![]() Sandwiched in between them was 1983’s “Infidels,” probably the most generally well-regarded album Dylan made between “Blood on the Tracks” in the mid-‘70s and “Oh Mercy” at the end of the ‘80s. The last covered in this three-album overview is 1985’s “Empire Burlesque,” which, in contrast, was overbaked… or over-Arthur-Baker-ed, to invoke the name of the producer who took a lot of the heat for that record’s inadequacies. First up in the docket is 1981’s “Shot of Love,” which felt raw and undercooked at the time it was released. One thing that makes “Springtime in New York” harder to summarize than most of Dylan’s other retrospective boxed sets is that it covers a wealth of unheard material from the sessions for three albums that, while sequential, don’t really have huge commonalities between then. 16 (1980-1985),” which might be in the odd position of being the least anticipated of these annual exhumations for some fans but one of the most eagerly awaited for others. ![]() Now we get a fuller look at that time in the five-CD “Springtime in New York: The Bootleg Series Vol. Unofficial bootlegs have also served as a seemingly bottomless tease for what might deserve to come out of the vault. Some of this archival material from the ‘80s was already the basis of Dylan’s very first official “Bootleg” release 30 years ago think “Blind Willie McTell,” the infamous “Infidels” discard that did more than any other one song to ensure fans that the series would be an invaluable source of new/old Dylan material for years and decades to come. And then there are those of us who find Dylan’s 1980s about as interesting as any other post-‘60s decade of his, once you dig past the admittedly spotty studio albums and explore the often superior alternate takes of material that didn’t completely work on record, or the great songs that never came out at all at the time.
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