Bob Dylan All the Songs
Page 71
Production
“Someone’s Got a Hold of My Heart” was not included in the final track listing of Infidels, released in October 1983. With new lyrics, he took one of the versions he had recorded at the Power Station in New York on April 16, 25, or 26, 1983, accompanied by Mark Knopfler, Mick Taylor, Alan Clark, Robbie Shakespeare, and Sly Dunbar. One of the April 25 takes could be the version released on The Bootleg Series Volumes 1–3: Rare & Unreleased, 1961–1991.
“Tight Connection to My Heart (Has Anybody Seen My Love?)” is the opening track on Empire Burlesque and Dylan’s embrace of technology’s digital sound: the new generation of digital synthesizers (Yamaha DX7), digital multi-effect processors (Yamaha SPX-90), and remixes to adapt to FM radio and the nightclub. “Tight Connection to My Heart” is a good song, brilliantly done, but Dylan seems to lack benchmarks, even surrounded by excellent musicians. There is a real disparity between his language and the style of the mid-1980s. Only Mick Taylor succeeds in connecting these two musical approaches.
“Tight Connection to My Heart (Has Anybody Seen My Love?)” was also released as a single with “We Better Talk This Over” on the B-side, a song extracted from 1978’s Street Legal that failed on the American charts.
Seeing The Real You At Last
Bob Dylan / 4:21
Musicians: Bob Dylan: vocals, guitar; Mike Campbell: guitar; Benmont Tench: keyboards; David Watson: saxophone; Chops Horns: brass; Bob Glaub: bass; Don Heffington: drums; Bashiri Johnson: drums / Recording Studios: Cherokee Studios, Hollywood, California: January 28, 1985; Shakedown Sound Studio, New York (Overdubs/remix February/March 1985) Producer: Bob Dylan / Sound Engineers: George Tutko (Cherokee) and Arthur Baker (Shakedown) / Remix: Arthur Baker
Genesis and Production
Bob Dylan went directly to classic American cinema to write this second track of Empire Burlesque. The opening line of “Seeing the Real You at Last” is almost the same as one spoken by Edward G. Robinson in the 1948 film Key Largo, one of John Huston’s masterpieces. Robinson says, “You’d think this rain would cool things off, but it don’t”; Dylan sings, “I thought that the rain would cool things down / But it looks like it don’t.” Another nod to Huston and, consequently, the legendary Humphrey Bogart is, “Well, I have had some rotten nights / Didn’t think that they would pass,” a line borrowed from private detective Sam Spade in The Maltese Falcon, a movie already referenced in the previous song. As for “I got troubles, I think maybe you got troubles,” and “You could ride like Annie Oakley / You could shoot like Belle Starr,” these lines refer, respectively, to The Hustler (1961), directed by Robert Rossen, and Bronco Billy (1980), by Clint Eastwood.
“Seeing the Real You at Last” is a funky rock song. Dylan provides a magnificent vocal, supported by an excellent rhythm section. The instrumental arrangement includes two musicians from Tom Petty and the Heartbreakers, Mike Campbell and Benmont Tench. The excellent brass section Chops Horns are also present but lost in the mix. The base rhythm track was probably recorded on January 28. The extraordinary percussionist Bashiri Johnson, who had performed onstage with Sting, Miles Davis, Donald Fagen, and others, added overdubs in February or March.
Dylan sang this song for the first time onstage on February 5, 1986, at the inaugural concert of the True Confessions Tour with Tom Petty and the Heartbreakers in Wellington, New Zealand.
I’ll Remember You
Bob Dylan / 4:15
Musicians: Bob Dylan: vocals, piano; Madelyn Quebec: vocals; Mike Campbell: guitars; (?): organ; Howie Epstein: bass; Jim Keltner: drums / Recording Studio: Cherokee Studios, Hollywood, California: February 5, 1985 / Producer: Bob Dylan Sound Engineer: George Tutko / Remix: Arthur Baker
Genesis and Production
Dylan continues his journey to Hollywood with this charming ballad. The lines “There’s some people that / You don’t forget / Even though you’ve only seen ’em one time or two” are extracted from Howard Hawks’s The Big Sleep (1946), which starred Humphrey Bogart and Lauren Bacall. The message of the song is simple: a man can forget everything except the woman he loved (and may still love). Dylan said this is one of his favorite songs on the album, as he confirmed to Bob Brown in 1985: “It stands out because I still feel exactly the same way as I did when I wrote it.”137
“I’ll Remember You” allows Dylan to go back to the piano. Accompanying him on vocals is Madelyn Quebec, with whom he had already performed on Shot of Love. This love ballad has probably been overdubbed, but this is not mentioned on the session recording sheets. Besides Mike Campbell’s guitar, two acoustic guitars and an organ are audible.
FOR DYLANOLOGISTS
In the film Masked and Anonymous (directed by Larry Charles, 2003), Dylan sings an alternative version of “I’ll Remember You.” Unfortunately, that version is absent from the soundtrack released on CD.
Clean Cut Kid
Bob Dylan / 4:17
Musicians: Bob Dylan: vocals, guitar, harmonica (?); Ron Wood: guitar; Benmont Tench: piano; John Paris: bass; Anton Fig: drums; Carol Dennis, Queen Esther Marrow, and Peggi Blu: backup vocals / Recording Studios: Delta Recording Studio, New York: July 26, 1984; The Power Station, New York (Overdubs January/March 1985); Shakedown Sound Studio, New York (Overdubs March 3, 1985) / Producer: Bob Dylan / Sound Engineers: Judy Feltus (?) (Delta), Josh Abbey (The Power Station), and Arthur Baker (Shakedown) / Remix: Arthur Baker
Genesis and Production
The story of “Clean Cut Kid” concerns a typical American boy: on the baseball team, went to church on Sunday, drank Coca-Cola, and ate Wonder Bread and at Burger King. Then his life changed radically. In the chorus, Dylan sings, “He was a Clean Cut Kid / But they made a killer out of him.” The songwriter blames the US military or, more precisely, the administration in Washington that sent a generation to fight the Vietnam War. Dylan sings, “They sent him to a napalm health spa to shape up / They gave him dope to smoke, drinks and pills.” He continues, “He bought the American dream but it put him in debt.” The line is scathing and led to long debates. “Clean Cut Kid” has elements of the protest songs from Dylan’s early career.
“Clean Cut Kid” is an outtake from Infidels. The song was left off the album despite several takes on April 14 and 15, 1983. Dylan gave the song to Carla Olson, who included the tune on her debut album Midnight Mission, released in 1984. Dylan rerecorded the song on July 26, 1984, in two takes at the Delta Recording Studio in New York City. The first one was retained. Ron Wood opens with a solo, the Stones guitarist making his second appearance since “Heart of Mine” on Shot of Love. Benmont Tench provides an excellent piano part, and there are warm backup vocals. A harmonica is heard, unfortunately lost in the mix. “Clean Cut Kid” is a rock song that suffers from an impersonal sound. It is hard to find the writer of Highway 61 Revisited in it.
FOR DYLANOLOGISTS
Why did Bob Dylan offer “Clean Cut Kid” to Carla Olson? Because the singer appeared in Dylan’s first music video, “Sweetheart Like You” (Infidels)!
Never Gonna Be The Same Again
Bob Dylan / 3:11
Musicians: Bob Dylan: vocals, keyboards; Carol Dennis: vocals; Syd McGuinness: guitar; Alan Clark: synthesizer; Richard Scher: synthesizer; Robbie Shakespeare: bass; Sly Dunbar: drums; Queen Esther Marrow, Peggi Blu, and Debra Byrd: backup vocals / Recording Studios: The Power Station / Studio A, New York: February 20, 1985; Shakedown Sound Studio, New York (Overdubs March 3, 1985) / Producer: Bob Dylan / Sound Engineers: Josh Abbey (The Power Station) and Arthur Baker (Shakedown) / Remix: Arthur Baker
Genesis and Production
The narrator in this song clearly needs to be forgiven. The lyrics are a sort of apology to his girlfriend: “Sorry if I hurt you, baby / Sorry if I did.” The song is close to John Lennon’s “Jealous Guy,” released on Imagine in 1971. At the same time, revisiting Hollywood, Dylan refers to a line from the 1953 Western Shane, directed by George Stevens and starring Alan Ladd as the solitary hero: “Sorry if I touched the p
lace / Where your secrets are hid.”
Upon first listening to “Never Gonna Be the Same Again,” the song recalls the Stones in their psychedelic period and Brian Wilson at the time he had installed a sandbox in his living room. The sound is marked by the sixties, despite a less-than-successful overdose of synthesizer and a rather confusing mix of clashing styles. Dylan should have recorded the tune when analog was the only standard in music. The song was first worked on February 19 with former guitarist Steve Van Zandt of the E Street Band. The following day nine takes were made without him. The last was selected. The chorus was added as an overdub on March 3.
Trust Yourself
Bob Dylan / 3:29
Musicians: Bob Dylan: vocals, guitar; Madelyn Quebec: vocals; Mike Campbell: guitar; Benmont Tench: keyboards; Robbie Shakespeare: bass; Jim Keltner: drums; Bashiri Johnson: percussion; Carol Dennis, Queen Esther Marrow, and Debra Byrd: backup vocals / Recording Studios: Cherokee Studios, Hollywood, California: February 5, 1985; The Power Station / Studio B, New York (Overdubs March 18–21, 23, 1985); Shakedown Sound Studio, New York (Overdubs February/March 1985) / Producer: Bob Dylan Sound Engineers: George Tutko (Cherokee), Josh Abbey (The Power Station), and Arthur Baker (Shakedown) / Remix: Arthur Baker
Genesis and Production
“Trust Yourself” is a terrific song in which Bob Dylan delivers a simple and didactic message: if you need somebody you can trust, trust yourself first. It is kind of variant of the proverbial phrase, “Help yourself and heaven will help you.” In other words, truth and freedom can only be found by oneself, not by following an ungodly man without faith, especially “in a land of wolves and thieves.” “Trust Yourself” is an excellent rhythm and blues song, reminiscent of the marvelous version of the classic soul song “Respect Yourself” by the R&B gospel group the Staple Singers. The strength of the song comes from the excellent collaboration between Robbie Shakespeare, Jim Keltner, and Bashiri Johnson. They provide a ruthlessly efficient rhythm, allowing other instruments to be inserted into the groove and letting the song breathe. For once Arthur Baker’s mix does not overload the dynamics of the ensemble. Dylan, accompanied by Madelyn Quebec, delivers a great vocal, reinforced by the other three backup vocalists. “Trust Yourself” was recorded on February 5, and percussion overdubs were added sometime in February or March. Other brass overdubs were reported on the Power Station studio record sheets (also in March), but they were apparently not selected for this version. Dylan has performed “Trust Yourself” live twenty times; the first performance was at the first Farm Aid benefit concert in Champaign, Illinois, on September 22, 1985.
COVERS
Country singer Carlene Carter (daughter of June Carter and Carl Smith) recorded a cover of “Trust Yourself” during the sessions for Little Love Letters (1993), but the version was left off the album. It was released on the compilation Hindsight 20/20 in 1996. Bob Dylan is credited with singing backup vocals.
Emotionally Yours
Bob Dylan / 4:30
Musicians: Bob Dylan: vocals, piano; (?): vocals; Mike Campbell: guitar; Benmont Tench: organ; Richard Scher: synthesizer; Howie Epstein: bass; Jim Keltner: drums / Recording Studios: Cherokee Studios, Hollywood, California: February 14, 1985; Shakedown Sound Studio, New York (Overdubs February/ March 1985) / Producer: Bob Dylan / Sound Engineers: George Tutko (Cherokee) and Arthur Baker (Shakedown) / Remix: Arthur Baker
Genesis and Production
“Emotionally Yours” is beautiful love song in which Dylan indulges in some confessions. “Lock me into the shadows of your heart,” he sings, “I keep believing you’re the one I’m livin’ for.” The emotion felt by the narrator seems real. Even if he is traveling “to foreign shores,” his feelings still address the mysterious heroine.
“Emotionally Yours” is a great Dylan song, recorded on February 14, 1985. At the piano, he once again proves he has a very good technique and that he has steadily progressed over the years. Unfortunately, the mix does not honor his vocal, and the very 1980s arrangements trivialize the song. Only Mike Campbell’s beautiful solo (from 3:30) is a real success. Why not a new mix? Only synthetic overdubs appear on the record sheets for February and March. However, an acoustic guitar and a second vocal at the beginning of the last verse is heard, probably by Madelyn Quebec, but details are lacking on the subject.
FOR DYLANOLOGISTS
A demo of “Emotionally Yours” was recorded on February 12, 1985.
When The Night Comes Falling From The Sky
Bob Dylan / 7:30
Musicians
Bob Dylan: vocals, guitar
Madelyn Quebec: vocals
Al Kooper: guitar
Stuart Kimball: guitar
Richard Scher: synthesizers
Urban Blight Horns: brass
Robbie Shakespeare: bass
Sly Dunbar: drums
Bashiri Johnson: drums
Recording Studio
The Power Station / Studio A, New York: February 23 (Overdubs March 18–21, 23, 1985)
Technical Team
Producer: Bob Dylan
Sound Engineer: Josh Abbey (The Power Station)
Remix: Arthur Baker
Genesis and Production
With this song, Dylan returns to metaphysical concerns. “When the Night Comes Falling from the Sky” is littered with biblical references. The first line, “Look out across the fields, see me returning,” echoes the book of Job (1:7) in the Old Testament, “The Lord said to Satan, ‘Where have you come from?’ Satan answered the Lord, ‘From roaming throughout the earth, going back and forth on it.’” Similarly, in the first verse, “From the fireplace where my letters to you are burning,” and again in the last verse, “I sent you my feelings in a letter,” are certainly allusions to the seven letters sent to the seven churches in Asia Minor by the apostle John, known as the Seven Churches of the Apocalypse.
The “night [that] comes falling from the sky” could be the symbol of Satan’s victory or, more optimistically, the announcement of Judgment Day. Thus, in the Gospel according to Matthew, it says, “As soon as the distress of those days has passed, the sun will be darkened, the moon will not give her light, the stars will fall from the sky, the celestial powers will be shaken” (24:29). Therefore, the time will come for people to confess their sins and answer the judgment of the Lord.
Production
On February 19, a recording session included Steve Van Zandt on guitar and Roy Bittan on piano, then both members of Bruce Springsteen’s E Street Band. The take was released on the The Bootleg Series Volumes 1–3: Rare & Unreleased, 1961–1991. This upbeat rocky version is radically different from the electro-disco version appearing on Empire Burlesque, rerecorded without Bittan and Van Zandt on February 23 in four attempts. The third take was selected for the album. Dylan put his harmonica aside and provided an unrestrained vocal in the 1980s style. However, the production and the remix by Arthur Baker do not match the musical language delivered by the songwriter. The arrangements overemphasized the synthetic sound, reverb, and sampled orchestra sound, but did not help the song. Even the Urban Blight Horns are completely lost in the mix. The recording on February 23 was marked by the return of guitarist Al Kooper, who could not equal his work on “Like a Rolling Stone.”
FOR DYLANOLOGISTS
“Smoke is in your eye,” the second line of the first verse, could be another snippet of borrowed movie dialogue, this time from the show tune “Smoke Gets in Your Eyes,” written by Otto Harbach and Jerome Kern for their 1933 musical Roberta.
Something’s Burning, Baby
Bob Dylan / 4:53
Musicians: Bob Dylan: vocals, guitar (?); Madelyn Quebec: vocals; Ira Ingber: guitar; Al Kooper: guitar (?); Vince Melamed: synthesizers; Richard Scher: synthesizers; Robbie Shakespeare: bass; Don Heffington: drums, percussion / Recording Studios: Cherokee Studios, Hollywood, California: December 14, 1984; The Power Station / Studio A, New York: February 21 and 23, 1985 Producer: Bob Dylan / Sound Engineers: George
Tutko (Cherokee) and Josh Abbey (The Power Station) / Remix: Arthur Baker
Genesis and Production
This is another song about a couple’s relationship, but, as always with Dylan, it does not follow the clichés. The narrator questions himself. He does not seem sure of his partner’s feelings. He looks for reassurance in the ongoing relationship: “Are you still my friend, baby, show me a sign”; he asks, “Am I no longer a part of your plans or your dreams?” He continues with a fatalistic view, “Even the bloodhounds of London couldn’t find you today.” He concludes with some hope, singing in the last line, “I believe in the impossible, you know that I do.”
Guitarist Ira Ingber (Joe Cocker, Captain Beefheart) called “Something’s Burning, Baby” “a very weird song.” Strange in its almost martial atmosphere, no doubt, but also in the way it was recorded. Ingber even said, “Maddy did not know the words when they did the vocal, ’cause I watched her… She was trying to sing harmonies with him live.”15 As drummer Don Heffington remembered, “Dylan kept working on it even as we cut it. He had scraps of paper and he was writing things on paper bags… whatever was around. It was amazing how he’d change things up. I put a bunch of percussion on it but it’s not listed on the album—a big bass drum, some toms, a tambourine. Later they took it to New York and reworked it.”112