Then it was great song after great song. Oh, what a stretch!
It brought to mind earlier landmark Dylan albums, great song after great song. Whew, how can you top that stretch? Oh what a song.
Hey, I knew this one! It was in the film "High Fidelity. The ambiance of the album, the consistent tone, feels like an emotional build to "Most of the Time. But like "Political World," it still fits and it's nice to hear a return to the Gospel sound that he so beautifully delivered on the "Saved" album. And oh, the finale.
Bob was in great voice that day and Willie was a lot of fun. And Bob even busted out "Shooting Star," which was a hoot. And while a few other albums would follow it, "Oh Mercy" is a clear precursor to 's epic "Time Out of Mind.
I guess this story is another tale of lessons learned. Or, perhaps, give everything a try, you never know what you might like.
This is the opinion of music enthusiast and Dylan devotee Chris Shields. As time wears on, the record only gets better, with its razor-sharp songwriting and atmospheric soundscapes escalating to legendary proportions via Mobile Fidelity's definitive digital reissue. Mastered on Mobile Fidelity's world-renowned mastering system and strictly limited to 3, numbered copies, Oh Mercy now takes on cinematic qualities worthy of Lanois' production and Dylan's performances.
On SACD, the music benefits from a spaciousness, tonality, and surrealism no prior edition delivers. Each note seems to occupy its own physical dimension, allowing Oh Mercy to simultaneously immerse and surround you.
Its clarity, dynamics, and extension also reach new heights throughout — whether it's the low-end reach on the spiritual-minded "Ring Them Bells" or combination of guitar-chord treble and piano decay on "Disease of Conceit. Achieving a cohesiveness and richness absent from Dylan's other 80s efforts, Oh Mercy further stands out for its on-the-floor immediacy and nuanced treatments.
Gone are the slick, processed, "shoulder pad" synthetic backdrops Dylan employed on the preceding Empire Burlesque. Borrowing from approaches he used on U2's The Joshua Tree , Lanois serves rather than obscures Dylan's intent — enhancing the topicality of barbed fare like "Political World" and further charging the self-doubting emotions of quizzical compositions such as "What Good Am I? For all of Lanois' magic, it's impossible to overlook the brilliance of Dylan's lyrics — or timbre and commitment of his singing.
Many tracks on Oh Mercy have become live staples and fan favorites, and for very good reason.