Bob Dylans Empire Burlesque (1985), Infidels (1983), Shot Of Love (1981), Saved (1980), and Slow Train Coming (1979), are OUTSTANDING musical works. Also, Blood On The Tracks (1971), Desire (1973), Street Legal (1975), and Bob Dylan At Budokan (1977), were actually the near perfectly evolutional and COVERT SPIRITUAL albums, leading up to his next OVERTLY SPIRITUAL albums, starting with Slow Train. Then I skipped thru some retrospectively good Dylan Albums to 1991. Bob Dylan (1991) Wilipedia: In April 1991, Dylan told interviewer Paul Zollo that there was a time when the songs would come three or four at the same time, but those days are long gone...Once in a while, the odd song will come to me like a bulldog at the garden gate and demand to be written. But most of them are rejected out of my mind right away. You get caught up in wondering if anyone really needs to hear it. Maybe a person gets to the point where they have written enough songs. Let someone else write them. Regarding Time Out Of Mind Dylan demoed (did demos of) some of the songs in the studio, something he rarely did.[3]Elements of Dylans touring band were involved in these sessions. Dylan also used these loose, informal sessions to experiment with new ideas and arrangements. Dylan continued rewriting lyrics until January 1997, when the official album sessions began. It would mark the second collaboration between Dylan and Lanois, who had previously produced Dylans 1989 release Oh Mercy and was known for his work with U2, Emmylou Harris, etc. By now, new personnel hired for the album included slide guitarist Cindy Cashdollar and drummer Brian Blade, both hired by Lanois. Dylan brought in Jim Keltner, who was Dylans tour drummer from 1979–1981. Dylan also hired Nashville guitarist Bob Britt, Duke Robillard, Tex-Mex organist Augie Meyers, and Memphis pianist Jim Dickinson to play at the sessions. According to Lanois, Dylan likes old 1950s records since they had a natural depth of field which was not the result of a mixing technique. He used a SonyC37A microphone, which was also used to record Dylans album Oh Mercy. Various other devices were used to produce the albums distinctive sound. Lanois also devised a method to accommodate new or revised lyrics later in an original take, since this was often the case with Dylan.[6] With two different sets of players competing in performance and two producers with conflicting views on how to approach each song, the sessions were far from disciplined. Years later, when asked about Time Out of Mind, Dickinson replied, I havent been able to tell whats actually happening. I know they were listening to playbacks, I dont know whether they were trying to mix it or not! Twelve musicians playing live—three sets of drums,... it was unbelievable—two pedal steels, Ive never even heard two pedal steels played at the same time before! ... I dont know man, I thought that much was overdoing it, quite frankly. [7] Lanois admitted some difficulty in producing Dylan. Well, you just never know what youre going to get. Hes an eccentric man...[4] In a later interview, Lanois said Dylan and he used to go the parking lot to discuss the recording in absence of the band. Lanois elaborated their discussion on the song Standing In The Doorway. I said listen, I love Sad-eyed lady of the lowlands. Can we steal that feel for this song? And hed say you think thatd work? Then wed sit on the fender of a truck, in this parking lot in Miami, and Id often think, if people see this they wont believe it![8] With Time Out of Mind, Lanois produced perhaps the most artificial-sounding album in [Dylan]s canon, says author Clinton Heylin, who described the album as sounding like a Lanois CV.[9] Regarding Dylans 2001 Love & Theft: The album continued Dylans artistic comeback following 1997s Time Out of Mind and was given an even more enthusiastic reception. Though often referred to without quotations, the correct title is Love and Theft. The title of the album was apparently inspired by historian Eric Lotts book Love & Theft: Blackface Minstrelsy and the American Working Class, which was published in 1993. Love and Theft becomes his Fables of the Reconstruction, to borrow an R.E.M. album title, writes Greg Kot in The Chicago Tribune (published September 11, 2001), the myths, mysteries and folklore of the South as a backdrop for one of the finest roots rock albums ever made. The opening track, Tweedle Dee & Tweedle Dum, includes many references to parades in Mardi Gras in New Orleans, where participants are masked, and determined to go all the way of the parade route, in spite of being intoxicated. It rolls in like a storm, drums galloping over the horizon into ear shot, guitar riffs slicing with terse dexterity while a tale about a pair of vagabonds unfolds, writes Kot. It ends in death, and sets the stage for an album populated by rogues, con men, outcasts, gamblers, gunfighters and desperados, many of them with nothing to lose, some of them out of their minds, all of them quintessentially American. The album continued Dylans artistic comeback following 1997s Time Out of Mind and was given an even more enthusiastic reception. Though often referred to without quotations, the correct title is Love and Theft. The title of the album was apparently inspired by historian Eric Lotts book Love & Theft: Blackface Minstrelsy and the American Working Class, which was published in 1993. Love and Theft becomes his Fables of the Reconstruction, to borrow an R.E.M. album title, writes Greg Kot in The Chicago Tribune (published September 11, 2001), the myths, mysteries and folklore of the South as a backdrop for one of the finest roots rock albums ever made. The opening track, Tweedle Dee & Tweedle Dum, includes many references to parades in Mardi Gras in New Orleans, where participants are masked, and determined to go all the way of the parade route, in spite of being intoxicated. It rolls in like a storm, drums galloping over the horizon into ear shot, guitar riffs slicing with terse dexterity while a tale about a pair of vagabonds unfolds, writes Kot. It ends in death, and sets the stage for an album populated by rogues, con men, outcasts, gamblers, gunfighters and desperados, many of them with nothing to lose, some of them out of their minds, all of them quintessentially American. Theyre the kind of twisted, instantly memorable characters one meets in John Fords westerns, Jack Kerouacs road novels, but, most of all, in the blues and country songs of the 1920s, 30s and 40s. This is a tour of American music—jump blues, slow blues, rockabilly, Tin Pan Alley ballads, Country Swing—that evokes the sprawl, fatalism and subversive humor of Dylans sacred text, Harry Smiths Anthology of American Folk Music, the pre-rock voicings of Hank Williams, Charley Patton and Johnnie Ray, among others, and the ultradry humor of Groucho Marx. Offered the song by Dylan, Sheryl Crow later recorded an up-tempo cover of Mississippi for her The Globe Sessions, released in 1998, before Dylan revisited it for Love and Theft. Subsequently the Dixie Chicks made it a mainstay of their Top of the World, Vote for Change, and Accidents & Accusations Tours. As music critic Tim Riley notes, [Dylans] singing [on Love and Theft] shifts artfully between humble and ironic...Im not quite as cool or forgiving as I sound, he sings in Floater, which is either hilarious or horrifying, and probably a little of both.[2] Love and Theft is, as the title implies, a kind of homage, writes Kot, [and] never more so than on High Water (for Charley Patton), in which Dylan draws a sweeping portrait of the Souths racial history, with the unsung blues singer as a symbol of the regions cultural richness and ingrained social cruelties. Rumbling drums and moaning backing vocals suggest that things are going from bad to worse. Its tough out there, Dylan rasps. High water everywhere. Death and dementia shadow the album, tempered by tenderness and wicked gallows humor. Po Boy, scored for guitar with lounge chord jazz patterns, almost sounds as if it could have been recorded around 1920, says Riley. He leaves you dangling at the end of each bridge, lets the band punctuate the trail of words hes squeezed into his lines, which gives it a reluctant soft-shoe charm. In a critique, A missed work of genius, Tony Attwood compares the lyrics of Honest With Me with Dylans 1965 song Just Like Tom Thumbs Blues, concluding that the former song is utter brilliance [3] The album closes with Sugar Baby, a lengthy, dirge-like ballad, noted for its evocative, apocalyptic imagery and sparse production drenched in echo. Praising it as a finale to be proud of, Riley notes that Sugar Baby is built on a disarmingly simple riff that turns foreboding. In a glowing review for his Consumer Guide column published by The Village Voice, Robert Christgau wrote: If Time Out of Mind was his death album—it wasnt, but you know how people talk—this is his immortality album. Christgau gave the album an A+. Later, when The Village Voice conducted its annual Pazz & Jop Critics Poll, Love and Thefttopped the list, the third Dylan album to accomplish this.[14] It also topped Rolling Stone s list.[15] Q listed Love and Theft as one of the best 50 albums of 2001.[16] In 2012, the album was ranked #385 on Rolling Stones 500 Greatest Albums of All Time, while Newsweek magazine pronounced it the second best album of its decade.[17] In 2009, Glide Magazine ranked it as the #1 Album of the Decade.[18] Entertainment Weekly put it on its end-of-the-decade, best-of list, saying, The predictably unpredictable rock poet greeted the new millennium with a folksy, bluesy instant classic.[19] All of those above continue to be what most ALL of his albums were, in my opinion, a call to Justice, via Spiritual Awakening-CDB. Wikipedia CDB Jan. 6, 2014 End Xxx
Posted on: Tue, 06 Jan 2015 22:03:51 +0000
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