“On this album, I took a few steps backward, but I also took a bunch of steps forward because I had a lot of time to concentrate on it. I also had the band sounding like I want it to sound. It’s got that organ sound from ‘Blonde on Blonde’ again. That’s something that has been missing.”
~Bob Dylan (to Robert Hilburn – May 1978)
Jonathan Cott interview – Sept. 1978: Jonathan Cott: What do you think of all the criticisms of Street Legal? Bob Dylan: I read some of them. In fact, I didn’t understand them. I don’t think these people have had the experiences I’ve had to write those songs. The reviews didn’t strike me as being particularly interesting one way or another, or as compelling to my particular scene. I don’t know who these people are. They don’t travel in the same crowd, anyway. So it would be like me criticizing Pancho Villa.
First of all… “Street-Legal” is a fantastic album. I have never “understood” all the criticism it got.. and still gets, and I even dig the original overall sound & production.
“Say what you want about Empire Burlesque — at the very least, it’s the most consistent record Bob Dylan has made since Blood on the Tracks, even if it isn’t quite as interesting as Desire. However, it is a better set of songs, all deriving from the same place and filled with subtle gems — the most obvious being “Tight Connection to My Heart (Has Anybody Seen My Love?),” but also “Emotionally Yours” and “Dark Eyes” — proving that his powers are still there.”
I’ll Remember You (my favorite version from the movie Masked and Anonymous):
Bob Dylan fans and music critics continue to debate the album’s merits, especially when compared to the styles he pioneered in the 1960s and 1970s. It is one of Dylan’s most discussed albums in terms of quality, having a distinct “80s style” production to the songs. There are some really great songs on this album, but they seem hidden under the “80s sound”.
The sessions for Empire Burlesque were held in New York and Hollywood from July 1984 to April 1985.
I fuckin’ hope so, man, because it’s a great album
(in 2002, when asked if he didn’t fear burning out and ending up making albums such as “Self Portrait”)
Maybe not Bob Dylan’s proudest moment, but there are good songs on the record.
Here are our 6 best songs from the album:
Copper Kettle (The Pale Moonlight)
Days of’ 49
Early Mornin’ Rain
Let It Be Me
Living The Blues
In Search of Little Sadie
Like a Rolling Stone (great with the re-mastered sound!)
“Well that was a joke, that album was put out at a time I didn’t like the attention I was getting. I never did want attention. At that time I was getting the wrong kind of attention for things I hadn’t done. So we released that album to get people off my back, so they would not like me anymore, that’s the reason the album was put out, so people would stop buying my records, and they did. “ – Bob Dylan (press conference 1981, Germany)
“I said: “Well, fuck it I wish these people would just forget about me. I wanna do something they can’t possibly like, they can’t relate to. They’ll see it and they’ll listen and they’ll say: “Well let’s go on to the next person. He ain’t sayin’ it no more. He ain’t givin’ us what we want,” you know? They’ll go on to somebody else.” But the whole idea back-fired. Because the album went out there, and the people said, “This ain’t what we want”, and they got more resentful. “ – Bob Dylan (Rolling Stone Magazine, 1984) Continue reading June 8: Bob Dylan released Self Portrait in 1970→
“Bob’s bad stuff is better than other musicians’ best”
Down in the Groove is singer-songwriter Bob Dylan‘s 25th studio album, released by Columbia Records 30 May 1988. Egil here at Johannasvisions rate it as maybe Dylan’s lowest point. Me? I’m not so sure anymore…
It got pretty terrible reviews upon it’s release. Many reviewers compared it to his previous album, Knocked Out Loaded, and not in a favourable way.
“A highly collaborative effort, it was Dylan’s second consecutive album to receive almost unanimous negative reviews. Released during a period when his recording career was experiencing a slump, sales were disappointing, reaching only #61 in the US and #32 in the UK.”
How is it in hindsight? Was it unfairly slated? I think it’s better than reported and as usual Dylan’s standards were expected to be higher than anybody else’s. We cannot expect a masterpiece every time. Can we?
The album was delayed for more than six months and the track listing changed at least three times. The tracks that made the final album come from many different recording sessions spread out over a long time (six years?).
I’ve always thought of it as a strangely confusing album, but it gets less confusing with each listen session. It has some very good cover songs. Let’s Stick together opens the record in an energetic way, I would love to hear it live!
The comes the song I think is not very good at all, the cover When did you leave heaven. Very eighties drum sound, strange production, it just sounds a bit off, I don’t think the song suits Dylan, and it ends kind of funny.
Sally Sue Brown, the third track is another rockn’roll/soul standard that gets a good run through. I prefer Arthur Alexanders classic, but it is not bad at all.
May 27: Bob Dylan released The Freewheelin’ Bob Dylan 1963
“..easily the best of [Dylan’s] acoustic albums and a quantum leap from his debut—which shows the frantic pace at which Dylan’s mind was moving.You can see why this album got the Beatles listening. The songs at its core must have sounded like communiques from another plane.”
~John Harris (Q Magazine, 2000)
” I think it was the first time I ever heard Dylan at all… And for the rest of our three weeks in Paris, we didn’t stop playing it.”
– John Lennon (about The Freewheelin’ Bob Dylan)