Another Side Bob Dylan

Recorded in one session, June 9, 1964

Released on August 8, 1964

Another Side Bob Dylan

Bob’s other side

By 1964, Columbia realized that Bob Dylan was a star. Although his first album, the eponymous Bob Dylan, had barely sold in it’s first year (2,500 copies), Dylan’s song writing skills and reputation among fellow folk artists grew quickly.

Another Side of Bob Dylan was his fourth album and each one had been a step further in his development. That first album was not really “his” album, he having written only two of the thirteen songs.

This album was all his.

Another Side Bob Dylan

The tracks

Side one All I Really Want to Do Black Crow Blues Spanish Harlem Incident Chimes of Freedom I Shall Be Free No. 10 To Romona

Side two Motorpsycho Nitemare My Back Pages I Don’t Believe You (She Acts Like We Never Have Met) Ballad in Plain D It Ain’t Me Babe

Dylan was changing his tone. He said of this album that “there aren’t any finger-pointing songs.” His style was more poetic than previous works.

He served as pop music’s turn signal. A musician could be much more personal.

Another Side Bob Dylan

Maggie’s Farm

It will be at the 1965 Newport Folk that Dylan will take his public step away from folk-protest and go electric. The Paul Butterfield Blues Band will accompany him as well as the Newport boos.

He “…ain’t gonna’ work on Maggie’s Farm no more.”

And I thought the song was about some guy tired of farm work.

Another Side Bob Dylan

1965

Think of 1965. By December the Beatles will have released Rubber Soul and when the Beatles changed, bands and record companies followed. The bands perhaps as much as in self-expression as their search for success; the record companies in search of a better bottom line.

1964 Another Side Bob Dylan

To Ramona

When Dylan sang “To Ramona” at Newport in 1965 he introduced the song, he said, “This is called ‘To Ramona.’ Ramona. It’s just a name.”

Today we realize its much more than “just a name.”

Dylan’s relationship with New York City girlfriend and political muse Suzy Rotolo (see Freewheelin’ Bob Dylan) had ended with a 1963 abortion. His ongoing relationship with Joan Baez, who had brought him to the attention of the Newport crowd in 1963, was fading was fading and she was much more than “just a name.”

All Music said the album was, “…one of his very best records, a lovely intimate affair.”

Everything passes

Everything changes

Just do what you think you should do

And someday, maybe

Who knows, baby

I’ll come and be cryin’ to you.

Another Side Bob Dylan

Only a Pawn In Their Game

1963 status quo

The American summer of 1963 was typical in many ways. For some, that was fine. Schools closed. Summer vacation. Ice cream. Iced tea. Pools. Beaches. Tanning. Bikinis. Bulging muscles.

For others, typical was not fine. The status quo meant field work. Starvation. Mistreatment. Jim Crow terrorism. The denial of an education and the right to vote.

The struggle for civil rights continued and folk singer Bob Dylan often wrote songs about the downtrodden. His Times They Are a’Changin’ album had a plethora of such songs: “The Times They Are a’Changin’,” “Ballad of Hollis Brown,” “With God on Our Side,” and “The Lonesome Death of Hattie Carroll.”

Only a Pawn In Their Game

Dirty work

It would be difficult to pick the most powerful one among them, but it was in July 1963 that Dylan first sang “Only a Pawn in Their Game.” Writing about the June 12, 1963 assassination of Medgar Evers might be an obvious contemporary theme, but pointing out that the assassin was doing the work of the White Establishment, that the White Establishment also kept poor whites  poor, and that the White Establishment used the poor whites to do its dirty work? Such a realization is why the song remains so powerful.

As Princeton University historian Sean Wilentz said in a 2013 NPR interview:  “The whole point is, the killer is guilty, yes, but he’s not the person to blame, There’s rather a much larger system that’s out there, and that’s what the song is really about.”

To write any more about Dylan’s lyrics is superfluous. His own lyrics  say more than any essay:

Only a Pawn In Their Game

A bullet…

A bullet from the back of a bush took Medgar Evers’ blood A finger fired the trigger to his name A handle hid out in the dark A hand set the spark Two eyes took the aim Behind a man’s brain But he can’t be blamed He’s only a pawn in their game

A South politician preaches to the poor white man “You got more than the blacks, don’t complain. You’re better than them, you been born with white skin,” they explain. And the Negro’s name Is used it is plain For the politician’s gain As he rises to fame And the poor white remains On the caboose of the train But it ain’t him to blame He’s only a pawn in their game

The deputy sheriffs, the soldiers, the governors get paid And the marshals and cops get the same But the poor white man’s used in the hands of them all like a tool He’s taught in his school From the start by the rule That the laws are with him To protect his white skin To keep up his hate So he never thinks straight ’Bout the shape that he’s in But it ain’t him to blame He’s only a pawn in their game

From the poverty shacks, he looks from the cracks to the tracks And the hoofbeats pound in his brain And he’s taught how to walk in a pack Shoot in the back With his fist in a clinch To hang and to lynch To hide ’neath the hood To kill with no pain Like a dog on a chain He ain’t got no name But it ain’t him to blame He’s only a pawn in their game.

Today, Medgar Evers was buried from the bullet he caught They lowered him down as a king But when the shadowy sun sets on the one That fired the gun He’ll see by his grave On the stone that remains Carved next to his name His epitaph plain: Only a pawn in their game

Copyright © 1963, 1964 by Warner Bros. Inc.; renewed 1991, 1996 by Special Rider Music