Dylan - Love and Theft

Discussion in 'Recordings [BG]' started by dancehallclasher, Sep 18, 2001.

  1. anyone listened to this yet? rolling stone gave it a perfect five stars, which i've NEVER seen them give a new album.
  2. Dancehallclasher, I was just about to start a thread about this!
    Ive been waiting for four years for 'Love And Theft' and got it on the day it was released, and what an album! It really is good. Its got a song called 'Mississippi' which I think is one of Bobs best ever.
    Its nothing like the previous album 'Time Out Of Mind'. TOOM, though it is a little better, was very deep, dark and moody, on L&T Bob sounds like he was having a lot more fun with it. This album is a lot closer to the brilliant stuff he was bringing out in the sixties then any of the albums he has bought out since. I've got every Dylan studio album and this is definately up there with the best of them.
    Dylan, what a man. 38 years after his first album, and it blows just about every other new album from any current artist away.
  3. Just saw Bob Dylan live a few weeks ago.
    He may have a great studio album through the magic of *Pro Tools* but he has a long history of sucking in concert. Dylan live was SO BAD that I had to leave half way through, just couldn't stand it anymore. I never split during a concert I paid $50 to see, but this was beyond torture.

    The moral to this story is:

    Buy the album, it's great! The producer should get a Grammy for turning a straw into gold.

    In concert, don't waste your money.
  4. I am not a real Dylan fan. I am familiar with all his old classics, but the guy has like 40-something albums! And while he has been recording more or less continuously, everything he's renowned for happened many decades ago.
    I got Time Out of Mind and thought it was quite great. I was hearing a lot of Love and Theft on the radio, and found it again stunningly good. Got it yesterday, and have been driving around with it on repeat. It's very affecting.
  5. Gonna have to disagree strongly there, Bob Dylan is probably the only artist still around that avoids all that production stuff. He always has, and 'Love And Theft' was no different. Bobs hate of the recording process is legendary, he generally will refuse outright to sing a song more then once, so most of Bob's songs are the result of a first take. He also hates albums with slick production (ie he said he hated 'Sgt Pepper' because the songs were really good but were ruinned by the over production), and he always goes with producers who will keep it simple and keep it live sounding. Trust me, what you hear when listening to the album is what you would of heard sitting in the recording studio. On one of his tracks you can even hear the buttons of his jacket rattling on his guitar, left in the album because he didnt want to sing the song again! When you read about the making of Dylan albums, the only thing that remains constant is how much Dylan doesnt want production and how much he just wants it to sound like a live recording.
    Besides, Bob Dylan has never been about good music or a good singing voice, it has always been about the words and the songs themselves, people who dismiss Dylan because of his voice or the quality of the music are missing the point completely.

    I think you must have just caught a bad show. I saw him in march and he was brilliant. I took a few of my friends from uni, most of whom didnt really like Dylan, but were converts after the show it was so good. He was in great singing form and he was really putting a lot into the show and jumping around on stage, and playing revamped versions of losts of his best songs, the audience went crazy and he ended up doing three encores, with the audience calling for more.
    However I did see him in 1997, and wasnt totally blown away. It was a good show, but Bob was only playing songs I'd never heard, like old traditional folk songs and a couple from what was then his upcoming album. So it is a bit of a hit and miss affair, I think you just caught a bad show.

    Thats one of the biggest problems with Dylan. Some really great albums have just gotten lost in the crowd and are overshadowed by his older stuff.
    If Dylan had released albums such as 'Infidels' and 'Planet Waves' under a different name, they would have been met with rave reviews and would have become instant classics, instead reviewers compared them to his earlier work and simply said 'good, but not as good as Blonde On Blonde etc'. It really is a shame because there are quite a few really great albums, with people such as Clapton, Stevie Ray Vaughn, Mark Knopfler, even Slash from Gn'R playing on them, that have simply been forgotten.
  6. Well, ideally by the time you go to the studio, you know what you want to do with the song, and you can put forth the perfromance you want in one or so take. The studio recording is more than a scratchpad though. It offers the chance for you to make a definitive version. You can craft it and say THIS is how I have conceived this song.

    Writing a song is like writing a screenplay. If you then proceed to execute it terribly, nobody will care. The "song" is an abstract creation that does not inhabit reality. The audio recording is a real thing.

    Especially as Dylan makes a more or less blues album here, the point is extra-relevant. Blues songs in particular barely exist, particularly as defined by the courts (chords, melody, and lyrics = the song...rhythm, bassline, harmony, etc... = irrelevant).
  7. Thats definately true of most artists. With Dylan though, often band members are flown into the session at the last minute with no idea what is expected of them, he doesnt usually rehearse them at all, they just kind of go with the flow and hope that it all comes together. You can hear this on 'Like A Rolling Stone', everyone is playing different things at different times. The keyboardist Al Kooper said he didnt even know how the song went, and that he just made it up as he went along. Somehow it all come together and sounded good though. Another thing with Dylan is that he is a great guitarist, but he knows absolutely no music theory, and he has a tendency to start playing in a different key halfway through a song, leaving the other musicians trying to catch up to him.
    All the music on 'Love And Theft' is good, but you can hear this kind of chaos going on on the track 'Summer Days' especially.