The saddest thing about this collection in my mind comes from the fact this is something the casual find might not think to look at first. This is the type of release that is usually aimed at the already established fan base of a particular artist, but in this case this is as valid a first buy as his albums are.

Dylan does not falter at all on this collection, and it shows the depth of his songwriting, making this (to my mind) as essential in his catalogue as anything else people recommend for newcommers to Dylan. The only thing added by knowing Dylan's albums before this is the amount of frustration the listener feels that he didn't put these tracks on the prospective albums they belong too. The majority of them could have been MUCH longer, with INFIDELS being a double album even, and SHOT OF LOVE would have greately benefited, making it rated higher than it is and give Dylan a critical boost when he really needed it. Dylan, for all his skills, has proven one thing with this release: the method he uses to assemble albums could stand up to some fine-tuning and work, because most of these are good enough to be released. The songs are absolutely wonderful, all of them (with maybe the single exception of Talking Negeliah Blues, which is just a 50 second guitar doodle and Suze -- not because of the song itself which is an instermentual but because the track breaks down, as does "She's Your Lover Now" which is the single most exasperating song on this record for that exact reason.) The real meat of this set is its unreleased stuff, and while some of the alternate takes are interesting just downright terrible (only one of these is REAL bad, and that's "It Takes A Lot to Laugh", while techinically good ruin the gorgeous song by playing it way to fast).

Some one said they wished this had been like The Beatles' Anthology series. I simply could not disagree more. The sad thing about The Beatles came from the fact they simply did not have that much in the vaults in terms of unreleased original compositions. Instead they had to go with all the outtakes of their songs. (A side note: 1 is average, interesting just for historians, 2 is pretty good maybe 3 & 1/2 stars, and 3 is very good.) But with Dylan, besides having a much longer career (and the fact that The Beatles were incredibely prolific, releasing two albums of material per year with singles and what not and their quality never faltered) also has so much unreleased stuff its simply amazing and these songs have priorites of outtakes of the classics. Indeed, one of the essential frustrations with Dylan (and in a much smaller sense The Beatles as well) is, as amazing as his discography is, there are songs here that simply should have been on the album (the greatest victom of this phenomena is INFIDELS which had the outtakes on this and the ones still unrealesed been included it would hold its head up high next to anything else he released).

Volume I is the true folk album of this lot. In that sense this has the most artistic cohesion because of the period of compsoition (just over 2 years) is very close chronologically and the general sound remains the same. There are some real gems here, including Hard Times, Bear Mountain, Let Me Die, Walls of Red Wing, Who Killed Davy Moor, and others. Although artisticially this is straight on, for my personal tastes there are some of these tracks that are just servicable instead of overwhelming. But that's just taste -- musically you can't touch Dylan on this one.

Volume II: There isn't quite feel of cohesion on this one as the first volume because of the amount of stylistic changes it has to cover, going from folk to folk rock to rock to Basement Tape outtakes as well as the music of New Morning and Planet Waves (that sound) and then ends with outtakes from BLOOD ON THE TRACKS. Individually all the tracks stand out, though the easily must frustrating is "She's Your Lover Now" which is an almost perfect take but breaks down after six minutes resulting in a lost verse. It should have been redone and put on BLONDE ON BLONDE. My least favorite track here is the up-tempo version of "It Takes a Lot to Laugh" off Highway 61, which simply does not have the appeal of the original. "I'll Keep It With Mine" is a particular favorite, although this is a rehearsal and it shows.

Volume III: In terms of style this is the most consistent of the three volumes, and I would argue if you cut the first three tracks which belong to the mid seventies (and so should have been on those albums) and released this as an individual album it would be hailed as a comeback for Dylan, who had a notoriusly dry and inconsitent spell during the 1980s. They would compare it to Oh Mercy! and it may have even had a better critical reputations. The cuts I would make it this if it were released as a real album would be "Every Grain", "Someone's Got a Hold", "Lord", and "When the Night" or call them bonus tracks. Not a big fan of Tell Me. "Julius and Ethel" (an Infidels outtake) would have been nice to be on here too. Oh well, I suppose. And to those who say the EMPIRE BURLESQUE version sounds like disco, go suck off. It's a good song.

All in all, one of the single most impressive collections assembled, especially since this is ALL outtake material. A lot of this would have been the major material in other people's catalogues. As Mark Prindle said, that's pretty impressive Weezer (talking about the band). There's still a lot more in his vaults, and I want more of this stuff released. Also, I'd like a full release of THE BASEMENT TAPES, with ALL known material released. There's still a large amount of the TAPES in the vault. "I'm Not There", one of my favorite Dylan compositions, is still unreleased. Get the ball rolling, release some more!

Bottom line: Get this release. If you're new, it's just as good, as valid a first buy as any of the others often cited. This should be on your top five list to buy.

Perhaps the most substantial reason to buy this album is to hear what you did not know you were missing in the 80's. There are some unbelievably brilliant performances here that were left off of various 80's albums, like Blind Willie McTell, Series of Dreams, and Foot of Pride.

Then there are some sizzling 70's performances, like the live Seven Days or Catfish, an outtake from 1975's wonderful "Desire" album. Also, the original verson of "If Not for You," with none other than George Harrison on guitar, is ten million times better than the version featured on the actual studio album, "New Morning." The "unplugged" verisons of some "Blood on the Tracks" songs are powerfully raw.

Then, of course, his songwriting brilliance of the 60's shines on the tear jerking "Moonshiner," which is, arguably, his best vocal performance EVER. "Seven Curses," 'Eternal Circle," 'Farewell, Angelina" are as good as anything on his early to mid 60's albums. Yes...really.

This collecton got me scratching my head, frustrated, wondering why Dylan never released these songs. It is anyone's guess as to why the 60's material was never released, but in the 80's, he seemed to be more interested in angering his record label than anything else. That may be why "Blind Willie Mctell" and 'Foot of Pride" were both left off of 1983's "Infidels," which is brilliant in its own right, but would have truly been one of Dylan's best albums ever with the addition of those songs. Oh well. He never did release them. And now we have it all here, on this 3CD package. Any Dylan fan who does not buy it should be criminally prosecuted. And anyone who is curious about Dylan's career should begin with 'Biograph" and this collection. It is truly an outstanding gem that puts this genius's 40-year career into some perspective.

It was known that Dylan had a great deal of unreleased material, but nobody was prepared for the unbelievable range and quality of this set when it came out in 1991. The first disc is a treasure trove of old songs and early compositions, given Dylan's inimitable spin, and a great history of his development as a songwriter. The second disc contains some interesting alternative versions, plus a few new gems like "Seven Curses", "She's Your Lover Now", and "Wallflower".

But it is the third disc that is the stunner. Several very great songs that would have been the crown jewels for any other artist appear for the first time here (Angelina, Foot of Pride, Blind Willie McTell, Series of Dreams). In addition, the alternate versions of "If You See Her, Say Hello", "Every Grain of Sand", and "When the Night Comes Falling From the sky" are in my opinion even better than the original released versions, and the other new songs are of very high quality. This third disc all by itself would make a list of Dylan's top 5 records.

The liner notes and pictures are great too -- arguably the best study around of the first 30 years of Dylan's career.

I recently became turned-on to Bob's Dylan's Bootleg Series. I find it odd that I have come so late to these historical compilations of previously unreleased studio outtakes, as I am a major Dylan fan & have been since the release of "Freewheelin' Bob Dylan," just about 40 years ago - Yoiks!! Dylan has always been incredibly prolific, only releasing a fraction of what he records. My understanding is that a limit was imposed on him as to how many tracks he could release per year. This policy made him a prime target for bootleggers. It has been said/written that Dylan is one of the most bootlegged of 20th Century performers. The music here was recorded between 1961 and 1989, spanning almost 3 decades.

Dylan approved this three disc release in 1991, delving deep into past archives for the material. The CDs are comprised of 58 tracks, unreleased and rare, alternate versions of classics, demos, a few live tracks, and some of his discarded songs, like "She's Your Lover Now," "Blind Willie McTell," and "Series of Dreams" - all absolute gems!

Disc 1 opens with Dylan in his original new-Woody Guthrie style with the defiant "Hard Times in New York Town." In 1960, Dylan dropped out of college and moved to New York, where legendary folk singer Woody Guthrie was hospitalized with a rare disease of the nervous system. Dylan visited with his idol regularly in the hospital. "He Was a Friend of Mine" and "Man on the Street," are poignant hobo laments. Two relatively obscure protest songs are included here, "Paths of Victory" and "Who Killed Davy Moore?" Davy Moore is about the death of a young featherweight boxer who, after losing a title bout to Sugar Ramos in 1963, fell into a coma and died. The incident sparked public debate about whether boxing should be banned in the United States. Interesting to note, the song was written and performed within 3 weeks of Davy's death. "Farewell, Angelina" was written by Bob for Joan Baez who made it popular. This is a rare version of Bob singing it. Unusual versions of "House Carpenter," "When The Ship Comes In," "Talkin' John Birch Paranoid Blues," (banned on the Ed Sullivan Show), and, of course, the anti-establishment anthem of the 1960's, "The Times They Are A-Changing," are included as well as 10 cuts from "Freewheelin' Bob Dylan." "Last Thoughts on Woody Guthrie" is a poem recited at Town Hall.

Disc 2 features alternative versions of "Highway 61" material, the incomplete "She's Your Lover Now," along with "Like a Rolling Stone," (Dylan played the song solo to assembled studio musicians. Later that same day, they recorded it again - an unbelievable 2nd version!), an acoustic reading of "Subterranean Homesick Blues," and "If Not For You" with George Harrison's guitar and Dylan's vocals from a recording session they did together in 1970. Recast tunes from the superb "Blood on the Tracks" album are also featured on this CD.

Disc 3 Wows (!) with 4 tracks from the original unreleased "Blood on the Tracks" sessions, and a remarkable version of "Blind Willie McTell," recorded in 1983. The Band can be heard playing with Dylan on five tracks in this boxed set, recorded in 1966, 1967 and 1973. Includes two previously unreleased 65/66 studio tracks with the Band.

Bob Dylan's "The Bootleg Series, Vols. 1-3 : Rare And Unreleased, 1961-1991" provides more than 3 hours of sublime music, many of the bootlegged songs rivaling and even surpassing the official versions. This collection also serves as a wonderful career overview. Included is a 69-page booklet that lists tracks along with the venues, dates, and wonderful vintage photos.

Outstanding!
JANA

In case anyone was still harboring any doubts that Bob Dylan is not only the songwriter of the century, but also one of the most prolific, then this set has surely erased them. Featuring previously unreleased gems, alternate takes, demos, live offerings, and the ilk, this album is an absolute goldmine for the Bob Dylan enthusiast. Here we have previously unreleased songs that are, in fact, on par with (and, in many cases, surpassing) Dylan's officially released work. Some absolutely extraordinary songs that are released here for the first time include Let Me Die In My Footsteps (which was previously issued as a single), Who Killed Davey Moore?, Mamma, You Been On My Mind (an oft-covered song, here in Dylan's own solo version), If You Gotta Go, Go Now, and I'll Keep It With Mine. The third disc is just crammed with previously-unissued greatness. Dylan's 80's output is routinely panned by critics and fans alike, but this third disc proves that he was still writing great songs during that period. Why he chose not to release them is anyone's guess, but songs like Ye Shall Be Changed, Someon's Gotten A Hold Of My Heart, Foot of Pride, Blind Willie McTell, and Series of Dreams are bar-none, excellent songs that stand as high points in Dylan's catalog. Two other tracks that deserve special mention are Last Thoughts On Woodie Guthrie and She's Your Lover Now. The former is a live reading of Dylan's poem of the same name (the only time he has ever done so), and it is an absolutely extraordinary piece of work. Perhaps the single most astonishing thing he has ever written, this long poem enscapulates seemingly life itself, while also paying homage to Dylan's idol. Amazing. Genius. The latter is a gem of an unreleased Dylan track... the lyrics are great and complex, almost a mini-play; a drama featuring three characters. It is given a spirited performance as well. Unfortunately, it breaks down during the last verse, and part of the song is lost. This is very, very unfortunate... if this song was ever finished, it would surely be regarded as one of Dylan's classic tracks. Also worth mentioning are the alternate takes and demos here. The versions here of The Times They Are A-Changin', Like A Rolling Stone, and (especially) Subeterranian Homesick Blues show a peak into the creative process and how the songs came about. The first two are piano-driven demos, and the latter is an acoustic version of the famously electric song (though it still retains the same meter and beat.) These demos sound like they were recorded, perhaps, as guides for the band, but they are fascinating, intimate peeks into how the songs came about. As for the alternate takes, most Dylan-ophiles would gladly pay full price for this album for the Blood On The Tracks songs alone. This set provides us with versions of Tangled Up In Blue and Idiot Wind (two of Dylan's greatest songs), that are different from the released versions, but just as good in their own way. Featuring sparse backing, these songs are very intimate and striking. They also have lyrical changes (especially Idiot Wind), and vary in their delivery. Tangled Up switches back and forth between third and first-person narraration, further enchancing the song's legendary impressionistic image. Idiot Wind is simply Dylan on acoustic guitar, and it is positively haunting. Whereas the released version was bitter and angry, this one is sad and resigned. The tracks alone make the album worth purchasing. As heavy and imposing a reputation as Bob Dylan had before, it must surely be added to in the wake of this album's release. We have here mere outtakes that Dylan didn't even consider good enough to release that would be the crowning jewel in most artist's catalogs. Most bands would kill to have written even one of these songs. It's not Dylan's alternate history, it merely enriches the already incredibly accomplished one that he already had. This is by no means the spare parts of Bob Dylan. It is not the "best of the rest", it is the "rest of the best."