Music critic Tim Riley would echo these sentiments, writing that ''Series of Dreams' should have been the working title song to Oh Mercy, not a leftover pendant.' 'Series of Dreams' would become the final track on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991, and was later included on 1994's Bob Dylan's Greatest Hits Volume 3. Outtakes ĭuring a Sound Opinions interview broadcast on Chicago FM radio, Lanois told Chicago Tribune critic Greg Kot that ' Series of Dreams' was his pick for the opening track, but ultimately, the final decision was Dylan's. As for the songwriter, he recognized 'There's something magical about this record' and felt sincere admiration for the work of the Canadian producer''.

And he concluded, ' Oh Mercy was two guys on a back porch, that kind of vibe'.

He added that if there was one lesson he learned from Dylan, it was working relentlessly while searching first and foremost for efficiency and speed. At nighttime we're ready to be more mysterious and dark. I think it's something to do with the pushing and pulling of the moon. I think he's right about that: the body is ready to accommodate a certain tempo at nighttime. Lanois claimed Oh Mercy was a record you listen to at night because it was 'designed at night': 'Bob had a rule, we only recorded at night. In their book Bob Dylan - All the Songs: The Story Behind Every Track, authors Philippe Margotin and Jean-Michel Guesdon call Oh Mercy 'a renaissance' for Dylan and write of the recording sessions: 'The arrangements are very reminiscent of Yellow Moon by the Neville Brothers, and Dylan eventually got familiar with this particular atmosphere. Dylan biographer Clinton Heylin notes that Dylan finished recording the basic tracks for the album on Mabut added new vocals (and other overdubs) for almost all the tracks the following month. In the spring or summer of 1988, U2 singer Bono put Dylan in touch with producer Daniel Lanois and the two agreed to work together although the recording sessions would not commence until early 1989. But I think Dylan had maybe decided he didn’t like what had happened'. Engineer Mark Howard noted that Dylan had previously attempted to record the songs with Ronnie Wood but was dissatisfied with the results: 'There’s a whole version of Oh Mercy that was recorded with Ron Wood already. The composition of the songs at Dylan's home in Malibu and the recording of the album in New Orleans are described by Dylan in detail in the 'Oh Mercy' chapter of his memoir Chronicles: Volume One.

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