Oregon daily emerald. (Eugene, Or.) 1920-2012, October 01, 1981, Section B, Page 8, Image 23

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1 Tobacco Road
Continued from Page 3B
dilapidated Add to it some hay,
a few limp weeds and lots of
overhead lights, and you have a
realistically hot, dry picture of
the rural South
For the first production of
ORT’s new home in the Eugene
Hotel, Tobacco Road comes off
incredibly smooth Everyone at
the ORT groans and rolls their
eyes when the topic of The
Great Move arises, but every
thing seems to have worked out
perfectly
Tobacco Road runs through
Monday, with a 2 p m matinee
on Saturday For ticket prices
and reservations, call the ORT
box office at 485-1946 after
noon
By Matt Mayar
a live studio sound Veteran L A
studio man Dannny Kortchmar
plays some high-pitched, me
tallic guitar which adds remar
kably to the album's overall
chaotic tone
Another first impression is the
lack of gospel Sound Though
keeping his gospel-type female
singers. Dylan has abandoned
the gospel format that laced
Saved Instead he offers a mix of
ballads, up-tempo pop-rockers
and basic R&B tunes He no
longer records strictly with his
road band and now includes
such folks as Ron Wood Ringo
Starr, Benmont Tench (of the
Heartbreakers) and Kortchmar
The result is a musically diver
sified album
Another thing that will strike
one who is familiar with the
'■post-pagan” Dylan has to do
with the lyrics of the songs Un
like previous offerings, they are
not all about Jesus but the al
bum confirms Dylan's faith
It is obvious that Dylan holds
his convictions as strongly now
as he did when he did when he
recorded "Saved” One need
only listen to "Property of Je
sus' to know that But now
Dylan is able to write in a way
decidedly Christian in founda
tion without using the word
"Jesus" or "salvation " He has
come to understand the Chris
tian world-view and incorporate
it into his song6
He can write about the late
Lenny Bruce with sympathy,
reminding us that outward ap
pearances do not convey inner
worth He can look into the in
sanity of the world, see no
earthly salvation and conclude
that we are in "Trouble1 For
Dylan, vain efforts of man to win
his salvation lead only to over
inflated egos, mockery of God,
and "reprobate minds" as he
tells us in "Dead Man, Dead
Man" Yet Dylan is no nihilist as
he explains in the LP's final cut
"Every Grain of Sand" Though
tempted and confused by cir
cumstance, Dylan assures us
that "in the fury of the moment/1
can see the Master's hand " In
the end Dylan is "hanging in the
balance of the reality of man
/Like every sparrow falling/Like
every grain of sand " Dylan sees
the contrast of man's frailness
and mortality and his sig
nificance as an individual
before the eyes of the Creator
Is Shot of Love a great album'/
Not really But it does show not
only stability in Dylan's spiritual
pilgrimage, but progress as
well The critics are silent and
the desperate are more desper
ate than ever ByTomSonor
k
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