Dylan song of the year 1978/9: I believe in you.

By Tony Attwood

A list of the previous “songs of the year” articles is given at the end of this piece.

The notion of there being a Dylan “song of the year” for each and every year is of course, just an invention – a concept I made up without actually looking at Dylan’s songwriting in chronological order.   And that was a bit dumb on my part, given that I spent many a long hour putting the songs that Bob has written into their chronological order for publication on this site.  (See the links under the picture of the rising sun at the top of the page, if you’re interested but have not found the data before).

But to be clear on that point, my interest has been not just listing the songs in the year each one is written, but in the actual order in which they were written as well, to see what could be learned from the sequence of writing, in terms of how Bob’s artistry evolved over time.

You can find all the songs from the 1970s on this site and as far as I can work out, they are pretty much in the order written, although if you have bothered with my ramblings previously, you might recall the contradiction that I face with 1978.   For the song that utterly stood out for me when I got the “Slow Train” album, and which still moves me today, is “When He Returns”.  Which is odd since it is a profoundly Christian song, and as I have noted before in relatin to Bob’s religious writings, I am, and have for many years been, an atheist.

I suppose my explanation is that I would still love this song with all my heart even if it were not about the second coming.   Or maybe I would love to be proven wrong, and find that a Deity does actually exist. (although that presumably suggests I am in for a pretty rough time after I pass away, which, given my advanced age, is going to be sooner rather than later).

Bob did perform We He Returns on tour, but only 47 times, and those performances were between November 1979 and November 1981.  The performances of which there are recordings are virtually identical to the version on the LP, and I can understand why.  It is stunning.   So my assumption has been that he stopped singing it because he stopped believing, although I suppose it could be because Bob simply couldn’t find any alternative way to play the piece.  The recorded version is, after all, an utter masterpiece of performance as well as of composition.

So why this song?  Bob, in writing and performing the song, to me sounds like a man who believes, but without that level of “believe as I do or you’ll be doomed” that some religious songs can have.  He believes, he is telling me he believes, he is inviting me to believe, and that is it.

But there is more, because there are four elements to this song, each of which is perfect:  Bob’s vocals, Bob’s piano playing, the lyrics and the composition of the music.   Which when we come to it, is pretty much everything.   Indeed, I think I can say I don’t know any Dylan lyrics which match these….   For me, it is not just the best piece of religious music I have ever heard, it is one of the best pieces of music I have ever heard.

The opening line itself had me utterly bemused when I first heard the song, and I had to go back to listen to the “Iron Rod.”  If you don’t know about the Iron Rod it you can find a recording here.  Or if you just want the lyrics here is part of the opening….

o Nephi, seer of olden time,
A vision came from God,
Wherein the holy word sublime
Was shown an iron rod.
Hold to the rod, the iron rod;
’Tis strong, and bright, and true.
The iron rod is the word of God;
’Twill safely guide us through.

Dylan’s lyrics I find much more acceptable, and I do adore the melody and accompaniment.

The iron hand it ain’t no match for the iron rod
The strongest wall will crumble and fall to a mighty God
For all those who have eyes and all those who have ears
It is only He who can reduce me to tears
Don’t you cry and don’t you die and don’t you burn
For like a thief in the night, He’ll replace wrong with right
When He returns

Truth is an arrow and the gate is narrow that it passes through
He unleashed His power at an unknown hour that no one knew
How long can I listen to the lies of prejudice?
How long can I stay drunk on fear out in the wilderness?
Can I cast it aside, all this loyalty and this pride?
Will I ever learn that there’ll be no peace, that the war won’t cease
Until He returns?

Surrender your crown on this blood-stained ground, take off your mask
He sees your deeds, He knows your needs even before you ask
How long can you falsify and deny what is real?
How long can you hate yourself for the weakness you conceal?
Of every earthly plan that be known to man, He is unconcerned
He’s got plans of His own to set up His throne
When He returns

• 1961.  I was young when I left home
• 1962:  Tomorrow is a long time
• 1963: Seven Curses
• 1964: Gates of Eden
• 1965: Visions of Johnanna
• 1966: One of Us Must Know (Sooner or Later)
• 1967 part 1: “Drifter’s Escape”
• 1967 part 2:  I’m not there
• 1968: Bob stops but even so (Lay Lady Lay)
• 1969: I’ll have you any time
• 1970: Time passes slowly
• 1971: When I paint my Masterpiece, and Watching the River Flow
• 1972, Forever Young  – preparing to open a minor door
• 1973: Amarillo and a back-up just in case.
• 1974: Idiot Wind
• 1975: Isis
• 1977: Journey through the dark heat
• 1978/9: I believe in you