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Desire [Remastered] Enregistrement original remasterisé, Import


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Page Artiste Bob Dylan


Détails sur le produit

  • CD (1 juin 2004)
  • Nombre de disques: 1
  • Format : Enregistrement original remasterisé, Import
  • Label: Mis
  • ASIN : B00026WU50
  • Autres éditions : CD  |  Téléchargement MP3
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Descriptions du produit

Critique

Après l’introspection douloureuse du plébiscité Blood On The Tracks, Desire  est un retour remarqué à la spontanéité du « live » et aux chansons narratives. Revenu à New York, il se reconnecte avec les musiciens de la ville et se remet à improviser sur scène comme dans sa jeunesse. Durant une « jam » impromptue dans un café, il croise le fer avec une intrigante violoniste au style très véloce, Scarlet Rivera. L’entente musicale est si intense qu’il l’engage sur-le-champ, donnant ainsi un ton gipsy à tout l’album. Un autre soir, au café « The other end », Bob Dylan rencontre par hasard Jacques Levy, ancien psychologue reconverti metteur en scène et occasionnellement parolier de Roger McGuinn le leader des Byrds. Levy l’encourage à écrire de grandes chansons narratives basées sur des histoires réelles.

Les séances d’enregistrement ont lieu à New York où Bob Dylan invite tous les musiciens locaux disponibles. Un groupe se dessine au fur et à mesure comprenant Scarlet Rivera, une section rythmique imparable avec Rob Stoner à la basse et Howard Wyeth à la batterie. Pour les chœurs, Bob Dylan choisit la chanteuse Emmylou Harris qui collabora précédemment avec le grand chanteur de country Gram Parsons. Tous les titres furent gravés « live » dans la journée du 30 juillet 1975 et aux dires des musiciens, l’atmosphère était  extatique.

Première « protest-song » de Bob Dylan depuis « George Jackson » en 1971, le fougueux « Hurricane » nous conte l’histoire vraie du boxeur noir Rubin Carter condamné pour un triple meurtre qu’il semble n’avoir pas commis. L’histoire est brillamment exposée et le trait de Bob Dylan est si plein de fiel contre les policiers et le tribunal acharné à piéger un homme de « couleur » que sous la pression des avocats de CBS, Bob Dylan doit réécrire une partie des textes pour éviter un procès. La chanson n’eut guère d’impact immédiat puisque Rubin Carter ne fut absous qu’en 1985, ce qui désola Bob Dylan, très impliqué dans le combat pour l’innocenter (libéré sous caution le 21 mars 1976 après le succès de la chanson, il fût à nouveau condamné à vie lors de son deuxième procès). La musique est-elle somptueuse, portée par une mélodie accrocheuse au parfum country.

« Isis » est un autre sommet de Desire  : air entêtant, imagerie riche et histoire mystérieuse. Sur fond de recherche d’un trésor qui se révèle vite illusoire, un homme quitte sa bien aimée « Isis » pendant un voyage initiatique. L’humour abonde dans cette curieuse chanson sur la réconciliation notamment dans le dialogue final entre les deux époux. 

Le thème central de l’album, le désir, est résumé dans trois vers et le court refrain du bouleversant « Oh Sister », supplique pour la réconciliation de l’homme et de la femme. Sur « Joey » (somptueux vocaux mêlés d’Emmylou Harris et Bob Dylan) et « Black Diamond Bay », le poète rock se fait conteur de mythes. La première est une réactualisation de la chanson classique sur le hors-la-loi, thème fréquent dans le folk. Ici, c’est Joey Gallo le bandit new-yorkais au grand cœur (« king of the street ») bien que la réalité (le parti pris d’empathie de Dylan fut dénoncé par certains critiques dont Lester Bangs) soit moins reluisante.

« Black Diamond Bay »
est la peinture plutôt farfelue des occupants d’un hôtel qui va être emporté par un tremblement de terre. Le dernier couplet nous montre le narrateur assistant goguenard à la scène retransmise à la télé dans sa chambre. Le panoramique « Romance In Durango » avec l’accompagnement mariachi évoque un Mexique idéalisé en western épique (Dylan y chante en espagnol, et fort bien), tandis que l’exotique « Mozambique » est une douce invitation au voyage et à la libération des sens.

Le mélancolique « One More Cup Coffee », autre morceau-clé de Desire  part d’un élément banal -le café- pour se transformer en déclaration romantique à une gitane libre et exubérante. Les harmonies acrobatiques entre Emmylou Harris et Bob Dylan en font l’une des merveilles de l’album, avec la partie de violon en contrepoint. La seule chanson autobiographique est l’ultime de l’album (située ici pas par harsard), la ballade passionnée « Sara » dédiée à sa femme alors que leur mariage est au plus bas, dix ans après son poème amoureux « Sad-Eyed Lady of the Lowlands » destiné à la même Sara. Ici, plus de métaphores, plus d’images, plus de symboles. Bob Dylan s’y montre nu, comme dans un journal intime. Son chant y est d’ailleurs mixé différemment, plus « en avant », comme s’il se confiait et demandait le pardon de ses fautes. La rédemption.

Porté par une musique étincelante et dépaysante et un Dylan enflammé, Desire  est numéro un des deux côtés de l’Atlantique et demeure un de ses plus beaux albums. Une collection de neuf chansons qui demeurent parmi ses toutes meilleures, où son génie à exprimer les expériences humaines n’a qu’un but, démontrer que tous nos actes et nos sentiments sont motivés par le Désir. Mais Dylan a sous-titré son album « chansons de rédemption », ce qui n’est pas innocent car il a toujours choisi ses mots scrupuleusement. Ce que notre « désir » obtient, se paie.

Desire sera le parfait véhicule de la tournée épique Rolling Thunder Revue  où le chanteur, accompagné d’un groupe pléthorique en produira des versions féroces, documentées dans son film Renaldo and Clara. - Copyright 2016 Music Story


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Amazon.com: HASH(0x949352f4) étoiles sur 5 108 commentaires
129 internautes sur 142 ont trouvé ce commentaire utile 
HASH(0x963daf18) étoiles sur 5 Dylan's last "great" album? 12 novembre 2005
Par ewomack - Publié sur Amazon.com
Format: CD
Following the string of absolute classics Dylan put out in the 1960s he slowly retreated from the scene into personal seclusion. The early 1970s left some fans scratching their heads. What was "Self Portrait" all about? And "New Morning"? Then he did a movie soundtrack for a Sam Peckinpaw film, and "Planet Waves" still seems to divide fans (some love it and some hate it). By this time he had completely shed any question of his desired role in the folk/protest scene of the 1960s. But he didn't go away, like many expected (and some really wanted). So what was up with Bob? Then suddenly, the mid 1970s saw Dylan releasing two albums that many fans rank amongst his best (and some called them "comeback" albums, though nearly every Dylan album has been called this by someone). In very early 1975 "Blood On The Tracks" apppeared like a miracle with its intimate and lush acoustic arrangements and sound. It even spurred a hit with "Tangled Up in Blue". Most critics and fans heralded Dylan's triumphant return. Dylan then outdid himself by releasing "Desire" in very early 1976.

This album contrasts with "Blood on the Tracks" to such an extent that some fans become polarized about which album stands as Dylan's true 1970s "classic". But the albums contain such disparate material that a definitive comparison and ranking between them remains difficult. They both have their respective strengths and flaws, and both doubtlessly stand amongst some of Dylan's best material.

"Desire" doesn't have the personal feel of "Blood on the Tracks" (with the salient exception of "Sara"). And Dylan introduced three items that make this album really stick out: a running violin, a lyrical collaboration with the late Jacques Levy, and a consistent backup singer in the form of Emmylou Harris. Surprsingly, Harris' voice blends with Dylan's beautifully. She apparently completed her tracks in just one or two whirlwind takes (in inimitable Dylan style). But she doesn't appear on "Hurricane", "Isis", or "Sara". She did record backing vocals for "Hurricane", but the track was scrapped due to "libelous lyrics" and Harris couldn't return to re-record the song (various bootlegs supposedly contain the original version with Harris along with other outtakes from this session, including "Golden Loom").

"Hurricane" tells the story of boxer Rubin Carter who found himself jailed for triple murder (also the subject of the 1999 movie "Hurricane" starring Denzel Washington). It portrays Carter as an innocent man trapped in a game of justice. This remains very controversial. Carter apparently was never found innocent by a court, and the hot debate over his innocence continues. Add to that, the 10 minute opus "Joey", with an amazing chorus, tells the story of the murder of mafioso Joey Gallo. Some hailed these songs as Dylan's return to "protest music" while others decried Dylan's new "irresponsible" political stance. Dylan always seems to invite controversy (which makes him so intruiging).

Other songs contain folky aspects, helped along by the nearly ubiqitous and soaring violin. "Mozambique" rhapsodizes about the paradise that is... Mozambique! "Romance in Durango" and "Black Diamond Bay" also use location to tell a story. The former even features Dylan singing in español. The latter includes extremely evocative imagery of a troubled journey. These songs, along with "One More Cup of Coffee" (with its mythological death imagery) and "Oh, Sister" lend the album a slightly western feel (in synch with Dylan's accoutrements on photos from the time).

Lastly, the very emotionally naked and autobiographical closer "Sara" really stands out in Dylan's repertoire. This song and "One More Cup of Coffee" are the only songs on the album credited to Dylan alone. "Sara" tells the story of Dylan's then failing and soon to fail marriage. She apparently witnessed the one-take recording. Dylan supposedly took her completely off guard. But the marriage dissolved regardless. Nonetheless, "Sara" represents Dylan in a rare raw emotional state. He tells it like it is with nothing held back.

Some call this album "Dylan's last great album". Obvioulsy some will agree and others will disagree with this statement. Still, "Desire" does contain some great music. And it inspired the now legendary Rolling Thunder Review tour (captured on the "Bob Dylan Live 1975" CD set released in 2002). Soon after, though, Dylan's reputation took a nosedive in the late 1970s with the ill-fated "Street Legal" and the outspoken religious views on his albums of the early 1980s. Those who hated Dylan's later direction of this period probably harkened back to "Desire" as "the good old days". But, as always, Dylan redeemed himself to many fans later on. In the end, one thing remains very true about Dylan: he's never boring.
40 internautes sur 41 ont trouvé ce commentaire utile 
HASH(0x9494300c) étoiles sur 5 Underrated Dylan classic 17 mai 2007
Par Dave - Publié sur Amazon.com
Format: CD
On this album, perhaps more than any other, Dylan shows off his true power as a storyteller. This album is more or less a collection of stories, each one incredibly rich, vivid, and imaginative. The songs on this album could each be made into a movie, and this cinematic quality is how these songs play out in your mind as you listen to them. Dylan uses such incredible and detailed imagery that you really feel like you are in these beautiful and sometimes haunting scenes that he is describing.

Highly recommended!
45 internautes sur 49 ont trouvé ce commentaire utile 
HASH(0x94943444) étoiles sur 5 Swan song 21 décembre 2006
Par Caleb J. Melamed - Publié sur Amazon.com
Format: CD Achat vérifié
Like a time capsule, Desire contains the spirit of a hopeful past. Recorded in July and October 1975 and released in January 1976, Desire is the final third of Dylan's mid-1970s trilogy, whose other parts are Planet Waves (1974) and Blood on the Tracks (1975). Although falling short of the earlier two albums' near perfection, Desire has some of Dylan's most engaging and likeable music, and his most touching love song, "Sara." In many ways, Desire resembles Planet Waves more than it does Blood on the Tracks. On Blood on the Tracks, the lyrics have primary importance, whereas on Planet Waves and Desire the music is essential in uniting these albums' diverse strands. Dylan on Blood on the Tracks is a soloist with accompaniment, but he collaborates on Planet Waves and Desire with other outstanding artists. The members of The Band join Dylan on Planet Waves in a kind of rock chamber music. On Desire, Dylan shares both songwriting and performance. Jacques Levy is co-author of all but two of the songs, and Scarlet Rivera, on violin, and Emmylou Harris and Ronee Blakley, on vocals, are notable among the musicians who help give this album its unique texture. Both Planet Waves and Desire were recorded in the aftermath of war (the Yom Kippur War for Planet Waves; the Vietnam War for Desire), and share an optimism for a better world that brackets Blood on the Tracks' tragic vision.

The trilogy's narrative progresses from first to second to third person. Dylan sings as an individual on Planet Waves, but on Blood on the Tracks he finds himself caught in a mirror play of relationships gone wrong. On Desire, Dylan adds a third party, the audience, as an integral part of the performance. Dylan pulls us into Desire by reaching outward. The songs on this album are a series of quests and adventures, all of them searches for justice or love. The stories range from a police frame-up in urban America ("Hurricane"), to a romantic idyll in Africa ("Mozambique"), to a fantastic hunt for treasure inside a frozen pyramid by the wayward husband (Dylan) of an Egyptian goddess ("Isis"). In "Black Diamond Bay," Dylan actually becomes an audience member. This song recounts the last hours in the lives of several lonely and isolated hotel guests on a sinking volcanic island. Dylan learns about the catastrophe only in the final stanza, when he hears a fragmentary report by Walter Cronkite on the television news.

The music of Desire varies with its locations and themes. In "One More Cup of Coffee (Valley Below)," Dylan laments his rejection by a bandit chieftain's beautiful daughter, in a style the poet Allen Ginsberg describes (in his album notes) as "Hebraic cantillation never heard before in U.S. song." The oceanic "Oh, Sister" is hymn-like in its plea for a loving partnership under the fatherhood of God. The accordion in "Joey" (Dom Cortese) evokes the Italian-American background of its real-life protagonist, Joey Gallo, a man "caught between the mob and the men in blue." "Romance in Durango" achieves its Mexican atmosphere through the sound of a Bellzouki 12-string guitar (Vincent Bell), trumpet, accordion and tambourine, as Dylan sings, partly in Spanish, about a killer's flight across the desert with his beloved Magdalena.

The eclectic nature of the album invites us to become a part of its creative process--we do not feel distanced by a single-minded vision of the artist. Hearing its songs allows us to draw our own poetic map of the world.

Two songs on Desire deserve special mention. "Hurricane" tells the true story of African-American middleweight boxer Rubin "Hurricane" Carter, framed for a triple murder in Paterson, New Jersey. Paced like a hard-boiled crime movie, "Hurricane" is both a compelling plea for Carter's freedom and a condemnation of racial prejudice in the American judicial system, "where justice is a game." The song publicized Carter's plight (later, Dylan held two concerts to raise legal defense funds) and helped win Carter a new trial in the fall of 1976.

The jewel of this album is its last song, the inexpressibly poignant "Sara," addressed to Dylan's wife. In an unsentimental but emotional voice, Dylan sings a simple modal melody on top of Scarlet Rivera's haunting violin. The verses are a succession of flashbacks of the Dylans' life together, interspersed by a "Sara, Sara" refrain praising his wife's beauty, kindness, and mystery. Dylan recalls their children, still babies, playing on the beach; Sara in a Jamaican marketplace; himself "staying up for days in the Chelsea Hotel, writing 'Sad Eyed Lady of the Lowlands' for you." He concludes with the words, "don't ever leave me, don't ever go." The song feels transitory, evanescent, in contrast to "Wedding Song" on Planet Waves, where Dylan sings of the eternal verities of their marriage ("I love you more than ever, more than time and more than love").

After recording Desire, Dylan continued his deep audience connection by launching the Rolling Thunder Revue. With an all-star cast headed by Dylan and featuring Joan Baez, the Revue caravaned across the Northeastern states and neighboring parts of Canada (autumn 1975), and then through the South and Southwest (spring 1976). Its unpublicized itinerary was filled with surprise concert dates. From the Desire sessions, Rivera, Blaklee, Rob Stoner (bass), and Howard Wyeth (drums) joined this true people's tour.

But the circumstances that made Desire possible soon disappeared, as the places and people portrayed in many of its songs fell upon harder times. The new nation of Mozambique, whose freedom Desire celebrates, was devastated by a civil war. The old Mexico depicted in "Romance in Durango" became largely a memory following economic globalization and NAFTA. Rubin Carter was convicted in his second trial and not released on parole until 1988. And in 1977, Dylan's marriage to Sara ended in divorce, after which it seems he could no longer follow the same artistic path. Desire marks the completion of a grand cycle of Dylan's career, dating back to his first albums in the early 1960s. His next album, Street Legal (1978), reveals, beneath its "big band" gloss, a dark night of the soul. From Street Legal's first song, the aptly named "Changing of the Guards," we are in a new era.
10 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x9494342c) étoiles sur 5 Adventurous and uneven, but classic 10 janvier 2007
Par Elliot Knapp - Publié sur Amazon.com
Format: CD
I didn't used to be much of a fan of Desire--I found it overrated with several weak tracks and I thought Emmylou Harris' background vocals were often harsh and annoying. I still feel this way, but I've come to appreciate the album a lot more and understand why so many people think it's one of Dylan's best. After giving it a few more listens, I really enjoy the stylistic diversity that the songs range over (perhaps to Dylan's collaboration with Jacques Levy on most of the songwriting) as well as Dylan's energy in delivering the tunes. I'd recommend it to anybody who's already got Dylan's greatest 60's material and Blood on the Tracks and New Morning as the last high-quality studio he put out in the 70's.

The album kicks off with the classic "Hurricane." Dylan energetically spits out the ironies of Carter's story over Scarlet Rivera's violin (which will remain throughout the album as a great addition to his sound). From there on out, the album covers a lot of lyrical and stylistic territory, form the rocking narrative of "Isis" to the world music flavor of "Romance in Durango," to the dark mystery of "One More Cup of Coffee" (one of the album's best tracks). Another highlight is Dylan's emotional tribute to his soon-to-be-ex wife, "Sara."

Like I said before, the album's weaknesses are a couple songs that either drag too much or sound A LOT like other songs on the album, and the outright mediocrity of "Joey," mainly boring and way too long for its own good. Emmylou Harris sounds pretty good on a couple songs, but I think she appears on too many, and eventually her voice gets a little grating and annoying--I think Dylan would have sound pretty good all by himself. I'd also like to note that many of the best songs from Desire are on Bob Dylan Live 1975 (The Bootleg Series Volume 5). On this live album, they sound even better than on this recording, with more energy from Dylan and his live band. They're both worth owning, though.

I've definitely softened to Desire, and though I don't think it ranks at the top of Dylan's masterpieces, I think it's a really enjoyable listen with a ton of great things going for it. Hope you enjoy!
10 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x949438f4) étoiles sur 5 One of Dylans Best 5 janvier 2007
Par M. Vesey - Publié sur Amazon.com
Format: CD
My first copy of desire was when it came out on vinyl many years ago - some of what I consider Bob Dylans best work. Every Dylan fan needs this one in their collection.
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