Customer Reviews

Modern Times

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Bob Dylan for the last few years has been one of the most exiting artists rock has to offer. He has written a best selling book, toured extensively, and recorded two highly regarded albums, putting him in a late career renaissance

Starting with 2001's effort, LOVE AND THEFT, and now this album, MODERN TIMES, Bob Dylan has newly occupied musical territory. Dylan has broken new ground with both these releases. Nothing in post-millennium rock sounds anything like these two records, and for good reason. Bob Dylan has turned back the clock to pre-rock and roll, and recorded some of the most exiting music of his career, focusing solely on American traditional music.

Dylan came into critical acclaim with the 1997 album, TIME OUT OF MIND. His first album of original songs in seven years, TOOM won best album of the year at the Grammies, and the first of three critically acclaimed albums. MT has been marketed as the end of this "trilogy," but Dylan disagrees with that assessment. TOOM, great album that it is, sounds totally separate from L&T and MT and is an album unto itself, totally separate from the music found on the next two releases. Dylan said MT would be the second part of a trilogy, if there is going to be one, with L&T being the first part.

When LOVE AND THEFT was released, Dylan impressed the critics and the fans a second time in a row. L&T is a markedly different album than its predecessor, TIME OUT OF MIND, which is a much darker, aesthetically different album. MODERN TIMES is very much a companion album to L&T, and proves the methodology behind his 2001 effort was not a one off fluke. Dylan does a wide variety of traditional music on MT, from blues to ballads to crackerjack rock and roll to apocalyptic visions of oncoming doom.

Song for song, MT is as strong and L&T, with a few casual masterpieces. "Working Man's Blues #2" is fantastic, some great lines. "Ain't Talkin'", MT's last song, is not only the best song from album, but also one of Dylan's greatest songs of the last 25 years, easily the equal of any of his 1960s output and a lyrical tour-de-force, the newest of his great story, apocalyptic story songs.

Dylan largely writes from the perspective of one who has seen it all, but keeps on trucking (like the narrator from "Tangled Up In Blue").

Both records have been tremendously successful. MODERN TIMES went to number one on the billboard charts, Dylan's first since the 1976 album DESIRE. Dylan is the oldest person (65 at the time), to have a number one album on the charts. "Someday Baby" won a Grammy.

MT is largely a further exploration of Americana. Just like its predecessor, MT is squarely rooted in pre-rock music. Like L&T, MT sounds fresh, startling, and deeply relevant due to it being so firmly rooted in American traditional music. There is no other musician today who makes these traditional forms so wonderfully alive, and yet so in sync with his or her own unique and musical vision as Bob Dylan does, while still making them so accessible to today's public.

Both titles are a clue to what the album is about. L&T is Dylan's love for prerock music, and his ransacking of the forms (a sly reference to the folk tradition). MODERN TIMES, is rather ironic, as there is nothing modern about the music itself, but the title also acknowledges, in a post modern sort of way, that the album is recorded and presented in modern times for modern audiences, and a knowing reference to Charlie Chaplan's film.

Also, Dylan has gone on interviews saying this is the best band, man for man, that he's had, which is saying a lot, as he was backed by so many great bands. Dylan's also made several comments about how compressed the sounds are on modern records, something he had tried to stay away from.

Where L&T used early 20th musical structures and genres, Dylan wrote all the music and lyrics. With MT, however, Dylan has turned too T. S. Eliot for advice, who famously said "Bad poets imitate. Good poets steal." Working within what is known as the "folk tradition", Dylan has taken several songs from his encyclopedic knowledge of traditional music, updated either the music or the lyrics or both, and then presented the material as his own. He has also used a few select lines from Henry Timrod, the Civil War poet. Both the songs and Timrod are now in public domain, so the sources are not a legal issue. Regardless, All this has caused some controversy.

First, it should be known that before copyright laws and intellectual property rights became one of the abiding legal preoccupations of the 20th and 21st century, musicians and performers largely worked within the context of an oral and written tradition, freely adapting and changing often well known material and presenting it as original work. This goes far beyond just music as well. This process, known within musical history as the folk tradition, has been going on in American traditional music for decades, and has also been part of rock's long and varied history as well.

However, with the entrance of rock, matters get complicated. Intellectual property rights in the past forty to fifty years have become major legal issues. Now, music is copyrighted and royalties get paid. Songwriting credits determine who get paid. Those who wrote original music want to get paid when that music is used. While most of MT's music is modeled after other artists' songs, the credits read "All songs written by Bob Dylan".

Led Zeppelin is also famous for this type of adaptation, and was even sued by Willie Dixon in 1970 for the use of lyrics in their song "Whole Lotta Love" without him being credited. Dixon won the lawsuit.

Bob Dylan has done this type of adaptation and musical pilfering from the very start of his career. One of his very first original songs to be published, "Song to Woody", used the melody of Guthrie's own "1913 Massacre". There are numerous other instances of this type of artistic pilfering in Dylan's music which for reasons of space I will not go into. A book or scholarly paper is better suited to more fully analyses and explore this element in Dylan's music, not a review on a website. For those curious, I include at the end of this review more info about the MT's sources.

While from a business and artistic standpoint, this adaptation and borrowing, yet not crediting the source, is rather alarming to modern audiences, it's my belief that that has what made MT and L&T resonate so well. There is something in both records that simply strike a chord with listeners. Dylan has always been about traditional music, and while he ventured out to record different varieties of music, the American traditional songbook has always been in the back of Dylan's mind.

What has made MT and L&T so successful is they feel like an aural history of American music before 1950. Of all the major rock artists of the modern era, Dylan is the most versed in the rich American traditions. American traditional music have always been the bedrock of his muse, and with L&T and MT Dylan wisely makes that the central focus of his work. This music sounds like a time capsule, music made by an American for Americans before the advent of rock and roll. Dylan is the most qualified of all our major rock artists to make music with this timeless, traditional feel.

Due to his own unique position in rock history, no other major musician other than Dylan has released an album with all the rich history of Americana so inherently woven in the fabric of his new music. In all likelihood, no other artist probably could. Dylan cut his teeth on traditional music, and he is the most able to make that music relevant again to modern audiences.

Bottom line: fantastic album. Must buy.












Appendix - Sources for MODERN TIMES songs:
*"Thunder on the Mountain" is an update on Chuck Berry's "Johnny B. Good'. *"Rolling and Tumbling" is a blues standard, recorded by everyone from Cream, Canned Heat, Robert Johnson, and Eric Clapton. Muddy Waters' version is the most famous. There are over sixty recorded versions of this song.
*"When the Deal Goes Down" uses the melody from Bing Crosby's signature song "When the Blue of the Night Meets the Gold of the Day".
*"Someday Baby" is based off a Muddy Waters song called "Trouble No More".
* "Beyond the Horizon" lifts the entire structure and melody of "Red Sails in the Sunset", written by Jimmy Kennedy and Hugh Williams in 1935.
*"Nettie Moore" lifts the title and some of its chorus though Dylan's melody and lyrics are otherwise unrecognizable.
*"The Levees Gonna Break" is a based on the blues standard "When the Levee Breaks" by Kansas Joe McCoy and Memphis Minnie. Led Zeppelin reworked the song as well into their own composition, much different from Dylan's.
*"Aint Talkin" derives its chorus from the more up-tempo "Highway of Regret" by the Stanley Brothers

Since Time Out Of Mind, us Dylan fans can be proud again to admit that we're fans of the new stuff, not just classic Dylan. Modern Times is his third in a streak of impeccable releases. The latest is a return to the styles Dylan introduced in Love and Theft-- country-blues and smart rockabilly. As with the most recent album, Dylan (aka Jack Frost) produced Modern Times; as such its feeling is closest to Love and Theft-- warmly personal, like listening to the band in a small nightclub.

The songs are longer, the lyrics arguably more memorable and there's a few more down-tempo ballads. Contrary to the popular notion that Dylan's voice is incomprehensible (probably owing to his horrible performance at his 30th anniversary concert), the singing is so clean you can understand everything without the benefit of a lyric sheet.

As I said, the songs are longer: the shortest is 4:58, the longest over eight minutes. Dylan borrows from blues standards on Rollin' and Tumblin' and The Levee's Gonna Break (no, he doesn't cover Led Zeppelin :), but liberally infuses a brilliant mess of his own lyricism. When the Deal Goes Down and Workingman's Blues, especially the latter, are his best ballads in decades. All in all, its not as forceful as Love and Theft. It's not as surprising as that album was, but hardly less of a masterpiece. His lyrics have gotten sharper and wittier, jumping out at you at odd moments with silly innuendos, jokes about getting old, an Alicia Keys name-drop, countless thought-provoking one-liners and an all-around optimistic glow. Altogether, it's friendlier and more fun that the last two releases; it might be Dylan's most 'personable' album since, well, 'Another Side...' or 'Self-Portrait.' The last track, Ain't Talkin' is reminiscent, stylistically, of Time Out of Mind's opener, though it's probably coincidental. Dylan sings, 'Ain't Walkin', Ain't Talkin' in the same tone as Love Sick's lyric 'I'm Walkin', bringing what Columbia's been labeling a 'trilogy', full-circle.

Though reviewers elsewhere have said that Modern Times is unlikely to impress non-fans, I can't imagine how anyone couldn't enjoy the heart-wrenching warmth and sagacious wit flaunted by Dylan and his band. Dylan's last two albums and his live shows, on the other hand, are denser affairs, more tuned to the mind of the familiar fan, but, similar in appeal to, but greater in quality than, Johnny Cash's later recordings for American Records, Modern Times is Bob Dylan singing for everybody. And just as well, those who've stuck with Dylan over the years and listened with awe to Time Out of Mind are going to keep Modern Times out next to the CD player for quite awhile.

In his latest Rolling Stone interview, Bob Dylan was quoted as saying "This is the best band I've ever been in, I've ever had, man for man." Quite a compliment coming from someone who's been backed by not only the best session men of the sixties, but The Grateful Dead, The Heartbreakers, and of course The Band. However, after listening to `Modern Times' and `Love and Theft' it really is hard to argue with him. He not only has found a band that can lay down an interesting backdrop to his at times epic poem-like lyrics, but create such good music that it stands up against Dylan's brilliant lyrics as an almost equal competitor for your attention.
Instantly the high level of musicianship is evident on "Thunder on the Mountain". It opens with short punctuated drum fills that bring to mind Cream's "White Room" but instead of Clapton's psychedelic phase, the guitar sound throughout is more in the style of someone like Chet Atkins playing twelve bar blues. Dylan's first line is introduced with a brilliant cymbal wash that sounds like it could be the rock n' roll equivalent of a gong being banged before Confucius speaks. But that first line "Thunder on the mountain and a fire in the moon/the river's in the alley and the sun will be consumed" sounds more like John the Revelator.
"Rollin' and Tumblin' is basically a really great cover of the Muddy Waters classic from 1950. Dylan leaves the chorus as is, but writes completely new verses all his own (certainly the original didn't contain the line about how "some young, lazy slut has charmed away my brains"). The subject matter of the original does remain the same however, with Dylan rattling off lines that sound like they were pulled directly off any classic Delta blues tune ("warm weather's coming in/the bug's are on the vine/ain't nothing more depressing than trying to satisfy this woman of mine"). In fact, this really just exemplifies how Dylan has reinvented himself once again as a bluesman over the last three albums. The entire subject matter of his last three albums has been the subject matter of the Delta blues: religion and women.
Every one of the hard blues songs on `Modern Times' contains the best soloing on a Bob Dylan studio album since "Leopard-Skin Pill-Box Hat" - and by soloing I don't mean just one solo stuck in between the words somewhere, but splattered throughout the songs naturally, never once sounding forced. On "Someday Baby" is where it peaks. The fuzzy guitar tone just glows, making you want to kill for whatever vintage tube amp the guitarist had to have been be using, and the rhythm just cooks. This is one of the rare Dylan tunes where the music just slightly edges out the words in terms of pure listening pleasure. Even Dylan`s singing is way above par here, especially listen to the line "So many good things in life/that I've overlooked/I don`t know what to do/baby you got me soooo hooked" and try and say that Dylan's voice isn't just improving with age.
"The Levee`s Gonna Break" is another cover of a classic blues song, this time Memphis Minnie's classic "When the Levee Breaks." The verses are completely Dylan's own, but again the chorus is the same as the original made so famous by Led Zeppelin. Of course before even listening to the song people are going to try and say it has to do with Katrina, but the lyrics have more to do with love and the apocalypse than anything as simple as a natural disaster. Take for instance the line "Put on your camp clothes mama/put on your evening dress/few more years of hard work then there'll be a thousand years of happiness." Even an atheist like myself knows what he's talking about. And then there's the final line "some people still sin and some are wide awake."
The subtle apocalyptic messages of "The Levee's Gonna Break" perfectly set up for the eight minute plus epic closer, "Ain't Talkin." The feel is the same as `Time Out of Mind's "Highlands", but Dylan's lyrical flow never gets disrupted for a six minute retelling of a conversation with a waitress. The imagery in the song is dark, dangerous, and not very hopeful. Picture Dylan walking down a lonely path through the Mystic Garden, in the cities of the plague. His sick mule and blind horse are walking by his side. At one point he is hit from behind by an unknown stranger. Bad idea - the Dylan here is no one to mess with, he waits for his opponents to be caught sleeping and then slaughter's them where they lie. Dylan also manages to fit in some of his usual subtle sarcastic wit, this time directed at his disillusion with the trappings of fame - "well the whole world is filled with speculation/the whole wide world which people say is round/they will tear your mind away from contemplation/they will jump on your misfortune when you're down...someday you'll be glad to have me around." Later he returns to religion, reaffirming his status as a diehard Christian, but still distancing himself from any organized view of it - "ain't no altars on this lonesome road" Really I could go on and on about this song, which is the crown jewel of the set, with every new verse being a revelation. Musically the song is even more menacing than "Highlands" with the addition of a perfectly minimalist use of lurking viola, even though it ends with a happy crescendo, it only adds to the feel of apocalypse like it was a musical representation of Jesus returning.
`Modern Times' is Dylan's third straight masterpiece in a row and only cements the fact that his current period can only be compared to his inspired 1964-66 run. Certainly you could argue that with 4-5 years between albums it's nowhere near as prolific, but when the albums are this shockingly and consistently brilliant song after song who cares? To quote the review in Rolling Stone, "there is no precedent for the territory Dylan is now opening with albums that stand alongside the accomplishments of his wild youth." The only person to even come close is (as always) Neil Young. Dylan himself, in the same interview, when asked about this being the third part of a trilogy beginning with 'Time Out of Mind' gives the best description of how great `Modern Times' really is: "'Time Out of Mind' was me getting back in and fighting my way out of the corner [referring to his second infamous "dry period" after 1989's `Oh, Mercy' where he didn't release any original material]...on this record, I ain't nowhere, you can't find me anywhere, because I'm WAY gone from the corner

I cannot believe some the other reviews here - this is one outstanding recording - both sonically and musically. Just superb. Every song is a winner - not a bad track on the album at all - some of it just so deep and evocative - certainly the best new album for the last few years from anyone at all - beautiful melodies and excellent band and production - no one will be disapoointed by getting this album - a true work of beauty by a genius. Get it.

This is going to be a different type of review, but, I believe, an honest one. The reason my review is a little dated is because my brother gave me this album on Thursday, November, 16, 2006. He said you've got to listen to this. It's great. Well, I was very hesitant in listening to it. You see, I had written Bob Dylan off back in the early '90's after I had seen him perform on a few shows on TV. I couldn't understand a thing he said, and the melodies sounded like junk. Bob's voice sounded like he had mush in his mouth, and he sounded like he was down in some dungeon. I was totally embarassed for him, and embarassed when old friends of mine approached me after seeing the same performances and riding me about why they could never see what I had seen in Dylan for years.

You see, I was a Bob Dylan fan from the beginning, way back in the Folk days of the sixties. I went through the Electric period when alot of Dylan fanatics turned on him, but I didn't. I went through his Spiritual years, also when many Dylan fans turned away from him and I stuck in there. But, after hearing how bad he was in his performing in the early to mid '90's, even I gave up. Now, my brother lays this "Modern Times" album on me. I put it in my CD player, expecting the mush I had last heard. Remember, I hadn't heard "Time Out Of Mind", or "Love and Theft" at all. When I had heard that he won awards for these two albums my reaction was one of disbelief, and didn't care to give them a try. When "Modern Times" started playing I couldn't believe my ears. This is the old Dylan, sort of. Sure, his voice was more gravelly, but I could understand him, and the band was excellent. A few songs like "Thunder On The Mountain", Spirit On The Water", When The Deal Goes Down", Nettie Moore", The Levee's Gonna Break", and "Ain't Talkin'", were pure Bob Dylan, with a blues twist to them. You know Folk always was just a step away from The Blues, all along. The songs like "Someday Baby" and "Beyond The Horizon" are basically mainstream country-rock, easy listening, but with Bob Dylan's distinct style. Sinatra could have done "Someday Baby".

For me, Bob Dylan was back! Something I never thought would happen. What a great surprise! I have been wondering for a long while why two of my all-time "Real Country" heroes, Merle Haggard and Willie Nelson, had wanted to tour with Dylan. My gosh, do they want to turn their fans off? And, for what reason.

Well, as I'm sitting here, I can't wait, from what I've heard from other reviewers, to here "Time Out Of Mind" and "Love and Theft". Before hearing "Modern Times" I certainly wasn't going to be crazy enough to waste my money on the other two albums. Now, I am crazy enough to spend my money on the previous two. But, I don't think it's going to be a waste. I can't wait!

The more I listen to this CD, the more I want to. Musically, it's superb, and lyrically it's even better. Dylan's sense of humor shines through constantly, even in the darkest songs. If I couldn't understand a word of English, I'd still want to hear this album again and again. There's very little about it that's not catchy, and catchy isn't an adjective you often hear connected to Dylan.

"I got the porkchops, she got the pie
She ain't no angel and neither am I
Shame on your greed, shame on your wicked schemes
I'll say this, I don't give a damn about your dreams"

Who else but Dylan can write stuff like this? The man who gave us "the ghost of electricity howls in the bones of her face" 40 years ago continues to amaze.

Modern Times is Dylan's best work since Infidels, and that's saying a lot. This is a great band, producing a new version of "that thin, that wild mercury sound" that is characteristic of Dylan at his best. Here it is polished, tracing a razor's edge, at times seductive, at times raising the hair on the back of your neck.

It is remarkable what Dylan, at age 65, is able to do with his voice. To me it never sounded better. Yeah, I know his range is shot and that it's raspy and raw. But the phrasing is complex and precise, it hits every time, and the range of emotion that's conveyed is without compare. Nobody ever said that Dylan is an operatic singer, but he's an incredible vocalist, and Modern Times sets a new standard for this greatness.

The songs flow together, contrast with, and build off one another. This is an "album" in the classic sense; buying individual songs or shuffling them will lose a lot.

So for instance when the funky twelve bar rhythm of The Levee's Gonna Break transitions into the stark, haunting, slow chords of Ain't Talkin', you almost get weak in the knees, and the hair really does stand up on the back of your neck.

And Dylan sings,

"Ain't talkin', just walkin'
Up the road, around the bend.
Heart burnin', still yearnin'
In the last outback at the world's end."

Who else but Dylan does stuff like this?

Highly recommended.

The music for Modern Times, although a little ragged around the edges and not as tight as it could be, is really very pleasant and quite enjoyable. I must say that I was extremely disapponted that the CD insert did not contain the words to the songs. I have listened to it numerous times, as has my family, and there are just a whole bunch of places that we can't even begin to figure out the lyrics. I'm sure Dylan has lots to say, and we've certainly tried to figure out what that might be, but just exactly how much of a treasure hunt do we have to go on here?

Modern Times is Bob Dylan's first album in nearly five years, the longest he has ever gone without releasing a record. Last fall, though, Dylan did release a new song, "Tell Ol' Bill," on the North Country soundtrack, a song that is emblematic of Dylan's new style of songwriting, which is everywhere apparent on Modern Times. "Tell Ol' Bill" evokes the cold, grey landscape of the northwest through its topographical details and employs spare observations to delineate the desperate world-weariness of the speaker. In some sense, "Tell Ol' Bill" is an exercise in redundancy, both musically and lyrically, that evokes a mood rather than tells a story. Even though most of Dylan's songs post-1964 are evocative rather than narrative, his earlier style was more playful and allusive, whereas the later style, as seen in "Tell Ol' Bill," is sparer and more observational. On Modern Times, the song that comes closest to "Tell Ol' Bill," which regrettably does not appear on the album, is "Ain't Talkin'." Like "Tell Ol' Bill," "Ain't Talkin'" uses simple, unadorned language to evoke the speaker's cynical world-view and his desperate mental state.
Much will be made of the relationship of Modern Times to its predecessors, and yes, the album does feel like a natural progression from Dylan's previous two releases, Time Out of Mind and Love and Theft. Of course, musically, Modern Times is closer to Love and Theft, for both serve as something of an odyssey through American music that embraces several different musical styles. Yet, whereas the songs on Love and Theft are humorous and playful, those on Modern Times are dark and often elegiac, and its melancholy and introspective mood more closely resembles Time Out of Mind.
However, Modern Times is not unrelentingly dark, but is filled with lighter moments, from the bouncy rock of "Thunder on the Mountain" to the blues romp of "Rollin' and Tumblin'." As on Love and Theft, Dylan creates an amalgamation of American music on Modern Times from the jazz croonings of "Spirit on the Water" to the swinging blues of "Someday Baby." Indeed, the influence of the blues is pervasive on Modern Times: "Rollin' and Tumblin'" is a reworking of the Muddy Waters song; "Someday Baby" evokes Slim Harpo and Elmore James; "Workingman's Blues No. 2" was inspired by the Merle Haggard song; "The Levee's Gonna Break" borrows from the Memphis Minnie tune; and "Nettie Moore" is Dylan's revamping of an old folk ballad.
Of course, Dylan isn't doing anything different on Modern Times than he has been doing throughout his career, e.g. on Love and Theft. After all, Dylan is a folk musician, in the sense that he is tapping into the history of American music and adapting it to our own modern times, which do not differ as much as we'd like to think from olden days. Indeed, according to Dylan in his liner notes to World Gone Wrong, we are living in the "New Dark Ages." Thus, Dylan's borrowing of blues tropes is appropriate to his musical ideology, and he appropriates these sources with authority. Dylan even sounds like an old bluesman on many of these songs, which seems to be what he always wanted to sound like. Dylan also plays the roles of folk balladeer and jazz crooner with vocal conviction, and his vocals are strong throughout the album, clearly enunciated, precisely phrased, and always carrying the appropriate emotional weight. In a sense, then, Modern Times represents the culmination of Dylan's career, in that he has made a record that fits seamlessly into the fabric of American music, creating a sound and vision that rivals that of his musical heroes in its depth and urgency.

Bob Dylan continues his late Renaissance with his newest effort 'Modern Times'. It is another remarkable, but slightly uneven, representative in his long stretch of late career classics. He and his very able band deliver a wonderful blues repertoire. His voice is aging, just like everything delivered since at least 'Oh, Mercy'. If you've never loved his voice, you won't like it here. (Then, again, if you didn't at least tolerate his voice, you wouldn't have bothered to tumble into this review.) But, if you've never disliked the gruffness (except when he falters or becomes lackadaisical--on other projects), it should remind you of Leon Redbone. And how appropriately it fits into this fine album! ("It is the Ragtime of the season," he sings, afterall.) The production and sound give one the impression we are at a night club enjoying dinner with Dylan and his band entertaining us and our dates. The intimacy is accentuated by, again--it can't be said enough--by his very excellent band, whose support is heard by the crystal clear production of very able producer, Jack Frost. The jazz/blues-for-a-nightclub act is never formula, and becomes more ecclectic with other marvelous songs, like the rollicking vintage country of "Rollin' and Tumblin'".

Seldom do the songs clock in less than five minutes. Sometimes the timing is a mixed blessing: The glorious opening, "Thunder on the Mountain" is worth every precious second that goes over five minutes, but "Nettie Moore" and the finale "Ain't Talkin'" are worthy, but long-winded. At least lyrically, he arrives at his destinations sooner. His celebrated lyrics are good to great throughout. He's enjoyed being more spare and direct with words in his maturity (less overflowing and surreal, like his early years). However, there is much he has retained: He can still meld political and existential images even in his love songs. Most of the songs are loving engagements, but he mixes imagery of sin, redemption, and chaos as well.

Specifically, "Workingman's Blues" delivers Dylan's concrete words in a fluid fashion. It is a ripplingly beautiful classic. As typical with Dylan's best work, every song is mesmerizing. "The Levee's Gonna Break" is a fabulous piece of rhythm and blues. Significantly, to match the song and music, the album--if not recorded like 'Oh, Mercy' in New Orleans--at least absorbs its spirit. And, here, Dylan's worthy gift is delivered to the stores on the one-year anniversary of Katrina's wake. "Someday Baby" and "Beyond the Horizon" are hypnotic and beautiful, certainly enough to make this C.D. 'The Tempest' for "The Bard of Hibbing".

Aging baby-boomers and fans of all ages can't help to be enthralled by the latest work by what 'Rolling Stone' magazine called "The Big Three". Paul McCartney [of the Beatles] gave us 'Chaos and Creation in the Back Yard,' one of his very best solo albums. The 'Stones recently delivered 'A Bigger Bang,' their best in years. Now Dylan finds great support and assembles 'Modern Times'. The only difference is that 'Love and Theft' and 'Time Out of Mind' demonstrate that Dylan has been on a hot streak for a while. This album brings no comparisons. Some of the elements of 'Oh, Mercy' and 'Under a Red Sky' come to mind. Lyrically, it often matches the former; musically it scotches both. Vive the Dylan Renaissance! (4 1/2*'s)

*Singular or plural, depending if you count it as the C.D. title or the phrasing.