Track Listing
1)Tight Connection to My Heart (Has Anybody Seen My Love)
2)Seeing the Real You at Last
3)I'll Remember You
4)Clean Cut Kid
5)Never Gonna Be the Same Again
6)Trust Yourself
7)Emotionally Yours
8)When the Night Comes Falling From the Sky
9)Something's Burning, Baby
10)Dark Eyes
The funny thing is this album meant a lot to me as a kid, not the actual music in it, mostly my altered perception of it. You see, I always wanted to like this, I’m not exactly sure why. It could be the grand and comic title that lets a kid’s fantasy run wild (I don’t think I knew what “burlesque” meant before encountering this album), but the most plausible explanation for that reaction has to be the album cover. The way he leans forward – wearing that fancy suit - gave me the impression that he is about to share a big secret. When I was told it’s one of his worst efforts, I didn’t believe that for a second. I thought it was an excuse because it’s only suited to adults, so talking it down was some sort of parental advisory. I remember when I did get to listen to it, I didn’t find anything of particular interest, but I wasn’t worrying at all. I was actually coming back to it in a semi-regular fashion as a teenager and thinking that the day I enjoy it will be a sign of growing up, lol. Well, now I know better, the cringe is real. Bob Dylan and disco appearing in the same sentence in a non-ironic way, who would have thought. (There’s a very good chance this facetious childhood memory stopped me from ranking this dead-last, but it is what it is.)
So, moving on and trying to make sense of what’s going on here, it’s quite disappointing that the opening track, Tight Connection to My Heart (Has Anybody Seen My Love), does raise false hopes, it might fool you a decent album is about to follow, beware. It may not be the 8th wonder of songwriting, but I really like Dylan’s performance in this one, it’s somewhat reminiscent of his ‘60s heyday, he’s sincere, confident, emotionally involved and brings lots of energy to the table. Unfortunately, the album deteriorates from that point forward – with only one or, if you are being really generous, two exceptions. It’s 1985, we are in the heart of the ‘80s, so you more or less know what to expect, the goal is clear: simply as many random sounds as possible thrown together, all you have to do is check the credits to marvel at the lack of any sort of cohesion. For example, the second track, Seeing The Real You At Last, which already fully commits itself to disco, finds the time to throw a sign of jazz(!) influence in the mix. The ballads are completely underwhelming, if you were thinking his trademark top notch songwriting might save them, nope, that element is also below par. Add the production (the synths and the drums stand out, though the backing vocals deserve at least an honourable mention) and you know this album stinks – apologies for the inappropriate language. The fact that it is self-produced for the most part is, hmmm, interesting, I can't help but wonder what was going through his mind, it's only natural to assume that he wasn't entirely focused on this project. The Clean Cut Kid is a hybrid between his roots, especially rock and roll, and the modern tendencies he’s trying to follow, a semi-tolerable song if you accept it for what it is and don’t take it too seriously, it’s got a few cool lines as well. Emotionally Yours is the one that tends to get quite some praise, compared to the rest at least, the truth is I never understood why, Dylan is a master at – among many other – songs about interpersonal relationships, but this all-out romantic confession doesn’t suit him, especially if you take into account the specific environment and its lavish sound, in an acoustic setting it could have been much better, as the closing track emphatically showcases. When The Night Comes Falling is a serious contender for his worst ever song – though the competition is wild, it pains me to admit that he’s got a few awful ones. I mean, come on dude, what is this? Not only is it another horrible example of the disco and Dylan marriage, it’s also 7 and a half minutes long, easily entering outright unlistenable territory. Something’s Burning would be another weak effort that leads to a forgettable song, but it seems even worse than it is because it happens to be near the end of the album and you’ve had enough by now. On the other hand, there’s the closer, Dark Eyes, what can one say about it? Well, if that album was a joke this would be the punchline, it’s as if he wants to show us that he’s still got it and can write an excellent song - story has it he came up with it pretty much on the spot, wow!- , all that preceded it was simply done for the laughs – this is the only way I can think of Empire Burlesque without getting frustrated. He finally sticks to his guns, both in terms of instrumentation and lyrical content, and ends this mess on a high note.
Yeah. I personally LOVE this album and think it's VASTLY underrated!
Me too! Gotta Serve Somebody is a great opener. Also very excited for this rundown, great job kokkinos. _________________ Overall chart Fake overall chart
@Kokkinos, no, honestly, so far I see where you are coming from. While I put the first christian record above his next 2, I get that in those albums there could be seen to be at least one absolutely classic dylan tune (Saved had...uhhh...awkward, I just looked and I'm not seeing one. And Shot of Love has the incredible all timer "Every Grain of Sand") also there is a certain passion, mission, purpose present in his christian albums that is fun.
The very first custom chart I started and made good progress on back on 2013 - the one that I was chomping at the bit to do as soon as I became a level 8 BEA member - was a Dylan chart. My mission was 1 album every day or 2, in chronological order, write a "review" (23 year old me's version of a comment/review) and rate it and post in order of quality. I included all bootleg series albums released as of 2013 and all live albums released at the time or much later that I could get my hands on. I was flying! Got 30 albums/releases in and then I finished the 70s. The last one I did was Slow Train Coming. Then I must have just seen what was a head and having to revisit those 80s albums, i dropped it. It's been 8 years now and I have never come back to that project despite dozens of times deciding to do so. Sad, really. It still may happen. Its still there and public if you are curious. I just looked and moved a few albums but not much in terms of ranking needed changing and its up to date as of an hour or so ago. You even get to see my early attempts at comment writing on this site. (i'm not saying I'm great now, but its fun seeing how I wrote then vs now)...
...ANYWHOSSSS... what was i meaning to say? Oh, well, I was basically saying that your rating and review of Slow Train Coming isn't radically different from mine, I maybe give it 1 point more, a 6.3-6.4 ish. Agreed completely on Empire Burlesque and funny hearing your almost lifelong relationship with such a ugly and very 80s album (that cover and cover photo is legendary 🤣
(HOPEFULLY) It will be awhile before you get to the albums I consider 5/5 Masterpieces and Classics (in that order):
5/5/Masterpieces/essentially flawless and i adore:
Highway 61 Revisited
Blood On The Tracks
Bringing it All Back Home
Another Side of Bob Dylan
Blonde On Blonde
Freewheelin" Bob Dylan
Time Out of Mind
Classics/nearly masterpiece:
The Basement Tapes
Desire
John Wesley Harding
Nashville Skyline
Love and Theft
(if you throw in Bootleg series and live albums.... I forget if you said you'll include them... that messes up the order BAD. But certainly Bootleg series 4 and maybe 11 would reach masterpiece category and 5, 8, 14, 1-3, and maybe another I'm forgetting goes in classic.)
Anyway, I've rattled on and on... I'll get back to my life. Love the write ups and the project. Its ALWAYS nice seeing Dylan mentioned and discussed. _________________ -Ryan
Yeah. I personally LOVE this album and think it's VASTLY underrated!
Me too! Gotta Serve Somebody is a great opener. Also very excited for this rundown, great job kokkinos.
Cheers! Even though I'm not a fan, it’s cool to see Slow Train Coming getting some love.
Mercury wrote:
@Kokkinos, no, honestly, so far I see where you are coming from. While I put the first christian record above his next 2, I get that in those albums there could be seen to be at least one absolutely classic dylan tune (Saved had...uhhh...awkward, I just looked and I'm not seeing one. And Shot of Love has the incredible all timer "Every Grain of Sand") also there is a certain passion, mission, purpose present in his christian albums that is fun.
The very first custom chart I started and made good progress on back on 2013 - the one that I was chomping at the bit to do as soon as I became a level 8 BEA member - was a Dylan chart. My mission was 1 album every day or 2, in chronological order, write a "review" (23 year old me's version of a comment/review) and rate it and post in order of quality. I included all bootleg series albums released as of 2013 and all live albums released at the time or much later that I could get my hands on. I was flying! Got 30 albums/releases in and then I finished the 70s. The last one I did was Slow Train Coming. Then I must have just seen what was a head and having to revisit those 80s albums, i dropped it. It's been 8 years now and I have never come back to that project despite dozens of times deciding to do so. Sad, really. It still may happen. Its still there and public if you are curious. I just looked and moved a few albums but not much in terms of ranking needed changing and its up to date as of an hour or so ago. You even get to see my early attempts at comment writing on this site. (i'm not saying I'm great now, but its fun seeing how I wrote then vs now)...
...ANYWHOSSSS... what was i meaning to say? Oh, well, I was basically saying that your rating and review of Slow Train Coming isn't radically different from mine, I maybe give it 1 point more, a 6.3-6.4 ish. Agreed completely on Empire Burlesque and funny hearing your almost lifelong relationship with such a ugly and very 80s album (that cover and cover photo is legendary 🤣
(HOPEFULLY) It will be awhile before you get to the albums I consider 5/5 Masterpieces and Classics (in that order):
5/5/Masterpieces/essentially flawless and i adore:
Highway 61 Revisited
Blood On The Tracks
Bringing it All Back Home
Another Side of Bob Dylan
Blonde On Blonde
Freewheelin" Bob Dylan
Time Out of Mind
Classics/nearly masterpiece:
The Basement Tapes
Desire
John Wesley Harding
Nashville Skyline
Love and Theft
(if you throw in Bootleg series and live albums.... I forget if you said you'll include them... that messes up the order BAD. But certainly Bootleg series 4 and maybe 11 would reach masterpiece category and 5, 8, 14, 1-3, and maybe another I'm forgetting goes in classic.)
Anyway, I've rattled on and on... I'll get back to my life. Love the write ups and the project. Its ALWAYS nice seeing Dylan mentioned and discussed.
Yes, I can see why going in chronological order would be a nightmare as soon as you reach the ‘80s and stop you from bringing this project to a close. Maybe changing the order and alternating between "classics" and "lesser" albums would help.
I did take a look at your chart. I’ll keep it spoiler free for now and won’t tell you what I think of the order, but the one thing I can say for sure is that your comments are fine, the most important part being that your love for Bob Dylan comes through in spades.
And the plan – for now at least - is to keep it simple and include only his studio albums. _________________ Bob Dylan Charles Mingus
Track Listing
1)Wiggle Wiggle
2)Under The Red Sky
3)Unbelievable
4)Born In Time
5)T.V. Talkin' Song
6)10,000 Men
7)2 X 2
8)God Knows
9)Handy Dandy
10)Cat's in the Well
Compared to the two albums that have appeared here so far, this belongs to a completely different category for me. Based on a rough estimation – that you should take with a grain of salt, the actual number could be higher-, I’d say I’ve listened to Slow Train Coming and Empire Burlesque at least 10 times each. They are albums I have strong feelings about, no matter if they are mostly negative. This one, on the other hand, I never seriously bothered or attempted to form any kind of relationship with it. Having the benefit of hindsight, I was lucky enough not to stumble on it during the formative years, my first experience with it dates back to 2015 and I don’t think I’ve revisited it more than 2 or 3 times since then.
So, it’s 1990 and we find everyone’s favourite bard standing at the dawn of a new decade. His last album, Oh Mercy- nothing spectacular, but a clear improvement nonetheless, more on that later-, offered his fans an unforeseen glimpse of hope, he was slowly returning to form, or so it seemed… One more case – admittedly, he’s got quite a few of those moments throughout his illustrious career – where one wonders if he does this on purpose.
This somehow ends up sounding more 80s than Oh Mercy. If you believed that the dreary, commercialised, devoid of any ambition or creativity, production is a thing of the past, well, tough luck, he keeps doing what he wants and he simply doesn’t care. The opening track, Wiggle Wiggle, sets the tone for what’s about to follow, he is goofing around, lines like “Wiggle till you’re high, wiggle till you’re higher Wiggle till you vomit fire” are plain embarrassing and the fact that the album is dedicated to his daughter doesn’t cut it as an excuse, sorry. (By the way, any dedicated listener will have noticed that his opening tracks tend to knock it out of the park even if the rest of the album proves to be subpar. So, when he begins like this, you better brace yourselves, you know you are in deep trouble.) Next up is the self-titled track, which is - surprisingly enough - a more than decent attempt, I like this one. Then, it’s time for some up-tempo rock/blues. This increase of tempo usually doesn’t suit him, despite being able to deliver the necessary energy to make this type of songs work, I’d rather have him take his time in order for the listener to be able to process and absorb the lyrical content. Then again, one may argue that going fast could act as a camouflage of sorts, help him hide the incompetent songwriting and I think that’s exactly what happens in Unbelievable – not that slowing it down would be enough to make a great song, just saying. Born In Time does have some potential and could have been a highlight, but his performance is so underwhelming, his workmanlike approach doesn’t do the song justice. At this point, I have to confess T.V. Talking Song is a bit of a guilty pleasure. It’s a painfully generic tune and a “talking” version of Dylan emerges out of nowhere, but it’s a kinda cool and definitely funny story with some witty lines that may stick with you for some time. 10,000 Men is another disaster, it’s the same old story, namely blues meet pop/rock in an ‘80s dress, yikes. 2x2 has a cool intro, but unfortunately that’s pretty much it – still above average for this record’s standards. If you hadn’t had enough until now and you were thinking of defending this album, hang on a second, here comes God Knows, a unapologetic throwback to his Christianity era and it undoubtedly succeeds in sealing the deal: this album is beyond redemption (it crossed my mind to say it can’t be saved, but the pun would be too obvious). The last two songs don’t do anything to change my mind, if anything they do their best to further convince me the above statement is true. Another noteworthy element is the presence of many guests, mainly big names past their prime, whose contributions aren’t that meaningful or memorable. Dylan himself has admitted the lack of focus and engagement that characterises this album, which makes it easier to dislike it with a clear conscience. And to think he wrote all the songs by himself, unlike some of his other lesser albums, it’s a shame. Instead of Under The Red Sky, this album should be under a rock, let’s leave it there and forget about it. For a moment I thought of giving it the exact same score as Empire Burlesque as they are more or less equal in my book, but at no point does this reach the lows of When The Night Comes Falling, which is the decisive factor and gives Under The Red Sky a tiny edge.
Track Listing
1)Girl From The North Country
2)Nashville Skyline Rag
3)To Be Alone With You
4)I Threw It All Away
5)Peggy Day
6)Lay Lady Lay
7)One More Night
8)Tell Me That It Isn't True
9)Country Pie
10)Tonight I'll Be Staying Here with You
If Slow Train Coming caused some controversy, that’s definitely a next-level bomb, the first real surprise so far. You know, I tried my best to move it up the rankings a little bit, but I knew it was coming and there was no way I could have stopped it, I’ve never vibed with this album despite repeated attempts and it’s a pity, as it’s been one of the very first of his that I got acquainted with, it was frustrating missing what everyone else was seeing/hearing. I can see some of you screaming in terror, “this is blasphemy, this is madness”. Before this countdown loses any remaining credibility, I’ll try to explain my train of thought. I probably won’t convince anyone, but it is what it is.
Were I around in 1969, I’m fairly certain the way this album opens would have given me nightmares. Imagine being a Bob Dylan fan back then, he releases one absolutely classic album after the other, so it’s only natural that you are looking forward to this – it’s worth pointing out that the motorcycle accident had slightly slowed him down, making him temporarily retire from performing, meaning the anticipation is even greater - and you hear him singing alongside a star of Johnny Cash’s calibre (with all due respect to Johnny Cash, even though I don’t consider myself a fan, I have no problem admitting there’s much more to him than his commercial success would indicate and he’s undoubtedly a legend on his own, but at this point in Dylan’s career, no one could match him, let alone such a popular figure, in my opinion of course.) a well-known song, whose version that’s featured in The Freewheelin' Bob Dylan was more than fine and clearly eclipses the one presented here. And right after it comes an instrumental, is he toying with us? I mean, the two main reasons that define Bob Dylan’s greatness are his lyrics – that’s pretty much universally accepted - and his vocals – that one admittedly depends on your perspective, personally I find them almost as essential as his lyrics - these first two songs make every effort to hide his talents. The rest of the album continues this pattern, it is fully committed to country music, which simply enough doesn’t work for me. It’s not that I’m the biggest folk/blues/rock fan - which are the main music styles Bob Dylan draws influence from - on general principle, but I can appreciate them given the right conditions, country takes it one step too far. Unfortunately, that’s not the only problem of this record. An equally important issue is that songwriting takes one or more steps towards the wrong direction, all you have to do is compare it to any of his ‘60s albums – and many of them that came out later - and it is completely underwhelming, you can hardly believe it’s written by the same man. Last but not least, Dylan’s voice here is, hmm, not sure how to call it, honeylike would probably be too much, but the grit is gone, that’s for sure and at the same time he’s lost a fundamental part of what made him stand out, he used to play by his own rules (He’s done so much for music and popular culture in general, but if I had to single out the one and only one thing we should be grateful to him, it’s that he emphatically proved how overrated, if not meaningless, “perfect” vocals are, anyone can become a successful – I’m using that term in the broadest sense - singer as long as he has something to say and the personality/charisma to go with it, claiming that he opened the door for guys like Lou Reed or Tom Waits among many, many others wouldn’t be a stretch if you ask me.), now he plays on the same terms as everyone else. On the other hand, you could argue that this change serves a greater point: it demonstrated that his “trademark” voice, i.e. the one that he used so far, wasn’t born out of necessity, because he couldn’t sing, but out of choice, there was an artistic purpose behind it, this man isn’t a one trick pony, he has many different sides and each of them can be brought to the surface in order to fit the context.
Looking at the track one by one, It’s surprisingly hard to spot any particular highlight, it manages to stay consistently bad (according to me) or good (according to pretty much everyone else or at least the vast majority of listeners) throughout. If forced, I’d have to go with I Threw It All Away, despite Lay Lady Lay being the one that gets the lion’s share of attention. Still, there’s no moment where he’s changing gears or reaches an unexpected high. As a result, I see no reason to resort to any song by song explanation why I dislike it, I think you got the point. After all, I classify this as an album where there’s nothing to rigorously study or analyse, you just press play and enjoy the – let’s call it pleasant for discussion’s sake - sonic environment. Ok, maybe pleasant was an exaggeration, harmless would be a more accurate description, there’s nothing annoying or unlistenable and that applies not only to the instrumentation but to his vocals as well, although I dismissed them as disappointing, it has to be said that they are easy on the ear and overall I would be ok calling this album a collection of radiant and affectionate love songs. It goes without saying that the best thing about it is its length, it goes by fast. On a side note, there’s a lot to be said about the cultural and personal developments that could explain how this era’s – late ‘60s and early ‘70s – Bob Dylan differentiates himself in comparison to his past and future work, but I am of the opinion this subject should be discussed in the context of John Wesley Harding, the album that signals the beginning of this chapter, so I’ll save that for later.
Track Listing
1)Lily Of The West
2)Can't Help Falling in Love
3)Sarah Jane
4)The Ballad of Ira Hayes
5)Mr. Bojangles
6)Mary Ann
7)Big Yellow Taxi
8 )A Fool Such As I
9)Spanish Is the Loving Tongue
(Posting this in a heartbeat as part of a futile attempt to draw attention away from the questionable placement of Nashville Skyline.)
The album that is also known as Self Portrait part 2. If you take into account the abysmal reviews this has received and the fact that it consists of outtakes from Self Portrait (tracks 8 and 9) and New Morning (tracks 1 to 7), you’d think you can’t set the bar low enough for this record. Add to this the story behind this album – to keep it short, it wasn’t supposed to have been released, it was a side effect of his decision to sign to Asylum Records and that was Columbia Records’ reply, talk about a dirty move, ouch! – and you have a recipe for disaster. He’s even missing from the album cover, that was basically unheard of!
Anyway, I dare say it’s better than its reputation would imply - not by much, just barely. One major problem that besets this record is it’s hard to classify it. This is by no means a “proper” album that could stand next to his classics in any possible way nor does it have the uncompromising “parody” feel of Self Portrait, it’s lost somewhere in between and it ends up failing at both. (In that regard, one could argue it’s somewhat similar to Under A Red Sky, which had a partially childish attitude due to being dedicated to his daughter, but didn’t fully commit itself to that cause, it tried to retain a sense of seriousness and purposefulness instead.)
If you are looking for a good example of the above mentioned zaniness, you have to look no further than the opening track, Lily Of The West. The reminiscent of medieval/Irish folk vibes, combined with the over the top backing vocals, it never fails to give me a good laugh, tons of fun. Sarah Jane is also one of the most entertaining tunes of the album, mainly due to its excessiveness and lack of any serious artistic merit – I guess that’s why most view it as the worst song of the album, lol. The rest of the tracks try to adopt a more balanced approach and suffer - to a varying degree - from the problem I previously described. There’s not much else to be said, really, you either accept it for what it is or you don’t. Overall, being an album of covers, it’s obvious that we lose the most important aspect of his work, which is his songwriting, an obstacle that proves impossible to overcome. His vocals follow the footsteps of his last four (in chronological order) releases, he shows his softer side – which I’m not a fan of, but in this environment they are on point and easier to digest - once more. Also, the performances are better than the fact that this is a collection of outtakes might lead you to believe, I can’t blame him for not trying. To sum it up, I view this as a slightly underrated entry in his catalogue, it has a few half-decent elements so that a Bob Dylan fan should probably find his way into liking or at least defending this. To be honest, that’s the main reason I decided to include it here, were it my intention to heavily criticise it, I’d rather skip it instead, as it’s a bit unfair to judge him on this one, he had no control over this release and there wasn’t much he could have done.
Nashville Skyline is a favorite of mine and I think it's top five Dylan, so yeah...
Honestly, I'm not surprised that you ranked it so low. Given that most Dylan superfans love him foremost for his dense lyricism, it's destined to be forever underappreciated by that group. And obviously also by people with a genre bias against country.
On the other hand, it's definitely his most attractive album to non-fans, people whose favorite genre is country, and people with a bias against his voice. I don't count myself in any of those groups, for the record. _________________ Join us in the canon game :) / Add me on RYM
Nashville Skyline is a favorite of mine and I think it's top five Dylan, so yeah...
Honestly, I'm not surprised that you ranked it so low. Given that most Dylan superfans love him foremost for his dense lyricism, it's destined to be forever underappreciated by that group. And obviously also by people with a genre bias against country.
On the other hand, it's definitely his most attractive album to non-fans, people whose favorite genre is country, and people with a bias against his voice. I don't count myself in any of those groups, for the record.
That's a highly accurate summary of who feels what about this album, well said.
(In my case it's pretty straightforward:
Love for his dense lyricism? Check.
Bias against country? Check.) _________________ Bob Dylan Charles Mingus
Track Listing
1)World Gone Wrong
2)Love Henry
3)Ragged & Dirty
4)Blood In My Eyes
5)Broke Down Engine
6)Delia
7)Stack A Lee
8)Two Soldiers
9)Jack-A-Roe
10)Lone Pilgrim
As I got ready to post the next album, I didn’t remember it was this one, in my mind I had already moved on to the next and this little and seemingly unimportant incident perfectly sums up my relationship with World Gone Wrong. This is an album whose existence I tend to forget whenever I get the chance to talk about Bob Dylan – and deciding to listen to it is an extremely rare occasion. There’s nothing memorable, be it astoundingly great or spectacularly horrible, here, just a painfully middle-of-the-road, slightly boring record. It has a fitting title, something went wrong indeed – a quick hint:I don’t mean the world.
This is -rather sensibly- viewed as the sequel of Good As I Been To You, it’s the second part of his return to his roots, traditional, acoustic folk. It’s the '60s again, just Bob Dylan, his guitar and his harmonica, as good a company as it gets. On the other hand, you tried it once, good for you, a second one back to back? No, thanks. The truth is he has this tendency, when he comes up with a new idea or concept, he is willing to stick with it for some time – as a general rule it’s two or three albums – and push it to its logical conclusion. I don’t have a problem with this attitude per se, it’s definitely good to be persistent on a new concept, if you believe it’s one that’s worth being explored further. To additionally emphasise this point, there are numerous cases when his second take on a given subject does surpass the first, but it should be self-explanatory that this doesn’t apply to all ideas or concepts. I guess the point is that there’s no cure-all solution, it all depends. Sometimes it works, sometimes it doesn’t. Here, it’s clearly the latter. If I had to speculate regarding his motivation for releasing World Gone Wrong, I’d say it has nothing to do with the above, i.e. being dissatisfied with his first attempt and being eager to improve on it, it’s mainly a matter of not being in the mood to challenge himself and try something different.
Trying to spot any distinguishing features between this and Good As I Been To You, this isn’t entirely dedicated to traditional folk – which of course remains the core of the album-, it moves closer to blues territory this time. Also, it establishes a darker atmosphere, which is reflected in both lyrics and instrumentation. Now, you may ask, is the outcome of these changes positive or negative? They sound good in theory, but they didn’t work for me. I’ve always found it puzzling that most people don’t differentiate them and the reviews will be either positive or negative towards both of them. As far as I’m concerned, the gap is quite large – in favour of Good As I Been To You. One of the most random thoughts ever, but the album cover reminds me a bit of another record that came out in 1993 aesthetics-wise, namely Liberation by The Divine Comedy - or even their 1996 release, Casanova.
I know I didn’t make any comment on specific tracks, that’s because I’d suggest resorting to the liner notes instead (even if you don't own the album, they should be available online), I don’t have anything substantial to add. Also, I am not familiar with other, more famous versions of these songs, so it’s not easy to evaluate them properly. Maybe this explains why I found it so consistent and identified practically zero highlights.
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