Make you feel my love: the meaning of the music and the lyrics

By Tony Attwood

Review updated 15 October 2017.

Bob Dylan’s “Make You Feel My Love” appears on Time Out of Mind (1997) and was initially released by Billy Joel, before Dylan’s version appeared on the album.  Since then he has played it over 200 times in concert right up to July this year.

Since then it has been picked up by many different artists, all of whom have found within it a remarkable balance of music and lyric, evolving around a simple yet perfectly placed musical device.

But this was by no means a song that grabbed public attention for a short while before vanishing.   Adele had a hit with the song in 2008, and quite extraordinarily (for a Dylan song) it turned up in the UK TV series The X Factor, and on the widely viewed UK annual event, Comic Relief.  It was also used as one of the Songs for the Philippines after typhoon Haiyan.  

Even then it was not all over in the UK for “Make you feel my love”, for another hugely popular UK TV series, Strictly Come Dancing featured it before the UK radio station Heart Radio made Adele’s recording of the song the UK’s number one song of all time in its Hall of Fame Top 500.

Indeed the song has appeared in endless TV series, and the video of Adele’s version of the song still appears regularly.

For me this is a beautiful, beautiful song – and all the hidden depths that exist within Dylan’s music (but which those unable to hear the songs without prejudice fail to find), are fully revealed here – if only one takes the moment to appreciate the totality of what is going on.

In keeping with the approach of this site, I’m going to focus on the Dylan recording in Time out of Mind, but that’s not to say I won’t come back to other versions later.

The make up of the Time out of Mind album itself has to be the subject of a separate article, when I finally get around to writing the “conceptual nature of each album” series of articles which has been noted on the site for a while now, but is still not constructed.

But in short, the album starts at a low point, “Love Sick” and then goes down and down into the depths of despair and old age to “Not Dark Yet” before starting an improbable journey up again.  “To Make You Feel My Love” is a fundamental on that journey upwards.

Here it is

It is a simple love song in one sense – the message is plain, I love you now, I will always love you, if you ever need me, I will be there for you.  It has been said a million times before, but it is none the worse for that.

The metaphor / realism of the first two lines is striking for a popular song.  Who else has ever began a piece in this way?

Here’s Bob singing it in a different way in concert.

When the rain is blowing in your face
And the whole world is on your case

Behind this is one of Dylan’s favourite descending bass lines, but here it is different – he’s not descending through the sort of scale that everyone getting formal training on an instrument is made to play over and over again, but rather he’s moving chromatically.  This means if you are playing on a piano you take each note (irrespective of whether it is a black or a white note) and play it in sequence..  To see how this sounds, just go to a piano, find C sharp, and then just go down: C, B, B flat, A, A flat, G and so on.

I’ve written the descending bass notes out with the lyrics below…

[C-sharp] When the rain is blowing [C] in your face
[B] And the whole world is [B flat] on your case
[A] I could offer you a [G sharp] warm embrace
To make you feel my [C sharp] love

To go with this most gentle descent from the metaphor of everything going wrong to the resolution of love there is the perfect accompaniment of piano, organ and bass.  No thudding guitars or drums  – for Dylan has long since learned that you don’t have to fill every song with a band, and most particularly you don’t need an electric guitar or lots of twiddly bits.   If the message is simple, keep the song simple.

But musically there is more.  First C sharp – the key in which the song is written – is a very unusual key for Dylan to work in, and when Dylan goes to a key that he uses rarely, then like all songwriters, he does so to find something unusual.   This he does in the middle 8 where twice he sings a note (on “mind up yet” and “never do you”) which is not in the chord that is being played in the music.

It is a most unusual touch, as are the two chords played at the very start of the piece.  Hearing the song one would expect it to open with the first chord (C sharp major) but listen closely to that opening second and you hear two chords one immediately after the other (G sharp major and C sharp major).  It is the sign that we are stepping up, making the journey back from the depths of Not Dark Yet.   It is a musical “here we go”, or “time to sort this”.

I don’t mean by this that Dylan thinks these devices through – he might have done but it is much more likely that he simply played it, felt it fitted and kept it.  All I’m doing here is seeking to explain why that one little extra introductory chord of G sharp does so much in setting the song up.

Overall to understand this piece you simply need to approach it with an open mind.

The love song and the love poem have a long and honourable place in the tradition of English literature and poetry, and this song deserves a place there, because of the simplicity of the words and the overpowering gentleness of the message.

Indeed there was a series of programmes on BBC Radio 4 in which individuals were asked what piece of music they would leave for their loved ones to find after they themselves have passed on, and one participant in the show chose this, and spoke on it so eloquently for around 10 minutes, and I can fully appreciate why she chose this piece.

It is, in short, a totally uncluttered beautiful song of devotion.

When the evening shadows and the stars appear
And there is no one there to dry your tears
I could hold you for a million years
To make you feel my love

After that, what else could one possibly say?

What else is on the site

1: Over 400 reviews of Dylan songs.  There is an index to these in alphabetical order on the home page, and an index to the songs in the order they were written in the Chronology Pages.

2: The Chronology.  We’ve taken all the songs we can find recordings of and put them in the order they were written (as far as possible) not in the order they appeared on albums.  The chronology is more or less complete and is now linked to all the reviews on the site.  We have also recently started to produce overviews of Dylan’s work year by year.     The index to the chronologies is here.

3: Bob Dylan’s themes.  We publish a wide range of articles about Bob Dylan and his compositions.  There is an index here.

4:   The Discussion Group    We now have a discussion group “Untold Dylan” on Facebook.  Just type the phrase “Untold Dylan” in, on your Facebook page or follow this link 

5:  Bob Dylan’s creativity.   We’re fascinated in taking the study of Dylan’s creative approach further.  The index is in Dylan’s Creativity.

6: You might also like: A classification of Bob Dylan’s songs and partial Index to Dylan’s Best Opening Lines

And please do note   The Bob Dylan Project, which lists every Dylan song in alphabetical order, and has links to licensed recordings and performances by Dylan and by other artists, is starting to link back to our reviews


  1. Minutes ago, I heard this piece (for the first time)on YouTube. It’s heartfelt sentiment gave me an emotional experience. Indeed, it reminded me of the Ink Spots rendition of ‘Until the Real Thing Comes Along’ :
    I’d gladly move the earth for you
    To prove my love, dear, and its worth for you….
    I cried for you, I’d die for you
    I’d tear the stars down from the sky for you….

    Bob Dylan’s “Make You Feel My Love” hits me the same way.

  2. Love the lyrics;love the melody;love to hear Bob Dylan’s meaning and intent come through in his voice; and lastly appreciate the effort the author of this website has put in to explain this masterpiece. Thank you

  3. No doubt. This song is one of those songs that jumps out at you, for its humanity. It’s special.

  4. Garth Brooks and Trisha Yearwood featured this song on the Hope Floats sound track YEARS before Adele, and frankly, did a better job. For a damn historical page, you all are terrible. Love Dylan and you all do a piss poor historical account.

  5. Jennifer, I know it is very easy to get confused, but I have rarely in the past 10 years have I had a comment on this site quite as confused as yours. The article does not seem to me to suggest that it is giving a list of who has recorded the song. It picks out one recording which gained considerable popularity. The article makes no claim to being a historical report, but is a review of the song.

    I’ve pondered how you could have confused the two concepts, because obviously commentary from readers can help improve the site overall, but I really can’t see how you could think that this was an article aiming to given a complete historical context of the song. It is a review; this site aims to review all the songs composed by Dylan, of which we can find a recording, but not give a list of who recorded each song. Many others have done that, we don’t need to repeat it.

    As for whether other people have done a better job with the song, you state it as a matter of opinion since you give no support or evidence for that assertion, which makes the assertion rather worthless. What we try and do here (and I suspect you have not read much more of the site in order to get a full vie of what it is about) is review in the fullest meaning, giving reasons for our views. I know we don’t always manage that, but we try.

    May I suggest that in future you consider the nature of the site you are abusing when you fire off a comment. Ask yourself, is this a site that aims to give a fulsome historic account of a song, or is it a review of the song as a work of art?

  6. First time I heard Dylan’s version ofake You Feel My Love. The best. Truly

  7. When I hear this song, it speaks to me as if God is telling me (and all of us who suffer from a lonely or isolated place in our lives), that He loves us as no one else can love us.
    Dylan’s reference to being black and blue, and crawling down the avenue, remind me of the suffering of Jesus of Nazareth. God’s love for us is immeasurable, never ceasing, and like nothing we know of in this world or life.

  8. A superb song from a truly magnificent album, my current favourite Dylan album. But isn’t one of the things that makes it so good is that you can take the lyrics to come from a chillingly creepy stalker as well as assuming they are from a would be lover. Bit like “every move you make” from Police. For me it is being able to take different things from one set of lyrics that makes it special, as many of his masterpieces do.

  9. I have loved this song for years, but did not realize until today how much it’s been covered. I read through a Dylan post on FB and I finally decided to see if I could find what Bob intended. And listen to a lot of versions.

    So the standard love song interpretation is obvious… and boring. The Christ metaphor is interesting… I can see that. But what this song REALLY NAILS FOR ME, and literally makes me tear up every time (in a version I like), is that it’s about what it’s like to love someone with depression. Take a look at all the lyrics. Every single line fits like a glove.

    The thing about depression is that you *can’t* feel love, hope, or happiness when you’re in it. “The whole world is on your case.” “The storms are raging on the rolling sea.” That is *it*. When you love someone who feels like that, you are willing to do just about anything to pierce the cloud. The key word is MAKE. To MAKE you feel my love.

    >> When the evening shadows and the stars appear
    >> And there is no one there to dry your tears
    >> I could hold you for a million years
    >> To make you feel my love

    In a normal love song, you don’t have to MAKE someone feel your love. It’s out there; it’s felt, it’s sweet. You can sing it like a serenade. It doesn’t frequently follow drying their tears. When someone has depression, they have no control. You will desperately want to make them feel it, and sometimes you can make a difference. But it takes more than will. It takes a ton of empathy, and trying really hard to put yourself in someone’s shoes that you really will never get unless you’ve felt it yourself.

    >> I know you haven’t made your mind up yet
    >> But I will never do you wrong

    That’s to someone who’s reluctant to marry you because they know what you’re signing up for. And you’re promising that you’re up for it.

    >> I’ve known it from the moment that we met
    >> No doubt in my mind where you belong

    I’m the one. I’m the one that’s going to love you. No matter what. You think that person doesn’t exist. But I’d go crawling down the avenue to make you feel my love.

    Bob’s version on the record fits. The live version shared in this article fits even more. The version that I think is ultimately the best is Joan Osborne’s. The instrumentation is stark; that hollow percussion sounds like someone’s sitting on a 5 gallon paint can and hitting it like a cajon. Her voice breaks. She surprises you with a long high note that is filled with emotion at the end.

    Adele’s version has STRINGS, for fuck’s sake. That is not it at all. That makes this song pedestrian. And it’s really the ultimate expression of loving someone with depression.

    And this is why artists don’t want to explain what the art means to *them*.

  10. Gracey Herron suggests the song is in the tradition of ‘murder ballads”, or at least the narrator’s dream of doing away with someone he loves so she’s his forever.

    Given that “Cold Irons Bound” can easily be so considered, the song, on one level, in the context of the album as a whole, is one too….”there is nothing I wouldn’t do to make you feel my love.”

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