Bob Dylan's Lost Years 1971-73 | Discovering Bob Dylan, Ep. 14/15

After New Morning, Bob disappeared from public save for an appearance at the Concert for Bangla-desh and a show with the Band. He decided to become a Hollywood star, working with Sam Peckinpah on Pat Garrett & Billy the Kid, both in the movie and on the soundtrack. Critics were not thrilled with either.

After the failure of the soundtrack, Columbia canceled Dylan's lucrative record deal. He jumped ship to Asylum and Columbia got their revenge by releasing Dylan (1973), which was savaged by critics.

What do you think of Pat Garrett & Billy the Kid and Dylan (1973)? Are they as bad as everyone thinks? Leave your thoughts in the comments?

[frangarcia]

Getting addicted to these series, guys...such a great job! Please keep it coming

[kenkaplan]

I don't know if it is kosher to suggest another channel but it is highly relevant. There is this guy, Andy Edwards who has a huge appreciation of music and for me is a very talented cultural critic of music and music history, a bit like like Greil Marcus. He is big into jazz and prog rock but seems to have enormous insight into the development of popular music, what influenced what, how it fits, and communicates it all exceptionally well.

So about this journey you are on. Like Joe he doesn't particularly like Dylan, he rarely listens to him but he is astute enough to rank Dylan very high in terms of importance. He has one video, the 10 greatest albums ever (all genres) and Highway 61 Revisited is on the list. For me that is an amazingly incisive choice, one that very few would make, but it is interesting to see his rationale, not for the traditional reasons of lyrics etc but for the album as a whole which he thought was a decade ahead of its time.

The other video is the 10 most important albums in music history ever made and he puts Freewheelin' at #2. (Sinatra's "in the Wee Small Hours" is #1). Robert Johnson is on the list, Miles Davis, etc). He says in his opinion Dylan was the most important artist of the last 60 years. The first (and usual) reason is how he elevated popular music with lyrical sensibility, but he also says Dylan "democratized" popular music. If your lyrics were worthwhile, it didn't matter if you had a great voice and this opened the door to countless artists to become significant. And again, he is not particularly fond of Dylan. He is like Joe who is more musically oriented.

I find his stuff a companion to what you are doing here and thought it was interesting enough to mention it. For me the intriguing tension (or dynamic) between Sevey, the great Dylan freak, and Joe, semi reluctantly dragged into this, makes for fascinating discussion. Blood on the Tracks looms after Planet waves.

[jamesegan]

Again, great discussion, thank you guys! Great idea to meld 1971-73 in one go. I remember the first Bob Dylan I bought was Greatest Hits Volume 2 in ‘74 or ‘75; I had heard of Dylan, was beginning to read Rolling Stone (which generally revered him) and as a 15 year old or so thought I should check him out. My thinking back then was to get Greatest Hits albums; all the best songs, right? And I still remember how amazed I was at listening to that double vinyl album, being totally mesmerised by songs I had never heard before…not only Watching the River and Tomorrow is a Long Time but When I Paint My Masterpiece and Down in the Flood, not to mention stuff like Don’t Think Twice and Stuck Inside of Mobile, etc….totally new to me! I was so impressed, so into those songs, I couldn’t believe it…he was already, for me, head and shoulders above the other stuff around, just so clever and deep and compelling. Been a life long fan ever since, and my appreciation of Dylan just grows. UnlikeJoe, I came to all these songs fresh, hadn’t heard any covers, and to me they are still the best. Hadn’t heard Dylan (album) or Pat Garret until fairly recently, when I became a Dylan completist, and only hear George Jackson on the Side Tracks compilation. Not essential, but enjoyable stuff, especially the guitar work on Pat Garret (the version of Knocking on Dylan’s MTV Unplugged album is my favourite), but nothing short of interesting. Joe certainly has come a long way in his appreciation of Dylan, even for the Dylan album, which is far less good than Another Self Portrait. Can hardly wait until you guys get into the next phase through the balance of the Seventies, which is a true golden Dylan period, arguably his best ever. Thx again and cheers, love the series! JPE

[DjangoRunyan]

Pat Garrett is underrated really a beautiful album as a whole.

[aronpolasek]

A kind of fun thing that is floating around out there on the interwebs is people coming up with sequenced playlists for a "lost 1971 Dylan album". There are some variations, but the core of most of them is the same. I'm not sure it would totally qualify as an LP based on the running length. If so, it would probably be in the running for the shortest album of Dylan's career. But he also wasn't really an EP kind of guy either, so. Below is the tracklist for the version I made for myself. I actually have a CD version of this for the car that I prefer because I have my preferred version of 'Spanish Is The Loving Tongue' on it, and that version isn't on any of the streaming services. At least not that I'm aware of. While I'm fully aware that this was not a collection of songs that was ever intended to sit together in album form, I actually think the vibe of these performances hang together nicely. Overall, it's a very loose, bluesy set of songs that dips into rock, country and gospel at times. It's a fun listen, which is not something that you can always say about Dylan albums. Even on the songs that are more serious lyrically, the music doesn't take them in a maudlin direction. They wind up being rather breezy, despite the heavier lyrical content. I actually listen to this one a lot, and it would have been interesting if he had put these songs together for one album, or maybe the bulk of them with some other songs to round things out. It would have maybe provided a different direction for him for the early 70s. Mine follows the tracklist I found on some Dylan site, with maybe a slight change or two, so I take no credit for doing the bulk of the work here. It's a fun set of songs to play around with though.

1. 'Watching the River Flow' (Side Tracks)
2 'When I Paint My Masterpiece' (Side Tracks)
3. 'Wallflower' (The Bootleg Series Volumes 1-3)
4. 'George Jackson (Big Band Version)' (Side Tracks)
5. 'Only A Hobo' (Another Self Portrait: Bootleg Series, Vol. 10)
6. 'You Ain't Goin' Nowhere' (Side Tracks)
7. 'Down In The Flood' (Side Tracks)
8. 'I Shall Be Released' (Side Tracks)
9. 'Spanish Is The Loving Tongue' (B-Side Version -- found on 'Masterpieces' & 'Pure Dylan' compilations)
10. 'George Jackson (Acoustic Version)' (Side Tracks) *Bonus Track*

While I prefer the acoustic version of 'George Jackson', I think the Big Band version fits better sonically with the rest of the songs. So I tacked on the acoustic version as a bonus track to kind of pad the running time a bit. Since that B-Side version of 'Spanish Is The Loving Tongue' doesn't seem to be available on streaming services, my streaming alternate is the version from Another Self Portrait, but that's cheating a bit because I think that one is from 1970. Still...that one is better than the version off of "Dylan". 

Last thing I wanted to mention is that I agree with you guys on the above version of 'I Shall Be Released' (from Greatest Hits, Volume II / Side Tracks) not being the best version. It does sound a bit like a bluesy campfire sing along type of thing. However, the Take 2 version of 'I Shall Be Released' found on disc 3 of "The Bootleg Series, Vol. 11: The Basement Tapes Complete" is my go-to take on the song. I like it better than The Band's version from "Big Pink". The Basement Tapes Complete version has Richard Manuel harmonizing behind Dylan, with the same arrangement that they went with on "Big Pink". I just think it is kind of the best of both worlds, as I feel Dylan's register is a more natural fit for the song than Manuel's otherworldly falsetto. It's not that I dislike the "Big Pink" version, or Manuel's vocal, I just prefer hearing Dylan out front. This Basement Tapes version might be the same version as the Alternate Take from "The Bootleg Series, Vol. 1-3", but it sounds better on the later installment.

[Vanessa.P]

This was a really smart way to approach this time period and I think ultimately made talking about this period more engaging. Important to talk about but a whole episode just about Pat Garrett and Billy the Kid might have been rather short lol. Looking forward to seeing what Joe thinks of Planet Waves, I really like that one!

[dekafer]

I thought i'd heard all of Bob Dylan, but this is the first time I went and listened to "George Jackson" and "Watching The River Flow", thanks to you guys mentioning it.

[johnlefsky]

I overprepared. I went back and reread some of Paul Seydor's book on the making of Pat Garrett and Billy The Kid and Sid Griffin's Shelter From the Storm, as well as rewatching the film. It was actually pretty fun, immersing myself in that world and I've been on a Peckinpah kick anyway. I can't hear Knocking On Heaven's Door without thinking of Katy Jurado and Slim Pickens. Yes, the song is a bit on the nose, but I didn't mind. I was hoping you guys would talk about the film a bit. It's funny how Dylan can be a such a commanding live presence but be so recessive on screen, though he is amusing. I know these Dylan podcasts can't go on forever, but I'd love to hear more about Dylan's use of film in his songs, using bits of dialogue, mentioning performers, etc. There will be a few more times when this theme comes up, so here's hoping.

[canadianstudmuffin]

Another thoroughly enjoyable episode! 🙂

[Skroskznik]

This was so good yet again. I can't wait long enough for the next episode, planet waves is the most underrated album in his catalog to me.

[DavidHarrison-pvlt]

the "Billy" songs are massively overlooked.... and also seem quite personal imho. KOHD has been done 100s of times but only once properly, and that is the film score version. And even Bobs later lyrics changes like the phrase "so many times before" dont really add anything to the sublime minimalism of the original. Being born in 1956, i really only got to know Dylan first in this phase, having no elder sibs to give me an early introduction. my friend bought a copy of PGABTK and we went to the pub (oops, underage there, in school uniform and all) and got them to put it on the their sound system. I kept waiting for Bob to sing. ha ha... seriously wanted more more more, but hell i fad never even listened to "bringing it all back home" or "JWH" at that stage, and had SOOO much to catch up on... keep up the good work guys

[TrekBeatTK]

I was so happy to find the Dylan LP used in a record store. I have also since bought a Japanese import CD. I LOVE “Sarah Jane”. And I dig his “Big Yellow Taxi”. The problem is the sequencing.

[michelewiese]

Art imitates life. 1973 - The last American combat troops are withdrawn from Vietnam. Although “Knockin’ On Heaven’s Door” is not specifically about the Vietnam War, the world into which this song was delivered was ready for it. It surely comforted families of the fallen. No matter how they fell. Well…I wasn’t actually there but I can’t imagine it not!
I have no evidence to back this up, but I expect Bob Dylan, who works double meanings into his lyrical choices with ease, knew what he was doing here.
I find Bob’s vocal delivery on this song to be particularly moving. The sentiment echoes Scott Walker’s “Hero Of The War” and Dylan’s own “Masters Of War” if you listen between the lines. To me, it’s a timeless treasure of a song.

[michaelbenz]

Another cool episode. The best part of it for me was getting me to listen to Jerry Jeff Walker's Mr. Bojangles. I was most familiar with the Nitty Gritty Dirt Band's version.

[NormHiscock-jz]

I like how you dealt with this period. Dylan is an artist for sure, doing what he wants to do when he wants to dit it. Look forward to Planet Waves and Blood On The Tracks.

[Burtshulman]

I like Pat Garrett -- very listenable, enjoyable music. Agree that the Billy tunes are really compelling. Knockin' On Heaven's Door is a very spare lyric and the melody is very simple -- but the cumulative impact of just a few repeating chords, its slow, stately pace, the bass line, and the arrangement is a reminder for me that songs are about chemistry -- music + lyrics + players + performance + production. For me, the chemistry in this recording elevates the listening experience to a kind of oracular whole that's greater than the sum of its parts -- I'd say lyrics and melody are each deliberately spare and the combination creates a recording with a uniquely haunting power.

[bengthertzman]

As usual an interesting discussion between you! The thing with many Dylansongs are that many other singers/musicians made great covers of them and made them "their" songs. Love Tomorrow is a long time with Sandy Denny and Mighty Quinn is for me for always connected with Manfred Manns Earthband. A great version of You ain´t going nowhere appears on Nitty Gritty Dirt Bands "Will The Circle Be Unbroken Vol 2" with Roger McGuinn & Chris Hillman and Maria Muldaur make a nice version on her Dylan album. I shall be released is one of Dylans best songs and there are so many good covers of it. The version on The Last Waltz (The Band/Dylan) is fine. The best cover I have heard of Knockin On Heavens Door is by Mungo Jerry (!).

[DeanJonasson]

A great survey of the "Lost Years". Lots of context and information that I found helpful, including the machinations of Columbia and Dylan's jump to the Asylum label. Overall, Dylan produced some great work in isolation including "Watching the River Flow" and the re-recordings on GREATEST HITS Vol. 2. As a point of correction, that compilation features the live, Isle of Wight version of "Quinn the Eskimo" (originally found on SELF PORTRAIT). It's Bob's mellow country voice pushed into punk territory!
It's odd that the stand-alone single, "George Jackson" didn't end up on Vol. 2 nor any significant compilation (not even the 3-disk DYLAN comp from 2007). I've listened to it once or twice but still can't recall anything significant about it. Obviously, neither Dylan nor Columbia think much of it. And where is that "Spanish is the Loving Tongue" b-side?!!!
This period seems to be a continuation or an outgrowth of his 'myth-destroying' SELF PORTRAIT stance. He just doesn't seem interested in (capable of?) producing a full album of songs. I think the PAT GARRETT soundtrack is fine and actually shows him pulling out of the morass of the previous two studio efforts, foreshadowing what is going to be his first sustained comeback period.
Oddly, I think what happens during the '71-'73 period is that Dylan's myth actually grows. People are nostalgic about his '60s legacy, miss his voice, and are hungry for more of his songwriting and performing. His few live appearances prove it. The CONCERT FOR BANGLADESH confirmed that he could still move people. I'd forgotten that the live material from The Band's ROCK OF AGES came from this period as well. Although he's straining on the first few songs, by "Don't Ya Tell Henry", it sounds like he's having a great time. "Like a Rolling Stone" isn't perfect (he muffs a few lines) but it's ramshackle charm and audience reaction win out. It's interesting that they perform "Down in the Flood" as the 1974, arena tour document would be titled AFTER THE FLOOD.
Columbia's DYLAN release only confirms what mixed-up confusion reigned in the studio during the making of SELF PORTRAIT and the over-rated NEW MORNING. Nice of you both to give it some props, nonetheless.  
It'll take some regular touring for Dylan to find a new 'rock' voice but when he does (during the "Rolling Thunder Revue") he finally recovers the excitement and drama of old. As for his songwriting, his "Lost Years" are about to end.

[Burtshulman]

Joe and Dylan, this a great series! I keep checking back to see if the next one's out. Prediction: Planet Waves won't rock either of your worlds. It's not a record for the ages, but it's beautiful. Highlights for me, in advance of the episode: Dirge; Forever Young of course (though I don't love it the way some do); Tough Mama; On A Night Like This.

[paulok]

I watched the movie a load of times and I think of the album as a part of that package.