Bob Dylan All the Songs
Page 57
Production
“Lily, Rosemary and the Jack of Hearts” was recorded in one take on September 16, 1974, and retained for the test pressing. Then, on December 30, the songwriter rerecorded the song in Minneapolis. The twelfth verse, where Lily’s arms lock around the Jack of Hearts, was omitted. “Lily, Rosemary and the Jack of Hearts” is certainly not the best song on the album, but the band, after briefly rehearsing and after being warned by Dylan’s brother that the song was long, recorded it in only one take. Berg and Peterson performed a remarkable rhythm part. A bit of trivia: Dylan did not use the right harmonica and played off key, but he managed to do a serviceable job.
FOR DYLANOLOGISTS
Dylan played this song only once in concert in Salt Lake City, Utah, on May 25, 1976. At this concert, Dylan wrote several lines of the song on the sleeve of his shirt for fear of forgetting them.
If You See Her, Say Hello
Bob Dylan / 4:48
Musicians
Bob Dylan: vocals, guitar, mandolin
Kevin Odegard: guitar (?)
Chris Weber: guitar
Peter Ostroushko: mandolin
Gregg Inhofer: organ
Billy Berg: drums, percussion
Recording Studio
Sound 80, Minneapolis: December 30, 1974
Technical Team
Producer: David Zimmerman
Sound Engineer: Paul Martinson
Genesis and Lyrics
“If You See Her, Say Hello” brings to mind “Girl from the North Country (The Freewheelin’ Bob Dylan), although the scene does not take place in the cold northern countries, but in Tangier, Morocco. As with most of the songs on this album, it is a sad love story and was initially recorded in New York City in September and rerecorded in Minneapolis in December. The lyrics in the second verse were modified, and the fourth verse was completely rewritten. Thus, “Oh, I know it had to be that way, it was written in the cards” was rewritten in the final version as, “Oh, whatever makes her happy, I won’t stand in the way.” Similarly, the I replaced it, clear evidence of the personal involvement of a songwriter who, better than anyone, knew that love stories often ended badly. According to Clinton Heylin, “‘If You See Her, Say Hello’ has been written down with the ink still wet from last night’s tears.”112
Production
Having recorded a folk version on the acoustic guitar and harmonica in New York on September 16 (released on The Bootleg Series Volumes 1–3) and another version with Tony Brown three days later (test-pressing version), Dylan rewrote “If You See Her, Say Hello” in Minneapolis on December 30. It was the last song cut for the album. Dylan gave a more Mexican atmosphere to the song. The recording places great emphasis on guitars, especially Chris Weber’s 12-string guitar and Peter Ostroushko’s mandolin. There is no bass, as Peterson had left the studio for an outside engagement. Dylan overdubs a mandolin part and Weber another 12-string guitar part to strengthen the ending of the song. Dylan’s interpretation is one of the best on the album. “If You See Her, Say Hello” is one of his greatest works.
FOR DYLANOLOGISTS
Dylan was so impressed by Bill Berg’s drumming that he offered him a place on a future European tour. But, to his surprise, Berg refused.
Shelter From The Storm
Bob Dylan / 5:02
Musicians
Bob Dylan: vocals, guitar, harmonica
Tony Brown: bass
Recording Studio
A&R Recording (Studio A), New York: September 17, 1974
Technical Team
Producer: Bob Dylan
Sound Engineers: Phil Ramone and Glenn Berger
Genesis and Lyrics
In this song, Dylan was probably inspired by the book of Isaiah in the Old Testament, which, according to Christian believers, announces the coming of the Messiah. In fact, the experience of the character in the song, being offered shelter from a storm by a benevolent woman, takes on a special dimension: “‘Come in,’ she said, ‘I’ll give you shelter from the storm.’” The reference is even more explicit in the fifth verse: “She walked up to me so gracefully and took my crown of thorns.” Dylan creates this Christ-like figure in an undeniable Western atmosphere, with open spaces, the deputy sheriff, the preacher, and the one-eyed undertaker.
This “Christ” who bargains for salvation and offers his innocence but receives only scorn asks the right question: is it all only despair? His only desire is “turn back the clock to when God and her were born.” In this interpretation, the song appears to be a metaphor: love as an act of redemption, eternal love beyond the rapture, which is only ephemeral. This can still be a metaphor for rebirth. Thus, the kindness and sense of mercy of a woman allow the “rebirth” of the narrator. “Shelter from the Storm” included an eleventh verse that was removed from the final version.
Production
Although “Shelter from the Storm” has only three chords, the open tuning used by Dylan gives an impression of greater harmonic richness. The excellent bass player Tony Brown offers subtle and melodic playing. Recorded in five takes, the day after the first session for the album (the unfortunate session for Weissberg and his musicians), the last take was selected. Dylan oscillates between intimacy and declamation, and his performance is excellent, including his short harmonica playing (in E). Contrary to what he recorded in Minneapolis, the New York tessituras are lower, giving more intimacy and emotion to his interpretation. This song has been played nearly four hundred times since its debut on April 18, 1976, at the Civic Center in Lakeland, Florida.
IN YOUR HEADPHONES
The buttons of Dylan’s jacket hit his guitar (see “Wedding Song” in Planet Waves), which is now almost a trademark.
Buckets Of Rain
Bob Dylan / 3:22
Musicians
Bob Dylan: vocals, guitar
Tony Brown: bass
Recording Studio
A&R Recording (Studio A), New York: September 19, 1974
Technical Team
Producer: Bob Dylan
Sound Engineers: Phil Ramone and Glenn Berger
Genesis and Lyrics
Just as he finished the last verses of “Idiot Wind,” Dylan wrote down a few words that had just popped into his head: “Little red wagon, little red bike, I ain’t no monkey but I know what I like.” “Buckets of Rain” emerged from this line, after some tweaking. Even the title changed from “Nuggets of Rain” to “Buckets of Rain.”
It’s a sad love song in which the narrator declares his love to the woman of his dreams, but she does not seem to reciprocate his feelings. A bitter truth results in Dylan’s last line, “Life is sad / Life is a bust.”
Production
Dylan concludes Blood on the Tracks with a tribute to the folk songs of his debut. Indeed, “Buckets of Rain” is reminiscent of “Bottle of Wine” by Tom Paxton (1965) in terms of melody. The guitar is in open E tuning (capo on the second fret, E major) with excellent finger-picking. Contrary to “Wedding Song,” this time while recording Dylan carefully avoids noises, especially from the buttons on his jacket, and delivers a subtle interpretation, sweet and melancholic. Tony Brown provides a brilliant, melodic, and rhythmic bass part. “Buckets of Rain” could not be a better song to close a rich album, filled with such dense emotions. The song was first recorded with Brown and Griffin on September 17, but the fourth take of September 19 was used as the master. Dylan has performed it only once, at the Fox Theater in Detroit, on November 18, 1990.
FOR DYLANOLOGISTS
Dylan and Bette Midler recorded “Buckets of Rain” together for the album Songs for the New Depression (1976). He altered a line of the third verse from “Everything about you is bringing me misery” to “Everything about you is bringing me ecstasy.”
Blood on the Tracks Outtakes
Blood on the Tracks is marked by some of Dylan’s aesthetic masterpieces. The album is also associated with the two outtakes “Up to Me” and “Call Letter Blues,” omitted and replaced
at the last minute by “Buckets of Rain” and “Meet Me in the Morning.” The folk song “Up to Me” is included on Biograph, whereas “Call Letter Blues,” a lowdown blues song, was released on The Bootleg Series Volumes 1–3.
Up To Me
Bob Dylan / 6:19
Musicians: Bob Dylan: vocals, guitar, harmonica; Tony Brown: bass / Recording Studio: A&R Recording (Studio A), New York: September 19, 1974 / Producer: Bob Dylan / Sound Engineers: Phil Ramone and Glenn Berger / Set Box: Biograph (CD 3) / Date of Release: November 7, 1985
“Up to Me” is a synthesis of “Tangled Up in Blue” and “Idiot Wind.” From the first song, Dylan takes the tangle of feelings of love that may be reality or may be fiction; from the second, the defiant response to those writing calumnies against him. In the second verse he sings, “I was just too stubborn to ever be governed by enforced insanity.” Surely “Up to Me” is autobiographical, concerning his broken relationship with Sara, which dominates the song (“Everything went from bad to worse, money never changed a thing”), and his professional experience. When Dylan sings, “I’ve only got me one good shirt left and it smells of stale perfume,” he refers to his debut with his guitar and his harmonica around his neck. Yet he tirelessly refutes any association with himself: “I don’t think of myself as Bob Dylan. It’s like Rimbaud said, ‘I is another.’”12
Despite a session on September 16 with Eric Weissberg’s group, Dylan recorded seven other takes on September 19, accompanied by the excellent Tony Brown on bass. The last attempt was released on Biograph. The melody and chords are very close to “Shelter from the Storm,” allowing Dylan to adroitly modulate his singing. The song has never been played live.
Call Letter Blues
Bob Dylan / 4:27
Musicians: Bob Dylan: vocals, guitar; Eric Weissberg: guitar; Charlie Brown III: guitar; Buddy Cage: pedal steel guitar; Tom McFaul: keyboards (?); Tony Brown: bass; Richard Crooks: drums / Recording Studio: A&R Recording (Studio A), New York: September 16, 1974 / Producer: Bob Dylan / Sound Engineers: Phil Ramone and Glenn Berger / Set Box: The Bootleg Series Volumes 1–3: Rare & Unreleased, 1961–1991 (CD 2) / Date of Release: March 26, 1991
“Call Letter Blues” was recorded in two takes on September 16, 1974. Even if this blues song is credited to Bob Dylan, the Delta blues musician Robert Johnson’s influence is obvious, particularly his 1936 song “32–20 Blues” (Dylan recorded this in 1993, and released it on The Bootleg Series Volume 8: Tell Tale Signs: Rare & Unreleased 1989–2006 in 2008). But “Call Letter Blues” is different from “Meet Me in the Morning.” With Dylan accompanied by Eric Weissberg’s band, the song takes off with Buddy Cage’s entrance, recording an extraordinary pedal steel guitar solo on September 24 during the overdub session where Mick Jagger was present in the control room. “Call Letter Blues” has never been performed onstage.
Desire
Hurricane
Isis
Mozambique
One More Cup Of Coffee (Valley Below)
Oh, Sister
Joey
Romance In Durango
Black Diamond Bay
Sara
THE OUTTAKES
Rita May
Money Blues
Catfish
Golden Loom
Abandoned Love
DATE OF RELEASE
January 5, 1976
on Columbia Records
(REFERENCE COLUMBIA PC 33893)
Desire:
An Album Written with Four Hands
The Album
In June 1975, after a few days spent in the south of France, Bob Dylan, who was separated from his wife Sara, moved alone to a loft on Houston Street in Greenwich Village. Columbia was working to release The Basement Tapes. The songwriter was already thinking about his next album. Since Blood on the Tracks, Dylan had written only one song, “One More Cup of Coffee,” even if he had been thinking of others.
Three people Dylan met in July would help him get his ideas down on paper. The first was Jacques Levy, whom he met through Roger McGuinn, the singer and guitarist of the Byrds. Levy was an author, playwright, and theater director. In 1969, he directed the controversial off-Broadway erotic musical Oh! Calcutta! Afterward he worked with McGuinn on a musical project inspired by Henrik Ibsen’s Peer Gynt. Dylan asked Levy to write some lyrics. “First of all, it got me a little nervous,” Levy later said. “I said to him—and it was very funny at the time, though I don’t know how funny it will be now—I said: ‘You know, I write the lyrics; I don’t write the music.’… It never dawned on me that he was going to ask me to write lyrics for him.”113 Shortly after this first encounter, Dylan and Levy left New York City for a small cottage in East Hampton, New York, where they engaged in a fruitful collaboration—seven of the nine new songs resulted from this time together.
Scarlet Rivera was the second person who played a significant role in Dylan’s creatve production at this time. She was a violinist and was heading to a rehearsal with a Latin band when an ugly green car pulled up next to her. She later recounted: “Actually he had this woman next to him ask me… He asked her to ask me for my phone number, but I told her to tell him that I didn’t give out my number to somebody stopping me on the street.”114 Dylan finally asked her to come downtown and rehearse with him. He had noticed the woman’s violin case but had never seen her before. It was a spur-of-the-moment decision to ask her to come play with him!
The third key figure was Emmylou Harris, a singer recording her third album, Elite Hotel, at the time. Bob Dylan did not know her very well. Said Harris, “There was a fellow at Columbia that was a fan, who was like an executive producer, and I think Dylan told him ‘I need a girl singer.’ Don DeVito was his name and I got a call that Dylan wants you to sing, but that wasn’t true because he just wanted a girl singer. I mean we basically shook hands and started recording. I didn’t know the songs, the lyrics were in front of me, and the band would start playing and he would kind of poke me when he wanted me to jump in. Somehow I watched his mouth with one eye and the lyrics with the other.”115
An Opening Record
With Jacques Levy, Scarlet Rivera, and Emmylou Harris at his side and a big band to accompany him, Bob Dylan experimented with new horizons for his seventeenth studio album. Scarlet Rivera’s gypsy-toned violin had some world music accents, while Dylan himself was seduced by a certain exoticism (“Mozambique”), even singing in the language of Cervantes in “Romance in Durango” and Molière in “Black Diamond Bay.”
However, Desire does not mark a complete break with the past. The songwriter returns to protest songs with “Hurricane.” But also, with poetic inspiration, he wrote about lost and bitter loves (“Isis,” “One More Cup of Coffee (Valley Below),” “Oh, Sister,” and “Sara”). Desire is an excellent album, formed by the deep emotional pains of his separation from his wife but also focused on the future.
The Album Cover
For the album cover, Dylan wears a light gray hat, a black spotted scarf, and a colorful red, white, black, and orange Navajo-style coat. The photograph was taken by Ken Regan, the famous rock photographer who had worked with artists, from the Stones to the Beatles and Jimi Hendrix, at the beginning of the Rolling Thunder Revue (probably in October 1975). The shot was taken at Plymouth Memorial State Park, in Massachusetts, home of a replica of the Mayflower. The photographs on the back cover are by Ruth Bernal and the collage by Carl Barile. The design is John Berg’s, who also designed Blonde on Blonde.
The Recording
The first recording session took place on July 14, 1975, at Columbia’s Studio E (as did the other sessions). Dylan was accompanied by English guitarist Dave Mason and his musicians. Mason was a member of the band Traffic before starting a solo career. The other musicians were Scarlet Rivera on violin and Sugar Blue on harmonica. Two songs, “Rita May” and “Joey,” were recorded in seventeen takes. The experience was interesting, but Dylan wanted to develop his “orchestral” idea more deeply. Thus, while he and Jac
ques Levy were in East Hampton, producer Don DeVito brought together a group of twenty musicians and backup vocalists for a session on July 28. This big band included the guitar god Eric Clapton and Emmylou Harris. That day, six songs and fifteen attempts were put on the tape recorder. Only “Romance in Durango” made the album. A new session was held on July 29, albeit with fewer sidemen, due to the departure of most of the English contingent (including Clapton), but the session was as confused as the day before. Consequently, all those recordings were discarded.
A solution had to be found. DeVito tried to improve the sound and get the sessions moving. It seems it was the bassist Rob Stoner, who suggested that DeVito use a smaller band: “No girlfriends, no wives, no nothing! Just the smallest possible band you can get—bass player, drummer, and anybody else you wanna keep around.”89 Dylan found the idea attractive, especially because the day before he had recorded a version of “Oh, Sister” with a smaller band. Percussionist Sheena Seidenberg recalls, “Dylan called me that afternoon, and he told me that he couldn’t sleep much because the energy was so high, so intense, all this commotion, and magic, and trying to do this art form.”89 As a result, the session of July 30 with Dylan, Emmylou Harris (vocal harmonies), Scarlet Rivera (violin), Rob Stoner (bass), Howard Wyeth (drums), and Sheena Seidenberg (percussion) was very productive.