Under the Red Sky | ||||
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Studio album by | ||||
Released | September 10, 1990 | |||
Recorded | January, March–May 1990 | |||
Studio | Oceanway, Record Plant, The Complex, Sorcerer | |||
Genre | Rock | |||
Length | 35:21 | |||
Label | Columbia | |||
Producer | ||||
Bob Dylan chronology | ||||
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Under the Red Sky is the twenty-seventh studio album by American singer-songwriter Bob Dylan, released on September 10, 1990, by Columbia Records. It was produced by Don Was, David Was, and Dylan (under the pseudonym Jack Frost).
The album was largely greeted as a disappointing follow-up to 1989's critically acclaimed Oh Mercy . Most of the criticism was directed at the slick sound of rock producer Don Was, as well as a handful of tracks that seem rooted in children's nursery rhymes. It is a rarity in Dylan's catalog for its inclusion of celebrity cameos by Jimmie Vaughan, Slash, Elton John, George Harrison, David Crosby, Stevie Ray Vaughan, and Bruce Hornsby. The album's highest chart position worldwide was in Norway, where it peaked at No. 4.
The album is dedicated to "Gabby Goo Goo", now thought to be Desiree Gabrielle Dennis-Dylan, Dylan's daughter by Carolyn Dennis, born on January 31, 1986. [1]
Four songs from the album, "Handy Dandy", "10,000 Men", "God Knows", and "Cat's in the Well", were recorded in a single session in Los Angeles on 6 January 1990, before Dylan commenced a four-week tour. ("Handy Dandy" received overdubs subsequently.) [2] Dylan biographer Clinton Heylin writes that Dylan finished recording the basic tracks for the album in mid-March 1990, but added new vocals to some tracks the following month, with instrumental overdub sessions extending into May 1990. [3]
Unlike the rest of his discography, the album features guest appearances by established artists, such as Bruce Hornsby, Elton John and George Harrison. Additionally, session musicians like pianist Al Kooper and guitarist Waddy Wachtel appear throughout.
The opener, "Wiggle Wiggle", features Slash. Dylan, said the Guns N' Roses guitarist, "is definitely one of the icons of rock 'n' roll, and he was one of the people my parents used to listen to. But it [working on the album] was just such a bad experience." [4]
"10,000 Men" features Stevie Ray Vaughan and the title track features a "fine guitar solo" by George Harrison. Heylin calls this an "important song", noting that it has been a staple of Dylan's performances. [5]
"Born in Time" and "God Knows" are reworkings of material recorded at the previous year's Oh Mercy sessions. Versions of these songs from the Oh Mercy sessions feature on The Bootleg Series Vol. 8: Tell Tale Signs . [6]
According to producer Don Was, there were two outtakes from the album: "Shirley Temple Doesn't Live Here Anymore" (which Dylan co-wrote with Was and David Weiss) and "Heartland" (which Dylan later sang with Willie Nelson on Nelson's 1993 album Across the Borderline ). [7] "Shirley Temple Doesn't Live Here Anymore" was later recorded by Don Was's group Was (Not Was) for their 2008 album Boo! as "Mr. Alice Doesn't Live Here Anymore".
Review scores | |
---|---|
Source | Rating |
AllMusic | [8] |
Chicago Tribune | [9] |
Christgau's Consumer Guide | A− [10] |
Encyclopedia of Popular Music | [11] |
Entertainment Weekly | C [12] |
Los Angeles Times | [13] |
MusicHound Rock | 0.5/5 [14] |
Rolling Stone | [15] |
Tom Hull | B+ [16] |
Dylan has echoed most critics' complaints, telling Rolling Stone in a 2006 interview that the album's shortcomings resulted from hurried and unfocused recording sessions, due in part to his activity with the Traveling Wilburys at the time. He also claimed that there were too many people working on the album, and that he was very disillusioned with the recording industry during this period of his career.
Dylan critic Patrick Humphries, author of The Complete Guide to the Music of Bob Dylan, was particularly harsh in his assessment of Under the Red Sky, stating the album "was everything Oh Mercy wasn't—sloppily written songs, lazily performed and unimaginatively produced. The first bridge of "2 X 2" ("How much poison did they inhale?") was reminiscent of the menace which pervaded Oh Mercy, but otherwise, where before there had been certainty and sureness, here was confusion and indecision." [17]
Humphries saved his harshest attack for the album's opening song, "Wiggle Wiggle":
Then there's "Wiggle Wiggle": worse than anything Dylan has ever recorded? Maybe not that bad, but certainly up there, jostling for position in that particular part of hell, where the jukebox plays nothing but "Joey" (from Desire ) and "Had a Dream About You, Baby" (from Down in the Groove ). "Wiggle Wiggle" was the one the critics jumped on, particularly the line "Wiggle wiggle wiggle like a bowl of soup", which was taken as proof positive that Dylan had lost it, definitely, permanently, irrevocably. It was hard to disagree—it is hard to reconcile such a line with the man who wrote "Desolation Row" (from Highway 61 Revisited ). Of course, you can't get Hamlet or "Like a Rolling Stone" every time out of the traps, but "Wiggle Wiggle"? [17]
The album did have some critical support, particularly from Robert Christgau of The Village Voice , who wrote: "To my astonishment, I think Under the Red Sky is Dylan's best album in 15 years, a record that may even signal a ridiculously belated if not totally meaningless return to form … It's fabulistic, biblical … the tempos are postpunk like it oughta be, with [Kenny] Aronoff's sprints and shuffles grooving ahead like '60s folk-rock never did." [10] And Paul Nelson, writing for Musician , called the album "a deliberately throwaway masterpiece". When the Voice held its Pazz & Jop Critics Poll for 1990, Under the Red Sky placed at #39.
In the end, album sales were disappointing, peaking at #38 on the US charts and #13 in the UK. According to the book Down The Highway: The Life Of Bob Dylan, the disappointing record sales of this album made him depressed. On top of that, Dylan's second wife had just signed for divorce in August 1990, [18] although their marriage was completely unknown to both Dylan's fans and the media until the 2001 publication of Down the Highway: The Life of Bob Dylan by Howard Sounes. [19]
Dylan continued the style of the album with his recording of the nursery rhyme "This Old Man", which was released on the Disney charity album For Our Children in 1991. For his follow-up album, Good As I Been to You (1992), Dylan went back to his acoustic roots, recording more serious songs.
In 2005, Q included the lead-off track "Wiggle Wiggle" in a list of "Ten Terrible Records by Great Artists". Time placed "Wiggle Wiggle" on the list of The 10 Worst Bob Dylan Songs, noting that it "sounds like the theme song to one of those tripped-out television shows beloved by toddlers and drug users". [20] The song was covered on the 2014 tribute album Bob Dylan in the 80s: Volume One by Slash and Aaron Freeman. [21] Its lyrics were also the namesake for the Danish pop/rock band Big Fat Snake.
All tracks are written by Bob Dylan
No. | Title | Length |
---|---|---|
1. | "Wiggle Wiggle" | 2:09 |
2. | "Under the Red Sky" | 4:09 |
3. | "Unbelievable" | 4:06 |
4. | "Born in Time" | 3:39 |
5. | "T.V. Talkin' Song" | 3:02 |
Total length: | 17:05 |
No. | Title | Length |
---|---|---|
1. | "10,000 Men" | 4:21 |
2. | "2 × 2" | 3:36 |
3. | "God Knows" | 3:02 |
4. | "Handy Dandy" | 4:03 |
5. | "Cat's in the Well" | 3:21 |
Total length: | 18:23 |
Region | Certification | Certified units/sales |
---|---|---|
Switzerland (IFPI Switzerland) [24] | Gold | 25,000^ |
United Kingdom (BPI) [25] | Silver | 60,000^ |
^ Shipments figures based on certification alone. |
Blood on the Tracks is the fifteenth studio album by American singer-songwriter Bob Dylan, released on January 20, 1975, by Columbia Records. The album marked Dylan's return to Columbia after a two-album stint with Asylum Records. Dylan began recording the album at an A & R studio in New York City in September 1974. In December, shortly before Columbia was due to release the album, Dylan abruptly re-recorded much of the material in Sound 80 studio in Minneapolis. The final album contains five tracks recorded in New York and five from Minneapolis. The album's songs have been linked to tensions in Dylan's personal life, including his estrangement from his then-wife Sara. One of their children, Jakob Dylan, has described the songs as "my parents talking." In interviews, Dylan has denied that the songs on the album are autobiographical.
Highway 61 Revisited is the sixth studio album by the American singer-songwriter Bob Dylan, released on August 30, 1965, by Columbia Records. Dylan continued the musical approach of his previous album Bringing It All Back Home (1965), using rock musicians as his backing band on every track of the album in a further departure from his primarily acoustic folk sound, except for the closing track, the 11-minute ballad "Desolation Row". Critics have focused on the innovative way Dylan combined driving, blues-based music with the subtlety of poetry to create songs that captured the political and cultural climate of contemporary America. Author Michael Gray argued that, in an important sense, the 1960s "started" with this album.
Blonde on Blonde is the seventh studio album by the American singer-songwriter Bob Dylan, released as a double album on June 20, 1966, by Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know ". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.
Nashville Skyline is the ninth studio album by the American singer-songwriter Bob Dylan, released on April 9, 1969, by Columbia Records as LP record, reel-to-reel tape and audio cassette.
Slow Train Coming is the nineteenth studio album by American singer-songwriter Bob Dylan, released on August 20, 1979, by Columbia Records. It was Dylan's first album following his conversion to Christianity, and the songs either express personal faith, or stress the importance of Christian teachings and philosophy. The evangelical nature of the record alienated many of Dylan's existing fans; at the same time, many Christians were drawn into his fan base. Slow Train Coming was listed at No. 16 in the 2001 book CCM Presents: The 100 Greatest Albums in Christian Music.
Oh Mercy is the twenty-sixth studio album by American singer-songwriter Bob Dylan, released on September 12, 1989, by Columbia Records. Produced by Daniel Lanois, it was hailed by critics as a triumph for Dylan, after a string of poorly reviewed albums. Oh Mercy gave Dylan his best chart showing in years, reaching No. 30 on the Billboard charts in the United States and No. 6 in Norway and the UK.
Pat Garrett & Billy the Kid is the twelfth studio album and first soundtrack album by American singer-songwriter Bob Dylan, released on July 13, 1973, by Columbia Records for the Sam Peckinpah film of the same name. Dylan himself appeared in the film as the character "Alias". The soundtrack consists mainly of instrumental music and was inspired by the movie itself. The album includes "Knockin' on Heaven's Door", which became a trans-Atlantic Top 20 hit.
The Wind is the twelfth and final studio album by American singer-songwriter Warren Zevon. The album was released on August 26, 2003, by Artemis Records. Zevon began recording the album shortly after he was diagnosed with inoperable pleural mesothelioma, and it was released just two weeks before his death on September 7, 2003. The album was awarded the Grammy Award for Best Contemporary Folk Album, and "Disorder in the House", performed by Zevon with Bruce Springsteen, won the Grammy for Best Rock Vocal Performance. Songs from the album were nominated for an additional three Grammys.
Dylan & the Dead is a collaborative live album by American singer-songwriter Bob Dylan and the Grateful Dead, released on February 6, 1989, by Columbia Records. The album consists of seven songs written and sung by Dylan, with the Grateful Dead providing accompaniment. The album was produced by Jerry Garcia and John Cutler.
Self Portrait is the tenth studio album by the American singer-songwriter Bob Dylan, released on June 8, 1970, by Columbia Records.
Hard Rain is a live album by American singer-songwriter Bob Dylan, released on September 13, 1976, by Columbia Records. The album was recorded during the second leg of the Rolling Thunder Revue.
Saved is the twentieth studio album by American singer-songwriter Bob Dylan, released on June 23, 1980, by Columbia Records. Saved was the second album of Dylan's "Christian trilogy". It expanded on themes explored on its predecessor Slow Train Coming, with gospel arrangements and lyrics extolling the importance of a strong personal faith.
Empire Burlesque is the twenty-third studio album by American singer-songwriter Bob Dylan, released on June 10, 1985 on Columbia Records. Self-produced, the album peaked at No. 33 in the U.S. and No. 11 in the UK.
Knocked Out Loaded is the twenty-fourth studio album by American singer-songwriter Bob Dylan, released on July 14, 1986 by Columbia Records.
Down in the Groove is the twenty-fifth studio album by American singer-songwriter Bob Dylan, released on May 30, 1988 by Columbia Records.
Bob Dylan is an American singer-songwriter. Often considered to be one of the greatest songwriters in history, Dylan has been a major figure in popular culture over his 60-year career. He rose to prominence in the 1960s, when songs such as "The Times They Are a-Changin'" (1964) became anthems for the civil rights and antiwar movements. Initially modeling his style on Woody Guthrie's folk songs, Robert Johnson's blues and what he called the "architectural forms" of Hank Williams's country songs, Dylan added increasingly sophisticated lyrical techniques to the folk music of the early 1960s, infusing it "with the intellectualism of classic literature and poetry". His lyrics incorporated political, social and philosophical influences, defying pop music conventions and appealing to the burgeoning counterculture.
The Basement Tapes is the sixteenth album by the American singer-songwriter Bob Dylan and his second with the Band. It was released on June 26, 1975, by Columbia Records. Two-thirds of the album's 24 tracks feature Dylan on lead vocals backed by the Band, and were recorded in 1967, eight years before the album's release, in the lapse between the release of Blonde on Blonde and the subsequent recording and release of John Wesley Harding, during sessions that began at Dylan's house in Woodstock, New York, then moved to the basement of Big Pink. While most of these had appeared on bootleg albums, The Basement Tapes marked their first official release. The remaining eight songs, all previously unavailable, feature the Band without Dylan and were recorded between 1967 and 1975.
"Most of the Time" is a song written and performed by American singer-songwriter Bob Dylan, released as the sixth track of his 1989 album Oh Mercy. The song was written by Dylan and produced by Daniel Lanois. The album version of "Most of the Time" was recorded on March 12, 1989, in a mobile studio at 1305 Soniat St., New Orleans, and released on Oh Mercy in September of that year. Two studio out-takes from the same set of recording sessions were released on The Bootleg Series Vol. 8: Tell Tale Signs: Rare and Unreleased 1989–2006 in 2008, and a new version recorded on March 16, 1990, was issued as a promotional single and video in 1990.
"Born in Time" is a rock song written by American singer-songwriter Bob Dylan, who first released the track on September 10, 1990, on his twenty-seventh studio album Under the Red Sky. It is a reworking of a song originally recorded at the previous year's Oh Mercy sessions. The British recording artist Eric Clapton covered the song for his 1998 studio effort Pilgrim and released his take on the tune as a single. The song has been praised by critics for its catchy melody and romantic, dreamlike lyrics.
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