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John Wesley Harding (1967)

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4.25
Average: 4.3 (8 votes)

Album Info:

There were three kings and a jolly three too. The first one had a broken nose, the second, a broken arm and the third was broke. "Faith is the key!" said the first king. "No, froth is the key!" said the second. "You're both wrong," said the third, "the key is Frank!"

It was late in the evening and Frank was sweeping up, preparing the meat and dishing himself out when there came a knock upon the door. "Who is it?" he mused. "It's us, Frank," said the three kings in unison, "and we'd like to have a word with you!" Frank opened the door and the three kings crawled in.

Terry Shute was in the midst of prying open a hairdresser when Frank's wife came in and caught him. "They're here!" she gasped. Terry dropped his drawer and rubbed the eye. "What do they appear to be like?" "One's got a broken vessel and that's the truth, the other two I'm not so sure about." "Fine, thank you, that'll be all." "Good" she turned and puffed. Terry tightened his belt and in an afterthought, stated: "Wait!" "Yes?" "How many of them would you say there were?" Vera smiled, she tapped her toe three times. Terry watched her foot closely. "Three?" he asked, hesitating. Vera nodded.

"Get up off my floor!" shouted Frank. The second king, who was first to rise, mumbled, "Where's the better half, Frank?" Frank, who was in no mood for jokes, took it lightly, replied, "She's in the back of the house, flaming it up with an arrogant man, now come on, out with it, what's on our minds today?" Nobody answered.

Terry Shute then entered the room with a bang, looking the three kings over and fondling his mop. Getting down to the source of things, he proudly boasted: "There is a creeping consumption in the land. It begins with these three fellas and it travels outward. Never in my life have I seen such a motley crew. They ask nothing and they receive nothing. Forgiveness is not in them. The wilderness is rotten all over their foreheads. They scorn the widow and abuse the child but I am afraid that they shall not prevail over the young man's destiny, not even them!" Frank turned with a blast, "Get out of here, you ragged man! Come ye no more!" Terry left the room willingly.

"What seems to be the problem?" Frank turned back to the three kings who were astonished. The first king cleared his throat. His shoes were too big and his crown was wet and lopsided but nevertheless, he began to speak in the most meaningful way, "Frank," he began, "Mr. Dylan has come out with a new record. This record of course features none but his own songs and we understand that you're the key." "That's right," said Frank, "I am." "Well then," said the king in a bit of excitement, "could you please open it up for us?" Frank, who all this time had been reclining with his eyes closed, suddenly opened them both up as wide as a tiger. "And just how far would you like to go in?" he asked and the three kings all looked at each other. "Not too far but just far enough so's we can say that we've been there," said the first chief. "All right," said Frank, "I'll see what I can do," and he commenced to doing it. First of all, he sat down and crossed his legs, then he sprung up, ripped off his shirt and began waving it in the air. A lightbulb fell from one of his pockets and he stamped it out with his foot. Then he took a deep breath, moaned and punched his fist through the plate-glass window. Settling back in his chair, he pulled out a knife, "Far enough?" he asked. "Yeah, sure, Frank," said the second king. The third king just shook his head and said he didn't know. The first king remained silent. The door opened and Vera stepped in. "Terry Shute will be leaving us soon and he desires to know if you kings got any gifts you wanna lay on him." Nobody answered.

It was just before the break of day and the three kings were tumbling along the road. The first one's nose had been mysteriously fixed, the second one's arm had healed and the third one was rich. All three of them were blowing horns. "I've never been so happy in all my life!" sang the one with all the money.

"Oh mighty thing!" said Vera to Frank, "Why didn't you just tell them you were a moderate man and leave it at that instead of goosing yourself all over the room?" "Patience, Vera," said Frank. Terry Shute, who was sitting over by the curtain cleaning an ax, climbed to his feet, walked over to Vera's husband and placed his hand on his shoulder. "Yuh didn't hurt yer hand, didja Frank?" Frank just sat there watching the workmen replace the window. "I don't believe so," he said.

Bob Dylan -- Vocal, Guitar, Harmonica and Piano
Charles McCoy -- Bass
Kenny Buttreyo -- Drums
Pete Drake -- Steel Guitar on "I'll Be Your Baby Tonight" and "Down Along The Cove"
Engineering -- Charlie Bragg

Produced by Bob Johnston

Comments

culto y simpático

5

Cuando los demás van, Dylan vuelve
este es otro paso hacia delante
parece simple pero no lo es
¡menos es más!

Dear Landlord Dear landlord

No Rating

Dear Landlord
Dear landlord [critic AJ Weberman],
Please don't put a price on my soul [put a contract out on my poetry, murder my poetry – as in “put a price on someone’s head”]
My burden is heavy, [burden - the central meaning or theme of a speech or literary work syn: effect, essence, core, gist – heavy – laden with meaning]
My dreams [surreal poems] are beyond control. [control - to exercise restraining or governing influence over; to check; to counteract; to restrain; to regulate; to govern;to overpower].

When that steamboat whistle blows, [when my anger bursts suddenly - “steamed “as in all steamed up - in Tarantula Dylan wrote, “Steam is getting thicker” and he also wrote, “The East Side is sweatin an steamin”]
I'm gonna give you all I got to give, [I am gonna have your fool head blown off your shoulders you stupid motherfucker]
And I do hope you receive it well, [receive as a retribution or punishment; "He got 5 years in prison" also “he was on the receiving end of a 38]
Dependin' on the way you feel that you live. [assuming you are still alive after being shot]

Dear landlord,
Please heed these words that I speak. [A word to the wise is sufficient]
I know you've suffered much, [I know you are an artist of sorts]
But in this you are not so unique. [but so am I]
All of us, at times, we might work too hard
To have it too fast and too much [to find my poetry is secured against opening and too much for your mind]
And anyone can fill his life up
With things he can see but he just cannot touch. [It is no distinction to devote your life to poems that you cannot translate properly nor express the true value of].
Dear landlord,
Please don't dismiss my case. (my violin case – gangsters in Chicago would secret their weapons in these cases)
I'm not about to argue,
I'm not about to move to no other place. (I am not about to be defined as a Leftist)
Now, each of us has his own special gift (I have money adapted and reserved for a specific purpose you have a gift for arousing my anger)
And you know this was meant to be true, (and you brought this upon yourself)
And if you don't underestimate me (and if you don’t think I am incapable of murder)
I won't underestimate you (then you have some brains after all).
Dear Landlord makes it clear that Landlord is critic in Dylan’s poetic language. In Tarantula he wrote, “the harmonica battalions of bitter cowards [the militant folk musicians afraid to enter the mainstream], bones & bygones [clinging to remnants of the past] while what steadier louder the moans & arms of funeral landlord [fall under the power of the complaints of leftwing folk critics] with one passionate kiss [with one recurrent theme in their art] rehearse from dusk…
In She’s Your Lover Now Dylan wrote, “The pawnbroker roared [someone who deals in pawns – the CPUSA] Also, so, so did the landlord [so did the leftwing critics]
The scene was so crazy, wasn't it?
Both were so glad
To watch me destroy what I had
Angel [politics – watching over others] brings out the best in people, doesn't it?
Why didn't you just leave me if you didn't want to stay?
Why'd you have to treat me so bad?
Did it have to be that way?
Now you stand here expectin' me to remember somethin' you forgot to say

Dear Landlord Dear landlord

No Rating

Dear Landlord
Dear landlord [critic AJ Weberman],
Please don't put a price on my soul [put a contract out on my poetry, murder my poetry – as in “put a price on someone’s head”]
My burden is heavy, [burden - the central meaning or theme of a speech or literary work syn: effect, essence, core, gist – heavy – laden with meaning]
My dreams [surreal poems] are beyond control. [control - to exercise restraining or governing influence over; to check; to counteract; to restrain; to regulate; to govern;to overpower].

When that steamboat whistle blows, [when my anger bursts suddenly - “steamed “as in all steamed up - in Tarantula Dylan wrote, “Steam is getting thicker” and he also wrote, “The East Side is sweatin an steamin”]
I'm gonna give you all I got to give, [I am gonna have your fool head blown off your shoulders you stupid motherfucker]
And I do hope you receive it well, [receive as a retribution or punishment; "He got 5 years in prison" also “he was on the receiving end of a 38]
Dependin' on the way you feel that you live. [assuming you are still alive after being shot]

Dear landlord,
Please heed these words that I speak. [A word to the wise is sufficient]
I know you've suffered much, [I know you are an artist of sorts]
But in this you are not so unique. [but so am I]
All of us, at times, we might work too hard
To have it too fast and too much [to find my poetry is secured against opening and too much for your mind]
And anyone can fill his life up
With things he can see but he just cannot touch. [It is no distinction to devote your life to poems that you cannot translate properly nor express the true value of].
Dear landlord,
Please don't dismiss my case. (my violin case – gangsters in Chicago would secret their weapons in these cases)
I'm not about to argue,
I'm not about to move to no other place. (I am not about to be defined as a Leftist)
Now, each of us has his own special gift (I have money adapted and reserved for a specific purpose you have a gift for arousing my anger)
And you know this was meant to be true, (and you brought this upon yourself)
And if you don't underestimate me (and if you don’t think I am incapable of murder)
I won't underestimate you (then you have some brains after all).
Dear Landlord makes it clear that Landlord is critic in Dylan’s poetic language. In Tarantula he wrote, “the harmonica battalions of bitter cowards [the militant folk musicians afraid to enter the mainstream], bones & bygones [clinging to remnants of the past] while what steadier louder the moans & arms of funeral landlord [fall under the power of the complaints of leftwing folk critics] with one passionate kiss [with one recurrent theme in their art] rehearse from dusk…
In She’s Your Lover Now Dylan wrote, “The pawnbroker roared [someone who deals in pawns – the CPUSA] Also, so, so did the landlord [so did the leftwing critics]
The scene was so crazy, wasn't it?
Both were so glad
To watch me destroy what I had
Angel [politics – watching over others] brings out the best in people, doesn't it?
Why didn't you just leave me if you didn't want to stay?
Why'd you have to treat me so bad?
Did it have to be that way?
Now you stand here expectin' me to remember somethin' you forgot to say

Dear Landlord Dear landlord

No Rating

Dear Landlord
Dear landlord [critic AJ Weberman],
Please don't put a price on my soul [put a contract out on my poetry, murder my poetry – as in “put a price on someone’s head”]
My burden is heavy, [burden - the central meaning or theme of a speech or literary work syn: effect, essence, core, gist – heavy – laden with meaning]
My dreams [surreal poems] are beyond control. [control - to exercise restraining or governing influence over; to check; to counteract; to restrain; to regulate; to govern;to overpower].

When that steamboat whistle blows, [when my anger bursts suddenly - “steamed “as in all steamed up - in Tarantula Dylan wrote, “Steam is getting thicker” and he also wrote, “The East Side is sweatin an steamin”]
I'm gonna give you all I got to give, [I am gonna have your fool head blown off your shoulders you stupid motherfucker]
And I do hope you receive it well, [receive as a retribution or punishment; "He got 5 years in prison" also “he was on the receiving end of a 38]
Dependin' on the way you feel that you live. [assuming you are still alive after being shot]

Dear landlord,
Please heed these words that I speak. [A word to the wise is sufficient]
I know you've suffered much, [I know you are an artist of sorts]
But in this you are not so unique. [but so am I]
All of us, at times, we might work too hard
To have it too fast and too much [to find my poetry is secured against opening and too much for your mind]
And anyone can fill his life up
With things he can see but he just cannot touch. [It is no distinction to devote your life to poems that you cannot translate properly nor express the true value of].
Dear landlord,
Please don't dismiss my case. (my violin case – gangsters in Chicago would secret their weapons in these cases)
I'm not about to argue,
I'm not about to move to no other place. (I am not about to be defined as a Leftist)
Now, each of us has his own special gift (I have money adapted and reserved for a specific purpose you have a gift for arousing my anger)
And you know this was meant to be true, (and you brought this upon yourself)
And if you don't underestimate me (and if you don’t think I am incapable of murder)
I won't underestimate you (then you have some brains after all).
Dear Landlord makes it clear that Landlord is critic in Dylan’s poetic language. In Tarantula he wrote, “the harmonica battalions of bitter cowards [the militant folk musicians afraid to enter the mainstream], bones & bygones [clinging to remnants of the past] while what steadier louder the moans & arms of funeral landlord [fall under the power of the complaints of leftwing folk critics] with one passionate kiss [with one recurrent theme in their art] rehearse from dusk…
In She’s Your Lover Now Dylan wrote, “The pawnbroker roared [someone who deals in pawns – the CPUSA] Also, so, so did the landlord [so did the leftwing critics]
The scene was so crazy, wasn't it?
Both were so glad
To watch me destroy what I had
Angel [politics – watching over others] brings out the best in people, doesn't it?
Why didn't you just leave me if you didn't want to stay?
Why'd you have to treat me so bad?
Did it have to be that way?
Now you stand here expectin' me to remember somethin' you forgot to say

Ever wonder where

5

Ever wonder where inspiration for "All Along The Watchtower" came from? It's pretty obvious it comes from Isaiah chapter 21. Here are selected lines from Isaiah's poem:

This message came to me concerning Babylon
I see a terrifying vision
Disaster roaring down like a whirlwind
My mind reels and my heart races
They are preparing a great feast
Everyone is eating and drinking
But quick! Prepare for battle
Put a watchman on the wall
Let him declare what he sees
When he sees riders
Horsemen in pairs
Day after day I have stood on the watchtower
Night after night I have remained at my post
And behold, here comes riders
A couple of horsemen
Then the watchman said,
Babylon is fallen, is fallen!
All the idols of Babylon lie upon the ground

Frankie Lee and Judas Priest comic by Ray Sohn

No Rating

Ray Sohn has created a comic based on "The Ballad of Frankie Lee and Judas Priest."

What I find most intriguing

3

What I find most intriguing about this album is the how Drifter's Escape and The Wicked Messenger morphed themselves into live showstoppers in the early '00's.

Dave

Obra maestra

5

Uno de mis discos preferidos. Me encanta el sónido que tiene todo el album y me encantan las canciones.-

Masterpiece

5

One of the crown jewels in Dylan's canon.

Return to folk

4

So, Dylan nearly kills himself on a motorcycle, finally gets a little rest from the 60s in general, holes up in New York with The Band, and here's the results. It's a much simpler Dylan than the one we've come to expect up to this point, but still an amazing Dylan. I think this is where he begins screwing with his audience and always leaves them guessing. No one would have expected this after Blonde On Blonde. A great record all the same.

Simple but great

4

I think it's not a well-known album for many people, because of it's simple structure and style. It's simple but really pleasant to listen. As I went out one morning, All along the watchtower, I'll be your baby tonight and I pityy the poor immigrant are wonderfl songs for me.

John Wesley Harding

3

And once again Bob’s shifted gears on us. Gone are the electric guitars that so inflamed the Newport audience. At the height of psychedelia, Bob the rebel comes out with what in the 90s would be considered an Unplugged band. Also the tenor of the lyrics has changed. Instead of the random fleeting images of Blonde On Blonde, we have a set of fairly literal straightforward story-songs, the original definition of ballad. Regardless of how interesting or dull the events described, you could always tell exactly what was going on. Oddly enough, the one song with the most surreal lyrics, “All Along The Watchtower” was also the biggest hit (not for Dylan, but Jimi Hendrix). This time around Bob is only using a bass and drums in addition to his acoustic guitar and harmonica. Only while Bob’s earliest albums, which didn’t even have that rhythm section, managed to sound interesting and diverse, this new arrangement strangles and limits Bob. While Bob would make a similarly stripped-down line-up work to great effect on Blood On The Tracks, here it has a very static and dull quality musically. Most of the songs are kind of hard to tell apart from each other: the title track, “As I Went Out One Morning”, “I Am A Lonesome Hobo”, “Dear Landlord”, “Drifter’s Escape”, “I Pity The Immigrant”, “I Dreamed I Saw St. Augustine”. As for “The Ballad Of Frankie Lee And Judas Priest”, goes on way too long, particularly if you find the lyrics to be unimpressive. By the time the Pete Drake shows up for the last two songs (even though usually I think of the pedal steel guitar and the audio equivalent of a headache), it’s almost a relief to get some more scope. A couple of songs are worth mentioning. “All Along The Watchtower” manages to be just as wild and heavy as Hendrix’s version, even without all the distortion and effects. “The Wicked Messenger” (my personal favorite) is just a simple riff, repeated with such single-mindedness that it becomes something much more impressive. “I’ll Be Your Baby Tonight” could be seen as an interesting one-off genre experiment if it weren’t for the album that follows.