ “To Love Somebody”—from a session recorded with Gram shortly before Altamont, and side four came from the sessions for the third album: more covers, as well as the lost classic “Did You See”, Sneaky Pete’s workout “Beat The Heat”, and Gene Clark’s “Here Tonight”, the one song recorded the week he was in the band. (This album would be superseded by later Burritos compilations, and many of the rarities made it to 2000’s Hot Burritos! double-CD anthology, along with the first three albums in their entirety.)

Two years later, with Gram’s legend growing, they decided to spotlight their onetime artist with another set compiled from the same source as side three of the last album, giving him top billing and a moody cover shot on Sleepless Nights. These were more country weepers, with the exception of “Honky Tonk Women”, taken even cornier than the Stones’ own “Country Honk” variation. But nine tracks weren’t enough to fill up another album, so they wisely licensed three outtakes from Grievous Angel, all duets with Emmylou Harris. Besides sounding better from being actually produced instead of just recorded, they shine compared to the others, particularly on the title track.

Overall Sleepless Nights is more country than rock, and doesn’t really spotlight the band, who could certainly cook when given the opportunity. If its legacy means anything, the album meant a lot to Elvis Costello, who would mine this and other Gram Parsons performances for the selections on his own Almost Blue five years later.

The Flying Burrito Brothers Close Up The Honky Tonks (1974)—3
Gram Parsons/The Flying Burrito Bros. Sleepless Nights (1976)—3
The Flying Burrito Brothers Hot Burritos! The Flying Burrito Brothers Anthology 1969-1972 (2000)—3½

Queen 13: The Works

The lukewarm reaction to Hot Space was enough to suggest that Queen would do well to take a bit of a break after a mostly busy ten years. So Roger Taylor worked on his second solo album, and Brian May released a mini-album called Star Fleet Project, a jam session with the drummer from REO Speedwagon, bassist Phil Chen, and Eddie Van Halen, who proved that he simply could not play the blues. Freddie Mercury started his own solo album, but put it aside for the band to complete The Works.

While they seemed to embrace their established style and turn up the guitars, in a reversal from the last album, synthesizers still figured prominently, right from the opening track and lead single. Yet “Radio Ga Ga” is full of trademark Queen majesty, with soaring vocals and a memorable, catchy chorus. For a song about radio, the video was clever, interspersing scenes from the silent classic Metropolis and showing off John Deacon’s unfortunate mop. (It would also inspire a kid from Manhattan to take a stage name.) Regardless, Brian May’s riffing drives “Tear It Up” over a pounding beat right out of “We Will Rock You”, as if the previous song hadn’t happened. Even earlier triumphs are echoed on “It’s A Hard Life”, which earns the operatic tag even without the Pagliacci melody at the top (think “no more Rice Krispies”). It continues as something of a musical sequel to “Play The Game”, and that’s fine. Speaking of familiar sounds, “Man On The Prowl” is a crazy little thing called rockabilly, only with more Elvis swagger and prominent piano.

Unfortunately, “Machines (Or ‘Back To Humans’)” doesn’t have the balance of vintage and modern that made “Radio Ga Ga” work. It does improve anytime the vocodered vocals are out of the mix, but it’s just too robotic-sounding, even for irony. While it’s in the same tempo, “I Want To Break Free” is best known today for its video, which traumatized homophobic American radio programmers, maybe not so much for Freddie’s getup (with mustache intact) but for Roger’s rather fetching portrayal of a teenage girl. Still, the song, while simple, has rightfully become an anthem. More empowerment, this time against suicide, comes in “Keep Passing The Open Windows”, left over from the band’s brief, unrealized contract to score the film version of The Hotel New Hampshire. It’s that much closer to straight rock, and a good lead-in to the hook-heavy “Hammer To Fall”, one of which reminds us of “Now I’m Here” in a good way. “Muscular” is a good word for this one, and the call-and-response vocals are perfect. From there, “Is This The World We Created…?” is a particularly quiet finale, with just Freddie and Brian.

The Works was a big deal for the band, particularly in America, where they had left Elektra for Capitol, in line with their worldwide EMI contract. The album did okay, but not as well as it should have, especially Stateside.

The first expanded CD added the rockin’ contemporary B-side “I Go Crazy” and 12-inch mixes of “Radio Ga Ga” and “I Want To Break Free”. Only the B-side was included on the second expansion, alongside different mixes of “I Want To Break Free” and “Hammer To Fall”, two songs from Rock In Rio (the closest stop on the tour to the U.S. in this hemisphere), and the holiday single “Thank God It’s Christmas”, which barely dented the charts in the UK in the wake of Band Aid and Frankie Goes To Hollywood, and didn’t chart at all here.

Queen The Works (1984)—3
1991 Hollywood reissue: same as 1984, plus 3 extra tracks
2011 remaster: same as 1984, plus 6 extra tracks