If
Blood on the Tracks was an unapologetically intimate affair,
Desire is unwieldy and messy, the deliberate work of a collective. And while
Bob Dylan directly addresses his crumbling relationship with his wife,
Sara, on the final track,
Desire is hardly as personal as its predecessor, finding
Dylan returning to topical songwriting and
folk tales for the core of the record. It's all over the map, as far as songwriting goes, and so is it musically, capturing
Dylan at the beginning of the Rolling Thunder Revue era, which was more notable for its chaos than its music. And, so it's only fitting that
Desire fits that description as well, as it careens between surging
folk-rock, Mideastern dirges, skipping
pop, and epic narratives. It's little surprise that
Desire doesn't quite gel, yet it retains its own character -- really, there's no other place where
Dylan tried as many different styles, as many weird detours, as he does here. And, there's something to be said for its rambling, sprawling character, which has a charm of its own. Even so, the record would have been assisted by a more consistent set of songs; there are some masterpieces here, though:
"Hurricane" is the best-known, but the effervescent
"Mozambique" is
Dylan at his breeziest,
"Sara" at his most nakedly emotional, and
"Isis" is one of his very best songs of the '70s, a hypnotic, contemporized spin on a classic fable. This may not add up to a masterpiece, but it does result in one of his most fascinating records of the '70s and '80s -- more intriguing, lyrically and musically, than most of his latter-day affairs. ~ Stephen Thomas Erlewine
