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The version here is from the album The Cutting Edge 1965-1966. I have no idea what it is doing on the other editions, but it appears to be a slightly re-recorded version. Dylan plays guitar on this one, but I assume he did so on the other versions too. I can find no recording of this song on any other Dylan album, so I assume this is an early recording of it which is what makes it so good.
The most recent albums of Dylan were recorded in Europe in 2005. His work has been reissued by several labels, including Columbia/Legacy (2007), and it has appeared on compilation albums like The 50th Anniversary Collection (Columbia/Legacy, 2000), The Bootleg Series Vol. 7: Tell Tale Signs (Columbia/Legacy, 2008) and The Cutting Edge 1965-1966 (Columbia/Legacy, 2015).
Dylan is the Dylan of the earlier albums and the Dylan of the later ones, too. The climax of the '60s the singing of the songs, the jacking of the instrumentation, the drumming, the guitar playing: it's all Dylan. Especially in the early albums, when he is at his best, he is absolutely at his best. From New Morning to The Times They Are A-Changin' to Oh Mercy, Dylan is at his peak, his creative peak. That's when he's at his best. He's really just at his peak, from 1966-1976, 1977-1983, 1990, 1993 on. Dylan is at his peak from the early albums to Blood On The Tracks. The earlier albums, particularly Bringing It All Back Home, Highway 61 Revisited, and Blonde On Blonde, are such incredible, phenomenal records. 827ec27edc