| Oh Mercy | |
| Type: | studio |
| Artist: | Bob Dylan |
| Cover: | Bob Dylan - Oh Mercy.jpg |
| Alt: | A painting of a woman leaning against a brick wall and a man in a suit and sunglasses next to her snapping his fingers |
| Recorded: | February–April 1989 |
| Studio: | Mobile studio at 1305 Soniat St., New Orleans |
| Genre: | Rock |
| Label: | Columbia |
| Producer: | Daniel Lanois |
| Prev Title: | Dylan & the Dead |
| Prev Year: | 1989 |
| Next Title: | Under the Red Sky |
| Next Year: | 1990 |
Oh Mercy is the twenty-sixth studio album by American singer-songwriter Bob Dylan, released on September 12, 1989,[1] by Columbia Records. Produced by Daniel Lanois, it was hailed by critics as a triumph for Dylan, after a string of poorly reviewed albums. Oh Mercy gave Dylan his best chart showing in years, reaching on the Billboard charts in the United States and in Norway and the UK.
The composition of the songs at Dylan's home in Malibu[2] and the recording of the album in New Orleans are described by Dylan in detail in the "Oh Mercy" chapter of his memoir .[3] Engineer Mark Howard noted that Dylan had previously attempted to record the songs with Ronnie Wood but was dissatisfied with the results: "There’s a whole version of Oh Mercy that was recorded with Ron Wood already. But I think Dylan had maybe decided he didn’t like what had happened".[4] In the spring or summer of 1988, U2 singer Bono put Dylan in touch with producer Daniel Lanois, and the two agreed to work together although the recording sessions would not commence until early 1989.[5] Dylan biographer Clinton Heylin notes that Dylan finished recording the basic tracks for the album on March 29, 1989 but added new vocals (and other overdubs) for almost all the tracks the following month.[6]
In their book Bob Dylan - All the Songs: The Story Behind Every Track, authors Philippe Margotin and Jean-Michel Guesdon call Oh Mercy "a renaissance" for Dylan and write of the recording sessions: "The arrangements are very reminiscent of Yellow Moon by the Neville Brothers, and Dylan eventually got familiar with this particular atmosphere. Lanois claimed Oh Mercy was a record you listen to at night because it was 'designed at night': 'Bob had a rule, we only recorded at night. I think he's right about that: the body is ready to accommodate a certain tempo at nighttime. I think it's something to do with the pushing and pulling of the moon. At nighttime we're ready to be more mysterious and dark. Oh Mercy is about that'. He added that if there was one lesson he learned from Dylan, it was working relentlessly while searching first and foremost for efficiency and speed. And he concluded, Oh Mercy was two guys on a back porch, that kind of vibe'. As for the songwriter, he recognized 'There's something magical about this record' and felt sincere admiration for the work of the Canadian producer".[7]
During a Sound Opinions interview broadcast on Chicago FM radio, Lanois told Chicago Tribune critic Greg Kot that "Series of Dreams" was his pick for the opening track, but ultimately, the final decision was Dylan's.[8] Music critic Tim Riley would echo these sentiments, writing that Series of Dreams' should have been the working title song to Oh Mercy, not a leftover pendant."[9] "Series of Dreams" would become the final track on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991, and was later included on 1994's Bob Dylan's Greatest Hits Volume 3.
"Dignity", another outtake, was performed live during a 1994 appearance on MTV Unplugged, and the same performance was later issued on the accompanying album. A remixed version of "Dignity" featuring new overdubs by producer Brendan O'Brien was also released on Bob Dylan's Greatest Hits Volume 3, while the original Lanois production would not see release until the soundtrack album of the television show Touched by an Angel.
Listed as "Broken Days/Three of Us" on the track sheets, the original version of "Everything Is Broken" was briefly issued on-line as an exclusive download on Apple Computer's iTunes music store.[10] In 2008, it was remastered from a better source and reissued on . Described by Heylin as an "evocation of a fragmented relationship", the lyrics were later rewritten and overdubbed with new vocals and an additional guitar part.
Two more outtakes, "Born in Time" and "God Knows", were set aside and later re-written and re-recorded for Dylan's next album, Under the Red Sky. Versions of both songs from the Oh Mercy sessions were also included on . "The Oh Mercy outtake of 'Born In Time' was one of those Dylan performances that so surrendered itself to the moment that to decry the lyrical slips would be to mock sincerity itself", wrote author Clinton Heylin.[11]
The photo on the cover of the album shows a mural that Dylan came across on a wall of a Chinese restaurant in Manhattan’s Hell’s Kitchen on 9th Avenue and 53rd Street. The artist, Trotsky, who created the image of two people dancing was located (he lived near the mural) and permission was granted.[12] [13]
After disappointing sales with Knocked Out Loaded and Down in the Groove, Oh Mercy was hailed as a comeback. Consensus was strong enough to place Oh Mercy at in The Village Voices Pazz & Jop Critics Poll for 1989.[14] Also in 1989, Oh Mercy was ranked on Rolling Stone magazine's list of the 100 greatest albums of the 1980s.
Oh Mercys production drew praise from a majority of critics. Robert Christgau of The Village Voice wrote, "Daniel Lanois's understated care and easy beat suit [Dylan's] casual ways, and three or four songs might sound like something late at night on the radio, or after the great flood. All are modest and tuneful enough to make you forgive 'Disease of Conceit,' which is neither." But as Heylin notes, "Though many a critic who had despaired at the sound of Dylan's more recent albums enthused about the sound on Oh Mercy, it was evident that rock music's foremost lyric writer had also rediscovered his previous flair with words".[15]
Rock critic Bill Wyman criticized the production but praised the songs. "Taken over by Daniel Lanois, master of a shimmering and distinctive electronically processed guitar sound...[the album] is overdone", writes Wyman. "It's irritating to hear Dylan's songs so manipulated, but there are sufficient nice tracks—"Most of the Time", "Shooting Star", both simple and direct, among them—to make this by far the most coherent and listenable collection of his own songs Dylan has released since Desire".[16]
Though it did not enter Billboards Top 20, Oh Mercy remained a consistent seller, enough to be considered a modest commercial success.
To celebrate the album's 20th anniversary, Montague Street Journal: The Art of Bob Dylan dedicated roughly half of its debut issue (published in 2009) to a roundtable discussion on Oh Mercy.
It was voted number 438 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000).[17] In 2006, Q magazine placed the album at in its list of "40 Best Albums of the '80s".[18] During that same year, "Political World" appeared in the film Man of the Year. Michael Azerrad in a Rolling Stone article felt that "it would be unfair to compare Oh Mercy to Dylan's landmark Sixties recordings".[19]
Lou Reed selected "Disease of Conceit" as one of his favorite songs of 1989.[20]
Production: