An album that can be seen almost as a precursor to a triple bill of cover records, Modern Times had an instrumental sound that lends itself well to the Great American Songbook. It’s an important release for Dylan, more because of how it defined him and his band’s instrumental style over the last two decades. He hit on something in the studio that has been the core of his work ever since, admittedly with greater changes to come on Rough and Rowdy Ways. This has been the foundation of his stage sound, and with Modern Times (Live) – a wonderful bootleg collecting renditions of those tracks – that could not be clearer. A wonderful listen for those enamoured with the modern-day sound Dylan has offered. Gruff at times, grizzled at others, but when you can make out the words, you can hear the heart and soul of the songs still beating, strong as ever. Modern Times (Live) is a wonderful opportunity for those many, too, who may not be convinced by that current style.
The first time for Modern Times live proves to be an instrumentally liberated experience. Just listen to the roaring, percussion-built introduction of Thunder on the Mountain. Dylan is adapting that swing time feel for the song during its first performance in Seattle, Washington. It’s a light style that would see Dylan lean into the instrumental breaks and bridges that are now a staple of his live sound. He had switched out the up-tempo thrills of his Love and Theft tour for an instrumental style closer to his influences and those he listened to in his formative years. You can hear an overlap between Modern Times and Triplicate on this performance of Spirit on the Water. Dylan sends out a mocking message to his biggest critics, noting he isn’t washed up yet towards the end of the song. His sentiment still rings true. He’s not out of step just yet and has solidified his stance in the decades to follow these first-time performances.
Dylan doesn’t quite solve the problems of Modern Times, a solid album that feels a little out of step with what Dylan could do as an instrumentalist. He is led a little too far into classic-sounding rock and roll. While it’s a tone that would be built on brilliantly over the years, it doesn’t quite settle in as a must-listen sound on any of these first-time performances of Modern Times material. But then Dylan digs into the best material from the album, with When the Deal Goes Down, Workingman’s Blues #2, and Nettie Moore all sounding tremendous. He wouldn’t perform all songs from Modern Times, hence the repetition of both Thunder on the Mountain and Spirit on the Water, but what Dylan did offer from the album is more than enough to understand the instrumental tone he was trying to capture with Modern Times. There’s the irony of contrast at play that an album meant to muse on the current day sounds so of its time.
That’s the great part of these songs. While they feel comfortable and a tad static when they can’t overcome the classic style, Dylan shows why he needed that instrumental guidance. These are delicate lyrical pieces, particularly Nettie Moore. Long and winding songs which take years to settle in as some of his best writing. Return to Modern Times as and when you can. These live versions are particularly charming, too. Dylan would find himself in good form for the Modern Times tour and beyond. This is where a 20-year instrumental style, or at least a similar-sounding experience, came to life. Stu Kimball and Tony Garnier are crucial in that sound, the latter more than anyone in maintaining this strong tone. It’s a delicate adaptation for these songs, but what becomes clear is their reliance on George Receli’s drumming. Keep an ear out for a man doing his best Fred Flintstone impression at the start of Nettie Moore. The joys of live music.
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