Wednesday 26 October 2011

Bob Dylan - 1980s

In the year 1980 Dylan briefly resumed touring for a series of concerts billed as "A Musical Retrospective", where he restored several of his popular 1960s songs to the repertoire. Shot of Love, recorded the next spring, featured Dylan's first secular compositions in more than two years, mixed with explicitly Christian songs; the song "Every Grain of Sand" reminded some critics of William Blake's verses.

In the 1980s the quality of Dylan's recorded work varied, from the well-regarded Infidels in 1983 to the panned Down in the Groove in 1988. Critics such as Michael Gray condemned Dylan's 1980s albums both for showing an extraordinary carelessness in the studio and for failing to release his best songs. The Infidels recording sessions, for example, produced several notable songs that Dylan left off the album. Most well regarded of these were "Blind Willie McTell", a tribute to the dead blues musician and an evocation of African American history, "Foot of Pride" and "Lord Protect My Child". These three songs were later released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.

Between July 1984 and March 1985, Dylan recorded his next studio album, Empire Burlesque. Arthur Baker, who had remixed hits for Bruce Springsteen and Cyndi Lauper, was asked to engineer and mix the album. Baker has said he felt he was hired to make Dylan's album sound "a little bit more contemporary".

Dylan sang on USA for Africa's famine relief fundraising single "We Are the World". On July 13, 1985, he appeared at the climax at the Live Aid concert at JFK Stadium, Philadelphia. Backed by Keith Richards and Ronnie Wood, Dylan performed a ragged version of "Hollis Brown", his ballad of rural poverty, and then said to the worldwide audience exceeding one billion people: "I hope that some of the money ... maybe they can just take a little bit of it, maybe ... one or two million, maybe ... and use it to pay the mortgages on some of the farms and, the farmers here, owe to the banks." His remarks were widely criticized as inappropriate, but they did inspire Willie Nelson to organize a series of events, Farm Aid, to benefit debt-ridden American farmers.


In April 1986, Dylan made a brief foray into the world of rap music when he added vocals to the opening verse of "Street Rock", a song featured on Kurtis Blow's album Kingdom Blow. Dylan's next studio album, Knocked Out Loaded, was released in July 1986 and contained three cover songs (by Little Junior Parker, Kris Kristofferson and the traditional gospel hymn "Precious Memories"), plus three collaborations with other writers (Tom Petty, Sam Shepard and Carole Bayer Sager), and two solo compositions by Dylan. One reviewer commented that "the record follows too many detours to be consistently compelling, and some of those detours wind down roads that are indisputably dead ends. By 1986, such uneven records weren't entirely unexpected by Dylan, but that didn't make them any less frustrating." It was the first Dylan album since Freewheelin' (1963) to fail to make the Top 50. Since then, some critics have called the 11-minute epic that Dylan co-wrote with Sam Shepard, 'Brownsville Girl', a work of genius.

In 1986 and 1987, Dylan toured extensively with Tom Petty and the Heartbreakers, sharing vocals with Petty on several songs each night. Dylan also toured with The Grateful Dead in 1987, resulting in a live album Dylan & The Dead. This album received some very negative reviews: Allmusic said, "Quite possibly the worst album by either Bob Dylan or the Grateful Dead." After performing with these musical permutations, Dylan initiated what came to be called The Never Ending Tour on June 7, 1988, performing with a tight back-up band featuring guitarist G. E. Smith. Dylan continued to tour with this small but constantly evolving band for the next 20 years.

In 1987, Dylan starred in Richard Marquand's movie Hearts of Fire, in which he played Billy Parker, a washed-up-rock-star-turned-chicken farmer whose teenage lover (Fiona) leaves him for a jaded English synth-pop sensation (played by Rupert Everett). Dylan also contributed two original songs to the soundtrack—"Night After Night", and "I Had a Dream about You, Baby", as well as a cover of John Hiatt's "The Usual". The film was a critical and commercial flop. Dylan was inducted into the Rock and Roll Hall of Fame in January 1988, with Bruce Springsteen's introductory speech declaring, "Bob freed your mind the way Elvis freed your body. He showed us that just because music was innately physical did not mean that it was anti-intellectual.

When Dylan released the album “Down in the Groove” in May 1988, it was even more unsuccessful in its sales than his previous studio album. Michael Gray wrote: "The very title undercuts any idea that inspired work may lie within. Here was a further devaluing of the notion of a new Bob Dylan album as something significant." The critical and commercial disappointment of that album was swiftly followed by the success of the Traveling Wilburys.

Dylan co-founded the band with George Harrison, Jeff Lynne, Roy Orbison, and Tom Petty, and in the fall of 1988 their multi-platinum Traveling Wilburys Vol. 1 reached number three on the US album chart, featuring songs that were described as Dylan's most accessible compositions in years. Despite Orbison's death in December 1988, the remaining four recorded a second album in May 1990, which they released with the unexpected title Traveling Wilburys Vol. 3.

Dylan finished the decade on a critical high note with Oh Mercy produced by Daniel Lanois. Dylan critic Michael Gray wrote that the album was: "Attentively written, vocally distinctive, musically warm, and uncompromisingly professional, this cohesive whole is the nearest thing to a great Bob Dylan album in the 1980s." The track "Most of the Time", a lost love composition, was later prominently featured in the film High Fidelity, while "What Was It You Wanted?" has been interpreted both as a catechism and a wry comment on the expectations of critics and fans. The religious imagery of "Ring Them Bells" struck some critics as a re-affirmation of faith.

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