Posted in Album Reviews

Bob Dylan – Highway 61 Revisited (1965)

Released mere months after his last album, Bringing It All Back Home, 1965 saw Bob Dylan issue one of his seminal albums in Highway 61 Revisited. Though the album is not chock-a-block with Dylan hits, it is widely regarded as one of the greatest records ever made.  Recording took place in two blocks with the first being in mid June and the second in late July.  In between recordings is the infamous electric set that took place at that year’s Newport Folk Festival which was a signal of what was to come.

Recording with a band on virtually every track for the first time in his career, Hwy 61 often has the feeling of a great band swinging behind Dylan with their heads down while he presents his vignettes. With six verses in six minutes, “Tombstone Blues” is a sped up number where “mama’s in the factory, she ain’t got no shoes”. The mysterious and atmospheric “Ballad of a Thin Man” questions that, “something is happening here/but ya don’t know what it is/do you, Mr. Jones?”

With the accompanying band, organ and piano play a key role on several tracks. “Queen Jane Approximately” has great piano/organ lines courtesy of Al Kooper and Paul Griffin. While Hwy 61 references the road that travels from his old home in Minnesota through to New Orleans, “Just Like Tom Thumb’s Blues” first line, “When you’re lost in the rain in Jarez” shows we’re not in Duluth anymore. The album is bookended by two epic tracks, the last being “Desolation Road”.  The eleven minute song is the only one delivered here acoustically and touches on historical figures of Einstein and Cinderella among a cavalcade of others. 

The most famous song on the album is the first track, “Like a Rolling Stone”. Introduced by it’s instantly recognizable drum shot from Bobby Gregg. The song is also musically notable for it’s improvised organ riff courtesy of Al Kooper. The celebratory chorus sees Dylan ask several times, “How does it feel?”.  It’s a song that is near impossible not to get swept away in. By 1965, Bob Dylan had already released a couple classic albums but in Highway 61 Revisited, he released an album that blasted him past rock and roll luminaries who had to quickly accelerate just to keep up.

10/10

Posted in Album Reviews

Once Twice Melody (2022)

Reaching for something bigger for their eighth album, Beach House released a double album of 18 songs back in February.  Once Twice Melody is separated into four chapters – Pink Funeral, New Romance, Masquerade, & Modern Love Stories – each named for a song in the section.   It’s not unusual for the duo of Victoria Legrand and Alex Scally to release this many tracks, in 2015 they released the albums Depression Cherry and Thank Your Lucky Stars less than two months apart.  However, a double album is a different beast all together.

The first chapter, Pink Funeral, is one of the album’s best. The title track arrives in a swirl of synths with a soft drum beat appears that sounds like it’s played beneath a pillow.  Strings appear when Legrand delivers the “no matter where you go” line. Throughout the album, many tracks differ in how Legrand uses her voice. A more serious, determined voice brings a harder edge to third single “Superstar” whereas her voice takes a more ethereal, floating quality on “Through Me”.  

Slightly weaker in quality, The New Romance chapter is highlighted by the seven minute opus “Over and Over”. Driven by a simple beat, the song drifts along but adds brighter synths and a shimmering chorus. Masquerade contains two of the albums best tracks.  Acoustic guitars are prominent on “Sunset”  as Legrand reminds us that “just one key ties everything”.  A sun dappled vibe features on “Only You Know” with a echoe-y chant of “Don’t….Blink…”

Once Twice Melody closes with the Modern Love Stories set of tracks.  A basic Casio keyboard beat powers excellent second single “Hurts to Love”. The uplifting song tells listeners that “If it hurts to love/you better do it anyway”. More darker and tension filled is album closer, “Modern Love Stories”. The track has a mature electronic sound that reminds of Pet Shop Boys where “The end is the beginning/beginning to an ending”.

With this many tracks, the Beach House sound both expands and contracts.  Like most double albums a few tracks could have been left on the cutting room floor however, the band sets that floor very high. On Once Twice Melody, Beach House have created an expansive album that envelops the listener into a more dreamy and sumptuous world.  

9/10