It is an album that can play like a swaggering Americana record, an easy going singer-songwriter album and an oddball Gospel record. Or perhaps he was conducting too many experiments at once and had lost the core hypotheses. Perhaps he knew exactly what he wanted it to sound like and he couldn’t quite get it. He allegedly struggled to find the right studio for this album. The number of outtakes and alternate takes from this period is astonishing. But, “Shot of Love” - the final album of the “born again” trilogy, the one with the curious pop-art cover, the one most likely to be found in dusty thrift store bins, that one - someway, somehow sounded downright fantastic.ĭylan made “Shot of Love” during a period of enormous productivity and restlessness. I liked Dylan as a “Staples Brother.” “Saved” sounded thinner and redundant.
#SHOT OF LOVE FULL#
The former sounds a little loose to the point of being sloppy and the latter sounds aseptic to the point of being boring.Īfter “Infidels,” however, I took the full leap and was, at least, half-baptized. “Desire” and “Infidels” may not be as great as I recalled. I still haven’t ventured into the late 80s or early 90s, but I dove headlong into the later 70s and early 80s. In the last ten years, as fans and critics have started to catch back up and reassess the wider aperture of Dylan’s moves - through documentaries, the official “Bootleg” releases and revisionist histories - I have also checked back in. Mostly, though, my avoidance was driven by the herd review, which suggested that these albums kind of sucked. Same thing happened to me with Van Morrison after “Into the Music.” Perhaps I wanted the stories to end well? And, even during my trek through the Dylan discography, I skipped a few albums, including the three “Christian records.” Part of it was surely fatigue. Post-punk, Indie, marriage and kids - you know. Full disclosure - my Bob Dylan consumption ends at “Infidels.” No specific reasons.
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