- Released: September 11, 1990
- Originally Released: 2008
- Label: Sbme Special Mkts.
New York Times (Publisher) - 11/4/90
"...The veteran singer-songwriter shows his exceptional sense of phrasing on a weird and elliptical album."
- 1.Wiggle Wiggle
- 2.Under The Red Sky
- 4.Born In Time
- 5.T.V. Talkin' Song
- 6.10,000 Men
- 7.2 X 2
- 8.God Knows
- 9.Handy Dandy
- 10.Cat's In The Well
Personnel: Bob Dylan (vocals, guitar, harmonica, piano); Slash, Waddy Wachtel, Robben Ford, Jimmie Vaughan, Stevie Ray Vaughan; David Lindley (slide guitar, bouzouki); George Harrison (slide guitar); David McMurray (saxophone); Rayse Biggs (trumpet); Bruce Hornsby, Ekton John (piano); Jaimie Muhoberac (organ); Al Kooper (keyboards); Randy Jackson, Don Was (bass); Kenny Aronoff (drums); Paulinho Da Costa (percussion); David Crosby, Sweet Pea Atkinson, Sir Harry Bowens, Donald Ray Mitchell, David Was (background vocals).
Producers: Don Was, David Was, Jack Frost.
Personnel: Bob Dylan (vocals, guitar, acoustic guitar, harp, accordion, piano); David Lindley (guitar, slide guitar, bouzouki); Jimmie Vaughan, Robben Ford, Slash, Stevie Ray Vaughan, Waddy Wachtel (guitar); George Harrison (slide guitar); David McMurray (saxophone); Rayse Biggs (trumpet); Elton John, Bruce Hornsby (piano); Al Kooper (organ, keyboards); Jamie Muhoberac (organ); Kenny Aronoff (drums); Paulinho Da Costa (percussion); David Crosby, David Was, Sir Harry Bowens, Sweet Pea Atkinson, Donald Ray Mitchell, Crosby & Nash (background vocals).
Audio Mixer: Ed Cherney .
Recording information: Complex; OceanWay; Record Plant; Sorcerer.
UNDER THE RED SKY brought to a close the transition period that was Bob Dylan's post-Christian 1980s. Having spent most of that time looking for a voice in the rocking gospel and blues, stomping R&B and rock stylings he had long since mastered, Dylan decided to just go garage. Obviously, with Don and David Was producing, the end product carries a more professional veneer than that description may imply. But as titles like "Wiggle Wiggle" and "TV Talkin' Song" suggest (and the tunes live up to their simplistic names), the mindset of these sessions seem more geared toward getting the bard's ya-yas out than building a masterwork. Of course, in perfectly Dylanesque fashion, amidst all these second-hand pieces lies a gem like "Unbelievable," a wordy, doomsday-culture rocker in the spirit of "When the Night Comes Falling From the Sky." Afterwards though, Dylan turned his back on songwriting for six years, rightfully fearing that schoolboy rhymes were not what the world sought from him.