Lucas Fagen su Hyperallergic fa il (tragico) punto della situazione su dove siamo arrivati con le Bootleg Series di Bob Dylan (e sul completismo in generale):
Anyway, how much Dylan music do we need? In an oversaturated musical economy, where every year more music comes out than a single person could ever listen to, obsessive completism is inevitable; as long as capitalism produces consumer objects, people will feel the need to catalog them, and as long as rock songwriters inspire hyperbolic reverence, trivial moments will get excessively scrutinized due to mere association. There’s no escaping the urge. Fixating so totally on a single figure strikes me as a particularly perverse way to go about it, though. I’m not sure where or whether to draw the line, but if the first few Bootleg Series volumes served a useful function, officially releasing music that fans had been passing around for years, the project has long since tipped over into decadence. More Blood, More Tracks suggests the archives have simply run out of interesting material.
It is a testament to the beauty and durability of Dylan’s music that Blood on the Tracks even remains listenable after immersion in the box set — after hearing these songs repeated a dozen times, slightly adjusted and rehashed, beaten into the ground. I find this comforting. Although he’s been subjected to more hagiography than anyone, all the rockism in the world will never spoil Dylan. The wily old fox is always one step ahead, for there’s no actor anywhere better than the jack of hearts.