In addition to countless and sometimes notable covers, Bob Dylan tribute albums have been a thing since the ‘60s, but the Covid lockdown inspired many to re-associate themselves with the man’s music. Chrissie Hynde has unabashedly worn her Dylan devotion on her sleeve throughout her career, even adding “Forever Young” to one album, but Standing In The Doorway is a true labor of love. To her credit, she’s chosen nine songs more beloved to fans than jukeboxes, with half of the songs coming from the ‘80s. The album was recorded via text; she’d do a take, then send it to current Pretenders guitarist James Walbourne to add other instruments. Somewhere along the way veteran engineer Tchad Blake added further touches, mixed the batch, and took photos for the album package.It all sounds very homemade, as befits modern file transmission, from the pre- and post-chatter around “In The Summertime” and “You’re A Big Girl Now” to the birdsong heard here and there. The title track has modified chords from the original, but they suit her delivery; her lyrical adjustments aren’t as successful on “Sweetheart Like You”. Despite its minimalist structure, “Blind Willie McTell” develops into an impressive production. “Love Minus Zero/No Limit” gets accordions and mandolin-like touches yet remains a happy strum, but “Don’t Fall Apart On Me Tonight” is the highlight, though that could be because we heard the opening chords and feared a take on “Knockin’ On Heaven’s Door”. “Tomorrow Is A Long Time” is played straight, while “Every Grain Of Sand” is elegant and understated.
Standing In The Doorway isn’t the most innovative Dylan tribute, and her vocal approach often mimics his, sometimes sounding more parody than homage. But at 70, Chrissie Hynde remains an excellent interpreter of anyone’s songs, and not just her own.
Chrissie Hynde Standing In The Doorway: Chrissie Hynde Sings Bob Dylan (2021)—3
Chrissie is not the only reason this is a wonderful tribute album. It’s also a testament to James Walbourne’s talent. He provides excellent production, whether just sparse acoustic guitars, or somewhat fuller, lusher arrangements. The lack of a rhythm section means that this isn’t a Pretenders album, but he was smart not to use one. All the songs have an intimate feel, which is what was called for. It serves its purpose of highlighting her vocals.
ReplyDeleteAs for the selections, yes, mainly surprises, with only three from what most people would say was Dylan’s “classic” period. Her live performance of “Property of Jesus” and two more selections from “Shot of Love” perplex me over what her attraction to that album is. They also make me start to think that I might be underrating it.
The only track that I don’t think quite works is “Blind Willie McTell”. The original sounds so personal that I don’t think anyone else can sing it and make it sound totally convincing. Chrissie doesn’t inhabit the song in the way she does on the others, Overall, you get to hear THAT VOICE in another, unique context. She did it again!