Bob Dylan returns to the last album that changed his life

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In 1997

released

, a collection of flame-cut songs.

Watermarks devoid of artifice, with one foot in rural Mississippi blues and urban Chicago and another in

skeletal

.

Far from sounding conventional, that was blessed glory.

Co-produced by Daniel Lanois, the avant-garde mastermind behind some of the great albums by U2, Emmylou Harris and the Neville Brothers, with

Dylan faced the preludes of old age and the imminence of death without anesthesia.

The disc reappears when Dylan prepares a

.

The singer-songwriter will offer 12 concerts during the month of June, whose tickets go on sale this Wednesday the 15th.

Time out of mind

' was established at the Grammys, restored the cultural and media relevance of its author and inaugurated a renaissance that is now

.

chronic inability to submit to the script, to any script

.

But it wasn't all toasts.

Dylan resented the sound, swampy cubism, concocted by Lanois.

Hence, in the box that

recovers , titled

, it opens with a stripped-down remix of the album.

The new

is followed by

.

A feast that will dazzle both the very coffee lovers and the first-timers.

This is more, much more than a chest full of cute curiosities.

, chapter number 17 of the

, offers the complete panorama of an amazing journey, with the great composer determined to rediscover his muse.

A total of five CDs, 60 songs, to lose yourself.

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We learned from

that Dylan started writing on his farm in Minnesota, shortly after the death of his friend Jerry Garcia, from the Grateful Dead.

That he himself was about to "meet Elvis" due to pericarditis, a few weeks before the album was released.

Inevitably, the critics swelled the paragraphs, abused the esprújulas and spoke about eternity.

But

.

Bob Dylan and Daniel Lanois had already collaborated on the gelatinous and nocturnal

(1988), the first attempt at a revival after some erratic 80s.

In 1997, when they entered to record

They seemed ready to take on the world.

Although Bob suggested emulating Beck's "cut-and-paste" techniques in revisiting the

script , it didn't take long for him to tire of it.

Nothing is further from his philosophy than mixing board games,

and pre-recorded tracks.

Time out of mind

.

First in Theatre, owned by Lanois on the East Coast.

A former

venue located in Oxnard, 45 kilometers north of the Dylan house in Malibu.

Lanois and Dylan, accompanied by drummer Tony Mangurian, a disciple of Philip Glass and collaborator of Basquiat, and bassist Tony Garnier, right-hand man in Bob's band live, plus sound engineer Mark Howard, recorded the chassis for the first songs.

They also recreated old tunes, such as the Scottish folk classic,

: a sublime interpretation, which Dylan was already singing live in 1975, accompanied by Joan Baez, and which he reimagines here in a performance with his feet anchored to the ground.

There was also a first attempt to catch

, an elusive love ballad with echoes of Sam Peckinpah and Jesus Christ in the Sonoran desert, and

, of which years later, in 2008, we would know

that deserved a video starring actor Harry Dean Stanton.

None of these three songs, which alone justify the price of admission, would end up in the final list of

.

The team moved to the East Coast.

In January 1997 they began recording at the Criteria.

A studio like an aircraft carrier, with a long history, a reference for Atlantic in the seventies and as cozy as a dentist's waiting room.

At this point the bleeding with his producer was evident.

, aces such as drummer Jim Keltner and keyboardist Jim Dickinson, partners like Augie Meyers, live partners like Duke Robillard, David Kemper and Winston Watson.

What came next, now exhaustively documented, has the seams of legend.

Between the padded walls of the study

.

They recorded 37 takes as 37 shots.

Among the revelations, a devastating take of

, of a simply extraordinary fierceness.

That Bob Dylan was not about to become a nostalgic act was made clear from the start.

That his last stage would be priceless, at an age when

, would become evident from

.

An avalanche of incandescent, deep and disturbing music, which thanks to the mercurial

can be savored in all its dark splendor.

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