The gamecock. (Columbia, S.C.) 1908-2006, September 02, 1981, Page Page 9, Image 11
Dyla
, Witl
uy jonn tsartus
Staff Wrfter
A great deal of controversy
has been i.raised
over Bob Dylan's last two
albums. He has alienated
some fans with his Christian
message, yet he has
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through his conversion. Slow
^Train Coming was immediately
controversial
upon its release in 1979, but
still sold many copies
because of the high quality of
the material offered. Last
year's release, Saved, didn't
do as well because those
songs were more of a personal
look at his new-found
faith.
Now, Bob Dylan has
released his third album
with an underlying Christian
C~heme. Entitled Shot of
Love, the new album is a
diverse collection of
material spanning a wide
-t A ;? "
i ctuge ui topics ana musical
influences. Mostly coproduced
by Dylan and
Chuck Plotkin, the album
features some holdouts from
the band on Saved, and it
also presents some more
well-known musical talents
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Ron Wood, Donald "Duck"
Dunn, and Bingo Starr. The
production is, for the most
part, well done, but the
album cuts are plagued by
tape hiss which should have
been eliminated. And it
seems as if all the cuts were
recorded live, with very few,
if any.overdubs.
The title song opens the
album in a forceful
R&B/gospel-rock style.
Dylan maintains that he
doesn't need a shot nf
whiskey or heroin or turpentine
to feel good, but
rather needs a shot of love to
be able to survive and grow
in a world filled with anger,
hatred, and despair. Dylan's
singing on this cut is particularly
good, and his voice
seems to have lost a little
roughness throughout the
album.
DYLAN GOES to the piano
for the next song, called
"Heart of Mine." In this cut,
Dylan admonishes his heart
and tells it not to go running
around causing trouble. He
seems reluctant to start a
love affair even though he
really wants one. Dylan's
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piano playing is well
executed, and his instrumental
work on guitar
and piano sounds polished
and smooth.
Bob returns to the guitar
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iui uie uuru cui, an n&uinfluenced
rock song called
"Property of Jesus." In this
cut, Dylan looks at the
people who regard
Christians with contempt
and wish them the worst so
that Christian life would be
put down as hypocrisy. But
Dylan exposes the true
hypocrite in the song, saying
that he should not judge
another man's lifestyle. He
hits them especially hard in
the chorus:
He's the property of Jesus
Resent him to the bone
You've got something better,
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Dylan leads a sparse
background band with his
piano on the next cut,
"Lenny Bruce." It seems to
be a humorous dirge written
about Lenny Bruce, a man
who was years ahead of his
time. The lyrics in this cut
often seem absurd, yet they
do reveal some interesting
points. For example:
He never robbed any
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Or cut off any babies' heads
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And he shined a light in their
beds.
Dylan closes out side one
with an upbeat song called
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this cut, he compares real
love to what many people
accept as a poor substitute.
Dylan asserts that there is
no substitute for "love that's
pure" and that he wants
nothing to do with cheap,
watered-down love.
SIDE TWO opens with a
reggae tune. Yes, Dylan has
actually written a reggae
song, and it's called "Dead
Man, Dead Man." This is
probably the album's most
"preachy" cut, warning that
your evil ways are "taking
you down to hell," and that if
you don't straighten out, you
could end up a dead man.
"In the Summertime" is a
song about how Dylan found
love and peace through a
relationship that happened
" in the summertime, when
you were with me." With this
(see DYLAN, page 10)
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