Was this Dylan's worst album?

Eh, Changing of the Guards is kinda pretty. Kinda.

i guarantee you nearly no-one on this board has listened to this album

>>69906528
>their worst album
>isn't self portrait

Street Legal is very good. You are just a nu-male that can't stand hearing anyone talking the truth about women.

>>69906673
We have Dylan threads on a weekly basis anon.

But I think Together Through Life is Dylan's worst simply because it's his most boring. Most of his albums traditionally considered the worst are at least interesting.

>>69906528
True for the most part, but "Changing of the Guards" is one of his best songs, as good as anything on Blood on the Tracks.

>>69906528
Nah, he's actually been married and had sex unlike /r9k/.

That's better than anything he did in the 80's.

File: worst.jpg (16KB, 355x350px) Image search: [Google]

16KB, 355x350px

This is the worst actually.

File: 61N1RHAZGAL.jpg (71KB, 500x500px) Image search: [Google]

71KB, 500x500px

This is the worst. I fucking hate christmas music.

File: f8f89995t.jpg (72KB, 800x533px) Image search: [Google]

72KB, 800x533px

>>69906699
>You are just a nu-male that can't stand hearing anyone talking the truth about women.

File: christgau888.jpg (80KB, 970x667px) Image search: [Google]

80KB, 970x667px

Street-Legal [Columbia, 1978]

Professional rock scribes manage to find charm in girl-shy, boastful adolescents, but boozy-voiced misogynists in their late thirties are a straight-up drag. This divorcee seems too overripe, too wallowing in self-pity to break through the leaden tempos that oppress his melodies. Because he's too shrewd to put his heart into genuine corn, and because his idea of a tricky arrangement is to add a couple of horns or female backing singers to a basic I-IV-V-I chord progression, a joke is what it is. But since he still commands remnants of authority, the joke is sour indeed. C+

>>69906833
80s Dylan was just...painful. The one time he almost got his mojo back was when he hooked up with Chicago punk group The Plugz and gave a performance with them on David Letterman. He seemed momentarily revitalized and self-confident again, but he almost immediately dropped The Plugz to hook up with a bunch of anonymous dadrock session musicians. Too bad, really.

Well 80's Dylan was not always shit: he wrote Blind Willie McTell and he recorded Oh Mercy

Didn't PJ Harvey cover one of his 80s tunes?

>>69908266
In defense of Reagan-era Dylan, he did at that time still make at least a passing attempt to stay current (however bad the attempts) instead of being a dadrocker museum exhibit and he was still capable of singing.

To be entirely fair, the 80s were not kind to a lot of classic rock icons. Besides the decade ominously starting with John Lennon's death, the rest of the Beatles all put out increasingly awful albums that saw their solo careers decline into nothingness, the Rolling Stones broke up for a while and put out embarrassing garbage like Dirty Work, and even Neil Young, who survived punk rock tenaciously, succumbed to 80s synth cheese on Trans and ended up being sued by David Geffen for making unsellable albums. For 60s rock icons, the 80s were a difficult time as they approached middle age burnout and faced quickly changing musical trends. Bob Dylan perhaps fared the worst of all.

At the start of the decade, the Rolling Stones were riding high off the mammoth hit single of Start Me Up. George Harrison managed a #1 hit as late as 1988, and Neil Young seemed to just deliberately shit out bad albums out of spite. Bob Dylan entered the 80s in worse standing than most of his peers; having been through a rough divorce and a bewildering conversion to evangelical Christianity, he'd turned off most of his fanbase and the critical goodwill he'd accumulated with his mid-70s output had long since faded. Once considered a musical prophet, Dylan by the Reagan years just seemed like a befuddled man who had no clue who he was or where he was going.

Listening to Dylan's 80s albums, it's obvious that he didn't have any real confidence or control of his own direction, often writing songs that didn't fit with the production on the album (eg. the horrible 80s wind tunnel sound on his mid-decade albums), on top of a series of totally ill-conceived collaborations with Sam Shepard, the Grateful Dead, and Full Force. But even though it was obvious that Dylan had no real clue what he was doing, the albums kept coming, and he put out seven of them in 10 years, transforming a series of mediocre albums into bizarre chronicle of one of the finest songwriters of his generation undergoing a state of incalculable writer's block. It gives them a sense of nobility and tragedy lacking in many similar artists' 80s failures.

it's a decent album, and even better it spawned this cover:

https://www.youtube.com/watch?v=dRsU-Q1tocE

File: saved.jpg (51KB, 500x500px) Image search: [Google]

51KB, 500x500px

As the decade began, Dylan was firmly in his evangelical Christian phase and put out this album. While Slow Train Coming was very much a Bob Dylan album, with his usual craftiness, wit, and subtlety, Saved is anything but. The record comes off as a flat, uninteresting, and ham-fisted gospel sermon, painfully preachy and it seems doubtful that listening to it would convert very many lost souls, although that may not have been the point to begin with.

>>69908762
>>69909093
>>69909307
If only one guy is posting these, keep going, it's pretty interesting.

File: Bob Dylan--Shot of Love (1981).jpg (170KB, 500x500px) Image search: [Google]

170KB, 500x500px

Released in mid-1981, Shot of Love is a very mixed album. Side one is very janky indeed, with possibly even sloppier songwriting than Saved, and includes one of Dylan's strangest songs ever, the tribute number "Lenny Bruce". Side two however improves markedly, with more Christian songs, but in a subtler, more relatable, and not as preachy format, including "Grain of Sand", generally regarded as a period high point. Even better, SOL sees Bob dust off the ol' harmonica.

File: 0000278157.jpg (74KB, 500x498px) Image search: [Google]

74KB, 500x498px

Dylan's third LP of the decade, 1983's Infidels, was produced by Dire Straits chief Mark Knopfler, who gives it a laid back, reggae-esque sound. "Jokerman", "License to Kill", "I and I", "Don't Fall Apart on Me Tonight", even the horribly misogynistic "Sweetheart Like You" all work well. The album isn't completely solid throughout and contains a fair bit of filler, but one can't complain about an 80s album not encumbered by bad 80s wind tunnel production.

We're their any 60s/early 70s musicians that really had a great run in the 80's? Seems like the older musicians had trouble adapting to all the new musical styles going on then.

File: Bob Dylan--Empire Burlesque (1985).jpg (107KB, 500x483px) Image search: [Google]

107KB, 500x483px

It's now mid-decade and Dylan releases Empire Burlesque, an album that begins and ends with two of his most charming songs ever, but everything in between is positively repellent and further dragged down by the putrid Miami Vice-style production--snare reverb drums, cheesy female backing singers, synth horns, you name it. There might be some good songs in here, but good luck listening to the entire LP to find them without needing a vomit bag. For some incomprehensible reason, many critics at the time championed EB as a "return to form" and even today this album still gets critical praise from some quarters. Robert Christgau called "Clean Cut Kid" the "toughest Vietnam vet song yet". All of which goes to show you just how much of a hack he is.

>>69906528
You very clearly have never heard anything from his christain phase.

>>69909708
I liked Lou Reed's 80's stuff. The Blue Mask, Legendary Hearts and New Sensations are all really underrated. And New York is one of his best. But Mistrial was pretty horrible and dated.

File: 61n-bXWdmsL.jpg (67KB, 500x500px) Image search: [Google]

67KB, 500x500px

If you thought Empire Burlesque was bad, it could and did get worse when Dylan shit out this lovely piece of work. It's not difficult to argue that Knocked Out Loaded was the worst album of Bob's entire career, even more horrifying than Self-Portrait. Everything here is just completely confused, directionless, and badly produced garbage. "They Killed Him" might be one of the most abysmal songs Dylan ever wrote. The best song on here is the Sam Shepard collaboration "Brownsville Girl", which is hardly a bad song, but can't save this piece of crap (even then, "Brownsville Girl" is still weaker than the best songs on Empire Burlesque). KOL is every bit as bad as you've heard. Avoid listening to it except out of morbid curiosity.

>>69908266
Blind Willie McTell is great, first time I heard it I thought it was an early song, didn't sound like the rest of his 80's work.

>>69909576
this was his last good album
I truly love Sweetheart Like You and Jokerman

>>69909855
And he didnt even want to released it ! Crazy Bob

File: c989990904.jpg (23KB, 500x493px) Image search: [Google]

23KB, 500x493px

After his mid-decade follies, Bob gets back to straight, clean roots rock on 1988's Down in the Groove. The production is simple, clean, direct, the covers are charming, and it has at least a few good, possibly even great songs. The tracks he co-authored with Robert Hunter are humorous, and "Silvio" is fantastic. The cover of "Shenandoah" feels like a prelude to his early 90s folk covers. Strangely enough, just as critics of the time overrated Empire Burlesque, they underrated Down in the Groove and widely considered it a career low. Which makes not a lick of sense, especially coming on the heels of the puke-inducing Knocked Out Loaded. On the down side, the pacing of DITG leaves something to be desired and it has a lot of filler, but considering the albums immediately preceding it, definitely worth a listen.

File: bob-dylan-oh-mercy (1989).jpg (68KB, 500x500px) Image search: [Google]

68KB, 500x500px

Dylan's trek through the 1980s comes to a close with Oh Mercy!, the first album produced by Dan Lanois and often seen as a critical comeback. The pacing is slow and many of the songs don't go anywhere, but Dylan seems like he's finally given up on being a contemporary artist and settling into a role as a musical elder statesman. Lanois's production has been the source of much criticism, apparently by people who never heard Empire Burlesque. To me, the production fits the songs quite nicely. If there's any 80s Dylan album you actually spend money on, let it be this one.

>>69909864
Oh Mercy, Good As I Been to You, World Gone Wrong, Time Out of Mind, Love and Theft and Tempest are all pretty swell.

>>69909822
They Killed Him was actually written by Kris Kristofferson.

>>69910146
Explains a lot.

>>69909708
The Reagan years were none too kind to blues/folk shitters.

>>69906528
Found this in the vinyl collection of my parents, so is it not worth listening?

>>69910257
It's worth listening to. It's not his best but it's not bad.

>>69910257

Give it a spin. I love the album even though it might mostly be because of childhood nostalgia.

>>69908225
You mean the performance of Jokerman he did on Letterman. Pretty fantastic rendition of the song, much better than the studio version (if only because a lot of people don't like the 80s production). The Plugz were excellent and very tight, Dylan was singing great and had loads of energy, and he even sported a skinny New Wave tie. :^)

Neil Young's 80s run was maybe worse, although he did get his groove back at the end of the decade. His entire Geffen period was just horrible. Geffen expected another Gold Rush or Harvest and instead they got Trans, Everybody's Rockin', Old Ways, Life, Landing on Water, and Lucky 13.

History has been kinder to those albums, but Dave Geffen clearly didn't think so at the time (hence his lawsuit against Neil) and they neither impressed his old boomer fans or won over any Gen Xer kids.

>>69910315
>>69910340
Listening to it right now. As a 60s dylan fan I'm disappointed, I can still appreciate it though

>>69910542
Neil Young ended the 70s with Rust Never Sleeps, widely regarded as a career highlight. The album answered punk rock in brilliant fashion, and his live shows from this time were also among his best. Needless to say, his early 80s albums were nothing short of bewildering and it cost him a substantial chunk of his fanbase.

>>69910542
He made a great comback afterwords though with Freedom, Ragged Glory and Harvest Moon.

>>69910725
I'm not sure whose point this proves, and it doesn't really matter, but by Neil's own account, he toured obsessively during the 80s because "Live music was the only way I could find myself. Sitting in a studio wasn't working. If I ever quit touring, I started to lose it. Playing live got me back. That's the way I was."

Young wanted to release Old Ways, a Nashville country record he cut in just two days, but Geffen refused to release it, insisting they'd signed him with the expectation of rawk. So he did just that...by greasing back his hair, wearing sunglasses, and touring with a retro 50s band called The Shocking Pinks. "I got way into that guy," said Young. "I was that guy for months. He was out there. It was a movie to me. Nobody saw it but me, but who gives a shit?"

>Like everything else, Bob Dylan sucked hard in the 80s. He seemed to be locked into a game of chicken with Neil Young to see who could release more bad albums before the decade was out (Bob ultimately won with eight against Neil's seven). For years, Dylan stumbled blindly in the darkness, dressing like Don Johnson, adopting bad snare reverb and synth sounds, and trying to conform to a pop scene that he had no connection with. His collaboration with the Grateful Dead led one critic to remark "I never thought I'd see the day when Jerry Garcia had to bail out someone else vocally."

>>69906699
It's objectively very bad musically.

The lyrics are also immature cringey

>>69911000
lol

To be fair to Young in this thread he did end up having cross generational appeal again during the 90s with the grunge movement, touring with Eddie Vedder and constantly being called a precursor to the movement.

>>69911108
Whereas Dylan for the most part has been comfortable playing into the role of an blues/folk musician with little to draw in younger fans.

>>69911184
Dylan going electric was him adapting to the new generation.

>>69911290
m8, Dylan was a member of that generation. I'm talking about things that happened three decades after Dylan went electric.

Neil Young's 80s career arc amounted to one giant "Fuck you" to his record label, to his fans, to his career. This wasn't the first time he'd ever done it, but the 80s were almost unique in the sheer quantity and quality. For a while, especially during the late 70s, he played nice to everyone, or at least it seemed so anyway.

Comes a Time and Rust Never Sleeps were critically acclaimed albums that won Young the plaudits of music critics, fans, and are widely seen as up there with Harvest and Heart of Gold among his finest moments. He ended the decade in fine shape all-around.

Then came the new decade. During 1980-89, Neil Young released nine albums: Hawks & Doves, Re-act-or, Trans, Everybody's Rockin', Old Ways, Landing on Water, Life, This Note's For You, and Freedom.

Nine albums in ten years, 1984 being the only year during the decade when he didn't have one out. Yet how many of those albums does anyone still talk about, let alone listen to? Other than Freedom, probably not many. You probably know Trans, Young's 1982 synthpop/New Wave album. But I defy you to find anyone who's actually sat down and listened to the entire thing. You may have also heard of This Note's For You because the title track's music video got MTV rotation and was even banned from the network for a time. Again though, chances are you probably haven't listened to the entire thing, nor would you really want to.

One could perhaps come up with a Greatest Hits playlist of Neil's 80s albums, but there's not much here anyone would want to remember. Getting sued by your own record label is a hell of a thing to happen.

>>69911184
Dylan gave up on life and the modern world starting with Oh Mercy. From some of his comments over the years, he wasn't prepared to do this just yet, but Dan Lanois kind of pushed him into it.

this is the best fucking thread i've ever seen on /mu/ what the hell is happening

Most of Neil Young's contemporaries spent the 80s, especially the first half of the decade, trying to play catch up by adopting the latest fashions/sounds and generally trying hard to stay current. Neil however just did whatever the fuck he felt like. He made a record of leftover songs (Hawks & Doves). He did more collaborations with Crazy Horse (Re-act-or). He dabbled in synthpop, R&B, and country (Trans, Old Ways, and This Note's For You). What he wouldn't do was kowtow to pressure. When Geffen rudely demanded he give them what they signed him for, ie. a rock record, he responded in smart-ass fashion with an album that channeled an era even many of his first generation fans from the 60s-70s were too young to remember.

>>69906654
This. Changing of the guards is a good song. The production on street legal is shit but it isn't all bad. Knocked out loaded or under the red sky are his worst imo.

>>69911377
it seems like a thread from 2012/2013 or something...strange

Neil's always experimented with different genres and styles, he's done everything from country to hard rock to electronic to noise. He's never stuck to the same sound for too long.

where are you tonight is one of his most underrated songs. OP confirmed for a faggot

>>69911607
I've seen people compare Young to David Bowie that way. Dylan too of course, but his music's also always veered towards certain roots, even at the most different moments of his career.

The 80s started fairly typically for Young. He put out Hawks & Doves in late 1980, a short LP barely over 30 minutes in length consisting of leftover songs he'd written as far back as 1974. Some of the songs were new, but it was mainly a way of using up surplus material he'd accumulated over the years.

Re-act-or was Young's first collaboration this decade with Crazy Horse, and there were 2-3 more, depending on how much they played on 1982's Trans, Young's next album and probably the most confounding of his career.

Young would later explain that Trans was a record about communicating with his disabled son. The technology-themed album fit the tone of the music: cold, distancing and almost inhuman at times. It’s a challenging work, and one that perfectly plays into Young’s restless and risk-taking artist reputation. Unfortunately, this was also his first album with Geffen, who expected a more "traditional" Neil Young album.

They never got one.

Trans was commercially and critically panned, and Geffen promptly chewed Young out. Yet, he wasn't intimidated in the least. He proceeded to work on a country album, Old Ways, but Geffen would not release it. They explained that they wanted a rock record, and for all the money they were paying him, he'd better bring them back their investment.

File: columbia-630x420.jpg (71KB, 630x420px) Image search: [Google]

71KB, 630x420px

What went wrong with Dylan and the Dead? Seems like a great idea on paper but didn't turn out very well. You think if it were earlier in their careers it would be better?

Every Grain of Sand is still one of Dylan's best tunes and everything about the Traveling Wilburys was stellar.

>>69906749
Probably. The other old Dylan albums are good. Time out of Mind and Tempest are incredible! Tempest especially needs more love, there's so much in it

When Geffen demanded a rock album, Neil Young did just that...with Everybody's Rockin', a retro 1957 LP complete with reverb, cheesy backing vocals, and a collection of covers and new mock-rockabilly songs that were as far removed from Trans as it was possible to get. He donned a pink suit, greased his hair back into an Elvis-style pompadour, and got together a new backing band called The Shocking Pinks.

Geffen weren't amused and they pulled the plug on Everybody's Rockin' before Young could finish it. As a result, the album is very short, less than 25 minutes in length.

After Everybody's Rockin' predictably bombed, a frustrated Dave Geffen filed a class action lawsuit against Young for breach of contract and making "untypical and unsellable records". Young fought back by counter-suing Geffen on the grounds that his contract promised him complete artistic freedom. The courts ruled in favor of Young, and Dave Geffen, humbled, apologized.

>>69911801
Tempest was actually the album that got me into Dylan.

When Neil Young put out his next LP in 1985, the album was basically a touched-up version of the unreleased Old Ways, containing the songs he'd originally written for the album mixed with a couple of new ones to pad it out. But it was all for naught as Old Ways was yet another massive critical and sales disaster, and one of the lowest-selling albums in Young's entire career.

Neil's lack of music success seemed to translate over onto lack of success in other endeavors as well, when he starred in and co-produced Human Highway, a comedy flick with Dean Stockwell and Dennis Hopper, plus Mark Mothersbaugh of Devo fame. The movie bombed almost as completely as Old Ways.

And he continued to tour extensively, playing songs from his new albums along with old fan favorites. He shot a few music videos, bowing to the era's demands, but MTV were in no rush to give them any significant rotation. He also performed at Live Aid, reuniting with Crosby, Stills, and Nash for the first time in a decade.

>>69911893
Damn, Geffen sounds like a major dick.

Ironically, the next two records Young made were closer to what Geffen had expected. Nonetheless, Landing on Water and Life (another collaboration with Crazy Horse) failed to win over either old fans or new fans.

After this debacle, Young split from Geffen and reunited with Reprise, the record label he began the decade at. In 1988, he released This Note's For You, which got him embroiled in another nasty lawsuit, this time with R&B singer Harold Melvin, whose backing band, The Blue Notes, shared a name with the group of session musicians Young got together to record TNFY. He had to then change their name to Ten Men Working halfway through the album tour.

TNFY was the most commercially successful album Neil Young had recorded in years, mostly thanks to its title track and accompanying music video, although MTV for a time refused to play it because of its ridicule of Michael Jackson, Whitney Houston, and several major companies that advertised on the network. All the same, the video was a hit and won Young 1988's "Video of the Year" award.

>>69912122
hes a Jew

>>69912250
Don't sing for Pepsi, Don't Sing for Coke.. But i'll sing for Mtv cause I need some money.

The same year as This Note's For You, Neil Young also recorded a new LP with Crosby, Stills, and Nash titled "American Dream", and the group played a number of benefit concerts. This album was part of a deal that Young made with David Crosby that he would get the quartet back together if Crosby could get clean from drugs.

Neil Young closed out the decade by making his most "normal" album in...a decade, 1989's Freedom. Like Rust Never Sleeps, the opening and closing tracks were an electric and acoustic rendition of the same song. He also put out "Rockin' In The Free World", his first truly classic song of the decade.

It seems that the new George HW Bush administration may have lit a fire under Young, who'd been branded for most of the decade as a sellout to hippiedom for having spoken favorably of Ronald Reagan (he would later claim he only meant some of Reagan's ideas weren't completely terrible).

Thematically, Freedom was much like RNS in the alternating acoustic and electric songs, political commentary, and the fact that it otherwise defied description--not a country, rock, or electronic album or any discernible style. Young ended the 80s the way he'd begun it, as one of rock's most iconic artists.

As the 1990s began, Neil Young was beginning a career renaissance and was able to ride on the alternative rock movement, being able (with some legitimate cause) to call himself one of the forefathers of grunge. He went on tour with Pearl Jam, who considered him one of their heroes, and for the first half of the decade, up to 1995's "Mirror Ball", released a string of albums widely considered on-par with his 70s classics.

So what happened in the 80s? Young himself doesn't think most of his Reagan-era work was bad. He insists "I was experimenting, trying different things to see what would stick. Sometimes the results were good, sometimes they were awful. But I didn't want to find myself in a box, stuck doing one thing. I wanted to establish that."

Young achieved that and more in one of his most creatively restless and experimental phases. Or, to look at it another way, one man’s freedom is another’s middle finger.

Where are you getting all these reviews from anyways? It's really interesting.

>>69909822
>Christgau gave this album a B

Was this the definitive point where you realized just what a brainless hack he is?

since this thread is going so well does anyone want to talk about how fantastic JWH is with me

File: christgau_2.jpg (46KB, 450x391px) Image search: [Google]

46KB, 450x391px

>>69909576
Infidels [Columbia, 1983]

All the wonted care Dylan has put into this album shows--musically, "License to Kill" is the only dud. His distaste for the daughters of Satan has gained complexity of tone--neither dismissive nor vituperative, he addresses women with a solicitousness that's strangely chilling, as if he knows what a self-serving hypocrite he's being, but only subliminally. At times I even feel sorry for him, just as he intends. Nevertheless, this man has turned into a hateful crackpot. Worse than his equation of Jews with Zionists with the Likud or his utterly muddled disquisition on international labor is the ital Hasidism that inspires no less than three superstitious attacks on space travel. God knows (and I use that phrase advisedly) how far off the deep end he'll go if John Glenn becomes president. B-

File: jsDvzvM.png (53KB, 550x436px) Image search: [Google]

53KB, 550x436px

>>69913171
It does prove that he's the original nu male white knighter of pussy.

>>69913145
John Wesley Harding is great. I find it interesting that in '67 when psych rock was becoming a major thing and Sgt Peppers was dominating the airwaves he decided to go back to his country/folk roots instead of trying to one-up the Beatles like everyone else was doing.

>>69912714
That's what I love about Neil, like I said earlier, he's constantly changing his sound and doing different things. It's not always successful but it keeps him fresh and keeps him from being another washed up dadrocker trying to recreate the 70's.

Dylan has mostly stuck to his americana roots, not that it makes him any less innovative but it makes his later stuff less interesting to me personally. He can still write good songs but i'd rather just listen to his classic albums.

>>69914295
Well to be somewhat fair, the times he DID try to break away from Americana, like in the 80s, it didn't really bode well for his art.

>>69914373
I'd also add that while his music does belong to another era these days, it's also still mostly original. You know those songs weren't just cobbled together out of dead cliches.

>>69913771
Some interesting trivia about JWH: While it's now regarded as a second tier classic by fans and critics alike (well, most of them at least) it was his highest selling album at the time of its release.

>>69911549
Van Morrison, Paul Simon, Tom Petty and Bruce Springsteen all did fine in the '80's both creatively and commercially without trendchasing. Well actually Springsteen started incorperating cheesy synths into his shit but the other 3 more or less just did their own things.

The best thing about getting into Dylan imo isn't Dylan himself but the universe of influences and followers he has. There isn't any other artist who can tout The Bible, Woody Guthrie, Henry Timrod, the Japanese mafia, Townes Van Zandt, Green Day (I know, I know, just trying to show how wide his web is), Patti Smith, at least three living presidents and Public Enemy as being related to his art in one way or another.

One last bump from me.

File: Bob_Dylan_-_Bringing_It_All_Back_Home.jpg (70KB, 300x300px) Image search: [Google]

70KB, 300x300px

hat's your guys favorite song from Bringing It All Back Home? I think this is my fave Dylan album. Its got the best of both worlds from his electric side and his folk side. The lyrics aren't as cryptic as his later albums, but they're still clever, poetic, and entertaining as hell.

http://www.strawpoll.me/11963786

>>69907144
This album is kind of a guilty pleasure for me. It's obviously nowhere close to being his best but I don't think it's quite as bad as it's typically made out to be.

>>69915064
Red pill me on Dylan and the Japanese mafia

>>69909447
I remember this, 12 y/o me's first intro to Dylan, the guy my parents idolized. God almighty it was awful.

File: alice_cooper_-_dada_-_front.jpg (257KB, 1400x1372px) Image search: [Google]

257KB, 1400x1372px

>>69909708
Alice Cooper flailed around making some weird but really great shit during that era, like Special Forces, Flush The Fashion and Zipper Catches Skin. Oh, and Dada. All of them bombed but I fucking love them way more than his 70s stuff.

File: PaulMcCartneyalbum_-_TugOfWar.jpg (116KB, 320x320px) Image search: [Google]

116KB, 320x320px

>>69920175 (You)
Oh, and all you need to know from 80s McCartney: Pipes of Peace, Flowers in the Dirt and Tug of War, all worth a listen. Avoid McCartney II; Press to Play...ymmv.

>>69917987
For whatever reason, Dylan's music was incredibly popular amongst the yakuza. When he visited Japan in '85, he became an honorary yakuza samurai, was gifted a katana made especially for him, with the initials B.D. inscribed on the hilt, and was given the name Hansoi Bobu Dyderu. He allegedly even did some ''jobs'' with them, but these rumors are unconfirmed.