Man in the Long Black Coat (Oh Mercy)

By Tony Attwood

This song in standard 4/4 time is sung as if each beat of every bar is an effort to complete.  The start is uncertain, the harmonica plays three tentative fading notes, and off we go, plod, plod, plod.  When the harmonica returns there is a haunting feeling added to the plodding.

What sort of world is this, where each beat is like a boot sinking into the mud and the only relief is a feeling of being haunted?

The effect is achieved by the undermining of the four beats in a bar concept.  Each beat is of equal importance here; normally in rock the second and fourth beat of the bar have an extra emphasis to give the music its swing.  There is no swing.  We are stuck.  There is no escape.

This is a song of atmosphere; the atmosphere of despair.  The lover has gone, for the man left behind, everything is mud or possibly even glue.  There is no way to follow, there is no way out.  We cannot even lift a foot from the floor to try and find the exit.

The third line makes it all so clear.  A straight descriptive line “Window wide open African trees” which has four heavy laden beats on Win / op / Af / trees.   How on earth can one go forwards in this sort of state?

Everything is useless in this state, “every man’s conscience is vile and depraved”.  There is not even the chance of a way out through which one can push one’s own life forward.  Nothing is possible, because what will be will be.  There is no decision to be made.  We are trapped.

The masterstroke in the songwriting comes with the “middle eight” where the music varies and at last, at long long last, Dylan takes us out of the plodding, stuck world…

There are no mistakes in life some people say
It is true sometimes you can see it that way
But people don’t live or die people just float

Oh the horror.  For two lines we think he is offering us a solution.  The music is far more up beat.  The emphasis on every beat has gone.  And yet…

There is no escape at all in this world.  Because you just have to accept what is thrown at you, and get on with it.   There really is no escape ever, at all, in any way, we are here for all eternity.  There is no argument to be had, no debate, no putting forward an alternative point of view.  She’s gone.  Life’s gone, it’s over.

She never said nothing there was nothing she wrote
She gone with the man in the long black coat.

Perhaps she is just a lover.  Or if you want to try an alternative interpretation the Man in the Long Dark Cloak could be an African witch doctor, taking the woman away.  The sheer horror of not seeing the woman again for the singer gives us the same sort of plodding hopelessness.  Either way the music fits, the lyrics fit, the atmosphere fits.

Indeed the brilliance of the song is that it meets all interpretations.  The sense of continuing futility is overwhelming which ever way you look at it.   The blues chords used throughout (in C you would play C E-flat B-flat C for the opening line) tell their own tale.  No major or minor key here, it is just the flattened third and flattened seventh.

In fact even when the music gives you a sense of reprieve it is still so hopeless and awful.

But people don’t live or die people just float
She went with the man in the long black coat.

Rarely has Dylan written more poignant, sad, desperate lines.   There’s nothing, simply nothing.  Take away the hope and all is lost.

She never said nothing there was nothing she wrote
She’s gone with the man in the long black coat.

Index of songs

Some other sites from the same team…

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5 Responses to Man in the Long Black Coat (Oh Mercy)

  1. Jame Matt says:

    Simply wanna say that this is handy, Thanks for taking your time to write this.

  2. Ian Thomson says:

    Dear Tony Attwood
    There’s an error in the first line of your commentary. “Man in the Long Black Coat” is in 6/8, not 4/4.

  3. Stephen Pate says:

    Read through Olaf’s work and check out this song in particular. There is an F#m dominant and C#m. I personally prefer the official score starting in Am a typical Dylan root in the key of C. There is also an interesting C/f chord in the bridge.

    To learn more about the song read Gray and a few other commentators. The song is a brilliant variant of The House Carpenter or demon lover.

  4. Stephen Pate’s comment above is illuminating and correct. Dylan replaces the rouge/pirate/outlaw lover with the devil himself, or someone very much like him. This song is a cautionary tale, rooted by the middle eight bridge,

    There are no mistakes in life some people say
    It is true sometimes you can see it that way
    But people don’t live or die people just float

    where Dylan refutes the modern idea that, ‘you can do anything, life’s an experience, you just float along on it’ with a rather Biblical truth, ‘if you mess with evil, it’ll take you away…’

  5. Kieran says:

    I dunno why, but I always think of Clint Eastwood when I hear this song. I’m sure that it’s written about a mythical archetype – and not Clint – but my terms of reference are far more limited than Bob’s!

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