By Dylan Fair
Executive Arts Editor
No musician in his or her lifetime has created a legacy greater than Bob Dylan has. In the last chapter of his life, Dylan has once again given his critics and “Dylan historians” alike something to discuss with his newest album, “Tempest.”
The album is indicative of Dylan’s late- in-life shift toward musical Americana. In “Tempest,” Dylan makes full use of his mature, raspy voice, in combination with the nostalgic 1940’s blues rhythms all on top of his lackadaisical yet very insightful lyrics to create a recording that is indicative of Dylan’s genius.
Just weeks ago Dylan dispelled the notion that “Tempest” would be his final studio recording (“The Tempest” of course, being Shakespeare’s final play). Once again, Dylan has collaborated with his backing band who he has worked with since 2001. David Hildago, the multi-instrumentalist from Los Lobos, also returned to the studio.
For a Dylan album, “Tempest” feels somewhat expected, because it sounds similar to Dylan’s 2009 release “Together Through Life.” “Tempest” captures the Chess Blues sound that has been quite an obsession for Dylan lately. Furthermore, the album shows how much Dylan’s tastes have widened over the years.
“Tempest” starts off very straightforward, with a conventional blues track titled “Duquesne Whistle.” Dylan’s matured voice makes this track shine. What was once a youthful and nasally voice has morphed into something that is now one part Tom Waits, one part gravel in a blender. However, this new unfiltered gruff adds a much deeper level of beauty to Dylan’s songs.
“Tempest” seems to be a conventional blues album, but it quickly becomes distinctively Dylan on the track “Narrow Way.” Dylan has not sounded so heartbroken since his classic album “Blood on the Tracks.” On “Narrow Way,” Dylan sings, “It’s a long road, it’s a long and narrow way, if I can’t work up to you, you’ll surely have to work down to me someday.”
The highlight of the album is the sprawling 13:55 minute title track. “Tempest” describes the sinking of the Titanic by recounting the actions of fictional characters and even Leonardo De Caprio. This song of historical fiction sounds like a more mature version of “Bob Dylan’s 115th Dream” from his 1965 album, “Bringing it all Back Home,” which describes a twisted version of the tales of Moby Dick and Christopher Columbus.
The track “Tempest” is representative of a trend in shifting subject matter. Dylan has always considered himself to be an Americana junkie. However, in recent years, Dylan has worked to represent this interest through his music. A ballad of one of the most tragic American events of the 20th century is a perfect example of this shift.
“Roll on John” ends the album on a more than somber tone. Dedicated to the deceased John Lennon, Dylan never sounded more sullen. “Roll on John” is a clear indication to any listener that his own mortality has never been closer to Dylan’s mind. Dylan mournfully remarks, “Take the righthand road and go where the buffalo roam, They’ll trap you in an ambush before you know, Too late now to sail back home.”
Ever since going electric at the Newport Folk Festival in 1965, Dylan has faced constant scrutiny from critics and fans alike. In some ways, this criticism is founded in truth. “Tempest” is not “Blonde on Blonde,” nor is it “Time out of Mind.” But the raw genius of the 1960s Dylan is something that will never again be matched by any artist. “Tempest” simply shows the maturity and self-awareness that has come with age.
“Tempest” was released on Sep. 10 and is available wherever music is sold.
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