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We Say...
Its title swiped from an Eric Lott book about minstrelsy, its music palmed from a smattering of vintage 78s and 45s, a few of its lines appropriated from a biography of a Japanese gangster, this is 100% a late-model Bob Dylan masterpiece. It's a magpie wonder, slyly observing the millions of little thefts and other injustices that make up the American pop, jazz, blues and country traditions he loves so dearly, even as he adds a few to the pile. His voice is shot to hell, which just makes his jump blues and riverside meditations sound sager, and his lyrical persona is a marvelously cranky, funny old guy, chatting on key as much as he sings — on no previous Dylan album would it have been possible to imagine the phrases "2 a.m. booty call" and "Freddie or not, here I come." And what's he singing about this time? Mostly what to do while everyone's waiting for the Apocalypse to arrive — which it effectively does on the album's centerpiece, "High Water (For Charlie Patton)," a brother to Patton's song about the great Mississippi flood of 1927. In the meantime, there's love, of course, and sparing the defeated, and cracking the occasional joke, and returning to the crackling shellac that keeps the moonlight of the past shining.
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They Say...
Time Out of Mind was a legitimate comeback, Bob Dylan's first collection of original songs in nearly ten years and a risky rumination on mortality, but its sequel, Love and Theft, is his true return to form, not just his best album since Blood on the Tracks, but the loosest, funniest, warmest record he's made since The Basement Tapes. There are none of the foreboding, apocalyptic warnings that permeated Time Out of Mind and even underpinned "Things Have Changed," his Oscar-winning theme to Curtis Hanson's 2000 film Wonder Boys. Just as important, Daniel Lanois' deliberately arty, diffuse production has retreated into the mist, replaced by an uncluttered, resonant production that gives Dylan and his ace backing band room to breathe. And they run wild with that liberty, rocking the house with the grinding "Lonesome Day Blues" and burning it down with the fabulously swinging "Summer Days." They're equally captivating on the slower songs, whether it's the breezily romantic "Bye and Bye," the torch song "Moonlight," or the epic reflective closer, "Sugar Baby." Musically, Dylan hasn't been this natural or vital since he was with the Band, and even then, those records were never as relaxed and easy or even as hard-rocking as these. That alone would make Love and Theft a remarkable achievement, but they're supported by a tremendous set of songs that fully synthesize all the strands in his music, from the folksinger of the early '60s, through the absurdist storyteller of the mid-'60s, through the traditionalist of the early '70s, to the grizzled professional of the '90s. None of this is conscious, it's all natural. There's an ease to his writing and a swagger to his performance unheard in years -- he's cracking jokes and murmuring wry asides, telling stories, crooning, and swinging. It's reminiscent of his classic records, but he's never made a record that's been such sheer, giddy fun as this, and it stands proudly among his very best albums.
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| 01. |  |
Tweedle Dee & Tweedle Dum |
4:46 |
|
| 02. | |
Mississippi |
5:21 |
|
| 03. | |
Summer Days |
4:53 |
|
| 04. | |
Bye And Bye |
3:16 |
|
| 05. | |
Lonesome Day Blues |
6:05 |
|
| 06. | |
Floater (Too Much To Ask) |
5:00 |
|
| 07. | |
High Water (For Charley Patton) |
4:03 |
|
| 08. | |
Moonlight |
3:23 |
|
| 09. | |
Honest With Me |
5:49 |
|
| 10. | |
Po' Boy |
3:06 |
|
| 11. | |
Cry A While |
5:05 |
|
| 12. | |
Sugar Baby |
6:41 |
|
| 13. | |
I Was Young When I Left Home |
5:23 |
|
| 14. | |
The Times They Are A-Changin' |
2:57 |
|
14 Total Tracks, 65:48 Total Length
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Credits
- Bob Dylan - Guitar // Bob Dylan - Piano // Bob Dylan - Vocals // Charlie Sexton - Guitar // Jack Frost - Producer // Augie Meyers - Organ // Augie Meyers - Accordion // Augie Meyers - Organ (Hammond) // Augie Meyers - Vox Organ // Augie Meyers - Hammond B3 // Steven Berkowitz - Reissue Producer // Larry Campbell - Banjo // Larry Campbell - Guitar // Larry Campbell - Mandolin // Larry Campbell - Violin // Didier C. Deutsch - Tape Research // Tony Garnier - Bass // Tony Garnier - Guitar (Bass) // David Kemper - Drums // George Marino - Mastering // Geoff Gans - Art Direction // David Gahr - Photography // Danny Clinch - Photography // Kevin Mazur - Photography // Kevin Mazur - Cover Photo // Clay Meyers - Bongos // Chris Shaw - Engineer // Chris Shaw - Mixing // Jeremy Welch - Assistant Engineer // Jeremy Welch - Mixing Assistant // Jeremy Welch - Assistant
-
Other Details
- Instruments:
- Guitar (Electric) //
- Vocals
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