Thank you for this beautiful read and thank you for telling the story of this extraordinary (and extraordinarily connected) burst of creativity! I was also only familiar with two out of three from this trilogy, but I look forward to checking out Acadie.
I’m always struck at Dylan’s willingness to submit to Lanois’ vision for Oh Mercy. It really seems like he understood that his previous records had lacked in artistic execution. Now he had a batch of songs that he wanted to do justice and it’s clear he trusted DL to bring them to life. That included foregoing his usual approach of creating a moment with a band and to capture the interplay among the musicians. I really think this was a big thing for Dylan, and it had a huge impact on his singing, which isn’t usually this intimate, low, and dare I say, hushed? It’s because he’s not projecting to stand out over drums and amplified instruments. As a huge fan of the Oh Mercy vocals, I think the production was a success from that standpoint alone!
Great piece Graley! I recently read Mark Howard's memoir and was interesting to read about the Yellow Moon sessions there and discover just connected that album was to Oh Mercy. Never heard the third record in this Trilogy, will have to check it out.
Creole Trilogy
Daniel Lanois also mixed/engineered Raffi's classic (and platinum) 1980 children's album, "Baby Beluga."
Wonderful unpacking. I thoroughly enjoyed this read. When I think of this era, I can't help but think of Emmylou Harris and the swampy Wrecking Ball.
Thank you for this beautiful read and thank you for telling the story of this extraordinary (and extraordinarily connected) burst of creativity! I was also only familiar with two out of three from this trilogy, but I look forward to checking out Acadie.
I’m always struck at Dylan’s willingness to submit to Lanois’ vision for Oh Mercy. It really seems like he understood that his previous records had lacked in artistic execution. Now he had a batch of songs that he wanted to do justice and it’s clear he trusted DL to bring them to life. That included foregoing his usual approach of creating a moment with a band and to capture the interplay among the musicians. I really think this was a big thing for Dylan, and it had a huge impact on his singing, which isn’t usually this intimate, low, and dare I say, hushed? It’s because he’s not projecting to stand out over drums and amplified instruments. As a huge fan of the Oh Mercy vocals, I think the production was a success from that standpoint alone!
I would comment here but I had to go listen to Aaron Neville sing With God on Our Side and now my hands are on fire.
Great piece Graley! I recently read Mark Howard's memoir and was interesting to read about the Yellow Moon sessions there and discover just connected that album was to Oh Mercy. Never heard the third record in this Trilogy, will have to check it out.