---
product_id: 62653429
title: "Shadows In The Night"
price: "KSh6420"
currency: KES
in_stock: true
reviews_count: 8
url: https://www.desertcart.co.ke/products/62653429-shadows-in-the-night
store_origin: KE
region: Kenya
---

# Shadows In The Night

**Price:** KSh6420
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** Shadows In The Night
- **How much does it cost?** KSh6420 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.co.ke](https://www.desertcart.co.ke/products/62653429-shadows-in-the-night)

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## Why This Product

- Free international shipping included
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## Description

36th studio album by the American singer/songwriter. Featuring a selection of traditional pop standards including 'Some Enchanted Evening', 'I'm a Fool to Want You' and 'The Night We Called It a Day', the album debuted at #1 in the UK Albums Chart.

Review: This is a seriously good album, possibly the best album of Dylan covering ... - This is a seriously good album, possibly the best album of Dylan covering other artists/songwriter's material. The fact is that, while he is the quintessential singer/songwriter, Dylan has been known to interpret, and, cover songs. This is something he's been doing since 1961, what with his first album, and House of The Rising Sun, Fixin' to Die, In My Time of Dyin', etc. He has returned to other people's songs on several occasions, i.e Self Portrait, Dylan, Knocked Out Loaded, Down In The Groove, Good As I Been to You, World Gone Wrong. The recent two Bootleg Series, i.e Another Self Portrait, and Complete Basement Tapes, have revealed an artist fully au fait with country, rock, blues, and folk, and also managed to integrate them with his own compositions. This album, however, has had its precedents, stretching as far back as covers of Blue Moon on Self Portrait, Can't Help Falling In Love on Dylan, and When Did You Leave Heaven on Down In The Groove. Even Dylan's own material has, from a long time ago, showed a sense of the American songbook, i..e If Dogs Run Free on New Morning, Simple Twist of Fate on Blood On The Tracks, I Believe In You on Slow Train Coming, Sweetheart Like You on Infidels, I'll Remember You on Empire Burlesque, Under Your Spell from Knocked Out Loaded, Shooting Star from Oh Mercy, Born In Time, To Make You Feel My Love, Bye and Bye, Spirit On The Water, Life Is Hard, etc. Jazz artists have covered Dylan, too, i.e. Ben Sidran on Dylan Differently, Diana Krall with Simple Twist of Fate, amongst others. Dylan has also crossed paths with Jerry Garcia, who wasn't adverse to covering Berlin's Russian Lullaby, Willie Nelson who has recently also covered What'll I Do on his December Day album, Johnny Cash, who almost at journey's end, covered That Lucky Old Sun on American III: Solitary Man. However, the key issues are: can Dylan make an album of standards, and can he sing them ? The wonder of Dylan, from 1961 onwards, was, and is, that he's the world's greatest non-voice. He set the bar for songwriters like Lou Reed, Tom Waits, John Prine, and now he sets the bar on a standards album, which is far better than the recent efforts by Robbie Williams, Paul McCartney, and, above all, Rod Stewart. Most critics have, almost on auto-pilot, awarded Dylan 5 stars for his albums from Time Out of Mind onwards. This, however, is different: this is Dylan singing I'm A Fool to Want You with as much resonance as Billie Holiday on Lady In Satin, and with, dare I say it, as much panache. It also highlights an artist covering Some Enchanted Evening with aplomb, and doing far better than a disco-fied version by Ray Charles. Likewise, Dylan isn't doing the most obvious Frank Sinatra numbers - there's no That's Life, My Way, Strangers In The Night, or a duet of Something Stupid with Joan Baez. This is a stroll down the azure-tinged American songbook, the reverse-side to World Gone Wrong, or Good As I Been to You, yet, also, cut from the same cloth: Lonnie Johnson's Tomorrow Night could have been cut by Sinatra, but it wasn't. Tunes like Autumn Leaves, familiar by Nat King Cole, certainly have that bluesy tinge, that even another longtime Colombia artist gave a blue vibe to, i.e. Miles Davis in his Live at Tokyo album from 1964. Bearing in mind Dylan's love of the blues, it is no great surprise that he's found the blues in the American songbook. When you throw in Where Are You, and the yearning of Stay With Me, you find that Sinatra was also routed in the blues, albeit a more urbane sound. Sinatra listened to the bluesier jazz artists, i.e Billie Holiday and Bessie Smith, and his phrasing derived from Billie Holiday. However, there's one small caveat: the good reviews that this album has garnered may encourage Dylan to record another series of covers, but then Leonard Cohen has even covered the songbook, i.e Always.
Review: Songs of autumn, songs of night – I love it - Dylan is a man of many moods. If you are looking for Dylan the folk singer, Dylan the prophet, Dylan the protestor, or the electric Dylan of Highway 61 revisited, you may not find this album to your taste. Instead, we are transported to the fifties, Frank Sinatra and the pensive small hours of the morning. Dylan is soulful and languid, singing standards from another era, songs of autumn, songs of night. The music is melodic, slow and recessed; the mood is reflective, the voice is tour-weary but tuneful (for Dylan) and articulate; Dylan has taken a lot of care with this album, nothing is thrown away, nothing breaks the mood, and the lyrics are full of meaning; even though others wrote them down, he makes them his own. These are the songs of a man who has been everywhere, done everything, and has nothing left to prove. It feels like he is singing for himself and allowing us the privilege of listening in. Sometimes he is confessional; “I know I have sinned, I go seeking shelter and I cry in the wind,” he sings in Stay with Me; and “Show me that river, take me across and wash all my troubles away” in a magnificent performance of Lucky old Sun at the close. These are songs of yearning; “if my one wish comes true, my empty arms will be filled with you” he croons in Full Moon and Empty Arms. As a Dylan fan of many years, and one lucky enough to have seen him perform on many occasions, I love the album. It is different but not different; as ever, he follows his artistic instinct, never mind what others think. “Let people wonder, let ‘em laugh, let ‘em frown …. don’t you remember I was always your clown, why try to change me now?” he sings. Thank you Bob for giving us an enchanted evening.

## Technical Specifications

| Specification | Value |
|---------------|-------|
| ASIN  | B00QR7ZM8A |
| Best Sellers Rank | 2,759 in CDs & Vinyl ( See Top 100 in CDs & Vinyl ) 62 in Folk Rock 97 in Folk & Songwriter 1,225 in Pop |
| Customer reviews | 4.0 4.0 out of 5 stars (1,711) |
| Is discontinued by manufacturer  | No |
| Label  | Columbia |
| Manufacturer  | Columbia |
| Manufacturer reference  | 888750579621 |
| Number of discs  | 1 |
| Original Release Date  | 2015 |
| Product Dimensions  | 14.2 x 12.6 x 0.97 cm; 90.72 g |

## Images

![Shadows In The Night - Image 1](https://m.media-amazon.com/images/I/617szntk3oL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ This is a seriously good album, possibly the best album of Dylan covering ...
*by T***A on 2 February 2015*

This is a seriously good album, possibly the best album of Dylan covering other artists/songwriter's material. The fact is that, while he is the quintessential singer/songwriter, Dylan has been known to interpret, and, cover songs. This is something he's been doing since 1961, what with his first album, and House of The Rising Sun, Fixin' to Die, In My Time of Dyin', etc. He has returned to other people's songs on several occasions, i.e Self Portrait, Dylan, Knocked Out Loaded, Down In The Groove, Good As I Been to You, World Gone Wrong. The recent two Bootleg Series, i.e Another Self Portrait, and Complete Basement Tapes, have revealed an artist fully au fait with country, rock, blues, and folk, and also managed to integrate them with his own compositions. This album, however, has had its precedents, stretching as far back as covers of Blue Moon on Self Portrait, Can't Help Falling In Love on Dylan, and When Did You Leave Heaven on Down In The Groove. Even Dylan's own material has, from a long time ago, showed a sense of the American songbook, i..e If Dogs Run Free on New Morning, Simple Twist of Fate on Blood On The Tracks, I Believe In You on Slow Train Coming, Sweetheart Like You on Infidels, I'll Remember You on Empire Burlesque, Under Your Spell from Knocked Out Loaded, Shooting Star from Oh Mercy, Born In Time, To Make You Feel My Love, Bye and Bye, Spirit On The Water, Life Is Hard, etc. Jazz artists have covered Dylan, too, i.e. Ben Sidran on Dylan Differently, Diana Krall with Simple Twist of Fate, amongst others. Dylan has also crossed paths with Jerry Garcia, who wasn't adverse to covering Berlin's Russian Lullaby, Willie Nelson who has recently also covered What'll I Do on his December Day album, Johnny Cash, who almost at journey's end, covered That Lucky Old Sun on American III: Solitary Man. However, the key issues are: can Dylan make an album of standards, and can he sing them ? The wonder of Dylan, from 1961 onwards, was, and is, that he's the world's greatest non-voice. He set the bar for songwriters like Lou Reed, Tom Waits, John Prine, and now he sets the bar on a standards album, which is far better than the recent efforts by Robbie Williams, Paul McCartney, and, above all, Rod Stewart. Most critics have, almost on auto-pilot, awarded Dylan 5 stars for his albums from Time Out of Mind onwards. This, however, is different: this is Dylan singing I'm A Fool to Want You with as much resonance as Billie Holiday on Lady In Satin, and with, dare I say it, as much panache. It also highlights an artist covering Some Enchanted Evening with aplomb, and doing far better than a disco-fied version by Ray Charles. Likewise, Dylan isn't doing the most obvious Frank Sinatra numbers - there's no That's Life, My Way, Strangers In The Night, or a duet of Something Stupid with Joan Baez. This is a stroll down the azure-tinged American songbook, the reverse-side to World Gone Wrong, or Good As I Been to You, yet, also, cut from the same cloth: Lonnie Johnson's Tomorrow Night could have been cut by Sinatra, but it wasn't. Tunes like Autumn Leaves, familiar by Nat King Cole, certainly have that bluesy tinge, that even another longtime Colombia artist gave a blue vibe to, i.e. Miles Davis in his Live at Tokyo album from 1964. Bearing in mind Dylan's love of the blues, it is no great surprise that he's found the blues in the American songbook. When you throw in Where Are You, and the yearning of Stay With Me, you find that Sinatra was also routed in the blues, albeit a more urbane sound. Sinatra listened to the bluesier jazz artists, i.e Billie Holiday and Bessie Smith, and his phrasing derived from Billie Holiday. However, there's one small caveat: the good reviews that this album has garnered may encourage Dylan to record another series of covers, but then Leonard Cohen has even covered the songbook, i.e Always.

### ⭐⭐⭐⭐⭐ Songs of autumn, songs of night – I love it
*by M***N on 2 February 2015*

Dylan is a man of many moods. If you are looking for Dylan the folk singer, Dylan the prophet, Dylan the protestor, or the electric Dylan of Highway 61 revisited, you may not find this album to your taste. Instead, we are transported to the fifties, Frank Sinatra and the pensive small hours of the morning. Dylan is soulful and languid, singing standards from another era, songs of autumn, songs of night. The music is melodic, slow and recessed; the mood is reflective, the voice is tour-weary but tuneful (for Dylan) and articulate; Dylan has taken a lot of care with this album, nothing is thrown away, nothing breaks the mood, and the lyrics are full of meaning; even though others wrote them down, he makes them his own. These are the songs of a man who has been everywhere, done everything, and has nothing left to prove. It feels like he is singing for himself and allowing us the privilege of listening in. Sometimes he is confessional; “I know I have sinned, I go seeking shelter and I cry in the wind,” he sings in Stay with Me; and “Show me that river, take me across and wash all my troubles away” in a magnificent performance of Lucky old Sun at the close. These are songs of yearning; “if my one wish comes true, my empty arms will be filled with you” he croons in Full Moon and Empty Arms. As a Dylan fan of many years, and one lucky enough to have seen him perform on many occasions, I love the album. It is different but not different; as ever, he follows his artistic instinct, never mind what others think. “Let people wonder, let ‘em laugh, let ‘em frown …. don’t you remember I was always your clown, why try to change me now?” he sings. Thank you Bob for giving us an enchanted evening.

### ⭐⭐⭐⭐ It shouldn't work - but it does.
*by D***D on 29 March 2015*

It seems a very unlikely idea, particularly to those of us more-or-less of Dylan's generation. The thought of him singing standards from The American Songbook seems to go against a lifetime of being iconoclastic, teaching us to question accepted attitudes. (Even Dylan's most overtly Christian songs were rarely "comfortable".) And surely these songs need, smooth, sophisticated singing whereas Dylan has never had a voice suited to melifluous MOR numbers and is now more rasping and "unmusical" than ever... And yet that is, paradoxically, why this album is so successful. The voice makes you listen to the lyrics; there's characteristic irony there but also a sense that these words are genuinely felt, lived through, not just thrown off on the back of a pretty but bland voice. (Of course, some of the best interpretations of these songs come from jazz musicians, both singers and instrumentalists, who are prepared to interpret, not just deliver them.) Listen to "Autumn Leaves", for example: it's a long time since I realised just how ambivalent this song is, with its bitter lyrics set against such a memorable tune and harmonies. The album is rather like Rod Stewart's similar ones; it takes a musician who has lived through a lot to capture the essence of these great but hackneyed songs. My only complaint (hence only 4 stars) is that at 35 minutes it's very short for a modern album. Still, that's not too bad for a £6.49 download of this quality.

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*Product available on Desertcart Kenya*
*Store origin: KE*
*Last updated: 2026-02-25*