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Time Out of Mind
Format: Audio CD|Change
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on 1 November 2017
After several years of wondering if Dylan's songwriting skills had left him, he comes up with one of the finest albums of his career. Daniel Lanois's swamp rock production is ideal for these songs of mortality and resignation. Some reviewers have described this as his best album since "Blood on the Tracks" (I think it is even better), and like that album, it comes after the break up of his marriage. The album begins in fine style with the dark "Love Sick", which opens with the line: "I'm walking through streets that are dead" before taking us on a journey to the dark side of love. "To Make You Feel My Love" at first seems less melancholic than the opening track, but has an intensity, almost a desperate pleading for the other to respond. In "Not Dark Yet", Dylan not only reflects on his own mortality, but also seems tired with his life, with lyrics like: "I just don't see why I should even care", "Sometimes my burden is more than I can bear" and "Don't even hear a murmur of a prayer", each followed by the refrain: "It's not dark yet but it's getting there". The melancholia continues with "Trying to Get to Heaven", where he not only reflects on lost love and wasted time, but is worried that heaven might close its door to him. There are so many other highlights on this album, including the final track "Highlands", which takes Scotland's bard Robert Burns' poem "My Heart's in the Highlands" as its launching pad (Burns himself borrowed the idea from a traditional Scottish Gaelic song). Whereas the Burns poem is about taking the Highlands with him, Dylan's song is about finding his way back to the Highlands, which may also be a metaphor for peace of mind, or even for Heaven. Although melancholic, the song does end with hope, thus ending the album on a note of hope: "There's a way to get there and I'll figure it out somehow/But I'm already there in my mind and that's good enough for now." Truly one of Dylan's finest albums.
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on 30 May 2017
Brilliant album.
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on 12 January 2013
I admit it I'm a huge Dylan fan ..., I've just about bought every album he's released as it has been released since 1981...., I also have all the official releases before this date and a ridiculous number of bootlegs.
Well so much rubbish has been written about just how good recent Dylan albums have been ..., well believe me when I say as of Jan 2013 this is chronologically the last of the truly great Dylan albums.
There have been some half decent albums since of course, but this one is truly great.
When I bought it (on the day of release) I was so pleased as Dylan had been coasting for quite a number of years (since Oh Mercy!)
At the time I thought it was good, but as the years have passed it just keeps growing on me ..., I now consider it as one of Bob's best; its definitely one of a handful of most played albums.
Worth buying just for 'Cold Irons Bound' but over time it will become a much reached for CD I'm pretty sure.
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TOP 100 REVIEWERVINE VOICEon 19 January 2012
Bob Dylan is known to admire the work of Herman Melville. `Time out of Mind' is a quotation from `Moby Dick' meaning `from time immemorial' or `as long as anyone can remember.' This 1997 Grammy-winner marks something of a landmark for Dylan in its recognition of the approach of old age. Full of poignant and intelligent song-writing, it marks the initiation of a mature creative period which found further expression in `Love and Theft' and `Modern Times'. Many people proclaim this as Dylan's best-ever album, and from the perspective that it gets deeper into your soul with each repeated listening, they might be right.

Deeply personal and serious in tone, the album at the same time sidesteps the label of `introspection', nor is it `downbeat' or bleak. Dylan has the rare ability to stand apart from himself, to see his experiences from outside and deliver poignant, fly-on-the-wall observations which can cut the listener to the soul. As he's matured as an artist, this characteristic has matured with him to the point where he is the undisputed master of the craft.

The musical style is classic Zimmerman, mostly rock-and-roll bluesy with an upbeat jauntiness in no way out of place with the subject matter. Dylan's voice ain't what it used to be in terms of vocal power, but makes up in gravitas and confidence what it now lacks in youthful range. Phrasing and delivery are textbook examples of relaxed and laconic excellence; he's at home in his chosen idiom as is a fish in water.

Dylan's poetic song lyrics over his 50-year career are some of the best ever written. TooM is the real deal, the real Bob Dylan - perhaps for the first time since `Blood on the Tracks' the songs have an uncompromising personal honesty. Here's a telling verse from the closer, `Highlands':

"The sun is beginning to shine on me
But it's not like the sun that used to be
The party's over and there's less and less to say
I got new eyes
Everything looks far away..."

`Time out of Mind' is an album which could not have been made by a young man, and not by any product of the 21st century's sales-and-image driven global music business. Only a master of his craft, confronting mortality and looking back on a lifetime tinged with regret, could produce a masterpiece like this.
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on 7 December 2002
This raw slice of blues and rock n' roll simply has to best the best thing that Bob Dylan has come up with since "Blood On The Tracks".
The lyrics are dark and haunted, at times even bitter and resigned. But, in case you doubted it, "Time Out Of Mind" proves that Bob Dylan can actually sing. His phrasing is perfect, and his vocals more powerful than you can imagine if you've only ever heard him do "Blowin' In The Wind" in 1963.
Highlights include "Love Sick" ("I'm sick of love", Dylan sings), "Tryin' To Get To Heaven", "Not Dark Yet" and "Dirt Road Blues" - which actually is a genuine blues, unlike about a thousand other songs with the word "blues" in the title.
But my absolute favorite song off this album is "Make You Feel My Love", easily one of the most beautiful love songs ever written.
These songs have it all, both melody and powerful, intelligent lyrics, and Dylan's dark, raspy vocals suit them perfectly.
Bob Dylan has certainly made more influential albums than this one (no one can be expected to revolutionize popular music more than once, after all), but he never made a better one.
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on 22 April 2014
This album is awesomely good. The best Dylan album since Blood on the Tracks.

BUT, this latest (overdue, when you consider how much the original pressing has been going of on a certain auction site) pressing isn't perfect. Firstly, the sound is excellent, but my copy has a couple of manufacturing faults - small scratch on Cold Irons Bound and a missing label. Both are relatively minor, but are irritating examples of poor quality control. I will live with the copy I have, but others should be mindful that 'Music on Vinyl' is no 'Mobile Fidelity'.
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on 14 May 2017
Probably my favourite Dylan album. Yes I know it's sacrilege given some of his older work but I love this album. Very laid back and not a bad track to be found.
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on 24 April 2017
Catching up on Dylans work so nice surprises on each album.
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on 16 November 2017
a good cd
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HALL OF FAMETOP 1000 REVIEWERon 25 July 2012
This 1997 album was the one that got me interested in Dylan. Hearing it upon release I was instantly captivated by the shuffling backbeats and the world weary craggy moan that told tales of love and loss. And I just loved the songwriting. It set me off on a journey through Dylan's back catalogue with all its highs and lows. But for all the genius albums he has released it is this one that I still retain the greatest affection for.

Coming off the back of a run of three not so good albums (Under The Red Sky, Good As I've Been To You and World Gone Wrong), this album marked a bit of a commercial and artistic renaissance for this iconic artist. Reuniting with producer Danny Lanois he went into the recording studio armed with a host of newly penned songs (his first album of all original material since 1990's Under The Red Sky) and a talented band to make them reality. Moving totally away from his recent folk/country blues output, this is a sound more pleasing to the modern ear. Dylan accepts that his voice (never exactly the best in the world) is now broken by years of punishment, and he mournfully croaks his way through a series of touching songs. Lanois' production is totally sympathetic to Dylan's voice, and he sounds great as a result, delivering a set of tracks that are just full of deep down emotion.

It's slow blues full of distortions and shuffling drums. It's slick, and some might say too slick, but I always find it packs a punch and feels quite raw. Especially with Dylan's voice.

5 stars from me. Recommended to anyone who likes music full of expression and emotion.
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