Artists of a particular vintage tend to find their work appraised in all too familiar ways when arriving at notable career milestones, anniversaries or birthdays. There’s the routine reverence for the early work, followed by a glossing over of the mid-career slump - punctuated with the occasional hint of a return to form - concluded by gushing adulation for a genuine late career flourish.
It’s a template that can be applied rather accurately to the work of some of music’s late great icons. Think David Bowie, Johnny Cash or Leonard Cohen. All released wonderfully creative and rapturously received records in the final years of their careers, deservedly restoring some of the sparkle to their ever so slightly faded stars and serving as barnstorming reminders of just how potent their talents could be.
But reflecting on the inscrutable, complex and towering talent that is Bob Dylan at 80 years old is an altogether different matter.
Of course, his initial run of records between 1962 and 1970 will always be considered by the majority of fans and critics to be Zimmerman’s zenith. From The Freewheelin’ Bob Dylan, The Times They Are A-Changin’ and Bringing It All Back Home, to Highway 61 Revisited, Blonde On Blonde and John Wesley Harding, he unleashed a volley of undeniable classics that would not only single him out as one of the most influential artists of his or any generation, but essentially redefine the very notion of the singer-songwriter.
His lyrical dexterity allowed him to weave political protest and sophisticated storytelling through an ever-changing musical tapestry in a way that had seldom been seen before. Particularly from an artist who had emerged from the folk tradition - his incorporation of electric guitars was famously, and indeed furiously, rejected by purists. Yet this new sound would go on to play a pivotal role in the development of his oeuvre over the next 50 years.
For a great many artists who have weathered such an expanse of time, this initial burst of free flowing creativity is something they will generally spend the subsequent years either desperately trying to claw back, trotting out sub par imitations of former glories, or making ill-fated forays into new music styles in a bid to remain relevant and contemporary. Which can be great if it’s part of an authentic artistic vision, but can misfire spectacularly when forced or contrived.
In the case of Dylan, his second decade continued to produce some of the most critically and commercially adored work of his career. In that 10 year period he released another nine records, including two astounding career highlights - 1975’s Blood On The Tracks and 1976’s Desire. Featuring the single Tangled Up In Blue, Blood On The Tracks, after receiving mixed reviews upon release, would grow in stature down the years. By the turn of the millennium it had made its way into the top 10 on countless Albums of the Century lists and was inducted into the Grammy Hall Of Fame in 2015. It remains one of the most acclaimed rock records all time.
The 1980s is where things go a little bit awry. After famously becoming a born again Christian at the back end of the 1970s, a run of gospel-infused confessional records entrenched in his newfound religion made way for a series of unremarkable, at times turgid, records dealing primarily in hackneyed rock n roll tropes.
Some would point to 1983’s Infidels as a narrow but bright slither of light in a creatively bereft decade, yet that record alone would be insufficient in altering the perception of his ‘80s era as an unmitigated disappointment. Albums like Knocked Out Loaded and Oh Mercy simply painted a picture of an artist divorced from their inspiration.
Still, with seven albums released that decade, as well as the first Travelling Wilbury’s record, it was an era still peppered, albeit sparingly, with glimpses of the songwriting prowess that would remerge in full force the following decade.
After a seven year spell without releasing any original works, 1997 marked the return of the artist who had largely faded in the ‘80s, with the release of Time Out Of Mind serving as a stark reminder of the magic he could still conjure. It would be a record that to this day is widely considered one of his very finest achievements.
By Dylan’s standards, his output over the ensuing 24 years up to present day would never be anywhere near as prolific as his first three decades, although at the age of 60 when its follow up Love And Theft - his 31st studio album to date - was released, one could hardly begrudge him taking a more leisurely approach. Each new album became something of an event release. Described as a pre-rock Americana record, Love And Theft took influences of jazz, folk and blues and was hailed by Rolling Stone as a masterpiece.
Five years later he released another landmark record in the form of Modern Times. Musically centred around blues and rockabilly, it became Dylan’s first No. 1 record in the US since 1976 when Desire topped the albums chart. It was also his first album to debut at the top of the Billboard chart, selling 191,933 copies in its first week, and subsequently making him the oldest artist ever to debut at No. 1 on the Billboard 200.
The darker, bluesy grit of 2003’s Together Through Life topped charts around the world and again picked up favourable reviews from critics, while 2012’s Tempest followed suit and would be the last record of original material until 2020’s Rough And Rowdy Ways.
Preceded by a clutch of covers records dedicated to traditional pop standards - not to mention the unprecedented moment in 2016 when he was honoured with theNobel Prize for Literature "for having created new poetic expressions within the great American song tradition" - Rough And Rowdy Ways represented a thrilling journey through the various styles and genres Dylan shaped and navigated throughout his career. There’s a laid back looseness to the playing, while Dylan’s wordplay is as sharp, witty and humorous as anything in his gargantuan canon, making for a glittering set lauded by many as his finest record not just in years but decades.
Precious few artists will ever be able to boast 39 records in 80 years and counting. That Bob Dylan is not only still making music, but music that is capable of standing toe-to-toe with works from over 50 years prior is an achievement beyond compare and one that few of us are ever likely to see again. We should treasure him while we can.
Happy 80th, Robert Allen Zimmerman.