Maybe his last really classic album and slightly under rated. If Blood On The Tracks was an unapologetically intimate affair, Desire is unwieldy and messy, the deliberate work of a collective. and while 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. There are some masterpieces here, 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.
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