The Times They Are A-Changin' (Alternate version from 1963)
I Was Young When I Left Home (Previously unreleased from 1961)
When we last left the ever-confounding saga that is Bob Dylan's now-superhuman recording career, he'd reunited with producer Daniel Lanois, with whom he cut 1997's Time Out of Mind, his most coherent and appealing collecti... more »on in nearly a decade. Now the still-reigning prince of musical contrariety and potent wordplay is back with his most focused, well-played collection since 1989's Oh Mercy, another Lanois production. One listen to the fade-in of the opener "Tweedle Dee & Tweedle Dum" and it's clear that all Dylan's roadwork has shaped him and his band (including guitarist Charlie Sexton) into a mighty musical weapon. And while his craggy howl continues to resonate, it's the songs here that astonish. A sturdy midtempo melody makes "Mississippi" the equal of the best numbers on Time, which it was actually written for. He convincingly puts over the R&B swing (yes, swing) number "Summer Days." "Honest with Me" ("I'm not sorry for nuthin' I've done / I'm glad I fight, I only wished we'd won") is a driving rocker that packs a genuine punch. And the light, lounge-like "Bye and Bye" and the southland ramble "Floater (Too Much to Ask)" show extraordinary confidence. He's labeled these songs "blues-based," but in typical Dylan fashion what would promise to be the most overtly blues number here--"High Water (for Charlie Patton)"--sounds like a banjo-based gunfighter ballad. But then that's this artist's gift: confounding expectations. --Robert Baird« less
When we last left the ever-confounding saga that is Bob Dylan's now-superhuman recording career, he'd reunited with producer Daniel Lanois, with whom he cut 1997's Time Out of Mind, his most coherent and appealing collection in nearly a decade. Now the still-reigning prince of musical contrariety and potent wordplay is back with his most focused, well-played collection since 1989's Oh Mercy, another Lanois production. One listen to the fade-in of the opener "Tweedle Dee & Tweedle Dum" and it's clear that all Dylan's roadwork has shaped him and his band (including guitarist Charlie Sexton) into a mighty musical weapon. And while his craggy howl continues to resonate, it's the songs here that astonish. A sturdy midtempo melody makes "Mississippi" the equal of the best numbers on Time, which it was actually written for. He convincingly puts over the R&B swing (yes, swing) number "Summer Days." "Honest with Me" ("I'm not sorry for nuthin' I've done / I'm glad I fight, I only wished we'd won") is a driving rocker that packs a genuine punch. And the light, lounge-like "Bye and Bye" and the southland ramble "Floater (Too Much to Ask)" show extraordinary confidence. He's labeled these songs "blues-based," but in typical Dylan fashion what would promise to be the most overtly blues number here--"High Water (for Charlie Patton)"--sounds like a banjo-based gunfighter ballad. But then that's this artist's gift: confounding expectations. --Robert Baird
Cassandra L. from KENDALL, NY Reviewed on 6/2/2010...
I have only read about Bob Dylan. His music is very different.
CD Reviews
Nothing less than a masterpiece
Denny Angelle | Richmond, Texas United States | 09/11/2001
(5 out of 5 stars)
"With this latest, mighty effort Bob Dylan blows away all the pretenders who have been populating the upper reaches of the "Billboard" charts and selling us sham pop music. Now THIS is real music -- it would be a shame if only Dylan fanatics and old fogies are the only ones to listen.On first spin, "Love and Theft" seems like a spiritual cousin to the top-selling soundtrack of "O Brother Where Art Thou?" in that they both concern themselves with "old-timey" but mostly American forms of music. Dylan offers blues ruminations and Tin Pan Alley tunes and -- driving the toughest, tightest band he's fielded in years -- takes us on a whirlwind tour of American musical styles with pit stops along Highway 61 and Desolation Row.This album is so rich and deep it's hard to single out one tune. "Mississippi," a mid-tempo meditation, wouldn't have been out of place on "Time Out of Mind." "Honest With Me" rocks like the old days, and "Summer Days" is a slap of honest-to-gosh rockabilly.
And don't be fooled by the somber subject matter of Dylan's recent work -- "Love and Theft" is the funniest Dylan album ever. "Po'Boy" even has a sort of knock-knock joke.Some copies come with a second CD, with two previously unreleased early Dylan songs. "I Was Young When I Left Home," cut in 1961, is Bob's version of an old folk song and the other tune is a somber, quietly sung alternate take of "The Times They Are A' Changin'." I get a weird feeling listening to this song, today (the day of the CD's release) while watching the news from New York and Washington. Dylan has always been rather prescient, but ...In short, this is classy, absolutely assured rock music from the form's greatest practitioner. "Love and Theft" is assuredly the year's best CD. Highly recommended."
Yes, this is Dylan painting his "newest" Masterpiece
Ian C. Cunningham | OZ, United States | 09/11/2001
(5 out of 5 stars)
"As a person who came to Bob Dylan's music later than some. It has now been 20 years + for me. I own everything he's released. Some I dislike and/or are bemused by what I heard...at first listening.
Thus, was not the case with "Love and Theft".
Bob's most riveting and finest "produced" work in the past 20+ years has been arguably through the creative sonic visual genius of Daniel Lanois. These albums, "Oh Mercy" and "Time out of Mind" resulted in a remarkable body of subsequent performances with again, arguably the best band Bob Dylan has ever shared a stage with.
This band and Bob's stellar songwriting and production work (yes folks, Jack Frost is Bob Dylan)has made this Bob Dylan's own individual vision fulfilled or at the very least tapped into. A development and sound that is a continuing Pheonix in Bob's career, This is Bob Dylan's Masterpiece that he spoke of that first time in the basement in Saugerties, NY.
I believe after several listening's into "Love and Theft". Fans, New and Old will be moved for as long as anyone has been since they first heard Subterranean Homesick Blues.
As a Bonus, in this Special edition you get two song, One I had only heard Bob sing on tape in a Hotel Room in 1961 as an import. It is a beautiful piece of Bob interpretation.
Times they are a-changin'(alternate version) is like an old friend with a slightly different vibe but, with no loss to it's greatness of idea, arrangement and performance.
Enjoy this music from a man who knows the truth's and lived a life. Many lives really. He is so deep rooted in being human and to living in the present. This is Bob Dylan. In his most accomplished and contemporary reinvention."
How much more can we hope for?
Scott M. Rex | Ashland, OR United States | 10/01/2001
(5 out of 5 stars)
"Look at what this man has done in the past 12 years: the wonderful "Oh, Mercy," two stunning, traditional folk albums (including a Grammy for "World Gone Wrong"), the mesmerizing "Bootleg Series," "Live '66" capturing one of the most important moments in 20th century music, an Academy Award for "Things Have Changed," a nomination for the Nobel Prize in Literature, a Kennedy Center Award, a Grammy for the haunting "Time Out of Mind," and now the classic "Love and Theft"!! Suddenly, Bob Dylan is the most accomplished artist of the past decade. He did it from the age of 20-30, and he's done it again from the age of 50-60. I hope everyone understands our great fortune in witnessing Bob Dylan's incomprehensible genius. After all he's done, how does he find something different?! "Mississippi" is as good as anything anyone has ever written, and this album would receive four stars if it contained "Mississippi" and a host of marginal songs. However, there is not a single "good" song here -- they are all astonishing. We had no right to expect anything of this magnitude from Dylan. But thank God he once again exceeded everyone's expectations."
A Masterwork for a Dark Age
James Williamson | Omaha | 09/15/2001
(5 out of 5 stars)
"No, this isn't Dylan's most personal (that would be Blood on the Tracks) his most energetic (Live 1966) or mysterious (The Basement Tapes or perhaps Time Out of Mind), but Love and Theft's twelve songs show Dylan at his most varied, in an astonishing mix of electric and country blues, twenties pop, fifties rhythm and blues, and sixties Highway 61-style rock, all performed with a maturity and humor that carries the music to the highest level.Love and Theft is Dylan's first album recorded with his current touring band, certainly the finest he's worked with since The Band. This is the first great rock record of the decade.It's worth mentioning that the limited edition contains two tracks recorded in '61 and '63, "I Was Young When I Left Home," and "The Times They Are A-Changin'" (an alternate take), well worth the few extra dollars. If you care about Dylan at all, this one's essential.Thanks, Bob. I needed it."
He's Back!
James Leatherbarrow | Kent, OH United States | 10/05/2001
(5 out of 5 stars)
"Well it finally happened! For the first time since the heady days of the '70s Bob Dylan has managed to release 2 consecutive good albums! Back in the 80s the finest albums, Infidels and Oh Mercy, were seperated by some pretty poor material (Down in the Groove, anyone?). Then, after Oh Mercy everything went wrong again. Under the Red Sky was a mediocre start to the 90s, and things got worse. Then suddenly in 1998 he released the superb Time Out of Mind. Arguably his finest album since Desire. The world waited with baited breath for Dylan to ruin his new-found respect with another album of folk "classics" like Froggy Went a Courting. But no! Love and Theft is a truly great album. If it lacks the gritty roughness of Time Out of Mind it more than makes up for it in melodic content! Mississippi is, as everyone says, a great tune! On Moonlight (and you really have to hear this to believe it) Dylan actually tries to croon! All the great American styles are present on this album, including a good dose of earthy 12-bar blues! On first playing I was convinced after the first 11 tracks that this was a Dylan classic. Then I heard the last track "Sugar Baby". It made my toes curl! "Sugar Baby" is a beautiful and haunting song! Perhaps his finest closing song on an album since "Sara" closed Desire over 25 years ago. He actually 'sings' on this album. And what a performance. His heart really seems to be in the music. Frankly, so is mine."