Sometimes one has to ask himself what makes a record timeless.. what makes it able to urvive at passing times, what gives to it that uneasy to be defined sparkle which lets you listen to it and feel that no matter where you are, no matter how many generations have passed from the time when that record was made, you can find in it human blood and some answers for yourself.
Dylan's "Blood On The Tracks" is fulfilled with all those qualities.
First time I've heard it I was little and unaware of everything, so I just loved that funky dirty voice, weak but sweet in my ears, and the melodies which always seemed be a lullaby for my heart.
Then, the only thing which I was able to understand of it all was the melodical power and richness.
But Dylan is always more than just that.
One has said to me what makes pure art this album was the fact Dylan, in a sort of crisis about himself and his time running away (he was 34 then) stayed a couple of months living at the house of Norman Raeben, an Art teacher.
And that thanx to him and his inspiration he was able to achieve the Art music language in a nutshell, like a "pure creative act" he started to make jewels and not songs at their best level.
In this record you find stunning lyrics, pieces of poetry but probably in other records Dylan was even a better lyricist.
But in no other else better than here you can find music speaking as much as the words, matching them perfectly, giving to everything that mellowed feeling, that wonderful intimacy touch, that reflective melancholy which never let's you dried up, but which still suggest to you a tenderness and a hope in life even when you sings of a love story which has finished with pain for you (If You See Her, Say Hello).
All songs here are made to be listened, you feel they are dense, but you are capable of finding them even easy to love.
You can find yourself, the one you have been, the one you are and moreover the one you could be in this bunch of songs.
You feel not alone, you fell never alone there and when Dylan sings in track number 5, you almost would like to tell him "Hey Bob.. you won't be lonely, never... You can make it cos just your voice now is telling me I can make it..."
There's a classy refined vitality here, an elegance of arrangements,there are no political aims (though when Dylan is political, he's not cos he wants.. he is cos he speaks of society he sees so well he can incapsulate feelings and they sometimes sound as a condemn for all who are not capable of thinkin about feelings at all) and neverthless you start to think if everyone could get into this magic, maybe there would be more love around, for everyone.
Again, how many allegories are here, which can transform a song about a woman in some sort of philosophical essay?
Knowing Dylan, thsi could be a complete trick, and BOTT could be a total political work.
But after all, this is a spiritual record.
The greatest one he made on this side.
And to understand what he wanted to say here has got not that much of an importance maybe.
It's what everyone will always feel thanx to it which does count the most.
This record is timeless, and putting it over the plate, you'll float around, and cry and softly smile, feel down and strangely up at once, and thank God for having made you decide to have it.