"Knocked Out Loaded" est le 24 ème album studio de Bob Dylan. Il a été enregistré entre 1985 et 1986 et a été publié le 8 aout 1986. C'est un album qui a été construit à partir de plusieurs séances d'enregistrement. Sur les huit titres qui composent ce (faible) album, trois titres sortent des sessions d' "Empire Burlesque" de 1985, deux ont été enregistrés avec Tom Petty & The Heartbreakers en 1986 ("Got My Mind Made Up" et "May Be Someday"), le morceau "Under your Spell" a été maquetté par Dave Stewart à Londres en 1985 et le reste a été enregistré aux studios Skyline de Topanga Canyon en 1986 avec Al Kooper. Bref, à part "Brownsville Girl" la seule chanson digne d'intérêt de cet album et peut-être à la rigueur "Got My Mind Made Up" co-écrit avec Tom Petty, "Knocked Out Loaded" est certainement un des albums les plus faibles de Bob Dylan. On se demande encore aujourd'hui qu'est ce qui a poussé le "Zim" à enregistrer en version reggae le standard "Precious Memories" et à faire chanter "They Killed Him" de Kris Kristofferson" à une chorale d'enfants !!!!!
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ce disque de 1986 est court,35 minutes,8 chansons variées, dominées par l'épique "brownsville girl" de 11 min soit presque 1/3 de la durée du disque.on ne se lasse pas à l'écoute de cet album équilibré et pas si mineur que veulent le faire croire certaines critiques. cet un album très attachant.
Mon premier Album... Forcemment attachant pour reprendre l'expression du précédent commentateur. La couverture ainsi que le titre de l'album reste personnellement à ce jour un mystère.... Quel sont donc les motivations qui ont pousser à ce choix ? Amateur du vrai Dylan, passez votre chemin!
je ne comprends pas la pochette; je ne comprends pas la musique; je ne comprends pas la démarche artistique; je ne comprends rien en fait. peut être des pensions alimentaires trop lourdes; enfin bref sauve qui peut...
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Extra Star for Brownsville Girl, Where was Tom Petty? Band of the Hand?2 septembre 2005
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This record came out in the middle of my (approximately) five year "Dylan Absorption Phase" when I was a high school / college student. So I listened to this a lot even if it was pretty lame overall.
The meager highlights here include his lyrical collaboration with Sam Shepard, Brownsville Girl. A very long stream of consciousness reminiscence, the music behind the words is just okay but the lyrics make it pretty magical. This is a good one to listen to through headphones in the dark. Pretty funny that Brownsville Girl was included on Greatest Hits III because I can assure you, in no way was this a hit single. Just a great album track.
The really disappointing thing is that this came out right around the time Dylan was touring with Tom Petty and the Heartbreakers as his backing band and those were really rocking shows. TP co-wrote one song here (the pretty rockin' and overlooked "Got My Mind Made Up") and the Heartbreakers play on the record a little but to no avail, the results are fairly sterile and boring.
Interestingly, right around this time, The Heartbreakers backed Dylan on a completely forgotten soundtrack single called Band of the Hand from a forgotten action movie of the same name. Band of the Hand rocks like nobody's business and is probably my favorite Dylan song from the 80's. Why it wasn't included on this hodgepodge record is a mystery but perhaps a bigger mystery is why Dylan has never added it to one of his rarities collections like Bootleg Series 1-3.
23 internautes sur 25 ont trouvé ce commentaire utile
Underrated12 juillet 2002
Bill R. Moore
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This album seems to have a very bad reputation among Dylan fans. It is far, far from being his best album, but it does have several notable songs (and one great one), and is actually quite underrated. It obviously wasn't intended to be a cohesive or even a "real" album: it plays like a scattershot, featuring songs from various different recording sessions spread out over a number of years, as well as more than a handful of covers and songs co-written with other people (there are only two songs credited to "Bob Dylan.") The sessions for this album were originally intended to have Dylan recording a set of cover songs. Whatever the original intent, though, Dylan - with this mish-mash setlist and scattershot tracking, not to mention its short running time - clearly just wanted, for whatever reason, to release an album at this time. (Dylan's lack of interest in the project is evident from a story regarding the cover: it's actually the movie poster for some cheap foreign film; some insignificant character - a session player's girlfriend, or the like - just happened to bring it into the studio one day. Dylan, liking it, opted to use it for the cover of the album. When asked about securing the rights for its use, he replied, "Just let 'em sue us.") Such lack of effort in compiling the album may have led to its bad reputation - not to mention its handful of less-than-stellar tracks. One often reads in reviews that this album is Brownsville Girl and 7 tracks of banality. In actual fact, the only track you should skip is the absolutely unstandable They Killed Him. Aside from this, there is an energetic and enjoyable cover (You Wanna Ramble), three fine songs (Driftin' Too Far From Shore, Maybe Someday, and Under Your Spell - songs typical of the good songs that Dylan wrote in the 80's, but very good ones, nonetheless.) Brownsville Girl is, of course, an absolute masterpiece. One wonders how many of the lines are Dylan's and how many are Sam Shepherd's, but, whatever the case, this song, featuring a brilliant "sing/speak" Dylan vocal, is undeniably amazing. To sum it all up, you definitely don't want to make this one of your first Dylan purchases; but, if you're a fan, it's definitely worth owning, and deserves a lot more credit than it is usually given.
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WE'LL MAKE UP OUR OWN MINDS3 octobre 2002
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Critics be damned; they never know what they're talking about anyway. Many of them have written about this record in a tone that presumes we all agree it's at or near the nadir of Dylan's output. But I don't agree, and neither do many of my fellow listeners. This is a soulful album, from the opening bass slide of "You Wanna Ramble" to the trailing chorus at the conclusion of "Under Your Spell." The songs (and the odd but intriguing cover as well) conjure desert landscapes and long, wearying journeys of the body and mind. The resolutions of the stories within are usually ambiguous, open-ended or simply unattainable. With much of Dylan's work, it's the spaces between people that help define how they communicate, because they must do so in relation to where they stand; point-of-view is paramount. This record is a good example of how Dylan's best stories feature players who must struggle across barren landscapes to understand themselves and each other. Bob might have changed some of the lyrics to the opening song, I don't know, but I find it interesting that the track includes the line, "What happens tomorrow/ Is on your head, not mine," a bit of foreshadowing since the line is spoken by Burl Ives in the 1960 Western 'The Big Country,' starring Gregory Peck. The band really kicks on this one, and the sound is very similar to what Bob and his band have been achieving on stage in recent years. "They Killed Him" was written by Kris Kristofferson, and I think it's a good song. People object to the use of a children's choir on this track, but it sounds right to me. The way it comes off it sort of reminds me of Tom T. Hall's "100 Children." The message of both songs is simple and direct; and who's going to argue with the sentiments expressed? "Drifting Too Far from Shore" shares its title with an old Charles Moody spiritual recorded by Hank Williams, and vaguely recalls the melody of that song. It features another good line from another good Western, this time 'Bend of the River' from 1952: "I figure [maybe] we're even/ Or maybe I'm one up on you" (Arthur Kennedy to James Stewart). I think this song and "Maybe Someday" came out of the 'Empire Burlesque' batch of songwriting; they have a similar sound and feel. I like the keyboards, but I wish they'd mixed the guitars a little more up front. The background singers get really steamy with all that "Ooooh--yeah," rocking the boat with an erotic appeal that offsets the spiritual allusions. "Precious Memories" is a beautiful spiritual, a traditional song affectionately sung. It was brilliant to include steel drums on the track; they add an exotic sound and once again bring up images of vast stretches of sand that "glide across the lonely years." The snare drum drives the narrator of "Maybe Someday" down the Lost Highway of longing and regret, defending his intentions with a touch of righteous indignation. Dylan adds just a dash of spite to his vocal delivery, and reels off so many clever lines so quickly that you have to listen to the song several times before you can begin to smile in all the right places. The trip down the Lost Highway continues on the next track, the epic "Brownsville Girl," wherein the narrator tells us of his adventures crisscrossing Texas, the girl with "teeth like pearls/ shining like the moon above" by his side, but then no longer there, replaced in the present tense by someone who perhaps doesn't quite measure up, yet remains at his side and has "that dark rhythm in her soul." The narrator is "a man with no alibi" who journeys from nowhere to nowhere, acutely aware of his own mortality, likening himself to the main character of 'The Gunfighter' (1951) starring Gregory Peck, understanding his position: "Here I am, 35 years old and I haven't even got a good watch." The film was one of the first "sociological" Westerns, exploring the mythos of the gunfighter who has simply lived longer than he ever thought he would and now steps along the brink of the possibilities for a new life. Yet it seems as if it could be too late... "Got My Mind Made Up" was cut with Tom Petty and the Heartbreakers, with whom Dylan was touring that summer. The line is oft-repeated by Peck's gunfighter character toward the end of the film. The song has a good churning grunge to it, with somebody going off to see a guy in Libya (more sand). In an interview about this time, Petty said he'd never before worked with somebody whom everybody wanted to know something about. People are interested in Bob. The last song was co-written with Carol Bayer-Sager (sp?), and is poignant but (shakily) hopeful. The singer hopes he doesn't expire "two feet from the well." I love the horns and the background singers on this track, to say nothing of Dylan's obvious emotional involvement with it. A fine ending for a fine record. So take that, critics; and next time, pay for your ticket and don't complain. I give this one an 86.6, especially since it goes so well with an afternoon of playing pool and/or pinball and drinking (responsibly) from a bottle of tequila on those hot summer days. Viva Bob!
17 internautes sur 19 ont trouvé ce commentaire utile
certainly enjoyable15 mars 2006
M. L. Wheeler
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After reading reviews that this album and Down In the Groove are Dylan's worst albums, and still determined to collect all his albums, I find that this album is pretty enjoyable and a couple songs are my favorites. In my opinion, Dylan's worst albums are quality-wise at least as good as most other artists' best. There is just something about them. Also, they reflect the time and mood when they were made.
6 internautes sur 6 ont trouvé ce commentaire utile
An Undiscovered Gem18 novembre 2012
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I came here totally expecting to be the only person on the planet...no, the only person in the universe...to love this album. It's good to see that there are two or three others, and that I am not completely alone. Is this Dylan's best album? No, of course not. That honor would go to one of about a dozen other releases, depending on where your head's at. But this would rank as one of my personal favorites, in part because it was released without any expectations- little fanfare, no tour specifically to support the album (not that Dylan does support tours anyway), no singles- yet maintained a certain level of integrity and cohesion. Not too bad considering Dylan was enduring one of his dry spells. The minuses on this album are few, so I can knock those out quickly. The album is brief, only around 35 minutes. Surely Dylan could have brushed off a few more Empire Burlesque outtakes (Go Away Little Boy comes to mind) and polished them up. And I agree, the children's vocals on They Killed Him come across as maudlin. The steel drums in Precious Memories are annoying. But... On the other hand, Dylan is in fine voice here, some of his best vocal work can be found on this album. Sometimes Dylan's voice can grate like a brick sliding along porcelain, but not on this album. No off tune histrionics here. But the real pleasure is the performances themselves. Brownsville Girl has been written up enough in these reviews, even the people who do not like this album seem to agree that Brownsville Girl is potentially a minor masterpiece in Dylan's oeuvre. The song was an outtake from the Empire Burlesque sessions, but face it, the song would have stuck out like a sore thumb on that earlier album. There's the Bo Diddly on bathtub speed of Got My Mind Made Up. The rocking opener of You Wanna Ramble. Maybe Someday starts off like an outtake from a Stones Black and Blue recording session until the rhythm section grabs hold and propels the song. Same with Drifting Too Far From Shore (another Empire Burlesque leftover)- starts off hesitantly, then the drums kick in and the song is rockin'. And like an interrupted dream, Under Your Spell closes the album out with "the desert is hot, the mountain is cursed, pray that I don't die of thirst baby, two feet from the well", almost like he's addressing his lack of 100% original material. Not an album for beginners, and if you're looking for the hits, stick with The Essential Bob Dylan. But if enjoy Dylan and you already have the usual suspects- Blonde On Blonde, Highway 61, Blood On The Tracks- and are looking for something unfamiliar and pleasantly surprising, Knocked Out Loaded would not be a bad choice.