How Bob Dylan Made a Pre-Rock Masterpiece With 'Love and Theft'

, had recently taken home a Grammy for Album of the Year, and in 2000, he won the Best Original Song Oscar for “Things Have Changed,” from the movie. Another artist might’ve been content with all that, especially an artist about to turn 60. But the greatest late-career re-emergence in rock history was just getting started.in May 2001, guitarist Larry Campbell was among the first to sense the album would be something special.

True to his word, Dylan would deliver an album steeped in Chicago blues, Tin Pan Alley crooning, jump blues and Western swing. Supporting Dylan on that journey was his then-current band, one of the sharpest ensembles ever to back him up – guitarist Charlie Sexton, guitarist-fiddler–banjo player Campbell, bassist Tony Garnier and drummer David Kemper. When the sessions finally began at Clinton Recording in midtown Manhattan, Dylan would arrive each day around 3 p.m.

Dylan knew how to push his band’s collective buttons. “If the band wasn’t grasping what he wanted,” Shaw says, “he was frustrated and would kick them in the ass by listening to the last take and saying, ‘I guess I don’t have the manpower to make this song work – I’ll just go out there myself with my guitar.’ The band would say, ‘No, no!’ and get their shit together.” As Campbell admits, “When we went on to the next tune, I guess that’s when you knew we had got it in one form or another.

When an executive from Columbia stopped by to hear some tracks, Dylan kept alluding to an acoustic version of “Cry a While” that didn’t exist just to yank the executive’s chain. Seeing a new issue ofin the studio featuring Destiny’s Child on the cover, with the cover line “Booty Camp,” Dylan was inspired to slip the phrase “booty call” into “Cry a While.

Source: Entertainment Trends (entertainmenttrends.net)

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