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Bob Dylan: "Tell Tale Signs: Rare and Unreleased, 1989-2006" The Pretenders: "Break Up the Concrete" The Clash: "Live at Shea Stadium" Oasis: "Dig Out Your Soul" I'll wait to hear them first I don't plan to buy any of them SAVE AND SHARE Buzz this story. Posted on Tue, Oct. 7, 2008 The 'new' Dylan and more A set of rare and unreleased recordings by the Bard is out today, along with new albums by the Pretenders, the Clash and Oasis. By Dan DeLuca Inquirer Music Critic Bob Dylan's new album isn't exactly a new Bob Dylan album. Instead, Tell Tale Signs: Rare and Unreleased, 1989-2006 (Columbia ***½), is one of those alternative-history compilations, like the Beatles' Anthology series or Bruce Springsteen's Tracks , that considers a major artist's career from an off-center angle, using unreleased cuts and little-heard gems to take a fresh look at a musical titan who, in this case, has been hiding in plain sight for decades. Tell Tale (a.k.a. "The Bootleg Series, Vol. 8") is the most prominent of a clutch of new releases hitting stores today. It covers the startlingly creative ongoing third act of Dylan's career, from 1989's Oh Mercy and continuing through 2006's Modern Times . Its two discs contain a handful of how-could-he-not-release-that? outtakes (the superb "Dreamin' of You," and "Red River Shore," from the 1997 Time Out of Mind sessions); the first Robert Johnson cover he's released ("32-20 Blues"), plus live cuts, soundtrack songs and alternative versions of songs that reveal them in new light. (For deep-pocketed completists, there's also a "deluxe" version including a top-notch third disc and a 150-page book with the artwork from all of Dylan's singles, for $99.99 on Amazon). In concerts along his Neverending Tour, the 67-year-old Dylan forever delights (or torments) his fans by refusing to perform his iconic songs in the arrangements they're most familiar with. It's that restless refusal to sit still that serves the froggy-voiced Bard so well on Tell Tale . The inclusion of three versions of "Mississippi," originally released on Love and Theft , on Tell Tale 's three discs might send off an alarm that the album is going to be tedious and repetitive. But all are startlingly different - and better, to these ears – than the L&T version, especially the take that opens the first disc with Daniel Lanois' guitar supporting Dylan's voice. Tell Tale contains many other pleasures - a burning version of "High Water (for Charley Patton)" recorded live in Ontario in 2003, a duet with Ralph Stanley on "The Girl on the Greenbriar Shore," a majestic original called "Cross the Green Mountain" that was written for the Ted Turner cable TV Civil War drama Gods & Generals. And while the often stripped-down alt-versions of songs like "Dignity" - here presented both as a gospel-flavored piano demo and a rockabilly rave-up - aren't always superior to their better known renditions, they always show Dylan experimenting with varied approaches. The collection captures the late-period Dylan's disaffected distance from the modern world - "I feel like a ghost in love," he sings in "Dreamin' of You" - while presenting the weary-eyed troubadour as a heartsick romantic making his way through the darkness. "The end of time has just begun," he sings, sounding doomy in a fresh set of lyrics to "Can't Wait." If these Signs are any indication, he's got plenty of life left in him. The Pretenders Break Up the Concrete (Shangri-La ***1/2) Over three decades, Chrissie Hynde's Pretenders have released a scant nine albums; Break Up the Concrete , surprisingly, is easily the best one since 1984's Learning to Crawl . Hynde still mixes rave-up diatribes with heartfelt love songs, but rather than the British Invasion and punk that have been her birthright, the album takes its cues from Elvis Presley's rockabilly and Bob Dylan's roots-rock. Hynde has drafted a crack band of new "Pretenders": famed drummer Jim Keltner sits in for Martin Chambers (who will still tour with the band) and sometime-Pernice Brother James Walbourne plays twangy leads in tandem with Eric Heyward's pedal steel. The 57-year-old Hynde sounds invigorated by the fuzzed-out blues riffs of "Rosalee," by the Bo Diddley thump of the title track, by the Highway 61 rush of "Boots of Chinese Plastic." And she shines on thoughtful ballads like "One Thing Never Changed." Her Pretenders may have changed, but Hynde still rocks. - Steve Klinge The Clash Live at Shea Stadium (Columbia/Legacy ***1/2) "If you don't know what's going on, ask the person standing next to you," Clash front man Joe Strummer impishly tells the 50,000 fans at New York's Shea Stadium on the rainy night of Oct. 13, 1982. Though the Clash was just the opening act for the Who, it's unlikely many didn't at least know about "The Only Band That Matters," which was at the height of its popularity. The Clash would break up shortly thereafter - drummer Topper Headon was already gone - but you wouldn't know it from this ripping performance. Forays into rap and dub show how the band brilliantly branched out from its punk roots, but the not-quite-50-minute set still hurtles forward on relentless, rock-fueled momentum. Combine that thrilling energy with songs that offer pointed and sometimes witty social commentary, from "Career Opportunities" to "Tommy Gun" and "Rock the Casbah," and Live at Shea Stadium stands as a stellar reminder of the Clash's awe-inspiring power. - Nick Cristiano Oasis Dig Out Your Soul (Big Brother/Warners **1/2) Like any campaign promising change, Oasis' charge to its seventh album swore upheaval. The acoustic fodder, jaded lyrics and plodding tempos of the Gallagher brothers' most recent recordings would be out. The good-time chiming and righteous rocking of Oasis' overrated classic, (What's the Story) Morning Glory? , would be in. So to hear sneering singer Liam and guitarist-vocalist Noel fill Dig with many sluggish, second-rate songs - even cloying ballads like "I'm Outta Time" - is sad, but hardly shocking. Oasis' raison d'etre is about holding onto the past. Maybe that's comforting. From "To Be Where There's Life" and its psychedelic-Indian touch to repeated steals from The White Album, Oasis still references Harrison, Lennon and McCartney better than the cast of She Loves You! Even when they try to be ruminative, Oasis' lyrics come across as spiritless, no matter which brother is writing them. Yet they always manage rudeness with zest, as on "(Get Off Your) High Horse Lady." And when they put their mind to it - as in "Ain't Got Nothin' " and "Bag It Up" - Oasis can be inventive in terms of griminess and groove. But being innovative is work, and Dig doesn't break a sweat. That would be too much of a change. - A.D. Amorosi Buzz this story. Comments Confirm your registration to report abuse Posted by naesman 01:12 PM, 10/07/2008 One correction, Dan the duet with Ralph Stanley is actually "Lonesome River," recorded in 1997. ("The Girl on the Greenbriar Shore" is a live acoustic performance from 1992.) Confirm your registration to report abuse Posted by Xi Jah 03:41 PM, 10/07/2008 Saw Dylan at the E Factory some weeks back. While it was good to see him one song was virtually indistinguishable from another due to the thinness of his voice. He should probably give up the touring and stay in the studio. 2 comments Post your comment Philly.com comments are intended to be civil, friendly conversations. Please treat other participants with respect and in a way that you would want to be treated. You are responsible for what you say. And please, stay on topic. If you see an objectionable post, please report it to us using the "Report Abuse" button. . About your comments: These comments are monitored by Philly.com staff. We reserve the right at all times to remove any information or materials that are unlawful, threatening, abusive, libelous, defamatory, obscene, vulgar, pornographic, profane, indecent or otherwise objectionable. 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