Compare Offers on Amazon
Time Out of Mind
|Price:||CDN$ 12.15 & FREE Shipping on orders over CDN$ 25. Details|
Frequently Bought Together
Customers Who Bought This Item Also Bought
|1. Love Sick|
|2. Dirt Road Blues|
|3. Standing In The Doorway|
|4. Million Miles|
|5. Tryin' To Get To Heaven|
|6. 'Til I Fell In Love With You|
|7. Not Dark Yet|
|8. Cold Irons Bound|
|9. Make You Feel My Love|
|10. Can't Wait|
What a comeback! Bob's first set of new songs in seven years won three Grammys and hit the Top 10 with these deeply emotional, confessional songs: Love Sick; Dirt Road Blues; Million Miles; Not Dark Yet; Cold Irons Bound; Tryin' to Get to Heaven , and more.
At the beginning of Time Out of Mind, Bob Dylan finds himself in the same dead-day world as on 1964's "One Too Many Mornings." By now, though, he can't be bothered to romanticize the street and the distant dogs' barking; he can only moan about how sick he is of love, of himself. Saying it seems to give him the strength to go on, and go on he does, over 11 songs that are among his most plainspoken and musically eloquent. The reconstituted bottle-blues that sparked the early '90s acoustic masterpieces Good As I Been to You and World Gone Wrong carries over to Daniel Lanois's carefully dirty production and a groove that tops anything Dylan's done in a studio since, at least, Blood on the Tracks. No matter how lousy he feels, this is the work of a mighty, mighty man. --Rickey Wright
What Other Items Do Customers Buy After Viewing This Item?
Most Helpful Customer Reviews on Amazon.com (beta)
Daniel Lanois's production adds an ambient feeling to the album. Its a mixed bag: For the ballads (which tend to be the odd numbered tracks), the ambient touch gives the songs a certain distance that really emphasizes the loss and the sorrow in the lyrics. It helps these songs immensely. For the improv blues tracks (which tend to be the even numbered tracks), I'm not so sure that a more forward production would've been more beneficial, to give the production a rawer feeling. Irregardless, to me, it's not enough of a distraction to seperate the listener from the lyrics. Some listeners may view this differently.
I'm a big fan of blues in itself; what Bob Dylan has done with this album is amazing, if you look at it from a blues angle. The album is NOT very folk-rock oriented; if you come into this album expecting "Highway 61 Revisited", you are probably going to be disappointed. In my opinion this album is best appreciated with repeated listenings. You will then appreciate what its got: simple lyrics and simple music that produce a powerful impact. A masterpiece of a different kind, proving that Bob Dylan is incredibly talented at writing music from the heart, even 30 years after he began.
Dylan sings with the blues-soaked intensity of a late-night confessional, the architecture of which can be credited to Daniel Lanois' clean and reverentially hushed production. Virtually every track is an exercise in hard living and the settling of emotional accounts. Standouts such as "Dirt Road, "Cold Irons Bound" and "Not Dark Yet" are among Dylan's most haunting and affecting efforts.
As he is occasionally wont to do, Dylan sprinkles in a couple of throwaway numbers; these do not serve to detract from the album so much as to illuminate the extraordinary depth of the other songs, such as "Highlands," a 16-and-a-half-minute talking blues that closes the release and finds Dylan surveying his own charred emotional landscape.
"Highlands" is heavy stuff for sure, particularly when Dylan spots a group of kids drinking and dancing on the public green and longingly admits, "I'd give anything to turn back the clock"; or when he brutally acknowledges, "The party's over, and there's less and less to say." Yet throughout the song Dylan leavens desperation with his unique deadpan wit and ornery sense of perseverance, as when he blasts Neil Young on the stereo, only to be admonished by his neighbors, or when he slyly observes he wouldn't know the difference between a real blonde and a fake. These are the moments you realize "Time Out of Mind" is not so much a last will and testament as it is an affirmation of the beauty borne of pain.
"I been to Sugar Town and I shook the sugar down," Dylan sings in the beautifully wistful "Trying to Get to Heaven." His words assume an almost oracular power, possessing a force that cuts to the heart of the mystery and complexity that have been hallmarks of Dylan's career. As seemingly dark and depressing as it sounds on the first few listens, "Time Out of Mind" is ultimately an act of inspired defiance by an elder whose wit, grit and wisdom flow ever more clearly and forcefully from the wellspring of a bruised heart and a battered psyche.