Well, I can't stop the momentum now! I'll just keep on trucking. Or something. I was super keen to jump into Infidels after wading through the Christian trilogy, and as patchy as the eighties were for Dylan, I'm hoping to find some lost treasures. To me, anyway. So, let's get it started!
25. INFIDELS (1983) (6/2/23)
I would argue that this is Dylan's strongest effort melodically since Slow Train Coming and lyrically since Street Legal, or perhaps to fall in line with every rock critic on Earth, Blood On The Tracks. Forever the album his future offerings get compared to, for some reason. I guess that's seen by many as his last 'classic album'.
For a change of pace and scene, after finishing his heavily religious run of records, Dylan headed to The Power Station studio in New York with the view to seeking a co-producer who was up on all the latest technology. The studio utilised the latest digital equipment, so this would be Dylan's first digitally recorded, and mixed, long player. Allegedly, he'd considered or contacted Elvis Costello, David Bowie and Frank Zappa before landing on Dire Straits frontman Mark Knopfler.
The effect on the album's production is palpable, as it sounds like Dylan has joined the eighties, with the drums in particular standing out as having a very different sound from his previous few records. The rhythm section of Infidels is made up of the legendary Jamaican duo Sly & Robbie, namely drummer Sly Dunbar and bassist Robbie Shakespeare. Additionally, Knopfler recruited Dire Straits keyboardist Alan Clark, and Benmont Tench also appears on a few tracks. There's also some tasty guitar work from ex-Rolling Stone Mick Taylor.
There's some great stuff here, and the album kicks off with the classic Jokerman. It's worth pointing out that this song does contain some religious imagery, and there are spiritual themes throughout the record. I think he may have toned things down, but his Christianity is still important to him. I first heard this track on a compilation Dylan CD I bought in the late nineties, The Best of Bob Dylan. Since then, I've heard pieces of this album. One of the highlights, License to Kill, was wonderfully covered by Tom Petty and the Heartbreakers at the 30th Anniversary Concert in late 1992 (album came out the following year). Sweetheart Like You was covered by Rod Stewart on his 1995 offering A Spanner In The Works, which I somehow own a copy of. Recently I stumbled upon the video of an alternate version of Don't Fall Apart on Me Tonight on the YouTubs. It was released to promote 2021's The Bootleg Series Vol. 16: Springtime in New York 1980-1985, which features outtakes from this album, Shot of Love and Empire Burlesque. I became quite taken with the song, which lead me to obtain said Bootleg Series 2CD set. I haven't listened to it yet, as I'm waiting until I've spun all the albums first.
Overall, it's a pretty strong effort, and my highlights are Jokerman, License to Kill, I and I and Don't Fall Apart on Me Tonight, although I prefer the alternate version. Neighbourhood Bully isn't a bad listen either. The tone is consistent and the production is sound, and it's nice to hear Dylan not being preachy.
Apparently the song Blind Willie McTell was pulled from the Infidels tracklisting by Dylan, a move that flummoxed Knopfler. Eventually the track was released on the first Bootleg Series set, Vol. 1-3 (Rare & Unreleased) in 1991, to much fervour. It hit No.19 on Rolling Stone's 100 Greatest Bob Dylan Songs list as well. I can't remember the song that well, as I did make my through all those songs after reading the online article. However, it is now hailed as a highpoint from his eighties output. So, maybe I'll think similarly after a few listens. It is on Springtime in NY.. as well, you see. Maybe it didn't fit because it's quite stripped back compared to the rest of the album. Anyway, that's that record. Nice one, Zimmy!
26. REAL LIVE (1984) (15/2/23)
I didn't realise that Dylan had released so many live albums! Not even heard of this one, me. Following hot on the heels of Infidels, this offering features a few of his new tracks and some classics, although the latter songs may sound a little different than their studio counterparts. I don't think true Dylan fans are bothered by this. He's been changing the way he plays his songs since the seventies! Having said that, critics seem to want Dylan to just recreate his work as they remember it. Indeed his versions of Highway 61 Revisited and Maggie's Farm are reworked with the former another shadow of its live Hard Rain self.
His band of this tour included Faces keyboardist Ian McLagan and ex-Rolling Stone Mick Taylor on guitar, who's in top form here, particularly on the Infidels cut I and I, and the aforementioned Highway 61 Revisited. License to Kill gets a faithful airing before a couple of solo Dylan numbers, which the crowd enthusiastically singalong with; It Ain't Me, Babe and Tangled Up in Blue. Another solo recording is near the end of the album, Girl From the North Country, which to my ears, sounded like a Dylan caricature! It came across to me like someone trying to take the piss out of Dylan, not the real deal! Maybe he was satirising himself in some weird way. Be that as it may, I would offer the solo tracks up as the album's highlights.
Carlos Santana guest guitars on the album's closing number Tombstone Blues, which again was unrecognisable from the original version Dylan recorded for Highway 61 Revisited in 1965. All in all, another middling live effort. Not great, not terrible.
27. EMPIRE BURLESQUE (1985) (17/2/23)
Well, Dylan has definitely landed in the eighties now! The production and sound of this record threaten to overshadow the actual songs, and in some cases, succeeds. A quick glance at the tracklisting had me resigned to the thought that I wasn't familiar with any of the material on the album, but I did end up recognising a couple, as I'd heard them covered by other artists before. Firstly, Emotionally Yours was performed by The Ojays at Bob's 30th Anniversary Concert, so I knew that one. Albeit, it's not a big fave, but it's a pleasant enough listen. The other track I knew was the seven and a half minute When the Night Comes Falling From the Sky, thanks to The Black Crowes recording a version of during sessions for their By Your Side album. While it didn't make the record, it was issued as the B-side of Only a Fool in 1999. They keep the song down to a svelte four minutes, so I was surprised when Dylan's original just seemed to not end, he he he...
There's a heap of famous players on this one too. Sly & Robbie return on a few tracks, and Alan Clark puts in an appearance as well. Mick Taylor plays on album opener Tight Connection to My Heart (Has Anybody Seen My Love), which was previously known as Someone's Got a Hold of My Heart during the Infidels sessions. Three of Tom Petty's Heartbreakers are present as well, namely keyboardist Benmont Tench, guitarist Mike Campbell and the late bassist Howie Epstein. Session pro Jim Keltner plays drums on a few tracks, and even Rolling Stone Ronnie Wood contributes a guitar lick or two. Despite such stellar musicians, the album is bit of a mess. Dylan had decide to take on the role of producer and I'm not sure if that helped or hindered. The record is very much a product of its era, and it makes the songs less appealing. Not to say that the album is unlistenable, but what makes Dylan unique is somewhat diluted by synths and eighties drums.
The final song, Dark Eyes, is a breath of fresh air. It's just Dylan and a guitar with a splash of harmonica. Not his best work, but after the songs proceeding it, the track is most welcome. Apparently the song was written at the behest of the producer Arthur Baker, who was handling the mixing duties on this record. Dylan liked the idea of ending the album with a sparse guitar and harmonica number, so he went and wrote Dark Eyes the night Baker suggested it. Interesting effort this album, but not an endearing listen, I don't think.
28. KNOCKED OUT LOADED (1986) (1/3/23)
This is an interesting album, huh? He he he... while it might be seen by many as the nadir of his eighties output it's not unlistenable. There's just nothing that really grabs you. Popular opinion states that the eleven minute epic Brownsville Girl is the album's one redeeming feature, and its length makes it responsible for almost a third of the record's running time, and over half of the second side in the vinyl format. It hasn't grabbed me like it has grabbed others, but it's the only song here that sounds Dylanesque, in terms of lyrics and character. Co-written with the actor Sam Shepard, the track started off as New Danville Girl, and became an outtake of the Empire Burlesque record. I had heard this incarnation, as it was included on the Springtime in NY.. set, which I dipped into before listening to this album. Again, not blown away by it or anything, but a cool enough track. Might be a grower.
The last two songs on the second side were co-writes, one with Tom Petty and one with Carole Bayer Sager. Both fairly middling affairs despite the presence of Heartbreakers on the former, Got My Mind Made Up and Blondie's drummer Clem Burke on the latter, Under Your Spell. Filling out the rest of the album are two original tracks (Driftin' Too Far From the Shore and Maybe Someday), covers of songs by Kris Kristofferson, Little Junior Parker and a reworked traditional number called Precious Memories. Yeah, might not give this one that many spins.
BONUS: THE BOOTLEG SERIES Vol. 16: SPRINGTIME IN NEW YORK 1980-1985
I really enjoyed listening to this set. I've given it a good few goes since spinning Empire Burlesque. Some songs are alternate takes or rehearsals of songs from that album, or earlier efforts Shot of Love and Infidels. All in all, it's a pretty entertaining listen, and an excellent sum of the parts of albums Dylan was making at the time.
Highlights for me include the alternate take of Don't Fall Apart on Me Tonight from Infidels, which is a massive improvement on the album version, Angelina (outtake from Shot of Love), the band versions of Too Late and Blind Willie McTell (Infidels outtakes) and the alterate take of Emotionally Yours from Empire Burlesque. Someone's Got a Hold of My Heart was meant for Infidels, and that version here was recorded before it morphed into Tight Connection to My Heart (Has Anybody Seen My Love) from Empire Burlesque. The latter is also included in this with an alternate (and better, in my humble opinion) mix.
I stumbled across a promo video for the aforementioned Too Late on the YouTubs a little while ago. Some of the lyrics were very familiar to me, although I was pretty sure I hadn't heard that track before. It dawned on me that those lyrics were from Foot of Pride, an Infidels outtake that appeared on Dylan's first Bootleg Series CD set, Vol. 1-3: Rare and Unreleased in 1991. I still haven't heard that version, but I was quite familiar with it from Lou Reed's rendition of it at the Dylan 30th Anniversary Concert in 1992. A different take of the song is on this set, and it's pretty good. Interesting to hear how it morphed from Too Late into Foot of Pride.
The liner notes express that every version that appears here has not been released before. So, they differ from the takes and mixes that are also on any other Bootleg Series album. I found it a more engaging and interesting listen than the three albums put together. Shot of Love is hit and miss, and Empire Burlesque is patchy as heck, but Infidels still holds up pretty well. This is a fascinating document of Dylan chasing a particular sound, and the songs come and go as he works towards his sonic goal. Some become different tracks as they develop, some never get fully realised, and others just go the wayside. But what Dylan chooses to include on an album is not necessarily an accurate document of what those sessions entailed. Really enjoyed this! Might be a few more Bootleg Series discs in my future...
