I don't know if it is kosher to suggest another channel but it is highly relevant. There is this guy, Andy Edwards who has a huge appreciation of music and for me is a very talented cultural critic of music and music history, a bit like like Greil Marcus. He is big into jazz and prog rock but seems to have enormous insight into the development of popular music, what influenced what, how it fits , and communicates it all exceptionally well. So about this journey you are on. Like Joe he doesn't particularly like Dylan, he rarely listens to him but he is astute enough to rank Dylan very high in terms of importance. He has one video, the 10 greatest albums ever (all genres) and Highway 61 Revisited is on the list. For me that is an amazingly incisive choice, one that very few would make, but it is interesting to see his rationale, not for the traditional reasons of lyrics etc but for the album as a whole which he thought was a decade ahead of its time. The other video is the 10 most important albums in music history ever made and he puts Freewheelin' at #2. (Sinatra's "in the Wee Small Hours" is #1). Robert Johnson is on the list, Miles Davis, etc). He says in his opinion Dylan was the most important artist of the last 60 years. The first (and usual) reason is how he elevated popular music with lyrical sensibility, but he also says Dylan "democratized" popular music. If your lyrics were worthwhile, it didn't matter if you had a great voice and this opened the door to countless artists to become significant. And again, he is not particularly fond of Dylan. He is like Joe who is more musically oriented. I find his stuff a companion to what you are doing here and thought it was interesting enough to mention it. For me the intriguing tension (or dynamic) between Sevey, the great Dylan freak, and Joe, semi reluctantly dragged into this, makes for fascinating discussion. Blood on the Tracks looms after Planet waves.
Again, great discussion, thank you guys! Great idea to meld 1971-73 in one go. I remember the first Bob Dylan I bought was Greatest Hits Volume 2 in ‘74 or ‘75; I had heard of Dylan, was beginning to read Rolling Stone (which generally revered him) and as a 15 year old or so thought I should check him out. My thinking back then was to get Greatest Hits albums; all the best songs, right? And I still remember how amazed I was at listening to that double vinyl album, being totally mesmerised by songs I had never heard before…not only Watching the River and Tomorrow is a Long Time but When I Paint My Masterpiece and Down in the Flood, not to mention stuff like Don’t Think Twice and Stuck Inside of Mobile, etc….totally new to me! I was so impressed, so into those songs, I couldn’t believe it…he was already, for me, head and shoulders above the other stuff around, just so clever and deep and compelling. Been a life long fan ever since, and my appreciation of Dylan just grows. UnlikeJoe, I came to all these songs fresh, hadn’t heard any covers, and to me they are still the best. Hadn’t heard Dylan (album) or Pat Garret until fairly recently, when I became a Dylan completist, and only hear George Jackson on the Side Tracks compilation. Not essential, but enjoyable stuff, especially the guitar work on Pat Garret (the version of Knocking on Dylan’s MTV Unplugged album is my favourite), but nothing short of interesting. Joe certainly has come a long way in his appreciation of Dylan, even for the Dylan album, which is far less good than Another Self Portrait. Can hardly wait until you guys get into the next phase through the balance of the Seventies, which is a true golden Dylan period, arguably his best ever. Thx again and cheers, love the series! JPE
This was a really smart way to approach this time period and I think ultimately made talking about this period more engaging. Important to talk about but a whole episode just about Pat Garrett and Billy the Kid might have been rather short lol. Looking forward to seeing what Joe thinks of Planet Waves, I really like that one!
A kind of fun thing that is floating around out there on the interwebs is people coming up with sequenced playlists for a "lost 1971 Dylan album". There are some variations, but the core of most of them is the same. I'm not sure it would totally qualify as an LP based on the running length. If so, it would probably be in the running for the shortest album of Dylan's career. But he also wasn't really an EP kind of guy either, so. Below is the tracklist for the version I made for myself. I actually have a CD version of this for the car that I prefer because I have my preferred version of 'Spanish Is The Loving Tongue' on it, and that version isn't on any of the streaming services. At least not that I'm aware of. While I'm fully aware that this was not a collection of songs that was ever intended to sit together in album form, I actually think the vibe of these performances hang together nicely. Overall, it's a very loose, bluesy set of songs that dips into rock, country and gospel at times. It's a fun listen, which is not something that you can always say about Dylan albums. Even on the songs that are more serious lyrically, the music doesn't take them in a maudlin direction. They wind up being rather breezy, despite the heavier lyrical content. I actually listen to this one a lot, and it would have been interesting if he had put these songs together for one album, or maybe the bulk of them with some other songs to round things out. It would have maybe provided a different direction for him for the early 70s. Mine follows the tracklist I found on some Dylan site, with maybe a slight change or two, so I take no credit for doing the bulk of the work here. It's a fun set of songs to play around with though. 1. 'Watching the River Flow' (Side Tracks) 2 'When I Paint My Masterpiece' (Side Tracks) 3. 'Wallflower' (The Bootleg Series Volumes 1-3) 4. 'George Jackson (Big Band Version)' (Side Tracks) 5. 'Only A Hobo' (Another Self Portrait: Bootleg Series, Vol. 10) 6. 'You Ain't Goin' Nowhere' (Side Tracks) 7. 'Down In The Flood' (Side Tracks) 8. 'I Shall Be Released' (Side Tracks) 9. 'Spanish Is The Loving Tongue' (B-Side Version -- found on 'Masterpieces' & 'Pure Dylan' compilations) 10. 'George Jackson (Acoustic Version)' (Side Tracks) *Bonus Track* While I prefer the acoustic version of 'George Jackson', I think the Big Band version fits better sonically with the rest of the songs. So I tacked on the acoustic version as a bonus track to kind of pad the running time a bit. Since that B-Side version of 'Spanish Is The Loving Tongue' doesn't seem to be available on streaming services, my streaming alternate is the version from Another Self Portrait, but that's cheating a bit because I think that one is from 1970. Still...that one is better than the version off of "Dylan". Last thing I wanted to mention is that I agree with you guys on the above version of 'I Shall Be Released' (from Greatest Hits, Volume II / Side Tracks) not being the best version. It does sound a bit like a bluesy campfire sing along type of thing. However, the Take 2 version of 'I Shall Be Released' found on disc 3 of "The Bootleg Series, Vol. 11: The Basement Tapes Complete" is my go-to take on the song. I like it better than The Band's version from "Big Pink". The Basement Tapes Complete version has Richard Manuel harmonizing behind Dylan, with the same arrangement that they went with on "Big Pink". I just think it is kind of the best of both worlds, as I feel Dylan's register is a more natural fit for the song than Manuel's otherworldly falsetto. It's not that I dislike the "Big Pink" version, or Manuel's vocal, I just prefer hearing Dylan out front. This Basement Tapes version might be the same version as the Alternate Take from "The Bootleg Series, Vol. 1-3", but it sounds better on the later installment.
I thought i'd heard all of Bob Dylan, but this is the first time I went and listened to "George Jackson" and "Watching The River Flow", thanks to you guys mentioning it.
I overprepared. I went back and reread some of Paul Seydor's book on the making of Pat Garrett and Billy The Kid and Sid Griffin's Shelter From the Storm, as well as rewatching the film. It was actually pretty fun, immersing myself in that world and I've been on a Peckinpah kick anyway. I can't hear Knocking On Heaven's Door without thinking of Katy Jurado and Slim Pickens. Yes, the song is a bit on the nose, but I didn't mind. I was hoping you guys would talk about the film a bit. It's funny how Dylan can be a such a commanding live presence but be so recessive on screen, though he is amusing. I know these Dylan podcasts can't go on forever, but I'd love to hear more about Dylan's use of film in his songs, using bits of dialogue, mentioning performers, etc. There will be a few more times when this theme comes up, so here's hoping.
the "Billy" songs are massively overlooked.... and also seem quite personal imho. KOHD has been done 100s of times but only once properly, and that is the film score version. And even Bobs later lyrics changes like the phrase "so many times before" dont really add anything to the sublime minimalism of the original. Being born in 1956, i really only got to know Dylan first in this phase, having no elder sibs to give me an early introduction. my friend bought a copy of PGABTK and we went to the pub (oops , underage there, in school uniform and all) and got them to put it on the their sound system. I kept waiting for Bob to sing. ha ha... seriously wanted more more more, but hell i fad never even listened to "bringing it all back home" or "JWH" at that stage, and had SOOO much to catch up on... keep up the good work guys
I was so happy to find the Dylan LP used in a record store. I have also since bought a Japanese import CD. I LOVE “Sarah Jane”. And I dig his “Big Yellow Taxi”. The problem is the sequencing.
Another cool episode. The best part of it for me was getting me to listen to Jerry Jeff Walker's Mr. Bojangles. I was most familiar with the Nitty Gritty Dirt Band's version.
I like Pat Garrett -- very listenable, enjoyable music. Agree that the Billy tunes are really compelling. Knockin' On Heaven's Door is a very spare lyric and the melody is very simple -- but the cumulative impact of just a few repeating chords, its slow, stately pace, the bass line, and the arrangement is a reminder for me that songs are about chemistry -- music + lyrics + players + performance + production. For me, the chemistry in this recording elevates the listening experience to a kind of oracular whole that's greater than the sum of its parts -- I'd say lyrics and melody are each deliberately spare and the combination creates a recording with a uniquely haunting power.
Art imitates life. 1973 - The last American combat troops are withdrawn from Vietnam. Although “Knockin’ On Heaven’s Door” is not specifically about the Vietnam War, the world into which this song was delivered was ready for it. It surely comforted families of the fallen. No matter how they fell. Well…I wasn’t actually there but I can’t imagine it not! I have no evidence to back this up, but I expect Bob Dylan, who works double meanings into his lyrical choices with ease, knew what he was doing here. I find Bob’s vocal delivery on this song to be particularly moving. The sentiment echoes Scott Walker’s “Hero Of The War” and Dylan’s own “Masters Of War” if you listen between the lines. To me, it’s a timeless treasure of a song.
@michelewiese48 I'm pleased that you're well! I miss our frequent chats when the boys were doing year by year songs and albums. Good times! All in all, I'm doing OK. I'm looking forward to the discussion of Blood on the Tracks. Such a great album! Take care, dear friend.
I like how you dealt with this period. Dylan is an artist for sure, doing what he wants to do when he wants to dit it. Look forward to Planet Waves and Blood On The Tracks.
As usual an interesting discussion between you! The thing with many Dylansongs are that many other singers/musicians made great covers of them and made them "their" songs. Love Tomorrow is a long time with Sandy Denny and Mighty Quinn is for me for always connected with Manfred Manns Earthband. A great version of You ain´t going nowhere appears on Nitty Gritty Dirt Bands "Will The Circle Be Unbroken Vol 2" with Roger McGuinn & Chris Hillman and Maria Muldaur make a nice version on her Dylan album. I shall be released is one of Dylans best songs and there are so many good covers of it. The version on The Last Waltz (The Band/Dylan) is fine. The best cover I have heard of Knockin On Heavens Door is by Mungo Jerry (!).
Joe and Dylan this Bob Dylan series is f#&@ing amazing!! I can't wait for Blood on the tracks!! Maybe the 3rd best Dylan album or 2nd or even first. Thank you, gentleman!!
I think the performances in the Concert for Bangladesh are INCREDIBLE. Especially Hard Rain and Just like a Woman …wow! The harmonies on the latter fantastic. I love Watchin the River Flow and then of course KNOCKIN ON HEAVENS DOOR from this pretty fallow period.
I had never heard "Dylan" so as I finally got to it today, with a bit of trepidation, I was struck that I wasn't hating as much as I thought I was supposed to; not great, but I did like that rawness. I knew Pat Garrett and like it as a soundtrack album. I have never heard "Planet Waves" either but am intrigued to see what he did right before "Blood on the Tracks". Loving this series.
Joe and Dylan, this a great series! I keep checking back to see if the next one's out. Prediction: Planet Waves won't rock either of your worlds. It's not a record for the ages, but it's beautiful. Highlights for me, in advance of the episode: Dirge; Forever Young of course (though I don't love it the way some do); Tough Mama; On A Night Like This.
A great survey of the "Lost Years". Lots of context and information that I found helpful, including the machinations of Columbia and Dylan's jump to the Asylum label. Overall, Dylan produced some great work in isolation including "Watching the River Flow" and the re-recordings on GREATEST HITS Vol. 2. As a point of correction, that compilation features the live, Isle of Wight version of "Quinn the Eskimo" (originally found on SELF PORTRAIT). It's Bob's mellow country voice pushed into punk territory! It's odd that the stand-alone single, "George Jackson" didn't end up on Vol. 2 nor any significant compilation (not even the 3-disk DYLAN comp from 2007). I've listened to it once or twice but still can't recall anything significant about it. Obviously, neither Dylan nor Columbia think much of it. And where is that "Spanish is the Loving Tongue" b-side?!!! This period seems to be a continuation or an outgrowth of his 'myth-destroying' SELF PORTRAIT stance. He just doesn't seem interested in (capable of?) producing a full album of songs. I think the PAT GARRETT soundtrack is fine and actually shows him pulling out of the morass of the previous two studio efforts, foreshadowing what is going to be his first sustained comeback period. Oddly, I think what happens during the '71-'73 period is that Dylan's myth actually grows. People are nostalgic about his '60s legacy, miss his voice, and are hungry for more of his songwriting and performing. His few live appearances prove it. The CONCERT FOR BANGLADESH confirmed that he could still move people. I'd forgotten that the live material from The Band's ROCK OF AGES came from this period as well. Although he's straining on the first few songs, by "Don't Ya Tell Henry", it sounds like he's having a great time. "Like a Rolling Stone" isn't perfect (he muffs a few lines) but it's ramshackle charm and audience reaction win out. It's interesting that they perform "Down in the Flood" as the 1974, arena tour document would be titled AFTER THE FLOOD. Columbia's DYLAN release only confirms what mixed-up confusion reigned in the studio during the making of SELF PORTRAIT and the over-rated NEW MORNING. Nice of you both to give it some props, nonetheless. It'll take some regular touring for Dylan to find a new 'rock' voice but when he does (during the "Rolling Thunder Revue") he finally recovers the excitement and drama of old. As for his songwriting, his "Lost Years" are about to end.
Oh yeah! I thought of another DYLAN appearance from this period that is obscure and cool. He appears on the album DOUG SAHM and Band album, from Doug Sahm of Sir Douglas quintet fame. Plays some guitar and sings harmony but the big thing is his contribution of his song WALLFLOWER on it. This came out early 1973. Its a fun album.I am sure son Jacob may have been referring to this song when naming his band THE WALLFLOWERS . I always liked the song although it’s a minor work of his.
Little sidebar: Both Kris Kristofferson and Doug Sahm appeared in the 1972 film Cisco Pike. Not a great film, but worth catching. Sahm is only in it for a few minutes, but it's a cool, unhinged cameo. I'm also a fan of that Doug Sahm LP; he's an artists that doesn't get enough credit.
Great idea to do this as an in-between episode of its own. There is no "body of work" standing for itself in this time, but ... actually i loved Watching the River Flow as a teenage Dylan freshman, and i also loved, and love now even more When I Paint my Masterpiece as a masterpiece in its own right, exactly the version of More Greatest Hits. This has not been mentioned enough, I think. The Billy the Kid album sure is not a major work, but for me the music is oddly satisfying, in a sort of ambient music kind of way. I have listened many times to it as a whole. And as usual I'm very much in sync with my Bob Dylan soul brother Dylan Sevey: I cheered in excitement when he praised Billy 4, a hidden favorite of mine. Now I'm curious for the Planet Waves episode, an album that is quite important for me.
There’s great little song in the movie called ‘Billy Surrenders’ but didn’t make the album. It’s the scene where Billy gives up to Pat Garrett arresting him, and Billy’s standing with his arms out to the sides like Jesus on the cross. Pretty powerful
Hearing Dylan mention Landau bringing us Springsteen made me think of an idea for the next series that would be great (once this one is done ofcourse 😉)… Dylan does Springsteen with host JASON!! Do iiiiiit!
I hope you guys cover Bob’s performances in Rolling Thunder , Hard Rain( I remember the 1976 TV special as a kid) and especially his performance culminating The Last Waltz which is amazing in the movie!
Nice one guys! Enjoying this series a lot. I'm a super fan myself but I'm always so interested to hear other people's point of view - there's no such thing as a wrong one. I think you covered this period really well. As an aside, I have always wondered why "Dylan" the album and "The Basement Tapes" are considered Canon when it comes to his studio albums - to me, as album projects, they are conceptually, no different to the Bootleg Series. Would you agree? Either way, I love that cover them in the context of what he was doing at the time. By the way I love Pat Garrett- I appreciate it is repetitive and its a soundtrack and all that but I think it is so evocative of the Wild West era it is set in and its a beautiful late night listen. Anyway really looking forward to Planet Waves and the rest of the 70s. Thanks guys!
I've not listened to this era pretty much at all. I listened to the Pat Garrett album last week in preparation of this video. I thought a couple of the tracks were fantastic. Some of the "Billy" stuff is great. The opening track. Some of it is filler-ish, but it's better than I thought it would be. Just listened to Dylan's Bangladesh set after pausing this video around the 7:00 minute mark - oh, man, that's a killer set! I mean, it doesn't sound too much different from the originally recorded songs and maybe that's why it sounds killer. As far as listening to his live material, Joe, at some point you've got to listen to Volume 4 (Live 1966) and Volume 5 (Live 1975) of the Bootleg series. I mean...it's some of his best work. I don't know about the "Real Live" and "Live At Budokan" records, but...those bootleg discs are essential. Some people really LOVE "Planet Waves." I'm not one of those people. But I haven't heard it in a while. Maybe my mind is changed.
The 2 live tracks on Self Portrait are from the Isle of Wight festival in 1969, with The Band. The whole set is on Another Self Portrait, deluxe version.
Like others have stated, this was a really good way to handle these lighter years for Dylan in terms of output and appearances. Pretty much aligns with how I feel about this period, although, I definitely like the 'George Jackson' single more than you guys...particularly the acoustic version. It always bugged me that the song was never included on any of the best of comps or Bootleg Series entries that covered this era. It was like Columbia went out of their way to exclude the song. Maybe it didn't belong on a best of comp or career retrospective collection, but I was shocked that it never found its way onto a Bootleg Series entry. I think the full band version appeared on the "Masterpieces" compilation, and the acoustic version finally appeared on the "Side Tracks" set in that complete albums box collection. Maybe Dylan himself isn't fond of the song? I dunno. I'm not saying it is peak Dylan or anything, but I love his voice on it, and it is a fun one to sing along with.
Dylan 1973 may not be an essential album, but it can be a fun listen in the right mood. I love the cover of Lily of the West, Sara Jane is fun, and I'm always up for Bob Dylan covering Johnny Cash or Johnny covering Bob. I also didn't know Watching the River Flow before this video, which is a great song!
Love Pat Garrett... the album has been very influential on the Americana movement - 'Billy' covered by Gillian Welch and Los Lobos, never mind the 100s of Knockin' covers. An outtake of those sessions was Rock Me Mama, which of course OCMS developed into Wagonwheel. Now there's a great song that has horrible cover versions, which you could have included in this week's TLM tier list! The eponymous album also released that year is best forgotten about, mainly because Dylan didn't want it released, but also because its pretty bad imo, lol. Stuart
The Greatest Hits Vol. 2 is absolute Dynamite, a great collection of hidden gems and other non hits. I don't mind Pat Garrett &Billy the Kid, as a soundtrack album its choppy and disjointed but the music isn't horrible. The movie itself is great.
I shed a small tear for the Dylan fan back in 1973 who was pumped to catch their hero in a Peckinpah western, as unfortunately (like almost all of Peckinpah's films), the studio whisked the footage away after shooting wrapped and released their own bizarre edit. I caught the original theatrical release on TV one night and found it confusing, incoherent, and just kind of ... boring? Not to mention that Dylan was hardly even in it. Later I watched the 1988 "director's cut" and thought, "Oh, so this was actually a good movie and the studio screwed it up!" Plus there's a lot more Bob in that version. Question: when does a studio re-editing a film against the director's wishes ever make it better? I'm also surprised that neither of you enjoy "Knockin' On Heaven's Door" all that much - it would make my top 10 of '70s Dylan songs and I don't think that's a particularly strange take. It's like the early version of Mazzy Star's "Fade Into You."
Columbia let both Bob Dylan & Leonard Cohen go at one point & both went astray & returned to Columbia & regained their top form. The presence of them is why Jeff Buckley chose a less lucrative deal with Columbia for the artistic freedom he was promised & was certainly working on with Tom Verlaine on My Sweetheart The Drunk.
Joe - I know there's not much to the original Knockin on Heavens Door but please check out the version from bootleg series V5 - it's an outstanding fleshed out version featuring your friend Roger McGuinn singing a verse with heavenly aplomb
I like the Dylan album more than Pat Garrett even though it's not an official Dylan album since the label did it. It's actually pretty good. There's some good songs on it. I agree on Ira Hayes..it's great.
Comparing versions of "Tomorrow is a Long Time" but not mentioning Elvis Presley's version? It's stunning, and maybe the best thing he did in the half decade before the TV Special.
I agree that Billy 4 is the only great track/song on Pat Garrett. The lyrics have the haunting quality missing from the rest of the tracks. Lily of the West is the only song on Dylan that I enjoy.
My guess as to why Dylan had a troublesome start to the 70s is fairly simple. You take a traveling man like Bob; a nomad, if you will, and you plant him squarely in a domestic situation with brats running around and a nagging wife. I'm sure he thought this sounded wonderful when he "arranged" his motorcycle accident, but the reality of it all quickly sank in. Even a genius can't be productive when there's diapers to be changed. Even the poet of a generation can't write lyrics when his head is filled with the shopping list. Not surprisingly, their marriage quickly fell on the rocks, and Dylan headed out (for another joint) with the Band, with immediate huge success. How did the wife take it? Well, you only have to listen to Blood on the Tracks to discover that... As soon as Bob was free to tour and write, he became great again. Coincidence? I don't think so.
This is to the blond guy with the beard. I happen to love his Asylum Album, “Planet Waves”Everybody does not hate that album. Get your facts straight. Your opinion doesn’t matter! “Blood on the Tracks” is Dylan’s greatest studio recorded album. Your remarks are juvenile and unprofessional. “Dylan and Harrison were cute up there”. Acquire a taste for Bob Dylan before you judge. You say things like “It’s fine. You are not fine. You love be his cover versions. This is not ok!
I don't know if it is kosher to suggest another channel but it is highly relevant. There is this guy, Andy Edwards who has a huge appreciation of music and for me is a very talented cultural critic of music and music history, a bit like like Greil Marcus. He is big into jazz and prog rock but seems to have enormous insight into the development of popular music, what influenced what, how it fits , and communicates it all exceptionally well.
So about this journey you are on. Like Joe he doesn't particularly like Dylan, he rarely listens to him but he is astute enough to rank Dylan very high in terms of importance. He has one video, the 10 greatest albums ever (all genres) and Highway 61 Revisited is on the list. For me that is an amazingly incisive choice, one that very few would make, but it is interesting to see his rationale, not for the traditional reasons of lyrics etc but for the album as a whole which he thought was a decade ahead of its time.
The other video is the 10 most important albums in music history ever made and he puts Freewheelin' at #2. (Sinatra's "in the Wee Small Hours" is #1). Robert Johnson is on the list, Miles Davis, etc). He says in his opinion Dylan was the most important artist of the last 60 years. The first (and usual) reason is how he elevated popular music with lyrical sensibility, but he also says Dylan "democratized" popular music. If your lyrics were worthwhile, it didn't matter if you had a great voice and this opened the door to countless artists to become significant. And again, he is not particularly fond of Dylan. He is like Joe who is more musically oriented.
I find his stuff a companion to what you are doing here and thought it was interesting enough to mention it. For me the intriguing tension (or dynamic) between Sevey, the great Dylan freak, and Joe, semi reluctantly dragged into this, makes for fascinating discussion. Blood on the Tracks looms after Planet waves.
Again, great discussion, thank you guys! Great idea to meld 1971-73 in one go. I remember the first Bob Dylan I bought was Greatest Hits Volume 2 in ‘74 or ‘75; I had heard of Dylan, was beginning to read Rolling Stone (which generally revered him) and as a 15 year old or so thought I should check him out. My thinking back then was to get Greatest Hits albums; all the best songs, right? And I still remember how amazed I was at listening to that double vinyl album, being totally mesmerised by songs I had never heard before…not only Watching the River and Tomorrow is a Long Time but When I Paint My Masterpiece and Down in the Flood, not to mention stuff like Don’t Think Twice and Stuck Inside of Mobile, etc….totally new to me! I was so impressed, so into those songs, I couldn’t believe it…he was already, for me, head and shoulders above the other stuff around, just so clever and deep and compelling. Been a life long fan ever since, and my appreciation of Dylan just grows. UnlikeJoe, I came to all these songs fresh, hadn’t heard any covers, and to me they are still the best. Hadn’t heard Dylan (album) or Pat Garret until fairly recently, when I became a Dylan completist, and only hear George Jackson on the Side Tracks compilation. Not essential, but enjoyable stuff, especially the guitar work on Pat Garret (the version of Knocking on Dylan’s MTV Unplugged album is my favourite), but nothing short of interesting. Joe certainly has come a long way in his appreciation of Dylan, even for the Dylan album, which is far less good than Another Self Portrait. Can hardly wait until you guys get into the next phase through the balance of the Seventies, which is a true golden Dylan period, arguably his best ever. Thx again and cheers, love the series! JPE
Getting addicted to these series, guys...such a great job! Please keep it coming
This was a really smart way to approach this time period and I think ultimately made talking about this period more engaging. Important to talk about but a whole episode just about Pat Garrett and Billy the Kid might have been rather short lol. Looking forward to seeing what Joe thinks of Planet Waves, I really like that one!
Pat Garrett is underrated really a beautiful album as a whole.
Four stars, my number 20.
A kind of fun thing that is floating around out there on the interwebs is people coming up with sequenced playlists for a "lost 1971 Dylan album". There are some variations, but the core of most of them is the same. I'm not sure it would totally qualify as an LP based on the running length. If so, it would probably be in the running for the shortest album of Dylan's career. But he also wasn't really an EP kind of guy either, so. Below is the tracklist for the version I made for myself. I actually have a CD version of this for the car that I prefer because I have my preferred version of 'Spanish Is The Loving Tongue' on it, and that version isn't on any of the streaming services. At least not that I'm aware of. While I'm fully aware that this was not a collection of songs that was ever intended to sit together in album form, I actually think the vibe of these performances hang together nicely. Overall, it's a very loose, bluesy set of songs that dips into rock, country and gospel at times. It's a fun listen, which is not something that you can always say about Dylan albums. Even on the songs that are more serious lyrically, the music doesn't take them in a maudlin direction. They wind up being rather breezy, despite the heavier lyrical content. I actually listen to this one a lot, and it would have been interesting if he had put these songs together for one album, or maybe the bulk of them with some other songs to round things out. It would have maybe provided a different direction for him for the early 70s. Mine follows the tracklist I found on some Dylan site, with maybe a slight change or two, so I take no credit for doing the bulk of the work here. It's a fun set of songs to play around with though.
1. 'Watching the River Flow' (Side Tracks)
2 'When I Paint My Masterpiece' (Side Tracks)
3. 'Wallflower' (The Bootleg Series Volumes 1-3)
4. 'George Jackson (Big Band Version)' (Side Tracks)
5. 'Only A Hobo' (Another Self Portrait: Bootleg Series, Vol. 10)
6. 'You Ain't Goin' Nowhere' (Side Tracks)
7. 'Down In The Flood' (Side Tracks)
8. 'I Shall Be Released' (Side Tracks)
9. 'Spanish Is The Loving Tongue' (B-Side Version -- found on 'Masterpieces' & 'Pure Dylan' compilations)
10. 'George Jackson (Acoustic Version)' (Side Tracks) *Bonus Track*
While I prefer the acoustic version of 'George Jackson', I think the Big Band version fits better sonically with the rest of the songs. So I tacked on the acoustic version as a bonus track to kind of pad the running time a bit. Since that B-Side version of 'Spanish Is The Loving Tongue' doesn't seem to be available on streaming services, my streaming alternate is the version from Another Self Portrait, but that's cheating a bit because I think that one is from 1970. Still...that one is better than the version off of "Dylan".
Last thing I wanted to mention is that I agree with you guys on the above version of 'I Shall Be Released' (from Greatest Hits, Volume II / Side Tracks) not being the best version. It does sound a bit like a bluesy campfire sing along type of thing. However, the Take 2 version of 'I Shall Be Released' found on disc 3 of "The Bootleg Series, Vol. 11: The Basement Tapes Complete" is my go-to take on the song. I like it better than The Band's version from "Big Pink". The Basement Tapes Complete version has Richard Manuel harmonizing behind Dylan, with the same arrangement that they went with on "Big Pink". I just think it is kind of the best of both worlds, as I feel Dylan's register is a more natural fit for the song than Manuel's otherworldly falsetto. It's not that I dislike the "Big Pink" version, or Manuel's vocal, I just prefer hearing Dylan out front. This Basement Tapes version might be the same version as the Alternate Take from "The Bootleg Series, Vol. 1-3", but it sounds better on the later installment.
I thought i'd heard all of Bob Dylan, but this is the first time I went and listened to "George Jackson" and "Watching The River Flow", thanks to you guys mentioning it.
I overprepared. I went back and reread some of Paul Seydor's book on the making of Pat Garrett and Billy The Kid and Sid Griffin's Shelter From the Storm, as well as rewatching the film. It was actually pretty fun, immersing myself in that world and I've been on a Peckinpah kick anyway. I can't hear Knocking On Heaven's Door without thinking of Katy Jurado and Slim Pickens. Yes, the song is a bit on the nose, but I didn't mind. I was hoping you guys would talk about the film a bit. It's funny how Dylan can be a such a commanding live presence but be so recessive on screen, though he is amusing. I know these Dylan podcasts can't go on forever, but I'd love to hear more about Dylan's use of film in his songs, using bits of dialogue, mentioning performers, etc. There will be a few more times when this theme comes up, so here's hoping.
the "Billy" songs are massively overlooked.... and also seem quite personal imho. KOHD has been done 100s of times but only once properly, and that is the film score version. And even Bobs later lyrics changes like the phrase "so many times before" dont really add anything to the sublime minimalism of the original. Being born in 1956, i really only got to know Dylan first in this phase, having no elder sibs to give me an early introduction. my friend bought a copy of PGABTK and we went to the pub (oops , underage there, in school uniform and all) and got them to put it on the their sound system. I kept waiting for Bob to sing. ha ha... seriously wanted more more more, but hell i fad never even listened to "bringing it all back home" or "JWH" at that stage, and had SOOO much to catch up on... keep up the good work guys
I was so happy to find the Dylan LP used in a record store. I have also since bought a Japanese import CD. I LOVE “Sarah Jane”. And I dig his “Big Yellow Taxi”. The problem is the sequencing.
This was so good yet again. I can't wait long enough for the next episode, planet waves is the most underrated album in his catalog to me.
😉 - Joe
Another cool episode. The best part of it for me was getting me to listen to Jerry Jeff Walker's Mr. Bojangles. I was most familiar with the Nitty Gritty Dirt Band's version.
I like Pat Garrett -- very listenable, enjoyable music. Agree that the Billy tunes are really compelling. Knockin' On Heaven's Door is a very spare lyric and the melody is very simple -- but the cumulative impact of just a few repeating chords, its slow, stately pace, the bass line, and the arrangement is a reminder for me that songs are about chemistry -- music + lyrics + players + performance + production. For me, the chemistry in this recording elevates the listening experience to a kind of oracular whole that's greater than the sum of its parts -- I'd say lyrics and melody are each deliberately spare and the combination creates a recording with a uniquely haunting power.
Art imitates life. 1973 - The last American combat troops are withdrawn from Vietnam. Although “Knockin’ On Heaven’s Door” is not specifically about the Vietnam War, the world into which this song was delivered was ready for it. It surely comforted families of the fallen. No matter how they fell. Well…I wasn’t actually there but I can’t imagine it not!
I have no evidence to back this up, but I expect Bob Dylan, who works double meanings into his lyrical choices with ease, knew what he was doing here.
I find Bob’s vocal delivery on this song to be particularly moving. The sentiment echoes Scott Walker’s “Hero Of The War” and Dylan’s own “Masters Of War” if you listen between the lines. To me, it’s a timeless treasure of a song.
Hi Michele! It's always good to read your insightful comments. I hope you're doing great these days! 😊
Wonderfully said, Michele.
@@brentjackson6839Hi Brent! Thank you. It’s lovely to hear from you. 😊 I’m doing well and I hope you are too. Happy Spring! 🌷
@@dylanseveymusicThank you, Dylan! Great episode, as always.
@michelewiese48 I'm pleased that you're well! I miss our frequent chats when the boys were doing year by year songs and albums. Good times! All in all, I'm doing OK. I'm looking forward to the discussion of Blood on the Tracks. Such a great album! Take care, dear friend.
I like how you dealt with this period. Dylan is an artist for sure, doing what he wants to do when he wants to dit it. Look forward to Planet Waves and Blood On The Tracks.
Another thoroughly enjoyable episode! 🙂
As usual an interesting discussion between you! The thing with many Dylansongs are that many other singers/musicians made great covers of them and made them "their" songs. Love Tomorrow is a long time with Sandy Denny and Mighty Quinn is for me for always connected with Manfred Manns Earthband. A great version of You ain´t going nowhere appears on Nitty Gritty Dirt Bands "Will The Circle Be Unbroken Vol 2" with Roger McGuinn & Chris Hillman and Maria Muldaur make a nice version on her Dylan album. I shall be released is one of Dylans best songs and there are so many good covers of it. The version on The Last Waltz (The Band/Dylan) is fine. The best cover I have heard of Knockin On Heavens Door is by Mungo Jerry (!).
Anybody love Rod’s version of Tomorrow is a Long Time on EPTAS? I think it’s great
Forgot that one, it`s great as most tracks of that album! @@painless465
Joe and Dylan this Bob Dylan series is f#&@ing amazing!! I can't wait for Blood on the tracks!! Maybe the 3rd best Dylan album or 2nd or even first. Thank you, gentleman!!
First.
I think the performances in the Concert for Bangladesh are INCREDIBLE. Especially Hard Rain and Just like a Woman …wow! The harmonies on the latter fantastic. I love Watchin the River Flow and then of course KNOCKIN ON HEAVENS DOOR from this pretty fallow period.
I had never heard "Dylan" so as I finally got to it today, with a bit of trepidation, I was struck that I wasn't hating as much as I thought I was supposed to; not great, but I did like that rawness. I knew Pat Garrett and like it as a soundtrack album. I have never heard "Planet Waves" either but am intrigued to see what he did right before "Blood on the Tracks". Loving this series.
Joe and Dylan, this a great series! I keep checking back to see if the next one's out. Prediction: Planet Waves won't rock either of your worlds. It's not a record for the ages, but it's beautiful. Highlights for me, in advance of the episode: Dirge; Forever Young of course (though I don't love it the way some do); Tough Mama; On A Night Like This.
I watched the movie a load of times and I think of the album as a part of that package.
A great survey of the "Lost Years". Lots of context and information that I found helpful, including the machinations of Columbia and Dylan's jump to the Asylum label. Overall, Dylan produced some great work in isolation including "Watching the River Flow" and the re-recordings on GREATEST HITS Vol. 2. As a point of correction, that compilation features the live, Isle of Wight version of "Quinn the Eskimo" (originally found on SELF PORTRAIT). It's Bob's mellow country voice pushed into punk territory!
It's odd that the stand-alone single, "George Jackson" didn't end up on Vol. 2 nor any significant compilation (not even the 3-disk DYLAN comp from 2007). I've listened to it once or twice but still can't recall anything significant about it. Obviously, neither Dylan nor Columbia think much of it. And where is that "Spanish is the Loving Tongue" b-side?!!!
This period seems to be a continuation or an outgrowth of his 'myth-destroying' SELF PORTRAIT stance. He just doesn't seem interested in (capable of?) producing a full album of songs. I think the PAT GARRETT soundtrack is fine and actually shows him pulling out of the morass of the previous two studio efforts, foreshadowing what is going to be his first sustained comeback period.
Oddly, I think what happens during the '71-'73 period is that Dylan's myth actually grows. People are nostalgic about his '60s legacy, miss his voice, and are hungry for more of his songwriting and performing. His few live appearances prove it. The CONCERT FOR BANGLADESH confirmed that he could still move people. I'd forgotten that the live material from The Band's ROCK OF AGES came from this period as well. Although he's straining on the first few songs, by "Don't Ya Tell Henry", it sounds like he's having a great time. "Like a Rolling Stone" isn't perfect (he muffs a few lines) but it's ramshackle charm and audience reaction win out. It's interesting that they perform "Down in the Flood" as the 1974, arena tour document would be titled AFTER THE FLOOD.
Columbia's DYLAN release only confirms what mixed-up confusion reigned in the studio during the making of SELF PORTRAIT and the over-rated NEW MORNING. Nice of you both to give it some props, nonetheless.
It'll take some regular touring for Dylan to find a new 'rock' voice but when he does (during the "Rolling Thunder Revue") he finally recovers the excitement and drama of old. As for his songwriting, his "Lost Years" are about to end.
Oh yeah! I thought of another DYLAN appearance from this period that is obscure and cool. He appears on the album DOUG SAHM and Band album, from Doug Sahm of Sir Douglas quintet fame. Plays some guitar and sings harmony but the big thing is his contribution of his song WALLFLOWER on it. This came out early 1973. Its a fun album.I am sure son Jacob may have been referring to this song when naming his band THE WALLFLOWERS . I always liked the song although it’s a minor work of his.
Little sidebar: Both Kris Kristofferson and Doug Sahm appeared in the 1972 film Cisco Pike. Not a great film, but worth catching. Sahm is only in it for a few minutes, but it's a cool, unhinged cameo. I'm also a fan of that Doug Sahm LP; he's an artists that doesn't get enough credit.
Great idea to do this as an in-between episode of its own. There is no "body of work" standing for itself in this time, but ... actually i loved Watching the River Flow as a teenage Dylan freshman, and i also loved, and love now even more When I Paint my Masterpiece as a masterpiece in its own right, exactly the version of More Greatest Hits. This has not been mentioned enough, I think. The Billy the Kid album sure is not a major work, but for me the music is oddly satisfying, in a sort of ambient music kind of way. I have listened many times to it as a whole. And as usual I'm very much in sync with my Bob Dylan soul brother Dylan Sevey: I cheered in excitement when he praised Billy 4, a hidden favorite of mine. Now I'm curious for the Planet Waves episode, an album that is quite important for me.
There’s great little song in the movie called ‘Billy Surrenders’ but didn’t make the album. It’s the scene where Billy gives up to Pat Garrett arresting him, and Billy’s standing with his arms out to the sides like Jesus on the cross. Pretty powerful
I absolutely love Watching the River Flow
Hearing Dylan mention Landau bringing us Springsteen made me think of an idea for the next series that would be great (once this one is done ofcourse 😉)…
Dylan does Springsteen with host JASON!!
Do iiiiiit!
I hope you guys cover Bob’s performances in Rolling Thunder , Hard Rain( I remember the 1976 TV special as a kid) and especially his performance culminating The Last Waltz which is amazing in the movie!
Nice one guys! Enjoying this series a lot. I'm a super fan myself but I'm always so interested to hear other people's point of view - there's no such thing as a wrong one. I think you covered this period really well. As an aside, I have always wondered why "Dylan" the album and "The Basement Tapes" are considered Canon when it comes to his studio albums - to me, as album projects, they are conceptually, no different to the Bootleg Series. Would you agree? Either way, I love that cover them in the context of what he was doing at the time. By the way I love Pat Garrett- I appreciate it is repetitive and its a soundtrack and all that but I think it is so evocative of the Wild West era it is set in and its a beautiful late night listen. Anyway really looking forward to Planet Waves and the rest of the 70s. Thanks guys!
I actually really love the Pat Garrett album.
I've not listened to this era pretty much at all. I listened to the Pat Garrett album last week in preparation of this video. I thought a couple of the tracks were fantastic. Some of the "Billy" stuff is great. The opening track. Some of it is filler-ish, but it's better than I thought it would be.
Just listened to Dylan's Bangladesh set after pausing this video around the 7:00 minute mark - oh, man, that's a killer set! I mean, it doesn't sound too much different from the originally recorded songs and maybe that's why it sounds killer.
As far as listening to his live material, Joe, at some point you've got to listen to Volume 4 (Live 1966) and Volume 5 (Live 1975) of the Bootleg series. I mean...it's some of his best work. I don't know about the "Real Live" and "Live At Budokan" records, but...those bootleg discs are essential.
Some people really LOVE "Planet Waves." I'm not one of those people. But I haven't heard it in a while. Maybe my mind is changed.
The 2 live tracks on Self Portrait are from the Isle of Wight festival in 1969, with The Band. The whole set is on Another Self Portrait, deluxe version.
Self Portrait, Dylan 1973 and Planet Waves are my favourite albums
I think Joe might really like Planet Waves. I haven’t listened to it in a while but I’m going to stick it on the turntable now. Pretty good album.
Like others have stated, this was a really good way to handle these lighter years for Dylan in terms of output and appearances. Pretty much aligns with how I feel about this period, although, I definitely like the 'George Jackson' single more than you guys...particularly the acoustic version. It always bugged me that the song was never included on any of the best of comps or Bootleg Series entries that covered this era. It was like Columbia went out of their way to exclude the song. Maybe it didn't belong on a best of comp or career retrospective collection, but I was shocked that it never found its way onto a Bootleg Series entry. I think the full band version appeared on the "Masterpieces" compilation, and the acoustic version finally appeared on the "Side Tracks" set in that complete albums box collection. Maybe Dylan himself isn't fond of the song? I dunno. I'm not saying it is peak Dylan or anything, but I love his voice on it, and it is a fun one to sing along with.
Dylan 1973 may not be an essential album, but it can be a fun listen in the right mood. I love the cover of Lily of the West, Sara Jane is fun, and I'm always up for Bob Dylan covering Johnny Cash or Johnny covering Bob. I also didn't know Watching the River Flow before this video, which is a great song!
Love Pat Garrett... the album has been very influential on the Americana movement - 'Billy' covered by Gillian Welch and Los Lobos, never mind the 100s of Knockin' covers. An outtake of those sessions was Rock Me Mama, which of course OCMS developed into Wagonwheel. Now there's a great song that has horrible cover versions, which you could have included in this week's TLM tier list!
The eponymous album also released that year is best forgotten about, mainly because Dylan didn't want it released, but also because its pretty bad imo, lol.
Stuart
Interesting that Bob tossed away Wagon Wheel from Pat Garrett and Billy the Kid, only to have it become a hit decades later.
The Greatest Hits Vol. 2 is absolute Dynamite, a great collection of hidden gems and other non hits. I don't mind Pat Garrett &Billy the Kid, as a soundtrack album its choppy and disjointed but the music isn't horrible. The movie itself is great.
If all Dylan's songs sounded like "Lay Lady Lay'....I'd be a huge fan.
If you don't know it, Ministry's version of it is worth checking out.
The Lost beard.
I shed a small tear for the Dylan fan back in 1973 who was pumped to catch their hero in a Peckinpah western, as unfortunately (like almost all of Peckinpah's films), the studio whisked the footage away after shooting wrapped and released their own bizarre edit. I caught the original theatrical release on TV one night and found it confusing, incoherent, and just kind of ... boring? Not to mention that Dylan was hardly even in it. Later I watched the 1988 "director's cut" and thought, "Oh, so this was actually a good movie and the studio screwed it up!" Plus there's a lot more Bob in that version. Question: when does a studio re-editing a film against the director's wishes ever make it better?
I'm also surprised that neither of you enjoy "Knockin' On Heaven's Door" all that much - it would make my top 10 of '70s Dylan songs and I don't think that's a particularly strange take. It's like the early version of Mazzy Star's "Fade Into You."
Columbia let both Bob Dylan & Leonard Cohen go at one point & both went astray & returned to Columbia & regained their top form. The presence of them is why Jeff Buckley chose a less lucrative deal with Columbia for the artistic freedom he was promised & was certainly working on with Tom Verlaine on My Sweetheart The Drunk.
Did you listen to "Doug Sahm and Friends"? He's on four songs, 1972!
I think it may be the phrasing of Dylan live that apart from tonality can surprise you.
The isle of wight version of Mighty Quinn is also on greatest hits vol2 as well
the basement version didn't come out until the bootleg series vol1-3
Watching The River flow was written at the request of Leon Russell
Leon asked Bob if he really can write a song on demand in only a few minutes
Joe - I know there's not much to the original Knockin on Heavens Door but please check out the version from bootleg series V5 - it's an outstanding fleshed out version featuring your friend Roger McGuinn singing a verse with heavenly aplomb
I love planet waves some great songs on it
I like the Dylan album more than Pat Garrett even though it's not an official Dylan album since the label did it. It's actually pretty good. There's some good songs on it. I agree on Ira Hayes..it's great.
I actually liked Dylan as an actor in addition to his musical score in Pat Garret and Billy the Kid!!
Have you guys seen the movie Pat Garrett? It helps if you’ve seen and like the movie.
Bob's Bangladesh version of Tamborine Man is the only version of that song that i can say i love.
my favorite version too
Dylan the album is 4 stars from me, my number 21.
I seriously doubt I’ll get 21 4-star Dylan albums but you never know. - Joe
that "Dylan" album is bad in theory but is actually a surprisingly enjoyable listen.
Comparing versions of "Tomorrow is a Long Time" but not mentioning Elvis Presley's version? It's stunning, and maybe the best thing he did in the half decade before the TV Special.
Not sure I’ve heard it but now I’ll check it out. - Joe
I don't why pretty saro didn't make any of these albums. That song has one of his best vocals and is really pretty
The best "Mr. Bojangles" is David Bromberg's version.
Joe has the old beard here.
Planet waves was a number 1 albun
George Jackson was not a leader of the Black Panthers. He was co-founder and leader of the Black Guerrilla Family. Founded while in Jail.
My mistake, thank you for the correction.
I agree that Billy 4 is the only great track/song on Pat Garrett. The lyrics have the haunting quality missing from the rest of the tracks. Lily of the West is the only song on Dylan that I enjoy.
I do quite like “Knockin’ on Heaven’s Door”, as well as “Main Title Theme” and “Final Theme”. “Billy 4” is just the clear highlight for me.
Oddly - “Billy Surrenders” one of the best songs in the film is not on the release.
yes, lily of the west (minus the background singers).
My guess as to why Dylan had a troublesome start to the 70s is fairly simple.
You take a traveling man like Bob; a nomad, if you will, and you plant him squarely in a domestic situation with brats running around and a nagging wife.
I'm sure he thought this sounded wonderful when he "arranged" his motorcycle accident, but the reality of it all quickly sank in.
Even a genius can't be productive when there's diapers to be changed. Even the poet of a generation can't write lyrics when his head is filled with the shopping list.
Not surprisingly, their marriage quickly fell on the rocks, and Dylan headed out (for another joint) with the Band, with immediate huge success.
How did the wife take it? Well, you only have to listen to Blood on the Tracks to discover that...
As soon as Bob was free to tour and write, he became great again. Coincidence? I don't think so.
These are much better versions of these songs. Never liked revisited and blonde on blonde
Maybe it is the order you hear those covered songs. I heard Dylan’s version first and think the covers all sound soulless and wrong
This is why I clash with the Dylan simps. - Joe
What does 'simps' stand for?
It’s just someone who shows excessive attention and is submissive to someone else who doesn’t return their feelings. - Joe
I love dylan versions
🥶
Either this was done a few weeks ago or Joe's wearing a fake beard.
This is to the blond guy with the beard.
I happen to love his Asylum Album, “Planet Waves”Everybody does not hate that album. Get your facts straight. Your opinion doesn’t matter! “Blood on the Tracks” is Dylan’s greatest studio recorded album. Your remarks are juvenile and unprofessional.
“Dylan and Harrison were cute up there”.
Acquire a taste
for Bob Dylan before you judge. You say things like “It’s fine.
You are not fine. You love be his cover versions. This is not ok!
Learn how to think and come back and make a coherent comment. - Joe
What are your star ratings for the two 1973 albums, Joe?
3 and 3