Bob Dylan All the Songs
Page 66
In September, Dylan and his band assembled in Rundown Studios in Santa Monica, California. Until October, he tirelessly rehearsed his most recent compositions with a group of musicians including guitarist Steve Ripley, bassist Tim Drummond, and drummer Jim Keltner. The first session was held on September 23 and devoted to a sublime acoustic demo of “Every Grain of Sand,” featuring Jennifer Warnes on backup vocals. It was released on The Bootleg Series Volumes 1–3: Rare & Unreleased, 1961–1991. In October, other songs were recorded, but all of them were just outtakes.
On November 9, 1980, Dylan played the first show of a twelve-night run at the Fox Warfield Theater in San Francisco. He performed at other West Coast venues and concluded the mini-tour with a two-day engagement in Portland on December 3 and 4. He resumed his recording sessions on March 26 and 27, 1981, at Rundown Studios, and on March 31 at Studio 55 in Los Angeles. Jimmy Iovine was in charge of the production, but Dylan was dissatisfied and thought of changing producers. The songwriter was still struggling to find an appropriate recording studio in Los Angeles. On April 1, other sessions were held at Cream Studio and the following day at United Western Studio. During April, Dylan found a new producer, the legendary “Bumps” Blackwell, but because of health issues he only produced three titles—“Trouble,” “Magic,” and “Shot of Love.” Of the three, only “Shot of Love” appears on the track listing of the album. The exact recording date is unknown, but was probably in mid-April. The sessions were held at the Peacock Records Studios in Los Angeles.
The following sessions were finally held at Clover Studios in Los Angeles, owned by Chuck Plotkin, who consequently co-produced the rest of the album with Dylan. There were probably seven recording sessions (April 23, 24, 27, 28, 29, 30, and May 1), several overdub sessions (May 31, 15, and June 16), and many mixing sessions (May 2, 4, 5, 6, 7, 18, 19, 24, 26, 28, 29, 30, and June 2 and 7). (These dates are not final because of gaps in the documentation; the information may change in the future.) The collaboration between Dylan and Plotkin appears to have deteriorated during the mixing sessions, both having conflicting ideas on how to mix the songs. Yet in July 1981, Dylan expressed gratitude to Plotkin in an interview with Dave Herman in London. “He made the record the way I want to make a record. He understood that. He wanted to make the record in the same way.”127 Nevertheless, the constant change of studios and producers gave rise to two frustrations: first, from the initial sessions Dylan had some problems producing the sound he was looking for; second, the process proved that he had no clear vision for the album as a whole. Toby Scott was in charge of the sound for Shot of Love. He had been an assistant sound engineer for Robert Palmer in 1976. He climbed the ladder quickly working with well-known artists, including Bruce Springsteen and Blue Öyster Cult.
Shot of Love was available in record stores on August 12, 1981. The album received mixed reviews, even if critics recognized the genius of “Every Grain of Sand.” Paul Nelson of Rolling Stone savaged the album, while Nick Kent of New Musical Express, subtle as a sledgehammer, called it “Dylan’s worst album.” This twenty-first studio album reached number 33 on the US Billboard charts, but peaked at number 6 in the United Kingdom. An important detail: Dylan described “Shot of Love” as his most perfect song!
The Instruments
Shot of Love used the same guitars as on the previous album. There are no details on those used in the studio. Dylan played harmonica only on two tracks, in tones of E-flat and A.
FOR DYLANOLOGISTS
“The Groom’s Still Waiting at the Altar” was not selected for the album, but in September 1981 it was released as the B-side of Dylan’s new single, with “Heart of Mine” on the A-side. In the mid-1980s, Dylan decided to insert “The Groom’s Still Waiting at the Altar” into the track listing of Shot of Love at the beginning of the second side.
A COINCIDENCE?
Dylan performed the last show of his 1980 fall concert on December 4 at the Paramount Theatre in Portland, Oregon. Four days later, on December 8, he and the rest of the world learned of the assassination of John Lennon.
Shot Of Love
Bob Dylan / 4:21
Musicians
Bob Dylan: vocals, guitar
Clydie King: harmony vocals
Danny Kortchmar: guitar
Steve Ripley: guitar
Andrew Gold: guitar
Carl Pickhardt: piano (?)
Tim Drummond: bass
Jim Keltner: drums
Carolyn Dennis, Regina McCrary, and Madelyn Quebec: backup vocals
Recording Studio
Peacock Records Studios, Los Angeles: Mid-April 1981 (Overdubs May 31 and June 15 and 16, 1981)
Technical Team
Producers: Bumps Blackwell, Chuck Plotkin, and Bob Dylan
Sound Engineer: Toby Scott (?)
Genesis and Lyrics
Bob Dylan told New Musical Express in 1983, “The purpose of music is to elevate and inspire the spirit. To those who care where Bob Dylan is at, they should listen to ‘Shot of Love.’ It’s my most perfect song. It defines where I am spiritually, musically, romantically and whatever else. It shows where my sympathies lie. It’s all there in that one song.”128 For the opening song of the third act of his Christian trilogy, Dylan was once again inspired by biblical texts, especially the First Epistle of Paul to the Corinthians: “I may have the gift of prophecy, and know every hidden truth; I may have faith strong enough to move mountains; but if I have no love, I am nothing” (13:2). As the title of his song unambiguously shows, Dylan needed a good “shot of love.” When he sings, “I need a shot of love,” it is the love of Jesus Christ, but also, no doubt, the love of a woman: “Veronica not around nowhere, Mavis just ain’t right.” Who are Veronica and Mavis? He continues, “There’s a man that hates me”: who was this man? Another mystery. In the fourth verse he sings, “You’ve only murdered my father, raped his wife / Tattooed my babies with a poison pen / Mocked my God, humiliated my friends.” It is unknown to whom he refers, but this can also be interpreted as allegory, symbolizing an attack on reporters and critics who were hostile to his songwriting about his conversion to Christianity, who did not accept it, and, even worse, who laughed at him.
Production
The opening title track is a distinctive piece produced by Bumps Blackwell at Peacock Records Studios. “Shot of Love” offers a color radically different from the previous two studio albums, Slow Train Coming and Saved. The sound is less precise, more diffuse, and gives the impression of having been recorded live, which is certainly the case. That is a shame because it is good blues-rock song, performed by good musicians, but the result is a bit messy. The drum section lacks energy. The different instruments are lost in the mix; only Dylan, who shares vocals with Clydie King, emerges with a determined voice, full of passion. “Shot of Love” was recorded in mid-April, with overdubs on guitar (by Andrew Gold on May 31), bass, and drums.
Dylan performed “Shot of Love” for the first time in concert at the Earls Court Exhibition Center in London on July 1, 1981.
COVER
Blues and gospel band Robert Randolph & the Family Band covered “Shot of Love” for the album We Walk This Road, released in 2010.
Heart Of Mine
Bob Dylan / 4:36
Musicians
Bob Dylan: vocals, piano, percussion (?)
Clydie King: harmony vocals
Ron Wood: guitar
Danny Kortchmar: guitar (?)
Daniel William “Smitty” Smith: organ
Donald “Duck” Dunn: bass
Jim Keltner: drums, percussion (?)
Chuck Plotkin: drums
Ringo Starr: tom-tom
Recording Studio
Clover Studios, Los Angeles: May 15, 1981 (Overdubs June 15 and 16, 1981)
Technical Team
Producers: Chuck Plotkin and Bob Dylan
Sound Engineer: Toby Scott
Genesis and Lyrics
The book of Jeremiah (17:9) (“The heart is the mos
t deceitful of all things, desperately sick; who can fathom it?”) was used as a guideline for writing the love song “Heart of Mine.” The message is painful: since man’s heart is bad, he cannot achieve anything good unless he acts under the protection of Jesus Christ. This song can be interpreted from a different angle, even if the message remains fundamentally pessimistic: the narrator was actually disgusted by his own behavior, because he did not have any dignity (“Heart of mine so malicious and so full of guile”) and because he hid his feelings for fear of being hurt (“Don’t let her know that you love her”). The narrator would somehow repent. Dylan said in 1985, “Well, I had somebody specific in mind when I wrote this, somebody who liked having me around.”12 Another mystery!
Production
“Heart of Mine” has a rather pleasant calypso beat with surprising lightness, compared to the two previous albums. After several attempts, on April 28 and 29, the basic rhythm track was recorded on May 15 in seven takes. According to Dylan, “[‘Heart of Mine’] was done a bunch of different ways… but I chose for some reason a particularly funky version of that—and it’s really scattered. It’s not as good as some of the other versions, but I chose it because Ringo and Ronnie Wood played on it, and we did it in like ten minutes.”15 Although there were already two drummers, including Jim Keltner and Ringo Starr, co-producer Chuck Plotkin also played drums. The day of the session, everyone was on time except for Dylan, who was six hours late. After he sabotaged a first attempt, the group reworked the song. But the musicians had trouble establishing the right musical groove. Plotkin sat down at Starr’s kit and started playing with the other musicians just for fun, to show what the groove should be. According to the producer, Starr shouted, “There! That! That’s the feel of this song! So you stay there, and I’ll play the other ones!” Among the musicians was Donald “Duck” Dunn, the legendary bassist for Stax, noted for his recordings with Booker T & the MG’s. Despite more than seventy mixes (!), “Heart of Mine” was disappointing. Dylan performed the song onstage for the first time at Earls Court in London in July 1981.
IN YOUR HEADPHONES
At 3:59 there is a poor mix between two takes that is off rhythm.
Property Of Jesus
Bob Dylan / 4:37
Musicians: Bob Dylan: vocals, guitar; Danny Kortchmar: guitar; Steve Ripley: guitar; Andrew Gold: guitar (?); Carl Pickhardt: piano; Steve Douglas: saxophone; Tim Drummond: bass; Jim Keltner: drums; Clydie King, Carolyn Dennis, Regina McCrary, and Madelyn Quebec: backup vocals; (?): percussion / Recording Studio: Clover Studios, Los Angeles: April 29 or May 1, 1981 (Overdubs May 31, 1981) / Producers: Chuck Plotkin and Bob Dylan / Sound Engineer: Toby Scott
Genesis and Production
“Property of Jesus” is in line with the Christian character of the two previous albums. The lyrics are a diatribe against non-believers, infidels, those who make materialism a supreme value and laugh at those who talk of Jesus Christ—a Christ who “don’t increase his worth at someone else’s expense” and who “doesn’t tell you jokes or fairy tales, say he’s got no style.” In the chorus, the “heart of stone” may be an allusion to Dylan’s early fans who turned their back on him when he converted to Christianity. Or is it aimed at false prophets, intellectuals steeped in certainty and pride, or simply at nonbelievers?
“Property of Jesus” is an unusual rock song whose production could have used a little more work. The mix is not very good, with the instruments struggling to come through. Percussion and drums would do well with less reverb. The chorus is reminiscent of Elvis Presley’s “Burning Love.” There is a very unfortunate edit between two takes at 3:14 at the beginning of the last verse. The tempo of the two is not the same, with the second one slower. Dylan’s vocals also do not have the same intonation. The basic track is dated April 29 and May 1. A guitar overdub (by Andrew Gold) was recorded on May 31. “Property of Jesus” has never been performed live.
Lenny Bruce
Bob Dylan / 4:36
Musicians: Bob Dylan: vocals, piano; Fred Tackett: guitar; Benmont Tench: organ; Tim Drummond: bass; Clydie King, Carolyn Dennis, Regina McCrary, and Madelyn Quebec: backup vocals / Recording Studio: Clover Studios, Los Angeles: April 29 and 30 or May 14, 1981 (Overdubs May 1981) / Producers: Chuck Plotkin and Bob Dylan / Sound Engineer: Toby Scott
Genesis and Production
Dylan here performs an emotional tribute to Lenny Bruce, a stand-up comedian who died of a drug overdose in August 1966. He was known for his freestyle and critical brand of comedy, which integrated satire, politics, and the topics of racism and religion, and was judged as subversive by the self-righteous of the time. He paved the way for the counterculture of the sixties. Fifteen years later, the songwriter decided to dedicate a song to this accursed artist who “didn’t commit any crime,” but certainly lacked the essential love and support of others. In 1981, Dylan told Dave Herman, “I wrote that song in five minutes! It is true, I rode with him once in a taxicab. I found it was a little strange after he died, that people made such a hero out of him. When he was alive, he couldn’t even get a break.”127
Fred Tackett plays electric guitar in arpeggios, Tim Drummond bass, Benmont Tench organ, and the four backup vocalists deliver an inspired chorus, but the song could have been improved by a better mix. Dylan’s vocals seem tense and lacking in feeling. “Lenny Bruce” is nonetheless an excellent song, recorded on April 29 and 30, with a small orchestration. Another session was probably held on May 14. The song was finalized later during an overdub session.
Watered-Down Love
Bob Dylan / 4:13
Musicians: Bob Dylan: vocals; Clydie King: harmony vocals; Danny Kortchmar: guitar; Fred Tackett: guitar; Benmont Tench: piano; Carl Pickhardt: organ (?); Jim Keltner: drums; Clydie King, Regina McCrary, and Madelyn Quebec: backup vocals / Recording Studio: Clover Studios, Los Angeles: May 15, 1981 / Producers: Chuck Plotkin and Bob Dylan / Sound Engineer: Toby Scott
Genesis and Production
Like the title song “Shot of Love,” the theme of “Watered-Down Love” is based on the thirteenth chapter of the Epistle of Paul to the Corinthians, which is about love of God for other people. “I may speak in tongues of men or of angels, but if I am without love, I am a sounding gong or a clanging cymbal” (13:1). Therefore, this song is an ode to pure love, which “don’t make no false claims” and “won’t lead you astray.” For the songwriter, “love that’s pure” is “an eternal flame, quietly burning.” Dylan wrote a fifth verse for “Watered-Down Love” that he sang onstage but did not record. It began, “Love that’s pure is not what you teach me / I got to go where it can reach me.”
“Watered-Down Love” was recorded on May 15 in nine takes. Curiously, there is no bass in this piece, despite a continual but minimalist drum part. The instrumental lineup includes two good rhythm parts played by guitarists Kortchmar and Tackett, and highly efficient keyboards. “Watered-Down Love” is a pleasant, medium-tempo rock song. Dylan sings in a relaxed voice and is accompanied by Clydie King. The whole piece lacks conviction; the chorus is lost in the mix and seems unconnected to the rest of the song. “Watered-Down Love” was played for the first time in concert on June 10, 1981, in Chicago.
FOR DYLANOLOGISTS
“Watered-Down Love” echoes “Clean Up Woman” by the R&B singer Betty Wright, which reached number 6 on the Billboard Pop charts in December 1971.
Dead Man, Dead Man
Bob Dylan / 4:04
Musicians: Bob Dylan: vocals, guitar; Clydie King: harmony vocals; Steve Ripley: guitar; Fred Tackett: guitar; Benmont Tench: keyboards; Carl Pickhardt: keyboards; Steve Douglas: alto saxophone; Tim Drummond: bass; Jim Keltner: drums, percussion; Clydie King, Regina McCrary, and Madelyn Quebec: backup vocals / Recording Studio: Clover Studios, Los Angeles: May 14, 1981 (Overdubs June 15, 1981) / Producers: Chuck Plotkin and Bob Dylan / Sound Engineer: Toby Scott
Genesis and Production
Dylan introduced “Dead Man, Dead Man” to the public in concert in
Birmingham, England, on July 4, 1981 saying, “[Dead Man, Dead Man] is a song about myself… I just recall I wrote this song while looking into the mirror.”89 Is Dylan the main character in this song? Is he the one “never bein’ able to separate the good from the bad”? If so, then this could be Dylan before his conversion to Christianity. The primary inspiration for this song is a passage in the Epistle of Paul to the Romans (8:11): “Moreover, if the Spirit of him who raised Jesus from the dead dwells within you, then the God who raised Christ Jesus from the dead will also give new life to your mortal bodies through his indwelling Spirit.”
Of all the songs for Shot of Love, “Dead Man, Dead Man” went through the largest number of transformations. Dylan and his musicians recorded many versions between April 27 and May 1 before obtaining the basic track on May 14. “Dead Man, Dead Man” has a reggae sound, which every artist at the time seemed to have to record. Dylan followed the trend, and his take on reggae in this two-chord song was particularly successful. Some honky-tonk piano at 2:39 was added on June 15, along with percussion by Jim Keltner. One regret: Drummond’s bass part needed more work on the mix.
In The Summertime
Bob Dylan / 3:36
Musicians
Bob Dylan: vocals, harmonica