#467: Bob Dylan's "Love and Theft"

A remarkable follow up to Time Out of Mind. Drawing from a wide variety of idioms, Dylan serves up a record that's part confessional, part referential signifier of Americana, musical and otherwise. A standout for me is "High Water (for Charley Patton)," as sullen an indictment of the South as has been levelled, fleshed out in tones of smoky Southern Gothic and misty Appalachia. From there he jumps easily into the poetic hymn of longing and anticipation that is "Moonlight." And so it goes. Dylan painted this one with a broad palette and well sharpened brushes.

Some other thoughts:

#469, Public Image Ltd's Metal Box: A strong departure from Lydon's Sex Pistols days, this record finds him exploring the post-punk landscape with the aid of Jah Wabble's dub basslines and Keith Levene's thin, metallic guitar. The result is an abrasive and menacing record, and a brave one for its day.

#468, Elton John: Frequently assumed to be their debut, this is actually John and songwriting partner Bernie Taupin's second record. Certainly ambitious, and no doubt erratic, but the pieces are all there. "Take Me to the Pilot" is as fine an example of piano rock as John would ever produce.