Blood on the Tracks | Discovering Bob Dylan, Ep. 17

The pinnacle of his 1970s ouvre, the breakup album of all breakup albums, Blood on the Tracks.
Dylan's 1975 deconstruction of his failing marriage has inspired more scholarly discussion than perhaps any album in human history. A lyrical masterpiece.
But does it have any bridges?
Joe and Dylan (Sevey) hash it out on whether or not the album is as good as its reputation and if it lives up to the hype or if it falls short of Joe's expectations, crushing Dylan (Sevey) forever.
What are your thoughts on BotT? Leave your comments even if you don't watch all 1:11:05 of the video... yeah, we know it's a doozy.
Thanks for watching!
(Dylan Sevey apologizes for the hero cam in pt. 2. Stupid Zoom...)
#bobdylan #bloodonthetracks
~~~
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[@canadianstudmuffin]

Dylan's heart sinking slowly as Joe gave his review... 😃 Enjoyed!

[@spencerdobkin9479]

Highly doubt Dylan gives two shits about any reviews lol just saying

[@jordansmith5978]

@@spencerdobkin9479the guy on the left is named Dylan. He’s not talking about bob Dylan

[@floydshambles]

Joe's gonna love the violin.

[@hazydavo]

I did!!

[@matthewzuckerman6267]

Blood on the Tracks is always called a break-up album, and of course it does wrestle with male-female relationships in every song, but I don't think it's quite the Bob & Sara show that it's taken to be. For one thing, they didn't actually break up until a couple of years after the songs were written. And then the stories themselves in the songs are of wildly different relationships: in the midst of a break-up (Idiot Wind), shortly after (You're a Big Girl Now) or looking back on a failed relationship (If You See Her...). Tangled stretches over years and a number of relationships while SImple Twist is locked into a single night that becomes a life-long obsession. You're Going to Make Me Lonesome is a playful shrug while Buckets of Rain stares into the abyss. And Jack of Hearts is a tall tale western. Presumably, Dylan's marital problems fired his imagination, but I don't see all of these songs having to do with his marriage.

[@179rich]

I agree with all that.

[@kenkaplan3654]

Dylan said it took ten years to live and then write Tangled Up in Blue. I have often wondered if many women were involved, but the catalyst seems to be the break up of his marriage.

[@matthewzuckerman6267]

@@kenkaplan3654Yes, he said "ten years to live and two years to write". His marriage didn't break up for another two years, but it was certainly cracking.

[@kenkaplan3654]

@@matthewzuckerman6267 Thanks for the clarification.

[@OutOnTheTiles]

Great series and great episode. It took me into my 50’s to understand Bob and get into him. But streaming has allowed me to dig in without having to purchase all his albums. I’ve gone through them slowly like Joe and I’ve become a big fan of everything that he’s released. I actually caught him live at Massey Hall in Toronto back in December. It was incredible seeing him and I don’t mind his voice….he is old and I can give his voice a break. Absolute genius. Cheers 👍

[@wallbangerreactions]

For me, the singing is spectacular. When he sings "I can change, I swear" I don't believe the narrator. When he sings "Like a corkscrew to my heart" I feel it. in my chest Or "One day the axe just fell." But with that said, always a fair and articulate.response. from Joe. Good video.

[@collinmurr3207]

A great and powerful album, but also an extremely introspective one that commands full attention. It's kind of a double edged sword, because it's hard for me to hear too many of these songs out of the context of the album, but listening to the album as a whole will break your heart. "If You See Her, Say Hello" is one of the most beautiful songs in his entire discography, and like Dylan, I think "Buckets of Rain" is an absolutely brilliant closer. It might be one of his most emotional vocal deliveries, despite being super lowkey. Desire is a fascinating album in his catalog, and I am really looking forward to that review. Great video!

[@SpaceCattttt]

Music should always command your full attention.

[@kenkaplan3654]

Rain always means sorrow for Dylan. look for every use of it in his catalogue. It''s always about pain. "Our conversation was short and sweet It nearly swept me Off of my feet And I'm back in the rain Oh, you are on dry land... (You're a Big Girl Now) Nobody feels any pain Tonight as I stand inside the rain (Just Like a Woman) Ain't it just like the night to play tricks when you're tryin' to be so quiet? We sit here stranded, though we're all doin' our best to deny it And Louise holds a handful of rain, temptin' you to defy it (Visions of Johanna) There's a long distance train rolling through the rain Tears on the letter I write (Journey Though Dark Heat) It's all over his catalogue

[@lupcokotevski2907]

The Carpenter's Wife in Tangled Up in Blue is a reference to the great Laura Nyro, who married a carpenter and Vietnam vet in 1971 and retired from music aged 24. Dylan first met Nyro at a party thrown for Janis Joplin by Clive Davis. The first thing he said to her was 'I love what you do". Nyro's revolutionary 1968 album Eli and the Thirteenth Confession destroyed the idea of traditional song structures. Nyro " probably influenced more successful songwriters than anyone " Elton John, 2007.

[@imas2pid80it]

When he said, "Where did I go wrong here?", I thought, "go through a gut-wrenching divorce." The album is great because he sings about the horrible things they went through and he allows himself to be angry at what others did while acknowledging his feelings could be naive. But what really packs a whallop is where he sees HIS responsibility and owns it. I just can't think of too many songs that are like A Simple Twist of Fate. By the way, I really love the music of that song and You're a Big Girl Now.

[@alanshepherd4304]

I was never a Dylan fan, but in 1977 a friend played this album in his car and i thought...WOW!! I was hooked, delved backwards into his back catalogue and been a big Dylan fan ever since!!😁😁😁🇬🇧

[@maggiebryan2355]

Every song on this album is great love it❤

[@tillwesenberg1178]

Good episode again. It's a treat to watch people disagree in such a nice and thoughtful way. 👍🤗

[@rvegas81]

I just purchased this on cd. Cant wait for the review! Ray C

[@edwardmeradith2419]

Hey Joe, there IS a bridge in “You’re gonna make me lonesome when you go”

[@TastesLikeMusic]

Does it count as a bridge if there are two of them? I think it’s just a B section. - Joe

[@edwardmeradith2419]

@@TastesLikeMusic good point! My thinking is that tonality also involved in defining a bridge - in this case it goes to the V, then a major II, back to the V - so it literally ’bridges’ the I key back to itself. So the bridge never feels like landing at home (I) but takes you over to get there. On the other hand a chorus (Idiot Wind’s for example) is firmly centered (begins and ends)on the I chord (G in Idiot Wind, E in ‘You’re gonna make me lonesome when you go.’) A bridge can happen more than once in a song - the Brit’s I think often called it a ‘middle 8’ - and an example would be “We can work it out” by the Beatles - it happens twice, and also uses a very common harmonic device for ‘bridge’ construction. It goes down to the key of the minor third. Same thing in “And I love her” tho they only it once there.

[@MikeVernonProd]

Blood on the Tracks isn’t my favourite Dylan album, but it might be my favourite set of Dylan songs. This album is the peak of his lyricism, and unlike Joe I think the lack of bridges is a strength of the record in that it provides an immediacy and a rawness to the songs themselves. All Along The Watchtower doesn’t have a bridge. Neither does Changing of the Guards but no one in their right mind would doubt that these are two of Dylan’s masterpieces. The same goes for songs like Simple Twist of Fate and You’re a Big Girl Now, two of his greatest compositions. These songs are so damn good that in the live context Bob is able to change the arrangements on these songs, even change the lyrics and still somehow they are just as captivating as they are on record. The Rolling Thunder / Hard Rain versions of the Blood on the Tracks songs are some of Bob’s best ever live performances. To me where I do agree with Joe is that the instrumentation isn’t quite as ear-catching as some of his other records. The second half of the record isn’t quite as strong as the first (especially Lily Rosemary and the Jack of Hearts) because the musicianship does get a bit repetitive. That being said the final two tracks of the album, Shelter of the Storm and Buckets of Rain are just perfection. It’s definitely a top ten Dylan record for me, but it isn’t one I return to quite as much as an album like Desire because I often gravitate to the live performances over the studio ones. I still give it 5 stars no questions asked.

[@kolchak357]

My favorite Dylan album, and probably has been my favorite since the first time I heard it ♥️

[@ayushsaraf6214]

Blood on the tracks is like an impressoinist painting. I had a similar disliking towards it initially but then getting know the lore and then really listening to the words, I really enjoyed it. My favorite I think. I think the most underrated song here is Idiot wind. Its his masterpiece. You're a big girl now has to be a close second. I'd put them above like a rolling stone too

[@AP530]

I agree with Joe. Bob shoulda named the album "Heartbreak Without Bridges"

[@nikosvault]

"You're a Big Girl Now" from the NY sessions (Biograph/Side Tracks) is in a league of its own. My favorite break-up/rock bottom song ever. SUBLIME.

[@oppothumbs1]

Couldn't agree more 👍🏻

[@grahamhobbs3501]

Great discussion - thank you! Here's a real joker in the pack: I read somewhere that Joan Baez said somewhere that the famous telephone call that inspired her masterpiece (Diamonds & Rust) consisted of Dylan reading her the lyrics to Lily, Rosemary & the Jack of Hearts. If this is true, he must either have been super-excited about the song (which I agree, to me feels a bity out of place on the album, though it points to the future - so much story telling on Desire) and he thought she would like it OR it must have had some relevance to her. I'd be interested in thoughts because I've not been able to see her in it.

[@hazydavo]

“I would certainly fkn hope so!!!” Hahaha love it. Great work guys, the way you’re doing this is the way I would’ve liked to have discovered Dylan. Oh well. Blood did take me a few listens tbh Joe. Looking forward to Desire!!!

[@HeyFella]

One of my favorites is actually Lily, Rosemary, and The Jack of Hearts, but I guess from the comments people seem to view that as a weird outlier. I just think the consistent energy and melody is strong and it makes the longer length feel like a breeze. All the obvious highlights are great too, but I’ve always failed to get the full emotion out of them that other people seem to. Something like Going, Going, Gone from the prior record communicates those feelings much stronger for me.

[@danielhkhk7283]

Interesting. Idiot Wind is the standout track for me, he jumps right into the song. If you see her say hello is great too, but I love every song on the album. The same with Desire.

[@echosmyron1278]

That track’s duration is actually 8:51, and I think it feels more like 15.

[@Burtshulman]

Completely agree about Lily, @HeyFella, and also agree about the full emotion.

[@Felonious_Punk]

DUDE! Super important what Joe says about pushing the envelope. Yes! There's a difference between a good album and one that is on the cutting edge, the vanguard, the front line. And I think this project might have gotten Joe there. Or maybe he was there already and this project just highlighted him for me. Either way, bravo!

[@captainkangaroo4301]

Thank you for mentioning the Minnesota connection to Blood on the Tracks. The Minnesota crew was always very proud of their participation in this effort from their fellow Minnesotan. By the way Spider John Koerner died yesterday in Saint Paul. He was an influential figure in Bobby Zimmerman’s life in Minneapolis in 1959 before he went to Greenwich Village to make his way.

[@chrisdelisle3954]

I think it's interesting that you hooked on to the fact that this is a throwback to his early days. I never made that connection. No, I didn't love this album the first time I heard it. After 1 listen, I probably enjoyed "Tangled Up In Blue" and "Simple Twist of Fate." I caught on to "Idiot Wind" by the 2nd or 3rd listen. Probably also liked "Shelter From the Storm." I think I'd "get" another song with each listen and it took me a while to get "Lily Rosemary And The Jack of Hearts." But when you have the time, it gets into you. This is without a doubt my favorite Dylan album. Perhaps Jethro Tull interrupted your enjoyment of the record?

[@arto2533]

my favorite Dylan record. The musically repetitive writing is just hypnotic and part of the charm here. The Bootleg Series version from New York outtakes is terrific as well.

[@alanbrown8527]

Great comments from both sides. As a life long Dylan fan since I was 12 years old. I am currently 68. I agree with what Joe said about the level of Dylan appreciation really being tied to whether your musical DNA leans towards the musicality of a song or the lyrical content of a song. Clearly both are crucial to any great recording. I find the lesser Dylan fans lean towards the musicality and the die hard fans lean to the meaning of the song. Dylan’s songs are like evolving life lessons from a trusted and true artist. Dylan fans truly care what he has to say whether it has a chorus or not. Not to say we don’t appreciate his incredible musicianship and musical vocabulary and emotional delivery.

[@whogrl]

Blood on the Tracks is absolutely genius! I also love the next one, Desire.

[@paulmanina7522]

My favourite Bob album. Just the most profound experience about hitting the bottom and trying to find a way out! The Melodie’s are amazing, the bass, the way it’s recorded has a magic. It’s very musical within its ‘back to basics’ palate and that is genius. Love his voice on this it’s classic Bob. The songs are some of his best. The atmosphere is so effective. His craft has never been so obvious, as it is in this one. The weakest tracks close and start the two sides of the record, like palate cleansers. They are just very different from the rest of the album, but that is cool as well. Best Bob for me. I’ve loved it for ever. It’s the key to Dylan as a flawed person, like we all are. That’s the genius behind ‘Blood on the Tracks’ and it secures his place as the master of songwriting. Love, love, love ❤❤❤

[@BuffaloRobby]

I feel that this is his best album. Love the sound of the guitars. Melodies are so enjoyable. Production is so good. His singing was great. But the songs. Holy crap. So moving and relatable. I have enjoyed this album for many years. The songs are so clever, interesting and moving. I still am amazed at "Shelter From the Storm". It's so mystifying. "If You See Her, Say Hello" is a feeling that many men have felt who have gone through a rough ending to a relationship. "Tangled Up in Blue" is such an interesting story. Fantastic album

[@robforzese5496]

For most guitar players, I heard a rumor or a myth that this whole album at one point in open E tuning…. Then recorded half the album in standard tuning, anyone else hear about this? Anyway terrific end result…. Good show guys

[@monster900900]

For me this is bobs greatest album , and there is quite a few contenders for that title ,, this album along with desire turned me into a huge dylan fan ,, peerless songwriter, how can 1 guy write so many awesome songs ,, my favorite artist all day long , love yaa bob .

[@danielhkhk7283]

Agree. 1. Blood on the tracks 2. Desire.

[@stefanredelsteinerexperien5957]

I'm pretty confident that "Desire" will end up being one of Joes top two or three dylan albums (it is my number 3 favourite, and I prefer it to "Blood On The Tracks")...

[@tomasandrew9354]

Same for me. I way prefer Desire over BOTT.

[@stefanredelsteinerexperien5957]

@@tomasandrew9354 yes! I think it has more heart, soul and passion; and it even has stronger melodies and more interesting (in dylans catalogue unique) arrangements. still BOTT is a 10/10-album, but Dylan has many of those masterpieces... can't wait for them to do it

[@MikeVernonProd]

Yes I also prefer Desire to Blood on the Tracks, possibly my favourite Bob Dylan album, period.

[@michaelfendrich1864]

Great episode on a monster album. Definitely top 10 for me. Joe's analysis is very similar to Jon Landau's Rolling Stone review of the album. I don't think his review has aged well though. Not much else to say, the episode and comments have many great points. I think one of the main reasons this album touched so many hearts is Dylan's expressions of love, relationships and points in lives is the lived experience for a whole lot of people (had love in the past, hope for love in the future but find it difficult to find love in the present). The transparency and emotional impact of the lyrics and the subtle drive of the music is overwhelming. I love this record. Thanks again guys. Love the discussion. And I really appreciate Joe's honesty. Made for a great interaction and causes listeners to press our assumptions.

[@painless465]

A perfect 10/10 for me, could care less about no bridges, ranks 3rd for Dylan albums for me(after HWY 61,JWH). I think You're a Big Girl Now and If You See Her,Say Hello are both lyrically and musically gorgeous and Idiot Wind is the most glorious piece of bile ever committed to tape. I do think LRATJOH is a bit out of place, and I wish he included the missing verse from the New York sessions because it adds to the story, but it does add a little relief. Shelter From the Storm has become the single masterpiece of masterpieces for me, and the closing verse is his greatest writing, I just lose it when I hear "Beauty walks a razors edge,someday I'll make it mine,if I could only turn back the clock to when God and her were born". Buckets of Rain is the most harrowing album closer since Slim Slow Slider, and I agree Dylan, I love the guitar playing on it, as I do on most of the album,as well . I really don't get how Joe thinks this sounds like his pre-'65 music, I don't hear that at all. Joni Mitchell Blue is great , but Im sorry, it doesn't touch this, Shoot Out the Lights is close. Only Neil Young's Tonights the Night hits me like this does, and I actually prefer that ever so slightly, two of the greatest albums ever in 1975! Great discussion, but Im definitely on Dylan Sevey's side hear. Joe I have a feeling you will like Desire much more, musically it's unlike anything he did before, has a bit of a mystical, Eastern feel. Can't wait for the episode guys!

[@tonyajm8289]

My best mate couldn't stand Dylan until one day he heard the original mix bootleg playing at a street market one day a few years ago and can't stop listening to it.

[@frangarcia7774]

Couldn't wait for this one!!

[@ironflazambat5815]

If You See Her, Say Hello was the Cupid Arrow that got me into Bob Dylan. I’d heard him before and enjoyed songs individually, but this song perfectly teased the depths of an album and an artist. I think I heard it in January, and by the end of that year Bob Dylan was basically the only artist I listened to, thoroughly annoying my immediate family to death. I listened so much to the extent that Bob Dylan is an artist I hesitate to play when I’m with other people, cause his stuff has become so personal to me [and I’m always silently butthurt when people criticize him haha]

[@pauljosephbuggle3722]

I bought the album when it first came out. It completely blew me away. It's way and by far the greatest piece that Dylan ever did. It's my favourite record to this day. His personal life doesn't mean anything, Art that comes from the artist. Lots of people split up but no art comes of it.

[@davidnelson6874]

Blood On The Tracks is so undeniable! It’s a monster.

[@terrybnad2959]

Great episode! Little bit surprised that the musicality of BoTT worried Joe. Fair to say that the NYC version of You're A Big Girl Now should have been a keeper, it is heart wrenching. I agree that Lily Rosemary is out of step thematically. Even though it's a great song, I think *Up To Me* is an absolute classic and would have been an album highlight if included. Saying that, it would have had to be the closing song and Buckets Of Rain is irreplaceable. Looking forward to Desire!

[@djtforever1414]

Back in the '90s i made a cassette compilation of Dylan songs for a friend. I put Idiot Wind as the 1st song - it is still one of my favourites.

[@davidellis5141]

Columbia Welcomes Home Bob Dylan & he delivers the exceptional Blood On The Tracks. Tangled Up In Blue is quite an awesome 👌 opener & things stay at top level for the next 45 minutes. Ace album !

[@echosmyron1278]

This is the only Dylan album that I own. I got it after hearing about how it was his most accessible and listener-friendly record. And while I do like it more than what I’ve heard from his 1960s era, I don’t think it’s a flawless masterpiece like many people do. Firstly, his use of the harmonica is out of control on this album. Has anyone pointed out that tracks 1, 2, 3, 4, 5, 7, and 9 end with repetitive harmonica solos? If you hadn’t noticed, go and listen to the last 45 seconds of each of those seven tracks. They all conclude with similar harmonica parts; personally, I don’t think the harmonica is the greatest-sounding instrument out there, so it’s extremely distracting to hear it concluding almost every track. Dylan has an interesting voice (that’s never been my issue with him), but I find his song topics extremely repetitive. Almost every track on here seems to be an ode to some woman, and I don’t hear what’s so amazing about his lyricism. Perhaps he stood out positively in the 60s/70s, but there are many strong lyricists out there today, and I just don’t see how he represents the pinnacle of lyricism in the Western hemisphere. There are a few obvious, catchy highlights like “Tangled Up in Blue” and “Meet Me in the Morning,” but too many of the tracks feel too stripped down (the meandering “Simple Twist of Fate” - no idea why this is apparently considered an all-time great Dylan song) or needlessly dragged out (“Lily, Rosemary…” - 9 minutes of increasingly tedious repetition, but it could have been good if it was 5 or 6 minutes). This is certainly a good, listenable album, but I hear far too many dull spots (again, so many harmonica outros) and occasional subpar songwriting moments to ever consider giving this 5 stars. I only score this thing a 3.5 out of 5, and it certainly appears that there’s no point in checking out more Dylan albums if this represents his peak.

[@Vanessa.P]

I do love this album but I would say it was a bit of a grower for me. I liked it the first time I heard it but it definitely took time for me to get to 5 stars. I will say that this ended up being a great episode though, I think because Joe didn't immediately love it. Often the expectation is that people will always hear these classic albums and be head over heels but the reality is that isn't always the case and that can be true with any album. It can be much more interesting to discuss why you don't feel that way and what is holding you back which I think you did very well here. It's not like you hated it but there were some reservations. This also gives Dylan a chance to bring the other side of things and very passionately defend this beloved album. I think ultimately this leads to a very balanced discussion and made the hour fly by.

[@matthewzuckerman6267]

There's heartbreak in "If You See Her, Say Hello", but I wouldn't call it pure. When he sings "She might think that I've forgotten her - don't tell her it isn't so", I think he's counting on the mutual friend meeting up with her and saying: "He told me not to tell you but..."

[@danielhkhk7283]

.....but he told me to say hello.

[@matthewzuckerman6267]

@@danielhkhk7283 Lol! Yes, lots of mixed messages

[@danielhkhk7283]

​@@matthewzuckerman6267....and I should kiss you once for him, maybe twice? 😮 But Iove the song!😅

[@matthewzuckerman6267]

@@danielhkhk7283 Yes, a masterpiece among masterpieces.

[@kenkaplan3654]

I think this review highlights the consistecy of both of you. Joe, for all his acceptance of the recognition of this album, has to stay true to the fact of how much music means to him in an artistic musical endeavor. Dylan of course is through the roof on all fronts. I, likeJoe, did not fully aprreciate BOTT when it came out but it staked its claim as something really significant. This was a return of enormous stature of the artist who was someone who mattered. Through the years I have come to appreciate it more and more. I agree with Dylan it is aesthetically focused, in a very exquiisite way. I often think of BOTT as a Bonsai Tree, a perfect miniature, not raging across the landscape like a hurricane, but impeccable in each examination of the heart in relation to a searing emotional event. The words that come to mind for me the most are intimate, vulnerable, welcoming, excruciatingly honest, and ruthless emotionally. "You're a Big Girl Now" is also one of my favorites. The anguish is so visceral in the delivery. I am not a fan of the Jack of Hearts also and for some reason Idiot Wind always felt a bit forced, although many really like it. The rest are just all gems. It's a real journey of the soul. It is a remarkable achievement, with a consistency of greatness all throughout. Only Mitchell or Cohen could I see reaching this level. It is deeply ironic thar it took the dissolution of his marriage, where he sought refuge from the career, to push him back to his "dharma", his purpose. He said he took an art class and he was never the same after that and it was a catalyst that began to break the relationship. I wonder if the ferocious artist in him somehow deeply unconsciously sabotaged the marriage, because he could not ever really meet the demands of both simultaneously, and in the end the artist prevailed over the staid family man. The outakes give a more complete picture. "You're Gonna Make Me Lonesome..." is a completely different song.

[@kenkaplan3654]

P.S. I think Joe is right about this not being a "trail blazing" album. I don't think it was meant to be or could be. For two reasons. First, it is meant to be an interior, intimate, self revealing album. A bit like early Cohen but more expansive. So story, feeling, lyrics, concept, narrative are going to dominate because that is what he wants to focus on. Also because this discussion and album were highly anticipated, often a work can not live up to expectations one has built because of cultural consensus. ("Well it wasn't as great as I thought it would be or talked about".) For me the movie that defied that wass "Avatar". Second, this is nearly ten years after Blonde on Blonde and so much has happened musically in the culture that to be musically innovative, especially for this artist, would be nearly impossible. He put it together with chewing gum and wire. The word that comes to mind for BOTT within the culture is "nestle". It nestles down into a spot cuturally the way a bird nestles into the nest. It sits there and says, "here I am, no grandiosity, no bombast, this is something else." But in its simplicity is great power. And it is "something else" in the best use of the phrase.

[@MartinLindnerDigital]

i don't have much to say, but as there are many contrarians in the comments: yes, it is the album that is most dear to my heart. it was the first "contemporary" dylan album i bought when i was 15, after greatest hits and more greatest hits. in fact it was not vinyl but a cassette, it completely blew me away, and it still does until i fall in my grave. it is fresh for me every single time. i always think of it as a whole album, the first chords never fail to get me, the sound of the whole thing is just magic. i like the specific texture of the minneapolis band a lot, although the new york outtakes are brilliant too. most important, it is dylan's best and most emotional voice. i love everything, the big ones, but also "meet me in the morning", it is magical, and the sophisticated simplicity of the understatement songs too (you're gonna make me lonesome, and yes! buckets of rain). yes, the only outlier is lily, rosemarie ... which i still like, but could do without on this album. i understand that joe has a problem with the repetition, but if one is focusing on the voice & the phrasing (joe, this is what you are lacking), dylan's repetitive songs (and there are many) never are boring. desire was the second contemporary album i bought, and other than BOTT this had also other, normal people in my environment listening to it back then. it is good of course, but for me it is far below this one.

[@waynekvetkosky2572]

My All-time favorite Dylan album which I have judged and continue to judge his discography. Tangled and Shelter are two of my favorite Dylan songs so it doesn't get any better than this album in his next 50 years of recordings.

[@PatricksPlaybook]

Amazing back n forth in this video!! I'm one of the commenters who think Lily Rose and the Jack of Hearts is the best song on the record!! I have this on vinyl and I listen to it once a month and always hear something new!! I will say it's his 4th best album. Highway 61, Another Side, Blonde on Blonde top 3.

[@davidbrett8525]

Fascinating as always to listen to Dylan passionately talking about Dylan. I 100% agree with Dylan when he talks about heart being so important to song writing. There are a number of albums that I keep hearing that I should like because of production but I can’t connect with at all emotionally

[@PartTimeBuddhist]

It’s OK Joe, you’re not alone. Dylan fans all get that LOOK in their eye when talking about this album. However, as a frequent Dylan admirer but not quite a proper “fan,” although I actually enjoy and appreciate “Tangled Up in Blue” quite a bit (both musically and lyrically), the musical style of the rest of the album doesn’t really grip me, so I rarely return to it. Maybe the lyrics here are the most brilliant, incisive, artfully constructed lyrics in the history of late 20th century popular music, but I wouldn’t know, because the arrangements don’t suck me in, I feel like I’m getting this nonstop wall of verbosity, and my brain just tunes the words out. I could never put my finger on it before, but I think you’re right: where’s that confounded bridge? Also, having never been married, let alone divorced, I can’t say I relate to the subject matter in that way. But I’m glad it has spoken so intensely to others. Now Desire - there’s a mid-70s Dylan album I can get behind.

[@gregdale1066]

It was no surprise Joe was going to rip Dylans heart out on this …. I saw it from day one… but there has been some pleasant surprises along the way

[@stevehoran5595]

"Nobody else could write lyrics as good as he can." That's ripping his heart out?? Dylan fans are cult-like in their adoration of the guy. And if others don't share that adoration, then they're heretics. It's the way Swifties are supposed to behave.

[@stampede4107]

I wanted to check out Dylan when I was a freshman in high school, the internet highly recommended Blood on the Tracks. I got it and was disappointed. About a year later I tried Dylan again by buying his early albums and fell very much in love. Revisiting Blood on the tracks after listening to his early albums helped me to like it more. It is very good. I don’t put it on often but maybe will soon. The sound is unique, distinct. I believe he used different guitar tunings on most of the songs. I think that made him have to explore the guitar more without a lot of prior knowledge of chords. If so, I think that it would have served to add to what was already a highly creative time. Th songs are simple, though, in that they have verse after verse, with maybe a refrain at the end of a verse. I think that can add a sense of the musical aspect of the song not really going anywhere.

[@SamNitzberg]

In the lore department: Don't know if you mention it later (haven't gotten through the whole post yet) but when it came out we were all very confused about the liner notes, which quoted a verse which didn't exist on the record. It wasn't until years later when tales of the replacement Minneapolis material came out that it made any sense. I also remember hearing in advance of its release that Buddy Cage was gonna be all over the album (I was a big NRPS fan at the time), and was so disappointed when it was just one song. Same reason, it works out.

[@hazydavo]

Holy fk, here we are with Blood… Let’s go boys!!! Can’t wait to watch!!

[@grunntalll]

DOnt force it bro! you like what you like!

[@jamesegan2742]

Blood on the Tracks is an absolute masterpiece, a virtuoso lyrical performance, and great, emotive singing from Bob. He means it, and passionately delivers! Again, I find myself agreeing down the line with Mr. S, and was disconcerted by Joe’s polite, restrained reaction. Because there are no bridges, apparently, or fills and flourishes or something? Just don’t understand that reaction. This album showcases the songs and the singing, and all the songs are distinct and engaging. I have a special fondness for Meet in the Morning, Buckets of Rain…everything. But I agree that Rosemary, while a great story and song, is my least favourite, and a little out of place…though Bob was very proud of it, apparently. I wish that the fantastic outtake Up to Me Biograph) was on Blood instead, or as well. But these are wonderful, musical, important songs on an excellent and endlessly rewarding album, which I have enjoyed for decades. Great series, always look forward to them! Thx guys. Cheers, JPE

[@mejbarron]

"Blood on the Tracks PT 1 - WPTV" - fantastic stories and details about Bob and the musicians for the Minnesota recordings.

[@ihavenoquarrelwithyou3249]

Another really interesting discussion. Made more so by Joe's struggles to fully embrace Blood on the Tracks. Lyrics were so critical to me listening to music as a teen, that even though the lack of musical extravagance was apparent it was not a concern. And over the years I think two things about Bob and this album especially hold true for me. - Bob in the 60s made popular music literate, and it was the combination of his lyrics with music that had typically been aimed at teens that is startling. But I don't think Bob has ever been a musical innovator, nor cares about that. - the music on Blood on the Tracks is a mechanism to transport the song, not to be a thing in its own right. And maybe that is what Joe struggles with. Tangled up in Blue is a perfect example. What you see as lack of musical variety my ears only hear as ratcheting up the lyrical tension. I will vote for Lily, Rosemary as the weak link. Sounds like it wandered in from another album.

[@thegroove6694]

I think the issue they had with the New York cut was that every track was with the Open E tuning, while I think this may make for some better cuts like Your'e Big Girl Now and Lily, Rosemary and the Jack of Hearts it does drain energy across the entire album. The Minneapolis cuts are more straight forward in standard tuning and played with more energy and the inclusion does a lot to keep the listener engaged. Not sure how many different versions exist but The New York sessions with the Open E and the Organ is great and the acoustic version released as More Blood, More tracks is also fantastic and worth hearing those Minneapolis songs how they were initially intended to be. Blood on Tracks for me is also the best excuse to tune my guitar to the Open E and explore how Dylan was bouncing through the chords in that tuning gives you some new insight to how the songs may be written. He was heartbroken his guitar was tuned a certain way and he had a creative burst of song writing exploring the chords this way and I can see why he just didn't want to change the tuning all the way up until his brother points out the slight issue some may have with a full album done this way.

[@Burtshulman]

Ok, ok, just one more: one song from More Blood, More Tracks Dylan Sevey didn't mention: Call Letter Blues, a totally dfferent lyric to the same blues music as Meet Me In The Morning. I think Call Letter is a much better song, and D's singing is aching and intense. Great, naked, pure expression of grief.

[@AnnoyingCritic-is7rp]

All these songs are great. Even Rosemary - but I agree, the acoustic version is far better. Not only are the New York versions fantastic and seem to me more sincere and spontaneous, but there are hundreds of bootlegs and concert versions that also very cool. Lots of people like this album. There's a very famous 1990's female artist who did an entire copy album.

[@davidnelson6874]

I think Lily, Rosemary, & The Jack Of Hearts is a blast. I wouldn’t say it’s my fave on the album. But, sometimes long songs that just kick out lyrics at rapid pace are so fun to sing along with, mentally or out loud.

[@Bizzle65]

Totally agree. It’s like a 9 minute movie!!

[@drdavid1963]

I, like you, Joe, was never a fan of Dylan's voice and though his lyrics are peerless, his music has often not measured up. There are of course many exceptions and this is my favourite because the lyrics are consistently great and meaningful (not throwaway) and I feel the music and the playing sets an atmosphere that makes the whole album a memorable listen. Perhaps you are wanting some Highway 61 like riffing but the storytelling and lyrics are the stars here and there are enough memorable tunes here but, in the main, the music provides simple but effective support for the lyrics. That's my view and it's 5-stars and it's in my top 50.

[@NormHiscock-j3z]

It's a very good album. Has some of my favorite Dylan tunes on here. Simple Twist Of Fate & Idiot Wind especially. Agree that the album is very consistent in terms of lyrics/theme. Agree with Joe, it is the beginning of the voice that people do when they impersonate Dylan.

[@kevtruth]

This IS my favorite Dylan record. I don't think it is perfect. Tracks 6 & 7 don't do much for me, but it is truly a treasure as is the man himself

[@SamNitzberg]

The reason the acoustic stuff sounds different is the open tuning he uses on his guitar. Can't think of any recordings where he had done that before. And it gives the album its particularly reflective feel and complements the reflective lyrics.

[@davidgrady3408]

Lily is a musical hall song even has the bom bom bom punch line

[@robgronotte1]

I never noticed the songs from different sessions sounding any different - the album has always sounded of one piece to me.

[@johnjackson3735]

I enjoy both versions of this album from Minnesota and New York but prefer the New York Sessions because of the more subdued but to me more sincere delievery and I enjoy the rythm guitar in Tangled Up in Blue, the harmonica in Idiot Wind and Rosemary and the Queen of Hearts overall more in the New York sessions. I also like Shelter from the Storm and You are Going to Make Me Lonesome When You go really well and the lyrics are really impressive with Tangled Up in Blue and Idiot Wind being my favorite. Overall though I have similar views as Joe since my three favorite albums by Bob Dylan are the 1965-1966 three album run in reverse order: Blonde on Blonde which is my favorite followed extremely closely by Highway 61 Revisited and then Bringing It All Back Home. For me, his lyrical peak was also in these three albums when combining the surrealistic stream of conscious lyrics and melody and vocal intonation are factored in with the rock, blues, folk kaleidoscope combined with the visionary imagery and mind-blowing poetic word play. I once saw a documentary clip in which Joni Mitchell said she took Bob Dylan aside in private at a party with a copy of the New York sessions and asked him why he hadn't released it like this since she preferred this version. I also heard that one of Bob Dylan's inspirations for this album was Blue by Joni Mitchell which kind of makes sense when one of thinks of the lead of track Tangled Up in Blue.

[@chrisdelisle3954]

Bold take. So you're saying you're not going to want the "More Blood, More Tracks" box set for Christmas, eh? Also, no reason to look up the outtake "Up To Me," since it sounds a lot like "Shelter From The Storm." I guess if neither "If You See Her Say Hello" nor "Simple Twist of Fate" elicits any emotions in you, this might not be the record for you. "Shelter From The Storm" and "Buckets of Rain" really have that "lonely Neil Young" feel to me. If "lonely Neil Young" doesn't do it for you, this might not be the record for you. You did explain your enjoyment of "Idiot Wind," so, I mean, I think you're on the path. Some albums just have that kind of "emotional" or musical geography that mines a certain area of the world. Like U2's "The Joshua Tree" or The Who's "Who's Next" or the Stone Roses' debut album or the Zombies' "Odessey And Oracle." They're not concept albums, but they evoke a certain geography. I think "Blood On The Tracks " is similar in that it has its own geography. Joe, it's OK if it doesn't grab you. I still don't get Van Morrison's "Astral Weeks." I still don't get the "greatness" of so much of the music of the last 20 years. Give it another shot later on.

[@davidnelson6874]

I’m not a Dylan devotee. But, I loved this album the very first time I heard it in 2006. I’m 62 years old btw. I love the lyrics here and I prefer this approach better than his stream of consciousness era. I felt in the stream of consciousness era he was kind of showing off a bit, although I will say It’s Alright Ma (I’m Only Bleeding) stands up so well. Oddly, I first heard a Billy Preston version of that song, albeit an abridged version.

[@stevemalek2970]

I'm more into 70s Dylan than the 60s and Blood on the Tracks is my favorite of his!

[@waynekvetkosky2572]

My favorite 21st century Dylan album is Tempest so I hope you both review this one before you end this review please and thank you.

[@davidgagen9856]

Idiot Wind & Tangled Up In Blue are works of profound genius. Shelter From The Storm & Simple Twist Of Fate are magnificent songs. Up To Me (outtake) is wonderful song.

[@kensilverstone1656]

Second or third best Dylan album after Highway 61 and in competition with Blonde on Blonde. So you guys are right on the importance of this one. Of course, Joe quickly went wrong.

[@billfelsher5159]

You have to check out the bootlegs of the New York Sessions of this album. Very interesting.

[@rachellindsey875]

Props to Dylan S for defending Bob's blues roots, since I also see many fans pooh-poohing on many of his more blues-oriented tracks. I am saddened to see blues as a genre seemingly taking a nose dive in the much of the online music nerd community (KZbin, forums, etc). I've heard so many criticisms of the blues--the albums are same-y, too much guitar noodling, the British blues boom cats of the 60s were culture vultures, and other opinions I don't agree with. I don't see too many fans listing blues artists among their favorites, raving about new blues album acquisitions, etc. The blues genre was such a big part of my musical journey that it's hard to see it drop in stature but this is the perception I've gotten, especially in an era where a lot of the music media are bumping African American musicians way up in their album rankings compared to 20 years ago. As for Blood on the Tracks, as a big Bob fan I don't have it near the top of my rankings. I like it a lot and appreciate it as a piece of art, but I find myself reaching for more easygoing Dylan such as New Morning much more often. For me it is Lily, Rosemary and the Jack of Hearts that keeps it from elite status because that is a 9 minute--I don't want to say slog because that is too harsh but having that right in the middle of the album knocks it down a peg for me. If it was stuck somewhere less obtrusive, like Murder Most Foul (which also isn't a favorite), I might be more forgiving. Great episode in this series, as always. And Dylan S, don't go easy on Joe--I'd love to see you eventually get to ALL of the Bootleg Series and the live albums. Kids schmids.

[@TastesLikeMusic]

I love the blues… when other people who are good at the blues do it. - Joe

[@xvx5872]

We need, I think, a timecode for these videos. The bob dylan videos. We need the time for when joes speaks, and one for the other person that speaks. Then I will hear only what I want.

[@winteriscoming6384]

Whats the best version of Idiot Wind: the acoustic recording, the album version, or the pissed off Hard Rain version?

[@slumdogjay]

I read in one of the many books about Dylan that after BOTT him and Sara got back together for a while. They eventually split in 76 during the last leg of The Rolling Thunder tour. They had a blazing argument backstage and Dylan turned his attentions to Joan Baez but she blew him out. Apparently that is why the version of Idiot Wind on the live Hard Rain album is such a venomous performance. Don’t know if this is true or not.

[@simianinc]

75 was also the year of Still Crazy After All These Years, Paul Simon's divorce album. Worth a compare and contrast.

[@Burtshulman]

Ok, here I go -- I'm part of M Sevey's 'over': Lily Rosemary and The Jack of Hearts is one of Dylan's greatest songs (and I'm as big a superfan as you are and a devoted student of literature.) It's an over-the-top-brilliant rhymed short story with all kinds of hidden depths. The music is what Dylan once called "rag-rock" with a kind of old-timey music-hall feel, which fits exactly with the old-timey story -- on the surface. Below the surface it's a surreal, brilliant poem -- the understated "bouncy" music is in deliberate counterpoint to the mysterious tale of revenge, redemption, violence, love, loss, survival, on and on, with characters instantly drawn in one or two lines -- characters who are both archetypal / stock Western, and indelible individuals. You can't separate lyrics from music -- the music masks the depth of the lyrics, the lyrics deepen the power of the music. "He took whatever he wanted to and he laid it all to waste." "As the leading actor hurried by in the costume of a monk." This is Dylan submerging his mid-60's poetry within an apparently simple, apparently easily understandable story-song, that's not actually simple or easily understandable when you poke at it a little. It works on so many levels. The lyrics are pretty much perfect in a way that many of his greatest lyrics aren't -- I'd never change those great lyrics, but there are, frankly, some lines that fall flat, sandwiched between lyrics of genius. But in Lily there are no lines you can cut. The brilliance is understated but if you really let it in, the song contains...multitudes.

[@TastesLikeMusic]

The big problem is I’d rather read it than listen to it. - Joe

[@Burtshulman]

​@@TastesLikeMusic I get it, Joe. I love your push-back on Dylan hagiography. My take is that in this song, yes the music's repetitive and bridge-less, but that plays brilliantly against the incredible story/poem we're hearing -- it confounds the experience, it's weirdly dissonant which ultimately makes it way more powerful because though the music isn't astounding, the words keep stunning you -- the brilliance is the friction between the two. For me. As for you, Joe, rock on! Keep giving us the straight dope about what you think. I love that friction too! This is by far the best exploration of Dylan bar none I've ever encountered (and I read everything).

[@tomasandrew9354]

I completely agree with Joe. I’ve listened to BOTT many times and it’s not the album for me, I guess. I’d rather listen to Planet Waves, Nashville Skyline, Desire, Street Legal (Joe, do stick with it and listen to them!), Slow Train Coming, Oh Mercy, etc.

[@thetrevorosborne]

As much as I'm a massive Dylan fan I'm kind of with you about some of the music lacks variety. I do think the album is in the top tier but don't love it as much as many do .Ive always thought side 2 was weaker with maybe Lily Rosemary not really fitting in ( and its so long!! ) "Meet me In the Morning" and "Buckets Of Rain" good songs but for me not that exceptional. I don't know if its just me every Dylan fan tells you its his greatest album and one of the greatest of all time. I think "Tangled " and "Simple Twist of fate" are 2 of his greatest songs (while I prefer the live "Shelter from The Storm" from Hard Rain) but overall when listening to the album overall from a musical perspective I always feel slightly underwhelmed. I feel the Previous album "Planet Waves and the next one "Desire" musically are more compelling and powerful to me. Great discussion as usual.

[@robharrison8139]

Another great video. I love Dylan’s excellent passionate eloquent defenses of Bob’s work. Blood on the Tracks is such a brilliant album of heartache, pain, loss, anger, and sadness; as Dylan stated, every emotion is in here. My only complaint, which you guys touched on, is “Lily Rosemary and the Jack of Hearts” seems wildly out of place. It’s a good song (though I’ve heard it a million times and don’t quite get the convoluted story) but just doesn’t fit on this record.

[@bendanielsmusicnow4533]

It’s the best Dylan album - has the overall consistency and doesn’t seem rushed out like his other records - it seems more carefully put together and simply has the most emotive and gripping songs x

[@TastesLikeMusic]

Seems pretty darn rushed. Having two distinct recording sessions / styles and all. - Joe

[@DeanJonasson]

Joe's lack of enthusiasm for BLOOD ON THE TRACKS, while surprising, at least created some good dialogue with Dylan, forcing him to dig deep to describe while the album works. Dylan makes a very good case for the greatness of BLOOD ON THE TRACKS. "I don't think these songs need bridges" is a very accurate statement. The songs here are very cinematic; they create scenes and emotions for the characters to inhabit. By the end of each piece, the listener has learned something about the heart. I agree with Bob's brother though, the collection from New York sounds (to my ears) monochromatic and lacking in texture. (Interestingly, at one point Dylan played with the album title 'Buttons' due to the sound his cuff buttons made against his guitar while he strummed.) By re-recording five songs in Minneapolis, another energy was added to the collection, bringing some variety and, in the case of "Idiot Wind", real bite. A timeless album that rewards repeated listening.

[@chriswilson8151]

Blood on the Tracks is one I’ve always respected and its heights are the best of Dylan’s writing but I would hazard to call it a personal favourite. I like “Lily, Rosemary and the Jack of Hearts” more on each listen but I do think it wrecks the flow of the album.

[@shadowstealer2790]

It's true about the hypnotic structures that are revived on B on the T but for me that's what makes the lyrics really work. Joe's right that the lyrics are incredible, but it's the rolling repetition that allows them to flow. It's interesting that the more conventional songwriting forms from "Nashville" onwards also came with pretty average lyrics. Also I think the Bootleg series 14 version of "Lily, Rosemary" is far superior to the overly jolly/ jiggy version on this album. I find the bare accoustic version much more gripping.

[@SpaceCattttt]

Wow. Only yesterday, I was whining about how delayed this episode was. And after a surprisingly small number of snarky comments, here it is already! Result! Anyway, I think this albums is great. It's not as much fun as Highway 61 or the mighty Blonde on Blonde, but then again, I suppose it isn't meant to be. It's the older, more mature Dylan we hear here. Divorce Dylan. Actually, scratch the "mature" part. He's full of spite and self-pity, and more often than not, it's all HER fault. Which is why the album feels so real and relatable (even though I've never divorced anyone). Tangled Up in Blue alone is so unbelievably great that the rest of the album could've been just filler, and I'd still put this in my top 5 Dylan albums. Fortunately, the rest of the songs are all great as well. Not quite as fantastic, but certainly better than anything that was to come, except for a few tracks on Desire.

[@IrishFootyVlogs]

Love this album but I agree with Dylan “Lily” is a bit out of the groove of the album. A top 5 Dylan album for me but 4.5 stars Tangled Up In Blue goes round and round in a loop and it’s perfect. That’s what relationships do…

[@nikosvault]

I never liked "Lily, Rosemary and the Jack of Hearts" on the album (the song in isolation is fine). Not just the length of the track, but the content and sound. Sounds like it is visiting from another album (one from the 60's frankly). And you got "Up to Me" right there.

[@TastesLikeMusic]

I’m not sure exactly where it ranks, but I love it. -Jason

[@painless465]

@@TastesLikeMusicgood to have your input on this Jason. 5 stars for BOTT?

[@bozzhughes6101]

BTW Pat Garrett is a fine listen. not upper echelon but southwest moody. Dennis Hoppers favorite Dylan album

[@walterjanaro42]

Sad to say, I can only get to 3.5 stars on this masterpiece. I am more a music guy than a lyrics guy. The first three tracks and the closing track (which is beautiful) are the standouts for me.

[@dtchinacat3973]

Don't know how what's "WRONG" with you Joe (maybe your mamma dropped you on your head)? Blood on the Tracks is Dylan's "Perfect Album (sound qualty is amazing and he sings with his real and BEST VOICE)! Lily, Rosemary and the Jack of Hearts is a great "Saloon Style" song! Both You're a Big Girl Now and Simple Twist of Fate are my favorite Dylan songs period! Buckets of Rain is Pure Genius! And to me the only song that kinda doesn't belong is Idiot Wind? And yes Dylan, that live You're a Big Girl Now is AMAZING!

[@ronreynolds1610]

Joe has slowly gotten more appreciative of Dylan it seems and it will grow most likely ..... however lack of ''bridges'' is like saying Elton doesn't write lyrics or Steely Dan is too polished . IMO ,LOL

[@Burtshulman]

One more...despite my love of Lily Rosemary, and love of the album overall...I don't think it holds a candle to the great trilogy (nor does anything else by any artist ever). Apostate that I am, I also rank several late albums higher (Time Out of Mind, Love & Theft, Tempest, and Rough & Rowdy). Sacrilege for a Dylan superfan. I completely agree with Joe: the music on the trilogy was mind blowing in its dissonant brilliance, and changed the course of American music. And if you study the lyrics on those records, they aren't stream-of-consciousness: they're actually deeply lucid and clear. They're just brilliant, and take some study to get because he's doing something with language that no writer before him did (I include the greatest writers -- non-songwriters). He's a great writer, and great writers change the language -- as did some of the hip-hop / rap writers (Kendrick Lamarr chief among them, for me).

[@Yakaru1]

I never liked Idiot Wind, but given the way everyone always raves about it I guess I'm missing something. But it starts too loud and boisterous and keeps getting louder and boistrouser. One or two good lines, but it's all too literal and pedestrian, at least by Dylan' standards. I like Tangled Up in Blue but I also get a but impatient with it. Same with Shelter from the storm and Jack of Hearts. The rest of it is stunningly beautiful, sublime and the most raw punch in the gut. Quite a few of the songs have personal meaning, having heard them for the first time while going through quite a few of the relevant emotions.

[@danielpattison3422]

Agree with Dylan that "Lily Rosemary" is the song that doesn't belong here. The lengthy long and winding narrative is just too big to consume. Taken numerous times and still cant get through it without a skip. Not sure if it would have been too heavy handed but maybe "Sara" from Desire would have been a great fit if it was available then. For me: the gem on this album is "Buckets of Rain". Just spills directly from his heart all over the page and the tape. Personally i wondered how much this album influenced Springsteen when he was creating his album "Tunnel Of Love".

[@wesleyorser4451]

If you see Kram, say hello He might be in Tangier He left here last early spring Is livin there I hear Say for him that we’re alright Although the discord’s slow He may think that we’ve forgotten him Don’t tell him, it isn’t so!