Bob Dylan Digs Into ’60s Repertoire Via Uniquely Arranged Live Recording ‘Shadow Kingdom’ (ALBUM REVIEW)

A somewhat eccentric exercise in nostalgia,  Bob Dylan’s Shadow Kingdom is certainly unique as an entry in the Nobel Laureate’s discography. But it is deceptively memorable for the very same reasons its appeal may be limited and, as such, it should eventually become the object of rabid devotion, much like 1976’s live record Hard Rain.

The title originally appeared in stylized visual form online in 2021, in lieu of live appearances on the road, and becomes available digitally on video four days after the release of the soundtrack on CD. The collection of thirteen songs, handpicked by Dylan himself, also features an additional cut, the instrumental “Sierra’s Theme,” which serves to accompany the film credits (and otherwise presents a confounding challenge as to its source as a song).

Based on the nuanced low-key arrangements as well as the novel selection of vintage material, this might well have been subtitled Bob Dylan Unplugged: The Deep Cuts. It contains culls from the mythic Sixties discography, such as the relatively slight, blues-derived “Pledging My Time” off ’66’s Blonde On Blonde, which resides utterly comfortably next to “When I Paint My Masterpiece,” from early in the next decade.

There the changes in lyrics and the carefree delivery of the vocal, as surrounded by mandolin and accordion, are the very sound of rediscovery in action: the clarity of Bob’s voice is a revelation here. Meanwhile, “I’ll Be Your Baby Tonight,” from 1969’s Nashville Skyline, is a romp through genres, ranging from vintage 50’s rock to blues and country then back again; Bob and this band don’t belabor their point(s) any further there than on the less than three minutes they devote to the closer “It’s All Over Now, Baby Blue.” 

The contemporary socio-political relevance is unmistakable in “Just Like Tom Thumb’s Blues.” Likewise, the surrealism in “Tombstone Blues,” heightened by the suspense arising from the multiple crescendos, is most apropos to discussion of American (global?) culture circa 2023.  The extent to which Shadow Kingdom sounds otherwise self-referential lies only in whether Dylan’s aiming “Most Likely You Go Your Way (And I’ll Go Mine)” at his audience. 

It may be no more pertinent in that regard than this dignified reading of “Forever Young.” The brief stops signaled by Don Was’ acoustic bass there prompt such conjecture, an instinctive, musicianly flourish which also reminds that, as with all the best of Dylan (especially in recent years), it’s not solely about the lyrics. 

Generally speaking, the arrangements are exquisite for acoustic and muted electric guitars, some of which are T-Bone Burnett’s. Alongside multi-instrumentalist Greg Leisz, the one-time Rolling Thunder accompanist is one of some fourteen other participants, none of whom are members of The Bard’s current touring group. 

The purposeful discipline with which the ensemble renders “What Was It You Wanted,” fully captures the dark and ominous air of 1989’s Oh Mercy (this is the most recent piece of the baker’s dozen). Along with relatively unsung compositions such as John Wesley Harding‘s “The Wicked Messenger,” the span of material serves a pragmatic purpose: since his return to touring, Dylan has largely eschewed most such numbers of his early catalog in order to concentrate on performing choices from his latest album, 2020’s Rough And Rowdy Ways.

The name of this release is also affixed to a fantasy novel from the late Twenties, Bob Dylan turns his Shadow Kingdom into an exploration of how remembrance of times past can alternately enlighten and humble. This man long ago taught himself to recognize the lasting value in a good song and here, over the course of some fifty minutes, he deftly applies those lessons to an unusual range of his very own.