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Most Helpful Customer Reviews
64 of 71 people found the following review helpful:
4.0 out of 5 stars
Leading up to "Blood on the Tracks",
By John Stodder "a.k.a. Juan La Princi" (livin' just enough) - See all my reviews
This review is from: New Morning (Audio CD)
At the time of this album's release, the critics and Dylan-obsessed viewed it as another disappointment, another stinging reminder that the Bob Dylan of "The Times They Are a-Changin'" and "Like a Rolling Stone" was gone. It generated rounds of mourning. Sure, it was a little better than the awful "Self-Portrait," and less corny than the baffling "Nashville Skyline," an album in which Dylan was so determined to conceal himself, he literally changed his voice. It had a grittier feel, musically, but it another one of those "love and marriage" albums. That was a genre unto itself back then--a genre lots of more politically minded rock fans despised. First Paul McCartney, then Van Morrison, now, omigod, Bob Dylan, singing songs of domestic contentment like "Sign on the Window."
The release of "Blood on the Tracks" should have caused a re-evaluation of "New Morning," along with its successor, "Planet Waves." In fact, Dylan was battling just as furiously during this period, and writing about it just as candidly, but this was a battle where the stakes were personal--trying to keep his family together in the face of the overwhelming, dehumanizing pressures of the outside world. It is a story that resonates more broadly, perhaps, than his earlier work. And it's a tragic story. With "Skyline" and "Self Portrait," Dylan built a wall to protect his family. In "New Morning," the key songs describe the life he was living behind that wall--with his wife and children, in a somewhat idyllic world that gives him time to muse on "what life's all about." But there's a subtle edge of desperation; he can't quite relax. The tension grows in the next album, "Planet Waves," and then explodes as the relationship is demolished in "Blood on the Tracks." The sage continues in "Desire," in which he continues the battle to win her back. Now that I'm older and have lived several lives, it is these albums by Dylan that make the most sense to me. I still enjoy the classic 60s disks, and like everyone else, can pick out some great songs among his work in the 80s and 90s. But if you are a listener who thinks "Blood on the Tracks" is Dylan's greatest poetic and musical expression, I suggest you try this album and "Planet Waves," playing them in chronological order with "Blood..." and "Desire." This was Dylan's greatest period. Why just four stars? There are few clunkers, like "One More Weekend," and "The Man in Me." But "If Not for You," "Time Passes Slowly," the odd "If Dogs Run Free," "Three Angels" and the title song each rank with his greatest. They are simpler, more direct, less flashy in a lyrical sense, but they cut to the heart of his subject matter, and confirm his genius.
12 of 12 people found the following review helpful:
5.0 out of 5 stars
Very underrated,
By
This review is from: New Morning (Audio CD)
Perhaps the most underrated Dylan album in his catalogue. It's a shame Bob didn't use the piano as his prominent instrument more often. The songs are wonderfully introspective with a blues and traditional southern gospel flair.
"If Not For You" is an excellent love song that is very laid back and welcoming. It should've been a big pop hit. Songs like "Day Of The Locusts", "Time Passes Slowly", and the title track keep up that laid back, southern porch song type of feel with a stripped down rootsy production. "Winterlude", "Sign On The Window", and "The Man In Me" are just downright beautiful songs, showing an unprecedented vulnerablity that predates Blood On The Tracks. Overall, I think this is an excellent album and one of the best Bob Dylan albums in my mind. It is a unique, soulful Dylan album. Even better than Blood On The Tracks if you ask me.
8 of 8 people found the following review helpful:
5.0 out of 5 stars
Under the radar,
By
This review is from: New Morning (Audio CD)
This is a very different Dylan disc that for some, like myself, thought to be one his most innovative and better departures. The incorporation of piano and organ played by sixties sideman-stalwart Al Cooper and good old country boy Charlie Daniels on electric bass, the background gospel singers and cool jazz scat singing of Maeretha Stewart create a sound that was not your typical Dylan expectation than nor now. I recently bought a copy of this disc on sale to replace my LP, it takes you back to the day when it came out originally but more than that it demonstrates the diversity and depth of Dylan's work. There are a few country introspective songs that are so quaint that they almost come across as corny like "Sign on the Window" but the brilliance strips away any superficial outer layers to reveal simplicity that works. On the other hand "Winterlude" is just a little to quaint for my tastes. The song that has the most originality and hence my favorite is first and foremost the quirky "If Dogs Run Free" that begins with some piano runs and bluesy jazz guitar with Dylan's voice lowered an octave or two, not as sinewy but deeper and stronger coupled with the scat of Maeretha Stwart to create a song for the ages. A close second is "Father of Night" that features really cool background voices but unfortunatly is much too short coming in at only 1:29. "Three Angels" is sublime and at a whole different level; this is the type of song that is the essence of Dylan music. Other good songs include "Went To See The Gypsy and " If Not for You" that finds Dylan in more typical voice and accompanyment. This is one of those dics that can be played over and over again and you never seem to get tired of it but rather just continue singing along with Mr.Zimmerman. Add this to your Dylan collection it is pretty darn good.
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