(A sequel of sorts to my take on ‘Visions Of Johanna.’)
’All Along the Watchtower’ (from ’John Wesley Harding’) is is one of those Bob Dylan songs that has a general theory attached to it. It's held to be about his declining relationship with his then-manager, Albert Grossman. The Joker and Thief are them, respectively. So we’re told.
Well, there may well be other songs from this period which that explanation works for. (Dylan himself, who normally resisted analysis like his livelihood depended on it, said he hadn’t been thinking of any of that when he wrote ’Dear Landlord’, but okay, it did seem to fit.)
But does it work for this song? No, not at all.
In fact I suspect people just get as far as the word ‘Thief’ and cry “aha, he’s calling Grossman a thief, also some Biblical stuff to fancy it up.” David Stubbs, who perhaps propagated this theory the most, describes their relationship as “a stand-off.” Yet in the song they seem to get along. And, provided we accept the (more likely) theory that Dylan sings the verses in the wrong order, the Thief gets the last word. Which isn’t snake-oil spiel, in fact it sounds like sage advice. We, who have been through so much, can outlast this.
Let’s look somewhere else, then.
Was anything else on curly-locks’ mind at the time? There was, something pretty big in fact. He'd change his sound with the regularity others changed their sheets. But this time there had been something more to it…
He’d grown sick of being taken as a spokesman for a generation, or some kind of prophet whose every utterance required the utmost scrutiny. (Pithily epitomised by a scene from the 2007 film ‘I’m Not There’ where everybody, from music journalists to the Black Panthers, is desperately trying to figure out who Mr. Jones is.) Not being a job you could just quit, he decided he had to get himself fired.
It’s like trying to rid yourself of overstaying guests by putting on the music they most dislike. Except in this case he had to write that music. So be it. He’d make records so removed from anything his fan base wanted to hear that they’d desert him in droves, and finally he’d be left in peace.
All this is well enough known. But just in case that wasn’t enough sometimes he’d even spell it out in the lyrics.
Bluffer’s tip, when someone as egocentric as Dylan writes two characters into a song - assume they’re both him. He said of himself: “when I used words like 'he' and 'it' and 'they,' I was really talking about nobody but me.” But this comes with a twist. The Joker is Old Dylan, still looking for some way out of the situation he’s in. “Businessmen they drink my wine” may well be a reference to Grossman, though probably more a collective noun for music industry types. But “ploughmen dig my earth” sounds much more about those self-professed Dylanologists who’d scour his lyrics for buried meanings, sometimes literally rifting through his trash, naturally enough missing “what any of this was worth”.
While New Dylan tells the hipster nihilist that, while he might once have thought life is but a joke, they have now been through that - they can see the other side. In a song dripping with religious imagery, it’s about revelation.
(For this reason, I think the talk about the track being ‘circular’ sails past the point. Yes, what should be the first verse comes last. Yes, earlier songs like ’Stuck Inside Of Mobile’ or - for that matter - ’Visions Of Johanna’ had been about entrapment. Here the song is more a roadmap outta here. I’d guess rather than being up to anything clever Dylan just reordered the verses because that gave the song a better opening line. (If so he was right, most people must know it by now.)
Often analysts of the song reflect on how Biblical the imagery is, particularly the Book of Isiah. But this is almost entirely confined to the third verse (as sung). Few seem to consider how this relates to the song as a whole. Let’s detour into it…
One of the most annoying aspects of the “Dylan’s a poet” business is that actually he was a songwriter. There’s fairly strong evidence, in fact, that he recorded some of those songs. And a songwriter combines words and music for an overall effect. (Dylan himself was often frustrated his music was so overlooked.)
And the point these two come together most clearly is in the singer’s voice. And New Dylan even sounded different, dropping the nasal jeer famously liked by Bowie to “sand and glue”. For something quieter, more plainspeaking.
Elsewhere on the album, such as ’Frankie Lee And Judas Priest’ he strikes a conversational tone. But here he does something different. Truly grand things you don’t intone like a Hollywood voice-over, you have to speak of them softly, in a kind of hush. And the music does something very similar. The sound’s so ominous because it suggests at impending events that could only be alluded to, never fully described. (Those who only know the bigger sound of the Hendrix cover are often surprised by the original.)
I can remember being taught at school that, shortly after the crucifixion, many believed Jesus would return soon and usher in the end times. Which made for strange heady days to walk through, where each step might be your last. It’s something that has stayed in my head all my life. And this song has a similar mood of quiet apocalypse.
It’s known Dylan regularly read the Bible through this time. Solipsistic as ever, he seems to have associated his plan to remake himself with a parallel tumultuous change to the world. And, this being the late Sixties, there was plenty of evidence for that if you were to go looking. This quite possibly borders on a personality disorder. But it made for a good song.
Let’s go a bit more nitty-gritty…
You can see why the Joker might be called the Joker. He’s a Dadaish figure, not just writing songs without literal meaning but furiously denying there is a meaning to things. But why is the Thief the Thief? What’s he nicking exactly? Other song titles on the album mention a Drifter, a Hobo and an Immigrant, while the title track’s about a folklore outlaw. We’re on outsider to society here. Was Thief just the next line in the Thesaurus?
Perhaps, but let’s remember a slightly earlier song, ’Tears Of Rage’, had the repeated line “why must I always be the Thief?” If ’Watchtower’ flirts with confusion by being sung in the wrong order, this one gives us two characters without telling us. To the point that many simply didn’t notice. The only clue is in the use of ‘We’ and ‘I’, given to verses and choruses respectively. (Disclaimer: I seem to be the only person in the world who thinks this.)
‘We’ would seem to be parents vexed by a child asserting their independence. As many have been quick to point out, Dylan was by this time a parent. And it may be that he wouldn’t have written this song had he not been. But it isn’t credible that it’s *about* his experiences as a parent. The oldest, his step-daughter Maria, was six at the time. A little young for that sort of thing.
Instead I’d suspect ‘We’ to be those troublesome fans and Dylanologists, cast in the guise of controlling parents, sternly admonishing their charge over his change in direction. (“It was all pointed out the way to go’ means something like “What’s this? A country album? You are so grounded!”) And Dylan as the less-than-dutiful daughter, unwilling to conform to the plans made for her. What the ‘Thief’ is stealing is her own agency.
And like ‘why a thief’, we might want to ask ‘why a daughter?’ Why not a son? Dylan firmly associated himself with artistic genius stereotypes, which are highly gendered as male, and was effectively a misogynist. Why associate with a female character here? It may be because a daughter’s rebellion is seen as more a betrayal than a son’s. But also, ‘daughter’… it may simply have scanned better.
So to summarise, ’All Along the Watchtower’ by Bob Dylan isn’t about Albert Grossman. No, like many Bob Dylan songs it’s all about Bob Dylan. Have a great day!
(Those of an unusually obsessive nature may want to know I wrote something about the whole ‘John Wesley Harding’ album a while ago.)
No comments:
Post a Comment