By David O’Neill
Steve Howe’s re-released ‘Portraits Of Bob Dylan’ is a tribute album by the progressive rock legend. Originally released in 1999, the album features Howe’s reinterpretations of Dylan’s songs, offering new arrangements and collaborative performances. He is also reissuing ‘Natural Timbre’ – an acoustic album featuring his son and other artists, which we will be considering separately.
The ‘Portraits…’ album distinguishes itself by selecting lesser-known Dylan compositions, such as ‘Sad Eyed Lady Of The Lowlands’ and ‘The Lonesome Death Of Hattie Carroll,’ rather than the more familiar tracks (with the notable exception, perhaps, of ‘Lay Lady Lay’).
This curated approach lends the album a distinctive identity, further enhanced by a wide group of guest vocalists, including Jon Anderson, Annie Haslam, Max Bacon and Allan Clarke of The Hollies among others. Notably, Anderson’s interpretation of ‘Sad Eyed Lady Of The Lowlands’ imparts remarkable clarity to the 12 minute track, while Howe’s contributions on guitar and organ provide additional depth and resonance.
The album features diverse arrangements. Annie Haslam’s version of ‘It’s All Over Now, Baby Blue’ incorporates a shuffling rhythm that differs from the tone of Dylan’s original song. Her vocals are very late ’60s in style but unique nonetheless. In contrast, ‘Going Going Gone’ has a much more ’80s depth to the instrumentation and vocal performance by Max Bacon, while ‘Just Like A Woman’ is much simpler in its interpretation and the vocal performance of Howe adds to the stylistic intent.
Tracks such as ‘Well, Well, Well’, an unreleased Dylan composition, highlight gospel influences and reflect Howe’s exploration of different musical styles. This track, originally a 1985 instrumental demo, was finished 1997 when lyrics were added by Danny O’Keefe. Whilst it was subsequently recorded by Ben Harper and the Blind Boys of Alabama, this version is more upbeat than either version and vocally well interpreted by PP Arnold.
The final track ‘Buckets Of Rain’ (from ‘Blood On The Tracks’) has a bit of a Mungo Jerry feel to it, but then so did the original.
Although some critics consider the project inconsistent — suggesting that Dylan’s minimalist songwriting does not always align seamlessly with Howe’s progressive influences — the album ultimately achieves success by approaching the material with respect yet without excessive rigidity. Howe’s vocals, while at times unpolished (notably on ‘I Don’t Believe You’), convey authenticity and sincerity, further enhancing the project’s overall integrity.
‘Portraits Of Bob Dylan’ is a rewarding listen for Howe’s fans, Dylan devotees looking for new perspectives, and anyone intrigued by the art of musical reinvention. It’s a testament to Howe’s creative vision and Dylan’s enduring influence.
- ‘Portraits Of Bob Dylan’ will be re-released on Friday 12 September via Howe’s own label.