Sound Engineers: Don Puluse and Ted Brosnan
Genesis and Lyrics
Since the beginning of his career, Bob Dylan has steadily increased his references to sacred texts. In “Three Angels” the songwriter talks about “Three angels up above the street / Each one playing a horn / Dressed in green robes with wings that stick out / They’ve been there since Christmas morn.” Dylan does not sing, but rather recites the lyrics like a prayer. In this regard, the similarity to “Deck of Cards” by Wink Martindale comes to mind.
Is it a prayer? Or just a masterly description of the surrounding world? “The wildest cat from Montana”; “The Tenth Avenue bus going West”; “Three fellas crawlin’ on their way back to work.” Dylan gives even the most insignificant details a metaphysical dimension. “But does anyone hear the music they play / Does anyone even try?” The last line seems to confirm that Dylan does. As in “When the Ship Comes In” (The Times They Are A-Changin’) and “Desolation Row” (Highway 61 Revisited), Dylan announces the end of one world and the rise of a new one. The contrast with the other songs on the album is striking, both in terms of the message and the gospel-tinged references to Baptist churches.
Production
“Three Angels” surprises by its unexpected tone: Dylan could be perched on the chair declaiming his text, Al Kooper following him on the organ, and the chorus shouting loudly. The gospel feel comes from the background vocals and from the three different intonation patterns used by Kooper on the organ. However, the arpeggiated classical guitar (nylon strings) accompaniment gives a Christmas carol–like quality to the harmony and text. This classical guitar is also the only guitar heard in the song. The guitarist is not identified (Dylan, Bromberg, or Cornelius?). Note, however, two acoustic guitar notes (steel strings) at 1:33.
“Three Angels” was recorded on June 4, 1970, in three takes; the last one was used. Dylan has never performed the song live.
FOR DYLANOLOGISTS
In his book Song and Dance Man III: The Art of Bob Dylan, Michael Gray points out the similarity between “Three Angels” and a passage from Jean Genet’s novel Our Lady of the Flowers, which he wrote while in prison (1942).
Father Of Night
Bob Dylan / 1:32
Musicians
Bob Dylan: vocals, piano
Charlie Daniels: bass
Hilda Harris, Albertine Robinson, and Maeretha Stewart: chorus
Recording Studio
Columbia Recording Studios / Studio E, New York: June 5, 1970
Technical Team
Producer: Bob Johnston
Sound Engineers: Don Puluse and Ted Brosnan
Genesis and Lyrics
“Father of Night” is the third and last song Bob Dylan wrote for MacLeish’s play Scratch. MacLeish had personally suggested the title. The project was immediately abandoned, however, because of profound differences between the playwright and the songwriter. “I was determined to put myself beyond the reach of it all. I was a family man now, didn’t want to be in that group portrait.”1 Which group portrait Dylan was referring to? In Chronicles, he mentions intellectuals and their “gibberish.”
“Father of night, Father of day / Father, who taketh the darkness away / Father, who teacheth the bird to fly / Builder of rainbows up in the sky.” This last song on New Morning has a double reference. First to the Amidah, a Jewish prayer recited while standing, feet together, facing Jerusalem (“A blind man, or one who cannot orient himself, should direct his heart toward his Father in Heaven, as it is said, ‘They shall pray to the Lord’” [1 Kings 8]). The second reference is to Christian prayers. According to Clinton Heylin, the “Father of the Night” is an English Benedictine monk, Father Francis, who lived in a church on Meads Mountain, near Woodstock, and with whom Dylan spoke about religion and metaphysics after his breakup with Suze Rotolo.
Production
Once again, Dylan makes listeners question their assumptions: did he truly abandon any reflection in favor of a simple celebration of nature, the joys of family and love? Apparently not. “Father of Night” is the last track and the most sober arrangement on the album. It is also the album’s shortest song. Dylan sings and plays piano. His playing is surprising and has developed considerably since 1966. Charlie Daniels’s accompaniment on bass is very successful and provides the rhythmic and harmonic impetus of the song. Finally, the chorus of Hilda Harris, Albertine Robinson, and Maeretha Stewart gives beautiful gospel-like colors to the song. “Father of Night” brings New Morning to a fine conclusion.
It took eleven takes to record the tune on June 5, which is not surprising. Dylan provided vocals and piano, accompanied only by a bass part as rhythmic support. The last take was selected as the final one. He has never sung “Father of Night” onstage.
New Morning Outtakes
Between June 1 and August 12, 1970, Bob Dylan and his musicians recorded more than thirty songs. Twelve of them were released on New Morning. Others were released on Dylan in 1973. Three songs excluded from New Morning were released forty-three years later on The Bootleg Series Volume 10: Another Self Portrait (1969–1971), including “Working on a Guru,” an original composition; “Spanish Is the Loving Tongue,” another version of a song found on Dylan; and the traditional “Bring Me a Little Water.”
Spanish Is The Loving Tongue
Traditional / Arrangement Bob Dylan / 3:51
Musicians: Bob Dylan: vocals, piano / Recording Studio: Columbia Recording Studios / Studio E, New York: June 2, 1970 Producer: Bob Johnston / Sound Engineers: Don Puluse and Ted Brosnan / Set Box: The Bootleg Series Volume 10: Another Self Portrait (1969–1971) (CD 2) / Release Date: August 27, 2013
“Spanish Is the Loving Tongue” is based on Charles Badger Clark’s poem “A Border Affair,” written in 1907. It was set to music in 1925 by Billy Simon. Clark, son of a Methodist pastor, lived in the Black Hills of South Dakota and in Arizona, but also traveled to Cuba. “Since that last sad night I kissed her / Broke her heart, lost my own.” This passionate affair between a white man and a Mexican woman “living down Sonora way” has inspired many artists, including Judy Collins, Marianne Faithfull, and Emmylou Harris.
The version Dylan recorded on June 2, 1970, followed the sessions for Self Portrait. The song was recorded at Columbia’s Studio E in New York City during sessions for New Morning and Dylan. Since he had previously recorded six takes on April 24, 1969, in Nashville, and one take on March 3 in New York City, it seems that the song was important to Dylan. This version is superb, and the quality of his vocals and piano performances leave no regrets.
Working On A Guru
Bob Dylan / 3:43
Musicians: Bob Dylan: vocals, guitar; George Harrison: guitar; Charlie Daniels: bass; Russ Kunkel: drums / Recording Studio: Columbia Recording Studios / Studio B, New York: May 1, 1970 / Producer: Bob Johnston / Sound Engineer: Don Puluse Set Box: The Bootleg Series Volume 10: Another Self Portrait (1969–1971) (CD 2) / Release Date: August 27, 2013
The role of Eastern philosophy in George Harrison’s behavior and music is well known. But what about Bob Dylan? Could it be the influence of his wife Sara, herself familiar with Buddhism? Was this gently satirical text directed at Maharishi Mahesh Yogi, who attempted to teach transcendental meditation to the Beatles? What is certain is that the two rock stars, accompanied by Charlie Daniels on bass and Russ Kunkel on drums, deeply enjoyed recording this tune on May 1, 1970, as the laughter at the end of the song testifies. It is regrettable that they did not spend more time elaborating on it. The song has great potential and is well produced. George does not seem especially comfortable improvising, but manages to get some interesting phrases out of his guitar, with a slight delay reminiscent of Chet Atkins, one of his idols.
While not one of the American songwriter’s essential works, it is interesting due to the obvious complicity between Dylan and Harrison. Sony made the right choice to release this bootleg recording on The Bootleg Series Volume 10.
Bring Me A Littl
e Water
Traditional / Arrangement Bob Dylan / 3:59
Musicians: Bob Dylan: vocals, piano; David Bromberg: guitar (?); Ron Cornelius: guitar; Charlie Daniels: bass; Russ Kunkel: drums; Hilda Harris, Albertine Robinson, and Maeretha Stewart: chorus / Recording Studio: Columbia Recording Studios / Studio E, New York: June 4, 1970 / Producer: Bob Johnston / Sound Engineer: Don Puluse Set Box: The Bootleg Series Volume 10: Another Self Portrait (1969–1971) (CD 2) / Release Date: August 27, 2013
“Bring Me a Little Water, Sylvie” is a traditional song attributed to Texas bluesman and folksinger Leadbelly, who wrote it in memory of his uncle’s wife, Sylvie, who used to bring him water when he was working in the fields. At least this is what Leadbelly explained to the regulars of New York’s clubs in the 1940s. His first recording of the piece probably dates back to 1936, under the folklorist Alan Lomax, who had succeeded in getting Leadbelly out of Louisiana State Penitentiary for the occasion. There are various versions of this song, from folk to blues and gospel. Dylan included “Bring Me a Little Water” in his repertoire during the recording sessions for New Morning on June 4, 1970. Two takes were made, neither selected for the album. Yet the interpretation is good. The singing, with a slightly hoarse voice due to a cold, is superbly supported by three backup singers, and Dylan’s piano playing is perfect. The rest of the group ensures a solid rhythm. The absence of Al Kooper, which is quite unusual on New Morning, is noticeable. David Bromberg is reported as second guitarist, but also seems to be absent from the recording session.
Watching The River Flow
Bob Dylan / 3:36
SINGLE
RELEASED
“Watching the River Flow” / “Spanish Is the Loving Tongue”
June 3, 1971
REFERENCE COLUMBIA 4-45409
Musicians
Bob Dylan: vocals, guitar (?)
Leon Russell: piano
Jesse Ed Davis: guitar
Don Preston: guitar (?)
Carl Radle: bass
Jim Keltner: drums
Recording Studio
Blue Rock Studio, New York: March 16–19, 1971
Technical Team
Producer: Leon Russell
Genesis and Lyrics
In 1969, Roger McGuinn and Bob Dylan co-wrote “Ballad of Easy Rider” for the film Easy Rider, directed by Dennis Hopper. It includes these lines: “The river flows / It flows to the sea / Wherever that river goes / That’s where I want to be.” Two years later, Dylan reused this image, probably to express his weariness in response to the fierce criticism that followed the release of Self Portrait, even though New Morning was viewed much more favorably by critics. Now, the songwriter preferred to sit “on this bank of sand / And watch the river flow,” content to view the world as an observer, rather than an actor. By beginning the song with the question “What’s the matter with me? / I don’t have much to say,” the songwriter clearly admits his lack of inspiration.
Listening to “Watching the River Flow,” it’s clear Dylan’s muse did not give up, but cautiously guided him on the path to excellence. This song marks a return to the golden years by incorporating rock elements from Highway 61 Revisited and Blonde on Blonde, plus a hint of gospel for the best effect (as sessions of New Morning required). Moreover, the song seals the artistic collaboration between Dylan and Leon Russell, after Dylan and Bob Johnston parted ways. In 1971, Leon Russell was at the zenith of his popularity. He had made a name for himself as the musical director for Joe Cocker—the famous Mad Dogs and Englishmen Tour—and by recording the masterful Leon Russell and the Shelter People (1971), which included two songs by Dylan: “A Hard Rain’s A-Gonna Fall” and “It Takes a Lot to Laugh, It Takes a Train to Cry.”
Production
At Dylan’s request, Leon Russell assembled a backup group including big rock stars: guitarists Don Preston (who had played with J. J. Cale and Freddie King, among others) and Jesse Ed Davis, also known by the pseudonym “Joey Cooper” (who had played with John Lennon and George Harrison); bassist Carl Radle (Eric Clapton, Derek and the Dominos); and drummer Jim Keltner (Lennon, Pink Floyd, Steely Dan). Keltner remembers Dylan working on “Watching the River Flow”: “I remember Bob… had a pencil and a notepad, and he was writing a lot. He was writing these songs on the spot in the studio, or finishing them up at least.”97
This blues-rock song is a real success: all the musicians are in top form and accompany Dylan at their best. His voice has the perfect patina for this kind of song, and he sings his text with a certain casualness, even with some humor, which has the effect of making the lyrics lag a bit behind the music. The rhythm is perfect. Leon Russell’s piano part is a model of its kind, but it is Jesse Ed Davis’s guitar part, played with a bottleneck, that ignites the song. There are two other guitars, but they are inaudible in the mix. These musicians were reunited about two months later, on August 1, to accompany Dylan when he performed at the Concert for Bangladesh, organized by George Harrison. Dylan recorded the song at Blue Rock Studio, located in Greenwich Village in New York City, as opposed to Columbia Records. This was the first time he worked at Blue Rock. The number of takes is unknown.
“Watching the River Flow” peaked at number 18 on the Dutch top 100, and number 19 on the Canadian RPM singles chart, but only at number 41 on the US Billboard chart. Subsequently, the song appeared on the album Bob Dylan’s Greatest Hits Vol. II (1971), and was later included in the compilations Greatest Hits Volumes I–III (2003, CD 2), The Very Best of Bob Dylan ’70s (2009), and Beyond Here Lies Nothin’: The Collection (2011).
MISTAKEN CREDIT
Although “Watching the River Flow” was produced by Leon Russell, Dylan’s name appeared in the center circle of the 45 rpm record issued in 1971.
FOR DYLANOLOGISTS
A member of Ian “Stu” Stewart’s Rocket 88 band and former Rolling Stones pianist Ben Waters was behind the album Boogie 4 Stu: A Tribute to Ian Stewart (2011). Mick Jagger, Keith Richards, and their bandmates recorded “Watching the River Flow” for the record, which was the late Stewart’s favorite song. It was also at that time that bassist Bill Wyman performed with the Stones for the first time in the almost twenty years since he had left the band.
George Jackson
Bob Dylan / 5:38
SINGLE
RELEASED
George Jackson (Big Band Version) 5:33
George Jackson (Acoustic Version) 3:38
November 12, 1971
REFERENCE COLUMBIA 4-45516
Musicians: Bob Dylan: vocals, guitar, harmonica, piano (?); Ben Keith: pedal steel guitar; Leon Russell: bass, vocals, piano (?); Kenny Buttrey: drums, tambourine; Joshie Armstead and Rosie Hicks: vocals, tambourine (?) / Recording Studio: Columbia Recording Studios / Studio B, New York: November 4, 1971 / Producer: Bob Dylan / Sound Engineer: Don Puluse
Genesis and Lyrics
George Jackson, born in Chicago in 1941, was sent to San Quentin Prison for theft and armed robbery at the age of eighteen. Behind bars, he became involved in radical causes and became a fervent admirer of the ideology of Karl Marx and Mao Zedong. He met and befriended W. L. Nolen, and together they founded the Black Guerrilla Family in 1966. Three years later, the two revolutionaries were transferred to Soledad Prison in California, where Nolen was shot to death by a guard during a yard riot fomented by members of the Aryan Brotherhood on January 13, 1970. A year later, Jackson and two other convicts took revenge by murdering a guard, Vincent John Mills. Convinced that he would be sent to the gas chamber, Jackson attempted to escape from prison on August 21, 1971. He was shot to death during the escape attempt.
Bob Dylan wrote this song after reading the prison letters of George Jackson released in a collection titled Soledad Brother and talking to filmmaker Howard Alk, who was directing a film about the Black Panthers (The Murder of Fred Hampton, 1971). The images and words came to him at once—perhaps too quickly. There is a lot of emotion in “George Jackson,” but at the same time the song reveals a kin
d of directness that is unusual for Dylan. “Sometimes I think this whole world / Is one big prison yard / Some of us are prisoners / The rest of us are guards.” It is difficult recognizing the poet of the 1960s, who polished words with the art and finesse of a jeweler, chiseling imagery with double meanings.
Although Dylan was clearly affected by the circumstances and political dimension of the death of a man in a prison yard, “George Jackson” does not equal the drama of some of his other songs, such as “The Lonesome Death of Hattie Carroll” and “Only a Pawn in Their Game” (The Times They Are A-Changin’) that less than a decade earlier inspired the language of protest songs. Furthermore, the author takes some liberty with the truth, saying that Jackson was jailed for stealing $70 from a gas station. “George Jackson,” however, remains an important song, as it characterizes Dylan’s return to topical songwriting.
Production
After reading Jackson’s letters, Dylan called Columbia to reserve a studio. The session took place on November 4, 1971. Two takes were recorded. The first version, released as a single was a “big band” version. The big band consists of Dylan singing and playing acoustic guitar and harmonica, Ben Keith on pedal steel guitar, Leon Russell on bass, and Kenny Buttrey on snare drum and tambourine, but tambourine was probably also played by two chorus members, Joshie Armstead and Rosie Hicks. Leon Russell may even have joined in for the choruses as well as recording the piano overdub during instrumental breaks (unless it was Dylan himself). This version exudes a freshness and dynamic style in contrast to the lyrics, and it is clear why Dylan wanted to release this melodic tune as a single.
Bob Dylan All the Songs Page 49