![]() ![]() “Mississippi” famously didn’t work out in these sessions and would wait for “Love and Theft” to find full flower as a highlight of the oeuvre. The best-represented song from the “Time Out Of Mind” sessions is one that didn’t make the record. ![]() We have far from exhaustive documentation of the “Time Out of Mind” songs - two officially circulating outtakes of most tracks, plus four for “Can’t Wait,” and multiple takes of songs that didn’t make the record - but we now can trace the songs’ evolution in a way previously impossible without a scholar’s access to the archive at the Bob Dylan Center. (One is identified just by month and year.) This allows us to hear each cut as a product of either the Oxnard or Criteria sessions, without doing audio detective work first.Ĭrucially, this new information also allows us to arrange all of the available outtakes in chronological order, so we can consider them in the order they were recorded and better trace the evolution of the song. The big breakthrough with “Fragments” is that it lists precise recording dates for almost every song. The original “Time Out Of Mind” notes are more helpful: They make no mention of recording dates, but do break down the tracks that each musician appears on - though not the particular instrument on each track, and most of the band play a few different instruments across the record. That set did not include track-by-track personnel, and session dates were given incompletely if at all. The public’s understanding of the album sessions was widened considerably with the 2008 release of “Tell Tale Signs,” a bootleg volume that in its fullest iteration offered three CDs of material sourced from the “Oh Mercy” sessions through two 2005 recordings. The band personnel also swelled there, with the basic instrumentation including drummers Brian Blade and Jim Keltner … though at one contentious point Dylan commanded that “that hip hop drummer” (Mangurian) and several others be sent home. The process moved to the reportedly sterile but efficient Criteria Studios in Miami. After some months, Dylan announced that he needed to record further away from the distractions and obligations of his home in Malibu. The photo on the album’s cover was taken there. ![]() But with a small band in place, Teatro apparently offered an enjoyably moody vibe. The very earliest idea for the album was to build it around drum loops that musicians would play over, inspired vaguely by Beck. The session proper was preceded by some work Lanois and Mangurian did in the latter’s basic studio on Spring St. It was a small group: Bob Dylan, producer/multi-instrumentalist Lanois, drummer/percussionist Tony Mangurian, and perhaps later, bassist Tony Garnier. The basic shape of the “Time Out Of Mind” sessions, a story many fans of the album are familiar with, is that they began in Daniel Lanois’ theater-cum-studio, Teatro, located in Oxnard, California in late 1996.
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