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Adey's version made The Times top songs of 2006. In 2006, English singer-songwriter Steve Adey reinterpreted the song, slowing it down to a funeral pace. Rodney Crowell covered the song, with EmmyLou Harris, for Crowell's 2005 album The Outsider. Soul Flower Union as еµђгЃ‹г‚‰гЃ®йљ г‚Ње®¶ ( Arashi kara no Kakurega) covered the song on their 2002 studio album Love В± Zero. The song has also been covered by jazz singer Cassandra Wilson on Belly of the Sun released in 2002. The song was covered by Manfred Mann's Earth Band, released on their 1996 studio album Soft Vengeance. Jimmy Lafave recorded the song on his 1992 live record Austin Skyline. Trager criticized the 'emotionless lead vocal and sax solo' from the 1978 tour, while Paul Williams felt that the saxophone and backing vocalists failed to match the intensity of Dylan's singing. During Dylan's 1978 World Tour, a saxophone part played by Steve Douglas and backing vocals featured in the renditions. Dylan's live performance debut of the song during the Rolling Thunder Revue tour was described by Trager as having a 'blustery, metallic edge complete with screeching electric guitar crescendos'.

Live versions of the song have officially released on the albums Hard Rain in 1976 and Bob Dylan at Budokan in 1979. Live performances ДЄccording to his official website, Dylan played the song 376 times between 19. 14: More Blood, More Tracks, (with Take 2 included on its single-CD and 2-LP versions).

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This take and three others are included in the 2018 deluxe edition of The Bootleg Series Vol. The same take was also featured on The Best of Bob Dylan the following year. The first take of the song, from the same recording session that produced the album track, was released on the soundtrack to the 1996 motion picture Jerry Maguire. A 2021 Guardian article included it on a list of '80 Bob Dylan songs everyone should know'. Rolling Stone ranked the song 66th on a list of the '100 Greatest Bob Dylan Songs'. He compares Dylan's vision of love to Rainer Maria Rilke's Duino Elegies for being 'one in which pain and beauty, romance and faith are inextricable, almost indistinguishable, from one another'. In an article accompanying the list, critic Tyler Dunston credits Dylan for bringing out 'the beauty and spirituality in pain, highlighting the terror that accompanies the greatest joy'. Spectrum Culture included the song on a list of 'Bob Dylan's 20 Best Songs of the '70s'. They also note that the 'excellent bass player Tony Brown', the only other musician on the track, 'offers subtle and melodic playing' to accompany Dylan. In their book Bob Dylan All the Songs: The Story Behind Every Track, authors Philippe Margotin and Jean-Michel Guesdon note that Dylan's performance 'oscillates between intimacy and declamation, and his performance is excellent, including short harmonica playing (in E)'. Atwood describes the story told in the song's lyrics thusly: 'He finds her when he is nothing and has nothing or both, she welcomes him in, and he wanders off and loses her, much to his eternal regret'. He notes that the same three chords repeat in every line of every verse, which culminates in the redemptive refrain 'Come in, she said, I'll give you shelter from the storm'. 'Come in,' she said, 'I'll give you shelter from the storm''Дylan scholar Tony Attwood calls the song a 'complexly woven tale' that is 'told around three chords'. I came in from the wilderness, a creature void of form

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''Twas in another lifetime, one of toil and bloodД«lackness was a virtue, the road was full of mud The song opens with anachronistic language and Christian symbolism: Yeats, and Trager interpreting it as the narrator 'taking stock of himself, the dangerous world around him, and his lost love'. Both Robert Shelton and Oliver Trager describe the song's narrator's mood as 'tempest-tossed', with Shelton saying that the song explores a 'search for salvation through love' and has similarities to the work of W. Dylan sang, and played guitar and harmonica, accompanied by Tony Brown on bass. Dylan recorded five takes of the song on Septemat A&R Recording in New York City, with the fifth take the one that was included on Blood on the Tracks.

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