Oh, that Bob: What
a card. Forty-four albums into one of the most storied careers in
the history of recorded music, fans know better than to expect a
dramatic musical reinvention in the final act. At age 65, the
singer-songwriter is a genre unto himself, and his new album is
another collection of "Dylan music," pure and simple. But the title,
"Modern Times," which will be released on Tuesday, might con you
into thinking the old sage has been inspired to drop some wisdom
about current affairs -- and Lord knows, we could use a new "Masters
of War" for these particular troubled times.
Silly you! Any real
Dylan fan knows better than to expect truth in advertising from this
musical icon, perverse imp and arch-ironist nonpareil, and "Modern
Times" is in fact one of the most retro albums he's ever made. The
music is firmly rooted in his beloved country-blues and other sounds
predating the rock 'n' roll explosion that began in the second half
of the last century, while the lyrics -- with a few notable and
jarring exceptions -- are steeped in Old Testament visions of a
harsh and sometimes vindictive God, with the biggest hope of
redemption coming not in the afterlife but in the arms of one's true
love, here and now.
No doubt about
it: Dylan knows he's approaching the inevitable conclusion of a road
that once seemed never-ending, and he's looking back and taking
stock. In the five years since his last studio album, he's given us
the first installment of his autobiography -- albeit in the form of
the surreal, elliptical and highly selective Chronicles, Volume
One -- as well as Martin Scorsese's authorized and slightly more
linear though ultimately no more revealing documentary, "No
Direction Home." Now comes an album that his longtime label Columbia
Records bills as the third part of a trilogy that began with "Time
Out of Mind" in 1997 and continued with "Love and Theft," released
on Sept. 11, 2001.
Sho' nuff,
Grandpa Bob is still in geezer mode, though as he proves on "Theme
Time Radio Hour," his weekly show for XM Satellite Radio, he's never
more vital and alive than when he's indulging himself in sounds that
he loves, even if they are often more than 50 or 60 years old. "You
think I'm over the hill/ You think I'm past my prime/Let me see what
you got/We can have a whoppin' good time," Dylan sings in the
final stanza of the second track here, "Spirit on the Water." And
that's as good a thematic summation of the new disc as we're going
to get -- even if the 10 tracks aren't quite as much of a "whoppin'
good time" as Bob promises.
Self-produced
under the pseudonym Jack Frost and recorded in rough-and-ready,
live-in-the-studio, warts-and-all fashion with his current touring
band, Dylan's latest isn't as strong as its two predecessors, partly
because the roadhouse vibe seems more forced this time around, but
primarily because the grooves are more monotonous. The brushed snare
drum, country-blues shuffle dominates on every track, except for the
slower ballads, and long before the disc is over, you find yourself
wishing that just once the boss had given his whip-crack band
permission to kick things into a higher gear.
Still, after all
the music he's already given us, Dylan certainly has the right to
coast if he chooses, simply relishing the sound of his own famously
raspy growl against these lazy musical settings. And in the process,
he does toss out plenty of intriguing lyrics, from the positively
bizarre and already well-publicized nod to an R&B babe in "Thunder
on the Mountain" ("Well, there's hot stuff here and it's
everywhere I go/I was thinkin' 'bout Alicia Keys ... I'm wondering
where in the world Alicia Keys could be/I been looking for her even
clear through Tennessee"), to what may or may not be a topical
consideration of the fate of New Orleans in "The Levee's Gonna
Break" ("If it keep on rainin', levee gonna break/Some of these
people gonna strip you of all they can take").
But with the
exception of the closing track "Ain't Talkin'," one of the spookiest
songs he's ever written, Dylan disappoints with all of the slower
tunes on "Modern Times." Reveling in one old-time country-blues
shuffle after another is all well and good, but Dylan's inexplicable
fondness for smarmy '30s and '40s balladry somewhere between Rudy
Vallee and Bing Crosby resulted in the worst moments on "Love and
Theft," and he's back at it again here with even more dire results
on "Spirit on the Water," "When the Deal Goes Down" and "Beyond the
Horizon."
"I'm old and
I'm weary," Dylan sings on the latter. These slow and schmaltzy
tracks are the only times on "Modern Times" where that seems to be
true, and they drag down an album that could otherwise have been
much stronger and a lot more fun -- even if that's something else
you'd never have expected from ol' Bob.
Bob Dylan
will premiere his new album, "Modern Times," Monday on XM Satellite
Radio, a day before its official release. A marathon of his "Theme
Time Radio Hour" will follow beginning Sept. 1. In addition, fans
who purchase "Modern Times," or any other Dylan CD via select
retailers, will receive a bonus disc with Dylan's recent
baseball-themed episode of "Theme Time."
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