Shadows in the Night - Bob Dylan

Admittedly, there is something in me that is ever-hopeful about a new release by a favorite artist. This has been present for as long as I have been interested in pop music. There is a problem here, which is, as I far as I understand it, that I confuse the excitement of my favorite creators having created something new to obsess over with a more general excitement about the work at hand. Thus, I could have easily given Black Sabbath’s 13 a five-star review in June of 2013, for example. Keep in mind that I have warned you of this problem when I say the following: Bob Dylan’s new album is his best in my lifetime (1986 - ). Rarely do even I jump the gun so drastically, but in less than a week I have listened to Shadows in the Night more times than I ever had any of his other post-Knocked Out Loaded efforts.

Bob’s a big reason. Obviously. But the bigger reason is his longtime touring band members, who, along with their (we can now easily say) band leader, create such enthralling arrangements of the ten standards performed here that successive listens have proven enlightening, even necessary, revealing subtleties in ever-expanding crevices. Take the almost avant-garde first ten seconds of “The Night We Called It A Day.” Donny Herron’s pedal steel work has rightfully been given a lot of credit in many reviews of the album, but every musician contributes immensely, from the bowed bass of Tony Garnier to the subtle comping/counter-melodies of the guitar duo of Stu Kimball and Charlie Sexton. George C. Receli’s percussion is operating on an ethereal, barely noticeable level, but his brush work is impeccable, and he is integral to setting the tone, as heard in the stately melancholy of “That Lucky Old Sun.” When he does step out, as in the cymbal work at the end of “Where Are You,” he contributes to some of the album’s most playful and engaging moments. Together, the band creates a polyphony that completely replaces the typical arrangements of these songs. Indeed, these guys make said arrangements seem unnecessary and downright silly (at best) or perverse (at worst).

Bob’s voice is remarkable, especially in contrast to other recent outings. It’s timbre is somehow younger and easier than it’s been in years. It’s also nice hearing a voice more accustomed to its pentatonic comfort zone break out into the chromaticism of “Full Moon and Empty Arms.”

A lot has been made of the surprise-factor of this album. Given that Bob and band basically made a Bing Crosby covers album in 2009 with Christmas in the Heart (also in a mostly bare-bones approach), I find that this type of hype is largely invented, based on bad research and/or preexisting biases. In fact, anyone paying attention to that 2009 delight should have been anticipating this release anxiously (as I was) rather than scratching his/her head. Even with high expectations going in, I was far from disappointed. We have here nothing less than a late career masterpiece.

5/5