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" This week, Bob Dylan announced that he would be releasing the 10th installment of his ongoing Bootleg Series. The latest album, titled Another Self Portrait (1969-1971), covers the period when Dylan recorded his two 1970 releases, Self Portrait and New Morning, the former a critical failure and the latter an extension of the country-rock explorations of 1967&amp;#039;s John Wesley Harding. This stage of Dylan&amp;#039;s career is often underrated and unexplored, overshadowed by his shift from folk music to rock &amp;#039;n&amp;#039; roll in the mid-&amp;#039;60s. But there&amp;#039;s plenty to admire on both Self Portrait and New Morning, so in light of the impending release, here are five great tracks to familiarize yourself with this period in Bob Dylan&amp;#039;s discography (with a Spotify playlist). &amp;quot;Sign on the Window,&amp;quot; New Morning      A sparse arrangement, in which Dylan&amp;#039;s voice and piano take center stage, only occasionally building into something resembling a chorus with hints of gospel backing vocals. It&amp;#039;s one of the more evocative, stunning tunes from Dylan&amp;#039;s &amp;#039;70s period. &amp;quot;It Hurts Me Too,&amp;quot; Self Portrait      In his interpretation of this blues standard, sung most notably by Elmore James, Dylan&amp;#039;s clear, smooth voice runs contrary to the melancholy at the song&amp;#039;s core. But there&amp;#039;s still sadness in his voice \u2014 a sadness that comes from accepting the inevitable demise of an unhealthy relationship.  &amp;quot;The Man in Me,&amp;quot; New Morning      Probably best known for its use during the opening scene of the Coen Brothers&amp;#039; The Big Lebowski, &amp;quot;The Man In Me&amp;quot; is a highpoint on New Morning, sounding like the Dylan that raged with the Band on The Basement Tapes, complete with jangly guitars, parlor house piano, and stellar backing harmonies. &amp;quot;Days of 49,&amp;quot; Self Portrait      Sounding like the Dylan who broke out with &amp;quot;Blowin&amp;#039; in the Wind,&amp;quot; &amp;quot;Days of 49&amp;quot; is a stripped-down slice of Americana on an album filled with polished production. A minor-chord chug drives the story of an aging gold miner, with an unshakable sense of menace. &amp;quot;Went to See the Gypsy,&amp;quot; New Morning      Underpinned by that Dylan organ so typical of his Highway 61 Revisited days, &amp;quot;Went to See the Gypsy&amp;quot; weaves a gorgeous tale of regret and longing. On top of a lively keyboard line and a muted electric guitar, Dylan&amp;#039;s voice is in fine form, sounding raspy and angry at one turn and subtle and carefree the next.      Follow The Culture Blog on RSS and on Twitter at @ESQCulture. "^^<http://www.w3.org/2001/XMLSchema#string>
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