Bob Dylan Revisited

[bobdylanrevisited]

We have reached the end of Bob’s studio output, so far. What have we learned? I’m too obsessed with an octogenarian and should spend time cultivating my real life relationships? Of course. But also that, he’s had an insanely bumpy career but has still produced what I consider to be the greatest body of work by any artist in history. He is the greatest of all time and he is my idol. There is no denying that his constant reinvention and strive for perfection should act as an inspiration to everyone, and he genuinely changed my life for the better. He got me interested in political causes, taught me it was okay to be different, and that you should always follow your own path, not the one others want you to go down.

To summarise, I have ranked all 39 albums in my favourite order, and included the best and worst songs on each record. Of course there are many albums where I do not think any of the songs are bad, so just take it to mean ‘least favourite’.

39. Knocked Out Loaded 2/10

Best: Brownsville Girl

Worst: They Killed Him

38. Under The Red Sky 3/10

Best: Born In Time

Worst: Wiggle Wiggle

37. Dylan 3/10

Best: Lily Of The West

Worst: Can’t Help Falling In Love

36. Down In The Groove 4/10

Best: Silvio

Worst: Ugliest Girl In The World

35. Christmas In The Heart 4/10

Best: Must Be Santa

Worst: O Little Town Of Bethlehem

34. Self Portrait 4/10

Best: Belle Isle

Worst: I Forgot More Than You’ll Ever Know

33. Saved 5/10

Best: Solid Rock

Worst: Saving Grace

32. Pat Garrett & Billy The Kid 5/10

Best: Knockin’ On Heaven’s Door

Worst: River Theme

31. Triplicate 6/10

Best: Trade Winds

Worst: It Gets Lonely Early

30. Empire Burlesque 6/10

Best: Dark Eyes

Worst: Something’s Burning, Baby

29. Slow Train Coming 6/10

Best: Precious Angel

Worst: Man Gave Names To All The Animals

28. Shadows In The Night 7/10

Best: The Night We Called It A Day

Worst: Some Enchanted Evening

27. Fallen Angels 7/10

Best: Polka Dots And Moonbeams

Worst: Maybe You’ll Be There

26. Good As I Been To You 7/10

Best: Blackjack Davey

Worst: Froggie Went A-Courtin’

25. Bob Dylan 7/10

Best: Song To Woody

Worst: Pretty Peggy-O

24. Street-Legal 7/10

Best: Changing Of The Guards

Worst: New Pony

23. World Gone Wrong 8/10

Best: Blood In My Eyes

Worst: Lone Pilgrim

22. Infidels 8/10

Best: Jokerman

Worst: Union Sundown

21. Shot Of Love 8/10

Best: Every Grain Of Sand

Worst: Lenny Bruce

20. Together Through Life 8/10

Best: Forgetful Heart

Worst: My Wife’s Home Town

19. Nashville Skyline 8/10

Best: Country Pie

Worst: Lay Lady Lay

18. New Morning 8/10

Best: New Morning

Worst: Three Angels

17. Another Side Of Bob Dylan 8/10

Best: My Back Pages

Worst: I Shall Be Free No. 10

16. Rough And Rowdy Ways 9/10

Best: Goodbye Jimmy Reed

Worst: Black Rider

15. Planet Waves 9/10

Best: Going Going Gone

Worst: You Angel You

14. Oh Mercy 9/10

Best: Ring Them Bells

Worst: Disease Of Conceit

13. John Wesley Harding 9/10

Best: All Along The Watchtower

Worst: John Wesley Harding

12. Modern Times 10/10

Best: Workingman’s Blues #2

Worst: Someday Baby

11. Tempest 10/10

Best: Scarlet Town

Worst: Roll On John

10. The Freewheelin’ Bob Dylan

Best: A Hard Rain’s A-Gonna Fall

Worst: Honey, Just Allow Me One More Chance

9. Time Out Of Mind 10/10

Best: Cold Irons Bound

Worst: Make You Feel My Love

8. Love And Theft 10/10

Best: High Water (For Charley Patton)

Worst: Sugar Baby

7. The Basement Tapes 10/10

Best: This Wheel’s On Fire

Worst: Yea! Heavy And A Bottle Of Bread

6. Desire 10/10

Best: One More Cup Of Coffee

Worst: Joey

5. The Times They Are A-Changin’ 10/10

Best: The Lonesome Death Of Hattie Carroll

Worst: With God On Our Side

2= Blonde On Blonde 10/10

Best: Stuck Inside Of Mobile With The Memphis Blues Again

Worst: Pledging My Time

2= Bringing It All Back Home 10/10

Best: It’s Alright, Ma (I’m Only Bleeding)

Worst: On The Road Again

2= Blood On The Tracks 10/10

Best: Idiot Wind

Worst: You’re A Big Girl Now

1. Highway 61 Revisited

Best: Ballad Of A Thin Man

Worst: From A Buick 6

Thank you Bob, I love you.

[bobdylanrevisited]

Rough And Rowdy Ways

Released: 19 June 2020

Rating: 9/10

As we all know, 2020 was a fucker of a year, the entire world plunged into lockdown and lived in fear of a deadly virus. Personally, three things helped me through this period: my fiancé, the vaccine, and Bob Dylan releasing an incredible album, which became the soundtrack to my working from home. After an 8 year break from writing original music, the poet returns with poignant lyrics and melancholic tunes. As with all of Dylan’s post-1997 work, this is an album looking back and wondering what could have been, whilst also confronting death and legacy head on.

1. I Contain Multitudes - Bob really leans into his own mythology here, and as the title suggests, he is made up of various emotions, events, and public figures. It’s a brilliant opening track, a slower tune which builds for the chorus, and Bob’s voice sounds great (it seems him doing his Sinatra covers helped him to properly sing again). This is one of my favourites on the album, I love hearing Bob mess around with his own legend and our expectations of autobiographical songs.

2. False Prophet - A roaring blues song, Bob growls his way through a sermon about himself, in an amusing and bitter manner. Like the previous track, he plays with his own achievements and persona, but again this is a fantastic song with his band being in their usual, flawless form.

3. My Own Version Of You - This is an odd one, in the best possible way. The music is pointed and almost unsettling due to its unique sound, and this is matched by Bob’s weird delivery and his lyrics that are almost as abstract and bizarre as his mid-60s output. All of this means that I fucking love this song, it stands out and stays in your head because it’s just so unlike Bob Dylan, and therefore is the most Bob Dylan track on the album.

4. I’ve Made Up My Mind To Give Myself To You - This is a slow, straight forward love song. The music is soothing, Bob’s singing is surprisingly beautiful, and I don’t even mind the backing vocalisations. It’s a lovely little tune, it’s not a stand out track or reinventing the genre, but still very nice to listen to.

5. Black Rider - This may be the only song I don’t really like. I get it’s meant to be slow and mysterious, and the band create this atmosphere perfectly, but I just find myself getting a bit bored as the track drags on.

6. Goodbye Jimmy Reed - We’re back to the blues and rock n’ roll, with another perfect homage to the past and Bob’s heroes. The guitar riff, the delivery, the nostalgic lyrics, it’s all just so authentic and enjoyable. Dylan’s blues numbers have been a focal point of his later career, and this one may be the best of them.

7. Mother Of Muses - Slowing everything down again, this is a song that really belongs to the band. Their playing is so diverse they can compliment Dylan in any genre he decides. The song itself is quite sad and melancholic, with Bob sounding haggard and exhausted, yet also sweet and hopeful. Not a highlight on the album, but a solid track.

8. Crossing The Rubicon - The third and final blues/rock track, and again it’s pretty much perfect. Bob sounds 30 years younger, the band are channelling the masters of old, and it’s just a joyous song.

9. Key West (Philosopher Pirate) - Wow. This track is amazing, a return to Bob’s long prose, as he tells us meandering tales about various characters and accomplishments from his life. The music is simple yet perfect for the content, it’s almost nautical and reminds me of the song ‘Tempest’. The delivery of this epic poem is tender and there’s a hint of sadness here, as Bob again looks back and takes stock of all he’s done. A phenomenal track, Bob Dylan still remains music’s poet laureate and the greatest to ever put pen to paper.

10. Murder Most Foul - If you thought the previous track was long at 9:34, Dylan drops a 17 minute song, the longest of his career. A history lesson courtesy of Bob and his unique views, this is a lecture on his life and events that affected him, backed by violins and a dark atmosphere. As the track goes on, you can’t help but think that this is Bob’s life flashing before his eyes, an old man trying to remember everything. It’s a stunning piece of music and poetry, and an incredible way to end the album, but I must admit that I rarely listen to all 17 minutes in one sitting.

Verdict: When I first heard the album, I was worried it could be his swan song, a last hurrah for the ancient bard. Since then we’ve learned that Bob has no plans to slow down, but if this was the final studio album, I cannot think of a better way for him to go out. His last sixty years all come together here, all the lessons he’s learned and the things he’s experienced are present in each song. It’s a fantastic album that only a wise, jaded master could make. The rave reviews were a joy to see, as people realised he hadn’t retired himself to covers and endless touring, and I hope that before the inevitable, dark day comes when Bob leaves this plane, we get another studio album. If this is the last official release, he’d certainly be leaving on his own terms, and if there’s one thing Bob Dylan has taught us, it’s to ignore everyone else and do what you want to do. A brilliant album, an incredible man, an unbelievable career.

[bobdylanrevisited]

Triplicate

Released: 32 March 2017

Rating: 6/10

Last record in the trilogy, no track reviews again.

Verdict: My least favourite of this era, but that may be due to the album’s length. 30 songs is a lot, I’m not entirely sure I’ve ever managed to listen to the album in one sitting, due to the songs and the sound getting quite boring after a while. That being said, I often dip into the album, and there are still some great tracks hidden away. As per my previous reviews, the band are still amazing and Bob still sounds good, I’m just glad that he stopped doing these covers after this record. Whilst the songs are often fun to listen to, they end up sounding very similar, and Bob Dylan should really be pushing the boundaries of what music can do. Luckily, just when we were worried he was slowing down in his old age, he surprised us all by triumphantly picking his pen back up, and releasing another fantastic album of original songs.

[bobdylanrevisited]

Fallen Angels

Released: 20 May 2016

Rating: 7/10

Again, due to the songs being covers, I will forego reviewing every track.

Verdict: This is my personal favourite of the so-called ‘Sinatra’ trilogy. The song choice is exquisite, Bob’s singing is the best it has been in decades, but again the band deserve all the credit. Their playing and arrangements here are simply fantastic, it feels like you’re listening to a masterclass of musicians who are ageless and limitless. This is a wonderful record, often unfairly dismissed, although I struggle to score it any higher due to it only containing covers. I highly recommend purchasing it on vinyl, and letting the music soothe and transport you back to a much simpler period of American music. No frills, no fancy production, just romantic lyrics and beautiful sounds.

[bobdylanrevisited]

Shadows In The Night

Released: 3 February 2015

Rating: 7/10

Due to the songs being covers, I won’t be doing a track by track review.

Verdict: The ‘Sinatra’ trilogy seems to split most Dylan fans. I’ve seen a lot of hate online, with people saying they’re lazy, boring, or just hard to listen to. Others find them interesting, relaxing, and intimate. I am certainly in the latter group. Whilst it is disappointing that Bob had returned to covers, and switched his style back to crooning through old standards, I do enjoy these records. The arrangements and the band’s playing are often breathtaking and give new life to these classic tunes. The album is fantastic background music, with a jazzy feel and Bob properly singing, which admittedly has varied results. The record is solid, if nothing special, and I often put it on when working. It transports me from the home office to a 1950s club, listening to a world class artist taking it easy in his old age, and simply performing music that makes him happy.

[bobdylanrevisited]

Tempest

Released: 10 September 2012

Rating: 10/10

In 15 years, Bob Dylan released four perfect albums, yet he is always referred to as an icon of the 1960s and a relic of the past. The later period of his career is so impressive and unparalleled, it is insulting to think he in any way slowed down or was any less of a musical genius. This album is another example of his ability to reinvigorate old sounds, whilst adding his signature touches, from his ancient growl, to his love of epic poetry, to his romanticising of American mythology. He originally intended this to be another album of religious music, and thank fuck he changed his mind. This is a dark, atmospheric record which isn’t afraid to tackle mortality and bleaker events from history.

1. Duquesne Whistle - Is that the sound of a 1940s classic rockabilly song I hear? Oh wait, it’s a song from 2012 that is both nostalgic and catchy, a brilliant intro track featuring the growl of man weathered by age. The instruments chug along like a freight train, as Bob transports us to the past, and it is phenomenal.

2. Soon After Midnight - A gorgeously romantic song, with Bob crooning about love, and a simple musical accompaniment which elevates the track. I get Bob’s voice isn’t classically trained, and his vocal chords have seen a lot of stress, but I particularly love his strained, yet gentle, delivery here.

3. Narrow Way - A fast paced blues number, which Bob favours in his later years, with a great guitar lick and Bob’s voice sounding particularly fiendish. It may a bit of a throwaway track, despite some amusing lyrics, but every time I hear it I instantly smile and start dancing.

4. Long And Wasted Years - This song was stuck in my head for a year. The tune is so memorable and Bob’s delivery is so wonderfully bizarre, it’s a great track and one you won’t forget.

5. Pay In Blood - I cannot get enough of Bob’s yowls and this song is the best example of them. He screams his way through a great rock song, which has an incredible edge, and the band have rarely been better. I find myself listening to this song on a nearly daily basis, it has an incredible soul and feeling to it. It’s a masterclass in adapting to age and writing poetry from bitterness.

6. Scarlet Town - Despite the previous track being incredible, this has to be my favourite song here. The music alone is the best thing he’s produced this century, and his delivery is fucking insane. His menacing whisper creates a sinister atmosphere and the lyrics are just as nasty and dark. It’s an unbelievable song, certainly one of his best, and Bob knows how to get under your skin and play with dread and the more taboo side of life. Listen to it, and enjoy Bob’s words, transporting you to dark street corners and the grim underbelly of America.

7. Early Roman Kings - Backed by a classic blues tune, Bob dips into his influences of ancient poetry, and delivers a knockout performance. His singing is surprisingly clear here, and the song is almost happy (for Bob). A solid track and a brilliant musical arrangement.

8. Tin Angel - Another track where the band are the stars. Their instruments create an incredibly dark atmosphere and Bob’s back to his menacing ways, as he delivers a bleak story worthy of depression era prose. It feels like a companion piece to track 6, and though it is slightly weaker than that song, it is still a fascinating listen.

9. Tempest - This is a weird song, Bob spends 14 minutes singing about the Titanic, both the real event and the 1997 film. The music is suitably jaunty and seafaring, Bob sounds phenomenal, and it’s a fantastic track, albeit it too long and a very strange subject matter.

10. Roll On John - Bob closes the album with an ode to John Lennon, with whom he had a tumultuous relationship. It’s a beautiful song, the music is melancholic, almost romantic, although I’m sad to say this isn’t Bob’s best singing performance. Nevertheless, it’s a bittersweet song and it’s nice to hear that any historical ‘beef’ has definitely been laid to rest.

Verdict: Once again, I find myself in awe of Bob Dylan. At 71 years old, he was still as fascinating and inspiring as he was at 23. This album is more like a play, a performance that focuses on the real America, viewed through the lens of an artist who had experienced a lifetime’s supply of bitterness and regret. It’s a brilliant record and suits Old Man Bob perfectly. It could have been his ‘goodbye’ album, but Bob had no plans to stop anytime soon. His next three releases were a surprise to every fan, covering Frank Sinatra and the Great American Songbook, leading many to worry that he had retired from songwriting.

[bobdylanrevisited]

Christmas In The Heart

Released: 13 October 2009

Rating: 4/10

Less than six months after his last release, Bob Dylan released a Christmas album. The poet laureate of the 20th century, the voice of a generation, the Nobel Prize winning genius, released a fucking Christmas album. I get it was in aid of a number of charities across the globe, and that in itself is admirable, but… this is just shit. I would’ve have donated to charity to not hear it, save for a handful of songs which are a novelty the first time you listen. As they’re Christmas songs, I’m not going to review every track as that would be boring for both me and you, so I’ll just say:

Most tracks feature Dylan’s worst singing. As a 68 year old man, he cannot hit high notes or long notes. The production on many tracks reminds me of his mid-80s output, in that it renders the song unlistenable. However, ‘Must Be Santa’ is a banger and I do still put this on every Christmas, so I suppose it can’t all be bad. Perhaps reviewing this in August isn’t fair, as when December rolls around I will be decorating with this album as the soundtrack, hence the score not being even lower.

Verdict: Let’s move on. As an act of global kindness, this is great. As an enjoyable album, it is not. As a festive guilty pleasure, I can’t deny it does put me in a certain spirit, and I’ll just leave it at that. Luckily, Bob followed this with another masterpiece that leaned into his snarling, bitter voice and took his music to an even darker, bleaker place.

[bobdylanrevisited]

Together Through Life

Released: 28 April 2009

Rating: 8/10

When it was first released, this album was met with a muted, almost disappointed, response. After three late period masterpieces, many said that Bob’s interpretation of nostalgia had now changed into simply just repeating the past, he was no longer reworking old genres but was just making out of date music. His voice had also now become simply unlistenable to some, like Marge Simpson with laryngitis. I say that these people are incredibly wrong, and that this album is still a solid record by a musical master. Written with Robert Hunter, it may not be as perfect as his last few releases, but it still contains all the moody, bluesy elements that define Old Man Dylan and his unique views of music and life.

1. Beyond Here Lies Nothing - We’re introduced to Bob’s ever depleting voice here, which reminds me of a mountain lion yowling. I understand why it may be unpleasant to some, and I must admit it took me time to get used to it, but I now really enjoy his weathered howls. The song itself is fantastic, the music is dark and invokes the blues bands of old, and the lyrics are mysterious and intriguing. A great opening track and a song I find myself listening to more and more.

2. Life Is Hard - The message of this song is very on the nose, as you can tell from the title, but it’s a nice track. Bob’s voice is pretty good here, and his band create a bleak and unhappy atmosphere, which I personally love as I’ll always choose a sad song over a happy one. It depends entirely on your mood, but this is a downer in the best possible way.

3. My Wife’s Home Town - I will agree with some critics about this song, the lyrics here are outdated and deserve to be left in the past. The cliched hatred of a spouse is very old fashioned and I do loathe this track. Easily the worst song on the record and a low point in Bob’s recent output.

4. If You Ever Go To Houston - As Bob lists Texan towns and the people he’s imagined there, it may get a bit repetitive, and his growl is a little mumbled here. However, I do love the simple yet skilled musical arrangement. Not a bad song, but not his best work.

5. Forgetful Heart - For me, this is the highlight. The snarling guitar drives this track, it sounds like the voice of the south, and it perfectly sets a tone of darkness and remorse. Bob’s voice is great here, he’s much more capable of sounding menacing than he is at straining to hit long notes, and the lyrics are equally stark and pointed. It’s a brilliant blues song that plays to Bob’s and his band’s best qualities, and I bloody love it.

6. Jolene - Unfortunately, this isn’t Bob’s cover of the Dolly Parton classic, which I would love to hear. Instead, it’s a simple blues number which is endlessly listenable. The critics are right when they say Bob is just re-recording the music of old, but I can’t complain, as songs like this transport you to a time long forgotten.

7. This Dream Of You - A much slower song, which is romantic and deftly performed. Bob may sound a bit like a whispering husk, but the music is relaxing and I do think this a lovely little tune and a welcome break from the intentional grimness of the other tracks.

8. Shake Shake Mama - What a tune! The band are just sensational here, and Bob is channeling his heroes from decades before. It blows my mind that this type of old school blues song was still produced in 2009, and yet still sounds so interesting and enjoyable.

9. I Feel A Change Coming On - Personally, I think this should have been the closing track. It’s optimistic, looking forward, and probably Bob’s best vocal performance on the album. It’s a great song and, as always, the musical arrangement is unparalleled.

10. It’s All Good - Whilst I don’t think this should be the closer, it’s not to do with the quality of the song at all. I really enjoy this old timey uptempo number, with guitar riffs that hark back to ‘Highway 61 Revisited’ and lyrics that are more politically or socially inspired. A good song with an impassioned sounding Bob.

Verdict: It may be a slight step down in terms of quality compared to the previous few releases, but it’s still a great album and one I find myself appreciating more with every listen. Bob was once a trail blazer living in the future, now he’s content with living in the past, and that’s just fine by me. He pays his respects to his musical forefathers and it is incredibly interesting to hear this type of music still released in a more modern era. His next album comes completely out of left field, and it would have been better had it stayed there.

[bobdylanrevisited]

Modern Times

Released: 29 August 2006

Rating: 10/10

Bob goes three for three. Repeating the success of his electric and mid-70s trilogy, he releases a third barnstorming record that is an ode to the history of music and the discipline of literature. This is another album that features some of Bob’s best written songs and his band are still on another level, once again adding this to Bob’s already extensive lists of masterpieces. (One final time, if you want to learn about the ridiculous plagiarism claims, read Robert F. Thomas)

1. Thunder On The Mountain - As always, the opening track sets the mood for the rest of the album. Bob sounds great still, I know a lot of people say he can’t sing, but I love his old man grumble. The lyrics are fairly simple but still contain vivid imagery, and the music is upbeat and has a rockabilly feel, but it is never cluttered or over the top. There are some nice guitar solos and it sets a tone of revisiting history with a Dylanesque twist.

2. Spirit On The Water - A nice, relaxing track with a gentle and pleasing tune. Bob croons with a wispy, ethereal voice, and the lyrics are heartfelt and full of tender images of Americana. Once again, you can’t fault the band, they play with precision and perfection.

3. Rollin’ And Tumblin’ - A much faster rock/blues track, reminiscent of his last few albums, with stark guitar riffs and Bob’s menacing voice howling an ode to lost love and regret. A brilliant tune courtesy of a legend.

4. When The Deal Goes Down - Bob does nostalgia and melancholy better than anyone else, and this is a gorgeous love song deeply rooted in memory. The chilled out melody and deft playing only adds to an atmosphere of reminiscing. It’s a brilliant track and is both optimistic and emotional.

5. Someday Baby - There’s not much to say about this song. Bob sounds fantastic, the musicians are on top form, and the bluesy feel is a joy to hear. It’s not the standout track, but it’s also not one I’d ever skip, as it is a solid number.

6. Workingman’s Blues #2 - Easily the best song on the record, and also one of the best songs in the history of recorded music. It’s an incredible poem to the labour and life of working class people, once again proving that Bob is the poet laureate of the common folk. The music is truly beautiful, and the song evokes a unique response in me, it’s both sad and downtrodden, yet also upbeat and brimming with hope. This is one of Bob’s crowning achievements, and is a perfect example of how a single song can be the most magical expression of art, love, and respect.

7. Beyond The Horizon - Another song with an incredibly relaxed and fun melody. It’s very similar to track 2, which is in no way a bad thing, as it’s still a brilliantly performed song with gentle and soothing lyrics.

8. Nettie Moore - What a fucking song! The music is just perfect, simple and stripped back, but this song is all about Bob. This poem to a lover long left behind is beautiful, with regret being another key theme here, as it is in most of Dylan’s recent work. The chorus is pained and melancholic, Bob is sounding hurt, but don’t let that put you off. Hearing this track is a cathartic experience and a song you won’t soon forget.

9. The Levee’s Gonna Break - Easily the best of the rockabilly tunes on the record, this is another fast paced track with Bob and the band in complete synchronicity. The lyrics may not be deep or meaningful, although the pictures Bob’s words paint are detailed glimpses into his version of the past, but it’s an incredibly fun song to dance around to.

10. Ain’t Talkin’ - Bob closes the album with another fucking classic. It sounds a lot darker than the rest of the record, and the choice of instruments makes it unique in the catalogue of Dylan. It seems to be at home in either the Dust Bowl or in the bars of New Orleans. Bob’s never seemed more sinister or ghoulish, and his words have a real menace to them. It’s a phenomenal performance all round, as it is both mesmerising and seems like a song purposefully composed just for my tastes. Utter perfection and a superb way to end this experience.

Verdict: The album may not be as in your face as ‘Time Out Of Mind’ or ‘Love And Theft’, but this a quiet masterpiece that gets under the skin and stays with you. It’s the subtle ways Bob structures his songs and lyrics that is eminently fascinating yet constantly evolving. His penmanship continues to improve as he gets older, allowing him the chance to be reflective and dispense wisdom. A truly brilliant album that is a perfect encapsulation of American music, mythology, and poetry. His next release is often seen as an end to his astonishing comeback spree, however I think it’s a record that deserves to be re-evaluated and given a second chance.

[bobdylanrevisited]

Love And Theft

Released: 11 September 2001

Rating: 10/10

If there’s one thing Bob Dylan knows, it’s how to follow up a masterpiece with an even better album. This is a phenomenal record, it combines all the things Bob does best: poetic lyrics, a range of musical genres, a growling voice, and an incredibly interesting atmosphere that lingers over the whole album. I adore this record, it deserves to be spoken of as highly as ‘Highway 61 Revisited’ or ‘Blood On The Tracks’, and again proves that Bob was as prolific and trailblazing in his 60s as he was in the 1960s. (As per my last post, I will not address the ‘plagiarism’ claims here, as I feel they are baseless and reductive)

1. Tweedle Dum & Tweedle Dee - This is a great introduction to Bob’s new sound, a mix of country, rockabilly, and nostalgia. Bob’s really come into his ‘old man voice’ and the band are completely in sync. The lyrics themselves are a bit forgettable, but this fast paced opener is just effortlessly performed.

2. Mississippi - Originally an outtake from ‘Time Out Of Mind’, this is a stunningly beautiful song. The melancholy seeps out out every word and note, with Bob again acting through his voice and delivery, to portray a defeated man reminiscing and analysing his life. The music itself is surprisingly uplifting and almost at odds with the subject of the song, but it completely works. This is one of many perfect tracks on the album, and Bob’s songwriting is still untouchable.

3. Summer Days - If you had to guess, you’d say this song is from the 1950s, not 2001. A brilliant throwback, with some fantastic guitar and a great performance by Bob channelling an old blues legend. It may not be the most memorable song on the album, but it’s never a chore to hear.

4. Bye And Bye - A much more relaxed song, with a lovely musical arrangement. The lyrics are filled with happiness, and there is a great bridge that adds an interesting edge to the track. Bob’s wistful singing fits nicely, and this is just an enjoyably cheerful song.

5. Lonesome Day Blues - Perhaps an antithesis to the previous track, this is a rugged and harsh song, from the guitar licks to Bob’s gruff delivery. The song is your classic blues affair, lyrics of being rejected and mourning, but the whole song still sounds fresh and Bob always has an interesting take on the classics.

6. Floater (Too Much To Ask) - Yet another perfect track, and everything here works flawlessly. The lyrics are poetic and tell a brilliant story, but the main focus here should be on the band. The whole arrangement fills me with joy, it sounds like they’ve been playing together for centuries, and every note and instrument compliments one another and the atmosphere of the track. I could go on, but just know that this is a genius composition and all involved are at the top of their game.

7. High Water (For Charley Patton) - Not only is this the highlight of the album, it’s one of the highlights of Bob’s entire career. His way with words, creating a mood and describing an America rooted in history and mythology, are completely unmatched in both music and literature. I cannot express how perfect this track is, from the opening ‘cowboy’ sounding guitar and banjo, to Bob’s moody and haunting delivery, this is a song from both a forgotten era and yet is also somehow ahead of its time. Just listen to it on repeat, it’s fucking unbelievable.

8. Moonlight - Another slower track, with some lovely guitar and bass, and a sweet and tender Bob, almost foreshadowing is crooner turn in the following years. A great love song that is infinitely calming and romantic.

9. Honest With Me - Once again, a slower track is followed by one that sounds like a thunderstorm of guitars rolling down Highway 61. This is another song that sounds like it’s challenging you to a fight. Bob is hard as nails, the lyrics are darker, and the whole arrangement is electrified. Like the rest of the album, it’s fantastic.

10. Po’ Boy - Slowing down again, I adore this song. The lyrics are poignant and also quite funny, and for me this is Bob’s best singing on the whole record. The finger picked guitar adds an interesting layer of intimacy to the song, and all this adds up to one of my most revisited tracks from the album, and some of Bob’s most enjoyable writing from this period.

11. Cry A While - Another throwback, which blends together a few different genres and tempos, creating an incredibly interesting and ever-changing song. The lyrics are, once again, a bit of a downer (not that that’s a bad thing) but the way the band seamlessly switch up their playing is both impressive and a testament to their unrivalled talent.

12. Sugar Baby - The closing track is maybe my least favourite song, which is no bad thing as I still really enjoy it. It returns to the melancholic mood of the earlier part of the album, and is a simple arrangement with Bob growling about the past and regret. It’s still a beautiful track, and perhaps I only regard it a bit lower than the rest of the record as I know it means I’ve reached the end of one of the best albums of the 21st Century.

Verdict: It’s fairly obvious that I completely adore this record and cannot recommend it highly enough. The album may have been somewhat overlooked due to its unfortunate release date, and Bob’s late career is often ignored due to the heights of his earlier work, but this is a perfect record that shows he hadn’t slowed down or lost his touch by any means. This album goes straight into his top 10, and a handful of tracks are among his greatest achievements in songwriting and musical composition. Following this, Bob waited another 5 years before releasing yet another masterpiece, and continuing his incredible critical and artistic resurgence.

[bobdylanrevisited]

Time Out Of Mind

Released: 30 September 1997

Rating: 10/10

Like Gandalf returning from the dead, Bob steps back into the limelight like a wise, old wizard returning to tell you all the secrets of existence. This is a phenomenal piece of art, it’s so perfectly Dylan, as he seems to reinvigorate his love for poetry and the music of old. With Daniel Lanois back producing, this is a completely unique experience that kickstarted Bob’s third classical period, and cemented his reputation as the greatest artist of the 20th century. (I won’t be addressing the ridiculously pathetic plagiarism claims that were raised against some tracks here. I recommend reading Richard F. Thomas’ stellar book ‘Why Dylan Matters’ and his explanation of how borrowing and reusing old text has always been a part of poetry and folk music)

1. Love Sick - From the very first second, you find out everything you need to know about the album. It’s going to be mysterious and shady, dark and sad. After the oddly off tempo, echoing guitar notes, we hear Bob’s growl, a man emerging from the shadows ready to tell his life story. This song is slow, but builds to a great chorus, and Bob and his whole band just sound perfectly unique. The lyrics may be fairly depressing in verse, but you believe them because Bob sounds so jaded. It’s a great way to start the album, it sets a scene that you can lose yourself in.

2. Dirt Road Blues - There’s a sudden change of pace here, as Bob hits us with an uptempo blues track. This sounds like a song you’d discover on a forgotten vinyl from the 1940s. It’s a fantastic homage to those Bob adored as a youth, and he sings his heart out here, with fantastic results. It’s a great track, perhaps a little out of keeping with the rest of the record, but everything about it sounds perfect.

3. Standing In The Doorway - After a track rejecting love, followed by one lifted from the past, this song completely knocks you out. I always get emotional hearing it, from the first haunting organ chord to the desperate and mournful lyrics. Bob sounds pained and remorseful, the backing music is simple but sets the bleak tone, and the lyrics are genuinely heartbreaking, as Bob appeals to the love who left him. He paints a picture of loneliness and regret better than any other artist, and this is another beautiful song, although I must admit it’s unlikely to leave you in a happy mood.

4. Million Miles - Very much in the same vein as the opening track, this song sounds seedy and grim, in the best possible way. The sinister backing music helps punctuate Bob’s growl, although the lyrics are surprisingly sweet and hopeful as he attempts to reunite with someone. Perhaps this isn’t the most memorable track, but it’s still bloody brilliant.

5. Trying To Get To Heaven - The acceptance of death is always a theme for Bob, and here it is presented with an organ and crooning voice, as he fears he may be too late for salvation. Although this idea is tackled in a much more nuanced way on track 7, I still enjoy this song a lot. The music sounds a little more optimistic that the rest of the album, and Bob sings his heart out.

6. Til I Fell In Love With You - A great blues number, where the bass is the star of the show. It’s a dark song, with a classic story of lost love and regret, but I do think it may be a tad unoriginal and certainly one of the weaker songs on the record. That’s not to say it’s a bad track at all, Bob sounds like the lost souls of old and the band are on top form. It just doesn’t stand out as much as other, better songs on this seminal piece of work.

7. Not Dark Yet - Bob once again reckons with mortality. He reviews his life and his adventures, seemingly going through an existential crisis of character. This track is truly stunning, Bob sounds introspective and the slower backing music is both haunting, yet sounds strangely optimistic. The lyrics may seem depressing and as if Bob is resigned to fate, yet I think it’s a lot happier than that. He’s freeing himself of worry and is accepting the cruel nature of existence, with some good humour thrown in as well. The poet has definitely returned and this is one of his best written songs in many years.

8. Cold Irons Bound - On an album of highlights, it’s hard to pick a favourite, but I think gun to my head this would be my choice. It’s a fantastic rockabilly tune, Bob has an incredible menace to his delivery and his band have never sounded better, it’s a flawless performance all around. The lyrics are surprisingly sweet, Bob is pursuing his love, but this sentiment is a stark contrast to the electronic assault the instruments lay on the senses. It’s a perfect track, however I wish more than anything that I could hear 1966 Dylan perform this, as it’s a clear return to his famous ‘thin mercury sound’.

9. Make You Feel My Love - I think this may be my least favourite song on the album, though I’m not entirely sure why. Maybe it’s because of Adele’s famous cover? Maybe it’s because Bob’s voice does sound incredibly strained and not that great compared to the rest of the record? I certainly like the hopeless desperation of the lyrics, and the musical production is as brilliant as always, but something about this track just doesn’t quite gel for me.

10. Can’t Wait - For me, this is the best song on the album from a purely musical perspective. The bass riff is amazing, whilst the guitar occasionally kicks in and changes the whole atmosphere of the track. The lyrics are as dark and hopeless as you’d expect from Bob, as he is waiting/hoping for his lover to return, but the backing band elevate this song to a new level. It’s a perfect blend of the blues and rockabilly, which puts you in the mind of dive bars and desperation.

11. Highlands - The final track is heavily inspired by Robert Burns, and at 16:31 minutes this was Bob’s longest song until ‘Murder Most Foul’ 23 years later. Musically, it’s an incredibly simple song, but as with most Dylan work, his poetry and delivery are the selling point. Here he tells a long, sprawling story about life, death, diners and lost love. It’s incredibly hard to not lose yourself in the song, as his words paint vast landscapes and detailed scenes. All I can really say is, whack this on, close your eyes, and join Bob on a long odyssey through his mind.

Verdict: It’s no wonder this won the Grammy for Album of the Year. The music is genius, Bob’s voice is harsh and unrelenting, and his songwriting feels impossible. He manages to be a poet of old, like Ovid or Virgil, yet it’s also as if he’s from another plane of existence. He seems to have figured out what it means to be human, all you can do is listen closely and hope that you understand his teachings. I’m jealous of anyone who gets to hear this for the first time, it’s near life changing, whilst also adding to the enigma and mystery of who or what Bob Dylan is. 24 years on, it still sounds so modern and fresh, whilst also paying respect to Bob’s influences and those before him that paved the road he walks. As much as I adore this record, his next venture would be even better, as Bob continued his late career resurgence and consistently rejected popular music, staying true to his own artistic sensibilities.

[bobdylanrevisited]

World Gone Wrong

Released: 26 October 1993

Rating: 8/10

This is the second album of traditional material, with Bob singing and playing solo on every track, although the song selection here tends to be bleaker and deal with sadder themes than its predecessor. Once again, I’ll focus on Dylan’s performance rather than the lyrics and origins of the song.

1. World Gone Wrong - The album opens with a wonderful song, somewhat depressing yet perfectly performed. Bob’s voice is still a weird mix of nasal wheezes and gravel, but I personally love it.

2. Love Henry - Another great track, the guitar sounds brilliant, whilst the tune is relaxing and Bob’s delivery is effortless.

3. Ragged & Dirty - Much like the previous track, this is a great rendition and Bob almost sounds 20 years younger.

4. Blood In My Eyes - My favourite track, it has a menace about it that I’m drawn too. The guitar may be simple, but along with Bob’s flawless vocals, it creates an atmosphere of desperation that is incredibly interesting and a joy to hear.

5. Broke Down Engine - A quicker tune, this could have been on Bob’s debut record. It’s a fantastic track and the guitar is mesmerising.

6. Delia - I’m repeating myself now, but once again Bob takes a traditional tune and completely makes it his own.

7. Stack A Lee - Again, this could have been on his first album 31 years prior. Bob sounds youthful and his harmonica playing is always fun to hear.

8. Two Soldiers - A much slower song, but it’s beautiful and you’ll get lost in the sad story Bob’s telling. To say it’s just a man and his guitar, it’s an emotional affair.

9. Jack-A-Roe - I’m running out of way to express this, yet again this is fantastic. I know he hates the label, but fuck me, Bob is the King of Folk when he wants to be.

10. Lone Pilgrim - The last track is probably my least favourite, just because it’s perhaps a tad too slow. I still think it’s a lovely tune and performance, but it may just be too much of a downer to end on.

Verdict: This is a near perfect album of covers. The only reason it gets an 8/10 is because Bob didn’t write the songs, and I’m always more interested in his own words. That being said, I cannot recommend this album enough if you want to hear an old bard completely master the songbook of yesteryear. Following this release, Bob continued his ‘Never Ending Tour’ and also had an MTV Unplugged special. It would be 4 years before another studio album arrived, and the world was about to learn that the visionary of the 1960s was still more than capable of making mind blowing records.

[bobdylanrevisited]

Good As I Been To You

Released: 3 November 1992

Rating: 7/10

Following a difficult decade, Bob continued to tour and increasingly introduced standard folk covers to his nightly set list. He eventually recorded them and released two albums of these traditional tunes within a year, which helped to restore some of his musical and critical reputation after his embarrassing nursery rhyme disaster. This first album is fairly good despite the ghastly cover artwork. It harks back to his debut record, and every track is simply just Bob with his harmonica and guitar. As the whole album is made up of covers, I’ll just sum up Bob’s performance rather then delving into the history of these ballads.

1. Frankie & Albert - The first thing that stands out is Bob’s guitar playing, which is skilled and sounds great. It creates a brilliant folky atmosphere, and coupled with his weathered voice, it takes you back in time to decades before. It certainly doesn’t sound like this record is from the 1990s.

2. Jim Jones - I love Bob’s story telling here. It can be a little whiny and won’t be for everyone, but it’s the most impassioned he’s sounded for a while.

3. Blackjack Davey - This is probably the best song on the album, I love everything about it. The guitar sounds quite moody and is perfect for the subject of the song, as is Bob’s effortless delivery.

4. Canadee-i-o - Bob’s singing is fantastic here, it’s less nasal than on other songs and he gives an incredible performance.

5. Sittin’ On Top Of The World - That harmonica sound is just unbeatable. The rest of the song is your standard folk tune, which is not bad by any stretch of the imagination, but the mouth organ elevates it.

6. Little Maggie - Another great example of Bob’s skills on the fret board and love of tradition.

7. Hard Times - Whilst I love the more relaxed playing here, I must admit that Bob’s not in his best voice.

8. Step It Up And Go - A faster number, I’m not particularly a fan of this one, due to an unoriginal tune and fairly boring/novelty lyrics.

9. Tomorrow Night - This slow song is beautiful, Bob sounds woeful and desperate for his lover. The simple guitar elevates his voice and the lyrics, whilst the song also benefits again from some haunting harmonica.

10. Arthur McBride - A folk standard covered with no thrills and dedication, it sounds great.

11. You’re Gonna Quit Me - Another track where Bob sounds fantastic and several years younger than he was. I also love the tune and the lyrics on this one.

12. Diamond Joe - Much like the rest of the record, this is an enjoyable interpretation of a traditional ballad, the guitar and voice fit perfectly.

13. Froggie Went A Courtin’ - The album closes with the only song is actively dislike. My disdain isn’t due to the vocals or music, which are fine and performed well, but the lyrics are childish and actually irritate me. It’s a low note to end on and feels very out of place with the tracks above.

Verdict: This is a very decent folk album, not mind blowing or life changing, but it is a good example that Bob was still connected to his roots, and could still play and sing with the best of the troubadours. The simple and relaxed sound is very welcome after the overly complex releases that proceeded it, and it is a nice album to relax to as you are swept in the music of a time now forgotten. Less than a year later, Bob put out the second part of his folk revival duology, which would be darker, grittier and slightly more enjoyable.

[bobdylanrevisited]

Under The Red Sky

Released: 10 September 1990

Rating: 3/10

Was ‘Oh Mercy’ a fluke? This album will certainly have you asking that, as it is interminable. The album is clearly made for his then 4 year old daughter, it is dedicated to ‘Gabby Goo Goo’, and is comprised of Dylan’s takes on nursery rhymes. It is also host to a range of celebrity cameos, such as Slash, Elton John, and George Harrison, therefore the album feels cluttered and entirely un-Dylan. Bob’s voice suddenly sounds terrible and it has but one decent track, whilst the rest can be totally ignored. Despite the cute familial connection, I hate this record and want to spend as little time as possible talking about it.

1. Wiggle Wiggle - Not only the worst song Bob has ever written, it’s also one of the worst songs ever recorded. Childish, stupid, pathetic.

2. Under The Red Sky - Something I should mention is just how badly this album’s production and recording is. It’s horrific, Bob should have stuck with Daniel Lanois, who he would return to and learn from. Anyway, this title track is dull and Bob is somehow an annoying mix of both his nasal and gravelly voices.

3. Unbelievable - A generic bluesy rock song that is passable at best. It doesn’t break any new ground, but at least it isn’t a playground rhyme. The music video is also hilariously bad and a grim indictment of 1990s America.

4. Born In Time - By far the best/only good song on the album, and the reason why is fairly obvious, it’s an outtake from ‘Oh Mercy’. Though the original recording is far superior, and can be found on The Bootleg Series Vol. 8, this song is still enjoyable. The brilliant lyrics have the melancholic feeling of the previous album, and Bob and his band sound far better than they do on the rest of the record.

5. T.V. Talkin’ Song - I think this is meant to contain a warning about television and the effect on your mind, but who cares when the song is so boring?

6. 10,000 Men - There’s far too much happening on this track, the music is muddled and confusing. The lyrics, however, are simple and uninspired. Definitely not worth listening to.

7. 2 x 2 - A slower song with crap religious lyrics, and a backing singer who only highlights how bad Bob sounds. It’s terrible.

8. God Knows - The other ‘Oh Mercy’ outtake, though this one is awful, and the original recording isn’t much better. Again, basic and dull lyrics and music, made worse by the amateur production.

9. Handy Dandy - The music may be identical to ‘Like A Rolling Stone’, the lyrics and singing definitely are not. It’s a nursery rhyme even the most childish listener would despise.

10. Cat’s In The Well - Christ, this song hurts my ears. The instruments all sound horrific, though it is a blessing knowing that this is the last song on the record and hopefully the last time I have to sit through this disaster.

Verdict: Let’s forget this boring, badly made shit ever happened. Whilst it isn’t as nauseating as ‘Knocked Out Loaded’, it is another low point for Bob and his fans, though I do genuinely hope his daughter enjoyed it. Swiftly moving on, Bob returned to his roots and left the guest stars and cheesy rock numbers behind, relying on just his harmonica, guitar, and the classic folk ballads of years gone by.

[bobdylanrevisited]

We’ve now reached 26 albums, or two thirds of Bob’s discography. As I did previously, I’ve ranked the albums I’ve reviewed so far.

26. Knocked Out Loaded 2/10

25. Dylan 3/10

24. Down In The Groove 4/10

23. Self Portrait 4/10

22. Saved 5/10

21. Pat Garrett & Billy The Kid 5/10

20. Empire Burlesque 6/10

19. Slow Train Coming 6/10

18. Bob Dylan 7/10

17. Street-Legal 7/10

16. Infidels 8/10

15. Shot Of Love 8/10

14. Nashville Skyline 8/10

13. New Morning 8/10

12. Another Side Of Bob Dylan 8/10

11. Planet Waves 9/10

10. Oh Mercy 9/10

9. John Wesley Harding 9/10

8. The Freewheelin’ Bob Dylan 10/10

7. The Basement Tapes 10/10

6. Desire 10/10

5. The Times They Are A-Changin’ 10/10

2= Bringing It All Back Home 10/10

2= Blonde On Blonde 10/10

2= Blood On The Tracks 10/10

1. Highway 61 Revisited 10/10

It’s been a series of jubilant highs and depressing lows so far, with Bob always changing his sound and diverting away from expectations. He’s a chameleon and it’s fairly obvious I love him for it, and I am almost hurt when he doesn’t quite hit the mark, as I know he’s capable of perfection. Going forward, apart from the rare bad release, we are now entering the most acclaimed and constant part of Bob’s career. His aged voice isn’t for everyone, but the wise old wizard would soon be delivering sermons borrowed from Greek poetry and Civil War America to a captivated audience. We just have to get through one shockingly bad album and some interesting folk covers first.

[bobdylanrevisited]

Oh Mercy

Released: 18 September 1989

Rating: 9/10

Where the fuck did this come from?! After years of disappointment and a ridiculous 1980s sound, Bob finally found a producer who understood the music he was trying to achieve. Daniel Lanois truly helped this record sound incredible, capturing Bob’s moodier lyrics and his new voice, one of aged wisdom, like a whiskey soaked story teller regaling his life in a New Orleans dive bar. The album isn’t overly produced, and was barely altered or dubbed in the studio, giving the record an amazing feeling of sincerity and depth that had been severely lacking for several years, though I believe the key reason this album is so mesmerising is due to the return of Bob’s genius songwriting. Gone are the vapid and carelessly penned love songs of the last few releases, these tracks show that the poet is still very much at the top of his game and still a force to be reckoned with.

1. Political World - The opening track is a fast paced rock number, with an obvious social message. Whilst I do think it’s one of the weaker songs on the record, it’s a great introduction to Bob’s new sound and the slick production.

2. Where Teardrops Fall - A beautiful song, slower and sweeter than anything Dylan has done for years. It has a slight country feel, and is just a wonderful track that I adore.

3. Everything Is Broken - Unfortunately, another one of the weaker songs. I really like the instrumentation, the band are tight and bluesy, but the lyrics get quite repetitive and, once again, the message isn’t exactly subtle.

4. Ring Them Bells - This track is beautiful. Everything about it is perfect, Bob sounds amazing and the production is spot on. The lyrics are spiritual and moving, the band are stripped back, and the only negative is that the song lasts a mere 3 minutes.

5. Man In The Long Black Coat - Atmospheric, moody, and genius. This is a fairly simple song yet it is utterly captivating. It harks back to Bob’s earlier work as he creates fully formed mysterious figures, that could be included in the greatest works of fiction.

6. Most Of The Time - An incredibly emotional and reflective track, Bob looks inwards and delivers a superb ballad that is full of regret and love. As with the whole album, Bob and his band sound perfect, working in complete harmony to deliver another classic.

7. What Good Am I? - Carrying on from the previous song, this is melancholic and bittersweet, with Bob sounding both sad and hopeful. The music on this track is very simple and elevates Bob’s singing and the sad message of a man contemplating his character and life choices. It’ll choke you up and stir up feelings like only Bob can.

8. Disease Of Conceit - This tracks sounds exactly like ‘Ring Them Bells’ only a far worse version. It’s so unnecessary and a very odd choice to include on the album. Skip this one, or just listen to track 4 again.

9. What Was It You Wanted - Another mysterious sounding track, this time with some fantastic harmonica and a haunting guitar. Though the lyrics aren’t the most complex, it still tells the story of a man lost and confused in love. I’m sick of saying this now, but once again it’s a great song.

10. Shooting Star - The album ends on a happier note, with the music sounding more in the major key and Bob singing a love song to a former partner, wishing her the best and reflecting positively on their time together. It’s a lovely end to an album that is filled with rather sad yet beautiful songs, and there is something that fills my heart with joy when the final minute of an album is Bob blasting out a harmonica solo.

Verdict: This is a beautiful album steeped in melancholy and mystery, my favourite track changes every time I listen to it. Bob’s chapter about it in his somewhat fictional autobiography ‘Chronicles Vol. 1’ is a must read, as it only adds to the near mythical recording process that led to this genius release. Once again, the outtakes are better than many of the songs included , such as ‘Series Of Dreams’, ‘Dignity’, and ‘Born In Time’, although the latter will make an appearance again. Had these songs been included then this album would definitely be getting a 10, however without them the album is still up there as one of Bob’s best, and is the perfect way to end the horror of most of the 1980s output. Unfortunately, the much anticipated next release a year later would be another huge step back for Bob and his apparent comeback.

[bobdylanrevisited]

Down In The Groove

Released: 30 May 1988

Rating: 4/10

The saying ‘too many cooks spoil the broth’ certainly applies here, as this is Bob’s most collaborative album and also one of his least enjoyable. Couple this with songs being recorded over a four year period, you are left with a disjointed mess and a Bob who sounds wildly different from track to track. It’s likely that Bob was focusing his energy elsewhere during ‘88, as he was creating hits with The Traveling Wilburys, and this album seems to be a compilation of the worst outtakes and lazy covers from the previous few years. Whilst a few tracks are fine, this is another bad record that further helped to mythologise the Dylan of decades prior.

1. Let’s Stick Together - This Wilbert Harrison cover is terrible. Bob sounds awful, the instrumentation is almost unlistenable, and the production is pathetic.

2. When Did You Leave Heaven - See above, another cover, another complete failure.

3. Sally Sue Brown - I actually don’t mind this interpretation of Arthur Alexander’s song. The vocalisations are pretty funny, Bob’s singing is fine, however the constant backing singer is annoying as fuck.

4. Death Is Not The End - This track, written by Bob, is a somber affair. His voice isn’t his best singing effort, and the music isn’t up to much, but the songs message is at least interesting.

5. Had A Dream About You, Baby - A very average folky rock song that is instantly gone from your memory.

6. Ugliest Girl In The World - Shit. Just boring, badly written shit. What’s happened here Bob? Why’ve you stopped trying?

7. Silvio - Written with Robert Hunter of The Grateful Dead, this is the album highlight. It’s fun, catchy, and a great song to sing along too. Bob sounds fantastic, I love the acoustic guitar, and it’s no surprise this is the only song from this album that has survived in his live sets.

8. Ninety Miles An Hour (Down A Dead End Street) - An okay song with nice piano, even if the lyrics mean nothing and Bob sounds strained.

9. Shenandoah - I genuinely really like this version of an old folk standard. As usual, I could’ve done without the backing vocals, but Bob sounds like he’s gone back to his folk roots and the music is perfect for this rendition.

10. Rank Strangers To Me - The final track is Bob’s version of an Albert E. Brumley tune. It’s as average as the rest of the album, with Bob howling the long notes, though the stripped back guitar and bass do sound nice.

Verdict: Once again I find myself slating my idol, but this is the 3rd bad album in a row, luckily the Wilburys album of the same year is fantastic. It just all seems so hollow, so careless and almost released begrudgingly, as if he just needs to put out anything no matter the quality. Following this, Bob set out on the Never Ending Tour, which is still ongoing to this day (only halting for the pandemic). However, his critical redemption was still a year away, as a wiser, older, and more gravelly Bob steps out of the shadows, and proves he still has what it takes to release genius music and intricately beautiful songs.