Tuesday, September 11, 2001

Bob Dylan released Love and Theft

Love and Theft

Bob Dylan

Released: September 11, 2001

Charted: September 29, 2001

Peak: 5 US, 3 UK, 3 CN, 6 AU

Sales (in millions): 1.0 US, 0.1 UK, 1.1 world (includes US and UK)

Genre: folk rock


  1. Tweedle Dee & Tweedle Dum
  2. Mississippi
  3. Summer Days
  4. Bye and Bye
  5. Lonesome Day Blues
  6. Floater (Too Much to Ask)
  7. High Water (For Charley Patton)
  8. Moonlight
  9. Honest with Me
  10. Po’ Boy
  11. Cry a While
  12. Sugar Baby

Total Running Time: 57:25


3.882 out of 5.00 (average of 29 ratings)

Awards: (Click on award to learn more).

About the Album:

“The blood and glory of 1997’s Time Out of MindRS’20 “was a legitimate comeback, Bob Dylan's first collection of original songs in nearly ten years and a risky rumination on mortality.” AMG It “was the first Dylan album in years that had to live up to fans’ expectations. He didn’t just exceed them – he blew them up. Dylan sang in the voice of a grizzled drifter who’d visited every nook and cranny of America and gotten chased out of them all.” RS’20

“Its sequel, Love and Theft, is his true return to form, not just his best album since Blood on the Tracks, but the loosest, funniest, warmest record he’s made since The Basement Tapes.” AMG It “was full of corny vaudeville jokes and apocalyptic floods, from the guitar rave” RS’20 of “the fabulously swinging Summer DaysAMG “to the country lilt of Po’ Boy.” RS’20 “There are none of the foreboding, apocalyptic warnings that permeated Time Out of Mind and even underpinned ‘Things Have Changed,’ his Oscar-winning theme to Curtis Hanson's 2000 film Wonder Boys.” AMG

“Just as important, Daniel Lanois’ deliberately arty, diffuse production has retreated into the mist, replaced by an uncluttered, resonant production that gives Dylan and his ace backing band room to breathe. And they run wild with that liberty, rocking the house with the grinding Lonesome Day Blues…They’re equally captivating on the slower songs, whether it's the breezily romantic Bye and Bye, the torch song Moonlight, or the epic reflective closer, Sugar Baby.” AMG

“Musically, Dylan hasn’t been this natural or vital since he was with the Band, and even then, those records were never as relaxed and easy or even as hard-rocking as these. That alone would make Love and Theft a remarkable achievement, but they're supported by a tremendous set of songs that fully synthesize all the strands in his music, from the folksinger of the early ‘60s, through the absurdist storyteller of the mid-‘60s, through the traditionalist of the early ‘70s, to the grizzled professional of the ‘90s.” AMG

“None of this is conscious, it’s all natural. There's an ease to his writing and a swagger to his performance unheard in years – he’s cracking jokes and murmuring wry asides, telling stories, crooning, and swinging. It’s reminiscent of his classic records, but he’s never made a record that’s been such sheer, giddy fun as this, and it stands proudly among his very best albums.” AMG

Resources and Related Links:

Other Related DMDB Pages:

First posted 3/30/2008; last updated 4/27/2022.

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