t My Mind Made Up," co-written by then touring partner Tom Petty and featuring his Heartbreakers), and a gospel arrangement of a Kris Kristofferson tune ("They Killed Him") which inevitably harkens back to Dylan's earlier spiritual explorations, the bard seems unsure where his own attention lay. Still, much as KNOCKED OUT lacks a sense of cohesion, it doesn't exclude the mystery of Dylan's best work. "Brownsville Girl," an eleven-minute opus co-written by playwright Sam Sheppard, is vintage Zimmerman, struggling to encompass an entire worldview within the context of a mid-tempo, brassy, Tex-Mex blues-as-passage-in-a-diary. It is a rough-edged diamond that is among the most unique parts of Dylan's entire catalog, and it was delivered so effortlessly that nobody dared think Dylan had lost any of his powers.
Bob Dylan - Knocked Out Loaded
As with most other 1980s Bob Dylan albums, KNOCKED OUT LOADED is a piece-meal work--a combination of various sessions, performed by different groups of musicians, presenting the many sides of Bob Dylan. Touching upon juke-joint R&B ("You Wanna Ramble"), reeling Stones-like blues-rock ("Go
t My Mind Made Up," co-written by then touring partner Tom Petty and featuring his Heartbreakers), and a gospel arrangement of a Kris Kristofferson tune ("They Killed Him") which inevitably harkens back to Dylan's earlier spiritual explorations, the bard seems unsure where his own attention lay. Still, much as KNOCKED OUT lacks a sense of cohesion, it doesn't exclude the mystery of Dylan's best work. "Brownsville Girl," an eleven-minute opus co-written by playwright Sam Sheppard, is vintage Zimmerman, struggling to encompass an entire worldview within the context of a mid-tempo, brassy, Tex-Mex blues-as-passage-in-a-diary. It is a rough-edged diamond that is among the most unique parts of Dylan's entire catalog, and it was delivered so effortlessly that nobody dared think Dylan had lost any of his powers.
t My Mind Made Up," co-written by then touring partner Tom Petty and featuring his Heartbreakers), and a gospel arrangement of a Kris Kristofferson tune ("They Killed Him") which inevitably harkens back to Dylan's earlier spiritual explorations, the bard seems unsure where his own attention lay. Still, much as KNOCKED OUT lacks a sense of cohesion, it doesn't exclude the mystery of Dylan's best work. "Brownsville Girl," an eleven-minute opus co-written by playwright Sam Sheppard, is vintage Zimmerman, struggling to encompass an entire worldview within the context of a mid-tempo, brassy, Tex-Mex blues-as-passage-in-a-diary. It is a rough-edged diamond that is among the most unique parts of Dylan's entire catalog, and it was delivered so effortlessly that nobody dared think Dylan had lost any of his powers.
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