|Release Date: March 25, 2014
The decade began with Dylan recording religious music. The born again fervor of Saved (1980) faded into more upbeat Shot of Love (1981). Infidels in 1983 signaled a renewed interest in Judaism and world events. At the same time Infidels became known for what did not appear on it like "Blind WIllie McTell" and "Foot of Pride." Dylan shed his born again image for good with a triumphant appearance on Late Night With David Letterman backed by the L.A. punk band The Plugz. In 1985 Dylan took part in the iconic "We Are the World" session and recorded the excessive Empire Burlesque. He toured with The Grateful Dead and Tom Petty, yet many were wondering if Dylan had much left in the tank after two unremarkable records of mostly covers, Knocked Out Loaded (1986) and Down in the Groove (1988) both flopped with critics. Then Oh Mercy arrived in 1989 to high acclaim, featuring some of Dylan's strongest material in years. So the 1980s were wild ride of different personas combined with the uncomfortable reality of becoming an elder statesman of rock.
The collection begins with "Got My Mind Made Up" from Knocked Out Loaded. Langhorne Slim took a blue grass approach with a primal vocal performance. Built to Spill gave "Jokerman" a post punk treatment that enhances the song's fantastical imagery. Reggie Watts does a complete reworking of "Brownsville Girl" into a Reggae beat box hymn. Craig Finn of The Hold Steady offers a playfully rocking version of "Sweetheart Like You" and even changes the lyrics.
Ivan and Alyosha bring a modern folk sound to "You Changed My Life", an outtake from Shot of Love. A rarity from Dylan's 1987 film Hearts of Fire "Night After Night" gets a 60s pop overhaul from Deertick. "Dark Eyes", the sadly beautiful closing track on Empire Burlesque is wonderfully recreated by Bonnie Prince Charlie with a stirring vocal from Dawn Landes, totally changing the impact of the song. "Waiting to Get Beat", an obscure outtake from Empire, gets a makeover from San Francisco jam band Tea Leaf Green.
Not all the songs are from the 80s, two from Dylan's 1990 LP Under the Red Sky also appear. "Wiggle, Wiggle" with Aaron Freeman and featuring Slash on guitar (who also played on the original) is a tad slight. Blitzen Trapper provide a lo-fi version of "Unbelievable." Singer-Songwriter Elvis Perkins added a fairly standard rendition of "Congratulations" Bob wrote for the Traveling Wilbury's. An instrumental version of "Every Grain of Sand" by Marco Benevento speaks to the song's sense of peace and renewal. Hannah Cohen delivers a dreamy vocal of "Covenant Woman" and Glen Hansard performs a soulful version of "Pressing On."
"Series of Dreams" performed by The Yellowbirds sounds close to Dylan's own version, a tough one to cover since its one his most modern sounding tracks. One of the most inspired moments comes from Lucius in their rousing version of "When the Night Comes Falling From the Sky," reimagined as a New Wave epic of melodic jangle rock. Appropriately, the collection concludes with "Death is Not The End" from Carl Broemel (former member of My Morning Jacket) played as a gentle folk ballad.
Bob Dylan in the 80s is a worthy collection of eclectic interpretations of some of Dylan's lesser discussed work. By now it's passe to claim the decade was a lost one for him. These songs hold up and are amenable to a new generation of artists taking inspiration from their inspiring and sometimes strange power. The spiritual songs sound more secular and the secular ones seem more spiritual. A worthy project, Bob Dylan in the 80s will allow any fan to look at decade in a new light.