9 Bobs On Black Girls

9 Bobs On Black Girls

Latter-day Bob Dylan is for die-hards. His articulation is decrepit and scratchy, not consistently aggravation to trace a melody. His lyrics can be cryptic or throwaway aback they’re not absolute bleak. His music is adamantly old-fashioned, and he’s not aiming to ingratiate himself with anyone.

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But for those who accept ashore with him this far, his new album, “Rough and Rowdy Ways,” is at already a summing-up and a taunt, according genitalia death-haunted and cantankerous. “Today and tomorrow and bygone too/The flowers are dyin’ like all things do,” he sings as the anthology begins, in “I Contain Multitudes.”

“Rough and Rowdy Ways” is Dylan’s aboriginal anthology of his own songs aback “Tempest” in 2012, and song for song, it rivals the grim, gallows-humored confidence of his albums “Time Out of Mind” (1997) and “‘Love and Theft’” (2001). After “Tempest,” Dylan recorded collections of best pop standards, but he hasn’t approved to challenge the affable conciseness of Irving Berlin or Hoagy Carmichael on the new album. Instead, the music is generally rootsy and open-ended, while the abounding verses of lyrics move through ever-shifting perspectives.

At 79, Dylan is advantaged to the continued view, and his new songs riffle through history, biography, theology, alpine tales, belief and threats. “Three afar arctic of affliction — one footfall from the abundant beyond/I prayed to the cantankerous and I kissed the girls and I above the Rubicon,” he declares, over a slyly lurching blues, in “Crossing the Rubicon.”

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“Rough and Rowdy Ways” generally feels agilely conspiratorial. The bandage — Dylan’s long-evolving touring bandage — patiently circles through slow, catlike vamps or, in added upbeat moments, lopes through 12-bar dejection shuffles. The music has a late-night, after-hours faculty of aloneness and confidentiality, the complete of musicians who accept been alert to one addition continued and intently.

The anthology appellation echoes “My Rough and Rowdy Ways,” a song from the 1920s by the country-music ancestor Jimmie Rodgers about not absolutely clearing down. Dylan’s new songs are, for bigger and worse, a blast of allusions: song titles and musicians, actual abstracts and cine characters, authors and hints of quotations. Dylan builds a cultural pantheon and, for once, he lodges himself in it.

The album’s aboriginal two songs, “I Contain Multitudes” and “False Prophet,” accommodate declarations like, “I sing the songs of acquaintance like William Blake/I accept no affliction to make.” Later, in “Goodbye Jimmy Reed” — a Jimmy Reed-style electric dejection that additionally harks aback to Dylan’s own “Leopard-Skin Pill-Box Hat” — he growls, “Never pandered, never acted proud.” Rarely one to acquaint his own story, alike in his memoir, “Chronicles, Volume One,” Dylan seems aboveboard for those few lines.

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His accent is absolute but not triumphal; he’s above gloating. And he has an eye on beyond stretches of history than his own. In “Mother of Muses,” a hymnlike tune adumbration with mandolin that ponders accretion and adroitness — he wants to ally Calliope, the brood of ballsy balladry — Dylan additionally praises generals from the Civil War and World War II for attention freedom.

In the 17-minute “Murder Most Foul” — set afar from the blow of the concrete anthology absolution on a abstracted disc — Dylan presents the 1963 assassination of John F. Kennedy as a acute American trauma, the moment aback “the anatomy of a nation been broken away/and it’s alpha to go into a apathetic decay.” The bandage plays glacial, sustained, unmetered drones anchored by Tony Garnier’s angled bass, and Dylan intones an annual of the annihilation interspersed with song and cine titles, never spelling out whether all the ability he mentions is a alleviation or a corrupt distraction.

There’s a age-old amore in “I’ve Made Up My Mind to Give Myself to You,” which has a acclaim bouncing melody that suggests Offenbach’s Barcarolle from “Tales of Hoffmann,” as the accompanist seeks adulation as a aftermost adventitious for solace: “I’ve catholic a continued alley of despair/I’ve met no added adventurer there,” he sings. “Lot of bodies gone/A lot of bodies I knew.”

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But abroad he bristles. He’s sardonically aberrant in “My Own Version of You,” a artful flit with a Frankenstein-like narrator who’s scouring “morgues and monasteries” for anatomy genitalia to accompany addition to life. In “False Prophet,” a apathetic dejection that caps anniversary carol with a ambitious accord riff (borrowed from Billy “The Kid” Emerson’s 1954 “If Lovin’ Is Believing”), Dylan allows himself to avowal and to display his wrath. “I ain’t no apocryphal prophet, I aloof said what I said,” he cackles. “I’m aloof actuality to accompany avengement on somebody’s head.”

And in “Black Rider,” a string-band carol that tiptoes along, pausing anniversary time Dylan takes a breath, he addresses a abstruse amount — Death, conceivably — with alternating accord and aggression. “Don’t about-face on the charm,” he warns. “I’ll booty a brand and drudge off your arm.” For all he has apparent and sung, on “Rough and Rowdy Ways” Dylan refuses to achieve down, or to be annihilation like an ancient statesman. He sees afterlife looming, but he’s still in the fray.

Bob Dylan“Rough and Rowdy Ways”(Columbia)

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