Bob Dylan – Devil Dolls Review

Plundering the American Songbook time and time again worked not just for Bob Dylan but his listeners. His voice adapts nicely to the tunes of old and the adaptive process here has, as it soon turned out, been part of a long-running attempt to get to grips with studio work and production. Triplicate maintained this desire to hold knowledge in the recording booth as well as the process of piecing it all together, and Dylan did double duties for the triple pack piece. His swinging groove, such a necessary and clear shot at the early days of American songwriting, fits the changes Dylan made to his vocal work. Scratchy and sudden, fitted with interjections over standard storytelling, the works found on Devil Dolls ooze confidence found only on earlier covers package Shadows in the Night.  

Another set of swing time-adjacent classics as Dylan channels tones similar to Rough and Rowdy Ways. Opening this second section with jazz cover Braggin’ sets the scene. Tender memories, and wistful experiences adapted from the greats and turned into longing tunes from Dylan. As Time Goes By proves it – a real high for the record and a heartbreaking experience as the writings of Herman Hupfeld are brought to life once more. Dylan has a sincere dedication to the era of American Songbook classics, not just because he was brought up on them but because his understanding of it means he can lend his voice to adapting them further. Essential instrumentals from longstanding collaborator Charlie Sexton. His efforts on this record are borderline nameless but essential and form the very fabric of this record – a session musician, like Shez Sheridan for Richard Hawley – whose name should be out there. 

Simpler standards like Imagination are more of a break for Dylan than his listeners. How Deep is the Ocean and P.S. I Love You are standout pieces which, if caught in the right mood, when the lights are low and a wave of reflection strikes you, are perfect. This section is stuffed full of sincere mood setters which bring about a calmness like no other. Dylan has an adept voice for this tone, the reflections of the first third of Triplicate settling in and expanded on with the likes of Here’s That Rainy Day. Sombre and sobering thoughts presented through adaptations of those old greats who never quite receive the credit they should.  

Bits and pieces like this from Dylan paint the critical reaction at the time in a poor light. What was it all for, they asked? It was for the Jack Frost moniker to get his hand deep in the production of albums, to steady himself for another release further down the line, a career-best effort which casts a shadow over a bulk of his already applauded career. Where Is the One still flickers through as one of the great Dylan covers. The journey is long, after all. Reflective once more but without the wash of fear which dominates the first third of Triplicate. Instead, this is Dylan adapting jazz classics and remnants of the American Songbook as a stern and firm-handed way of looking at his legacy. He seems the humble type and it shows in these songs, which form a consistent, laid-back middle for the Triplicate project.