"Love And Theft," Bob Dylan's 473rd studio album, was released on September 11, 2001. And like 9/11, Dylan's music on "Love And Theft" stands on a fulcrum betwixt the past, present and future with Dylan as the nostalgic prophet with his finger on the pulse.
At various moments, "Love and Theft" brings to mind World War II-era western swing and Korean-Conflict GI's on leave, blowing off steam at a USO dance hall. At other times, it conjures Chaplin's Little Tramp, a speakeasy, a Sinatra saloon or a Chicago blues joint. 
But even when he's singing about the past, he sounds very plugged into the present and even the future. "Highwater (for Charley Patton)" could be a parable about the Great Johnstown Flood of 1889, yet at the same time seems to foreshadow the lawlessness in New Orleans following Hurricane Katrina:High water risin', six inches 'bove my head
Coffins droppin' in the street
Like balloons made out of lead
Water pourin' into Vicksburg, don't know what I'm going to do
"Don't reach out for me," she said
"Can't you see I'm drownin' too?"
It's rough out there
High water everywhere
But the mightiest undercurrent is Dylan himself, writing a flawless collection of tracks, with a richness, wisdom and humor that honestly puts it alongside his best work, whether it's Bringing It All Back Home, John Wesley Harding or Blood On The Tracks.
On "Sugar Baby," the eerily calm final track of the album, Bob alludes to the Dylan Bootleg cottage industry, drops a coy sexual innuendo and stares the Grim Reaper in the face, all in a single verse - I haven't heard Jon Bon Jovi do that lately:
Some of these bootleggers
They make pretty good stuff
Plenty of places to hide things here
If you wanna hide 'em bad enough
I'm staying with Aunt Sally
But you know, she's not really my aunt
Some of these memories you can learn to live with
And some of them you can't
Much of "Love And Theft"'s greatness also lies with his band; his best in fact, since The Band. Guitarists Larry Campbell and Charlie Sexton, backed by longtime bassist Tony Garnier and drummer Larry Kemper were the tightest unit in the nation for several years running. I was fortunate enough to see them on several occasions. Here they are tearing up "Cry A While" on the Grammys in 2002.
"Love And Theft" was the High-Water mark in a truly amazing decade for the master. 'Twas a decade that also included the fine albums Modern Times and Together Through Life, the best-selling first volume of his memoir Chronicles, the film Masked and Anonymous which he wrote and co-starred in, his fantastic XM radio show Theme Time Radio Hour, the Bootleg Series release Tell Tale Signs, a Scorcese documentary, a Christmas album for charity, and an Oscar for his song "Things Have Changed" from the Michael Douglas film Wonder Boys. He also played over 1,000 shows in arenas, clubs, stadiums and state fairs. Wait, isn't this guy supposed to be a recluse?
One thing hasn't changed. Though his voice is ragged, Dylan is still hitting the notes, and is a creative force the likes of which will not be seen again in our lifetime. As this performance from a recent AFI tribute to Michael Douglas demonstrates, he also plays a pretty mean guitar. Take it away, Bob.
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Great post!
ReplyDeleteWhen you list all Bob's achievements this decade, it truly is remarkable--mostly because of the high quality, but on a more basic level, its an amazingly large output for a guy in his 60s.
Most creative people his age are sitting back and living off the good will they've built up, but Bob keeps putting himself out on that line, risking ridicule and endless "Not as good as he once was" notices.
I hope he keeps this up until he's 100.