By Tony Attwood
This review revised May 2017
The second of the two love songs from the first side of “Bringing it all back home” is infinitely more complex than “She Belongs To Me”. While musically it seems to be straightforward, the lyrics (and indeed the very title, written originally as a fraction) suggest Dylan has most certainly travelled to another place.
The music works around the three major chords, and the melody flows across 16 bars of 4/4 in every verse. All very conventional.
But the lyrics are not as ever heard before. There’s a Zen-like opening (My love she speaks like silence) which shows us this is another place entirely from the conventional love song, and then we realise, there are no rhymes.
It was an approach to writing that Dylan rarely used – indeed writing this I am struggling to think where else he did use this approach. It seems strange within such a conventional musical base to make such a departure, and yet that is the point. The convention of everyday is undermined by the attitude of the individual, for that is what the song is about. “She knows there’s no success like failure and that failure’s no success at all” – a radical way (but nonetheless valid for all that) of seeing the world.
It is a song about the inner attitudes and visions of the singer’s lover which allow her to co-exist with this world without compromising her visions. The visions that she and the singer share are snapshot visions – exactly as the visions within the Gates of Eden are – but these are of a Zen-like acceptance of the world which allows one to see everything far more fully than is possible most of the time. There is no battle, because the world and the singer can coexist.
“She knows too much to argue or to judge.” You can’t get more Zen like than that..
But it is also a song about the all-encompassing feeling of love that can (if we are lucky) envelop us all in, at times. That period when one’s lover is everything – indeed more than everything. Wherein one’s lover appears to be above and beyond reality, where everything one’s lover is, says, does, becomes is automatically of value in itself and does not require questioning. When indeed nothing can be questioned.
This is a period which (at least in my experience) cannot last and that failure to continue with this sort of adoration eventually can destroy the relationship. Only by reaching the same level of speaking like silence and knowing too much to argue or to judge can one reach out and be as one with the lover.
Dylan has performed the song many times and it turns up on various compilation albums, but if you are fully familiar with the original and the variations at the live shows, listen to the Newport 65 version (its on YouTube) – perhaps the fastest he has ever played it, and an amazing contrast to other approaches. But it still works, it is still true.
There is also a very alternative version from Jimmy LaFave here.
What else is on the site
You’ll find some notes about our latest posts arranged by themes and subjects on the home page. You can also see details of our main sections on this site at the top of this page under the picture.
The index to all the 594 Dylan compositions and co-compositions that we have found on the A to Z page.
We also have a very lively discussion group “Untold Dylan” on Facebook with over 2000 active members. (Try imagining a place where it is always safe and warm). Just type the phrase “Untold Dylan” in, on your Facebook page or follow this link
If you are interested in Dylan’s work from a particular year or era, your best place to start is Bob Dylan year by year.
On the other hand if you would like to write for this website, please do drop me a line with details of your idea, or if you prefer, a whole article. Email Tony@schools.co.uk
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, links back to our reviews