Bob Dylan - Modern Times
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Free Music Notes for Modern Times
Free Music Review: Timeless
Hit: 5 Stars
Review:
Modern Times by Bob Dylan (2006)
There will be people who still believe Bob Dylan is over-rated. Younger audiences may be somewhat oblivious of the debt popular music owes this man. Rock and roll was child's play until Dylan, a folk singer indebted, in his own way, to the legendary Woody Guthrie, went electric. His folkie fans may have heckled him off the stage and called him a traitor to what they believed was, by virtue of its history and earnestness, the only adult music, but something magic happened: rock and roll grew up.
With Dylan leading the way forward, rock and roll didn't only absorb political and social comment, it became capable, at last, of articulating, often with inspirational lyricism, the full gamut of emotions in the human condition. Those that came before Dylan gave the spirit its flesh, but Dylan was the father of an animal capable of consciousness.
As with the excellent "Love and Theft", "Modern Times" returns to the heart of rock and roll: the blues. Dylan, though a scholar and a poet, presents himself as a babe yet again, before the seemingly unfathomable depths of the pulminary palate. As such, the album is somewhat of a lithmus test of intelligence. The album will possibly sound naive to the naive. Where is the insight into our times? Where are the songs as topical as "Hurricane" once was? The album's title is, of course, ironic. It is ineviatable that some will forget "The Chimes Of Freedom" wasn't exactly topical either, when it was released, but it definitely sounded that way. So it is with "Modern Times". Dylan has, again, crafted a timeless record that is among the best of his impressive career.
Before the first four notes of "Thunder On The Mountain" have finished playing, you know you are listening to a masterpiece. These notes, grand as they are in their simplicity, boldly announce this is Dylan with something important to say. The song then proceeds to chug along as swinging full-tilt boogie and drops a wicked quip about Alicia Keys, "I've been looking for her even clear through Tenessee". It's an amusing way of saying that, while "things have changed", Dylan still cares about music, particularly the way it empowers and unites people, emanicipating all of us from slavery. At one point, Dylan even says he wants to stop thinking only about himself and see "what others need". Those who have accused him over the years of being some kind of fraud should take note that he quickly abandons all pretence about being any kind of voice of a generation by simply stating, "I've aleady confessed, I don't need to confess again."
Not dissimilar to "Moonlight" on "Love and Theft", "Spirit On The Water" is delightfully antique in its composition, yet, strangely, it is imbibed with surprising youthful exuberance. It could have been written for a wallflower waltz. Dylan doesn't pull any punches when he sings, "You think I'm over the hill / You think I'm past my prime / Let me see what you've got / We could have a whoppin' good time."
"Rollin' and tumblin" thumps hard and evokes the same level of seminal rage against the establishment as "Maggie's Farm". Dylan growls, "I aint nobody's houseboy." But this isn't coming from an angry man; it's coming from a sage-like, lived-in librettist.
"When The Deal Goes Down" actually has the audacity to thieve the words and melody of "In the still of the night ...", but that it's only part of its genius. Essentially a song about facing death with love in your heart, even the cliches ("we live and we die / And we know not why") still resonate as contemporary insights, especially when they are dressed with Dylan's trademark talent for expressing the most intimate details of the past as if they were happening immediately. I found myself a bit teary hearing his account of picking up a rose and feeling "transient joys".
"Someday Baby" is a raunchy I-aint-dead-yet-but-I-will-be-someday-and-you'll-be-haunted-by-absence anthem. Dylan scrutinizes his own inscrutable persona, singing, "I keep recycling the same thoughts" - only to further illuminate his legacy; "I don't wanna brag / I wanna ring your neck."
In his book, "Chronicles", Dylan wrote at length about his own frustration over not being able, at the time, to give producer, Daniel Lanios, songs as great as "Chimes of Freedom". Well, that problem is solved in Dylan's 65th year with the breathtaking "Working Man's Blues 2". If this is not one of the greatest songs ever written, the earth is still flat. The lyrics are some Dylan's finest and they as relevant to the world under the rule of Bush's evil empire as they might have been to the time of the crusades. The words "The firepower of the proletariat's gone down / Money's gettin' shallow and weak ..." are crooned in honeyed voice to the dripping delicacies of piano-driven melody. Unlike lesser protest songs, it's the humility of the song that makes it so moving. Dylan wants to be remembered as a team player, "My crude weapons have been put on the shelf / Come sit on my knee ..." Nevertheless, how could anyone with a heart and any empathy whatsoever for other human beings refuse the following call to arms: "You can hang back or fight you best on the frontline..."
The slyly romantic Dylan tips his cowboy hat, once more, the power of love with "Beyond The Horizon". His most romantic visions are of a particularly modern time when we are all on "the same side", a time which he predicts will fittingly be "'round about midnight".
The name "Nettie Moore" is synonymous symbolically with triumph over slavery. Dylan crafts a song of the same name that is an ode to defiance and rebellion as a matter of conscience. When Dylan sings "The world has gone black before eyes", he singing about his own mortality of course, but surely he is also still struggling against a world that makes laws to silence protest under the guise of fighting terrorism.
"The Levee Gonna Break" is another example of the brilliant breath of new life in ancient wisdom. Perhaps, the most deceptively simple of all the blues-boogie tunes on the album, it effortlessly carries what Dylan, hiimself, might call "big medicine" for our times, concluding with the ominous words, "Some people still sleeping / Some people are wide awake ..."
"Aint Talkin" ends the album with glorious compassion for the broken and forgotten. In the tradition of his best narrative songs, Dylan assumes the persona of an accident victim casually reporting "Someone hit from behind". It's a sad song, to be sure, mirroring a "world mysterious and vague": "The whole world is filled with speculation / The whole wide world which people say is round / They will tear your mind away from contemplation / They will jump on your misfortune when you're down ..." However, when Dylan says "no one will ever know" he is really convincing you of how important, how holy and divine it is to tell the tale. Even the cynics and the doubters have to agree when he sings, "Someday you'll be glad to have me around."
This is easily the best album of 2006, every bit as urgent and important as those recordings that will still sound as good decades, even centuries from now.
Free Music Review: dylan more than ever
Hit: 5 Stars
Come gather `round peeps wherever you roam, Bob Dylan is 65 years old. At ripe compulsory retirement age by workaday standards, he waxes poetic hope and despair, and clings to his blues and rockabilly roots. "Modern Times", his 31st studio album in a career spanning nearly five decades, is the best in music for 2006.
Not like Dylan asked for it. On the eve of the album's release, he labeled modern music technology as "atrocious", and claimed no one - including himself - in the last 20 years has made a record that sounded good. How the plot thickened. Charlie Chaplin pinned adversity on his Little Tramp character in the 1936 movie that is the album's namesake. Faced with desperate employment and dire financial straits in the American Great Depression amid industrialization, Chaplin had the cards stacked against him. And so it must be for ol' Bob, in his sweet self-deprecation.
In his best-selling memoir, 2004's "Chronicles Volume One", the man born and raised in the American hinterlands recalled moving to big city Minneapolis as a teenager. In describing the post-war urban setting, Dylan harkened to Gregory Cosco's poem "Bomb", which "was more to the point and touched the spirit of the times better - a wasted world and totally mechanized - a lot of hustle and bustle - a lot of shelves to clean, boxes to stack."
There's a scene in the movie "Modern Times" where Chaplin picks up a warning flag dropped by a truck, and becomes mistaken for a militant laborer leading a picket protest. Dylan, by contrast, stays clear from things gathered by coincidence. He's the deliberate bystander with something to say, aroused by "Thunder on the Mountain" in the opening track of "Modern Times" the album, lifted to heights that avoid the preachy path. Indeed, those searching for formulaic prescriptions to cope with current political and social turmoil will be disappointed.
He name checks that sultry songbird Alicia Keys, and "couldn't keep from crying." Never deprived of attention from black women (having had a marriage and known trysts), this isn't your basic dirty old man itch. If there's thunder and fires on the moon and ruckus in the alley and trombones a-blowin', there's a yearning and hole-in-the-heart sentiment. Howling at the moon. Truly no walk in the park living these days.
And he's struggling with the sentiment, "sitting down studying The Art of Love," Ovid's inculcation of eroticism into intellect. Soothing that significant loved one steady and at ease, for "thunder on the mountain heavy as can be". The entire mood is laid on a melody and rhythm resembling Chuck Berry's "Johnny B. Goode". Mr. Berry, of course, weighs heavy in Bob's list of musical influences, so there's fond artistic reminisces to survive the brunt of thunder, fires, and ruckus.
In "Chronicles Volume One," Dylan referred to a "parallel universe" amid the hustle and bustle of these modern times. A world "with more archaic principles and values; one where actions and virtues were old style and judgmental things came falling out on their heads."
At least two tracks, "Spirit on the Water" and "Beyond the Horizon", are cousins of minstrel crooner ballads heard first in 2001's "Love and Theft". Moving from strength to strength, Dylan transcends the everyman ode to love and finds longings so intense and manically unreachable. "I can't go to paradise no more/I killed a man back there" is the lament, but a "whopping good time" is the resolve. In the murky depths of negation, in the "darkness of the deep blue sea", the spirit on the water brings life. The man who traveled through "streets that are dead" in "Love Sick" (from 1997's "Time Out Of Mind") can be redeemed.
Produced by Dylan under the pseudonym Jack Frost, "Modern Times" doesn't have the same rollicking dance hall tunes in that other Jack Frost opus "Love and Theft" ("Summer Days", "Honest With Me", and "Lonesome Day Blues"). The highlight is "When the Deal Goes Down," a slow waltz of despair and resolution. In 2002, Dylan fell short with this genteel musical form in an exceedingly spare "Waitin' For You" ("Divine Secrets of the Ya-Ya Sisterhood" original soundtrack). With a dose of the blues and deflated introspection, he succeeds in the current attempt.
"When the Deal Goes Down" is as good as bittersweet gets. Melancholy cuts to the bone: "Wisdom grows up in strife/My bewildered brain, toils in vain/Through the darkness on the pathways of life ..." Bob is one to relive humbled strains in songs comprising Grammy Album of the Year "Time Out of Mind", the stunning masterpiece produced by U2 cohort Daniel Lanois.
The song is essentially a stand-by-my-woman outpour ("In this earthly domain, full of disappointment and pain/You'll never see me frown/I owe my heart to you, and that's sayin' it true/ And I'll be with you when the deal goes down"), but weepy string work and front man Tony Garnier's bass in cadence ripple along Bob's river of quiet desperation.
"Workingman's Blues # 2" is a nod to "Working Man Blues" by Merle Haggard, who currently joins Bob on tour. It's a vast improvement from Dylan's last topical social class commentary, "Union Sundown" in 1983's "Infidels". But those who remember Bob from a civil rights protest rally or standing alongside Pete Seeger and Joan Baez in those `60s Newport folk festivals will be surprised. There's none of the militant sloganeering found outside world trade conferences or at the height of immigration policy debates. Bob on piano assumes the role of alt-country rock schlockmeister, and gives the old poor-like-you rant a spin: "I'm all alone and I'm expecting you/To lead me off in a cheerful dance."
"Ain't Talkin" joins the elite ranks of classic Bob Dylan album closers ("It Ain't Me, Babe", "It's All Over Now, Baby Blue", "Desolation Row", "Sad-Eyed Lady of the Lowlands," you get the picture). In talking blues format and with numerous line references to American folk songs, we follow the steps of an anti-hero, world-weary with vengeance on his mind. His world is godless ("There's no one here, the gardener is gone"), loveless ("Got to get you out of my miserable brain"), but not without faith ("Who says I can't get heavenly aid?"). The ambulatory reference brings him toward "the last outback at the world's end" - "Up the road, around the bend/Heart burnin', still yearnin." He leaves us in perpetual motion.
Weary perhaps, but still up for the world. "It's not a business ... just a way of surviving you know," Dylan described his vocation in a 1984 interview, "just like somebody who's trained to be a carpenter." In a world desperately in need of grand scale heroes, we can start by simply appreciating the workman's craft. Bob isn't getting any younger, but his work hasn't gone lesser. With "Modern Times" and a resurgent fan base among teens and young adults, with glowing sensitivity to the ebbs and flows of human thought and emotion, with age and perpetual motion, he keeps an astounding body of work relevant.
Keeps him true to the creed: "I was so much older then, I'm younger than that now."
Free Music Review: Uncharted Waters of Genius
Hit: 5 Stars
In his latest Rolling Stone interview, Bob Dylan was quoted as saying "This is the best band I've ever been in, I've ever had, man for man." Quite a compliment coming from someone who's been backed by not only the best session men of the sixties, but The Grateful Dead, The Heartbreakers, and of course The Band. However, after listening to `Modern Times' and `Love and Theft' it really is hard to argue with him. He not only has found a band that can lay down an interesting backdrop to his at times epic poem-like lyrics, but create such good music that it stands up against Dylan's brilliant lyrics as an almost equal competitor for your attention.
Instantly the high level of musicianship is evident on "Thunder on the Mountain". It opens with short punctuated drum fills that bring to mind Cream's "White Room" but instead of Clapton's psychedelic phase, the guitar sound throughout is more in the style of someone like Chet Atkins playing twelve bar blues. Dylan's first line is introduced with a brilliant cymbal wash that sounds like it could be the rock n' roll equivalent of a gong being banged before Confucius speaks. But that first line "Thunder on the mountain and a fire in the moon/the river's in the alley and the sun will be consumed" sounds more like John the Revelator.
"Rollin' and Tumblin' is basically a really great cover of the Muddy Waters classic from 1950. Dylan leaves the chorus as is, but writes completely new verses all his own (certainly the original didn't contain the line about how "some young, lazy slut has charmed away my brains"). The subject matter of the original does remain the same however, with Dylan rattling off lines that sound like they were pulled directly off any classic Delta blues tune ("warm weather's coming in/the bug's are on the vine/ain't nothing more depressing than trying to satisfy this woman of mine"). In fact, this really just exemplifies how Dylan has reinvented himself once again as a bluesman over the last three albums. The entire subject matter of his last three albums has been the subject matter of the Delta blues: religion and women.
Every one of the hard blues songs on `Modern Times' contains the best soloing on a Bob Dylan studio album since "Leopard-Skin Pill-Box Hat" - and by soloing I don't mean just one solo stuck in between the words somewhere, but splattered throughout the songs naturally, never once sounding forced. On "Someday Baby" is where it peaks. The fuzzy guitar tone just glows, making you want to kill for whatever vintage tube amp the guitarist had to have been be using, and the rhythm just cooks. This is one of the rare Dylan tunes where the music just slightly edges out the words in terms of pure listening pleasure. Even Dylan`s singing is way above par here, especially listen to the line "So many good things in life/that I've overlooked/I don`t know what to do/baby you got me soooo hooked" and try and say that Dylan's voice isn't just improving with age.
"The Levee`s Gonna Break" is another cover of a classic blues song, this time Memphis Minnie's classic "When the Levee Breaks." The verses are completely Dylan's own, but again the chorus is the same as the original made so famous by Led Zeppelin. Of course before even listening to the song people are going to try and say it has to do with Katrina, but the lyrics have more to do with love and the apocalypse than anything as simple as a natural disaster. Take for instance the line "Put on your camp clothes mama/put on your evening dress/few more years of hard work then there'll be a thousand years of happiness." Even an atheist like myself knows what he's talking about. And then there's the final line "some people still sin and some are wide awake."
The subtle apocalyptic messages of "The Levee's Gonna Break" perfectly set up for the eight minute plus epic closer, "Ain't Talkin." The feel is the same as `Time Out of Mind's "Highlands", but Dylan's lyrical flow never gets disrupted for a six minute retelling of a conversation with a waitress. The imagery in the song is dark, dangerous, and not very hopeful. Picture Dylan walking down a lonely path through the Mystic Garden, in the cities of the plague. His sick mule and blind horse are walking by his side. At one point he is hit from behind by an unknown stranger. Bad idea - the Dylan here is no one to mess with, he waits for his opponents to be caught sleeping and then slaughter's them where they lie. Dylan also manages to fit in some of his usual subtle sarcastic wit, this time directed at his disillusion with the trappings of fame - "well the whole world is filled with speculation/the whole wide world which people say is round/they will tear your mind away from contemplation/they will jump on your misfortune when you're down...someday you'll be glad to have me around." Later he returns to religion, reaffirming his status as a diehard Christian, but still distancing himself from any organized view of it - "ain't no altars on this lonesome road" Really I could go on and on about this song, which is the crown jewel of the set, with every new verse being a revelation. Musically the song is even more menacing than "Highlands" with the addition of a perfectly minimalist use of lurking viola, even though it ends with a happy crescendo, it only adds to the feel of apocalypse like it was a musical representation of Jesus returning.
`Modern Times' is Dylan's third straight masterpiece in a row and only cements the fact that his current period can only be compared to his inspired 1964-66 run. Certainly you could argue that with 4-5 years between albums it's nowhere near as prolific, but when the albums are this shockingly and consistently brilliant song after song who cares? To quote the review in Rolling Stone, "there is no precedent for the territory Dylan is now opening with albums that stand alongside the accomplishments of his wild youth." The only person to even come close is (as always) Neil Young. Dylan himself, in the same interview, when asked about this being the third part of a trilogy beginning with 'Time Out of Mind' gives the best description of how great `Modern Times' really is: "'Time Out of Mind' was me getting back in and fighting my way out of the corner [referring to his second infamous "dry period" after 1989's `Oh, Mercy' where he didn't release any original material]...on this record, I ain't nowhere, you can't find me anywhere, because I'm WAY gone from the corner
Free Music Review: Still my soundtrack...
Hit: 5 Stars
Finding myself groggy in adulthood, still surprised I cannot believe how fast college went by, I recall a time before I was a fan of Bob Dylan. I knew less in those days. Sheltered in my childhood born of the Protestant persuasion, most of the music I listened to was blatantly Christian for the better part of my life. I had never given much thought back then to the world outside of my innate esoteric mindset, listening mostly to bands I had no idea were usually cheap imitations of "the real thing." After all, such strict religious confines placed around art certainly seems in hindsight to hinder creative output. Of course, to digress a bit, there are plenty of exceptions to this statement, like the band Starflyer 59 for example and early Pedro the Lion before Dave became agnostic (he is better now, check him out). At some point around the age of 18, after giving my parents the first shot of separation anxiety when I went to live at Louisiana State University, I started looking around for something more - some new musical adventure.
Of course, Bob Dylan is a natural segue way from the world of exclusively Christian music to the realm where rock and roll happens in all of its manic apparitions. And the girl who had recently taken my innocence away was a Dylan fan herself. Her favorite album was Nashville Skyline, and she was cute - too cute for me but I got lucky as college schmucks sometimes do. Anyway, most people get into Dylan by route of the early protest songs which are all wonderful and indispensable to any songwriter or poet living today. I love those albums. I have learned from them, spending weeks listening to one over the others on rotation in a span of time which can only be called my Dylan phase, with lyrics out and dictionary open. But my path to Bob was paved by Modern Times because I had never much listened to the man before and this was the album which was coming out in stores when I finally started thinking about taking the plunge. In this way, Modern Times is my gateway drug into the universe of this man who I try not to overly lionize because being worshiped is not what Bob Dylan is all about. He's too cool to be worshiped.
Sure, I have heard the complaint that he swiped lyrics from some Civil War poet, that he credited himself behind "Rollin' and Tumblin'." These things do not really bother me. I am more big picture in my thinking, choosing to acknowledge that excellent Jean-Luc Godard quote: "It's not where you take things from - it's where you take them to." Nothing is original anymore, not even Bob Dylan, but this does not imply that brilliance has died. In some ways, brilliance has never been in better shape.
Here we have a man with something to say about our era by way of pre-rock musical accompaniment and lyrics in the thoughtful tradition of Dylan - which is to say sometimes prophetic, other times cautionary, regretful, or provocative. Something here seems new to me every time I listen to this album, even now that it is a few years old. While the album rolls on without a single clunker, favorites for me come from the latter half of the album with my favorite being "Nettie Moore" for the beautiful sorrow I hear in it. I get the impression that however strained his voice may sound on this album old Zimmy has a way of convincing the listener there is a good reason for it being so worn. And it is not simply because he is now an old man or because when he was younger he smoked "eighty cigarettes a day." This album convinced me in my innocent musical mind that Bob Dylan was the poet seer just as much now as he ever was. Every song is excellent, and in spite of an occasional apocalyptic premonition (especially on "Ain't Talkin'") which should be welcomed by those of us skeptical of contemporary progress, Modern Times manages to create a whimsical nostalgic mood on "When the Deal Goes Down" after such a guttural rocker as the classic "Rollin' and Tumblin'" (which everybody knows Bob didn't write, including himself I'm sure). And "Workingman's Blues" captures a sympathy for the working man which truly represents Dylan's songwriting talent because he hasn't been in the shoes of blue collar toilers in some time. Decades, actually, since he was the only living boy in New York. But what Dylan has done with his career is perhaps just as necessary and timeless as the archetype of the hard-working man who never gives up. And who else could throw the word proletariat in a song and have it sound unpretentious?
Modern Times, to me, is an album about not giving up even if, in the end, there's nothing new to say that hasn't been said before by Dylan or Shakespeare.
Free Music Review: The Best of Times
Hit: 5 Stars
No one will ever confuse Bob Dylan's voice with that of Pavorotti or even the voice of his Traveling Wilbury "brother," Roy Orbison. But, like another Wilbury "brother," Tom Petty, the brilliant Dylan just keeps on getting better with age, as proven by his latest release, MODERN TIMES. Please allow me to briefly elucidate....
OVERVIEW
The past few months have seen some amazing new music from some of our finest and most seasoned musicians. Mark Knopfler and Emmylou Harris served up the sweet ALL THE ROADRUNNING while Bruce Springsteen got folky with WE SHALL OVERCOME: THE SEEGER SESSIONS. Then, the late Johnny Cash's AMERICAN V: A HUNDRED HIGHWAYS reminded us once more of the titanic loss we experienced at his passing, while songwriter supreme Paul Simon served up a fresh batch of electronica/folk with SURPRISE. Most recently, there is the stellar aforementioned Tom Petty project, HIGHWAY COMPANION. Now comes the maestro, Bob Dylan, with a set of songs that rivals his finest work. This is a good time to be a music fan!
This Dylan album is a trip through many various musical styles and eras, but it is not a sentimental journey by any means. Bob Dylan covers a little bit of rockabilly, some jazzy folk, bluesy country, and even some ragtime...perhaps inventing a whole new genre of music in the process--call it "Gypsy Cowboy" or "Punk Jazz"--whatever it is, it is moving and revelatory; and, behind some pointed observations, there is more than a hint of Dylan's trademark wry humor.
THE SONGS
As he has on his most recent two studio albums, TIME OUT OF MIND and LOVE AND THEFT, Dylan cooks up a batch of rich stories, vignettes, and vibes that rank near or at the top of his rich canon of material. "Thunder on the Mountain" comes out of the gate rocking and swinging, name dropping Alicia Keys and covering the gamut of human emotions. "Spirit on the Water" is a shuffle featuring Dylan's croaky crooning to fine effect. Bob gets fiesty and colorful in the rollicking "Rollin' and Tumblin,'" which introduces us to a somewhat crazy cast of characters.
"When the Deal Goes Down" is a touching waltz, while "Someday Baby" is a blues workout. Few, if any, can do authentic "Dust Bowl" folk/blues better than Dylan does on "Workingman's Blues #2," although Merle Haggard (a clear inspiration for this song) might come close. "Beyond the Horizon" is a very smooth, hopeful jazz number (given added poignancy when paired with Dylan's rustic voice).
The closing troika of tunes is breathtaking. First up is "Nettie Moore," is absolute vintage Dylan with it's wildly off-kilter-yet-perfect phrasing over the top of a lovely melody. Then, just in time for the anniversary of Hurricane Katrina, Bob serves up the stream of consciousness blues meditation, "The Levee's Gonna Break," which is about so much more than floods or politics. The album closes with Dylan growling on "Ain't Talkin'," which is both spooky and bracing...one can't blame him for sounding cranky, given that he claims to have "a toothache in my heel"--truly a bane to one given to wandering!
RECOMMENDATION
If you haven't yet picked up this CD, don't waste any more time. A new Bob Dylan album is always an event, and this one is truly special. It's both timeless and timely, standing up proud and tall next to his finest works such as BLONDE ON BLONDE, HIGHWAY 61 REVISITED, OH MERCY, and his most recent albums TIME OUT OF MIND and LOVE AND THEFT.
CLOSING THOUGHT FROM THE MAN HIMSELF
Bob Dylan recently made this powerful observation about the current state of radio music: "The beat stuff people play, that's about as far away from real rythmn as the sun is from the moon. Those beats make people pose, but they don't make people move or change their lives." Bob Dylan is still a man on the move, with the power to move his listeners--more than 40 years after bursting onto the scene in Greenwich Village. Check it out!