Like many, during uncertain and emotional times Emma Swift turns to Bob Dylan songs for inspiration. Rather than sparking new songs in her mind they lead Swift to take a stab at recording her own versions. Blonde on the Tracks are her interpretations of Dylan songs ranging from 1966’s Blonde on Blonde to 2020’s Rough & Rowdy Ways.
Expertly produced by Patrick Sansone who also helps out on multiple instruments and joined by her partner Robyn Hitchcock who plays guitar throughout, Swift mellows out Dylan’s offerings to reflective haunting numbers. The opener is an exception as Sansone’s twelve-string guitar gives a country-rock jangle to “Queen Jane Approximately” in a Byrds vein.
The album then settles into a slow meditative state. The newly released “I Contain Multitudes” is a surprising choice, but the players work it out as Swift sings about painting nudes, red cadillacs and black mustaches while “One Of Us Must Know (Sooner or Later)” continues the languid pace with weepy pedal steel guitar from Thayer Serrano. The easy folk rolling of “The Man In Me” (with Sansone on keyboards) and “Simple Twist of Fate” enliven things a bit musically, but it is clear Swift is in a mellow mood vocally throughout.
A deeper cut from 1974’s Planet Waves “Going Going Gone” finds a more passionate delivery from Swift and company as she sings about loss while album closer “You’re A Big Girl Now” returns to the more reflective and inner looking presentation around some excellent guitar work from the Sansone/Hitchcock combo.
The best marriage of Swift’s style and Dylan’s catalog comes in the form of “Sad Eyed Lady of the Lowlands” as Jon Estes bass and Jon Radford’s drums lead the slow marching backing track, allowing Swift to deliver vocally, aloof and dreamy, swirling around the words.
Emma Swift is searching, as we all are, in tough societal times and using Bob Dylan’s songbook as a guide has helped many in the past and certainly will help more through an uncertain future. Swift gives one of the more unique re-imagining of rock’s greatest author here. Blonde On The Tracks doesn’t contain any must-hear renditions, but there is a comfort to be found in the contemplative singing of Swift and the clear production/playing of her Nashville backing band.
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awful