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Message
New Dylan album: "Tempest"
Posted on 8/31/12 at 4:19 pm
Posted on 8/31/12 at 4:19 pm
Any excitement for this?
I listened to the "Duquesne Whistle" track on Spotify and just thought it was ok. I haven't heard any of the others.
Supposedly the title track is 14 minutes long. Is it too much to hope for "Desolation Row" or "Sad-Eyed Lady of the Lowlands" type epic awesomeness?
The last "new" Dylan stuff I really got into was "Time Out Of Mind," but I'm hoping for the best with this one.
I listened to the "Duquesne Whistle" track on Spotify and just thought it was ok. I haven't heard any of the others.
Supposedly the title track is 14 minutes long. Is it too much to hope for "Desolation Row" or "Sad-Eyed Lady of the Lowlands" type epic awesomeness?
The last "new" Dylan stuff I really got into was "Time Out Of Mind," but I'm hoping for the best with this one.
This post was edited on 8/31/12 at 4:30 pm
4
Posted on 8/31/12 at 4:25 pm to WikiTiger
I heard "Duquesne Whistle" a couple of days ago on The Loft (Sirius/XM ch 30) and thought it wasn't it bad bit of jump jazz/R&B, although Bob's growl is really starting to get into Leonard Waits for Tom Cohen territory.
ETA: God bless you
ETA: God bless you
This post was edited on 8/31/12 at 4:31 pm
Posted on 8/31/12 at 4:34 pm to WikiTiger
Bob is in my all-time top 5, but I have pretty much zero interest in this.
Posted on 8/31/12 at 4:35 pm to Kafka
quote:
ETA: God bless you
Kafka, just so you know, I'm not "OT Wiki" on boards like the music and movie boards.
Posted on 8/31/12 at 4:39 pm to WikiTiger
quote:
just so you know, I'm not "OT Wiki" on boards like the music and movie boards
prayers sent
Posted on 8/31/12 at 5:12 pm to The Seaward
Are we still pretending new Dylan is anywhere near as good as his 60s output? That's always fun.
I'll buy the Basement Tapes instead. Still don't own that for some reason.
I'll buy the Basement Tapes instead. Still don't own that for some reason.
Posted on 8/31/12 at 5:20 pm to Baloo
The love for Time Out of Mind, Love and Theft, and Modern Times was way over the top. Sure, it was his best work since Infidels in the 80s but come on, those three albums weren't THAT good.
I'm sure Tempest will be solid but there's no way that it will be on the level of his 60s stuff or Blood on the Tracks, Desire, Infidels, etc.
I'm sure Tempest will be solid but there's no way that it will be on the level of his 60s stuff or Blood on the Tracks, Desire, Infidels, etc.
Posted on 8/31/12 at 5:20 pm to Baloo
quote:
Are we still pretending new Dylan is anywhere near as good as his 60s output? That's always fun.
I'll take someone's trying to start an e-fight over something no one has ever said ever in the history of the word ever, for $100, Alex.
Posted on 8/31/12 at 5:25 pm to TheDrunkenTigah
The Pazz and Jop poll is widely considered the best gauge of annual critical acclaim, asking critics across a wide spectrum to vote on the Albums of the Year. The poll has existed since 1971, and Dylan has had the highest rated album four times: 1975, 1997, 2001, 2006. That's right, Dylan's had the #1 album by critical consensus three times in the past 15 years.
That is, frankly, absurd. His late period stuff is good but nothing special.
That is, frankly, absurd. His late period stuff is good but nothing special.
Posted on 8/31/12 at 5:26 pm to TheDrunkenTigah
Rolling Stone's review:
Rolling Stone review on Tempest
Bob Dylan's 35th album begins with a train whistle exploding in his mind. He sees an old oak tree he used to climb and imagines a woman smiling through a fence. He hears the voice of "the mother of our Lord" – and still, that whistle, screaming "like the sky's gonna blow apart." It's astonishing, " Duquesne Whistle" suggests, how much can be channeled through a simple sound.
That notion defines Dylan's career, and especially his output of the past decade – music built from traditional forms and drawing on eternal themes: love, struggle, death. With its jazzy, pre-rock groove, "Duquesne Whistle" could be from any of Dylan's last three albums, 2001's Love and Theft, 2006's Modern Times or 2009's Together Through Life. But then the song ends, Dylan gets off the train and soon one of his weirdest albums ever truly starts. Tempest is musically varied and full of curveballs. It may also be the single darkest record in Dylan's catalog.
The body count alone distinguishes it, with songs about the Titanic disaster ("Tempest"), a three-way murder-suicide ("Tin Angel") and the assassination of his old acquaintance John Lennon ("Roll On, John"). "Pay in Blood" is a portrait of raging evil delivered in snarling vocals – Dylan is so close-miked you can practically hear the phlegm rattle. "Early Roman Kings," with David Hidalgo's cantina-blues accordion, conjures "lecherous and treacherous" despots "in their sharkskin suits."
Lyrically, Dylan is at the top of his game, joking around, dropping wordplay and allegories that evade pat readings and quoting other folks' words like a freestyle rapper on fire. "Narrow Way" is one of Dylan's most potent rockers in years, and it borrows a chorus from the Mississippi Sheiks' 1934 blues "You'll Work Down to Me Someday." "Scarlet Town" draws on verses by 19th-century Quaker poet and abolitionist John Greenleaf Whittier; and allusions to Louis Armstrong and the Isley Brothers pop up elsewhere.
The two most powerful cuts here are rooted in fact. At nearly 14 minutes, "Tempest" is epic – 45 verses (with no chorus) about the sinking of the Titanic, set to an Irish melody with accordion and fiddle. Historical accuracy is beyond the point; the reference to Leonardo DiCaprio feels truer to folk tradition than his absence would be. Meanwhile, the scenes are horrifying: passengers plunging into icy waters; "Dead bodies already floating/In the double-bottomed hull"; some men turning murderous; another offering his lifeboat seat to a crippled child. The metaphor is inescapable: a seemingly unsinkable behemoth going down amid small acts of bravery that change little, rich and poor doomed equally.
"Roll On, John," the closing song, was written for a man who wrestled with the oppressiveness of fame and deification as much as Dylan has. "I heard the news today, oh, boy," he sings, referencing Lennon's murder and a Beatles lyric in a voice that throbs with survivor's guilt. It's a prayer from one great artist to another, and a reminder that Dylan now stands virtually alone among his 1960s peers. His own final act, meanwhile, rolls on. It's a thing to behold.
Rolling Stone review on Tempest
Bob Dylan's 35th album begins with a train whistle exploding in his mind. He sees an old oak tree he used to climb and imagines a woman smiling through a fence. He hears the voice of "the mother of our Lord" – and still, that whistle, screaming "like the sky's gonna blow apart." It's astonishing, " Duquesne Whistle" suggests, how much can be channeled through a simple sound.
That notion defines Dylan's career, and especially his output of the past decade – music built from traditional forms and drawing on eternal themes: love, struggle, death. With its jazzy, pre-rock groove, "Duquesne Whistle" could be from any of Dylan's last three albums, 2001's Love and Theft, 2006's Modern Times or 2009's Together Through Life. But then the song ends, Dylan gets off the train and soon one of his weirdest albums ever truly starts. Tempest is musically varied and full of curveballs. It may also be the single darkest record in Dylan's catalog.
The body count alone distinguishes it, with songs about the Titanic disaster ("Tempest"), a three-way murder-suicide ("Tin Angel") and the assassination of his old acquaintance John Lennon ("Roll On, John"). "Pay in Blood" is a portrait of raging evil delivered in snarling vocals – Dylan is so close-miked you can practically hear the phlegm rattle. "Early Roman Kings," with David Hidalgo's cantina-blues accordion, conjures "lecherous and treacherous" despots "in their sharkskin suits."
Lyrically, Dylan is at the top of his game, joking around, dropping wordplay and allegories that evade pat readings and quoting other folks' words like a freestyle rapper on fire. "Narrow Way" is one of Dylan's most potent rockers in years, and it borrows a chorus from the Mississippi Sheiks' 1934 blues "You'll Work Down to Me Someday." "Scarlet Town" draws on verses by 19th-century Quaker poet and abolitionist John Greenleaf Whittier; and allusions to Louis Armstrong and the Isley Brothers pop up elsewhere.
The two most powerful cuts here are rooted in fact. At nearly 14 minutes, "Tempest" is epic – 45 verses (with no chorus) about the sinking of the Titanic, set to an Irish melody with accordion and fiddle. Historical accuracy is beyond the point; the reference to Leonardo DiCaprio feels truer to folk tradition than his absence would be. Meanwhile, the scenes are horrifying: passengers plunging into icy waters; "Dead bodies already floating/In the double-bottomed hull"; some men turning murderous; another offering his lifeboat seat to a crippled child. The metaphor is inescapable: a seemingly unsinkable behemoth going down amid small acts of bravery that change little, rich and poor doomed equally.
"Roll On, John," the closing song, was written for a man who wrestled with the oppressiveness of fame and deification as much as Dylan has. "I heard the news today, oh, boy," he sings, referencing Lennon's murder and a Beatles lyric in a voice that throbs with survivor's guilt. It's a prayer from one great artist to another, and a reminder that Dylan now stands virtually alone among his 1960s peers. His own final act, meanwhile, rolls on. It's a thing to behold.
Posted on 8/31/12 at 5:27 pm to TheDrunkenTigah
quote:
eta: the video for the track you mentioned seems like it would be a topic for discussion in one of your OT threads, wiki.
jesus, what a fricked up video. that totally went down a different path than i was expecting
Posted on 8/31/12 at 5:31 pm to Baloo
quote:
The Pazz and Jop poll is widely considered the best gauge of annual critical acclaim, asking critics across a wide spectrum to vote on the Albums of the Year. The poll has existed since 1971, and Dylan has had the highest rated album four times: 1975, 1997, 2001, 2006. That's right, Dylan's had the #1 album by critical consensus three times in the past 15 years.
That is, frankly, absurd. His late period stuff is good but nothing special.
No one honestly believes his later stuff compares, even if they say it's good. It's most likely a nod to the 60's stuff, if anything.
Posted on 8/31/12 at 9:25 pm to TheDrunkenTigah
quote:
I'll take someone's trying to start an e-fight over something no one has ever said ever in the history of the word ever, for $100, Alex.
Exactly. Dylan reinvented himself for "Time Out of Mind", which is an excellent album. It literally has nothing to do with what he did thirty years prior.
Of course, with classic artists people have a tendency to lump their current incarnation with what they did in the past...as if their current work cannot stand on its own.
Posted on 8/31/12 at 9:38 pm to Kafka
quote:
"Duquesne Whistle"
It has a nice beat and it's easy to dance to. I rate it a 65.
Actually not too bad. Dylan's voice does sound like 50 years of steady weed-smoking, though.
Posted on 9/1/12 at 12:17 am to brgfather129
quote:
Of course, with classic artists people have a tendency to lump their current incarnation with what they did in the past...as if their current work cannot stand on its own.
Yea, I mean who else do we compare Bob Dylan to but Bob Dylan? This aint gonna be "The Basement Tapes" people, its the final chapter.
I can't wait to hear the album personally. His concert in NOLA was pretty damn good last year and I suggest anyone who is a fan to try to catch him the next time he comes around.
This post was edited on 9/1/12 at 12:18 am
Posted on 9/1/12 at 8:44 am to Interception
Love and theft and modern times are two of his better albums ever. His new stuff(anything since the 80s) is generally hit or miss. I wasn't super crazy about together through life and I'm expecting the tempest to be along those lines.
Posted on 9/1/12 at 12:54 pm to WikiTiger
quote:
Any excitement for this?
Anytime the GOAT puts out a new album I get a little excited. That said, his last album didn't really get my thing wet. Modern Times was good.
quote:
Supposedly the title track is 14 minutes long. Is it too much to hope for "Desolation Row" or "Sad-Eyed Lady of the Lowlands" type epic awesomeness?
He doesn't usually make a song that long unless it is worth it.
Posted on 9/1/12 at 12:56 pm to Interception
quote:
His concert in NOLA was pretty damn good last year and I suggest anyone who is a fan to try to catch him the next time he comes around.
Yea, I was there. His voice is shot, but the band was awesome.
I wish he would start doing albums with someone else on vocals.
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