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All Along the Watchtower

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Commentary

2 Leave a comment on paragraph 2 0 All Around Along the Watchtower is arguably the best track on John Wesley Harding. John Hinchey, author of Like a Complete Unknown, says it’s “far and away, the best song on John Wesley Harding, and it’s one of Dylan’s most potent creations.” 1 Robert Shelton says it is “perhaps the album’s high point”. Could be, although there are many excellent songs on the album.

3 Leave a comment on paragraph 3 0 Steve NashOnce could argue perhaps that a few songs on Dylan’s mid-sixties albums suffer from excessive verbosity (like Sad-Eyed Lady of the Lowlands). On John Wesley Harding Dylan occasionally errors the other direction. Case in point is the title track, John Wesley Harding, which doesn’t provide the reader enough information to really discern the author’s theme. But on All Along the Watchtower he treads the needle like a Steve Nash pass through heavy traffic. The song, although extremely brief, invites a plethora of interpretations, invokes numerous historical references, and creates a cinematic visual landscape in the listener’s mind.

4 Leave a comment on paragraph 4 0 Like most of the songs on the album, Dylan sets the narrative in what seems to be the American Wild West. “Two riders are approaching’ clearly evokes the image of the outlaw, maybe a Clint Eastwood type, riding into town with a cigar between his teeth, ready for a showdown.

5 Leave a comment on paragraph 5 0 The song is clearly another of Dylan’s “the apocalypse is coming” songs, similar to Hard Rain’s A-Gonna Fall, or Slow Train Coming. Although exactly what is coming is not stated explicitly, something big is clearly on the horizon for the “princes” and “barefoot servants” in the walled fortress. A “wildcat” is roaring, and the “two riders” that are approaching, clearly signaling something ominous on the  horizon.

6 Leave a comment on paragraph 6 0 Many commentators have pointed out that the lyrics echo lines in the Book of Isaiah,Chapter 21, verses 5-9.

7 Leave a comment on paragraph 7 0 5 Prepare the table, watch in the watchtower, eat, drink: arise, ye princes, and anoint the shield.

8 Leave a comment on paragraph 8 0 6 For thus hath the Lord said unto me, Go, set a watchman, let him declare what he seeth.

9 Leave a comment on paragraph 9 0 7 And he saw a chariot with a couple of horsemen, a chariot of asses, and a chariot of camels; and he hearkened diligently with much heed:

10 Leave a comment on paragraph 10 0 8 And he cried, A lion: My lord, I stand continually upon the watchtower in the daytime, and I am set in my ward whole nights:

11 Leave a comment on paragraph 11 0 9 And, behold, here cometh a chariot of men, with a couple of horsemen. And he answered and said, Babylon is fallen, is fallen; and all the graven images of her gods he hath broken unto the ground.

12 Leave a comment on paragraph 12 0 Shelton cites an interesting observation made by Gabrielle Goodchild concerning the meaning of this biblical connection 2:

13 Leave a comment on paragraph 13 0 The watchtower seems related to the fortified city as a recurring image for the moral state of man or the body politic. Here the moral order seems to be threatened by the duality Dylan sees within himself of clown [the joker] and holy pickpocket [the thief].

14 Leave a comment on paragraph 14 0 JokerShelton notes that Dylan mixes “colloquial speech with archaic setting and personae.” This technique is of course, reminiscent of other Dylan songs such as Highway 61. He also notes that the joker is used in a similar fashion in Shakespeare’s King Lear.

15 Leave a comment on paragraph 15 0 Many have speculated on the identity of the joker and the thief. Is Dylan the joker? Is he the thief? Is the thief Jesus (“I will come to you as a thief” – Revelations 2:5)? Perhaps they are the same person, as suggested by Jokerman author Aidan Day, who sees “the joker and the thief as different aspects of a single person, engaged in “self-dialogue” about issues of creativity and business”. John Hinchey suggests that the joker and the thief are “the profane and the sacred aspects of trickster, the mythic master of limits and boundaries. The difference between these two figures, here and throughout Dylan’s work, is that the joker merely evades limits; the thief finds ways to render them permeable.”

16 Leave a comment on paragraph 16 0 To me, this song – like other on John Wesley Harding – signals a dramatic change in Dylan’s world view. The albums immediately proceeding show a pronounced beat/existential attitude, a nihilistic drift. This attitude changes significantly on this album, and especially with this song. I tend to agree with John Herdman’s thought, as quoted by James Dunlap: John Wesley Harding represents a search for a religious solution to life’s meaning.” 3

17 Leave a comment on paragraph 17 0 This song points to a more moralistic, spiritual outlook. The joker tells us people don’t understand him, they can’t comprehend the worth of his “wine” and “earth”. The thief tell the joker that “life is not a joke”. Finally, the joker and the thief (presumably) approach the fortress as a terrible wind and a howling wildcat signal the coming apocalypse. It seem to me that the song clearly tells the audience that some type of major moral or ethical judgment day is on the horizon, at least in part brought on by society’s depravity (thus the reference to Isiah). Of course, just my thoughts. Feel free to have your own :-).

18 Leave a comment on paragraph 18 0 The performance of this song keeps with the minimalist approach of the other songs on the album, a strummed guitar, over a bass and drum. Dylan uses his harmonica to accentuate the tension of the lyric, ending with a solo that seems to add a question mark to the entire proceeding.

19 Leave a comment on paragraph 19 0 Of course, many casual rock fans are under the impression that All Along the Watchtower is a Jimi Hendrix song. It’s understandable, since Hendrix really reworks the song musically, making it his own. Generally, covers of Dylan songs pale in comparison to the original. I can’t think of another cover that exceeds the original, besides this one.

20 Leave a comment on paragraph 20 0 Hendrix gives it his usual Dylan-style vocal, but adds an amazing guitar part that certainly ranks at the top of not only Hendrix’s but any rock performance. It’s a grand achievement. Herb Bowie of Reason to Rock makes some interesting observations.

21 Leave a comment on paragraph 21 0 The third musical element I want to comment on, and the one that really frames and defines the whole song, is Jimi’s repeated, gradually progressing ascents up the scale with blistering notes. Here is what I mean, the first time it appears, at the beginning of the first guitar break, between the first and second verses. (Audio clip – 16K.) Here is what it sounds like at the end of the second, and longer, guitar break, between the second and third verses. (Audio clip – 40K.) And here, finally, is the way it sounds at the end of the song. (Audio clip – 220K.) Notice how Jimi seems to be gradually reaching for a note that he only finally hits at the end of the song. And then when he gets there, he repeats it, over and over, making a high keening sound, representing not only the howling wind referred to in the last line, but that coming conflict that the song so clearly prepares us for. And the music ends on this note, as do the lyrics, without resolution, but clearly pointing forwards to some anticipated future act of liberation.

22 Leave a comment on paragraph 22 0 This is simply a brilliant collaboration between songwriter and musician, the accompaniment extending and reinforcing the meaning and drama of the lyrics, and showcasing the unique possibilities of the electric guitar along with nothing more than a bass, drum kit and acoustic guitar.

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24 Leave a comment on paragraph 24 0 Dylan performs Watchtower with great frequency. According to bobdylan.com, as of this writing he’s played more than any other song, 2,170 times, 161 more times than Like A Rolling Stone. In the booklet accompanying Biograph, Dylan says: “I liked Jimi Hendrix’s record of this and ever since he died I’ve been doing it that way… Strange how when I sing it, I always feel it’s a tribute to him in some kind of way.”

25 Leave a comment on paragraph 25 0 Not surprisingly, versions of the song appear on many Dylan live albums, including Before the Flood, At Budokan, Dylan and the Dead, and MTV Unplugged. On the Dylan and the Dead and Before the Flood albums it’s performed in a rock style, undoubtedly influenced by the Hendrix version. I still prefer the original, with the MTV version a distant second.

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46 Leave a comment on paragraph 46 0 Lyrics

47 Leave a comment on paragraph 47 0 “There must be some way out of here,” said the joker to the thief
“There’s too much confusion, I can’t get no relief
Businessmen, they drink my wine, plowmen dig my earth
None of them along the line know what any of it is worth”

48 Leave a comment on paragraph 48 0 “No reason to get excited,” the thief, he kindly spoke
“There are many here among us who feel that life is but a joke
But you and I, we’ve been through that, and this is not our fate
So let us not talk falsely now, the hour is getting late”

49 Leave a comment on paragraph 49 0 All along the watchtower, princes kept the view
While all the women came and went, barefoot servants, too

50 Leave a comment on paragraph 50 0 Outside in the distance a wildcat did growl
Two riders were approaching, the wind began to howl

51 Leave a comment on paragraph 51 0 Notes:

  1. 52 Leave a comment on paragraph 52 0
  2. Like A Rolling Stone, John Hinchey, p. 236
  3. Robert Shelton, No Direction Home p. 393
  4. Bob Dylan Anthology Volume 2 – 20 Years of ISIS Essay by James Dunlap
Page 93
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Source: http://www.bobdylancommentaries.com/in-progress/all-along-the-watchtower/