|Focus on... ...|
Dylan's `Love and Theft' evokes America
A joke? Perhaps. The album is filled with jokes, sly, backhanded jokes about being in love with a second cousin, or living in the same house with Samantha Brown for four or five months, "Don't know how it looked to other people, I never slept with her even once."
Or he jumps to the Hee-Haw school of comedy on the record: he's naked, "hunting bear;" he calls room service and says "send up the room;" he hears a knock, "Freddie or not, here I come."
In contrast to his '60s image of the pouting intellectual cynic, Dylan has been drawing groans and laughs for the last few years with these same type of jokes from the stage.
"I almost didn't make it tonight," he'll say, "had a flat tire, there was a fork in the road."
Or at a show at Illinois State University in Normal, Illinois, he said: "I can't believe I'm here. People always say that I'm a long way from normal."
On stage, Dylan looks like a 1920s undertaker or a farmer all dressed for a trip to town. And in an era when Beck is dropping from the sky in a huge bed, when Madonna (news - web sites) performs on a stage so elaborate she is reduced to a speck of sand, Dylan has no gimmicks.
He's just there with his band, Larry Campbell, Charlie Sexton, Tony Garnier and David Kemper, playing his music, winning his Grammy, his Oscar, finishing up the gig, moving on to the next town.
"I don't want to put on the mask of celebrity," he told the Mirror. "I'd rather just do my work and see it as a trade."
"Love and Theft" was recorded in just two weeks, giving it a bare bones, live sound.
Instead of the studio full of musicians employed for "Time Out of Mind," Dylan stuck with his road band, adding only Augie Meyers, the one-time Texas Tornado and Sir Douglas Quintet keyboard player.
And where "Time Our of Mind" was the story of aging and impending death, "Love and Theft" celebrates life in its many glints, with Dylan the wry observer, sometimes giddy, sometimes ironic, sometimes both.
The band is elastic, ripping through Carl Perkins-like rockabilly, Delta blues, Bob Wills' Western swing, and Sinatra-like pop. Dylan even steals from himself with a song, "Honest With Me," that echoes "Highway 61."
In "Highwater (For Charley Patton)" the country is flooded, the Mississippi has broken over the levee, and references come fast and furious, just like they do on stage when he revisits "Desolation Row" or "A Hard Rain's A-Gonna Fall" or "Tombstone Blues."
Big Joe Turner is there in the lyrics, along with Kansas City, Vicksburg, Clarksdale, Charles Darwin ("trapped out there on Highway 5"), Clarence Ashley's coo coo bird and Robert Johnson's "dust my broom," Fat Nancy and George Lewes. "Things are breakin' up out there, Highwater everywhere."
Each time a song sounds an alarm, another style comes drifting in, sometimes extolling the moonlight or the joys of a "sugar coated rhyme" or the simple pleasures of fishing for bullheads.
Dylan's audience has grown younger over the years, more of his crowds are filled with people under 30 looking for music less threatening than Blink182 and with more substance than Lil' Romeo.
As I stood in my kitchen this week listening to "Love and Theft," chopping mushrooms for a breakfast omelet, two teen-agers came by the house.
They stood for a moment outside the door, looking a little dreamy, swaying to the music of a gravel-voiced 60-year-old singer and his road band.
"Wow," the 15-year-old girl said. "That's really cool. Who is it, anyway?"
|.contact us |.about us|
|Copyright By chinadaily.com.cn. All rights reserved|