Two of the all-time greats working together should be bountiful. For Bob Dylan and Mark Knopfler, it left both in a state of compromise. Expect the lowlights. Those Down in the Groove and Empire Burlesque numbers. They may be troublesome in the studio but on the stage, they are revolutionary efforts, sincerity pouring from the vocal work and instrumental style Knopfler adds. All those Christian-fuelled, God-fearing pieces are here, and they roar through with such urgency. Such is the state of Dylan on stage during this period, a far stronger momentum carrying him in the freedom of the sold-out halls he played. It makes a major change from the stuffy studio work, the lacklustre sound which came from those moments. The Jokermen is an excellent compilation of strong material, of quality recordings. Where it may be wild to consider these collaborations a footnote, they are well worth hearing.
Opener Trouble in Mind portrays the Devil-hating momentum which is carried through Dylan’s religious works. Slick guitar work from Knopfler pairs well, and the song acts as a taster of what is to come across the triple CD release. Songs of change, songs of religious fervour, the impact this has on Dylan’s work is that there is hope within his writing. It is not the first time his outlook on the world was bright, nor would it be the last. Ye Shall Be Changed may feel like pontification but at least they are tinged with earnestness. These are the lower points. Instrumentally sound and enjoyable, but the lyrical concept highlights death as an escape, as an end to the past and its shadow. The Jokermen is a compilation of exceptional deep cuts, and those who have exhausted all official releases may want to turn to this Knopfler-featuring compilation. Unofficial it may be, its brilliance lay in the quality of the recordings, the collection of rarities from the stage and studio.
From a frankly beautiful piano-heavy rendition of Blind Willie McTell to the success of adapting Death is Not the End to benefit both Dylan and Knopfler, this compilation puts collaboration at the heart. A few tracks from Infidels are about as close as The Jokermen gets to those classic tracks. It is a welcome change of pace, a time on stage and in the studio where Dylan was happier with contemporary material, when fans wanted nothing but the hits from decades past. A few moments of repetition across the discs make The Jokermen more of a slow burner than one to rush through. Give it some time. Let it leave an imprint on your mind before hopping into deep cut thrills like Licence to Kill or alternate versions of Jokerman and Death is Not the End. There are a handful of hits in there for those desperate, so far removed from their original form that the experience is fresh, still exciting but with new tones.
Even then these classics are bold choices. All Along the Watchtower is a sweet tribute to Jimi Hendrix, who Dylan admits made the song his own. Blowin’ in the Wind is of a lower quality than most of the other tapes, but it hears the “special treat” of The Freewheelin’ Bob Dylan song. It is introduced more as a Knopfler showcase than a Dylan-led track. With the crowd singing along, the guitar given the lead focus, it gives us one of the best recordings of Dylan in the 1980s. Leopard Skin Pill-Box Hat is a feverish experience too, a rip-roaring rendition with blues rock written all over it. Compilation closer Knockin’ on Heaven’s Door hears Dylan reach for those tones of the past once more, and in a series of sets and songs so focused on the future, a glimpse into the past with The Jokermen feels well-deserved and a fitting end, an encore CD in its own way.
