Dylan's music was also something that was second-hand to me. In my teen years, I really only knew his songs through The Byrds ("Mr. Tambourine Man"), Jimi Hendrix ("All Along the Watchtower"), and George Harrison ("If Not For You"). Dylans contributions to the Traveling Wilburys inspired me to slowly start and listen to various recorded output of his career. I soon discovered such jems as "Blood on the Tracks" and my favorite "Live in 1966". I certainly have a long way to go to listen to other Dylan releases, but "Love and Theft" proves that the 61 year old hasn't lost his ability to write great songs. Bob Dylan is very much and acquired taste. I wasn't ready for him in my teen years, but the pleasure in listening to his music could become my next journey in finding new treasures.
"Love and Theft" can best be described as a fun blues album with touches of vaudeville and blue grass. Dylan assembled an amazing band to support him on this release, which is crucial to the sound and mood. The most notable players include Charlie Sexton on guitar, Augie Meyers on vox organ, and Larry Campbell playing very inspired violin, mandolin, and banjo. A great example of this sound can be found on "Floater (Too Much to Ask)". The majestic melody here reminds me of an old 20's folk tune. Violin and mandolin colors the background while Dylan sings about a childhood in a small town setting (his perhaps?): "My grandfather was a duck trapper, He could do it with just dragnets and ropes. My grandmother could sew new dresses out of old cloth, I don't know if they had any dreams or hopes." Dylan's ability to paint a picture in just a brief 4 minutes or so is very refreshing. Dylan doesn't forget to rock out a little also. "Honest with Me" features bold drums and gritty slide guitar work. Truly at delta blues song at heart, the song could easily be compared to something that Stevie Ray Vaughan would have churned out. Dylan exibits a sense of dark humour on the cd's opener, "Tweedle-Dee and Tweedle-Dum". Once again, he write about colorful characters in a serene country setting. In this case, two bumbling renegades who will just as easily turn on each other as they have on others: "Tweedle-dee Dum said to Tweedle-dee Dee "Your presence is obnoxious to me." They're like babies sittin' on a woman's knee...Tweedle-dee Dum and Tweedle-dee Dee.". Dylans recites the quick lyrics like he's reading a nursery rhyme. The warmest track on the release, "Mississippi", details the life of someone with a country upbringing trying to make it in the big city. Multi-layered/twangly guitars and smooth bass makes this song the most accessible on the release. Dylan brings things down quite a bit on the closer "Sugar Baby". Simple guitar strumming and accordian accompanies Dylan's scratchy, yet tender vocals. Yet, another interesting character is created on this tune; a love scorned man who finds solice at the bottom of a liquor bottle. In keeping with the great blues tradition, Dylan finds a way to even re-write the traditional love ballad.
Many reviewers are calling "Love and Theft" the album of the year. I wouldn't find any reason to not agree with this. It would defnitely be in my top five of the year. For anyone who appreciates good musicianship with meaningful lyrics, this is as good as you can get. Many people like to criticize Bob Dylan's throaty vocals, but it really has turned into something that I haven't really thought about after repeated listens of this cd. Like a fine dry wine, his voice can truly be appreciated by anyone who follows Springsteen, Petty, or even Tom Waite. Don't be on the sidelines on this one; you'll be surprised by how much you will enjoy listening to "Love and Theft"!
