Editors’ Notes You could feel the collective head-scratching when word got out that the 10th volume of Bob Dylan's Bootleg Series was focusing on the years surrounding Nashville Skyline, Self-Portrait, and New Morning. While Skyline and Morning have their fans, Self-Portrait remains the most divisive double album in rock history (Lou Reed's Metal Machine Music excepted). Hadn't Dylan himself dismissed Self-Portrait? Yet one listen to the gorgeous "Pretty Saro" (where Dylan stretches his voice beyond its usual range) or the earthy "Railroad Bill," and it's obvious that once again the most fascinating musical artist of the 20th century proved that many of his best moments were left on cutting-room floors. Alternate takes of "I Threw It All Away" and "Country Pie," along with demos and overdub-free takes of Self-Portrait tracks, demand that listeners revisit those albums to hear what they misconstrued. The deluxe version includes Dylan and The Band's 1970 set at the Isle of Wight, while the standard issue features only a few peeks. The biggest tease, though? The Basement Tapes outtake of "Minstrel Boy"—is that Vol. 11 calling?

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