Desire (1976)

Pistols shots ring out through the barroom night

Enter Patty Valentine from the upper hall

She sees a bartender in the room above

Cries out 'my God, they've killed them all'

1. Hurricane (8:33)

2. Isis (6:58)

3. Mozambique (3:00)

4. One More Cup of Coffee (3:43)

5. Oh, Sister (4:05)

6. Joey (11:05)

7. Romance in Durango (5:50)

8. Black Diamond Bay (7:30)

9. Sara (5:29)

Total Running Time: 56:13

Review: Desire was Bob Dylan's 1976 follow up to his highly regarded Blood on the Tracks from the year prior.  As such, expectations were sky high.  The album delivers, as much as it could.  Nothing could match the brilliance of Blood on the Tracks, but Desire is a top tier Dylan album on it's own. 

The album opens with a some ominous minor key guitar chords, followed by bass and drums.  'Hurricane' is one of Bob's most well known songs.  The album leads off with a bang, just as 'Tangled Up In Blue' from Blood on the Tracks did a year before.  'Hurricane' is a song you might hear in the radio, and it is also a tale of racial injustice.  As I write this in 2020, the theme of this song, unfortunately, remains especially relevant.  In 1975, Bob was so eager to get this song out to his audience that he performed it at every Rolling Thunder Revue live show that year, and he released the song as a single.  This is a song that grabs your attention from the start, holds it through a captivating melody and achingly beautiful violin accompaniment, and demands further inspection on its hard-hitting lyrics. "Now all the criminals in their coats and their ties / are free to drink martinis and watch the sunrise / While Rubin sits like Buddha in a ten foot cell / an innocent man in a living hell."  Those closing lyrics show that Bob, in 1975, was still concerned about social justice as he was in the early 1960s.  'Hurricane' is probably the latest in time Dylan song that is played on FM Radio.  

Next we have the wild adventure-western story song 'Isis.'  This was performed in 1975 but also stayed in the setlists through the 1976 Rolling Thunder Revue as well.  "It was then that I knew, what he had on his mind."  Well, aside from being an adventure involving an unordinary man, a tomb, a dead body, and a Goddess-like woman named 'Isis,' I don't really know what was on his mind.  This song was brought to life in its live arrangements, Bob practically frothing at the mouth at excitement over singing the song in 1975.  In 1976 it got a quicker, tighter arrangement, while Bob still gave it a passionate vocal.  Overall its a good song, but not one of my favorite on Desire.  

The next destination Bob takes the listener on is down to Africa, 'Mozambique' specifically.  This song is hated by some - it describes war-ravaged Mozambique not as a vicious land but as place Bob would like to spend some time, where "The sunny sky is aqua blue / and all the couples dancing cheek to cheek / its very nice to stay a week or two / and maybe fall in love..."  Ah, irony!  It turns into a pure love song by the bridge, ending with "Magic in a magical land!"  The song would not succeed if not for the tender melody.  Like the previous 2 songs, this was not performed live past 1976.  

'One More Cup Of Coffee' is, pound for pound, one of the best songs on the album, containing some of Bob's most impressive and enchanting singing he has ever done.  "Hebrew cantilever" I believe is what the poet Allan Ginsburg called it.  Hearing it now as I first did about 20 years ago, Bob's singing at the close of the first line gives me goosebumps.  Accompanied again by Scarlett Rivera on violin and Emmylou Harris on vocals (during the chorus), I loved this song from the time I first heard it, and it remains no less impressive.  The live versions, while nice, never lived up to the remarkable vocal performance Bob gave on the album cut.  It is, notably, a song that Bob kept in his setlists through 1978, and then retired it until the Never Ending Tour ("NET") started, performing it sparingly in 1988, 1990, 1993, 2007 and 2009.  The 1993 'Supper Club' performance is highly regarded, although the others are enjoyable as well.  

Onto 'Oh Sister.'  In terms of chord progression and melody, it sounds more than a bit like the Nashville Skyline version of 'Girl of the North Country' with a violin added.  Is it an ode to a nun?  To an actual sister?  To someone else?  Who knows, but in my book its another good song on an album full of them.  Bob gave it a radically reworked, stripped down take during the 1978 tour, then retired it for good.  "Time is an ocean but it ends at the shore / you may not see me tomorrow" is the closing line, which hearkens back to One More Cup Of Coffee's close of "But your heart is like an ocean / mysterious and dark."  This song lets us a catch a breather before we take on one of Bob's more controversial songs.

'Joey.'  11 minutes long.  "Joooeeeeeeyyyyyyy" repeated ad nauseum during the chorus.  The "glorification" of a gangster.  These are the arguments you will see against this song.  But I am getting ahead of myself.  This song is another of Bob's glorious extended story songs, a la 'Hurricane', 'Tangled Up In Blue,' 'Brownsville Girl, and 'Black Diamond Bay.'  It is a song about doomed mobster Joey Giallo (check out Scorcese's film The Irishman for a quick look at him).  I find the song to be an enjoyable piece of work.  My favorite part is the rhyming wordplay on display throughout the song.  It becomes quite poignant at the end of the tune: "I saw the old man's limousine heard back towards the grave / I guess he had to say one last goodbye to the son that he could not save" and "Someday if God's in Heaven overlooking His preserve / I know the men that shot him down will get what they deserve."  While it was not first performed live until 1987, 'Joey' got more live play afterwards than the rest of the songs on this album, during Bob's NET from 1988-present, which either delighted or enraged his audience members.  

Next we get the Spanish-flavored 'Romance in Durango.'  Gloriously performed during the Rolling Thunder Revue as a hoedown and revived briefly a couple of times in 2003.  Another tragic number, although the music is somewhat upbeat (entirely upbeat during the live RTR performance), with some ominous undertones throughout.  Our main character, in this song one and the same as the narrator (unlike the 3rd person 'Joey'), seems doomed from early on (like Joey).  "Hot chili peppers in the blistering sun / dust on my face and my cape."  In one line Bob sets the stage - our protagonist is out in the hot desert in the south, or the west, or the southwest.  The dust on his face gives us some signal that things will be ending for him sooner rather than later.  

 

'Black Diamond Bay' is held in very high regard by Bobcats.  Another story song, this one set to a pleasant, joyful, rollicking melody, featuring Bob soloing on harmonica at both the beginning and the end of the tune and featuring backup vocalist Emmylou Harris again during the chorus and at the end of each line in the verses.  Extending for seven and a half minutes, this song enjoys comparisons to the prior album's 'Lily Rosemary and the Jack of Hearts.'  Its a shame he never performed it live (aside from one rumored uncirculating performance in 1976).  The band is tight, just the right volume, and the violin played counter-Bob is right on point.  The instruments are all doing their own thing, but they come together for a glorious backing sound.  Altogether this is one of Bob's finest tracks of the decade, maybe of his entire career.  His wordplay is clever and he tells a story about ... well, you just have to hear it to try to make some sense of it.  

The album closes with the heartbreaking ode to Bob's wife, 'Sara.'  The song opens as a rolling sea shanty, featuring Bob playing some of the most inspired and melodic harmonica of his career during the intro.  Bob reminiscences about his kids playing in happier marital times, as the violin sadly creaks and moans its way around Bob's voice.  I am reminded of Bruce Springsteen's title track from 'The River.'  Bob's song could have been titled 'The Beach', echoing similar themes of love lost and regret.  Indeed, the track brings the listener back to 'Blood on the Tracks' and the many heartbreaking songs from that album.  Bob performed this one during the 1975 RTR and then abruptly retired the track, perhaps because it is so intensely personal.  The closing appeal to his wife really makes his point clear: After much evocative imagery to describe his wife, and the use of a beach as a metaphor for the relationship, Bob closes with a plaintive "Sara, Sara, don't ever leave me, don't ever go."  The divorce was finalized in 1977.  

Rating: 10/10 **********/**********

Best Three Song Run: Romance In Durango, Black Diamond Bay, Sara

Song Tiers:

A+: Black Diamond Bay, Sara

A: Hurricane, One More Cup Of Coffee

A-: Romance In Durango

B+: Isis, Joey, Oh Sister

B-: Mozambique

(new) personal closing note: I first listened to this album in late 2001 or early 2002.  It was one of the first 3 or 4 Dylan albums I heard.  I feel in love with it immediately.  It was a "soundtrack" to hanging out with some of my college friends and playing video games together.  Thanks to Sully for introducing me to this one.  

Blood on the Tracks (1975)

You hurt the ones that I love best
And cover up the truth with lies
One day you'll be in the ditch
Flies buzzin' around your eyes
Blood on your saddle

1. Tangled Up In Blue (5:41)

2. Simple Twist of Fate (4:17)

3. You're A Big Girl Now (4:34)

4. Idiot Wind (7:47)

5. You're Gonna Make Me Lonesome When You Go (2:55)

6. Meet Me in the Morning (4:21)

7. Lily, Rosemary and the Jack of Hearts (8:52)

8. If You See Her, Say Hello (4:47)

9. Shelter from the Storm (5:00)

10. Buckets of Rain (3:22)

REVIEW: Blood on the Tracks is Bob Dylan's greatest masterpiece.  Written in 1974, while Dylan and has wife Sara were ending their marriage, the album reflects Dylan's inner turmoil.  Released in 1975, after re-recording the tracks with a full band, the album is a "Divorce Album," full of separation and love gone wrong.

Tangled Up in Blue is the most famous song from the album, and the only song you might hear on the radio.  But like masterpieces by his contemporaries, such as Van Morrison's 'Astral Weeks' or Leonard Cohen's 'Songs of Leonard Cohen', this album should be listened to in its entirety, front to back.  Tangled Up In Blue leads off the album.  An instantly contagious melody, backed by pleasant guitars, bass and drums, the song tells a tale of love lost, but it ends on a hopeful note: "Now I'm goin' on back again, I got to get to her somehow / All the people I used to know are an illusion to me now."  The rest of the album rarely gets this lyrically hopeful.  Simple Twist of Fate is a spoken-word / half singing piece that has been a highlight of Bob's live performances on many occasions.  Rounding out the first three songs is You're A Big Girl Now.  All 3 of these songs received lots of live play from Bob, mostly from his Never Ending Tour (1988 - present).  You're A Big Girl Now is another tale of woe from Bob.  The title relates Bob's feelings of dismissiveness to his former partner, while at the same time the lyrics convey how devastated Bob is over the breakup: "Oh, I know where I can find you / In somebody's room / It's a price I have to pay / You're a big girl all the way."  But mostly, the song is a Positively 4th Street-like mockery of his ex.

Next, Idiot Wind is an important song to the album.  At 8 minutes, it clocks in above the nearly 6-minute title track, and just a minute short of Lily, Rosemary, and the Jack of Hearts.  Idiot Wind, aside from notable performances in 1976 and 1992, was largely ignored in Bob's live shows.  The song is an epic of heartbreak and bitterness, combining Bob's musical and lyrical talents with the pain of his decaying marriage.  The performance was a highlight of the Rolling Thunder Revue, and indeed, a highlight of the live album 'Hard Rain'.  It is a downer of a track - the listener feels Bobby's pain as he or she listens to Bobby spit out the words of his broken love.  Still, even at the end of the track, after Bob reveals he has been double crossed "for the very last time, and now I'm finally free", Bob concludes that both him and his ex "[are] idiots, babe, it's a wonder we can even feed ourselves."

After the extreme seriousness of Idiot Wind, Bob relaxes a bit for You're Gonna Make Me Lonesome When You Go.  Opening with acoustic guitar chords and easy, pleasant harmonica, the song has one of the best melodies on the entire album.  Clocking in under 3 minutes, the song is often overlooked, but is truly a great one - an ode to the ending of a relationship that any singer songwriter would be proud of.

Bob continues this easy-going attitude on Meet Me in the Morning.  A pure blues, one of Bob's best, and one of the best in all of rock music.  A deceptively simple guitar riff, some slide guitar, drums and bass introduce some of Dylan's best singing.  When I first heard this song some years ago, I recall it being described as a "perfect blues".  I cannot disagree.

The tempo is livened up for the rollicking hoedown "Lily, Rosemary and the Jack of Hearts."  This track is another of Dylan's "great long epics", as well as a "story song", similar to "Black Diamond Bay" from his next album.  What is the song about?  You could examine it until the cows come home.  Regardless, it is a nice change of pace from the usual romance-and-pain songs of the rest of the album.  For such a long song, it never overstays its welcome, as Bob's melodic and lyrical gifts are on full display.

Back to the pain with If You See Her, Say Hello.  This is a painful song but it is so powerful, it just might be the best song on the album.

Another contender for top song of the album is Shelter From The Storm.  It made the Jerry McGuire soundtrack (as a wilder alternate take).  The version presented here is quieter, more introspective.  It is among the more enduring non-greatest hits songs in Bob's canon.  Bob turned it into a magnificent rollicking barnstormer during the 1976 Rolling Thunder Review (one cut was released on Hard Rain), a flat droning ballad in 1978, a wild rocker in the early days of the NET, and then back to a hymn-like singalong by 2002.  It is probably one of Bob's highest approval ratings - I have never heard of someone disliking it.

And we conclude with Nuggets - sorry Bette Midler - BUCKETS of Rain.  A rather perfect closer, Bob is introspective again, solo, just singing for himself while he takes his best stab at some complicated acoustic licks.  Bob rhymes throwaway lyrics like "Buckets of rain / buckets of tears / got all these buckets comin' outta my ears" with more meaningful couplets such as "Life is sad / life is a bust / all we can do is do what we must."

And with a quiet conclusion, Bob's single greatest achievement, the best album of heartbreak ever created, is over. 

Me, I'm still on the road headin' for another joint.  We always did feel the same we just saw it from a different point of view.

RATING: 10/10 **********

BEST 3 SONG RUN: PICK ANY 3 SONGS ON THE ALBUM THAT RUN TOGETHER.

SONG TIERS:

A+: Tangled Up in Blue, Idiot Wind, You're Gonna Make Me Lonesome When You Go, If You See Her, Say Hello, Shelter From the Storm.
A: Simple Twist of Fate, You're a Big Girl Now.
A-: Meet Me In the Morning, Buckets of Rain, Lily, Rosemary and the Jack of Hearts.

Planet Waves (1974)

May your heart always be joyful

May your song always be sung

And may you stay forever young

1. On a Night Like This (2:59)

2. Going, Going, Gone (3:28)

3. Tough Mama (4:16)

4. Hazel (2:49)

5. Something There is About You (4:43)

6. Forever Young (4:57)

7. Forever Young #2 (2:48)

8. Dirge (5:37)

9. You Angel You (2:54)

10. Never Say Goodbye (2:53)

11. Wedding Song (4:42)

Review: Planet Waves, recorded in late 1973 and released in January 1974, was Bob's first release of all original, non-soundtrack music since 1970's New Morning.  Bob recorded it with 'The Band.' and indeed, it is credited to 'Bob Dylan and The Band', though all the songs were written and sung by Bob.  This album was their first since recording The Basement Tapes in 1967.  A live album of their 1974 tour would follow.  As such, this album was highly anticipated.

The opening track is 'On A Night Like This' which is an uptempo accordion-filled little ditty.  It sounds like a warm up for Bob and Band.  Bob's voice sounds strong and confident as ever.  This marks the beginning of a renaissance for Bob's voice that would last through the next few years at least.  The line "if I'm not too far off, I think we did this once before" brings special meaning considering who Bob is playing with.

We suddenly shift mood and tempo with 'Going Going Gone' which opens with minor chords on an acoustic guitar, followed by the unmistakable lead guitar of Robbie Robertson.  The Band comes in seconds later, at a deliberately slow tempo.  Bob again shows off his vocal chops, sustaining long notes more effectively than ever before.  The Band backs him up effectively on vocals during a brief stretch.  This song is a minor masterpiece in Bob's career; a piece of heartbreak that would foreshadow many of the songs on his famous next studio album.

Things get raucous early on in 'Tough Mama', with drums giving way to Bob's harmonica in full force.  A very catchy tune, with Levon Helm expertly keeping the rest of the instrumentalists on track with his drumming.  Garth Hudson's organ can be heard well throughout, and he's even given a solo at the end.  Who knows what the song is about, but I know everyone is having fun and playing great.  And who can't love a song with the line "today on the countryside / it was hotter than a crotch"(!).  

On 'Hazel' we get more focused harp from Bob along with some very pretty scales from Robbie opening it up.  A moderately slow tune, it continue a great streak of songwriting on this album.  Bob sounds simultaneously at ease and as if he's working at the top of his vocal range.  He hasn't sounded this good in years, if ever.  Bob would resurrect this one famously in 1976 for 'The Last Waltz', but it wasn't allowed to be recorded for the concert film.  He would also play it during 'MTV Unplugged; but it only made the rehearsals.  A shame, the performance was very good both times.  

'Something There is About You' is a very nice tune that is overshadowed by others on the album.  Bob played it during the 1974 tour a handful of times, but it sadly never returned to his set lists.  Its a love song featuring solid lead guitar work from Robbie, lots of harp from Bob, and a rare reference to his childhood in the lyric "rainy days on the great lakes / walkin' in the hills of old Duluth."

'Forever Young' is the most famous song on the album by far.  The song is such a straightforward expression of love and sentiment that it seems sappy coming from Dylan.  As the story goes, Bob heard Neil Young's 'Heart of Gold', thought it sounded like him, and wrote this song with that in mind.  As another story goes, upon recording the track, someone in the studio responded with something akin to "what, you getting sappy in your old age?" and this almost caused Bob to not include the song on the album.  Its a song that I didn't really care for when I first got into Bob, then I grew to appreciate quite a bit, and now I've heard it so much I'm not sure where I've ended up with it.  Its not a song I ever look forward to hearing live, but the studio versions are impressive in their sentiment and performance.

'Forever Young #2' is the same lyrics and general chord progression as the first, but it has a completely different feel as it is sped up.  This version has been immortalized by prime time television ('Parenthood' opening credits).  Either way, somber or sweet, the song displays an undeniable optimism regarding family and life.

That optimism, though, is quickly abated.  'Dirge' is one the most venomous lyrics to come out of Bob's lips - on par or close to 'Idiot Wind'' that would be released the following year, as well as 2012's 'Long and Wasted Years.'  Its an anti-love-song of sorts.  But not the sweet, oh well, sad-to-see-her-go sort (e.g., Boots of Spanish Leather or Don't Think Twice).  Bob opens on piano in minor chords, quickly joined by Robbie Robertson's staccato guitar riffs.  There is no other accompaniment; Bob's piano rising to a crescendo at the same time his voice does.  Robertson pulls off a fine fine solo as well.  "I hate myself for loving you" is repeated over and over, and Bob spits out "Can't recall a useful thing you ever did for me" and "I paid the price of solitude, but at least I'm out of debt."  In the end, he hates himself for loving her, but he sure will get over that.  A sign of freedom, but wow what an ordeal he went through with this woman!

And that is followed by a simply sweet love song, 'You Angel You.'  In typical Dylan fashion, he flubs the beginning of the first verse but decided to keep the take anyway with no overdubs.  Both this song, and 'Never Say Goodbye' even more so, appear as though they are not necessarily finished, and just sort of end.  'Never Say Goodbye' is a fine song with very attractive lyrics and some fine harmonizing by the Band, to help cover up a vocal by Bob that sort of falls down at times.  But the ending appears brusquely.

'Wedding Song' is one of the more unique in Bob's canon.  A desperately beautiful, solo performed, straightforward listing of his love for his wife, although also steeped in the metaphors and similes that Bob is so talented at spitting out.  In my opinion it is one of the top songs on the album.  The melody and the performance is outstanding.  In typical Dylan fashion the guitar playing is not technically proficient; he even can be heard brushing his arm against the guitar at times, recalling some of his early recordings.  The harp solos are especially good; they are some of the best and most melodic he has ever recorded.

All in all, a solid solid album by Bob and Band.  If 'Planet Waves' fails to recapture the lofty heights of Bob's mid-60s output, it began a run of mid-70s albums that would be Bob's first renaissance.  A year later that renaissance would be in full swing, with Bob releasing perhaps his greatest album of all time, and following it up with one of his most highly regarded live tours.

Rating: 8 / 10 ******** / **********

Best 3 Song Run: Going, Going, Gone - Tough Mama - Hazel (but really you can make an argument for any stretch that doesn't include the opener).

Dylan (1973)

Call him drunken Ira Hayes

He won't answer anymore

Not the whiskey drinking Indian

Or the marine who went to war

1. Lily of the West [traditional] (3:48)

2. Can't Help Falling in Love [Weiss/Peretti/Creatore] (4:20)

3. Sarah Jane [traditional] (2:51)

4. The Ballad of Ira Hayes [Peter LaFarge] (5:10)

5. Mr. Bojangles [Jerry Jeff Walker] (5:35)

6. Mary Ann [traditional] (2:44)

7. Big Yellow Taxi [Joni Mitchell] (2:13)

8. A Fool Such as I [Bill Trader] (2:45)

9. Spanish is the Loving Tongue [Charles Badger Clark] (4:13)

Review: Bob Dylan's 1962 debut album was simply named 'Bob Dylan.'  Then he released an album called 'Self Portrait' in 1970.  Thus, the release of 'Dylan' in 1973 completes a trilogy of sorts: three albums named or quasi-named after the man himself (that the albums are three of his very worst from this otherwise extremely fruitful and productive phase of his career is a different story...).  But whereas the first two albums were Bob's own doing, 'Dylan' was a release by Columbia Records with no input from Bob.  In fact, Columbia released the album knowing that Bob would disapprove - the material is entirely outtakes from his prior two releases - as an act of revenge against Bob for leaving Columbia for Asylum Records.  The album is notorious for being one of the worst released of Dylan's career.

The album starts promisingly enough.  'Lily of the West' is a traditional love-gone-wrong old west ballad, full of revenge and murder.  Dylan does it justice here,  It is a sign of many of the great traditional songs he would cover in acoustic fashion during his Never Ending Tour, especially the early years.  The female choir in the background is a bit much, but overall, a strong start.  Well, only one way to go from here...

'Can't Help Falling in Love' is a song made famous by Elvis Presley.  But Bob Dylan is not Elvis.  This might be a likable goofy sort of take had it remained unreleased.  But it is pretty much a disaster as released.  Bob never quite finds the key throughout the whole song, try as he might.  The female choir doesn't do much to help, nor does the shaky harmonica that leads off the song.  I am not the biggest fan of Elvis, but take it from me: stick to The King here.  Bob's crooning here brings to mind his recent releases of 'Shadows in the Night' and 'Fallen Angels', where he covers tunes made famous by Sinatra.  He does it better in his 70s, with a voice torn to shreds, than he did here.  

'Sarah Jane' is more immediately catchy and soundly within Bob's vocal range.  Sounding very "New Morningish," having fun, and even singing about his family, the song would not have been out of place on that release.  2 out of 3 ain't bad, right?

'The Ballad of Ira Hayes.'  I can't help but think of Johnny Cash's version every time I hear this.  I'm sure Bob got the idea from Johnny too.  Bob speaks the verse and only sings the chorus, straining to reach the notes.  Still, this is not a 'Can't Help Falling in Love' situation where Bob sounds wildly off key.  Here, his straining lends itself well to the bitter, melancholy words about a drunken Indian who fought at war for the United States but was betrayed by the government he protected.

'Mr. Bojangles.'  Seems more fit for the Grateful Dead crowd.  I don't have anything nice to say about this song, so I won't say anything at all.  Unless you are on drugs.  Then you might like this thing. Otherwise its a 5 minute and a half train wreck.  

'Mary Ann' features Bob off key again, but its not a bad song.  I think this is the rare instance on the album where the female choir helps the song, at least during the chorus.  Still, there is just not much here to be interested about.  

'Big Yellow Taxi' is a song we all know.  If not from Joni Mitchell, then from Janet Jackson or Counting Crows.  Certainly an odd choice - Bob would never have released this on his own - Bob gives it a good go here.  

'A Fool Such as I' is another un-Bob-like song.  There's so much going on between the production, the drums, the lead guitar and that constant choir of background singers, it is kind of a mess.  At its best it recalls some of the sillier 'Basement Tapes' numbers, but mostly its just a cacophony.  Again, its obvious why Bob didn't want to release this stuff.

'Spanish is the Loving Tongue.'  Well, we opened on a strong note, perhaps we can end on one too.  Eh ... Decent song, Bob gives it his best, works out not great but OK.  What I find most notable is that this is the one song from the album that Bob played live, during the Rolling Thunder Tour on 1976.  I find those versions superior to this one.  Bob kind of loses the melody, and doesn't quite sing with enough force.  

I'm just proud of myself for finishing this thing.  Lets not dwell on the past but look forward to good things to come: Bob's 1974 through 1976 renaissance, including what in my opinion is his best album of them all!   Stay tuned ... and if you are still wondering, skip this release.  

Rating: 1 / 10 * / **********

Best 3 song run: The first 3.

Song I am most likely to skip: Mr. Bojangles and A Fool Such as I (BOTH)

Pat Garrett & Billy The Kid Soundtrack (1973)

Mama, put my guns in the ground I can’t shoot them anymore
 That long black cloud is comin’ down I feel like I’m knockin’ on heaven’s door

1. Main Title Theme (Billy) (6:05)

2. Cantina Theme (Workin' for the Law) (2:56)

3. Billy 1 (3:55)

4. Bunkhouse Theme (2:15)

5. River Theme (1:28)

6. Turkey Chase (3:34)

7. Knockin' on Heaven's Door (2:32)

8. Final Theme (5:23)

9. Billy 4 (5:03)

10. Billy 7 (2:08)

Review: Pat Garrett & Billy the Kid is a soundtrack album released by Bob Dylan to go along with the Sam Peckinpah film of the same name.  Its unlike any other Dylan album in that it is mostly instrumental, with only 'Billy' 1, 4 and 7, and 'Knockin' on Heaven's Door' having lyrics.  The rest of the song functions as background music and little more.  As such, the album cannot be fairly compared with the rest of Bob's catalog.  But, I will attempt to write about the album as per my normal process, because that is what I do here.

'Main Title Theme' is a 'Billy' song without any words (you'll know what that means when you here the other 'Billy's').  It's a fine introduction to the album, and certainly one of the better instrumentals, but the other Billy songs must be judged superior because Bob sings on them.  The song introduces the album themes of acoustic guitars leading the way, backed up by drums and bass.

'Cantina Theme' is a light continuation of the same elements introduced in the first track.  Pleasant country-western background music.

Finally, we get to 'Billy 1.'  Bob is unmistakable on the harp from the beginning of the track, blowing out the melody we will come to know so well on the rest of the album.  The song is 4 minutes long, but it takes nearly halfway through until Bob starts singing.  "There's guns across the river aimin' atcha' ... Billy they don't like ya to be so free."  The song is a forlorn tale of a doomed gunslinger.  Classic Dylan, really.  It's over practically before you know it.

'Bunkhouse Theme' is a slight little ditty, and 'River Theme' is more of the same although on this one we at least get some humming by Bob and background vocalists.  Its a good melody, but its not expanded on much in the context on an album like this one.

'Turkey Chase' features fast fiddling and banjo.  The speed and aggressiveness of the song make it seem a bit out of place amongst the other numbers.

Next we get the legendary 'Knockin' on Heaven's Door.'  The original version too, in all its glory.  Its probably one of the most covered songs in all of rock, with Guns N Roses, Eric Clapton, and Roger Waters among those who have performed it.  What more can be said about it?  The ghostly background vocals, Bob approaching his peak vocally ... it truly is a legendary record.  Bob would go on to perform this song often throughout his years on the road.  It was one of the few recent songs to land on 1974's 'Before the Flood.'  It found its way onto 'Budokan' in a reggae version, and was one of the highlights of 'Unplugged.'  It has since crept in and out of Bob's NET sets.  It is the only song on the album, aside from 1 memorable performance of 'Billy 4' in 2009, that Bob ever played live.

'Final Theme' echoes 'Knockin' on Heaven's Door' but without the lyrics.  A flute creeps out to play lead mid-song.  Not especially memorable.

The song closes with 2 more performances of Billy.  They are different enough that the different versions are warranted in my opinion.  'Billy 4' changes the key from 'Billy 1' and opens with Bob singing the first verse, rather than harp.  Bob's voice is front and center and the backing instruments are kept more in the back compared with 'Billy 1.'  "Billy you're so far away from home" is repeated at the end of the song.  'Billy 7' sounds deliberately slow and lower than the other versions.  The full band comes in just in time to start the closing fade out.

So this is an album of 2 songs, Billy and Knockin' on Heavens Door, and a whole lot of instrumental filler.  Still, there is nothing that can be called "bad" on the album, assuming you are OK with 'Turkey Chase' - its just not really a Bob Dylan album like all the rest.  Its tough to compare any Bob Dylan album with another, but in this case its really tough because of how few original lyrical rock songs there are.  Its not an album I find myself reaching for often, but I always find it very listenable.  On 'Billy 1' I find myself especially impressed with Bob's singing and harping.

Rating: 5 / 10 ***** / **********

Best 3 song run: Knockin' on Heaven's Door - Final Theme - Billy 4

New Morning (1970)

So happy just to see you smile
Underneath the sky of blue
On this new morning, new morning
On this new morning with you.

1. If Not For You (2:39)

2. Day of the Locusts (3:57)

3. Time Passes Slowly (2:33)

4. Went to See the Gypsy (2:49)

5. Winterlude (2:21)

6. If Dogs Run Free (3:37)

7. New Morning (3:56)

8. Sign on the Window (3:39)

9. One More Weekend (3:09)

10. The Man in Me (3:07)

11. Three Angels (2:07)

12. Father of Night (1:27)

Review: Right now, at this moment in time, New Morning is an album that I can relate to.  I am 34 years old, I've been married for nearly 3 years, and I have a 15 month old son.  Bob was a bit younger than me when he wrote the album (29), but the album speaks to Bob's maturing out of bachelorhood, getting married, and spending his free time with his wife and kids.  

The opening song is also the most famous of the album, 'If Not For You.'  Its probably the only song that non-Dylan diehards may recognize.  George Harrison did a very good version of it on his 3LP of the same year, All Things Must Pass.  Its a straightforward lovesong with a beautiful melody and well sung by Bob.  At 2:39, its an almost too-brisk slice of Bob's heart.  Its also the only song on the album to get significant live play from Bob over a long period of time.

'Day of the Locusts' follows up, with the lead piano informing us that this is going to be a piano + guitar, bass and drums kind of album.  Not a bad second song.  Apparently the song is about Bob reluctantly accepting an honorary degree, and apparently David Crosby was the guy whose "head was exploding" in one of the lyrics.  One of the better songs on the album.

'Time Passes Slowly' opens on piano again.  It seems like a half-finished song that needed more melody.  Bob strains to hit some of the notes.  The steel guitar solo halfway through almost breaks down for a few moments,

'Went to See the Gypsy' is a song most Dylanologists agree is about Bob meeting Elvis, or at least imagining to.  Its a decent song, if more touching in my opinion on the solo piano outtake found on Another Self Portrait.  Bringing the full band in for the album cut diminishes some of the power of that beautiful, melancholy last line: "So I watched the sun come rising from that little Minnesota town / from that little Minnesota town."  A rare reference by Bob to his hometown!

'Winterlude.'  More Bob + piano to begin the song.  This is a piano album if there ever was once!  This song begins a slate of 2 of Bob's more unusual songs.  'Winterlude' is a waltz, with love song lyrics. At a brief 2:21, it doesn't overstay its welcome.  The follow up is even stranger.  'If Dogs Run Free' is one of Bob's worst songs to its detractors.  Its jazzy and features a female vocalist doing scat vocals in the back, while Bob speak-sings throughout the song stuff like "If dogs run free, why not we.." and "To each his own, its all unknown ... if dogs run free."  Theres a walking bassline while the piano again features highly in the mix on lead.  A love it or hate it if there ever was one.  Bob resurrected the song to befuddled/amused audiences in 2004.

Luckily we next get one of the best songs on the album, the title track 'New Morning.'  Bob is a bit raspy (for 1970) but overall in fine form as he delivers this love song that takes us out to rural Americana.  "So happy just to be alive, underneath that sky of blue / on this new morning with you." As noted in my introduction, Bob is settling into family life.  This one also got some live play throughout the years - not as much as 'If Not For You' - but it made a welcome resurgence in Bob's live sets in 2005-2006.

Even more so on the next song, 'Sign on the Window.'  Bob explicitly sings of building and living in a cabin, having a bunch of kids with his wife, concluding "That must be what it's all about! / that must be what it's all about."  I'm not the first to realize this, but there seems to be more than a hint of resignation in the repetition of that line.  As if Bob is first say "That's it!  That's what life is about!"  Then on reflection, his intonation is more of "Well, I guess that's what life is about, can't think of anything else..."  And so settling down with a family is more of a double edged sword.

Bob follows this  up with 'One More Weekend,' which is pretty much 'Leopard Skin Pillbox' but not as bold or clever.

Luckily, we get the great 'The Man In Me' next.  This song will be instantly recognizable by fans of 'The Big Lebowski.'  A fairly straightfoward love song, but with some "Bobified" lyrics (catch the one about not wanting to turn into a machine?), it also features fine organ work and some rare "la la la" melodic singing by Bob.  A solid entry that Bob played live, notably in 1998.

The next 2 songs are Biblical, hymnlike works, especially 'Three Angels.'  A choir is well heard in the background as Bob speak-sings his poem.  The closing 'Father of Night' is like a prayer, Bob quickly rattling off his words and pounding away at the piano as a ghostly choir quietly backs it up.

Overall, its an album that is not Bob's best, but probably in his 2nd tier of albums.  Following the odd, inflated 'Self Portrait,' it was something of a comeback.  It produced 2 classics in the title track and 'If Not For You,' and another legendary song to Big Lebowski fans.  The rest of the album is more of a mixed bag, ranging from listenable to very pleasant.  The album has been mostly forgotten, but its a solid entry in Bob's vast catalog.

Rating: 7 / 10 ******* / **********

Best 3 song run: If Dogs Run Free - New Morning - Sign On The Window (this is actually really tough - the great songs are spread out!)

Self Portrait (1970)

All The Tired Horses in the sun

How'm I supposed to get any ridin' done?

1. All The Tired Horses (Bob Dylan) [3:12]

2. Alberta, No. 1 (Bob Dylan) [2:57]

3. I Forgot More Than You'll Ever Know (Cecil A. Null) [2:23]

4. Days of '49 (Alan Lomax / Frank Warner) [5:27]

5. Early Morning Rain (Gordon Lightfoot) [3:34]

6. In Search of Little Sadie (Bob Dylan / Traditional) [2:27]

7. Let It Be Me (Gilbert Becaud / Manny Curtis / Pierre Delanoe) [3:00]

8. Little Sadie (Bob Dylan) [2:00]

9. Woogie Boogie (Bob Dylan) [2:06]

10. Belle Isle (Bob Dylan) [2:30]

11. Living the Blues (Bob Dylan) [2:42]

12. Like A Rolling Stone (Bob Dylan) [5:18]

13. Copper Kettle (Albert Frank Bedoe) [3:34]

14. Gotta Travel On (Clayton et al.) [3:08]

15. Blue Moon (Lorenz Hart / Richard Rodgers) [2:29]

16. The Boxer (Paul Simon) [2:48]

17. The Mighty Quinn (Quinn The Eskimo) (Bob Dylan) [2:48]

18. Take Me as I Am (Or Let Me Go) (Boudleaux Bryant) [3:03]

19. Take A Message To Mary (Bryant/Felice Bryant) [2:46]

20. It Hurts Me Too (Dylan/Elmore James/London) [3:15]

21. Minstrel Boy (Bob Dylan) [3:32]

22. She Belongs To Me (Bob Dylan) [2:43]

23. Wigwam (Bob Dylan) [3:09]

24. Alberta, No. 2 (Bob Dylan) [3:12]

Review: Self Portrait is an album that sent shockwaves through the Dylan community.  As covered in recent previous blog entries, Bob went electric, then he went soft country, then he went really country.  But Self Portrait is different in a fundamenatal way from these other records.  When Bob went electric in 1965, the hardcore folkies may have disapproved, but at least most grew to understand  that Bob wanted to go down a new direction.  And if the sound was different, the songwriting and performing was as strong as ever, with 'Like A Rolling Stone' becoming one of the biggest songs in rock history.  With John Wesley Harding and Nashville Skyline, Bob still seemed like he was trying, he just sounded different, and his song structures and lyrics were less complex.  At worse, they were largely successful genre experiments.  But the release of Self Portrait in 1970 brought about a whiff of "Does Bob really even give a shit?  Does he even care about his music?"

Despite the above warning, Self Portrait is an enjoyable, if uneven, album.  The album is dominated by Bob covering standards written decades earlier (I Forgot More Than You'll Ever Know, Let It Be Me, Days of '49, Blue Moon, and Copper Kettle, among many others).  It also contains live performances from the 1969 Isle of Wight festival of Like a Rolling Stone, She Belongs to Me, The Mighty Quinn, and Minstrel Boy.  There are also somewhat bizarre Dylan originals (Wigwam, Woogie Boogie) and adaptations of classic blues songs (Alberta, Little Sadie).  Finally, the album is rounded out with 2 covers of contemporary singer-songwriters (Early Morning Rain and The Boxer).  This is, essentially, a cover album.  The title was either intentional misdirection from Bob to his legion of followers, or a genuine indication of some of his musical influences.

If the album is compared to Bob's previous output, it is obvious the song quality will not match Bob's 60s albums.  So instead, let's examine the album on it's own turns, as it's own entity.

The album opens with female voices singing "All The Tired Horses," refraining the same 2 lines over the same 4 chords for 3 minutes, with string overdubs.  Bob doesn't sing on the track at all.  If you didn't know already, listener, you are not in for your usual Dylan album.

We then get a nice little run of songs, maybe the best on the album even, with the bluesy 'Alberta' giving way to the crooning 'I Forgot More Than You'll Ever Know,' the bold 'Days of '49' and a fine reading of Gordon Lightfoot's 'Early Morning Rain.'  'I Forgot More Than You'll Ever Know' was resurrected in 1986 as a duet with Tom Petty, one of the few songs first featured on this album to get significant live play from Bob.  'Days of '49' is an adventurous minor key ballad of the days of the gold rush, sung with gusto by Mr. Dylan.  Bob sings on this album in 2 distinct voices: the Nashville Skyline country croon and Bob's "standard" voice in 1970, the New Morning voice that would take over on Bob's next album.

'In Search of Little Sadie' is played and sung pleasantly, but the chord changes border on the obscene.  Bob was certainly in search of something.  On 'Let It Be Me' Bob returns to his Nashville Skyline crooner voice, and the result is a beautiful cover of a love ballad.  This song was also resurrected, in 1981, as a duet with Clydie King on Bob's gospel tour of that year.  'Little Sadie' finds more conventional chords for the tune.  'Woogie Boogie' is a bizarre jam that sounds like it could have come from the Basement Tapes sessions with The Band.  'Belle Isle' and 'Living the Blues' find Bob back on track, singing ballads and blues in varying voices.

Following a countryish 'Like a Rolling Stone' version that can best be described as "tedious," we get one of the finest songs on the album, the moonshine ballad "Copper Kettle."  Another strong, beautiful performance by Bob, backed by lush orchestration.  The folk standard 'Gotta Travel On' follows, a track he would revive with the Rolling Thunder Review 5 years later.  Next we get ... 'Blue Moon.'  Yeah.  Sung in his country croon and played straight by Bob, with backing vocals and string solos.  More interesting is 'The Boxer' as a duet between his 2 voices.  Its one of the more fascinating tracks he's ever released, with its interplay between the 1969 country crooner and the rather weary, "Dylanish" sounding New Morning rocker.

'The Mighty Quinn,' first recorded and made a hit by Manfred Mann, but written by Dylan, is presented here live from the Isle of Wight.  Its a spirited performance, despite a few sound issues, and is one of the few enduring performances on the album.  Next we get 3 sob story covers, the best of which is probably 'Take a Message to Mary,' kind of a variation on the story told in 'Give My Love to Rose.'  'Minstrel Boy' and 'She Belongs to Me' are both from the Isle of Wight Festival as well, and the latter is much more of a crowd pleaser, unsurprisingly, though its not a particularly inspired performance.  'Wigwam' is a weird mash up of brass and humming that is probably a love it or hate it track.  I find it quite charming myself, its got an enjoyable melody if nothing else.  And things are wrapped up with Alberta #2, not all that different from #1, but a good track all the same.

Overall, the album is not as bad as the naysayers would have you believe.  But its not particularly good either.  It fits smack dab in Bob's lower-middle output of albums, above the dregs of Dylan (1970) and Down in the Groove, but lower than the likes of Infidels, Empire Burlesque, and Slow Train Coming for instance.  Its worth a listen.  Then you'll probably want to shelve it for a while.

Rating: 5 / 10 ***** / **********

Best 3 song run: I Forgot More Than You'll Ever Know / Days of '49 / Early Morning Rain

Song I am most likely to skip: Like A Rolling Stone (it's the live version from 1969, NOT the original!!!)