Bob Dylan has never cared about what you think of him; never has, never will. From the time he famously divided the Newport Folk Festival audience by going electric in 1965, then suddenly turning Country in 1969, to drastically changing the arrangements of some of his most famous songs and painting his face white during live performances in the 1970‘s.
From becoming a born-again Christian in the early 1980’s, returning with a critically acclaimed comeback in the 1990’s to releasing a Christmas album in 2009, and now his decision to put out a Frank Sinatra cover album; Bob Dylan never follows the trends and always remains true to himself and where he is at currently, in his life. That being said, his newest album, Shadows in the Night, is one of the most interesting and beautifully sounding Dylan records in a long time, and showcases some of the strongest vocals we’ve heard from him in years.
Not since his album Love & Theft (released on 9/11/2001) has Dylan sang with such clarity. Compared to the strained, growling vocal styles of his last few albums, Shadows in the Night sounds almost graceful and refined. Not to say I didn’t enjoy his last several records, but this is something completely different; a new chapter of Dylan to appreciate. It is the sound of a wise old man romantically singing songs of the past, arranging them in ways only a legend such as Dylan could and unearthing the forgotten beauty within.
Shadows in the Night is Dylan’s fifth album working with producer, Jack Frost. The primary band lineup on the record is, Tony Garnier (bass), Donny Herron (pedal steel guitar), Charlie Sexton (guitar), Stu Kimball (guitar) and George C. Receli (percussion).
The opening song, “I’m A Fool To Want You,” enters with a beautifully haunting tone and the smooth sound of pedal steel. Dylan croons the darkly romantic tale of unrequited love brilliantly. His voice withered yet warm and perfectly aged, like a bottle of old whiskey. No one else could sing a song such as this with such meaning and authority. Dylan introduces us once again to a particular vocal style of his that seemed like it would be gone forever.
The second stop on Dylan’s walk down memory lane is the popular Jazz standard, “The Night We Called It a Day,” originally written by Matt Dennis and Tom Adair in 1941. All of the songs on Shadows in the Night were eventually recorded by Frank Sinatra, however many of the songs, such as this one, were recorded long before Sinatra’s version.
Bob Dylan started performing “Stay With Me,” the third song on the record, as a set-closer toward the end of his 2014 tour. It was also released early as a single, before the official album release date. The Sinatra classic, written by Carolyn Leigh and Jerome Moross, is delivered marvelously by Dylan. The lyrics seem to spill from his heart as he sings fervently this song of love and desire.
The same goes for “Autumn Leaves,” the popular standard originally written by French composer Joseph Kosma and poet Jacques Prevert. Dylan takes these classics, normally recorded with standard Jazz structures, and takes them elegantly into new realms. Autumn Leaves takes us gently gliding through brilliant chord progressions and basks in the devastatingly beautiful sounds of pedal steel guitar.
“I’m sentimental, so I walk in the rain. I’ve got some habits even I can’t explain. Could start for the corner, turn up in Spain, but why try to change me now?” It almost seems like these lyrics originally written by Cy Coleman were made to be rediscovered by a 73-year-old Dylan, who sings them with such conviction and passion. The songs on Shadows in the Night ooze out of your speakers with such professional magnificence. It is impossible to ignore the sheer brilliance within the craft of this collection of songs.
Dylan then presents us with his take on the Rodgers and Hammerstein classic from South Pacific, “Some Enchanted Evening.” It is a brilliant rendition of one of the biggest and most-recorded songs of all time. Followed by “Full Moon and Empty Arms,” the popular song by Buddy Kaye and Ted Mossman. Sinatra recorded the song in 1945 and now seventy years later, elder-statesman of music, Bob Dylan records his own version. This seems to be the point of the record; to bring to light much of this music that has been in the darkness for quite some time.
Next up is “Where Are You,” song made famous by Frank Sinatra in 1957. What is most impressive in regards to the recording of these songs, is the fact that while the original recordings were predominantly Pop/Jazz standards and orchestral arrangements, Shadows in the Night is completely done with only a five-piece band. The songs don’t lose a thing and even seem to take on a new life with a classic yet contemporary sound that is remarkably refreshing.
Next up is, “What’ll I Do,” a song originally written by Irving Berlin in 1923. This is the oldest song from the record, a beautiful ballad that continues the romantic narrative of Shadows in the Night. It leads us softly into the album’s final song, “That Lucky Old Sun.” Beginning with trumpets and the light rumble of timpanis, this tragically romantic American classic by Beasley Smith and Haven Gillespie is a most-impressive grand finale to this new masterpiece. He takes us sailing gracefully into the sunset as the final notes trickle away and Dylan sings his final refrain, “Like that lucky old sun, give me nothing to do but roll around heaven all day.”
Shadows in the Night is a gorgeous and amazingly impressive new record. It would be a crime to merely label it as a cover album. Bob Dylan has rediscovered and reinvented these classic milestones of musical history and made them into something fresh and new. He has breathed new life into songs that, without the help from legends such as Dylan, might have continued to fade away into the distance. Bob Dylan is a visionary, a genius and a living legend; and he’s not done yet.