Bob Dylan's 'Oh Mercy' turns 30 today. Read about the making of the singer-songwriter's New Orleans odyssey
,” says Lanois, “and I wanted him to be at the center of the picture. I didn’t care about the framing.” Dylan liked the setup Lanois had arranged at the house in New Orleans, complete with alligator heads and odd stuffed animals strewn about. As Dylan recalled, “You didn’t have to walk through secretaries, pinball machines and managers and hangers-on in the lobby, and parking lots and elevators and arctic temperatures.”got off to a less-than-promising start.
Dylan would take repeated stabs at the tunes, each one with a different tempo and feel. Meanwhile, Lanois felt Dylan was falling into old, lazy habits. “Maybe he was feeling a little pressure,” Ruffner says. “He disagreed just to disagree sometimes with Daniel.” But the songs began to take shape: the sulking ballad “Most of the Time,” the anguished ballad “What Good Am I?” and the stately “Ring Them Bells.” “I didn’t want to have a lot of clanging around on this record,” says Lanois, who recorded Dylan playing over a Roland 808 drum machine , and then brought in the Neville Brothers’ Willie Green for overdubs. “I wanted to concentrate on the lyrics and the sound of the voice.”felt modern yet timeless, accessible yet imbued with ambiguity.
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