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DISCID=930eb60a
DTITLE=Bob Dylan / Modern Times
DYEAR=2006
DGENRE=Folk-Rock
TTITLE0=Thunder On The Mountain
TTITLE1=Spirit On The Water
TTITLE2=Rollin' And Tumblin'
TTITLE3=When The Deal Goes Down
TTITLE4=Someday Baby
TTITLE5=Workingman's Blues #2
TTITLE6=Beyond The Horizon
TTITLE7=Nettie Moore
TTITLE8=The Levee's Gonna Break
TTITLE9=Ain't Talkin'
EXTD=Originally Released August 29, 2006\n\nAMG EXPERT REVIEW: When Bo
EXTD=b Dylan dropped Time Out of Mind in 1997, it was a rollicking roc
EXTD=kabilly and blues record, full of sad songs about mortality, disa
EXTD=ppointment, and dissolution. 2001 brought Love and Theft, which w
EXTD=as also steeped in stomping blues and other folk forms. It was fu
EXTD=nny, celebratory in places and biting in others. Dylan has been b
EXTD=usy since then: he did a Victoria's Secret commercial, toured alm
EXTD=ost nonstop, was in a couple films -- Larry Charles' Masked and A
EXTD=nonymous and Martin Scorsese's documentary No Direction Home -- a
EXTD=nd published the first of a purported three volumes of his cagey,
EXTD= rambling autobiography, Chronicles. Lately, he's been thinking a
EXTD=bout Alicia Keys. This last comment comes from the man himself in
EXTD= "Thunder on the Mountain," the opening track on Modern Times, a 
EXTD=barn-burning, raucous, and unruly blues tune that finds the old m
EXTD=an sounding mighty feisty and gleefully agitated: "I was thinkin'
EXTD= 'bout Alicia Keys/Couldn't keep from cryin'/She was born in Hell
EXTD='s Kitchen and I was livin' down the line/I've been lookin' for h
EXTD=er even clear through Tennessee." The drums shuffle with brushes,
EXTD= the piano is pumping like Jerry Lee Lewis, the bass is popping, 
EXTD=and a slide guitar that feels like it's calling the late Michael 
EXTD=Bloomfield back from 1966 --  la Highway 61 Revisited -- slips i
EXTD=n and out of the ether like a ghost wanting to emerge in the fles
EXTD=h. Dylan's own choppy leads snarl in the break and he's letting h
EXTD=is blues fall down like rain: "Gonna raise me an army, some tough
EXTD= sons of bitches/I'll recruit my army from the orphanages/ I've b
EXTD=een to St. Herman's church and said my religious vows/I sucked th
EXTD=e milk out of a thousand cows/I got the pork chop, she got the pi
EXTD=e/She ain't no angel and neither am I...I did all I could/I did i
EXTD=t right there and then/I've already confessed I don't need to con
EXTD=fess again."\n\nThus begins the third part of Dylan's renaissance
EXTD= trilogy (thus far, y'all). Modern Times is raw; it feels live, i
EXTD=mmediate, and in places even shambolic. Rhythms slip, time stretc
EXTD=hes and turns back on itself, and lyrics are rushed to fit into v
EXTD=erses that just won't stop coming. Dylan produced the set himself
EXTD= under his Jack Frost moniker. Its songs are humorous and cryptic
EXTD=, tender and snarling. What's he saying? We don't need to concern
EXTD= ourselves with that any more than we had to Willie Dixon talking
EXTD= about backdoor men or Elmore James dusting his broom. Dylan's bl
EXTD=ues are primitive and impure. Though performed by a crackerjack b
EXTD=and, they're played with fury; the singer wrestles down musical h
EXTD=istory as he spits in the eye of the modern world. But blues isn'
EXTD=t the only music here. There are parlor songs such as "Spirit on 
EXTD=the Water," where love is as heavenly and earthly a thing as exis
EXTD=ts in this life. The band swings gently and carefree, with Denny 
EXTD=Freeman and Stu Kimball playing slippery -- and sometimes sloppy 
EXTD=-- jazz chords as Tony Garnier's bass and George Receli's sputter
EXTD=ing snare walk the beat. Another, "When the Deal Goes Down," temp
EXTD=ts the listener into thinking that Dylan is aping Bing Crosby in 
EXTD=his gravelly, snake-rattle voice. True, he's an unabashed fan of 
EXTD=the old arch mean-hearted crooner. But it just ain't Bing, becaus
EXTD=e it's got that true old-time swing. \n\nDylan's singing style in
EXTD= these songs comes from the great blues and jazzman Lonnie Johnso
EXTD=n (whose version of the Grosz and Coslow standard "Tomorrow Night
EXTD=" he's been playing for years in his live set). If you need furth
EXTD=er proof, look to Johnson's last recordings done in the late '50s
EXTD= and early '60s ("I Found a Dream" and "I'll Get Along Somehow"),
EXTD= or go all the way back to the early years for "Secret Emotions,"
EXTD= and "In Love Again," cut in 1940. It is in these songs where you
EXTD= will find the heart of Dylan's sweet song ambition and also that
EXTD= unique phrasing that makes him one of the greatest blues singers
EXTD= and interpreters ever. Dylan evokes Muddy Waters in "Rollin' and
EXTD= Tumblin." He swipes the riff, the title, the tune itself, and us
EXTD=es some of the words and adds a whole bunch of his own. Same with
EXTD= his use of Sleepy John Estes in "Someday Baby".. Those who think
EXTD= Dylan merely plagiarizes miss the point. Dylan is a folk musicia
EXTD=n; he uses American folk forms such as blues, rock, gospel, and R
EXTD=&B as well as lyrics, licks, and/or whatever else he can to get a
EXTD= song across. This tradition of borrowing and retelling goes back
EXTD= to the beginning of song and story. Even the title of Modern Tim
EXTD=es is a wink-eye reference to a film by Charlie Chaplin. It doesn
EXTD='t make Dylan less; it makes him more, because he contains all of
EXTD= these songs within himself. By his use of them, he adds to their
EXTD= secret histories and labyrinthine legends. Besides, he's been ar
EXTD=ound long enough to do anything he damn well pleases and has been
EXTD= doing so since the beginning.\n\nModern Times expresses emotions
EXTD= and comments upon everything from love ("When the Deal Goes Down
EXTD=," "Beyond the Horizon") to mortality ("The Levee's Gonna Break,"
EXTD= "Ain't Talkin") to the state of the world -- check "Workingman's
EXTD= Blues #2," where Dylan sings gently about the "buyin' power of t
EXTD=he proletariat's gone down/Money's getting shallow and weak...the
EXTD=y say low wages are reality if we want to compete abroad." But in
EXTD= the next breath he's put his "cruel weapons on the shelf" and in
EXTD=vites his beloved to sit on his knee. It's a poignant midtempo ba
EXTD=llad that walks the line between the topical songs of Cisco Houst
EXTD=on and Woody Guthrie to the love songs of Stephen Foster and Lead
EXTD=belly. One can feel both darkness and light struggling inside the
EXTD= singer for dominance. But in his carnal and spiritual imagery an
EXTD=d rakish honesty, he doesn't give in to either side and walks the
EXTD= hardest path -- the "long road down" to his own destiny. This is
EXTD= a storyteller, a pilgrim who's seen it all; he's found it all wa
EXTD=nting; he's found some infinitesimal take on the truth that he's 
EXTD=holding on to with a vengeance. In the midst of changes that are 
EXTD=foreboding, Modern Times is the sound of an ambivalent Psalter co
EXTD=ming in from the storm, dirty, bloodied, but laughing at himself 
EXTD=-- because he knows nobody will believe him anyway. \n\nDylan dig
EXTD=s deep into the pocket of American song past in "Nettie Moore," a
EXTD= 19th century tune from which he borrowed the title, the partial 
EXTD=melody, and first line of its chorus. He also uses words by W.C. 
EXTD=Handy and Robert Johnson as he extends the meaning of the tome by
EXTD= adding his own metaphorical images and wry observations. However
EXTD=, even as the song is from antiquity, it's full of the rest of Mo
EXTD=dern Times bemusement. "The Levee's Gonna Break" shakes and shimm
EXTD=ies as it warns about the coming catastrophe. Coming as it does o
EXTD=n the anniversary of Hurricane Katrina, it's a particularly poign
EXTD=ant number that reveals apocalypse and redemption and rails on th
EXTD=e greedy and powerful as it parties in the gutter. There are no s
EXTD=acred cows -- when Dylan evokes Carl Perkins' exhortation to put 
EXTD="your cat clothes on," it's hard not to stomp around maniacally e
EXTD=ven as you feel his righteousness come through. The great irony i
EXTD=s in the final track, "Ain't Talkin'," where a lonesome fiddle, p
EXTD=iano, and hand percussion spill out a gypsy ballad that states a 
EXTD=yearning, that amounts to an unsatisfied spiritual hunger. The pi
EXTD=lgrim wanders, walks, and aspires to do good unto others, though 
EXTD=he falters often -- he sometimes even wants to commit homicide. I
EXTD=t's all part of the "trawl" of living in the world today. Dylan's
EXTD= simmering growl adds a sense of apprehension, of whistling throu
EXTD=gh the graveyard, with determination to get to he knows not where
EXTD= -- supposedly it's the other side of the world. The guitar inter
EXTD=play with the fiddle comes through loud and clear in the bittersw
EXTD=eet tune. It's like how "Beyond the Horizon" uses gypsy melodies 
EXTD=and swing to tenderly underscore the seriousness in the words. It
EXTD= sends the album off with a wry sense of foreboding. This pilgrim
EXTD= is sticking to the only thing he knows is solid -- the motion of
EXTD= his feet.\n\nModern Times portrays a new weird America, even str
EXTD=anger than the old one, because it's merely part of a world consu
EXTD=med by insanity. In these ten songs, bawdy joy, restless heartach
EXTD=e, a wild sense of humor, and bottomless sadness all coexist and 
EXTD=inform one another as a warning and celebration of this precious 
EXTD=human life while wondering openly about what comes after. This wo
EXTD=rld view is expressed through musical and lyrical forms that are 
EXTD=threatened with extinction: old rickety blues that still pack an 
EXTD=electrically charged wallop, porch and parlor tunes, and pop ball
EXTD=ads that could easily have come straight from the 1930s via the 1
EXTD=890s, but it also wails and roars the blues. Modern Times is the 
EXTD=work of a professional mythmaker, a back-alley magician, and a pr
EXTD=ophetic creator of mischief. He knows his characters because he's
EXTD= been them all and can turn them all inside out in song: the road
EXTD=-worn holy man who's also a thief; the tender-hearted lover who l
EXTD=oves to brawl; the poetic sage who's also a pickpocket; and the E
EXTD=veryman who embodies them all and just wants to get on with it. O
EXTD=n Modern Times, all bets are off as to who finishes the race dead
EXTD= last, because that's the most interesting place to be: "Meet me 
EXTD=at the bottom, don't lag behind/Bring me my boots and shoes/You c
EXTD=an hang back or fight your best on the frontline/Sing a little bi
EXTD=t of these workingman blues." There is nothing so intriguing as c
EXTD=ontradiction and Dylan offers it with knowing laughter and tears,
EXTD= because in his songs he displays that they are both sides of the
EXTD= same coin and he never waffles, because he's on the other side o
EXTD=f the looking glass. Modern Times is the work of an untamed artis
EXTD=t who, as he grows older, sees mortality as something to accept b
EXTD=ut not bow down to, the sound that refuses to surrender to corrup
EXTD=tion of the soul and spirit. It's more than a compelling listen; 
EXTD=it's a convincing one.  -- Thom Jurek\n\nAmazon.com Editorial Rev
EXTD=iew\nAt a time when the majority of those his age are drifting in
EXTD=to retirement, 65-year-old Bob Dylan has put the capper on a thre
EXTD=e-record run that ranks with the best in his storied, 44-album ca
EXTD=reer. Like Time Out of Mind and Love and Theft before it, Modern 
EXTD=Times is a rootsy, blues-soaked pool of the purest form of Americ
EXTD=ana--skipping the progressive bells or whistles for an understate
EXTD=d backing by his touring band. Dylan's voice, which cracks, rasps
EXTD= and moans from the pop singer's pulpit, hasn't been this rich an
EXTD=d emotive since 1976's Desire. And while his lyrics prolong his s
EXTD=teadfast allusions to a higher power and his own immortality, the
EXTD=y are not without the Dylan mirth, as when he sings of tracking p
EXTD=op queen Alicia Keys from Hell's Kitchen to Tennessee in "Thunder
EXTD= on the Mountain," the album's opener, which teams with "Someday 
EXTD=Baby" and "Rollin' and Tumblin'" (for which Dylan misguidedly cla
EXTD=ims writing credit) as the record's most fiery numbers. Still, it
EXTD='s the Dylan that tells of a slave-loving owner ("Nettie Moore"),
EXTD= brings New Orleans to the front burner ("The Levee's Gonna Break
EXTD=") and plays the part of an eloquent lounge singer ("Spirit on th
EXTD=e Water," "When the Deal Goes Down" and "Beyond the Horizon") tha
EXTD=t makes Modern Times sound just like old times. --Scott Holter \n
EXTD=\nAmazon.com Product Description\nFirst new album in 5 years feat
EXTD=uring 10 new songs. Special limited edition deluxe package includ
EXTD=es: Book style package Expanded booklet with never-before-seen ph
EXTD=otographs Bonus DVD including videos for: "Cold Irons Bound" (Sho
EXTD=t live on the film soundstage during the making of the film Maske
EXTD=d and Anonymous) "Blood In My Eyes" "Things Have Changed" "Love S
EXTD=ick" (From The Grammy Awards). \n\nHalf.com Details \nProducer: J
EXTD=ack Frost \n\nAlbum Notes\nPersonnel: Bob Dylan (vocals, guitar, 
EXTD=harmonica, piano); Denny Freeman, Stu Kimball (guitar); Donnie He
EXTD=rron (steel guitar, mandolin, violin, viola); Tony Garnier (cello
EXTD=, acoustic bass); George G. Receli (drums, percussion).\n\nIt's a
EXTD=rguable that at no point since his 1960s heyday has Bob Dylan bee
EXTD=n as celebrated as in the decade following his critically acclaim
EXTD=ed 1997 album TIME OUT OF MIND. Numerous films, books, and albums
EXTD=--mostly Columbia's impressive archive series of reissues--have b
EXTD=een part of a universal canonization of the singer and met with c
EXTD=onsiderable enthusiasm by fans and critics alike. 2006's MODERN T
EXTD=IMES, the third album to have been released in nearly 10 years an
EXTD=d part of a trilogy that also includes 2001's brilliant and upbea
EXTD=t LOVE AND THEFT, is easily deserving of such enthusiasm and is f
EXTD=urther reason for the formal veneration.\nMusically, the album fi
EXTD=nds Dylan once again mining the stately traditionalist sound firs
EXTD=t heard on LOVE AND THEFT. Lazy blues numbers, piano-based songbo
EXTD=ok pop, and jumpin' country swing provide the backdrop for Dylan'
EXTD=s continuing study of the vicissitudes of life, love, and death. 
EXTD=Although he is certainly world-weary, a lot of life is lived in t
EXTD=he verses of these songs and there is a dogged spirituality that 
EXTD=provides, if not hope (a rather prosaic notion for Dylan by this 
EXTD=point, to be sure), at least a means to finding contentment. Fina
EXTD=lly, a word about Dylan's voice here: while his singing has alway
EXTD=s been unconventional and never pretty in any traditional sense, 
EXTD=in its raspy magnificence it is simply perfect for this timeless 
EXTD=music.\n\n\nAMAZON.COM CUSTOMER REVIEW\nPlay it again, Bob, Septe
EXTD=mber 17, 2006 \nBy  James Ferguson (Vilnius, Lithuania)\nDylan se
EXTD=rves up another memorable musical feast. However, there isn't muc
EXTD=h that is modern here except the title. Dylan samples from a broa
EXTD=d range of music from honky tonk to late 70's folk music, remindi
EXTD=ng us as much about his past as those of others. I'm sure everyon
EXTD=e has heard about the Timrod lines, but Dylan also draws on tradi
EXTD=tional blues songs like "When the Levee Breaks" and late 70's fol
EXTD=k songs like "Romeo's Tune," by Steve Forbert, which underscores 
EXTD="Workingman Blues." The controversy isn't so much in the sampling
EXTD=, but rather that Bob didn't credit anyone except himself for the
EXTD= music and lyrics. Some have gone so far as to suggest that "Mode
EXTD=rn Times" is an anagram for "Timrod semen," but I think the title
EXTD= is more a wry wink at the contemporary music scene. \n\nThe song
EXTD=s do sound fresh with a sterling band that gives the album the fe
EXTD=el of a jam session, with Dylan's assertive voice firmly in contr
EXTD=ol. The album and DVD, which is little more than a promo disc, ar
EXTD=e nicely packaged in the style of an old album book like your par
EXTD=ents used to have. One only gets to see Bob jam on "Love Sick" an
EXTD=d "Cold Irons Bound." I would have liked to see some liner notes 
EXTD=in this little booklet, but all we are treated to are some Claxto
EXTD=n photographs of a scowling Bob and the band. Regardless of your 
EXTD=feelings on the lack of credits in this recording, the music is r
EXTD=ock solid and illustrates once again that Bob Dylan is a towering
EXTD= force in the music industry. \n\n\nAMAZON.COM CUSTOMER REVIEW\nB
EXTD=rilliant, September 16, 2006 \nBy  Peter Murphy\n"Modern Times" i
EXTD=s astonishing. It bears repeated listening, and each time reveals
EXTD= something more of its depth. I have most of the Dylan catalogue,
EXTD= and I cant think of a better album of his, even "Blonde on Blond
EXTD=e", "Blood on the Tracks", et. al. The quality of "Modern Times" 
EXTD=is sustained across the entirety of the work, the poetic language
EXTD= is mature, dark and dramatic, the music is resonant and filled w
EXTD=ith the echoes of endless American musics. The title is perfect i
EXTD=rony. Here is a musical classicism of an age-old, ageless America
EXTD=, that like Dylan's voice croaks with antiquity and yet is timele
EXTD=ss. The underlay of the tracks is peppered with what might be sni
EXTD=ppets of music from the 1920s, the 1940s, the Civil War, the 1950
EXTD=s, and yet which hover outside of time in a Platonic realm of mus
EXTD=ical recollection where time is effaced by a glimpse of the trans
EXTD=cendental, not unlike what Charles Ives, another great American m
EXTD=aster, acheived. In short, brilliant. \n\n\nAMAZON.COM CUSTOMER R
EXTD=EVIEW\nThe Bottom Line, August 30, 2006 \nBy  PitbullBob1 "Pitbul
EXTD=lBob1" (Florida)\nThis just isn't nearly as good as Time Out Of M
EXTD=ind. These songs don't carry that much melody, and there's no coo
EXTD=l production effects by Daniel Lanois, since he's MIA. Just Dylan
EXTD= going through the same old motions, much as he did during the 19
EXTD=80s. This is not a 1-2-3 punch (following Time Out Of Mind, and "
EXTD=Love And Theft," which was released on 9/11), it's just Dylan fil
EXTD=ling out his contract obligations. FIVE years we've been waiting 
EXTD=for this? I expected much better. Also, his voice sounds particul
EXTD=arly raspy here. I thought this album was kind of boring, since t
EXTD=here is not one standout song here. Better luck next time, Bob. \n
EXTD=\n\nAMAZON.COM CUSTOMER REVIEW\nJack Frost's Old Time Radio Hour,
EXTD= August 30, 2006 \nBy  Christopher Bushman (Portland, OR USA)\nMo
EXTD=dern Times is a very good Bob Dylan record that fits nicely into 
EXTD=the current "Social Security Renaissance" phase of his career. Th
EXTD=e record company and lots of critics have been calling it part th
EXTD=ree of a trilogy that began with Time Out of Mind and continued w
EXTD=ith Love And Theft but I would suggest that the latter two enjoy 
EXTD=a much closer connection with Good As I Been To You and World Gon
EXTD=e Wrong, his early '90's revisit of the folk songs that lit his f
EXTD=ire in the first place. I guess this theory makes Modern Times th
EXTD=e last block in a quad. \n\nTime Out Of Mind shares with its two 
EXTD=subsequent neighbors in the Dylan discography a return to exquisi
EXTD=te song craft, stunning lyrics and passionate musicianship that w
EXTD=ere sorely lacking from the hit and miss affairs of the eighties.
EXTD= However, the atmospheric production and small army of master mus
EXTD=icians playing on it tie it much more closely to the other Daniel
EXTD= Lanois produced highlight of the catalog, 1989's Oh Mercy. \n\nW
EXTD=hen the back to back folk-cover releases, Good As I Been To You a
EXTD=nd World Gone Wrong dropped in the early 90's after the uninspire
EXTD=d Under The Red Sky, it looked like a retrenchment for an artist 
EXTD=who had run out of inspiration. Who knew that by revisiting his r
EXTD=oots, he would re-ignite a blast of inspired creativity that cont
EXTD=inues to inform and inspire his work to this day? \n\nAs other re
EXTD=viewers have noted, Modern Times is very much Love and Theft Part
EXTD= II, which is no bad thing. Both records draw on traditional folk
EXTD= and blues melodic and thematic forms but emerge as a Dylanized h
EXTD=ybrid that sits comfortably beside his best work. \nIn addition t
EXTD=o the invigorated songwriting and the no-frills Jack Fate product
EXTD=ion a major key to the success of these two albums is that they w
EXTD=ere recorded by Dylan's Never Ending Tour band. Instead of his us
EXTD=ual method of hiring a band of studio aces supported by superstar
EXTD= guest appearances, the guys playing on these records are the sam
EXTD=e cohesive unit blazing away with him night after night in arenas
EXTD=, theaters and baseball parks. This provides a sympathetic founda
EXTD=tion that he has not enjoyed since his collaborations with The Ba
EXTD=nd. Ironically, as the Never Ending Tour band continues to evolve
EXTD=, bassist and musical director Tony Garnier is the only link betw
EXTD=een the two groups that made these records. \n\nLike Love and The
EXTD=ft, the songs on Modern Times are a mix of familiar song forms. T
EXTD=here are roots-rockin' / bluesy rockers Thunder on the Mountain, 
EXTD=Rollin' and Tumblin', Someday Baby and The Levee's Gonna Break. O
EXTD=ld Timey Waltzes Spirit On The Water and Beyond the Horizon as we
EXTD=ll as a straight ballad, When the Deal goes Down. There are also 
EXTD=tunes that I think of as Dylan-esque (for lack of a better term) 
EXTD=and these are probably my favorites: Ain't Talkin', Nettie Moore 
EXTD=and Workingmans Blues #2. In Fact, Ain't Talkin' may be the knock
EXTD=out Dylan classic of the whole album. \n\nAlthough quite good, Mo
EXTD=dern Times is a little softer, a little less rockin' that Love an
EXTD=d Theft and I wonder if this is not partly due to the absence of 
EXTD=Charlie Sexton. Charlie Sexton is such a consummate rocker and I 
EXTD=think his much lamented departure from the touring band spills ov
EXTD=er into the studio. The rockers on Modern Times are good but neve
EXTD=r quite achieve lift off. Watch the Cold Iron Bounds video presen
EXTD=ted here for a taste of the rock bite this band was unable to pro
EXTD=vide. \n\nFinally one minor complaint: The record company is char
EXTD=ging quite a bit extra for this deluxe edition, and I think it wo
EXTD=uld have been very appropriate to load the bonus DVD up with more
EXTD= than four videos. High on my personal wish list is a complete ve
EXTD=rsion of the smokin' Drifter's Escape from the Masked and Anonymo
EXTD=us movie. \n\n\nAMAZON.COM CUSTOMER REVIEW\nThe Best of Times! , 
EXTD=August 30, 2006 \nBy  Dr. Emil Shuffhausen (Central Gulf Coast)\n
EXTD=No one will ever confuse Bob Dylan's voice with that of Pavorotti
EXTD= or even the voice of his Traveling Wilbury "brother," Roy Orbiso
EXTD=n. But, like another Wilbury "brother," Tom Petty, the brilliant 
EXTD=Dylan just keeps on getting better with age, as proven by his lat
EXTD=est release, MODERN TIMES. Please allow me to briefly elucidate..
EXTD=.. \n\nOVERVIEW \n\nThe past few months have seen some amazing ne
EXTD=w music from some of our finest and most seasoned musicians. Mark
EXTD= Knopfler and Emmylou Harris served up the sweet ALL THE ROADRUNN
EXTD=ING while Bruce Springsteen got folky with WE SHALL OVERCOME: THE
EXTD= SEEGER SESSIONS. Then, the late Johnny Cash's AMERICAN V: A HUND
EXTD=RED HIGHWAYS reminded us once more of the titanic loss we experie
EXTD=nced at his passing, while songwriter supreme Paul Simon served u
EXTD=p a fresh batch of electronica/folk with SURPRISE. Most recently,
EXTD= there is the stellar aforementioned Tom Petty project, HIGHWAY C
EXTD=OMPANION. Now comes the maestro, Bob Dylan, with a set of songs t
EXTD=hat rivals his finest work. This is a good time to be a music fan
EXTD=! \n\nThis Dylan album is a trip through many various musical sty
EXTD=les and eras, but it is not a sentimental journey by any means. B
EXTD=ob Dylan covers a little bit of rockabilly, some jazzy folk, blue
EXTD=sy country, and even some ragtime...perhaps inventing a whole new
EXTD= genre of music in the process--call it "Gypsy Cowboy" or "Punk J
EXTD=azz"--whatever it is, it is moving and revelatory; and, behind so
EXTD=me pointed observations, there is more than a hint of Dylan's tra
EXTD=demark wry humor. \n\nTHE SONGS \n\nAs he has on his most recent 
EXTD=two studio albums, TIME OUT OF MIND and LOVE AND THEFT, Dylan coo
EXTD=ks up a batch of rich stories, vignettes, and vibes that rank nea
EXTD=r or at the top of his rich canon of material. "Thunder on the Mo
EXTD=untain" comes out of the gate rocking and swinging, name dropping
EXTD= Alicia Keys and covering the gamut of human emotions. "Spirit on
EXTD= the Water" is a shuffle featuring Dylan's croaky crooning to fin
EXTD=e effect. Bob gets fiesty and colorful in the rollicking "Rollin'
EXTD= and Tumblin,'" which introduces us to a somewhat crazy cast of c
EXTD=haracters. \n\n"When the Deal Goes Down" is a touching waltz, whi
EXTD=le "Someday Baby" is a blues workout. Few, if any, can do authent
EXTD=ic "Dust Bowl" folk/blues better than Dylan does on "Workingman's
EXTD= Blues #2," although Merle Haggard (a clear inspiration for this 
EXTD=song) might come close. "Beyond the Horizon" is a very smooth, ho
EXTD=peful jazz number (given added poignancy when paired with Dylan's
EXTD= rustic voice). \n\nThe closing troika of tunes is breathtaking. 
EXTD=First up is "Nettie Moore," is absolute vintage Dylan with it's w
EXTD=ildly off-kilter-yet-perfect phrasing over the top of a lovely me
EXTD=lody. Then, just in time for the anniversary of Hurricane Katrina
EXTD=, Bob serves up the stream of consciousness blues meditation, "Th
EXTD=e Levee's Gonna Break," which is about so much more than floods o
EXTD=r politics. The album closes with Dylan growling on "Ain't Talkin
EXTD='," which is both spooky and bracing...one can't blame him for so
EXTD=unding cranky, given that he claims to have "a toothache in my he
EXTD=el"--truly a bane to one given to wandering! \n\nRECOMMENDATION \n
EXTD=\nIf you haven't yet picked up this CD, don't waste any more time
EXTD=. A new Bob Dylan album is always an event, and this one is truly
EXTD= special. It's both timeless and timely, standing up proud and ta
EXTD=ll next to his finest works such as BLONDE ON BLONDE, HIGHWAY 61 
EXTD=REVISITED, OH MERCY, and his most recent albums TIME OUT OF MIND 
EXTD=and LOVE AND THEFT. \n\nThis DELUXE EDITION WITH BONUS DVD is rea
EXTD=lly the edition you want to own, thanks to fine packaging and a t
EXTD=opnotch, highly interesting collection of music videos and perfor
EXTD=mances by Bob Dylan. \n\nCLOSING THOUGHT FROM THE MAN HIMSELF \n\n
EXTD=Bob Dylan recently made this powerful observation about the curre
EXTD=nt state of radio music: "The beat stuff people play, that's abou
EXTD=t as far away from real rythmn as the sun is from the moon. Those
EXTD= beats make people pose, but they don't make people move or chang
EXTD=e their lives." Bob Dylan is still a man on the move, with the po
EXTD=wer to move his listeners--more than 40 years after bursting onto
EXTD= the scene in Greenwich Village. Check it out! 
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