That’s one for Dylanologists and diehard fans to debate long into the small hours of one too many mornings but it certainly lets you hear and appreciate the songs and the instrumentation in a whole new light – just listen to the drums on the new mix of ‘Standing in the Doorway’, the organ on ‘Tryin’ to Get to Heaven’ and the dirty blues of ‘Cold Irons Bound’, which will rattle your bones even more than the original.

At a push, it could have been a 4 disc set without the live material and still been as good, that shows how good the unreleased tracks are. Disc 5 gives us the original haunting take of “Can’t Wait” that raised Howard’s arm hairs: Over a hard backbeat, Dylan’s block piano chords and impressively tasty riffing from Lanois, Dylan chews the scenery with the unhinged glee of a Shakespearean actor let loose in a Hollywood blockbuster.

The song is mesmerizingly dark, but hearing Dylan bite down with panther’s teeth on “I’m getting old,” it’s easy to conclude that he was feeling nothing but the opposite. All the instruments are clear and sharp, even Bob’s vocals seem more invigorated, there’s more clarity all around.

Disc 4 offers live versions of all the tracks from Time Out of Mind except Dirt Road Blues, but with the addition of Mississipi, which was originally intended for the album. The series can feel overwhelming by design or aimed only at the highest-security-clearance Dylanologists, but Fragments presents us with a clear chronology: Disc One gives us the final studio album, remixed and scrubbed fresh so we can avail ourselves once more of its glorious shadows and submerge ourselves in its delicious mood. All in all at least 12 musicians found themselves crowded in Criteria, with Bob Dylan as their bandleader (“Two of everything, like Noah’s Ark,” marveled pedal steel guitarist Cindy Cashdollar).

This set gets it right, consisting as it does of well over 60 minute discs but it also has more impact focussing on one album.