Love & Theft [Audio CD] Dylan, Bob - Very Good

Very Good - USED Very Good: A well-cared-for video game, CD or DVD that has been played, but remains in great condition. The film is complete, without interruption, and does not skip. The box or jewel case may show limited signs of wear, as may the cover art, liner notes and inclusions. Please note that included codes (if applicable) may not be guaranteed to work.BOOK : This book is in very good condition, showing minimal signs of wear. The pages are clean with no markings, and the cover may have only slight shelf wear. There are no creases on the spine, and the book appears well cared for. It is a solid copy that presents well. Please note that included codes (if applicable) may not be guaranteed to work.

Amazon.ca When we last left the ever-confounding saga that is Bob Dylan's now-superhuman recording career, he'd reunited with producer Daniel Lanois, with whom he cut 1997's Time Out of Mind, his most coherent and appealing collection in nearly a decade. Now the still-reigning prince of musical contrariety and potent wordplay is back with his most focused, well-played collection since 1989's Oh Mercy, another Lanois production. One listen to the fade-in of the opener "Tweedle Dee & Tweedle Dum" and it's clear that all Dylan's roadwork has shaped him and his band (including guitarist Charlie Sexton) into a mighty musical weapon. And while his craggy howl continues to resonate, it's the songs here that astonish. A sturdy midtempo melody makes "Mississippi" the equal of the best numbers on Time, which it was actually written for. He convincingly puts over the R&B swing (yes, swing) number "Summer Days." "Honest with Me" ("I'm not sorry for nuthin' I've done / I'm glad I fight, I only wished we'd won") is a driving rocker that packs a genuine punch. And the light, lounge-like "Bye and Bye" and the southland ramble "Floater (Too Much to Ask)" show extraordinary confidence. He's labeled these songs "blues-based," but in typical Dylan fashion what would promise to be the most overtly blues number here--"High Water (for Charlie Patton)"--sounds like a banjo-based gunfighter ballad. But then that's this artist's gift: confounding expectations. --Robert Baird

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