Bob Dylan’s influence on popular music is incalculable*. Unfortunately, after 1985’s Empire Burlesque we didn’t see a lot of him. Last year’s effort, Love and Theft, returned him to the public eye and popularity.

　　This work definitely qualifies as one of his very best albums. It’s not just his best effort since Blood On The Tracks, but it’s also the loosest, funniest, warmest album he’s released since The Basement Tapes.

　　Dylan rocks the house with Lonesome Day Blues and burns it down with Summer Days. The slower songs are equally captivating, from the breezily romantic Bye and Bye to the epic Sugar Baby.

　　Love and Theft is a remarkable achievement supported by a tremendous set of songs that incorporate all that we’ve come to expect from Bob Dylan. It’s reminiscent* of his classic records, but he’s never made a record that’s been such sheer* and giddy* fun as this.

　　In Love and Theft, Dylan seems to have no greater goal than to tell stories and be amusing. Though his style has relaxed it is still a pleasure to listen to such a consummate storyteller. Dylan’s music is like fine brandy: It mellows with age.