They were different people from different walks of life, different environments and ages. the Time Out of Mind record, that was the beginning of me making records for an audience that I was playing to night after night. Nonetheless, this seems among your bigger works, like Time Out of Mind, though more outward, less inward. That takes a lot more concentration – to pull that off 10 times with the same thread – than it does with a record like I ended up with, where anything goes and you just gotta believe it will make sense. I wanted to make something more religious. It’s not the album I wanted to make, though. Tempest was like all the rest of them: The songs just fall together. This is Bob Dylan as you’ve never known him before.ĭo you see Tempest as an eventful album, like Time Out of Mind or Love and Theft? Just the opposite: He opened up unflinchingly, with no apologies. Dylan didn’t hedge or attempt to guard himself as we went along. We continued the conversation over the next many days, on the phone and by way of some written responses. This was an incident he’d alluded to briefly in his 2004 autobiography, Chronicles: Volume One, but in this interview the matter took on deeper implications.Īt moments, I pushed in on some questions, and Dylan pushed back. What Bob Dylan believes really happened to him after he survived his radical pinnacle is much more transformational than he has fully revealed before. In truth, he now says, that’s what he was – or rather, what he was becoming. The music that he returned with, in the late 1960s – John Wesley Harding and Nashville Skyline – sounded as if Dylan had become a different man.
LARRY THE LOOTER UPROXX SERIES
In 1966, following a series of mind-blazing and controversial electric performances, the young hero removed himself from his own moment after he was laid low by a motorcycle accident, in Woodstock. But Dylan wasn’t always comfortable with the effects of that reputation. It’s unlikely, though, that Dylan will ever eclipse the renown of his explosion of music and style in the 1960s, which transformed him into a definitive mythic force of those times.
His new album, Tempest, tells tales of mortal ends, moral faithlessness and hard-earned (if arbitrary) grace, culminating in a swirling, 14-minute epic about the Titanic, which mixes fact and fantasy, followed by a loving, mystical song about his late friend and peer John Lennon. In the 15 years since his 1997 album, Time Out of Mind, Dylan – who is now 71 – has enjoyed the most sustained period of creativity of his lifetime. He has a glass of cold water in front of him. A fringe of moptop-style reddish-blond hair, clearly a wig, curls slightly out from the front of the cap, above his eyebrows. He also wears a ski cap – black around its lower half, white at its dome – pulled down over his ears and low on his forehead. Dylan is dressed warmer than the Southern California weather invited, in a buttoned black leather jacket over a thick white T-shirt. “Help me out.” It’s a midsummer day, an hour or so before evening, and we are seated at a table on a shaded patio, at the rear of a Santa Monica restaurant. I‘m trying to explain something that can’t be explained,” says Bob Dylan.
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