Love and Theft: Bob Dylan

Anglican Journal, January 2002 | Go to article overview

Love and Theft: Bob Dylan


Bob Dylan

Love and Theft Columbia / Sony

IN A 40-year career as a recording artist, Bob Dylan changed contemporary music forever. His landmark works of the 1960s alone make him a legend. Since that time, though, he has been prolific. Some of those albums have been true gems, but even his most ardent fans have come to lament a trend of the past three decades. He has not followed one masterpiece with another.

Until now.

Love And Theft, Dylan's 43rd album, follows his 1997 Grammy-winning tour de force Time Out Of Mind. It is, however, very different from that series of ruminations on mortality and the reality of evil. In fact, the new album's loose, live feel will come as a jolt to listeners who associate him today with that Daniel Lanois-produced comeback CD.

Love And Theft will be no surprise to those who have seen Dylan's creative rebirth with an ace touring band in recent years. That band -- guitarist Charlie Sexton, multi-instrumentalist Larry Campbell, bassist Tony Garnier, and drummer David Kemper, augmented by Sir Douglas Quintet alum Augie Meyers on vox organ, Hammond B3, and accordion -- is having a great time on this 12-song set, and nobody is rocking any more than 60-year old Bob himself.

Indeed, this is the first Dylan album in 30 years whose melodies, genres, and grooves grab the listener before the lyrics. When things begin with the loose-limbed rickety rocker Tweedle Dee & Tweedle Dum, one cannot help but groove and grin.

For all of the great things that one could say about Time Out Of Mind, that would not be one of them. There are just as many foot taps ahead on pieces like the 12-bar Lonesome Day Blues and the triumphant Honest with Me, the latter of which might best be described as the grandson of Tombstone Blues or other mid-60s classics.

The groove, though, is a nod by Dylan to the roots of his craft and the whole rock genre. He moves effortlessly from rockabilly to swing and from bluegrass to Chicago blues, with little bits of Tin Pan Alley thrown in for good measure. On the one hand, there is the jump blues of Summer Days, the standard blues progression with little twists of pace Cry A While, and the 12-bar blues of Lonesome Day Blues. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Love and Theft: Bob Dylan
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.