Scheming bankers meet lusty murderer in  Bob Dylan’s ‘Tempest’ |

Scheming bankers meet lusty murderer in  Bob Dylan’s ‘Tempest’

The cover of "Tempest" by U.S. singer-songwriter Bob Dylan is shown in this undated handout photo released to the media on Sept. 7, 2012. The record starts with its first single, "Duquesne Whistle," and also features a 14-minute title track about the sinking of the Titanic. Source: Sony/Columbia via Bloomberg

Bob Dylan enjoys going on a murder spree on his new album, “Tempest.” The killings simply mount up.

In keeping with his mortician-meets-mobster-meets-minister garb, he comes on like some old-time manic street preacher.

Dylan has more to say than ever on the 35th studio LP of his career, released 50 years after his debut.

“A man can’t live by bread alone,” he moans. “I pay with blood but not my own.” The shattered voice sounds less like a cow stuck in an electric fence this time. More like Tom Waits gargling with crushed glass.

A song of lust ends in Shakespearean tragedy: “All three lovers together in a heap, thrown into the grave forever to sleep.” Dylan laments the death of his friend John Lennon, only after gleefully dispatching some of the 1,500 victims of the Titanic in the disaster a century ago.

That’s in the title track, which sprawls over 14 minutes and 45 verses. The skewed parable references Leonardo DiCaprio (whose character quoted Dylan in the 1997 movie: “blowing in the wind” and “when you’ve got nothing you’ve got nothing to lose.”)

It’s not a patch on 11-minute epics such as “Desolation Row,” “Sad-Eyed Lady of the Lowlands” or even “Brownsville Girl.” The content is more akin to “Highlands,” which rambled over 16 minutes with sloppy rhymes and badly needed an editor.

Elsewhere, Dylan joins in the chorus of disapproval at anonymous bankers, politicians and businessman, whom he describes as “lecherous and treacherous,” “sluggers and muggers” and “meddlers and peddlers.” He says “They buy and they sell / they destroyed your city, they’ll destroy you as well.”

Most people come to Dylan for his lyrics. The closing “Roll on John” just steals lines from the Beatle songs “A Day in the Life,” “Come Together” and “The Ballad of John and Yoko.”

Dylan is back in his simple mechanical rhyming mode with some snappy couplets. There’s little of the sustained dazzling wordplay of his classics: “Highway 61 Revisited,” “Bringing It All Back Home,” “Blood on the Tracks” and “Blonde on Blonde.”

The music, often secondary to the words, is nicely played by Dylan’s regular supporters, much the same as his last few albums: 1920s blues, 1930s folk, 1940s country and 1950s rockabilly.

“Early Roman Kings” is a rip-off of the repetitive blues riff on “Mannish Boy”; the title track’s Irish-themed 16 bars go round in circles. Still, it’s good that, at 71 years of age, Dylan still is writing, touring, recording some fine music, growling away and probably not caring what anyone else thinks.

“Tempest” has more bite than his recent releases such as “Modern Times” and “Time Out of Mind.” This makes it the best since “Desire” back in 1975.It’s a shame that it has another dreadful cover design, so often a Dylan speciality.

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