I Shall Be Released instance of musical work/composition
Style and content
The song is influenced by gospel music, combining images of religious redemption with implied literal release from prison. David Yaffe described the song as a song about redeemed prisoners. The song describes life behind a wall, hearing a man who "swears he's not to blame" and is "crying out that he was framed". While the narrator reflects on "every man who put me here", and says that "any day now I shall be released".
Author Mike Marqusee observed that the cruelty of the justice system is a recurring theme in Dylan's work, but that Dylan broadens the idea of imprisonment to social issues with an urge for freedom. Clinton Heylin writes in his book Revolution In The Air:Prisons of the body and the mind seem to have preyed on Dylan's mind throughout his time spent with the boys on retainer. Among the songs recorded at early basement sessions were covers of "Folsom Prison Blues" and "The Banks of the Royal Canal" (the latter is particularly affecting), both songs written—metaphorically—from inside prison walls. Dylan then takes a leaf from Johnny Cash and Brendan Behan (brother of Dominic Behan), authors of those earlier songs, by writing his own prison song, "I Shall Be Released." He is characteristically careful not to confuse simplicity of construction with a commensurate simplicity of meaning. The release that he is singing about—and that Richard Manuel echoes—is not from mere prison bars but rather from the cage of physical existence, the same cage that corrodes on "Visions of Johanna".Reception
Rolling Stone magazine ranked "I Shall Be Released" 6th on a list of the "100 Greatest Bob Dylan Songs". An article accompanying the list calls it a "simple, evocative tale of a prisoner yearning for freedom" and a "rock hymn [that] was part of a conscious effort by Dylan to move away from the sprawling imagery of his mid-Sixties masterpieces". It also describes the original Basement Tapes version thusly: "The rough church of the organ and guitar frame Dylan's urgent nasal prayer, until Richard Manuel's keening harmony illuminates the chorus, like sunlight pouring through a stained-glass window".
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