By Tony Attwood, with recordings presented by Mike Johnson in the Never Ending Tour Series.
In this series we look at the way Bob has transformed certain songs over time in his live performances, in particular looking for the progression in his feelings about, and his understanding of what the song offers, what the song says, where it can be taken next, and even on occasion how he can reinterpret the past.
So far we’ve looked at
- Frankie Lee and Judas Priest
- Visions of Johanna
- The Hard Rain of 1988, 2003 and 2015
- Tangled up in Blue 1988 to 1993
- Blowing in the Wind. 1991-2001
- Blind Willie McTell. 1997-2006
- It Ain’t me Babe from 1994-1998.
- Things have changed 2000-2007
- Love sick from the very start to 2000
- The Drifters’ Escape. 1996-2005.
- Like a Rolling Stone 1988 to 2002
After some of the articles in this series I have received emails asking where exactly each recording came from. In writing these pieces, and listening to the same song each time, I’m sorry to say my focus is on Bob’s reinterpretation, rather than the details of where that particular event was.
But to try and help out I have put a link back to the original edition of the NET article on this site in which the recording first appeared, and if Mike noted the details of exactly where and when the recordings were made, you will find them in that original article. I am hoping that helps.
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Masters of War 1978
The NET series on this site begins in 1987, but in the Untold Dylan files there is this 1978 recording which was found and featured by Mike Johnson (who really ought to have the word “archivist” written after his name every time it is used), featured it in his article Masters of War & Extinction Rebellion: Bob Dylan’s ongoing contemporary relevance.
“Gusto” is the word that comes to mind, and the comment by Bob at the end about his lead guitarist shows how very much he appreciated how the song written in 1963 was still utterly relevant and could be played in that simple arrangement used in his acoustic days, or with this total drive and force, with the electric band, and it still worked.
1988 (1988 Part 2: The 60s revisited)
Ten years later it’s in a different key and the rhythm guitar is playing a slightly different approach, but the essence is the same with the extra chord change at the end of each line. Above all it is still power-power-power all the way.
But Bob then decided to take things back down as with this 1996 recording (from 1996 part 1 in the NET review). The volume of these recordings obviously varies as they come from different sources, but I think you should still be able to appreciate just how much Bob is changing his approach.
1996 (Never Ending Tour, 1996, part 1).
But now ten years on again we have an acoustic opening which takes us into a version which is much more reserved and ultimately sad.
That fact is that constant repetition of the guitar adds to the feeling both of the horror of the way in which the issue of war is the constant recurring theme of humanity. It is just there, always, neverending like the tour, but unlike the tour, never changing.
1998 (NET 1998 part 2: Friends and other strangers)
But now ten years on again we have an acoustic opening which takes us into a version which is much more reserved and ultimately sad.
That fact is that constant repetition of the guitar adds to the feeling both of the horror of the way in which the issue of war is the constant recurring theme of humanity. It is just there, always, never ending, never changing.
2000
In one sense this Masters which comes from 2000 Part 4 sounds at first as if Bob is going to carry on exactly as before but no, there is an extra sadness. Just listen to the instrumental break and his voice thereafter. There is now a desperation and a pleading tone that dominates with the instrumental breaks going round and round the same theme which emphasises the futility of it all. As for what happens with “And I hope that you die” – for me there is a gentleness in the vocals which utterly contrasts with the message in the lyrics.
I am going to stop with this version: it is so chilling, I can’t imagine it can go any further.
But if you want a little more at this time, having played this 2000 version go back to the 1978 edition above. Bob’s re-thinking of what he has is extraordinary. The words are the same, but the meaning is quite, quite different.
An index to the various series we are running on the site at the moment, and other recent series, can be found on the home page.