CD Odyssey Disc 908: Bob Dylan

After a couple of late nights out with friends I woke up today to my body reminding me that I’m no longer 20, and that I can’t pretend I am without some consequence.

I regret nothing. There’s plenty of time to sleep in the grave.

Disc 908 is….Infidels

Artist: Bob Dylan

Year of Release: 1983

What’s up with the Cover? Another Giant Head cover. Bob looks remarkably youthful here, more than twenty years after his first record was released.

How I Came To Know It: In recent years I’ve been trying to flesh out my Bob Dylan collection, and my friend Brennan recommended this one. He sent me a clip of “Sweetheart Like You” and I was convinced.

How It Stacks Up:  I have 19 Bob Dylan albums. “Infidels” is pretty awesome, but Bob Dylan has made a lot of awesome albums in his time. I’m going to slot “Infidels” in at #9, just behind “Another Side of Bob Dylan” (reviewed back at Disc 414) and just in front of “Bringing It All Back Home” (reviewed way back at Disc 159) – two classics.

Ratings: 4 stars

After three straight albums exploring his faith, “Infidels” brought Bob back to more secular interests. Not that I mind those faith albums, but it is good to have you back, Bob.

It is a glorious return, showcasing a softer more, more rounded sound in the production. Bob manages to avoid a lot of the synthesizer and drum machine mistakes that so many established artists were starting to try on for size around this time. Instead Dylan sticks to traditional arrangements and it pays off.

The album is significantly buoyed by the genius of Mark Knopfler’s guitar. His signature sound (and production assistance) are big parts of what makes “Infidels” a beautiful record. Knopfler’s guitar is instantly recognizable and his soft, full sound is a perfect counterpoint to Bob’s raspy delivery. Knopfler doesn’t dominate the songs, but his little flourishes here and there add colour and texture in just the right proportion.

Most of those great songs are on what us old rockers (and now young hipsters) refer to as “Side One.” The song that got me hooked on the album, “Sweetheart Like You” is an absolutely beautiful piece of work. On the surface it is a series of pick-up lines but just underneath it is a very intricate and subtle character study of a pretty woman who is outclassing the bar she’s in, but is obviously there for a reason. Bob lets the question as to why stay unanswered, and this unresolved quality is what keeps you coming back for more.

The other standout on Side One is “Neighbourhood Bully” which features an infectious mid-tempo guitar riff that gets down into your spine. The song is an unapologetic defence of Israel and an indictment of those who would deny its right to exist. Dylan does a good job of capturing the mindset of a nation with its back to the sea, surrounded by enemies. Whatever you think of the quagmire that is Middle East politics, this is a song worth hearing.

Dylan then takes it down again, with “License to Kill” which explores both the individual tragedy of a man who has been stripped of his empathy, and more generally our propensity as a species to destroy. The song’s melodic structure has a falling quality which casts a pall of sadness and hopelessness over the topic. Hey – music isn’t always sweetness and light, people!

Side Two doesn’t have the same quality song structure or thoughtful lyrics, but it is still pretty good. “Union Sundown” has Bob singing about our desire for cheap consumer goods, and how this impacts workers both at home and abroad. “I and I” has a bluesy groove which is beautiful, but I find the refrain of “I and I” to be an awkward phrase, that makes it hard for me to enjoy the song like I should.

The album ends with “Don’t Fall Apart on Me Tonight” which has strong influences from Knopfler. For this reason alone I should love it, but there is something about it that feels a little schmaltzy. It is probably Bob’s vocal delivery. It sounds like he is trying to channel seventies crooners like Curtis Mayfield or Marvin Gaye, and it just doesn’t work. Other than that, the song is brilliant and I would like to hear it redone by an actual crooner. I don’t usually get down on Bob’s voice, but here it is noticeable.

Musically “Infidels” is a strong start to what would become yet another phase of Bob Dylan’s ever changing style. This would eventually culminate in the brilliant “Oh Mercy” (reviewed at Disc 843). While it doesn’t achieve that level of excellence, “Infidels” gets that journey off to a strong start.

Best tracks:  Jokerman, Sweetheart Like You, Neighbourhood Bully, License to Kill