If you have not already noticed, Dylan has a penchant for doing albums in trilogies (whether explicitly intended or not).  There is, obviously, the electric trilogy that culminated in Blonde On Blonde, the latest crusty old man series that began with Time Out of Mind and ends with Modern Times.  Less stated is the "I am completely out of it and still rock" trilogy from Self Portrait through Planet Waves.  And then there is the polarizing Christian trilogy which began with Slow Train Coming, wandered into the chapel with Saved and smacked you right in the face with Shot Of Love.

Shot of Love, however, overlaps into a second trilogy.  Where this albums ends the Christian trilogy, it is also the beginning of what I call his "Big 80's" trilogy.  This triumvirate also includes Infidels and Empire Burlesque.  Though Shot of Love is ripe with Biblical references and exaltations of Christ, the sound is a departure from Saved and previous albums in that he explores the studio space and technology much the same way Bruce Springsteen did in the Reagan decade.  The sound is BIG with expert production, the big Keltner drum sound, and an all star line up including guys like Ron "Better than Keith Richards" Wood and Ringo "Cooler than John" Starr.  If this sounds like albums prior to Shot of Love, then just listen to it, you will hear what I mean.  The recording process reads and sounds like a cocaine California album on Warner Bro's in '77...more like a Steely Dan or Randy Newman outfit than Dylan.

Fortunately, the music is also great.  This is my personal favorite Dylan album of the era (a long one stretching from Planet Waves through Good As I Been To You).  Starting with the juke joint blues of of the title track, with excellent female backing vocals, this album is clearly more powerful and focused than it's two predecessors. He moves into the sweet and sentimental "Heart of Mine", with a simple hook reminiscent of the easy pop of New Morning.  "Property of Jesus" is the most overtly Christian song on the album, and it is classic in-your-face Dylan, not afraid to make the listener examine their own self through song.  "Lenny Bruce" people seem to really love, although a major theme seems to be lost on many listeners who consider it a 'secular' song.  Clearly Dylan is holding up the life of a troubled man (a sinner and a Jew, no less) who, through his search for truth, is acting a bit Christ like. "Lenny Bruce" also offers a subtle example of God's divine mercy coming down even on a foul mouthed comedian; let us not forget that Lenny is our Brother.

Following the fun and message-laden "Watered Down Love" comes the most powerful track on the album and one of Dylan's all time best...and it was left off the original pressing!  "The Groom's Still Waiting at the Altar"  is a burning blues number featuring a Dylan narrative to be reckoned with.  Imagine the bounce of "One More Weekend" with lyrics from Highway 61 to get an idea of this song.  The lyrics are strong and thought provoking, the guitar rambling, and Dylan's voice vicious with excellent support from the ladies.  Other songs of note are "Dead Man, Dean Man", which features a reggae vibe that he would further explore on Infidels and the closer "Every Grain of Sand", a long and somber conclusion with big harmonica interludes, quite reminiscent of "Desolation Row" if you ask me.

Stated earlier, this album belongs as much to the Christian period as it does to his Big 80's material of Infidels and Empire Burlesque.  It has a precise and echoic feel that sounds more dated than his folk material does today.  However, context and catalog aside, this album is a great ride, full of dynamics and thoughtful numbers.  Who should have a problem with Dylan's Christianity of the time should seriously examine the man (who nobody really knows) harder.  Dylan was always full of a Holy Spirit of sorts.  Consistently penning songs of justice and injustice, hope and despair, light and darkness, death and life.  The man's overtly Christian period did not last, but I do not believe it to be something he is ashamed of.  Bob Dylan was bound to have a point on his map of a career in which he upheld the ultimate seeker of justice, the suffering servant, the Prince of Peace, Jesus Christ.
If you have not already noticed, Dylan has a penchant for doing albums in trilogies (whether explicitly intended or not). There is, obviously, the electric trilogy that culminated in Blonde On Blonde, the latest crusty old man series that began with Time Out of Mind and ends with Modern Times. Less stated is the "I am completely out of it and still rock" trilogy from Self Portrait through Planet Waves. And then there is the polarizing Christian trilogy which began with Slow Train Coming, wandered into the chapel with Saved and smacked you right in the face with Shot Of Love. Shot of Love, however, overlaps into a second trilogy. Where this albums ends the Christian trilogy, it is also the beginning of what I call his "Big 80's" trilogy. This triumvirate also includes Infidels and Empire Burlesque. Though Shot of Love is ripe with Biblical references and exaltations of Christ, the sound is a departure from Saved and previous albums in that he explores the studio space and technology much the same way Bruce Springsteen did in the Reagan decade. The sound is BIG with expert production, the big Keltner drum sound, and an all star line up including guys like Ron "Better than Keith Richards" Wood and Ringo "Cooler than John" Starr. If this sounds like albums prior to Shot of Love, then just listen to it, you will hear what I mean. The recording process reads and sounds like a cocaine California album on Warner Bro's in '77... more like a Steely Dan or Randy Newman outfit than Dylan. Fortunately, the music is also great. This is my personal favorite Dylan album of the era (a long one stretching from Planet Waves through Good As I Been To You). Starting with the juke joint blues of of the title track, with excellent female backing vocals, this album is clearly more powerful and focused than it's two predecessors. He moves into the sweet and sentimental "Heart of Mine", with a simple hook reminiscent of the easy pop of New Morning. "Property of Jesus" is the most overtly Christian song on the album, and it is classic in-your-face Dylan, not afraid to make the listener examine their own self through song. "Lenny Bruce" people seem to really love, although a major theme seems to be lost on many listeners who consider it a 'secular' song. Clearly Dylan is holding up the life of a troubled man (a sinner and a Jew, no less) who, through his search for truth, is acting a bit Christ like. "Lenny Bruce" also offers a subtle example of God's divine mercy coming down even on a foul mouthed comedian; let us not forget that Lenny is our Brother. Following the fun and message-laden "Watered Down Love" comes the most powerful track on the album and one of Dylan's all time best... and it was left off the original pressing! "The Groom's Still Waiting at the Altar"  is a burning blues number featuring a Dylan narrative to be reckoned with. Imagine the bounce of "One More Weekend" with lyrics from Highway 61 to get an idea of this song. The lyrics are strong and thought provoking, the guitar rambling, and Dylan's voice vicious with excellent support from the ladies. Other songs of note are "Dead Man, Dean Man", which features a reggae vibe that he would further explore on Infidels and the closer "Every Grain of Sand", a long and somber conclusion with big harmonica interludes, quite reminiscent of "Desolation Row" if you ask me. Stated earlier, this album belongs as much to the Christian period as it does to his Big 80's material of Infidels and Empire Burlesque. It has a precise and echoic feel that sounds more dated than his folk material does today. However, context and catalog aside, this album is a great ride, full of dynamics and thoughtful numbers. Who should have a problem with Dylan's Christianity of the time should seriously examine the man (who nobody really knows) harder. Dylan was always full of a Holy Spirit of sorts. Consistently penning songs of justice and injustice, hope and despair, light and darkness, death and life. The man's overtly Christian period did not last, but I do not believe it to be something he is ashamed of. Bob Dylan was bound to have a point on his map of a career in which he upheld the ultimate seeker of justice, the suffering servant, the Prince of Peace, Jesus Christ.