Desire (1976)
1. Hurricane
2. Isis
3. Mozambique
4. One More Cup of Coffee (Valley Below)
5. Oh, Sister
6. Joey
7. Romance in Durango
8. Black Diamond Bay
9. Sara
 
As the middle of the seventies plodded
on, Dylan found himself a bit rejuvenated in terms of his popularity.
All of the sudden, his music was finding itself in the forefront of FM
radio and his albums were selling, once again, in mass quantities. This
album, released in 1976, was probably his last "big" release of the
decade and at the time his audiences ate it up. Many today don't
consider it to be one of the high points of his catalog, and it
retrospect, it's easy to see why, even though he does deliver the goods
as expected.
It's a lot different from Blood on The
Tracks, his last studio release, yet this seemed to be his goal
every time he released an album (i.e. making it
sound nothing like its predecessor). Incorporating a regular group
of musicians called "The Rolling Thunder Review", he takes on the style
of music that somehow sounds very consistent, yet at the same time the
songs are all over the place, incorporating many styles and feels.
There are two things that really stand out on this album, and this
reviewer's opinion, they do slightly more harm than good. One is
Scarlet Rivera's violin playing on every song, and the other is
Emmylou Harris' accompanying vocals on, what it seems anyway,
every song as well. Both of these additions should be welcome,
but their presence is mixed too much in the forefront to where we feel
overwhelmed. Emmylou Harris is a beautiful singer, yet when she
accompanies Dylan, she simply overwhelms him, and one wishes her
presence is toned down several notches.
Songwise, there's....well....a lot here. A lot of different
styles and a lot of volume. This single album clocks in at almost an
hour and every song feels like its at least seven minutes in length
(only four actually are, but they all feel like it). Take the
best, and most known song, Hurricane. If, for whatever reason,
you haven't heard the song, it's a song about the seemingly wrongful
conviction of boxer Reuben "Hurricane" Carter. It goes on at almost
eight and a half minutes. Dylan is majorly pissed in the song
and doesn't hide anything behind a subtle concoction of allegories or
metaphors. No, he tells it like it is, and no one can miss the point
here. Fortunately it's a great song, and managed to raise awareness to
the tragedy, mainly because of the bluntness of the song.
Other's don't fair quite as well. Joey about mobster Joey Gallo
is simply too long, too tiring and simply too much. This time the
"hero" is definitely questionable. Dylan tries to go for a bit of an
Italian feel, but with Harris' country croon and the ever present
fiddle/violin, the overall package just doesn't seem to work.
Isis is a bit of a weird one. Like the above two, it's a story
song, but I don't have the slightest idea what it is he's talking about
in this weird mythological yarn. The music on this one isn't bad, and
since it's only seven minutes in length, it's a bit easier to
enjoy.
My two favorites are One More Cup of Coffee (Valley Below) and
Oh, Sister that show more of Dylan's sentimental style, and are
more about emotion than linear story telling. I'd like to have heard a
recording without Emmylou hogging the mike or that, by now, very
redundant violin. The whole package is a mixed bag, good songs overall,
but songs that time has shown may have been better. Still, maybe this
was just perfect for the mid nineteen-seventies.
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