I am trying to appreciate the creativity and imagery of Bob Dylan. Whereas I do admire the atmospherics on such cuts as Your A Big Girl Now and Tangled Up In Blue, too many of these songs are excessively long winded. Heck that Jack of Hearts number must have twelve or thirteen verses all at the same pace with absolutely no change in instrumental definition. This is oh so grating.
Also annoying is Bob Dylan's voice on several songs. Some people may find Idiot Wind to be an emotional performance. And the lyrics are indeed quite good in that vein. However, Dylan is so off key in many instances that it is a really pain to listen to especially over the course of seven and a half minutes.
In general many of these songs are overlong and way too repetitive. Way too many verses which just don't do anything special for me most of the time. I know Dylan's aim was to return to his acoustic roots. However, the lack of an electric presence on more than the bluesy Meet Me In The Morning just hold this CD back.
Tangled Up In Blue is a pretty cool song, Meet In The Morning has some nice guitar, and some of the other tunes have good atmospherics. However, I prefer other recordings by Mr. Zimmerman such as Blond On Blonde, Nashville Skyline, and The Basement Tapes.
Dylan scored big on 'Blood on the Tracks,' perhaps the first of many comebacks. The subject matter of love gone wrong has been taken elsewhere, especially with his wild, majestic 'Blonde on Blonde,' but 'Blood on the Tracks' finds him in fine folk form, able to draw more from experience and quiet passion. The known songs are all great, including the mesmerizing hit "Tangled up in Blue," the excellent and hypnotic "Simple Twist of Fate," and the pensive "Shelter from the Storm". Less heralded are … more
Inevitably, when critics praise a new Dylan album, they label it the "best sinceBlood on the Tracks," and with good reason. Inspired by a crumbled marriage, and recorded after a tour with The Band had apparently re-ignited his creativity,Bloodis among Dylan's masterpieces. The album's epic songs are well known, but its real high points are the shorter numbers--"You're a Big Girl Now," the flawless blues "Meet Me in the Morning," and the sweetly devastating "Buckets of Rain." These are songs of "images and distorted facts," each expressed through tangled points of view, and all of them blue.--David Cantwell