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Bob's new disc is quite good!

Excellent, even.

Perhaps I'd go so far as to call it fantastic.

It's in keeping with the tone of his recent live shows - kind of with a country review flavor and a little swingin'.

I could see Willie stealing a few of these gems, Leon Redbone, too.

No clinkers in the lot, great lyrics, and Bob uses his voice in ways that allow him to be nicely expressive and emotive.

I'd give it a solid endorsement!

Now, pardon me while I go try to figure out the difference between expressive and emotive in that last sentence.

Glad to hear that, haven't had a chance to pick it up (Telecom can suck the life out of you nowadays). I'll pick up the special cd/dvd edition tomorrow!!

Country review flavor to be sure, but there are a couple of strait ahead rock tunes, Dylan style of course.

CRANK IT!

RG

Just picked up the "Modern Times" CD/DVD edition and I'm in the middle of giving it my first listen. So far, so good. Sounds quite a bit like "Love and Theft" in terms of overall feel and flow, which kind of makes sense being that Dylan produced both sessions.

I'll be giving this disc a real workout over the long weekend and I'll have a full report come Sunday night.

A quick note about the DVD - the audio seems to be PCM stereo only which is rather strange because at least one of the tracks, "Cold Irons Bound", exists in a multi-channel version.

I also picked up the new Dave Holland Quintet CD - "Critcal Mass" and the new Tomasz Stanko Quartet CD - "Lontano", so I'll be writing something about them over in the jazz section within the next week or so.

Another incredible album by Dylan! I love it and want to re-spin it after every listen.

How good is Bob's new album ?

Well it is good enough to get me to dance around the kitchen in my underwear with a bottle of Jack's in my hand !

Your Pal

Louballoo

After listening to "Modern Times" several over this past weekend here are some further comments.

As Dylan states in the recent Rolling Stone interview "Modern Times" is much closer in style and sound to "Love and Theft" than it is to "Time Out of Mind" and I can understand his confusion when people ask him if this new album now completes the trilogy. Dylan stated that "Love and Theft", "Modern Times" and maybe the next album would make up a trilogy but not his last three recordings.

Why does Dylan insist on taking composer credit for old blues standards like "Rollin' And Tumblin'" and "Someday Baby"? All this does is piss plenty of people off. Okay he's singing his version of the lyrics, big deal. So does everyone else sing their own version of the lyrics but they don't all take composer credit. Not a good move.

Those minor points aside the recording is very nice but has yet to grab me as "Love and Theft" and "Time Out of Mind" did when they were first released. I don't think there is anything on "Modern Times" that's as good as "High Water", "Love Sick" or "Cold Irons Bound" but "Thunder On The Mountain" and "The Levee's Gonna Break" come the closest, even if they both sound like we've heard them before.

Now that the album released he'll be playing the songs in concert and that means that the bootlegs will be showing up with live versions of these songs and it will be interesting to hear which of these songs become staples of his live shows. And which of these songs are refined into killer versions, much the way "Cold Irons Bound" and "High Water" were. Only time will tell.

Superb album by Dylan!! The lyrics are up there with his best work...

"I heard the deafening noise, I felt transient joys
I know they're not what they seem

In this earthly domain, full of disappointment and pain
You'll never see me frown
I owe my heart to you, and that's sayin' it true
And I'll be with you when the deal goes down"

Some of the lyrics hit way too close to home about past relationships. Gotta go fix me a drink now while I listen to the record.

Some random thoughts on listening to the new Dylan album:

1-Gosh Bob is a randy old goat!
2-Great job recording his voice; tremendous expressiveness in that croak.
3-Love the band but I wish Al Kooper was with them.
4-Will the album have "legs"? Or is this the Stones' syndrome where each new album is greeted as a "return to form" and six weeks later we're not listening to it any more?
5-Sounded great on the home system at 2:00 AM; not so good at Barnes and Noble at 2:00 PM.
6-Three albums that sound alike do not a trilogy make.
7-"All songs written by Bob Dylan"? No. All lyrics by Bob Dylan but he should have given credit appropriately. Jazzfan is right; this pisses me off.
8-Love those hats!

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....
6-Three albums that sound alike do not a trilogy make.
7-"All songs written by Bob Dylan"? No. All lyrics by Bob Dylan but he should have given credit appropriately. Jazzfan is right; this pisses me off.
8-Love those hats!

Comments on comments:

I don't think that "Modern Times" sounds anything like "Time Out Of Mind" but does sound quite a bit like "Love and Theft". "TOOM" was way over produced but still sounded quite good and got the point across. "L&T" was produced just right and has a nice sound and feel to it, as does "MT".

What would someone like Dr. John say about Dylan's bad habit of taking composer credit on old blues standards? That's a big no no in New Orleans.

I love the hats too but why only cowboy hats? How about some fedoras or pork pies to spice things up?

One other note, stick to the standard CD issue. The limited edition DVD issue isn't worth the extra money. The packaging is terrible. It's made of cardboard and is a nonstandard size and has those silly hard to get at little disc sleeves. The DVD contains only four short videos, none with multichannel audio. I'd recommend that one waits for the vinyl to become available and check that out. Although knowing Sony/Columbia, the vinyl will most likely made be from the digital master tapes anyway, so what's the point. Hey Jeff, anyway you could check this out for us?

I have neither format yet, and the only commentary I've read regarding the LP was that someone said the pressing he got was quiet.

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I have neither format yet, and the only commentary I've read regarding the LP was that someone said the pressing he got was quiet.

Jeff,

It has been proposed elsewhere on this forum that you should run for President and I concur! Your political skills are outstanding. Here you've posted a response to my question without answering the basic question - is the LP cut from an analog or a digital master?

Not that I'm knocking you for not knowing, after all it's a rather tough question with the lack of information given out by record companies these days. I'm just amazed that my fellow forum members had the ability to recognize your keen political savoy even through cyberspace!

All that aside, now that I got your attention I know that you will not rest until you've found out once and for all the real answer to my question. Let the research begin!

I'm thinking of going the the CF or SD format. Marantz has a CF recorder out now, no moving parts slick 2 model the 570 and 560 under $1000 at the online places. Teeny tiny little ittsy bitsy card to hold an entire CD, or DSD Hybrid, gonna be slick. then on the the Garmin GPS it will play these SD or CF cards...slicker yet, even my Philips monitor plays SD or CF cards, the world is shrinking. this eliminates all wire issues don't it?

I've actually enjoyed Dylan's last 10 years of music more than his first 30.

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I've actually enjoyed Dylan's last 10 years of music more than his first 30.

Nothing to be ashamed of there since I believe Dylan himself would say the same thing.

OK, confession time:

This disc started out in the car, and I loved it.

Tonight it moved into the computer system, and I love it more.

Man, I love this guy. Always have. I can't help it.

I can see him in Don Was' space. I can hear him there, too.

I don't read Rolling Stone, but I hope they gave this disc 5 stars - it would raise them in my esteem.

Please go buy this disc.

Track two is heart wrenching. Perfection.

I say that as I listen to it, track three will do it, too, as will the others.

___________________________________
___________________________________

I want two or three more of these releases, then I want Bob to do like John Lee Hooker and open his own tavern somewhere, where once a week, he's his own house band.

(I loved John Lee Hooker. Used to hang at the Boom Boom Room just to catch his 20 minute sets. Great great great.)

Bob is the John Lee of post-blues music making.

I'm knocked out.

_____________________________________
_____________________________________

You know how great these guys are?

Well, I'll tell ya.

They are better than me.

I'll be happy going to my grave just knowing I appreciated these guys.

I have my pride and all, but these guys make my life better, and I don't know them! How cool is that?!?

___________________________________
___________________________________

Then I wish I could call Wes Phillips and rave to him. This disc is so good it makes me wanna talk to Wes.

OK, I'm closing in on the "unable to type" portion of the evening...

...But this disc is "analog sounding" in the vocal and guitar regions.

The drums sound a little digital.

Fluid midrange and the vocal decays are good.

The percussion lacks "air."

The backing slide/steel guitar on a track or two is also a bit under-detailed.

But...it all revolves around Bob's vocals, which is a fine fine thing.

If I can hang for another couple shots, my ears will get better...

But the bass seems to be all over the place in a few tunes.

RG

I love this album but the issue of Dylan giving credit where it's due has become more complicated. I previously posted that while I wished he acknowledged the blues sources of some of the melodies at least all the lyrics were by Bob Dylan. Now it comes out that the lyrics in several major instances were "borrowed" from an obscure 19th century poet named Henry Timrod (born 1828). Now this isn't a copyright issue since Timrod's poems have long been in the public domain but to me it seems like an ethical issue. Why can't he acknowledge his sources?

Perhaps this just gets down to one's feeling about Dylan. I'm a great admirer so I'm putting this down to "Dylan the magpie": gathering different materials and putting them together into a unique new form. But it does make me a bit uncomfortable.

Quote:
I love this album but the issue of Dylan giving credit where it's due has become more complicated. I previously posted that while I wished he acknowledged the blues sources of some of the melodies at least all the lyrics were by Bob Dylan. Now it comes out that the lyrics in several major instances were "borrowed" from an obscure 19th century poet named Henry Timrod (born 1828). Now this isn't a copyright issue since Timrod's poems have long been in the public domain but to me it seems like an ethical issue. Why can't he acknowledge his sources?

Perhaps this just gets down to one's feeling about Dylan. I'm a great admirer so I'm putting this down to "Dylan the magpie": gathering different materials and putting them together into a unique new form. But it does make me a bit uncomfortable.

Where are you getting this information from?

Today's NY Times (9/14), p.E1, "Who's This Guy Dylan Who's Borrowing Lines From Henry Timrod?"

Quote:
I love this album but the issue of Dylan giving credit where it's due has become more complicated. I previously posted that while I wished he acknowledged the blues sources of some of the melodies at least all the lyrics were by Bob Dylan. Now it comes out that the lyrics in several major instances were "borrowed" from an obscure 19th century poet named Henry Timrod (born 1828). Now this isn't a copyright issue since Timrod's poems have long been in the public domain but to me it seems like an ethical issue. Why can't he acknowledge his sources?

Perhaps this just gets down to one's feeling about Dylan. I'm a great admirer so I'm putting this down to "Dylan the magpie": gathering different materials and putting them together into a unique new form. But it does make me a bit uncomfortable.

Funny thing is in the past Dylan had no problems with giving credit where credit was due. This unwillingness to reveal his sources seems to be a rather recent development in the world of Dylan. It troubles me too. It's not like Dylan hasn't written plenty of great lines and melodies himself that he can't afford to share the wealth, so what gives? Puzzling, to say the least. And shameful, at this late stage of his long and wonderous career.

Quote:
When we meet again
Introduced as friends
Please don't let on that you knew me when
I was hungry and it was your world.

Guys,excuse my ignorance but whenever i hear songs of Bob on the radio (not often i have to admid)i am not moved.
Of course,you cannot appreciate a performer from one or two songs you hear on the radio and besides,all those ppl who praise Bob Dylan can't be wrong,so,could you please suggest one or two albums to get me started ?

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Guys,excuse my ignorance but whenever i hear songs of Bob on the radio (not often i have to admid)i am not moved.
Of course,you cannot appreciate a performer from one or two songs you hear on the radio and besides,all those ppl who praise Bob Dylan can't be wrong,so,could you please suggest one or two albums to get me started ?

Old stuff:

"Blood on the tracks"

or

"Blonde on blonde"

New stuff (which some actually prefer):

-Time out of mind

or

Love and Theft

You can't go wrong with any of these albums, I'd read along the lyrics to appreciate them even more.

Quote:
....could you please suggest one or two albums to get me started ?

I don't know your personal history but if you've ever had trouble in your love life you should be able to relate to "Blood On The Tracks".

Then there are his mid 1960's classics, including the incredible three album run of

"Bringing It All Back Home -> Highway 61 Revisited -> Blonde on Blonde"

which was followed by the almost as good "John Wesley Harding"

Any of the above five recordings would make for a starting point, as each one contains several outstanding, very well known and classic songs. Just take your pick, whichever title catches your fancy and go from there.

If one of the above five recordings doesn't grab you after several repeated and careful listenings, I would safely say that Dylan just isn't your cup of tea. If that turns out to be the case here's what you do: just say "Yeah, Dylan's a great songwriter but I just can't stand the way the he sings." That approach seems to work for a lot of people I know. Safely keeps one out of too much trouble. It's kinda like owning the 5 CD set of the Ken Burns' Jazz Collection but never actually listening to it.

I'm not sure if this album is a good representation of his other work (if that even matters), but I absolutely love Nashville Skyline. Man, it's great.

Thanks Stephen,i'll give it a try !

*************COUNTRY MUSIC ALERT*****************
"Nashville Skyline" is Dylan's "country album." Not to say it isn't swell but perhaps not the place to start if one is trying to sample some Dylan. I'm a "Blood on the Tracks" supporter myself.

The Byrds did some Dylan songs really well. Get all The Byrds stuff.

Quote:
Guys,excuse my ignorance but whenever i hear songs of Bob on the radio (not often i have to admid)i am not moved.
Of course,you cannot appreciate a performer from one or two songs you hear on the radio and besides,all those ppl who praise Bob Dylan can't be wrong,so,could you please suggest one or two albums to get me started ?

If you are like me and have trouble getting through the filler songs on his albums, go out and get "The Essential Bob Dylan" on Columbia (C2K 85168, cira 2000.) "Special Limited Edition! 30 Digitally Remastered Classics on 2 CDs!"

Bob

Man, I had no idea about the stolen poetry.

I have to admit, it changed things just a little, 'cause now I'm listening for which parts are stolen...which will force me to read poetry, which I really resent having to do against my will.

Oh, well.

On other fronts, I agree. I think Blood on the Tracks is his highest ascent.

Blonde on Blonde was solid good, and I even liked Desire and Slow Train...

On even more fronts, I also agree. These last three albums have been stellar.

I do admit to having a small thing against Daniel Lanois' "sound."

On Time out of Mind, and on all his wrok, Lanois seems to add a lower treble glare that is present on just about every cut. It's like he hates clear treble or something.

Time Out of Mind is still great, it's just that Lanois turns the whole affair into a nocturnal album. It just don't sound right in the light of day.

Love and Theft is landmark quality.

For the new three, I'm still partial to Love and Theft the most, via having a "history," but Modern Times is number two with a bullet.

It may be idiosyncratic, but of all the tunes on the three new discs, the single song I get the biggest kick out of is "Highlands," from Time Out of Mind. It is absolutely the sonic sequel to "Meet Me In The Morning," from Blood on the Tracks.

OK, the last thing - Bob is an acquired taste. One song here and there on the radio isn't very transmissible. Sometimes, on first listen to an entire album, he still fails to infect.

After about five times through, though, he starts to take hold and is about the greatest singer songwriter to come down the pike. He insinuates himself into your relationship with the world. His lyrics pop into your head when the time is right. You can be whistling while you do some task and someone will appear out of the blue and say, "Hey, is that Bob Dylan? I love that song..."

You can listen to a song for years, and then one day, with the sun or moon are just so, and life treating you in some certain way, one of his lines will burn its way into your brain and you'll go, "Yeah, that's it."

Don't steal my secret plan, but someday, my buddy, Scott, and I are going to finish a book where one character only speaks in Dylan lyrics.

The fun will be seeing how long we can get into it before the readers realize it.

Now, where'd I leave that bottle of talent potion so I can get that done?

Cheers.

Suzanne Vega on Bob and Theft:

http://www.nytimes.com/2006/09/17/opinion/17vega.html

Thanks for that link, Jeff!

I tend to agree with her.

Link to NY Times article:

NY Times article

Link to the album lyrics:

Album Lyrics

It does seem more like "influenced" than plaigerized.

I'm cheered up now.

Cheers, buddy!

Hi guys

I found a Bob Dylan in my collection.It is a sacd.I bought quite a few sacd when they first came out.Most of them are still sealed.One of them is "Blonde On Blonde". The Good news is:His songs are good.Not great,just good.Bad news: Did not like his voice.It reminds me of Bruce Springsteen without his "passion".Sorry guys if i kinda commited a crime by saying this but Bob Dylan is not my cup of tea.