It is widely acknowledged that creativity and inventiveness wane greatly in the face of youth. Einstein made his breakthroughs before thirty then famously stated that a scientist who had not made a great contribution before thirty would never do so. Writers tend to lose steam as they leave middle age, if not before. Then, of course, you have musicians, who often do their best work before they turn twenty-one and whose later efforts are often shambolic at best.
No surprise, however, that Bob Dylan is the exception to that rule. Love And Theft, recorded after his fifty-ninth birthday and slightly overlooked on its release date of September 11, 2001, stands easily among his most famous work. Most of the songs are musically simple, but that’s always been the case for the man who was born as Robert Zimmerman but whose reinvention as “Bob Dylan” was but the first of many such transformations. With Love And Theft it’s the odd rhythms of the storytelling, the wild swings between sentimentality and hard-nosed realism, the sly way in which the lyrics work their way into your ear.
Not all of the lyrics are his.