Bob Dylan
by kokkinos 
Disclaimer: The comment writing process was executed backwards ie. beginning with #39 and working my way to the top. I'd suggest reading them that way for continuity's sake, otherwise a couple of points may seem out of place or not make that much sense.
Disclaimer #2: It seems there is a character limit. If you are looking for the full version of my comments, you can check my diary, they are between pages 22 and 33, apologies for the inconvenience. https://www.besteveralbums.com/phpBB2/viewtopic.php?t=24227&postdays=0&postorder=asc&start =0
- Chart updated: 12/17/2021 23:15
- (Created: 12/06/2021 22:09).
- Chart size: 39 albums.
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So much for our Cinderella story, it somehow sneaked in the top-10, which is no small feat.
Man, this album sounds so old, so tired. The very first note is a wake-up call for those ancient melodies that have been dormant for so long. At the same time, they come with an irresistible sense of familiarity, they had remained elusive so far, but they’ve always been an inherent part of our subconscious, as if they were in our blood before we were born, they might be even older than life itself, never having been touched by a human hand and as a result they instantly become memorable.
Despite being highly entertaining, as all the tales that are being narrated here are extremely fascinating and offer us a glimpse of a different , not necessarily warmer, happier or more beautiful - things get ugly in a few tracks and a potential bloodbath is always round the corner - but definitely wonderful in its own way world, the aftermath is highly nostalgic, those days are buried in the past and they are never coming back. That’s exactly what differentiates this from other late era Dylan releases like Time Out Of Mind or Love And Theft which also focus – among other themes - on the subject of time, the balance between past and present, etc. Here he longs for the past and wishes it could come back to life, in the aforementioned albums the past is filled with regrets, the burden of loss is unbearable and consequently appears just as bleak as the present and the future – but I’ve already commented on Time Out Of Mind, more on Love And Theft later.
Anyway, the main point is I am honestly convinced it’s one of his most exciting songwriting efforts which is a huge compliment if you take into account how wild the competition is. His voice shows some surprising versatility for his age, it can be rough (see Duquesne Whistle) or soft (see Soon After Midnight) it never fails to serve the purpose of any given song – Pay In Blood is the most impressive, the voice of a veteran who’s been around for at least 200-300 years (when he sings “I've been through hell” he is so believable it makes you uncomfortable– if the mummies were to rise from the dead, they wouldn’t be so rugged). I mean, having good stories isn’t enough, you have to be an equally good storyteller. By the way, one thing that’s always given me pleasure is to picture him being a bard in ancient or medieval times. When he ‘d arrive in a new town, the privileged ones that would have a first-hand experience with his show would be thrilled. Then, they would try to narrate the story themselves and it wouldn’t have half the same impact. Soon enough, he’d become a legend. Returning to Tempest, Dylan instantly draws you in and you don’t wanna miss a single word that comes out his mouth, it’s 68 minutes long and I can never tell its length. Quite the contrary, every time I realise it’s over I can’t quite believe it – apart from Dylan’s incomparable storytelling skills, credit is due to the backing band as well for creating a hypnotic atmosphere, slowly drowning In an ocean of nostalgia.
Duquesne Whistle is an excellent opening track, it acts as a time machine, our guide in this amazing journey. It is followed by Soon After Midnight, a romantic - in the old school way - song, it really gets you in the mood. Narrow Way is a nod to his Christianity era, far from being too “in your face”, never approaching anywhere close to annoying territory. Although it is probably the most predictable song here, nothing more than standard up-tempo blues combined with an intimidating running time of 7+ minutes, it is surprisingly enjoyable, not to mention it’s got some lines that could be viewed as humorous if taken out of context. Long And Wasted Years sees him momentarily return to his ‘60s self, expressing irony in a poetic way, although he’s not as ambiguous or cryptic as he was back then. Scarlet Town is the place no one wants to be, but everyone wants to hear about, can we make this a movie – preferably a Western - please? Pay In Blood is another highlight, the most brutal, violent song, but also the funniest, the man knows how to put a twist on anything he touches. Early Roman Kings is one of the lightest tracks here, despite presenting us a group of fearsome gangsters. Once again, it’s easy for Dylan to keep the balance between comedy, horror, tragedy, drama, adventure, etc. Speaking of adventure, Tin Angel is a fantastic one, the hazardous undertaking of a man getting back his wife will have you on the edge of your seat. And when you think it can’t get any better than that, here comes the self-titled track, wow, talk about one of his finest achievements. 10 Oscars and still can’t compete with Dylan’s take on Titanic – I don’t hate the movie, but here we’ve got something really special. Last but not least, a tribute to John Lennon that seemingly came out of nowhere – I haven’t done any research, but I had no idea they were that close-, but ends up being great and touching as it was supposed to be.
So, yeah, give this a chance – especially if you are fond of retro aesthetics or if you are a Dylan fan, though if it’s the latter I’m sure you’ve heard it all before.
Score: 8.4/10.
Man, this album sounds so old, so tired. The very first note is a wake-up call for those ancient melodies that have been dormant for so long. At the same time, they come with an irresistible sense of familiarity, they had remained elusive so far, but they’ve always been an inherent part of our subconscious, as if they were in our blood before we were born, they might be even older than life itself, never having been touched by a human hand and as a result they instantly become memorable.
Despite being highly entertaining, as all the tales that are being narrated here are extremely fascinating and offer us a glimpse of a different , not necessarily warmer, happier or more beautiful - things get ugly in a few tracks and a potential bloodbath is always round the corner - but definitely wonderful in its own way world, the aftermath is highly nostalgic, those days are buried in the past and they are never coming back. That’s exactly what differentiates this from other late era Dylan releases like Time Out Of Mind or Love And Theft which also focus – among other themes - on the subject of time, the balance between past and present, etc. Here he longs for the past and wishes it could come back to life, in the aforementioned albums the past is filled with regrets, the burden of loss is unbearable and consequently appears just as bleak as the present and the future – but I’ve already commented on Time Out Of Mind, more on Love And Theft later.
Anyway, the main point is I am honestly convinced it’s one of his most exciting songwriting efforts which is a huge compliment if you take into account how wild the competition is. His voice shows some surprising versatility for his age, it can be rough (see Duquesne Whistle) or soft (see Soon After Midnight) it never fails to serve the purpose of any given song – Pay In Blood is the most impressive, the voice of a veteran who’s been around for at least 200-300 years (when he sings “I've been through hell” he is so believable it makes you uncomfortable– if the mummies were to rise from the dead, they wouldn’t be so rugged). I mean, having good stories isn’t enough, you have to be an equally good storyteller. By the way, one thing that’s always given me pleasure is to picture him being a bard in ancient or medieval times. When he ‘d arrive in a new town, the privileged ones that would have a first-hand experience with his show would be thrilled. Then, they would try to narrate the story themselves and it wouldn’t have half the same impact. Soon enough, he’d become a legend. Returning to Tempest, Dylan instantly draws you in and you don’t wanna miss a single word that comes out his mouth, it’s 68 minutes long and I can never tell its length. Quite the contrary, every time I realise it’s over I can’t quite believe it – apart from Dylan’s incomparable storytelling skills, credit is due to the backing band as well for creating a hypnotic atmosphere, slowly drowning In an ocean of nostalgia.
Duquesne Whistle is an excellent opening track, it acts as a time machine, our guide in this amazing journey. It is followed by Soon After Midnight, a romantic - in the old school way - song, it really gets you in the mood. Narrow Way is a nod to his Christianity era, far from being too “in your face”, never approaching anywhere close to annoying territory. Although it is probably the most predictable song here, nothing more than standard up-tempo blues combined with an intimidating running time of 7+ minutes, it is surprisingly enjoyable, not to mention it’s got some lines that could be viewed as humorous if taken out of context. Long And Wasted Years sees him momentarily return to his ‘60s self, expressing irony in a poetic way, although he’s not as ambiguous or cryptic as he was back then. Scarlet Town is the place no one wants to be, but everyone wants to hear about, can we make this a movie – preferably a Western - please? Pay In Blood is another highlight, the most brutal, violent song, but also the funniest, the man knows how to put a twist on anything he touches. Early Roman Kings is one of the lightest tracks here, despite presenting us a group of fearsome gangsters. Once again, it’s easy for Dylan to keep the balance between comedy, horror, tragedy, drama, adventure, etc. Speaking of adventure, Tin Angel is a fantastic one, the hazardous undertaking of a man getting back his wife will have you on the edge of your seat. And when you think it can’t get any better than that, here comes the self-titled track, wow, talk about one of his finest achievements. 10 Oscars and still can’t compete with Dylan’s take on Titanic – I don’t hate the movie, but here we’ve got something really special. Last but not least, a tribute to John Lennon that seemingly came out of nowhere – I haven’t done any research, but I had no idea they were that close-, but ends up being great and touching as it was supposed to be.
So, yeah, give this a chance – especially if you are fond of retro aesthetics or if you are a Dylan fan, though if it’s the latter I’m sure you’ve heard it all before.
Score: 8.4/10.
Year of Release:
2012
Appears in:
Rank Score:
646
Rank in 2012:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
9
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Ok, that’s a bit boring. He tried it once, it was ok, he got away with it, why would you push your luck like this? Of course he can do whatever he wants, he is Bob Dylan after all, he's given us material worthy of three lifetimes, but I have to say that a few original songs are long overdue and would be a nice surprise. Anyway, that was my first impression when this came out and has more or less remained the same since then. Still, I would argue this might be a bit underrated in the sense that the other two have received more attention - Shadows In The Night because it started the trend and Triplicate because it was a massive triple album – and this usually ends up being overlooked. There isn't an awful lot to be said about it, not much progress has been noted since his 2015 release, so if you are familiar with that one you know what's going on, Sinatra remains the central theme of the album, which is tough luck, but I’d say that at least the song selection is better and more diverse. Compared to Shadows In The Night it’s easier on the ears and lighter in attitude, it focuses on being aesthetically pleasing more than it does on the emotional side, though it’s not severely compromised in terms of the nostalgic effect it creates. Not to sound like a broken machine, but Sinatra has to be the most unrelatable singer ever, so anyone would do these tunes more justice, let alone Dylan, who is one of the most familiar figures and comforting voices, it’s as if he’s your alter ego, he knows you, understands your state of mind and is aware of the appropriate way to approach you in order to make sure that you get the message. And of course he can say a lot without saying much, so it doesn’t matter that this record stays away from being overly emotional or melodramatic. Melancholy Mood is generally viewed as the star of the album, but it hardly makes it to my favourites – though I have to admit it makes a nice combo with the song that comes right after it, namely That Old Black Magic, the contrast between them further emphasises their merits- , I’d probably give the nod to either Maybe You’ll Be There or All The Way. Keeping the same pattern as the other two parts of the trilogy, it drags a bit towards the end and seems longer than it is, plus its appeal wears off rather fast and repeated listens expose its weaknesses.
Score: 6.6/10.
Score: 6.6/10.
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At the time of its release, it seemed like a good, dare I even say refreshing, idea. 2015 was probably my Dylan-heaviest year ever and I can vividly recall being anxious to check it out – then again, any new endeavour by Bob Dylan will seem like a great idea if you are his fan. Having the benefit of hindsight and knowing what followed, it kinda loses its initial appeal – but one may argue that’s an unfair way to judge it. He is better than Sinatra, that’s a given in my book– I mean, how could anyone be worse, he’s one of those artists I simply can’t stand – ignore that part if you are a fan. Besides my personal bias against Sinatra, I’ve always found the irony that comes with choosing these songs as part of the charm. Sinatra has always been idolised because of his voice, he’s been the essential American voice, the point of reference that everyone else tries to reach but eventually comes up short. Dylan has been more or less the polar opposite. Endless reviews have stressed his immense artistic value (mainly thanks to his legendary songwriting skills), yet heavily criticised or in some cases even made fun of his voice. I don’t mean to imply this was intentional or anything, but if one examines it as a cultural phenomenon, it’s interesting nonetheless – on that same note, I’ve already mentioned the importance of covering classic American songs while commenting on Triplicate.
Speaking of which, Dylan’s voice here (the same applies to the other two parts of this trilogy, Fallen Angels and Triplicate) is different from all of his recent albums, his adaptability is spectacular, especially if you take into account his age, not to mention he captures the emotional state (the one of a heartbreak for the most part) that is required. Also, his comparatively modest (a description that refers not only to his delivery, but to the instrumentation as well) approach makes everything more relatable. The band is doing a great job of creating a certain – I guess you could call it nostalgic, romantic or cinematic – vibe, but at the same time one that is clearly distinct from a ‘50s/’60s band who would create a similar atmosphere, and they maintain it throughout the entirety of this record’s running time, no (good or bad) surprises to be found. It goes without saying that the material itself isn’t that close to my taste, that should be obvious by now, so there’s only so much they could do, it’s hard to blame either the band or Bob himself. It’s barely 35 minutes and it feels too long. Unless you are well-versed in those standards, you will probably have a hard time telling them apart after a few listens – that’s what happened with me anyway. The closing track is the closest we get to a highlight so the last impression it leaves you with is fine. As it was the case with Triplicate, the question arises as to what exactly the target group is, hard to tell really, I don’t expect Bob Dylan aficionados or fans of the original material would fall heads over heels with this.
Score: 6.45/10.
Speaking of which, Dylan’s voice here (the same applies to the other two parts of this trilogy, Fallen Angels and Triplicate) is different from all of his recent albums, his adaptability is spectacular, especially if you take into account his age, not to mention he captures the emotional state (the one of a heartbreak for the most part) that is required. Also, his comparatively modest (a description that refers not only to his delivery, but to the instrumentation as well) approach makes everything more relatable. The band is doing a great job of creating a certain – I guess you could call it nostalgic, romantic or cinematic – vibe, but at the same time one that is clearly distinct from a ‘50s/’60s band who would create a similar atmosphere, and they maintain it throughout the entirety of this record’s running time, no (good or bad) surprises to be found. It goes without saying that the material itself isn’t that close to my taste, that should be obvious by now, so there’s only so much they could do, it’s hard to blame either the band or Bob himself. It’s barely 35 minutes and it feels too long. Unless you are well-versed in those standards, you will probably have a hard time telling them apart after a few listens – that’s what happened with me anyway. The closing track is the closest we get to a highlight so the last impression it leaves you with is fine. As it was the case with Triplicate, the question arises as to what exactly the target group is, hard to tell really, I don’t expect Bob Dylan aficionados or fans of the original material would fall heads over heels with this.
Score: 6.45/10.
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That’s a good example of Dylan’s habit that I described right above, namely that (I’m shamelessly quoting myself, lol) “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”. This persistence has caused the birth of a few masterpieces, but it’s also been responsible for a few missteps like World Gone Wrong or Triplicate.
So, this is the third and last part of his – let’s call it “Classic American songs” - trilogy. Even though I ‘d never claim this kind of material is my jam – quite far from it if I’m being honest-, I do understand why he did it and I do appreciate his efforts. It’s pretty clear he is a fan of these songs and at this point in his career, he is entitled to follow any direction he finds appealing or interesting and not give a damn about what his fans or critics want or expect. Moreover, this isn’t as self-centered a choice as it may initially appear, he brings these songs to the surface – and it’s been some time since they made any headlines-, in an attempt to save them from obscurity and give everyone – most importantly the younger generations-, a chance to get acquainted with them. Plus he offers an alternative version of these classics that shares little with the original, big band/swing takes a step back and allows a minimal, country influenced style to come through, while optimism gives way to solemnity – not that I know any of them inside out, that comment is based on my limited experience with them, so feel free to take it with a grain of salt. I guess it’s safe to conclude that releasing one such album was a good idea, a second was acceptable, a third was a big no no.
This album is in turn divided in three parts (a trilogy inside a trilogy). The first third is highly pleasant when it’s on, it could easily compete with Shadows In The Night and Fallen Angels as a standalone album. Unfortunately, it goes downhill from there. It’s not that the other two parts are necessarily worst, but it gets boring pretty quickly. The songs are supposed to have been thematically sorted into those three separate parts (their titles being 'Til the Sun Goes Down, Devil Dolls and Comin’ Home Late respectively), each of them being a sequel to the one that precedes it. Personally, I never got any of this, probably an excuse to fit as many of his favourites as he possible can, it’s way too monotonous for me. As a result, I can’t think of any occasion when I ‘d choose to play this. Apart from being only mildly enjoyable, there’s hardly anything beyond its limited entertainment value, no memorable, let alone pioneering, aspects to be found here, you completely forget about it once it’s over. It goes without saying that being a triple album doesn’t help either, it would have to be something really special to make it through in one listening session – and that could be an irrelevant factor for some, but for me it’s something I definitely have to take into account, albums are meant to be listened in one go. No individual track is anywhere close to unlistenable, they’re all fine, but thirty (!!) of them one after the other is simply too much – and that’s why it’s somewhat meaningless bringing up “highs” and “lows”, it’s mostly the same song over and over.
Another question is what’s his target group – if there’s one. I’d say this is by no means directed towards his fans, whose attitude is something like “no songwriting no party”, it’s more suitable for someone who either is fond of or wants to discover some American music of the past – as I’ve already mentioned that’s the greatest merit of this trilogy as a whole. Also, if you have a problem with his typical – if he has one that could be called “typical – voice, no need to worry, he changes once more and delivers what is needed, though one has to admit he doesn’t sound excited or even half-interested. Speaking of uninteresting, that has to be one of his worst album covers ever.
Score: 6/10.
So, this is the third and last part of his – let’s call it “Classic American songs” - trilogy. Even though I ‘d never claim this kind of material is my jam – quite far from it if I’m being honest-, I do understand why he did it and I do appreciate his efforts. It’s pretty clear he is a fan of these songs and at this point in his career, he is entitled to follow any direction he finds appealing or interesting and not give a damn about what his fans or critics want or expect. Moreover, this isn’t as self-centered a choice as it may initially appear, he brings these songs to the surface – and it’s been some time since they made any headlines-, in an attempt to save them from obscurity and give everyone – most importantly the younger generations-, a chance to get acquainted with them. Plus he offers an alternative version of these classics that shares little with the original, big band/swing takes a step back and allows a minimal, country influenced style to come through, while optimism gives way to solemnity – not that I know any of them inside out, that comment is based on my limited experience with them, so feel free to take it with a grain of salt. I guess it’s safe to conclude that releasing one such album was a good idea, a second was acceptable, a third was a big no no.
This album is in turn divided in three parts (a trilogy inside a trilogy). The first third is highly pleasant when it’s on, it could easily compete with Shadows In The Night and Fallen Angels as a standalone album. Unfortunately, it goes downhill from there. It’s not that the other two parts are necessarily worst, but it gets boring pretty quickly. The songs are supposed to have been thematically sorted into those three separate parts (their titles being 'Til the Sun Goes Down, Devil Dolls and Comin’ Home Late respectively), each of them being a sequel to the one that precedes it. Personally, I never got any of this, probably an excuse to fit as many of his favourites as he possible can, it’s way too monotonous for me. As a result, I can’t think of any occasion when I ‘d choose to play this. Apart from being only mildly enjoyable, there’s hardly anything beyond its limited entertainment value, no memorable, let alone pioneering, aspects to be found here, you completely forget about it once it’s over. It goes without saying that being a triple album doesn’t help either, it would have to be something really special to make it through in one listening session – and that could be an irrelevant factor for some, but for me it’s something I definitely have to take into account, albums are meant to be listened in one go. No individual track is anywhere close to unlistenable, they’re all fine, but thirty (!!) of them one after the other is simply too much – and that’s why it’s somewhat meaningless bringing up “highs” and “lows”, it’s mostly the same song over and over.
Another question is what’s his target group – if there’s one. I’d say this is by no means directed towards his fans, whose attitude is something like “no songwriting no party”, it’s more suitable for someone who either is fond of or wants to discover some American music of the past – as I’ve already mentioned that’s the greatest merit of this trilogy as a whole. Also, if you have a problem with his typical – if he has one that could be called “typical – voice, no need to worry, he changes once more and delivers what is needed, though one has to admit he doesn’t sound excited or even half-interested. Speaking of uninteresting, that has to be one of his worst album covers ever.
Score: 6/10.
Total albums: 4. Page 1 of 1
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Bob Dylan composition
| Decade | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| 1930s | 0 | 0% | |
| 1940s | 0 | 0% | |
| 1950s | 0 | 0% | |
| 1960s | 9 | 23% | |
| 1970s | 10 | 26% | |
| 1980s | 7 | 18% | |
| 1990s | 4 | 10% | |
| 2000s | 4 | 10% | |
| 2010s | 4 | 10% | |
| 2020s | 1 | 3% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| Bob Dylan | 38 | 97% | |
| Bob Dylan & The Band | 1 | 3% |
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Bob Dylan ratings
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| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
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 100/100  | 12/07/2021 21:45 |  Purplepash | | 88/100 |
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