In 1970, Dylan released Self Portrait, a notoriously awful album that has confounded many of his fans for decades. When Greil Marcus reviewed it in Rolling Stone, he famously began with the question, “What is this shit?” Now, as part of their “Bootleg Series” that uncovers rarities, outtakes, and unreleased tracks from Dylan’s recording sessions, Columbia Records is releasing Another Self Portrait, offering a fuller picture of what the songwriter was up to at the time. Kevin Courrier thinks we have reason to be optimistic about the album, believing it will show “a man tracing the roots of both his musical path and interests”:
Self Portrait suffers from the sense that Dylan is playing the songs to himself rather than to the listener.
But the samples I’ve heard on Another Self Portrait, from Eric Anderson’s “Thirsty Boots” and Tom Paxton’s “Annie’s Gonna Sing Her Song,” actually reach out to an audience. You hear the threads of what not only came to define the musical territory Dylan had already been mining to that point, but also what would later become the Bob Dylan Theme Time Radio Hour on satellite radio. On that program Dylan, as the host, took us on musical journeys through the history of American music – blues, jazz, show-tunes, rock and folk – using a theme like ‘the weather’ as the clothes line on which he hung the songs. On Another Self Portrait, he also extends to his listeners the country sound he was immersed in with his previous album, Nashville Skyline, by reminding us (as he had on the infamous The Basement Tapes) that his music was not narrowed by the social protests of the topical song. In his mind, the American songbook is an evolving and expanding catalogue tracing a map of the nation’s struggles and triumphs.
Another Self Portrait could very well be the album that Self Portrait wasn’t. It may compare to how Good As I Been to You (1992) and World Gone Wrong (1993) set Dylan up for his series of records (Time Out of Mind, Love and Theft) that brought his voice back to its authentic sound. In those two early Nineties records, Dylan revisited the songs of his youth, earlier versions of the America that would help him come to terms with the country he was living in now. He then set forth to mine his own path with those tracks (“World Gone Wrong,” “Black Jack Davey”) as skeleton keys for his own (“Not Dark Yet,” “High Water (for Charley Patton)”). But we already know that the history that followed those sessions led into the eventual aimlessness that Good As I Been to You got him out of. The only authentic thing about Self Portrait was its portrait of an artist in hiding. What Another Self Portrait might just reveal is more of what Dylan was actually hiding from.
The Dish 