10:37am: Blood On The Tracks to Oh Mercy
"While the tour seemed to reinvigorate Dylan's creative spirit, his personal life was in a shambles. He and Sara had separated, and Dylan's confusion, pain, and anger over their split infused the songs he was writing with a rare passion. The result was Blood on the Tracks, perhaps the most mature, moving, and profound examination of love and loss ever committed to record. Stunning songs like "Tangled Up in Blue," "Idiot Wind," and "Shelter From the Storm" were not strictly autobiographical, but their emotional turbulence clearly reflected Dylan's anguished state of mind. His second straight No. 1 album, Blood on the Tracks didn't merely match the brilliance of Dylan's sixties output--in terms of eloquence and emotional authority, he had reached new heights.
Later that year, a truncated version of The Basement Tapes was finally released, and was hailed as a found masterpiece. Another tour soon followed--the ragtag Rolling Thunder Revue, which featured old friends like Joan Baez and Roger McGuinn, and new ones such as T-Bone Burnett and playwright Sam Shepard, who was recruited to write a screenplay to be shot on the road. (The resulting film, the mostly unscripted Renaldo and Clara, was a confused four-hour debacle that received very limited distribution in 1978.) Mid-tour, Dylan released Desire, which was his third consecutive No. 1 album; it featured the single "Hurricane," dedicated to the wrongly imprisoned boxer Rubin "Hurricane" Carter. While nowhere near as impressive as Blood on the Tracks, Desire was a well-crafted, evocative effort that contained at least two great songs: the playfully cinematic "Black Diamond Bay," and the plaintive, heartfelt ode to his estranged wife, "Sara." The song did not win her back: Dylan and Sara divorced the following year.
Dylan's first post-divorce album, Street Legal, did not bode well for the future. Overproduced and lyrically senseless, it was even worse than Self Portrait, and the world tour that followed was a pale shadow of the Before the Flood and Rolling Thunder shows. At thirty-seven, Dylan seemed, both personally and professionally, at loose ends. Even so, his next move took the world by surprise: embracing fundamental Christianity, he released the overtly born-again album Slow Train Coming. Much to the surprise of his critics, the record was a commercial success, reaching No. 3 on the charts, spawning the hit single "Gotta Serve Somebody," and earning Dylan his first Grammy award, for Best Male Rock Vocal Performance.
The tour that followed was a fire and brimstone affair that managed to alienate many of Dylan's longtime fans, and his next album, Saved, failed to crack the Top 20. For the faithful, though, his next record, Shot of Love offered signs of hope: "Every Grain of Sand" was a gorgeous, philosophical ballad that took a far more forgiving tone than his past two albums, while "The Groom's Still Waiting at the Alter" (the non-LP B-side to the single "Heart of Mine") was a barn-burning rocker that would have fit nicely on Highway 61 Revisited.
Infidels (1983) continued the positive trend: co-produced by Dire Straits frontman Mark Knopfler, whose graceful guitar work made it Dylan's best-sounding record ever, it was also his finest sustained collection of songs since Blood on the Tracks. Veering away from the overtly religious material of his last three albums, Dylan recaptured the complexity and emotional subtlety of his best work on songs like "Jokerman" and "Don't Fall Apart on Me Tonight." Empire Burlesque, his self-produced follow-up to Infidels, was almost as good, ranging from the blistering soul of "Tight Connection to My Heart" to the gentle acoustic ballad "Dark Eyes," with only a few missteps.
While Dylan had toured regularly since returning to the stage with the Band in 1974, beginning in the mid-eighties he hit the road full-time, first with all-star cronies Tom Petty and the Heartbreakers and the Grateful Dead, then, starting in 1988, with a small rock combo led by guitarist and Saturday Night Live musical director G.E. Smith. Shows on the so-called Never Ending Tour were generally sloppy, and Dylan tended to mumble his songs and glower at his audiences, but he stuck with it--nine years later, he's hardly spent a month off the road. The original work he's released over the last decade has continued to contain flashes of genius, but only the Daniel Lanois-produced Oh Mercy worked to any sustained effect." (Bio quoted from BobDylanBiography.8k.com)
(coming next: Knocked Out Loaded to the Traveling Wilburys)