Album: Infidels
Recorded: April-May 1983
Released: October 1983
Songs / length: 8 / 41:39
In many respects, this is the most un-Dylan of Dylan records. Though he sounds less religiously strident on Infidels, compared to his three previous albums, he sounds more certain than ever in his political views. Artists like Dylan don't tend to offer up such black & white views on the world, preferring the shade of doubt and uncertainty, and stories and poetry over stark opinions. That makes it all the more surprising that he should apparently flirt with Zionism (Neighbourhood Bully), technophobia (Licence to Kill) and protectionism (Union Sundown) on Infidels.
That said, as ever, it's often hard to pin down who exactly Dylan is addressing in his songs. In Sweetheart Like You, the subject seems to be a beautiful woman down on her luck, a sort of Cinderella figure, who reminds Dylan of someone in his past. He then tells her: "You know a woman like you should be at home / That's where you belong / Taking care for somebody nice / Who don't know how to do you wrong". The sexist overtones are clear, but I think Dylan's intent is to rail against a capitalist world where talented and beautiful people end up in dead-end jobs. The song is redeemed by Dylan's lovely singing and great lines like, "Steal a little and they throw you in jail / Steal a lot and they make you king".
I don't care much for Neighbourhood Bully or Licence to Kill, musically or lyrically. Dylan's born again Christianity and Bible readings, especially the conquest of Canaan in the Old Testament, would have no doubt been part of the fuel for his staunch defence of Israel's right to exist in the Middle East, though I hope he later came to regret the less than balanced view he painted. As for Licence to Kill, I agree with Dylan's view that humanity has the potential to bring about its own destruction, through hubris and greed, but I don't think the space missions ("Oh, man has invented his doom / first step was touching the moon") are a good example. Instead, this anti-science viewpoint reveals the lingering Christian fundamentalism that addled Dylan's brain at the time of writing Infidels.
Just as irritating is his continued habit during this stage of his musical career of leaving great songs off his albums. The Infidels outtakes are arguably some of Dylan's best from the 80s, and the inclusion of songs like Blind Willie McTell, Foot of Pride and Tell Me – all released on The Bootleg Series Vol 1-3 in 1991 – could have made the album a minor classic (check out Lou Reed's very memorable live cover of Foot of Pride at Dylan's 30th Anniversary Concert in 1992). Instead, we end up with another mixed bag, though arguably Infidels is a more consistent effort than Shot of Love. One explanation for the omission of several great songs on this record is that producer Mark Knopfler had to fly off on important business, saying he would finish the album on his return, but Dylan couldn't wait and went ahead without him, leaving out Foot of Pride and other great songs. This also made the production of Infidels a little half-baked in places.
There are some positives though. I like the secular love songs, Sweetheart Like You and Don't Fall Apart On Me Tonight, which are a welcome return to worldly concerns, even if the songwriting isn't on a par with Dylan's mid-70s output. I and I is also a great song, with its Caribbean flavour – thanks to the Sly and Robbie rhythm section – and biblical allusions, its beautifully crafted lyrics and strong sense of suspense, especially the feeling that a slow train is coming round the bend. Jokerman is another success, for many of the same reasons, mixing biblical and secular imagery and pointing to some of humanity's worst excesses. Infidels is as imperfect as the world it portrays.
Album rating: C+
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