Customer Reviews

Slow Train Coming (Hybr)

5 star:		(82)
4 star:		(27)
3 star:		(9)
2 star:		(1)
1 star:		(3)

 

 

I have to admit, despite Dylan's fine voice on this record, despite Mark K's excellent guitar work, despite the fact that musically, this is one outstanding piece of work, I didn't like this record at first, didn't like it for years. Bought it when it came out, listened to it once, filed it away. When CDs took over, of course I had to buy it again and I gave it another listen and I discovered that it wasn't so bad, after all, lyrically, that is.

You see I had a problem when Dylan appeared to be taking his audience along with him on his quest for God, so when this record opened with "Gotta Serve Somebody" my pea brain shut down. Yeah, I tried to tell myself that "I Believe in You" could be about a girl, "Precious Angel" too. But I really knew better. Now that I've got a few more years under my belt, I realize that this record is like all of Dylan's records, word pictures about what he was going through in his life. This record is about a man seeking and finding his way. He's not trying to convert me or anybody else. He's just simply chronicling his life in his way, with music and words that rhyme. I like this record now, play it quite a bit. It's really pretty darn good.

Although the word "hip" has never been in my vocabulary, "hip" is not the way to describe an album of Christian rock songs released in 1979 when new wave and the decadance of disco were dominating popular music. That's one reason why Bob Dylan is hipper than anybody. The critics be damned (in more ways than one, I suppose), Dylan was a man with a message who wasn't going to dilute that message to curry favor with anyone. Thank God for that because "Slow Train Coming" is a great, powerful album. The songs may be arrogant, as some critics have charged, but so was "The Times They Are-a Changin'" and "Like a Rolling Stone." The fire and brimstone mentality might have been grating if not for the fact that, musically, Dylan is operating at full power, and, lyrically, he is obviously very sincere in his beliefs. Whether sympathetic to the message or not, it's hard to believe anyone could not be moved by the beauty of "I Believe In You" and "Precious Angel," amused by "Man Gave Names to All the Animals," and overpowered by the dynamic "When He Returns." This album is right up there with his best work, and the follow-up, "Saved," is, in some ways, even better.

"Slow Train Coming" was exactly that-this album was more inevitable than most people realized, and a turning point in the career of Bob Dylan, not just commercially but, obviously, spiritually. Some called the Christian transition "bizarre;" but it's strange how no one complained when Pete Townshend expressed his religious beliefs in Meher Baba, or when actor Richard Gere became a Buddhist, which suggests some sort of prejudice. There's nothing wrong with a celebrity finding religion, but Dylan's transition is another example of the harsh standards that fans set for celebrities. What's worse is that they expect them to live by those standards. (Confusingly enough, Dylan actually said in 1983 "Whoever said I was Christian? I am a humanist!")
Dylan had been wandering for quite sometime, searching for himself in a way, while all at once becoming the "voice of a generation." What that generation probably didn't know was that their leader (a title Dylan denounced), the person they came to believe in, was searching for something to believe in too. And he obviously had good reason; in 1970, the generation he inspired turned on him at the drop of a hat, only that hat was in the form of an album called "Self Portrait," a purposely disastrous album Dylan released in hopes that critics and fans would remember he had told them "don't follow leaders." As he would later say, "I wanted out." They forgave him after another album, "New Morning." One rock and roll headline read "We've Got Dylan Back Again." But did Dylan have Dylan back? He wandered throughout the 70s, singing about what he was becoming increasingly knowledgeable about, his domestic family life (1974's "Planet Waves") and later the trials of a shaky marriage ("Blood On the Tracks," pieces of 1976's "Desire").
Therefore, "Slow Train Coming" is a joy to listen to because it finds Dylan finally at some form of peace. The last time he'd sounded this satisfied was probably on the laid-back country of 1969's "Nashville Skyline." He had been singing about the elements found in this album for years. Only now, Dylan knew that it was God who gave him the gift to do so. One should look back at the echoes of the book of Isaiah in 'All Along the Watchtower,' a song that seemed eerily similar to Mark 13:35. Some would accuse Dylan's lyrics for this album of being judgmental. Not so. He was actually singing about the same kinds of people found in older songs like 'Ballad of a Thin Man;' those who have "been through all of F. Scott Fitzgerald's books," who are "very well read" but still "something is happening" and they "don't know what it is." Dylan is more focused and diligent on "Slow Train Coming" than anything he had ever recorded before, and this clear-headed motivation would even carry into his albums of the 80s and 90s, whether they were Christian or secular. Songs like 'When You Gonna Wake Up' and the subtle-but-anthemic 'Gotta Serve Somebody' are no more "judgemental" than the lyrics of 'Like a Rolling Stone.' As a matter of fact, none of his work was judgemental, they are simply Dylan describing the kinds of characters and truths life is full of. Tracks like 'Precious Angel' and 'Slow Train' meanwhile are the peaks of Bob Dylan's goal on this album.
"Slow Train Coming," in some ways, had the same side-effects as "Self Portrait." The non-Christian fans became disgusted that "their" Bob Dylan could think for himself and not simply follow the beliefs his fans wanted him to follow, rather than his own. Some fans covered their ears, others made excuses and claimed it was just a cry for help. The reviews for mixed, but the record sold, making it a minor classic, and the music within is always superb. Subsequent Christian albums "Saved" and "Shot of Love" were not as well respected, and Dylan would allegedly move back to "secular" recordings with the strong "Infidels"; but even that album contained some references to both Christianity and Judaism influenced by Dylan's research in spiritual Rastafarianism, sparking many theories as to what exactly was influencing the songwriter at that point and whether "secular" was the word to describe it. But it was the best thing he could have done at this point; had Dylan continued to record strictly Christian rock his star would have faded, his audience lost. And whether or not he kept the values of "Slow Train Coming," every word, every note is the solid truth, something Dylan was never afraid to tell.

Bob Dylan accepted Christ as his Savior in 1978, and right away, his newborn faith became evident in his music. Slow Train Coming has a slick rock sound, with intoxicating guitar work, pretty melodies, and good female background singers.

The record kicks off with the warning that it may be the devil or it may be the Lord, but you "Gotta Serve Somebody." The second song is the pretty, but long winded "Precious Angel," a tribute to Mary Alice Artes, the woman who introduced Dylan to the Savior (and to the Vineyard Christian Fellowship).

The next song is the poignant, passionate "I Believe in You," where Dylan wears his faith on his sleeve, singing, "I believe in you, even through the tears and the laughter, even though I be outnumbered." He still performs this number in concerts once in a while.

The title track follows after this, and the Slow Train Coming is about the Kingdom of God and the time of the end inexorably approaching, even as Dylan's own loved ones are "turning into puppets," following the beat of this world system rather than following Christ.

The next tune is the resolute blues rock number "Gonna Change My Way of Thinking," complete with a beautiful horn section reminiscent of the Stones' Exile in Main Street sound. The song itself is about taking on the mind of Christ, thinking the thoughts of a Christian rather than the thoughts of the world.

There are also songs about the Golden Rule (Do Right to Me Baby), and the Garden of Eden story (Man Gave Names to all the Animals, a good children's song), and the closing number "When He Returns," probably the greatest song on the album, a stirring gospel tune that looks forward to the return of Jesus Christ.

I also like the song "When You Gonna Wake Up," a blues rock song where Dylan challenges us to wake up and accept Jesus.

Dylan's singing is a little strained at times, maybe because he was caught up in the emotion of the songs. It's hard to say. You especially notice it on "I Believe in You" and "When He Returns."

This record was recently recognized by CCM Magazine as one of the top ten Christian rock records of all time. In 1978, the idea of a major rock icon putting out an overtly born again Christian record seemed unlikely, and so this album breaks new ground. I highly recommend it.

Note: if you already own an older copy of this disc, buy this new remastered version, because the sound quality is much superior to the original release. You will notice greater clarity and certain instruments will be easier to detect than with the original release.

A lot of people really freaked out when Dylan became a born again Christian. I remember reading that he appeared on Saturday Night Live in 1979 right around the time this album got released, and that the cast and staff were terrified of his Christianity. I find their paranoia silly. Much of Dylan's work dealt with God and religious & spiritual issues anyway, here it was just made more explicit. This is one of Dylan's best albums, and one of my top 5 favorite Dylan albums. His voice is filled with passion, and these songs are excellent. All of these songs still hold true today. Slow Train, Gotta Serve Somebody, Precious Angel, and When You Gonna Wake Up? are my favorites here. The closer, When He Returns, is one of Dylan's most passioned vocals ever. Even the song Man Gave Names to All the Animals (which many people mock simply because of its title) is very good. There isn't one wasted song on the whole album. Even if you're not religious, you can still listen to this, and appreciate Dylan's passion and fire. This is a great spiritual record. It isn't overly preachy, and it isn't sanctimonious. It's just really sincere, like all great art. Dylan rules...

Fans who have long preferred Dylan's rebellious, folksy lyrics won't be disappointed. In a market which often pushes Christianity to the gospel music genre, Dylan steps up and gives us his best music in years.

"I Believe in You," is the story of a person who is rejected because of his faith but doesn't flinch. Dylan hits on a theme universal to anyone who has believed in something intangible. Autobiographical, he sings about the public's reaction. They wanted him to sing terribly politically incorrect lyrics like "Just like a Woman," when he wanted to sing about his new found faith in Christ, equally politically incorrect. Some of his more close-minded fans had a hard time letting Dylan sing a song this counter to what they wanted him to be.

"Gotta Serve Somebody" is witty and insightful, and has a great urban old-school gospel flavor to it. Look around and you will see it is becoming one of his most covered songs.

"Man Gave Names to All the Animals" is a funny look at what Adam's first job was in Eden.

I fully recommend "Slow Train Coming" by Bob Dylan.

Anthony Trendl
editor, HungarianBookstore.com

... I don't think it's really up to the level of some of his other albums (if you want to get Dylan's absolute best work, in my opinion you should start off with Bringing It All Back Home, Blood On The Tracks, and/or Love And Theft, but that's just my opinion), but, that said, it's a heck of a lot better than most things released in 1979, and it's on a completely different plane of existence from the much of the puerile, soulless treacle labeled "Contemporary Christian Music," which is basically the same garbage on your average pop or generic alt-rock radio station with slightly altered lyrics. I'm more acquainted with that genre than most people of my religious background, since I share an office with someone who is rather intensely involved in an evangelical free church. One day, after hearing Audio Adrenaline one too many times, I played this album and a Blind Lemon Jefferson collection for him. He was hooked immediately, and I haven't heard any more Audio Adrenaline in several months since.

One interesting thing this album has made think about is this: the reason why certain subsets of both secular liberals and conservative Christians can each hold an artist like Bob Dylan in equally high esteem is probably because we have more in common than either would generally like to consider. Think about it: if you're sitting here, tooling through reviews of some of Bob Dylan's lesser-known albums, chances are you (1) have a sneaking suspicion that there's more to life than making as much money and acquiring as much material [items] as possible, and (2) that our culture in particular pursues and values those things far too much, no matter what your religious or political orientations may be... Toodles!

Honestly, I too went through the "born again" thing just prior to Dylan's adventure there...The aging hippies of the 60's faced a choice in the mid to late 70's: cocaine or Jesus--I chose the later. Saved some money; saved a few thousand brain cells; gained a few extra pounds(Christians like to eat)! But anyhow, I was very relieved when Bob Dylan came out with this album which, in my mind, told me I had chosen correctly---It was ok. But, like many others, including Dylan, a couple years of piotic living was enough to say, "I tried it." Odd, how once you've tried something, it increases your tolerance for that behavior or belief. So, now, many years later and far removed from the born again experience, I can still enjoy this album and not be "offended" by its subject. And for that alone, I'm very happy I chose Jesus over cocaine! Back then though, this album was literally a God send for me. I could listen to this; enjoy my old ways; hear great music; and still be pious. Complicated beats, smooth-powerful guitar (some of the best you'll hear on any Dylan album),and calming, yet powerful lyrics and vocals. Dylan was at peace during this time and it comes across in the music...anyone who won't give this album a chance misses out on a part of Dylan that can only be found in these "Messianic-period" albums. It's too bad; his music during this time in his life was pretty special. And the best part for me was that I could actually be "in tuned" with what Dylan was singing about and not have to pretend he was singing to a girl :-)...His lyrics, regardless of subject matter, have always been brilliant and these lyrics were no less powerful to those who would listen. But that aside, notice how many 5 star reviews there are here from people who are reviewing this album for the music's sake only and not buying into the spiritual subject matter...it speaks loudly for the musical quality of this album.

Of Dylan's three Christian albums, aesthetically this is the best and most consistent, although SAVED is a strong gospel album in its own right.. SHOT OF LOVE, while having some brilliant moments (although, unfortunately, most of the brilliant moments were left OFF that particular album), never really fully gelled to the vision Dylan seemed to want to take it. SHOT OF LOVE filled like it was supposed to be a Christian pop album, merging the best of both art forms into a cohesive whole. When it worked, it really worked ("Every Grain of Sand.") When it didn't, SHOT OF LOVE just sinks.

And what of SLOW TRAIN COMING? Well, like SHOT OF LOVE, only half of this record gels into truly great material. The first four songs on Side 1 start the album really strong. Judging from the momentum these songs have, SLOW TRAIN COMING should have a really strong finish, and would have been one of his best albums. Sadly, Dylan stalls halfway through the album and as a result SLOW TRAIN COMING is greatly weakened. The rest of the album becomes craftsmanship instead of art, though the album does end on a high note with "When He Returns", a classic Gospel song.

That, perhaps, is the best identifier for SLOW TRAIN COMING. Dylan's obviously focused on these tracks, and you can tell he wants the album to have a contemporary sound (hence Knopler and his gang). The first four tracks show's Dylan's brilliance in a Christian context. The remaining four (not including "When He Returns") show Dylan in a focused, workman like determination to come up with a collection of songs that reflect his new found faith. While there's nothing particularly wrong with these tracks, there's nothing particularly right with them either.

Instead of placing the highlights throughout the album, as he did with STREET LEGAL and SHOT OF LOVE, Dylan chose to put all the good stuff at the beginning. Perhaps the reason for this is to win sympathy for the album and to carry the record through to the end, but for this listener I just want to push stop and eject after the first four tracks have gone by. The listening frustration is more intense on SLOW TRAIN COMING because of this fact.

When Dylan strikes gold, he really hits it big time. The rest just appear as songs that anyone could have written, and sometimes the dogma makes for rather odd songs ("Man Gave Names To All The Animals"). "Man" is the most interesting track off the second side and that is because it's so strange and musically it's reggae. Other than that, while Dylan's commitment to his faith and his desire to channel this faith into his art is indeed an admirable cause, in the end there's only about a side here worth really looking at. The rest are good, just a long way from the brilliance of the first four cuts.


There are, as with most Dylan albums, some additional songs recorded that were not included. Unlike some of his albums, that wasn't a lot of surplus material left over, however. One is "Seven Days", a fair song in its own right that Ron Woods of Rolling Stone fame made a hit of. Dylan also recorded a song entitled "Trouble in Mind" and issued it as a b-side to "Gotta Serve Somebody". This song is one of the highlights of the Slow Train Coming sessions, and should have been on the album. Find it if you can. It's a great song. So is "Ye Shall be Changed" from the BOOTLEG SERIES. Both these songs are better and more enjoyable to listen too than the four workman-like songs on the second side.

This is probably the best album of the Christian Trilogy, though SAVED has some great songs. But people who don't necessarily like gospel will find more in STC than they will in SAVED, and a significant potion of his fan base will find STC easier to listen too.. The contrast between the brilliant tracks and the just so tracks becomes much more apparent in SHOT OF LOVE than SLOW TRAIN COMING. The worst material on here still stands as serviceable tracks, just not brilliant tracks. SHOT OF LOVE, however, is cluttered with material that just barely makes the cut aesthetically, yet the brilliant stuff of that album is even better than the first four songs here, so the extremes are more fully realised on SHOT OF LOVE than on SLOW TRAIN COMING. As for "Every Grain of Sand," nothing here matches that, but that is only one song and one song cannot make an album (listen to "In a Gadda Da Vida" for proof).

In relation to STREET LEGAL, this album seemed to be a natural progression. Dylan is always one for trying something different and new. Lyrically, there are cuts on STREET LEGAL is on rival with the best of his 1960s material. The last cut ("Where are You Tonight? (Journey Through Dark Heat)") shows Dylan struggling to find something in his life worth caring about. Here is the answer to that question.

Bottom line: Dylan getting religion, while spiritually the most important thing a person can do, only results in fair material with some brilliant moments. Of his three Christian albums, this is the most even keeled and consistent. SAVED is a great album, but not as accessible to people who aren't into the whole gospel scene, and SHOT OF LOVE is just too inconsistent and had too many great songs cut to make it a worthwhile listen, though it has a handful of the best songs he ever wrote, which for Dylan is saying a lot.

This 1979 mellow but masterful offering from Bob Dylan was recorded in the famous Muscle Shoals Sound Studios in Alabama, and has a slightly funky feel to it. It's a work of amazing strength, and I can only conclude that the reason it has been so underrated is because of its Christian theme. The words are powerful, and the melodies bright and beautiful.

Mark Knopfler's unique sound can always be recognized after only a few notes from his guitar, and he graces this recording with his extraordinary musicianship. The former guiding light of Dire Straits, Knopfler is a large part of what makes this recording so special.
Though most of the songs have tough lyrics about making the right choices in life, "Man Gave Names To All the Animals" is a humorous and delightful tune that one keeps humming long after the CD has ended.

Dylan was asked by John Dolen of the Ft. Lauderdale Sun Sentinel in 1995 if he thought there was still a Slow Train Coming, and Dylan said, "When I look ahead now, it's picked up quite a bit of speed. In fact, it's going like a freight train now". Yes, this CD and its message are more relevant than ever, and it deserves its place at the forefront of popular music history with the best of Dylan's other great recordings.