4/5
Springtime For Dylan.
Before we get into this we cannot ignore the recent sexual abuse allegations made against Bob Dylan going back to 1965. Despite vehement denials and biographers claiming the timeline is "impossible", we can't not acknowledge this. Innocent like we believe he is until proven guilty of course. But if he is the latter, then that's another thing altogether and this may be the last time we write about the greatest American singer/songwriter of all-time. Until then to be fair and impartial we must reserve judgement and not give in to pitch-fork cancel culture before we know the whole truth and nothing but it. Before we find out what really happened with respect to the man and the accuser, we have a job to do. To judge the music alone for what it is and all it's worth. All as Dylan adds to his stellar songbook that is the most epic encyclopedia of chorus and verse, taking us across the bridge of rhyme and reason as he hooks us again. 'Springtime In New York: The Booteleg Series Vol. 16 (1980-1985)' takes us back to 80's Dylan and his New York City home like Greenwich Village all in a half decade ending the very year this writer was born into this world (feel old yet? I sure do). Curly blown out iconic hair still there (jealous), but behind the symbolic shades that are now cut like the fingernails we see the weathered and worn, soulful eyes of a man in the Autumn of his life with Winter coming. They call this different decade controversial for the chapter of this book of rhymes, but biblical in its church choir and organ music sound we give all praise like we do to the 1978 proceeding 9-track 'Street Legal' in the same vein. Although this album focuses on the big-three sessions of 'Infidels', 'Shot Of Love' and 'Empire Burlesque' during the decade that followed. Like 80's Springsteen there's a 'Human Touch' to all this, even if it is a few miles from lucky town.
MTV video and it's eighties era weren't made for Bob, but Dylan is more than just here today and fast forwarded tomorrow. On another rewind for the bootleg tape volumes the icon shows why he cantankerously outlasted even the videotape in this streaming age that even makes the DVD look like a cassette (and so much for the CD). In 'Chronicles', Volume 2 of his memoirs he calls this Spring period "whitewashed and wasted out professionally", but this sweet sixteenth volume from 1980 to 85 gives us a new take on all that, and actually feels like an individual album in its own right. Two hours and four minutes of 25 songs (54 in deluxe full for the purists) for the man 20 years off a century celebrating his 80th this calendar. Born again like his gospel sound of the Christian time this set begins with the offering of 'Angelina' for the man who 'Need(s) A Woman' and it all sounds like something big coming out of a Springsteen 'Tunnel Of Love' like a 'Brilliant Disguise'. All in a time the 'Sob Rock' of John Mayer this summer brought the 80's back on a 'Last Train Home' in all its sports car rolled-back tops and rolled-up sleeves. "Well, it’s always been my nature to take chances/My right hand drawing back while my left hand advances/Where the current is strong and the monkey dances/To the tune of a concertina", he opens up on something that sounds as 80's fresh as the 'Shot Of Love' album it should have began in the first place. The songwriter is still so stellar, even in the reflection of his B-side. 'Let's Keep It Between Us' he says as these records finally see the light of day like realizing the 'Price Of Love'. We've grown up and come so far with this man, but he's still go so much more to tell in his stories. We even have time to lie back and relax before the fireplace 'Fur Slippers' with the mango and pineapple Belafonte beach like 'Don't Ever Take Yourself Away', like we can't. Mayer should have covered this one like the time he battle studied when Bruce Springsteen was on fire. Hey, hey, hey.
'Cry Macho' like a new Clint Eastwood movie also out this Friday, this weekend it's time for the old guard to take over again. 'Yes Sir, No Sir' does anything but fall in line, brought today to the world that has a voice that sounds a lot different to subservience. Whilst 'Jokerman' plays its cards right like Jack or Joaquin for your ledgers. "So swiftly the sun sets in the sky/You rise up and say goodbye to no one/Fools rush in where angels fear to tread/Both of their futures, so full of dread, you don't show one/Shedding off one more layer of skin/Keeping one step ahead of the persecutor within", dancing to this nightingale tune in the pale moonlight. Times may have a-changed but this is still a classic from the legends hand. Just like the spiritual of the religious offering, 'Lord Protect My Child' and the storytelling of 'Blind Willie McTell' that could find a home on the ranch with the range of the 'Pat Garrett & Billy The Kid' soundtrack. The same can be said for the eleven minute 'Tempest' tempting penultimate track 'New Danville Girl' trying to remember a Gregory Peck movie, before the harmonica classic closer of the 'Empire Burlesque' 'Dark Eyes' as this bootleg and strapped album closes its lids. 'Don't Fall Apart On Me Tonight' is a beautiful yearn that back to the future sounds as 80's as being Rick rolled. Whilst you Biff ain't ready for the 'Neighbourhood Bully', but your kids are gonna love the Band version of 'Too Late'. This 'Infidel' 'Foot Of Pride' stands in line with a lasting Lou Reed cover for the late legend. But it's a 'Sweetheart Like You' that really moves hearts as Bob asks, "what's a sweetheart like you doing in a dump like this" (ahh I was just passing through mate). 'Someone's Got a Hold Of My Heart' and 'I and I' offers more self assurance in a time were many doubted the icon still had it in an age were the symbolic was replaced with a Music Television logo. 'Tell Me', what's it like now? 'Enough is Enough' like the man always sang as he still gives us a 'Tight Connection To My Heart' back then singing, "never could learn to drink that blood/And call it wine/Never could learn to hold you, love/And call you mine". Its lyrics like this that make him the greatest. As Dylan delves into more deluxe numbers like 'Seeing The Real You At Last' or the beautiful devotion, 'Emotionally Yours'."They said, “Listen boy, you’re just a pup”/They sent him to a napalm health spa to shape up/They gave him dope to smoke, drinks and pills/A jeep to drive, blood to spill/They said “Congratulations, you got what it takes”/They sent him back into the rat race without any brakes," the 'Clean Cut Kid' says on a slice of real life amongst all these love songs that still shows the war raging on inside him and others still reeling in that Reaganomics time of Gekko lizards and 'Wall Street' cinder block, cord pulled phones. The napalm of 'nam still fresh like the wounds that never heal. This is why more than a cultural commentator, Bob Dylan is a man of the people. A priest. A prophet a leader when we can't get one present in President (although all that may have changed now for the better after all that worse). Spring may be gone, but in this New York minute Bob bootleg brings us the good times back. Especially in hindsight, now that we see them as such in retrospect respect. Here's another shot at love from the empire for all the infidels. TIM DAVID HARVEY.
Playlist Picks: 'Angelina', 'Jokerman', 'New Danville Girl'.
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