Ace Records follow-up their 2010 collection, How Many Roads, with another rake of vibrant soulful and gospel Dylan reinterpretations

A CHAMPION OF CIVIL RIGHTS

Right from the outset, the things that Bob Dylan had to say in his songs struck a chord with America’s black singers and musicians.  Always a champion of Civil Rights, Dylan’s early songs spoke loudly and clearly to those on the less fortunate side of the racial divide in the segregated 1960s USA.  And, as Dylan’s catalogue mushroomed, so did the number of songs that spoke directly to the country’s black population.  And it wasn’t very long at all before black American musicians started to take those songs and apply their own gospel, soul and funk flavourings.

Covers of Dylan songs have ,of course, been a fact of life for as long as the songs have existed – he’s apparently the third most covered composer on the planet, after Lennon/McCartney and Duke Ellington – and the musicians of black America were in at the ground floor; as evidenced by several of the songs included in this compilation.  Highway of Diamonds is the follow up to Ace Records’ 2010 compilation, How Many Roads (Black America Sings Bob Dylan) and it carries on where that first collection concluded.

A DIVERSE RANGE OF ARTISTS

Highway Of Diamonds is a 20-track collection that features songs from across Dylan’s career, covered by a diverse range of artists that includes The Staple Singers, Nina Simone, Billy Preston, Sarah Vaughan and many others.  The variation in musical styles is equally diverse and takes in soul, funk, jazz, straight-ahead rock and, particularly, gospel; and it’s amazing how well-suited many of Dylan’s songs are to being reinterpreted in those ways.

Physical formats of the compilation come in the form of a single CD or a 2LP vinyl set and both formats feature extensive sleevenotes, written by the album’s compiler, Tony Rounce.  For the purpose of this review, I’ll concentrate on the vinyl version – so let’s start with a look at what Side One has to offer…

A CRACKING START

The collection kicks off with a pair of absolute blinders.  The Staple Singers get things underway with an interpretation of A Hard Rain’s A-Gonna Fall that is, quite simply, breathtaking.  Taken from the Singers’ 1965 album, This Little Light, Dylan’s dystopian vision is transformed into a blissful gospel epic.  With choirlike call-and-response vocals and a solid soul backing that sounds so fresh that it could have been recorded yesterday, it’s an inspired choice to launch this collection.

And Bettye Lavette’s simmering, passionate, sincere reading of Everything Is Broken is equally engaging.  It’s a 2012 recording of a song written in 1989 and, sadly, every single word of the song rings truer today that they did when they were written and recorded.  Elsewhere on Side One, Nina Simone’s version of Just Like Tom Thumb’s Blues is sweet and intimate, whilst Natalie Cole’s rework of Gotta Serve Somebody is deeply funky, without loosing a single inch of Dylan’s intent.

ON TO SIDE TWO…

Side Two of the set kicks of with Maxine Welldon’s tasteful Tamla-esque take on It Ain’t Me Babe, taken from her 2020 covers album, Right On, before Billy Preston steps into the ring for a lush run through It’s Alright Ma (I’m Only Bleeding).  It’s fair to suggest that, if any of the artists included here could be expected to make a decent fist of a Dylan song, Billy Preston would be the people’s choice.  They wouldn’t be wrong, either; Billy plays the mysterious elements of the song strongly, the piano-strewn backing is seriously funky and Billy inhabits the lyrics as strings swoop and guitars gently weep.

Solomon Burke’s Quinn The Eskimo (The Mighty Quinn) is seriously soulful, with a gospel choir adding syrup to a band that’s in full-flow and Cassandra Wilson’s smouldering vocals on her folky, acoustic Shelter From the Storm are simply delightful.  Side Two is wrapped up with Merry Clayton’s imaginative version of Rainy Day Women # 12 & 35.  It’s a cheeky, tight and punchy take on a famously shambolic song, and it oozes funky joy.

THERE’S MORE WHERE THAT CAME FROM…

Moving on to Side Three of the set, and it’s one of the album’s most pleasant surprises that gets things underway.  The Brothers and Sisters of Los Angeles apply a full-throated gospel treatment to The Times They Are A-Changin’ – and it works wonderfully.  And, any listener who, like me, might fancy a little more where this one came from, then they may be interested to learn that The Brothers and Sisters did a whole album of interpretations like this: Dylan’s Gospel (1969).

Tomorrow is a Long Time has been covered by everyone from Sandy Denny to Elvis – and all stops in between.  Harry Belfonte’s 1970 version – included here – is sweet and poppy, and Harry’s vocal stylings are instantly recognizable.  Odetta was a keen interpreter of Dylan, drawn to his work by the commitment to Civil Rights described above.  With Odetta Sings Dylan (1965) she was one of the earliest artists to dedicate a whole album to Dylan songs and her jazzy, uncompromising version of Baby I’m In The Mood For Love was the opening track to that album

HOW DYLAN IMAGINED IT

Aaron Neville’s soulful mid-nineties reading of Don’t Fall Apart On Me Tonight is followed by Sarah Vaughan’s sweet Southern soul take on If Not For You.  It’s another widely-covered song and Sarah’s version is up there amongst the best, with not a slide guitar anywhere in sight.  But, perhaps the highlight of Side Three is JP Robinson’s stunning 1972 gospel rework of George Jackson.  I have a strong feeling that, when Dylan wrote the song, he was secretly hoping that someone, somewhere, would come along and perform it just like this.

I’m sure that some listeners will find Jimmy Scott’s interpretation of When He Returns – the opening track on Side Four of the set – appealing.  Personally, I’ve never enjoyed his forced vocal style, but the lounge jazz arrangement is interesting.  I guess that The Bo-Keys are more my thing and their take on I Threw It All Away is another album highlight.  An acoustic intro blossoms into a big country-soul ballad.  The vocals are clean and soulful, and the drama builds until the listener is left with a foreboding sense of finality.

A SULTRY HIGHLIGHT, AND A FINAL SHOT OF GOSPEL

Johnny Jenkins’ rocky version of Down Along the Cove is refreshing, with a great harmonica solo that’s fully befitting of its place on a Dylan cover, before Lizz Wrights steps in the deliver what may just be highlight of the entire collection – her magnificent, sultry reading of Every Grain Of Sand.  It’s a standout track from her acclaimed 2017 Grace album, with Lizz’s precise, assertive vocals backed by a rich, country-tinged accompaniment.

This fascinating collection is rounded off with a final shot of gospel – The Caravans’ 1966 recording of Blowin’ In The Wind.  There’s no holding back on this one; the gospel layers – harmony vocals and churchy organ licks – are piled on so thickly that the song is barely recognizable.  But, somehow, it seems like an appropriate way to conclude an intriguing and enjoyable compilation.

Hear The Staples Singers perform their version of A Hard Rain’s A-Gonna Fall – that album’s opening track – below:

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