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windmelody
The whole album can be listened to on iroots now. I cannot say were the album ranks in Dylan's history, but one thing is clear: we have another great record by a unique figure.

You got a link?

Go to google, enter "iroots Dylan". I hope that works.

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windmelody
Go to google, enter "iroots Dylan". I hope that works.

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There's something paradoxical about Dylan since Time Out of Mind. It's almost like he's a different person than the guy who gave us the "Dylan classics." But there's a compelling artistry there for me despite a total change in his approach to lyric writing. It's more straightforward now, not so much enigmatic symbolism and imagery. But it's music about real life, full of emotion and sincerity. Then - the obvious discussion that his voice is painful to listen to. Yep, it is, but somehow it still draws me in and moves me. To me, his current, ravaged voice well suits the kind of songs he's been writing; songs about heartache, loss, a world going to hell in a handbasket. He is not anymore the Dylan of Blood on the Tracks, but he is a brilliant artist creating honest and compelling work, in my opinion. I look forward to hearing the new album.

For the most part, an absolutely marvellous piece of work.

Incredible that an artist in his 70's can put out something as brilliant, let alone one who's already written more great songs than any other writer in ths history of popular music.

Personal favourites on first couple of listens - the title track and "Scarlet Town".

"Tin Angel" was one that was much raved about but which might take me a couple of listens to appreciate. "Early Roman Kings" was the first song to leak and didnt really excite me as it seemed an unspectacular Muddy re-tread. Everything else I've heard sounds wonderful.

Good to hear that review, Gazza, the 3 songs posted previously didn't excite me either; especially not Early Roman Kings. So Maybe Dylan will not disappoint this time after all...

The last three songs on the album clock in at around 30 and a half minutes in total!

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Gazza
The last three songs on the album clock in at around 30 and a half minutes in total!

Jeez, what is it with these old longwinded grandpas? Neil Young has a new LP with Crazy Horse in the can and at least 3 combined songs (unveiled so far) clock in at post-30 minutes as well.

Not that I'm really complainin', I'm just giving them "the business"! I've ignored all previews of TEMPEST so that I may take it all in at once, really looking forward to it.

Wow. I just listened through once...another incredible work from the bard. Maybe the best of this "latter-years" run that began 14 years ago. "Tin Angel" is sublime.

Any buccaneers swimming around in the bay may find this one floating around!

I think I need to kick back with this one again!

I heard the whole album, and I had been apprehensive: while I like and have all his late albums, they just havent been that exciting to me. This new one is incredible.

Tin Angel has got me! As has Narrow Way and many others of the album. The title track maybe a bit long, I have to think about Roll On John, but the affection he gives to Lennon is very warm. There is a rather aggressive element in the album. I would not like to have a quarrel with Bob Dylan.

The parts of this album that aren't brilliant are still pretty damn good.

I'm going to wait until I get the vinyl in my hands.

When I'm President the new album by 73 year old Ian Hunter is bloody good too.

It is legally streaming on iTunes.

His best since Love & Theft. The disc seems to tie together the Blood on Tracks/Desire era with his later 21st century albums. The title track's ambition is fulfilled and provides a nice coda to his career

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stonesdan60
There's something paradoxical about Dylan since Time Out of Mind. It's almost like he's a different person than the guy who gave us the "Dylan classics." But there's a compelling artistry there for me despite a total change in his approach to lyric writing. It's more straightforward now, not so much enigmatic symbolism and imagery. But it's music about real life, full of emotion and sincerity. Then - the obvious discussion that his voice is painful to listen to. Yep, it is, but somehow it still draws me in and moves me. To me, his current, ravaged voice well suits the kind of songs he's been writing; songs about heartache, loss, a world going to hell in a handbasket. He is not anymore the Dylan of Blood on the Tracks, but he is a brilliant artist creating honest and compelling work, in my opinion. I look forward to hearing the new album.

Yes, you make some very good points, stonesdan60. I don't think Bob's current singing voice would be able to really do songs like 'A Simple Twist Of Fate', 'You're A Big Girl Now' and 'Shelter From The Storm' full justice now, as his voice really isn't as supple anymore, and the nuances within his previous vocal interpretation would be lost, resulting in the songs losing some of their symbolism and imagery (not to mention as you say the more straightforward manner within Bob's more recent writing anyway). However, in later years he has still at times displayed great sensitivity, especially in songs like 'Moonlight', When The Deal Goes Down' and 'Working Mans Blues' so perhaps that argument is not quite exclusively true. My belief is is that Bob has found an amazing way of turning around what may seem like his vocal inadequaces and decline, to his advantage. These later songs benefit immensely from those ragged vocals of his, and so full of character too, and especially with the blues framework he currently works in, his singing has such real bite and an air of authenticity, contrasting greatly from the polish of more contemporary music and singing. What he may have lost with age, he seems to have made up for by presenting the songs that little bit differently,and his music, especially since LOVE AND THEFT displays a wonderful freshness and spontaneity. Although much has been made of the greatness of TIME OUT OF MIND, i have never liked its sound. I find the album very clinical sounding, perhaps thanks to Daniel Lanois, which goes very much against the grain of Bob's general method of recording. Sometimes, when listening to MODERN TIMES, i feel the band don't always play as sharply and tightly as they might (they perhaps lack a little precision), and Bob's vocal on occasions could have done with a little more injection of adrenaline (but as i say only on occasions). Generally, MODERN TIMES is a great album though, and a worthy follow up to LOVE AND THEFT, although for me, LOVE AND THEFT, is more meticulous in terms of the band pretty much being fully on form. There's a great tension throughout LOVE AND THEFT within the way the songs are conveyed both musically, and vocally, and from the tracks i have heard from TEMPEST, this new album comes closer to LOVE AND THEFT than the other more recent offerings in sharing those attributes. TOGETHER THROUGH LIFE was a huge step backwards for me, in terms of its quality, although there were a few nice touches here and there.



Edited 2 time(s). Last edit at 2012-09-06 07:48 by Edward Twining.

>TOGETHER THROUGH LIFE was a huge step backwards for me, in terms of its quality, although there were a few nice touches here and there.

Very good post but why neglect his last album? It seems forgotten by many (not just you).

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stonesdan60
There's something paradoxical about Dylan since Time Out of Mind. It's almost like he's a different person than the guy who gave us the "Dylan classics." But there's a compelling artistry there for me despite a total change in his approach to lyric writing. It's more straightforward now, not so much enigmatic symbolism and imagery. But it's music about real life, full of emotion and sincerity. Then - the obvious discussion that his voice is painful to listen to. Yep, it is, but somehow it still draws me in and moves me. To me, his current, ravaged voice well suits the kind of songs he's been writing; songs about heartache, loss, a world going to hell in a handbasket. He is not anymore the Dylan of Blood on the Tracks, but he is a brilliant artist creating honest and compelling work, in my opinion. I look forward to hearing the new album.

Dylan has been giving us a "different person" for years. Is the Dylan who did Nashville Skyline the same as the Dylan who did Subterranean Homesick Blues or the Dylan who did Slow Train Coming? Completely different voices and personas. I am not saying he pretends to be someone else, I'm saying he somehow becomes someone else. That's why that movie a few years ago (I'm Not There) was so interesting, actually using different actors to play different "Dylans".



Edited 1 time(s). Last edit at 2012-09-06 07:46 by 71Tele.

>That's why that movie a few years ago (I Am Not Here)

I'M NOT THERE (great movie).

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Glam Descendant
>That's why that movie a few years ago (I Am Not Here)

I'M NOT THERE (great movie).

Yep, I remembered and edited it. Thanks.

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71Tele

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stonesdan60
There's something paradoxical about Dylan since Time Out of Mind. It's almost like he's a different person than the guy who gave us the "Dylan classics." But there's a compelling artistry there for me despite a total change in his approach to lyric writing. It's more straightforward now, not so much enigmatic symbolism and imagery. But it's music about real life, full of emotion and sincerity. Then - the obvious discussion that his voice is painful to listen to. Yep, it is, but somehow it still draws me in and moves me. To me, his current, ravaged voice well suits the kind of songs he's been writing; songs about heartache, loss, a world going to hell in a handbasket. He is not anymore the Dylan of Blood on the Tracks, but he is a brilliant artist creating honest and compelling work, in my opinion. I look forward to hearing the new album.

Dylan has been giving us a "different person" for years. Is the Dylan who did Nashville Skyline the same as the Dylan who did Subterranean Homesick Blues or the Dylan who did Slow Train Coming? Completely different voices and personas. I am not saying he pretends to be someone else, I'm saying he somehow becomes someone else. That's why that movie a few years ago (I'm Not There) was so interesting, actually using different actors to play different "Dylans".

Quite true, 71Tele, although i think stonesdan60 is referring more to the aging of Bob's voice rather than the stylistic changes, which he had chose to adopt over the years. I believe Bob's voice started to show signs of age around the time of STREET LEGAL when his singing first began to show signs of sounding a great deal more nasal.

Mine's in the post! Hurrah

Enjoy it Braincapers! I think that Tony Garnier and George Recile are the best rhythmn section around at the moment!

Finally Tempest is in my player. The sound is extremely well.