By Tony Attwood
This article updated 14 June 2017.
By pure chance as I settled down to gather my thoughts on The Times in preparation to write this review, I also listened to Girl of the North Country. And I think this truly brought home to me how different from his general self Dylan was, in writing The Times. How strident, how determined to make a point.
How different also because the song is in what is, for Dylan, a most unusual time signature – 12/8.
You can hear this time signature by listening to the guitar as he plays 1,2,3; 1,2,3; over and over again, with the “1” being the bass note of the chord, and 2,3 being the chord itself.
This process allows a multiplicity of words to get an accent because there are four accented words on syllables in each bar, rather than one, as we get in 4/4 (four beats in a bar).
12/8 is a c0mplex time in which the music is arranged (as noted above) in threes, with four groups of three making up a complete bar. If we look at the opening…
Come gath-er ’round peo-ple
Wher-ev-er you roam
And ad-mit that the wat-ers
A-round you have grown
the bold words and part words are the emphasised words, the first of the 1,2,3 across two bars. It gives the whole song its effect and fits with the strident, “this is how it is” concept, which is so unusual in Dylan.
Interestingly it seems to have been written just two weeks after “When the ship comes in” which tells not of how it is now, but how it will be in the future When the ship comes in. Perhaps as a result, “When the ship” is a much more joyous song telling of wonderful times to come. “Times,” written in the aftermath of the Washington march, is solid telling us it is happening now, and there ain’t nothing we can do about it.
Musically we can also note as Bream does in Dylan disc by disc that the melody is directly copied from One too many mornings – but we don’t hear it as such because the time signature is so different. One too many is a straight four beats in a bar piece – none of the complex rhythmic interplay of the twelve beats in four groups of three that Times gives us.
The opening is, of course, firmly based in the folk tradition of telling the villagers to gather around and I will tell you of wonderful things that are happening. Dylan did the same opening with North Country Blues where he commands, “Come gather round friends.”
Likewise the emphasis on an old traditional approach to songwriting is emphasised by Dylan writing “A-changing” and not “changing” in the title – a phrase dating back to 18th century English folk ballads.
But Times has neither the joyous buoyancy of “When the ship” nor the delicate feeling and concern of Girl of the North Country, nor the desperate bleakness and sorrow of North Country Blues. All the wistfulness has gone, this is definitive, strident, telling. There’s nothing personal here.
Dylan has a few times talked about the song and its meaning, and we all know how confusing and contradictory he can be, but in one interview in Melody Maker he did make a point that seems to me to be valid, as one comes to look back on a song that clearly has anthem proportions. Dylan said, it is “about the person who doesn’t take you seriously but expects you to take him seriously.”
Which from the point of view of the young incorporates everyone from parents to teachers, from those who programme TV channels to politicians.
And yet what has been called one of the most famous protest songs of all, isn’t really a protest song at all. It isn’t protesting about anything, rather saying, “time to wake up, the world has moved on”. It is a song about perception. You don’t have to rise up and overthrow the evil empire, but rather just admit that the world has changed irrevocably. So be careful – it might just pass you by, and you might just be left wondering where the old world went.
Certainly the world moved on at a pace none of us could have anticipated, although Dylan continued to open his concerts with the song. Talking to Anthony Scaduto, Dylan said, “Something had just gone haywire in the country and they were applauding the song. And I couldn’t understand why they were clapping, or why I wrote the song. I couldn’t understand anything. For me, it was just insane,” which in a perverse way shows how a perception of a song can be influenced by those who proclaim they know its meaning, rather than by the guy who wrote it.
So we have to
And accept it that soon
You’ll be drenched to the bone
had already happened, the world had moved on.
And yet there is a secondary meaning within all this, for as Dylan says, there is no catching up to be done. The pathways are diverging here – you get on the route you choose and then you are stuck there.
Come writers and critics
Who prophesize with your pen
And keep your eyes wide
The chance won’t come again
And don’t speak too soon
For the wheel’s still in spin
And there’s no tellin’ who that it’s namin’
For the loser now will be later to win
For the times they are a-changin’
Dylan wasn’t right of course, because the changes of that year were just the sort of thing we had to get used to; from here on it was all change all the time, and by no means always for the better. Modernism was over, and the constant change, evolution and re-evaluation of post-modernism was now what we had to get use to. Dramatic, endless change, not the one off divergence that Dylan imagined.
Although he was absolutely right in saying,
For he that gets hurt
Will be he who has stalled
Being non-changing in a world of endless change and re-invention was not an option if you wanted to stay part of the mainstream. The only way to opt out was the rural idyll of the later “New Morning” songs.
Of course what most teenagers of the time loved most of all was the lines telling their parents that it was all over. The cry “You don’t understand” suddenly had extra validity because it was on a record…
Come mothers and fathers
Throughout the land
And don’t criticize
What you can’t understand
Your sons and your daughters
Are beyond your command
Your old road is rapidly agin’
Please get out of the new one if you can’t lend your hand
For the times they are a-changin’
Except of course that those who were teenagers at the time are now parents and grandparents. Maybe however we (or some of us) try to keep up with new ways of seeing.
While many songs about the revolution to come (from The Red Flag onwards) are seriously upbeat, Dylan is seriously downbeat. There is no joyous future, just a saying, “you are past it, get out of my way”. The song has no humour, just as indeed as the AllMusic Review by Stephen Thomas Erlewine points out, the album has no humour.
In fact this song opens an album that really I don’t want to listen to as an album any more. So as I said at the start, while I welcome the chance opportunity to hear Girl of the North Country again when I was actually meaning to play Times, there is not so much here I really want. Some tracks, yes, but somehow for much of the album, and particularly this song, the moment has gone. “One Too Many Mornings” and “Boots of Spanish Leather,” are for me the great exceptions.
And it was this realisation that led me to realise that the whole album except “Times” is about days gone by. This is an album that says, “the past has gone, the new times are here, but I want to tell you what it was like the past”. “Only a pawn”, “Hattie Carrol” and “Hollis Brown” all tell of desperate times, not a bright new future. “Restless Farewell” and “One too many mornings” tell us the only thing to do is to keep on moving on.
Since the 1980s the song has had more to do with advertising than political and social change. Steve Jobs used it in 1984 to unveil the Macintosh computer. Ten years later Coopers & Lybrand, the accountants (who were my company’s accountants at the time, curiously) used it. Two years after that the Bank of Montreal got their hands on it. By 2005 it was being used to advertise insurance. Finally, as if to show that there was a meaning in the song, but just never the one we imagined, Dylan’s hand written notes for the song were to at auction for just under half a million dollars to a hedge fund manager.
Yes, he was right, the times were changing. I just wish that change had had less to do with rampant capitalism and religious fundamentalism and more to do with humanity, honesty and perhaps most of all, trying to be a decent sort of bloke in a world gone wrong. But that’s just me.
Just under two years after he had written the song, Dylan did an interview with the English pop/rock/jazz/blues weekly, “Melody Maker” as said, “It was nothing to do with age or parents… This is what it was, maybe – a bitterness towards authority – the type of person who sticks his nose down and doesn’t take you seriously, but expects you to take him seriously.”
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