Released in 1979, Slow Train Coming is an incredible Bob Dylan release that has long divided fans due to its overt Christian values. Yet, if you listen to Slow Train Coming, sans this knowledge, there’s a good chance you’ll consider it an incredible classic rock album. It’s moments like these that I’m glad that I appreciate the vocal more as an instrument than a storytelling device for lyrics can quickly divide fans and are so interpretable that their meaning, implied or otherwise, can detract from a worthy musical experience. However, for those that appreciate music for its literal intent, Slow Train Coming is one of Dylan’s greatest statements.
Spirituality aside, Slow Train Coming is a gorgeous recording with Dylan front and centre in the mix meaning that Dylan, the band, and the backing singers sound as if they’re in the room with you. Yes, it helps that the Apple Music stream is presented in (Hi-Res) Lossless and is also an Apple Digital Master, but I dare say that there wouldn’t be a bad mastering of this album to be found. Despite that, the Apple Music stream is so pleasing that seeking out a copy on vinyl would be an act of futility for any other reason than the permanence of owning the album. In fact, I’d go as far as saying that the stream has a very smooth analog sound that further negates the need for a vinyl copy. If you’re into vinyl, however, don’t let that deter you but when streaming sounds this good, it is increasingly difficult to justify the physical counterpart; especially when the cost of vinyl continues its upward trajectory.
Some may point to the well-received out-of-print multi-channel mix that was originally issued on SACD in 2003 and while I’ve never heard that particular release, I do question what a surround or new Atmos mix would bring to the album for the soundstage of the stereo edition is already immersive, wide, and with an impressive level of clarity. While Dylan’s recordings have generally been impressive, there’s no doubt in my mind that the inclusion of one-half of Dire Straits had a significant impact.
Mark Knopfler (lead guitar) and Pick Withers (drums) did a masterful job and while Slow Train Coming sounds like a Dire Straits album fronted by Dylan, it’s a combination that I thoroughly enjoy and one that subsequently makes it one of Dylan’s greatest recordings. Of course, that takes nothing away from the other musicians on the record, but the fusion between the boys from Dire Straits and the lyrical mastermind of Dylan ensured Slow Train Coming was unique and luscious in musicality.
Gotta Serve Somebody is without a doubt one of Dylan’s greatest tunes. Yes, some will lament the spiritual nature of the song but Gotta Serve Somebody doesn’t discriminate, based on personal beliefs, but instead applies a common sense approach that permits the listener to consider their life choices. Even if you remove the lyrical intent, Gotta Serve Somebody is a masterful blues-driven tune that is as relevant today as it was when it was written. It is infectious with its musical styling and has a textbook-perfect fade-out.
If you enjoy Gotta Serve Somebody, then you should check out Take 1 as it is a little more upbeat and jazzy with pop elements in the musical backing that make it super appealing.
The live recording from Nov. 15, 1979, is thoroughly enjoyable with a groove that draws you in. In essence, it matches the styling of the original studio recording while adding live elements, resulting in a stunning performance of Gotta Serve Somebody that is far greater than the lifeless live rendition from June 27, 1981.
Regarding the covers, you should check out Etta James’ blues-based rocking rendition as well as Natalie Cole’s smooth interpretation. There really isn’t a bad cover to be heard of this Dylan classic and no more is that true than when listening to Willie Nelson's masterful recording; one so good that it almost supplants Dylan’s original.
Precious Angel could very well have been a Dire Straits tune. The combination of Knopfler’s licks and Dylan’s trademark raspy yet smooth vocal makes for an exceptionally pleasing song.
In case you’re wondering, I’ve yet to hear a live recording of Precious Angel that can come close to the studio recording; they’re all underwhelming! Of course, don’t take my word for it as a few have made their way to Trouble No More: The Bootleg Series, Vol. 13 / 1979-1981 (Deluxe Edition).
I Believe In You has a relaxed verse structure; one that appeals to Dylan’s overall style, but for some reason, the first chorus grates me as I feel Dylan overreached with regard to his vocal delivery. It’s a shame because I Believe In You is an otherwise exceptional tune.
Slow Train is musical bliss and is amongst Dylan’s greatest recordings. You’ll be toe-tapping and head-bopping but perhaps most importantly, you won’t tire of listening to it.
Of the available live recordings, the performance with The Grateful Dead (at Sullivan Stadium, Foxborough, MA - July 1987) has a relaxed swagger that plays into the artistry of The Grateful Dead. Despite being different, particularly concerning not adopting Knopfler’s lead guitar styling, it’s simply irresistible. Also worth checking out is the performance recorded on Nov. 16, 1979; an energetic presentation that’s on par with the studio recording.
Gonna Change My Way Of Thinking has a killer groove and a perfect mix. It’s blues-based rock and roll at its most fundamental and while the song itself wouldn’t necessarily be a standout, I’ll always get my air guitar out when Gonna Change My Way Of Thinking comes on.
Do Right To Me Baby (Do Unto Others) is a great tune with a solid backbeat and guitar tuning that complements Dylan’s vocals. It’s album filler, but it slots in perfectly to the tracking of the album and I couldn’t imagine Slow Train Coming without Do Right To Me Baby (Do Unto Others).
When You Gonna Wake Up is a killer rock tune and one that should have been released as a single; it’s that good! The mix and soundstage are awe-inspiring and When You Gonna Wake Up is subsequently one of the best songs Dylan ever recorded. The band was at the top of their game on this one, particularly the brass section.
Man Gave Names To All The Animals has to be my favourite song on Slow Train Coming. It isn’t that it’s the perfect song, but I enjoy the reggae feel and its quirkiness for it’s a fun little number and sometimes that’s all you need. Yes, one could classify it as a children’s song due to its lyrical meaning and the fact that The Wiggles covered it, but this adult version, that’s what I’m calling it, is masterful.
If you’re after a live performance, you can always check out the recordings featured on Trouble No More: The Bootleg Series, Vol. 13 / 1979-1981 (Deluxe Edition), but be warned; they’re not very good!
When He Returns is stripped down with only Dylan on vocals and Barry Beckett on piano. While different in style from the rest of the album, it’s a stunningly beautiful piece that showcases Dylan’s vocal prowess better than any other song on Slow Train Coming. It also offers the listener a reflective respite as well as encourages the playing of the album again. While some may revolt against the religious nature of When He Returns, doing so is short-sighted for this is an incredible song that deserves to be heard and respected as one person’s perspective that may differ from your own.
Whether you agree with Dylan’s inferred Christian values on Slow Train Coming, or not, there is little doubt that this is musically one of his greatest creative achievements and is one of the greatest albums released in 1979. There isn’t a bad song to be heard and even the cover art is appealing to fix one’s gaze upon while slipping into the sonic wonderland that only Dylan, and one-half of Dire Straits, could deliver.