Love and Theft

Whether he’s introducing electricity to folk music or impersonating the Joker at the Oscars, Bob Dylan delights in frustrating fans’ expectations. Following the cool morbidity of 1997’s Time Out of Mind, Love and Theft throws listeners for another loop: It’s mostly bright, bluesy numbers (“Floater,” “Po’ Boy”) mixed with some rockabilly (“Summer Days”) and even a couple of attempts at Cole Porter–style pop standards (“Bye and Bye,” “Moonlight”). Lyrically, it may not be Bob’s finest hour, but like browsing a curiosity shop, there are plenty of nice trinkets on display, even if you don’t take anything away with you.