Bob Dylan
Oh Mercy

THE REVIEW

"Oh Mercy" is one of those albums you don't expect, that you think could never arrive and then, all of a sudden, you find it on your doorstep without even understanding why or how, but you like it, and that's enough for you. A bit too elaborate? Maybe, but absolutely true. Because it's not an isolated opinion to hear many old Dylan fans say: "After 'Infidels', Bob never got another album right", and for those who know "Oh Mercy", chills come instantly.

From the meeting of David Lanois (historic co-producer of U2, creator of the great success of "The Joshua Tree") and Bob Dylan, practically the legend of folk songwriting, a masterpiece could not but be born, as promptly happened. In fact, the moods and musical harmonies pursued by Lanois are well-known to Dylan: few know it, but some interesting musical collaborations saw the light between Dylan and U2 (for Bono's band, Dylan will even improvise as a skilful organ player). And so, when the 1980s are inevitably coming to an end, Dylan's lion's paw appears, if possible, even more vigorous and incisive. And while in Italy they were asking "What will remain of these Eighties?" (not much, truthfully), Bob Dylan sang "Where Teardrop Falls". Understand the difference?

"Oh Mercy" is a double album, in the sense that it presents two musical conditions: rhythmic and classical in the first part, slower and more intimate in the second. Dylan draws on old youthful loves: from Creedence Clearwater Revival atmospheres to old myths like Guthrie or Hank Williams. The tracks are all impeccable and sumptuous, often even disorienting: "Political World" is a distorted and fascinating blues, "Everything Is Broken" should, and I emphasize should, be the pivotal track of the entire album, but, although stunning, it is neither better nor worse than others, perhaps just a bit more rhythmic and pressing. But it would be a mistake to ignore ballads like "Ring Them Bells", tender and concise, fast and essential. Emotions return prominently with the beautiful "Man In The Long Black Coat", and this time, as in a sort of miraculous vocal transformation, Dylan even sings in a clean and stable manner. The voice is rough, yet clear and punctual, precise in sketching sounds and smells of a damp and wet story, as is the America sung, always with participation and never with detachment, by a Dylan in a bubbling state of grace.

The second part, indeed. We said slow pieces, yet again stunning. He could be accused of inconclusiveness and one might even say that all the tracks in this second part somewhat resemble each other (and in part, it's true), but the compositional freshness and newfound musical serenity prevent any negative criticism. "What Was It You Wanted" is beautiful, but the melancholic "Shooting Star" excels, one of the most beautiful tracks signed by Bob Dylan in many years. Lanois's hand is present, but it's not a burden: under the expert guidance of a shrewd and astute producer, Dylan finally manages to rediscover his songwriting vein, albeit aching and aged (but it's predictable), compared to the times when he incited the crowds with "The times they are a-changin". One can thus calmly shout a miracle, but it’s a pity that the subsequent album, "Under The Red Sky", is vacuous and at times even pitiful. "Oh Mercy" is the last great move of a Dylan who, for a moment, seems to have found his best form again. Which he will squander, as often has happened in these recent years, in a jiffy.