The Wallflowers

It's not surprising that Bob Dylan's son Jakob would try his hand at making music; what is surprising is the level of success he and his Wallflowers have achieved, well beyond most of the other '60s' rock-star progeny who flooded the market in the '90s. Cynics may say it's all due to Jakob's family connections and striking cheekbones, but the fact is that the guy has developed some songwriting chops. And the rest of the Wallflowers are no slouches either; they're a talented band that knows how to play good old-fashioned no-nonsense American-heartland rock & roll.

As their first album shows, they needed time to find direction. Influenced less by Dylan the elder than by Robbie Robertson, Bruce Springsteen, and Tom Petty, The Wallflowers' best songs are its most modest ones: the country-tinged "Shy of the Moon," the solo acoustic "Asleep at the Wheel." Long, sprawling numbers such as "Somebody Else's Money" and "Honeybee" shoot for high drama, but Dylan's stiff vocal delivery sinks them. (His voice is mixed low, too, suggesting a lack of confidence.)

Four years and one record label later, only Dylan and keyboardist Rami Jaffee remained from the original lineup. The change did them good; Bringing Down the Horse is light-years better than its predecessor. Dylan's singing has vastly improved -- imagine a gruffer Don Henley with a hint of Dad's rasp -- and his songs ("One Headlight," "6th Av-enue Heartache," "The Difference") are punchy and instantly appealing. Breach continues the positive trend. Coproducer Michael Penn's retro-pop leanings blend well with witty tracks such as "Hand Me Down" (which seems to address those critics who still compare Jakob, unfavorably, to his father) and "Murder 101" (featuring Elvis Costello on backing vocals, a smart call since it sounds just like a Costello song). Though better than the Wallflowers' debut, Red Letter Days lacks the personality of Bringing Down the Horse or Breach. The tender piano ballad "Closer to You" stands out, along with the mild salsa inflections of "Too Late to Quit," but much of the remainder fails to engage.

A final note: Is it mere coincidence that since the emergence of his son as a pop music force, Bob Dylan has been doing his best work in at least two decades? Perhaps we should be doubly grateful for the Wallflowers. (MAC RANDALL)

From 2004's The New Rolling Stone Album Guide