Another collection of covers from Bob Dylan was, in hindsight, a real gift. That Old Black Magic would become an important, latter-day setlist piece. Dylan would revolve around that Johnny Mercer track with such gravity to the presentation and performance of it. It is a delicacy. It is here, too, especially now that the itching desire for something original from Dylan has dissipated after the release of Rough and Rowdy Ways. But for a time, some fans were frustrated at a lack of original material. Fallen Angels, as well as Triplicate, are crucial albums in Dylan’s twilight years not for the performances present but for the direction he takes in the studio. His breach of the behind-the-scenes essentials of what makes his albums tick is continued by the man himself in more roles than one.
Even the imagery that comes through Fallen Angels, the cards in the hand of some nondescript figure, become inherent to the new image Dylan would take on in his later works. This feels like the kindling of something that relies on classic form. Young At Heart may be the most powerful traditional Dylan has put forward. His understanding of the Johnny Richards and Carolyn Leigh number is beautiful, a complete and well-equipped understanding of age. That beauty and perfection are long-lived. The fine work on Maybe You’ll Be There provides a crooning solemnity that flows into Polka Dots and Moonbeams, a double-bill that provides evidence of Dylan selecting a few favourite tracks to mull over on Fallen Angels.
Those romantic strings and the acoustic build on Polka Dots and Moonbeams are a constant stylistic choice throughout these recent cover albums. No tracks here lose their way or are lesser covers, it is Dylan after all. Comfort is the heart of Fallen Angels, a delicate and stripped-back affair that relies on shimmering ride cymbals and the contemporary presence Dylan’s vocals can bring these classics. Strings underscore All The Way, a tremendous moment for the album that feels more and more like Dylan just fancied covering a few favourites. Fallen Angels’ appeal is that. Short and sweet love ballads brush through this piece, and regret weighs heavy on Dylan’s vocal presence. Frank Sinatra lingers throughout, and Dylan contends with those known covers (aside from Skylark) with great consistency. The weighty tones of Nevertheless, and the crooning chamber stylings of All or Nothing at All bring about fresh variations on these tracks of old.
No bad tracks on this classics piece, one that pops well when Dylan gets a hand in something more interesting. It all depends on the lyrical presence of these classics. Much of the intrigue to Fallen Angels is finding that Dylan can, like many, adapt songs to his own groove. More than enough is featured here to provide interesting, often gorgeous, representations of classic tracks. Intimacy flows through Fallen Angels, noteworthy independence flourishes on It Had to be You and the change of form these classic tracks are given. Dylan attempts to contend with the crooner classics that were once occupied by an all-time great. Whether he holds up better than Sinatra is not the objective, here, but finding new meaning in the tracks of old, through a familiar and everlasting voice, is an interesting, delicate period for Dylan.
