Friday, 4 October 2013

MUCH TO REMINISCE - BOB DYLAN'S MOST UNNDERRATED ALBUMS

1978 Tour Programme
'We have much to talk about
And much to reminisce,
It sure feels right
On a night like this.'

('On A Night Like This'
from Planet Waves)

Next year, in 2012, Bob Dylan will have been making records for half a century – remarkable longevity for an artist whose career might have ended as far back as 1966. When we also take into account that many of his songs from the last twenty-odd years suggest an almost overwhelming world-weariness which, combined with his frequent failures to ‘get his act together’ whilst circling the globe on his so-called Never-Ending Tour, it may make us further marvel at how he’s managed to keep on keeping on for so long.

Given that Dylan must be considered the most important, interesting and original single artist of his time working in the realm of popular music, it is perhaps surprising that, when his albums are examined in terms of their quality, a quite conventional curve of distribution becomes apparent. At the optimum end of the curve, we will find the tremendous sequence of records he made in the 1960s (during which, like the titular anti-hero of John Wesley Harding, Dylan appears to never have made ‘a foolish move’ *1 – at least, not creatively) and also the best of those from his resurgent 1970s. Thereafter, most of his releases will lodge in the medium-quality rump of the curve or at the negative end along with a couple of missteps from the glory days.

The same arc of achievement is likely to be observed in most artists: their best work behind them by their forties, if not before, followed by a dimming of the light and a slackening of the creative impulse. Dylan’s career though, has featured several ‘come-backs’ (in 1968, 1974, 1989 and 1997) and because he has been such an extraordinary figure on the cultural landscape, his work seems to demand to be judged by different standards and according to his own lights. Thus it is that Dylan’s fans sometimes struggle to accept the notion that he is capable of producing substandard art. Critics too, often overrate the great man’s efforts because – well, because he’s such a great man.

Despite these tendencies, there is however, a reasonable consensus about Dylan’s very best and worst albums: chronologically, Highway 61Revisited (1965), Blonde On Blonde (1966) and Blood On The Tracks (1975) at the top -  and  Self Portrait (1970), Knocked Out Loaded (1986) and Down In The Groove (1988) at the bottom.

It’s possible to add, with some justification, several other 1960s titles to the Best list along with perhaps Desire (1976), Oh Mercy (1989) and Time Out Of Mind (1997). On the other hand, some see little merit in the likes of Nashville Skyline(1969), Saved(1980) and Under The Red Sky (1990) – I would argue that the dull pair of contract-filling sets of solo acoustic blues and folk standards, Good As I Been To You (1992) and World Gone Wrong (1993)  belong in this rock-bottom batch too (readers may notice by now that this article is dealing only with those albums classed as original studio releases – so live albums, compilations and The Bootleg Series are beyond my remit here).  
                                                                                                                                                                                                                                                                                                                          
What though, of the Bob Dylan albums I personally feel to be underrated? I may, for instance, have wanted to consider Nashville Skyline or the much maligned Saved, and suggest that, just as the former can now, all these years on, be heard simply as a good Country album, then the latter can surely be listened to as an equally good example of the Gospel genre. I might also make a case for Empire Burlesque (1985) which, despite being scuppered by its then state of the art synthetic production sound, still features some strong songs with intriguing lyrics.



I intend however, to focus – in chronological order - on three other commonly overlooked titles (purposely not mentioned above). The first of these is one of Dylan’s most execrated releases; let’s hear it for:-


DYLAN (1973)

Whaaaat! I hear you exclaim. Well, yes – let me explain.

As we will recall, this record was released by Columbia as a spoiler just before Dylan’s next album came out on Asylum, the label for which he had deserted them (suitably chastised, Columbia would welcome Dylan back only a year later with an improved contract  - and he’s still on their roster, nearly forty years after).

Dylan is derided as a ragbag of odds and sods left over from the Self Portrait and New Morning sessions. As such, it is rightly regarded as an aberration in the back catalogue and these days, is only available in download form.

The cover didn’t help. Lazily titled and shoddily packaged with the same badly cut-out image of Dylan appearing front and back, it looked - in that heyday of great album cover art - merely cheap and nasty. The record barely comes up on the radar of most critics, and if it does, is usually dismissed as a matter of routine. Tim Riley casually passes over it, sniffing that it is ‘limp’. This though, amounts to high praise compared to Michael Gross who, living up to his name, wipes his hands after calling it ‘disgusting’. Clinton Heylin also works himself up into a righteous lather, spluttering that it is ‘unregenerate in its abjectness’.

Considering that Dylan is basically just an album of cover versions, some of them of traditional material, one wonders what caused such horror amongst the scribes. I bought the album shortly after its release and thought that it was, well, actually quite good. And far from it being ‘unregenerate’, I’ve come to enjoy it more over the years. Perhaps it took critics back to that bad taste in the mouth created by the myth-busting Self Portrait. ‘What is this shit?!’ Greil Marcus had screeched at the time in the headline from ‘Rolling Stone’ magazine.

Ah, but they were different days and that kind of hysteria was perhaps understandable - such was the weight of expectation accompanying any new release by His Bobness, then not only The Voice Of His Generation but also The King of The Counter-Culture. Ironically, ‘Rolling Stone’ has gradually drifted away from the cutting edge into the middle of the road, whilst Marcus has devoted much of his subsequent musings to the sort of roots music that can be found on Self Portrait and which is now a loose genre, respectably known as ‘Americana’…

There are one or two yea-sayers, however: Michael Gray feels that Dylan ‘isn’t as bad as [Columbia] meant it to be’ (although he does warn that it is ‘for fanatics only), and Richard Williams reflects that it ‘wasn’t as bad as its initial reception suggested’.

But let us now imagine for a moment that the songs on Dylan had only ever become available, not in 1973, but as part of a recent edition of The Bootleg Series**. Would they have suffered such opprobrium as on their actual release? Of course not. I fancy that reviewers would find them interesting, tuneful and well worthy of publication. The musicians are no slouches either: led by multi-instrumentalist Al Kooper, it’s the New Morning band on most tracks and includes David Bromberg on guitar, Harvey Brooks and Charlie Daniels sharing bass duties and Russ Kunkel on drums.

The songs, then. It opens with ‘Lily Of The West’, a murder ballad, powered along by folk guitars, the sort of song that Johnny Cash might have included on one of his late-flowering collaborations with producer Rick Rubin. Dylan struggles slightly with the low vocal register but, at the same time, obviously relishes the archaic idiom of the lyric.

It’s a bracing opener which leads to a change of tempo in a slowed-down version of ‘Can’t Help Falling In Love’. Dylan conjures a very different atmosphere here to that on the more well known versions by Elvis Presley and Andy Williams. He lingers lovingly over the words whilst a whispering organ and wordless backing vocals help to create a warm, intimate mood. His harmonica coda is beautifully played too.

‘Sarah Jane’ is a train-song and, as we know, Dylan likes train-songs. It is a jolly little love ditty, no more and no less, probably recorded by Dylan at the time in honour of his wife and the line, ‘I’ve got a wife and five little children’. The lyric is supported by a fair dollop of la-la-la-ing by the backing singers which he joins in on now and again. Dylan’s use of girl groups on Self Portrait and New Morning had surprised some - and was scorned by others. By the 1980s, most people were heartily sick of them and Dylan eventually dropped them but, in 1973, they still sounded quite fresh (too fresh for Michael Gray who rightly feels they are too high in the mix).

Side One ends with Peter Lafarge’s ‘The Ballad Of Ira Hayes’, a tragic and true story of the rise and fall of the native American who became famous for his part in raising the Stars and Stripes on the hard won hilltop of Iwo Jima in the Philippines during the second World War. Hayes, who was one of the marines caught in the iconic photograph of the event, found it difficult to cope with the effects and eventual loss of the fame that came with the post-war showbiz re-enactments of the flag-waving, and died an impoverished alcoholic whilst still young. Judging by the sincerity of Dylan’s rendition, it is a song he may well have wished he’d written himself. A 1964 version  by Johnny Cash is undone by an absurdly jaunty arrangement which fatally undermines the song’s sentiment – no doubt genuinely felt by Cash, but frankly, Dylan’s slow, soulful take wipes the floor with  it.

Side Two begins with another story-song, J. J. Walker’s ‘Mr. Bojangles’. In the hands of cabaret performers like Sammy Davis Jnr., the song had acquired a rather sickly tone which dulled the quality of its lyric. Dylan – who, of course, once described himself as ‘just a song and dance man’ – sets about restoring the song’s nobility and brings the words back into focus. The tale of the itinerant song and dance man forever in and out of jail because he ‘drinks a bit’ is a picaresque and Dylan rescues from bathos lines such as that dealing with Bojangles still grieving after twenty years for the dog which ‘up and died’, with the eloquence of his singing. Speaking of which, the way he holds the final note in the phrase, ‘Mr. Bojangles, dance’, produces a rousing climax to what is surely the best ever version of this tune.
 
‘Mary Ann’ opens with ‘Oh, fare thee well my own true love’, a phrase the like of which figures in some of Dylan’s own compositions. A sailor pledges undying love to Mary Ann from the other side of the world in a short, simple song notable for the sweetness of its melody and the warmth of Dylan’s vocal.

Joni Mitchell’s early eco-hit, ‘Big Yellow Taxi’ may seem a curious choice and Dylan’s singing on this is perhaps his least committed on the album. The girls go ‘ooh pop pop pop pop’ happily enough but the man himself sounds in a something of a hurry to reach the end of the song. It’s one of the album’s less effective tracks.

‘A Fool Such I’ is another. The album’s last two songs are the ones from the Self Portrait sessions and Dylan uses the voice that was first heard on Nashville Skyline and which disappears from 1970 onwards. Pretty much following the arrangement on Elvis Presley’s 1959 hit without adding anything of interest to it, it was obviously thought to have commercial potential because Columbia released it as a single. It met with little success and may have done better if its flip side, ‘Lily Of The West’ had attracted some airplay instead.

The last track might be, as a matter of opinion, either the best or worst one on the album. A solo acoustic version of ‘Spanish Is The Loving Tongue’ had already been out as the b-side on Dylan’s 1971 single, ‘Watching The River Flow’. Its curtain-closing position on the Dylan album suggests that whoever sequenced the songs figured it could provide a big finish. A love-lorn scenario of a man wanted by the law for ‘a gambling fight’, dares not cross the border to return to the senorita who taught him Spanish. He reflects that as he ‘broke her heart, lost my own’, the situation may well be for the best. Half-way into this hushed ballad, the pining Tex-Mex guitars give way to a huge roll on the piano which heralds a change of tempo and the song proceeds as a gentle tango, complete with one last bout of la-lal-las from the girls. It’s a truly cornball moment and yet it somehow works. Technically, this recording may rate as one of Dylan’s best ever vocals (although some diehards simply can’t stand that treacly 1969 / 70 voice).    

So, I would contend that there is much to enjoy for the open-minded listener in this interesting but much reviled footnote of a record.

It is not, however, remotely in the same league as my next choice of album which was - it is frequently forgotten - absolutely crucial in Dylan’s development as a performer and recording artist.


PLANET WAVES (1974)


‘We have much to talk about
And much to reminisce,
It sure is right
On a night like this.’

(On A Night Like This)

The original title for this album was to be ‘Ceremonies Of  The Horsemen’, a vague but evocative phrase drawn from the 1965 love song for Dylan’s first wife, Sarah (‘Love Minus Zero / No Limit’). Then again, his monochromatic painting on the front cover bears two other legends: ‘Moonglow’ and ‘Cast-Iron Songs & Torch Ballads’. I believe either of these would have been an improvement on the abandoned title or its equally vague replacement.

Nothing much is revealed from gazing at the three heavily daubed figures huddled in the picture – one, or all of them may resemble Dylan and might represent a gathering of selves ready for the journey ahead, back out into the hurly-burly of  the world of performing and touring after more than three years of relative inactivity. The four motifs in the picture: an anchor, a heart on a sleeve, a CND symbol and what looks like a lantern, resonate with themes arising from the songs, the painting itself and the artist’s somewhat breathlessly scribbled liner note on the back cover.

I won’t attempt a literary analysis of this other than to mention that it is pretty much of a piece with Dylan’s other sleeve-notes (apart from the unexpectedly crude references to ‘bar stools that stank from sweating pussy’ and ‘space guys off-duty with big dicks’). A nostalgia for what he calls ‘the gone world’ chimes with some of the songs and the opening proclamation, ‘Back to the Starting Point!’ cuts two ways: the walk down Memory Lane, but also the return to The Road.

For Planet Waves marked not only Dylan’s first proper album since 1970 – and the first of his brief sojourn on the Asylum label before returning to Columbia for good a year later – but also his commitment to play live again, which , apart from the odd guest-spot, he hadn’t done since 1966.

So this record was a catalytic release.  It provided the impetus for Dylan’s second most prolific period, starting a run of seven studio albums in less than eight years and doing well on the charts, reaching #1 in the US and #7 in the UK. It also features, in ‘Forever Young’, one of his best loved songs. Why then did Planet Waves so quickly become an almost forgotten item in Dylan’s back catalogue?

Well, to begin with, it stands in the immediate and very long shadow cast by the album which followed it just a year later, the rightly celebrated Blood On The Tracks.
 
Then, critics nitpicked about the production sound and have tended to skim over it on their way to discussing the massively successful comeback tour with The Band - as encapsulated in the live album, Before The Flood - all of which took place in 1974, with Blood On The Tracks straining at the leash for release the following January.

Dylan was again ‘busy being born’*2, shaking the dust off his feet. Apart from ‘Forever Young’, which was the only song from the album he was still playing as the tour reached its end, he has only very rarely included selections from Planet Waves in his numerous concerts down the years. With the exception of ‘Going, Going, Gone’, no other song from it has appeared on his live albums. Neither has he remarked upon the record much in interviews beyond a few throw-away comments in the booklet which accompanied the Biograph (1985) compilation (i.e. ‘On A Night Like This’ – ‘not my type of song, I think I just did it to do it’; ‘You Angel You’ - ‘sounds to me like dummy lyrics’; ‘Forever Young’ – ‘I wrote it thinking about one of my boys…not wanting it to be too sentimental…the lines…were done in a minute…the song wrote itself.’).

Personally, I’ve always loved Planet Waves whilst recognising that it stops short of the pantheon of his very best work. Some critics are fans too: Michael Gray deems it ‘potent, compelling’, and Michael Gross commends its ‘sexy, rocking’ feel. Both of these writers are interested in the album’s preoccupation with the past as seen from the standpoint of a mature married man and father in his early thirties whilst Paul Williams describes it as ‘a very giving album’ and puts his finger on the ‘sense of rediscovery of self combined with fear of loss.’

Though generally in favour, Tim Riley bemoans the ‘slipshod’ production and what he repeatedly calls its ‘frumpy’ sound. I’m at a loss as to quite what he means by this – drab, perhaps? Well, compared to the glitzy bounce of those contemporaneous trends of Glam Rock and Disco, Planet Waves probably does seem a rather low-key affair, but that never affected my appreciation of it. I will, by the way, discuss in more detail, the vexed question of production on Dylan records further on.

When we consider the eleven songs on the album, we find them all to be love songs, more or less: romantic, sexual, marital and paternal love. The song that failed to make the cut, ‘Nobody ‘Cept You’, which later appeared on The Bootleg Series 1-3 (1991) is another one. It apparently worked well live but was never nailed in the studio. The out-take features Robbie Robertson pottering around on the wah-wah pedal to no great effect. Robertson’s playing on the official tracks however, is beyond reproach.

This, incidentally, is the only Dylan album that The Band play on as a unit apart from the live album that followed and The Basement Tapes (1975) which came out the next year but were, of course, recorded much earlier. The musicians knit together the fabric of the songs in a way that is both tight and subtle. ‘On A Night Like This’, though, is mainly about Dylan’s harmonica playing which, unusually, operates not merely as the lead instrument but as a constant thread dubbed behind the vocals. Zipping smartly in to get the record underway, the song is a simple, but highly effective starter which rides the lyrical conceit of lovers making hot whoopee beside a log fire, whilst outside in the snow, ‘the four winds blow / Around this old cabin door’.

This upbeat mood is promptly arrested by the cautionary ‘Going, Going, Gone’. Here we find the narrator ‘at the top of the end…closin’ the book’ and determined to ‘cut loose / Before it gets too late’. This can be tellingly interpreted as Dylan resolving to come out of semi-retirement, make music and hit the road again. And what music! Richard Manuel’s piano carries the rhythm with Garth Hudson’s organ wheezing eerily in the background, but it is Robertson’s climbing, spindly notes and plunging accent chords that truly compliment Dylan’s terrific vocal. He is grimly set on a course and ‘don’t really care / What happens next’. The rising bridge urges him to ‘follow your heart’ but also warns ‘Don’t you and your one true love ever part’.

It’s a great song and one of Dylan’s best of the period (the inferior live version on the Dylan At Budokan (1979) is heavily rewritten) Naturally, it has been seen to implicitly reference his then wife, Sarah, and her fairly well known doubts and fears about his re-entering the rock and roll fray. However much those of us who write about Dylan should heed his oft-repeated scorn at the idea of hanging his songs from the branches of what is known or surmised about his life, there are certain songs which are reasonably unambiguous. I think this is one of those songs (and, of course, ‘Sarah’, from Desire (1976), less contentiously, would be another).       

Is the next song, ‘Tough Mama’, also ‘about’ Sarah? Well, epithets like ‘Sweet Goddess’ and ‘Silver Angel’ match the rather cloying terms like ‘Radiant Jewel’ and ‘Scorpio Sphinx’ which I feel slightly undermine the otherwise eloquent Desire song.

Anyway, whoever ‘Tough Mama’ is, Dylan tells her in the third verse that ‘you know who you are and where you’ve been’. The hyperbole above is also offset by a lyrical flash which brings the sleeve-note back to mind when the weather is described as ‘a-hotter than a crotch’…The lyric, which, but for those epithets, might almost come from Highway 61 Revisited, seeks to persuade the woman to stick by him and, in the song’s last line, meet him ‘at the border late tonight’ (where, presumably, the tour-bus awaits). Musically it’s a rollicking track with The Band’s fine ensemble backing Dylan’s raucous harmonica. Robert Christgau probably had this track in mind when he grinningly refers to the ‘scrawny, cocky…stray cat music’ to be found in parts of the album.

So who might ‘Hazel’ be then, with her memorably ‘dirty blonde hair’ and ‘stardust in her eye’? An old flame from way back when, perhaps? Who cares? It’s a wonderful little love song, elevated by the warm, wistful vocal and another soaring bridge (listen to the way Dylan sings ‘up on a hill’). The key point here may be that Hazel is ‘goin’ somewhere and so am I’.

Whoever the woman is in ‘Something There Is About You’, she makes Dylan nostalgic for his pre-fame past and ‘brings back a long-forgotten truth’:

            ‘Thought I’d shaken the wonder and the phantoms of my youth
            Rainy days on the Great Lakes, walkin’ the hills of old Duluth

Naturally, critics have seized upon this almost Wordsworthian couplet because of its frank mention of Dylan’s home town - he ‘who’s so good with words and at keeping things vague’ as Joan Baez put it in her great 1975 song about their relationship, ‘Diamonds & Rust’. Interestingly, when singing ‘Going, Going Gone’ live in 1976, by which time Baez was temporarily back in the picture romantically, Dylan had added the lyric, ‘Now I’ve just got to go / Before it’s all diamonds and rust’…). The woman in ‘Something There Is About You’ seems to have saved him from the vertiginous and excessive stardom of his past:

            ‘I was in a whirlwind, now I’m in some better place’

He’s grateful but not grateful enough to ‘promise to be faithful’. It’s a hard, honest admission and anchors this torch-song with chilling cast-iron. Musically, Dylan again leads The Band with strong vocal and harmonica performances, although the pretty melody doesn’t go anywhere much.

And so to ‘Forever Young’ - so good they included it twice. Then there are three other official versions: a solo acoustic rendition from Biograph; a version with The Band on their valedictory live album, The Last Waltz (1978); and another live cut from the Budokan set. All of these have much to recommend them but, of the five, my favourite is probably the Last Waltz one with Robertson’s stratospherically epic Stratocaster.

It is the big song on Planet Waves and one which his audiences will always crave to hear - along with ‘Blowin’ In The Wind’ and ‘Like A Rolling Stone’ et al. In a 2005 poll of musicians and house writers on ‘Mojo’ magazine, ‘Forever Young’ is the only track from Planet Waves to figure in their Top 100 Dylan songs (albeit only at  #44).

Dylan’s poet pal, Allen Ginsberg loved it, recommending it as a latter-day national anthem for America. I used to lullabye my children with it and there was a large copy of the lyric pinned to my daughter’s bedroom wall alongside the alphabet and number freizes. It’s that kind of song – and yet, lyrically it’s little more than a collection of clichés and platitudes. The point is how well they fit together and inform the beautifully simple sentiment and melody. The version that closed the first side of the vinyl album is sensitively arranged beneath Robertson’s tender, mandolin-like guitar playing.

‘God’ is only mentioned once, at the outset, and the song has none of the rather tedious, unpleasant religiosity that blighted parts of the so called ‘born again trilogy’ of albums a few years down the line. In fact, ‘Forever Young’, a hymn of hope, has more in common with the lovely little chant, ‘Father Of Night’, the hymn of praise which ended his previous studio album, New Morning (1970).

When you turned the original record over you found a reprise of ‘Forever Young’, this time in a jaunty, hoedown tempo. I liked it well enough although thought it something of a makeweight. Ideally, a more simpatico take of ‘Nobody ‘Cept You’ might have made for a stronger programme, but one has to say that the sequencing on Planet Waves is nicely symmetrical. As on the first side, a cheerful, lively opener is followed by a much slower, darker proposition.


‘Dirge’ was, confusingly, titled ‘Dirge For Martha’ to begin with – quite who she might have been, no-one seems to know. It features just Dylan on piano and Robertson splintering out notes on an acoustic guitar. Dylan’s mastery of the piano may be only rudimentary, but he can be a highly effective player - as here, and Robertson’s playing is yet again exactly right, echoing the frustration and spite of the words (Tim Riley remarks on the ‘brittle, spooked’ atmosphere of the performance). The song makes most sense to me when I hear Dylan’s powerful vocal addressing not a woman, not Sarah (let alone the mysterious Martha), but some personification of the gaping maw of stardom opening up before him once more as he prepares to put himself back in the marketplace. It might – more shakily – be compared to ‘Dear Landlord’ from John Wesley Harding (1967), a song probably addressed to his manager, Albert Grossman. Whoever or whatever the song is aimed at, its final ironic couplet is a telling admission of how bitterly conflicted Dylan must have been feeling when he wrote ‘Dirge’:-

            ‘Lady Luck, who shines on me, will tell you where I ’m at -
I hate myself for loving you, but I should get over that.’

‘You Angel You’ is another fine ensemble performance and one of the catchiest tracks. It may have been written with an eye on the chart and was released as the flip side of ‘On A Night Like This’, the lead single from the album which disappeared without trace, despite the perceived commercial appeal of both songs. ‘Dummy lyric’, or not, it might, with a country arrangement, have fitted snugly on Nashville Skyline. On Planet Waves though, it blends well with the overall sound of the record. 

‘Never Say Goodbye’, like most of the material here, gets by without recourse to a conventional verse-chorus structure. A short song – there are no sprawling epics on this album – it is propelled by the rhythm section of Rick Danko on bass and Levon Helm on drums, and is over almost before you know it. It begins with this haunting verse:-

‘Twilight on the frozen lake
A north wind about to break
On footprints in the snow
And silence down below’

The elemental geography of his Minnesota past is evoked again (that ‘twilight’ and ‘silence’ has stayed with me ever since I first heard it all those years ago) but, to be honest, the rest of the song, lovely listening experience that it is, fails to really live up to its opening. By Dylan’s standards, it proceeds as a fairly conventional love song, although the final verse fleetingly raises the ghosts of a couple of his earlier classics (‘Girl Of The North Country’ and ‘It’s All Over Now, Baby Blue’) before fading away.

As the first half of the record ended with a love song for his children, so the second leaves us with a love song for his wife (call me sentimental, but it is called ‘Wedding Song’…). It’s Dylan down to the bone, just him on acoustic guitar and harmonica, playing and singing in that uniquely authoritative way of his.

It’s both a declaration of the depth of his continuing love for and abiding gratitude to Sarah as well as a pledge of reassurance to her that his return to recording and touring won’t lead him back to the abyss. They can get through this, he sings, because ‘the past is gone’. In what is perhaps the album’s most quoted lyric, he restates his renouncement of that ‘Spokesman of a Generation’ soubriquet, telling Sarah and anyone else who cares to listen, that:_

‘It’s never been my duty to remake the world at large,
Nor is it my intention to sound the battle charge’

Back on Side One however, he has also told her that his ‘hand’s on the sabre’ although he may be willing to let her call the tune because she has ‘picked up the baton’ (‘Something There Is About You’). There seems to be a kind of desperation abroad here, amidst all the affirmation, and he fears that her love ‘burns him to the soul’ and cuts him ‘like a knife’. And yes, he loves her ‘more than blood’, but listen to the way he sings that phrase and you realise just how close we are to the most famous break-up record in the history of popular music. Blood On The Tracks waits in the wings, its wounds perhaps already opening up by the end of its predecessor.

* * * *  


Here’s how underrated Planet Waves is - Robbie Robertson, who as this article makes clear, is, after Dylan himself, the key musician on that record (and although no producer is named on the album, Robertson is credited with ‘Special Assistance’) - was featured in the music press promoting a new album and looking back over his career. As I was, at the time, in the middle of writing this piece during the Spring of 2011, I checked out three of the quality magazines, ‘Mojo’, ‘Uncut’ and ‘The Word’. What I found was that Robertson’s stroll down Memory Lane recalled some of his solo and film work along with albums by The Band as well as Dylan’s ’66 and ’74 tours and The Basement Tapes – but there was not a single mention of Planet Waves along the way.

Perhaps Robertson didn’t want to remind readers of an album that he pretty much produced but which has been criticised for its sound. After all, the critics have told us that you can actually hear Dylan’s jacket button scratching against his guitar on the first and only take of ‘Wedding Song’ (at least, you might be able to if you’re zeroing in through top of the range Bang & Olufsen speakers and headphones).

Well, if you’re that kind of high fidelity buff, you’ll probably find my final choice of underrated album all but unlistenable…
 

 STREET LEGAL (1978)         

                                                            ‘Oh, babe, time for a new transition.’                           

(‘We Better Talk this Over’)

I have admired this album from the start and still rate it as one of the very best pieces of Dylan’s post-1960s work. Quite apart from the words and music, I liked the sound of the thing. It seemed to me to me to come closest to what Dylan had struggled to articulate as ‘that…wild mercury sound’ when describing the music in his head as captured on his Blonde On Blonde album.

Imagine then, my puzzlement and dismay as, over the years, one critic after another lined up to pour scorn on this recording (in the Biograph interview, Dylan himself complains that ’The critics treated this album spitefully’). Tim Riley, for instance, didn’t even deem it worthy of extended discussion in his ‘Dylan Commentary’, attacking what he hears as its ‘blurry sound, half-hearted arrangements and misplaced passion’. Robert Christgau recoiled at such ‘horrendous product’, whilst Greil Marcus, presumably suffering from ADS, complained that it was ‘simply impossible to pay attention to for more than a couple of minutes at a time’.

There was some more measured appraisal. Clinton Heylin described it as ‘an album only marginally flawed in conception [but] dramatically impaired in its execution.’ David Mansfield, who played mandolin and violin on the actual record, insisted that it ‘sounded marvellous in the room…like Dylan meets Phil Spector’, but nevertheless feared it was ‘poorly recorded.’ Meanwhile, Paul Williams felt it was ‘weird…fascinating…tantalising…a tease’, liking the whole sound of it, but having serious reservations about the lyrics. ‘Mojo’ magazine’s fabulous retrospective tome on Dylan, damned it with faint praise, allowing it to be ‘not exactly a howler.’

At the time of its release, however, Street Legal was treated more generously by the British music press. In the now defunct ‘Melody Maker’, Michael Watts called it Dylan’s ‘best since John Wesley Harding,’ whilst over at ‘New Musical Express, Angus MacKinnon claimed it was his second major album of the 1970s. Michael Gray has continued to agree with this view in his ongoing appreciation of the back catalogue, extolling the record’s ‘astonishing complexity and confidence, delivered in Dylan’s most authoritative voice.’

It might be as well at this point to once and for all deal with the question of production. Don De Vito had produced the previous album, the extremely well received Desire - at least, the liner-note says that he ‘could have produced this album’, whilst on Street Legal, he is described on the sleeve as ‘Captain In Charge’. De Vito has therefore presided over the two (consecutive) records which feature the biggest studio bands with which Dylan has ever worked.

Now Dylan is famous – and, in the main, highly regarded – for his no-nonsense approach in the studio. It is not his natural habitat and he likes to be in and out a.s.a.p. and, if he has anything amounting to a studio aesthetic, then that seems to be about it. There cannot be many artists who have not only recorded but released as many first, second and third takes as Dylan. It is – and Paul Williams has devoted three volumes of analysis to saying just this – the performance that counts. Dylan is simply not interested in the technical gloss that modern recording techniques can confer (as a cursory listen to his ‘Theme Time Radio Hour’ will confirm). On those odd occasions when he has allowed himself to be seduced by the dictates of what is fashionable, his records have ended up sounding badly of their time (like George Baker’s mix of Empire Burlesque) or just too damn shiny (like the Was brothers’ job on Under A Red Sky (1990).

It is fair to surmise that De Vito may have struggled to achieve a compromise with Dylan’s artistic vision whilst miking up the biggest bands the singer had ever recorded with. The producer’s remixed version came out in 1999 to muted approval. It doesn’t sound that different to me – yes, in the manner of remasters, it’s brighter and the voice, drums and organ are clearer, but it hardly revolutionizes the way I hear the record.

But let us move on to the album cover before reminding ourselves of those terrific songs. On the front, looking like he may have just knocked off after a shift in a factory, Dylan stands on a shabby downtown street in a doorway by some grimy stairs. He has a jacket under his arm and he’s looking expectantly to the left, as if waiting for a lift or maybe a bus or taxi - or maybe it’s a station and there’s a Slow Train Coming (1979)…Whatever, as the title of the album suggests, he’s ready to move on.

There are a couple of black and white shots on the inner sleeve of him with cool looking black dudes. In one of these, his face is brilliantly lit by the match he’s applying to a cigarette (is he ‘seeing the light’ perhaps?). In the original vinyl release, there was also a colour poster enclosed of him wearing the same glitzy stage outfit that graces the back cover (and which will reappear on the tour album, Budokan), where he stands sans guitar or harmonica, with a hand-held mike. Dylan, more interested in the presentation of his shows in those days than since, is wearing the whiteface make-up that had masked his performances for the last few years. The godawful costume he wore at the time appears to have been influenced by those worn by the likes of Neil Diamond and Elvis Presley, whose recent death had rocked Dylan. The schmutter was thought by some to be a kind of homage to Presley. It didn’t really matter live – I was at Earl’s Court in ’78 and saw a tremendous show, but I still find those stills something of an embarrassment.

So, yes Dylan was well and truly ‘still on the road / lookin’ for another joint’*3. The Before The Flood tour had led to the ‘Rolling Thunder’ tour(s) and then the world tour that followed Street Legal.

The album announces itself with ‘Changing Of The Guards’ (at #80, it’s one of two Street Legal tracks to make that ‘Mojo’ Top 100 I mentioned earlier; ‘Senor’ at #90 is the other).The opening words refer to Dylan’s recording career (‘Sixteen years’) and the number of albums up to and including Street Legal itself (‘Sixteen banners’ – if, that is, we count the soundtrack, Pat Garrett & Billy The Kid (1973) and discount the aberrant Dylan discussed above). Powered by the drumming of Ian Wallace with only a Steve Douglas saxophone riff every two verses approximating to a chorus, the song drives through seven minutes, punctuated by the girls’ strictly patterned backing vocals, without once flagging. This is due to Dylan’s commanding vocal and the sense of apocalypse evoked in the intense lyric which holds the listener’s interest tightly.

(There is no space here to attempt an extended analysis of the lyrics on Street Legal. Suffice to say, it is perhaps Dylan’s most complex album lyrically. Never again, would he seem to devote so much thought and effort, over the course of an entire album, to the poetics of his writing).

Having ‘stepped forth from the shadows, to the marketplace’ (that ‘Dark Beauty’ of fame and fortune perhaps, that he agreed to return to one night on the border, back on Planet Waves), the narrator of this first song tells us that his ‘last deal gone down’ and that he is turning his back on the ‘merchants and thieves’ and the ‘organization’. False idols are about to fall, ‘Eden is burning’ and a new order must take over.

Such rich wordplay is put to one side during the next cut as ‘New Pony’ brings us back down to earth with a grinding carnal bump. The lolloping guitar of Billy Cross carries the simple blues groove but, really it is Dylan’s almost demonically lip-smacking vocal which make it such an arresting track. Cross also plays a fine solo and Douglas comes in with a great sax coda, whilst all the way through, the girls are urgently chanting ‘How much, how much longer?’

What are they waiting for, we might ask. Well, there are two ponies involved here: ‘Lucifer’ who is shot by the narrator in the first verse; and her replacement, ‘Miss X’ with her dancing skills, her ‘sweet disposition’ and her ‘voodoo’. Are either of these ‘ponies’ the same as the ‘beloved maid / Whose ebony face is beyond communication’ mentioned in the previous song? Like Michael Gray, I’ve always felt that some of Street Legal ‘charts Dylan’s voyage from Sara to Jesus’, and history tells us that one of the black women singing on the album is Carolyn Dennis, who Dylan would marry in 1986 – so maybe that was ‘how much longer’, then…

At over eight minutes and no less than eighteen verses long, ‘No Time To Think’ is obviously designed with epic qualities in mind. It is however, a non-narrative tour-de-force and may, superficially, be less interesting to listen to than other long tracks such as say, the quasi-story of ‘Desolation Row’ or the surreal tale of ‘Lily, Rosemary & The Jack Of Hearts’. It has more in common with the tirade of ‘Idiot Wind’, only here, the desperation is philosophical rather than marital. It also reminds me of the Shot Of Love (1981) out-take, ‘Angelina’, in its obsessive rhyming.

Taking its lead from the interlaced saxophone and violin melody played by Steve Douglas and David Mansfield, the even-numbered verses musically descend whilst the odd-numbered ones climb until the title-phrase is hammered home every eighth line. The rigid a-b-a-b, c-d-e-e rhyme scheme is underpinned by a looser system of internal rhymes and more tightly patterned backing vocals. All of this makes for a sophisticated and highly structured musical foundation over which Dylan sings out his heart. It can be both breathtaking and tiring.

‘Baby, Stop Crying’ was Dylan’s last significant hit single in the UK (#13) but did nothing stateside. Musically it works well, again riding securely on the Street Legal’s key instrument, the sax, but lyrically, it seems muddled, vague and repetitive. I’ve long thought it the least interesting track on the record.

We now arrive at the album’s most controversial point: ‘Is Your Love In Vain?’ Although Dylan has many women fans, he must, over the years, have proved hard work for the stricter feminists among them. Standing shoulder to shoulder with them, Robert Christgau, castigates the singer of this song as a ‘boozy-voiced misogynist’. Over the top perhaps, but it is difficult to defend that notorious line, ‘Can you cook and sew, make flowers grow?’ especially when set beside the singer’s moaning that he can’t be doing with the woman intruding on his ‘solitude’ and insisting that she understand his ‘pain’. One feels like telling him to get a grip! Consider this song next to ‘New Pony’ and it does rather look like Dylan wants his women to be angels in the kitchen and whores in the bedroom: not a job spec. likely to impress his left-leaning audience back when women’s rights was a key issue. He sounds a sadder and wiser man on the less strident live version on the Budokan album, but the offending lyric is unrepentantly intact.

It’s a pity because ‘Is Your Love In Vain’ is a great track to hear if you manage not to listen to the words (the bridge in the third verse is the only one worthy of the tune, with its neatly expressed ‘I’ve been in and out of happiness’). With the sax augmented by Steve Madaio’s trumpet, the sound is full and rich and reminds me vaguely of the effect achieved by one of the standout tracks on Self Portrait, ‘Wigwam’.

One of Dylan’s not-quite-masterpieces opens the second half of Street Legal. ‘Senor (Tales Of Yankee Power)’ - that parenthetical subtitle has always somewhat thrown me because I tend to read the song as one of its author’s periodic dialogues with his God and, as such, I find it intensely powerful. The subtitle, however, implies an anomalous political subtext - especially in the light of the recently concluded Vietnam war - which, along with the two rather confusing bridge verses (3 & 5), can act to cloud the issue of the spiritual quest clearly underway in the rest of the lyric. (Dylan’s own comment, in the Biograph overview, reduces ‘Senor’ to the mere level of a break-up song!).

Overall, though, the ominous heat-haze which blurs the words and music here does not ultimately distract us from the conviction that the narrator is moving ever closer to some point of no return. Without approaching the frequently postulated critical theory of Dylan’s identification with Christ, it is worth, I think, looking again at the song’s  stirring – and much quoted – last verse:-

            ‘Senor, senor, let’s overturn these tables,
            Disconnect these cables:
            This place don’t make sense to me no more.
            Can you tell me what we’re waiting for, senor?’

This is heady stuff indeed and the way that Dylan cries out that penultimate line should leave us in little doubt that some ‘finishing end is at hand’*4.

Greil Marcus, trying desperately to keep his eye on the ball, dismisses ‘Senor’ as ‘a  pastiche of the best moments from The Eagles’ ‘Hotel California’’, one of their best and certainly most Dylanesque pieces, which came out the year before. True, there’s an echo in the guitars, but that’s pretty much where the similarity ends (and don’t you wish you’d heard ‘Senor’ even half as many times on the radio as that overplayed Eagles hit?).

‘True Love Tends To Forget’, although it features a much neater, stronger lyric, is, after ‘Baby, Please Stop Crying’, the slightest track on Street Legal. A drop in pressure was needed after ‘Senor’ and the two Country-flavoured pop songs which follow it, do the job effectively before we roll into the rain-soaked railway station waiting at the end of the album. The first of these seems likely to be related to ‘New Pony’, as the narrator is reassuring a woman waiting for him that he’ll soon tell her when. By the same token, there may also be another woman here - you know how Dylan likes to fool around with pronouns - messing with his mind and means and keeping him ‘knockin’ about from Mexico to Tibet’. He can only hope that the sentiment in the song’s title will help him to resolve both situations.

‘The least ambitious song on the album is the most successful’. So says Paul Williams in his brief mention of ‘We Better Talk This Over’. It certainly has the most straightforward message and the buoyant music, led by the bright Country figures played by the lead guitar, bring a welcome, cooling breeze into the hothouse atmosphere. Splashes of piano replace steamy organ for the first time on the record and for once, and once only, there is no saxophone (interestingly, Dylan’s harmonica which along with Robertson’s guitar, was the lead instrument in the Planet Waves band, does not figure at all on Street Legal).

The song follows on logically from the previous one and both have titles that encapsulate their lyrics. The final verse of ‘We Better Talk This Over’ manages to be both resolute and regretful:-

            ‘Oh, babe, time for a new transition.
            I wish I was a magician;
            I would wave a wand and tie back the bond
That we’ve both gone beyond.’

It is however, the wistful sense of loss that dominates the tone of the last song on Street Legal (and of this phase of his career). If this album is one of Dylan’s most underrated, then I feel that ‘Where Are You Tonight? (Journey Through Dark Heat)’ is one of his most underrated songs.

Dylan may well despise critics as misguided ‘jerks’ preying on his songs and scorn their ‘attempts to shovel the glimpse / Into the ditch of what each one means’*5, but that, I’m afraid, is his tough luck. It is his decision to put his work in ‘the marketplace’ - to use his term from both ‘Tough Mama’ (PW) and ‘Changing Of The Guard’ (SL) – where it will be heard, enjoyed (or not, as the case may be), bought and analysed just like any other work of art. Let us not forget that he has elsewhere told Edna Gundersen that ‘People can learn everything about me through my songs, if they know where to look’.

It is, however, often the case with Dylan, that his albums and songs simply do not yield themselves up to a full explanation. This is certainly so with the major songs on Street Legal and ‘Where Are You Tonight?’ contains its share of inscrutable, albeit highly evocative detail. What we can say with a fair amount of confidence though, is that its narrator is forging ahead through the ‘dark heat’ with a heavy heart, even if his spirit is starting to soar.

The song opens to the sound of bongos, with a fine piece of scene-setting:-

‘There’s a long-distance train rolling through the rain,
Tears on the letter I write.
There’s a woman I long to touch and I’m missing her so much
But she’s drifting like a satellite.’  

So far, so clear. Then it starts to slip into the past tense, becoming ‘a book that nobody can write’ in which ‘The truth was too obscure, too profound and too pure’ - and, perhaps, too personal - to be conveyed unambiguously. There’s some fascinating stuff about ‘forbidden fruit’ with the Gemini narrator fighting against sexual temptation, ‘I won’t but, then again, I just might’, and against his twin self, ‘that enemy within’.

By the time the last verse and chorus arrives, the smoke and mirrors begin to fade away and the light in the carriage window clarifies:-

‘There’s a white diamond moon on the dark side of the room
And a pathway that leads up to the stars.
If you don’t believe there’s a price for this sweet paradise
Just remind me to show you the scars.’

The music swells towards the climax. The organ, played by Alan Pasqua, which has been all over this album, submerged in the rhythm section, has been leading this arrangement, but now it is the sax which reclaims the spotlight. Dylan’s voice, tremendously soulful throughout, rises into the chorus, unhinged but still in tune:-

‘There’s a new day at dawn and I’ve finally arrived.
If I’m there in the morning, baby, you’ll know I’ve survived.
I can’t believe it, I can’t believe I’m alive,
But, without you, it doesn’t seem right –
Oh, where are you tonight?’

The lead guitar solos the song out with Dylan and the backing singers confirming and affirming the journey’s momentous destination; ‘Hey, hey’, indeed. It’s as good a few minutes of words and music as you will find on any Dylan record.

                                           * * * * *
 
As we know, Dylan then proceeded to change trains and, after stopping at the stations Denunciation, Damnation, Proclamation and Salvation, eventually wound up back on the main line.

The passing of the new century’s first decade saw his career at another unexpected critical and commercial high with transatlantic #1 albums. Now this essay has been concerned about the albums I consider to be his most underrated, but I’d like to conclude with a few more words about what I feel to be his most overrated work. And these are the last four records he has issued to date.

Firstly, the one which started this latest comeback: Time Out Of Mind, with its ominous lyrics and penumbral Daniel Lanois production. It’s a wonderful album, to be sure, but aren’t most of its songs overlong? Its closer, ‘Highlands’ is, at sixteen minutes, easily the longest track Dylan has ever released – and for what? Little more than a mildly amusing shaggy dog story!

Love And Theft (2001) is an interesting melange of pre-Rock & Roll styles and has some nice jokes but most of its songs are fundamentally slight. Modern Times (2006) is, with its comic moments, something of a sequel to Love And Theft, but isn’t a patch on Time Out Of Mind, about which Dylan has proudly said, ‘There isn’t any waste. There’s no line that has to be there to get to another line.’ This does not seem to be the case with subsequent albums where Dylan often idly rhymes his way through sometimes quite disjointed images to very little effect. The accordion-drenched Together Through Life (2009) is the weakest of these four records. Its strung-together Dylanisms sound tired and I doubt that it will prove the sort of album that is likely to repay repeated listening.
 

 
All of these releases have met with a warm critical reception and yes, there are some great new songs to add to the canon – ‘Not Dark Yet’; ‘Mississippi’ - especially the two alternate takes on Tell-Tale Signs: The Bootleg Series Vol. 8 (2008); and Sugar Baby’; and yet I don’t honestly think any of the albums are as good as Planet Waves - and they’re definitely not in the same league as Street Legal.

To these ears, the best release with Dylan’s name on it since Oh Mercy (1989) is that latest instalment of The Bootleg Series which emphasises yet again just how much of his best material Dylan leaves behind him on the studio floor.

Anyway, if you’ve read this and disagreed with my choices, then so be it. Maybe ‘You’re right from your side / And I’m right from mine’*6. Maybe ‘We just saw it from another point of view’*7


NOTES

** - And lo, it so came to pass in 2013, that Columbia released  Another Self Portrait (1969-71) The Bootleg Series Vol. 10, the latest chapter in their excellent and ongoing supplement to the original studio albums. As well as previously unreleased traditional songs, it contains much of Self Portrait and New Morning in the form of alternate versions. Some of these recordings have been stripped of the overdubbed strings, although 'Sign On The Window' is actually presented with added strings. 
A gorgeous solo version of 'Spanish Is The Loving Tongue' with Dylan on piano is, however, the only title from the Dylan album I retro-review above.

As I predicted though, the Self Portrait material was considered afresh by reviewers and - as tends to routinely be the case with the Bootleg Series - the collection garnered much praise. A somewhat rueful Griel 'What Is This Shit?' Marcus provides one of the sleeve-notes and the cover features what I assume is a new self portrait by Dylan, which is designed to represent him as he was c. 1969-71. It no more resembles him then than the original painting did (in fact, to me he's 'lookin' just like Tony Perkins'...*8).
                                                         
*** - This article originally appeared in ISIS (issue 156) - the international journal of all things Dylan.


BIBIOGRAPHY

Barker, Derek (ed.) – Isis: A Bob Dylan Anthology. Helter Skelter (2001)

Blake, Mark (ed.) – Dylan: Visions, Portraits And Back Pages. DK (2005)

Crowe, Cameron - Biograph booklet. Columbia(1985)

Dylan, Bob – Lyrics: 1962-2001. Simon & Schuster (2004)

Gray, Michael – Song & Dance Man: The Art Of Bob Dylan. Hamlyn (1981)

Gross, Michael – Bob Dylan: An Illustrated History. Elm Tree Books (1978)

Heylin, Clinton Behind The Shades: Take Two

Heylin, Clinton - Revolution In The Air: The Songs Of Bob Dylan Vol. 1: 1957-73.

                            Constable & Robinson (2009)

Riley, Tim – Hard Rain: A Dylan Commentary. Plexus (1992)

Williams, Paul – Bob Dylan: Performing Artist 1974-86: The Middle Years.

                           Omnibus (1992)
                        
UNSPECIFIED QUOTATIONS FROM SONGS

*1 – ‘John Wesley Harding’ (1968)

*2 – ‘It’s Alright, Ma, I’m Only Bleeding’ (1965)

*3  & *7 - ‘Tangled Up In Blue’ (1975)

*4 -  ‘To Ramona’ (1964)

*5 – ‘Gates Of Eden’ (1965)

*6 -  ‘One Too Many Mornings’ (1964)
                               
*8 -  'Motorpsycho Nitemare' (1964)

 

                                                                                                     

 

 

 

 

  

 

 

 

  

                                                                                               

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                           

                                                                                                                                                                                     

 

 

 

  

     

 

 

 

 

 

 

    

 

 

  

 

                                                                                                                                                    1.                                         

  

                                                                                                                                                 

 

 

 
 

 

 

 

 

 

 

 
 


 

 

 

 

 

 

 


 


 
 

 

 

 

 

 

 

 

 

 

 
 

 

 
 

 

 

 
 


 

 

 

 

 

 


 

 
 


 

 


 
 

 


 

 

 

 

 

 

 

 

 

 
 

 

 

 

 


 

 

 

 


 

 

 

 


 

 

 

 

 

 
 


 

 

 

 

 

 

 

 
 

 

                                                                                                     

 

 

 

 

  

 

 

 

  

                                                                                               

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                           

                                                                                                                                                                                     

 

 

 

  

     

 

 

 

 

 

  

 

 

 

  

                                                                                               

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                           

                                                                                                                                                                                     

 

 

 

  

     

 

 

 

 

 

 

    

 

 

  

No comments:

Post a Comment