Rounding out a trilogy of religiously-inspired albums, it is difficult to see where the line between love for God and a love for religion is drawn. Damned if you hate it, damned if you don’t. Shot of Love makes it easy, though. It is strong and interesting. Surprisingly so. A dark horse of Dylan’s discography, likely shrouded by the miserably tame Saved that came the year before it. Third times the charm for Dylan, who waxes his religious alibi once more. If opening, title track Shot of Love is anything to go by, he has found comfort in a new Christian rock groove that borrows the core elements of gospel and blues rock.
Intense surprises are around every corner on this album, infused with those religious tones that bogged Saved down. There is a new life of creativity from Dylan here, who sounds certain of some elements but completely frustrated by others. Eclectic mixes that inspire the heart and soul, or at least inspire Dylan’s heart and soul. He engages with the demons and doubts, with Shot of Love including real and heartfelt lyricisms from Dylan. That is no surprise, but it is the consistency in a period marked as an otherwise quiet one that gives Shot of Love new life. Perhaps being tarred with Saved a year before it brings Shot of Love down. This 1981 piece is arguably the strongest of the so-called “Born Again” period.
Much of that is due to lyrical quality, which Dylan seems to have curated much more specifically and with greater reasoning here. A touching, surprising lament of the life of Lenny Bruce is as inspired as it is moving, the pair compared as outlaws but unique in their own ways. Watered-Down Love is a simple ballad, a nice break from the heavy lifting of earlier tracks that does break up the pace nicely. From a shot of love to pure love in just five tracks. It is a nice progression that gives a slow and necessary break from the heavier lyrics. But Shot of Love should also serve as a reminder that Dylan never lost his lyrical brilliance. Ending on bootleg-loved track Every Grain of Sand should bring a realisation that his works have always been deeply dependent on or at least in the realm of religion.
Shot of Love is not just a religious experience for Dylan, it is a classic Dylan experience for audiences. That pent-up rage pours through strong lyrics and announces the prolific range of songs with great success. Religious clarity is not needed to enjoy and explore Shot of Love, an album that just so happens to be the deeply moving piece Dylan was hoping Slow Train Coming and Saved would be. Bonus track The Groom’s Still Waiting at the Altar is a stunning track too, and it is absolutely criminal it was left off the original run. Still, here it is now, clear as day and significant addition to a hefty discography. Shot of Love caps the religious run Dylan experienced in the early 1980s with a sincere and quality look at his own faith.
As with several albums, there were notable omissions of great songs in favor of weaker songs. “You Changed My Life,” is far superior to “Property of Jesus.” “Angelina,” “Need a Woman,” and “Caribbean Wind” needed to be on the album.
The omissions made in this period are utterly startling. Glad to see they made it through with the Bootleg series, but very notable omissions indeed.