Hello and welcome back to Bob Dylan album by album. It's Ben Burrell here. Once again, we

have a look at O Mercy on this episode. I've been going back and listening to O Mercy since these

episodes came out just because I'm reminded how great their record is. And I had it on the other day

at home when I was with my two children that I own and mixed reviews from them.

Sure, they're two and a half and almost seven,

but still, they didn't seem to enjoy it that much.

In fact, they favoured the kids' sing-along TV show Coca-Mellon over Bob Dylan,

O Mercy, which caused serious friction in our household.

Anyway, that aside, what a wonderful record it is,

and it's been fun going back through it on these episodes.

Let's do that once again, shall we?

Let's have another look at this incredible album.

And also a couple of songs from it, including the, I guess,

the centrepiece of the album, certainly I think it's best song.

I think it's certainly its most sonically interesting song.

A song that doesn't sound like Dylan in places,

but also at the same time does sound really like Dylan,

not just in terms of his voice,

but in kind of the structure of it, I guess.

It's a wonderful song,

and I first heard it in High Fidelity,

that brilliant John Cusack movie and the Nick Hornby novel. I knew it was Dylan when I heard it. And I suddenly thought to myself, because I wasn't particularly a Dylan fan when I first saw that film. I was very young, like a teenager, I guess, in early teens. And I remember watching that film thinking, this is Bob Dylan, but I've never heard this song or him like this before. And I think that's a good description of that song and this album as well. It's Dylan on a kind of completely new plane. And as we've discussed in the episode, and as I mentioned many times before, it's so exciting to hear that. I don't know if we'll ever hear that again. Um, you know, when you get to Dylan's age,

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