Bob Dylan has given us one of his most timely albums ever with ‘Rough and Rowdy Ways.’ Read robsheff's review
Tempest
, but he sounds far more loose and limber, full of finesse. In raw blues stomps like “Goodbye Jimmy Reed,” “False Prophet,” and “Beyond the Rubicon,” he’s a master ofHis past few records were covers of old-time standards, inspired by crooners like Frank Sinatra—doing those songs live, he’d even dip the microphone stand way down low, Ole Blue Eyes-style.
His crooner albums were delightful on their own terms. But in retrospect, he was using those records as vocal workshops, figuring out how to do fresh tricks with a new fucked-up voice, just as he did on his two early-Nineties albums of folk-blues covers. So now he revels in howDylan spends the album rambling through hard times all through the land, in portraits of rovers, gangsters, thieves, sinners.
Like so many of the past decade’s finest songs about the country—Lana Del Rey’s “The Greatest,” Kendrick Lamar’s “King Kunta,” Nick Cave’s “Higgs Boson Blues”—it’s a litany of cherished national myths and icons falling apart. But for Dylan, the only vision of America that still makes sense is a swirl of half-remembered songs across the radio dial, long after midnight. “Murder Most Foul” is a song about how people turn to music for solace, in times of turmoil.
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