In some ways this a curious LP, sitting awkwardly between The Times They Are A-Changing and Bringing It All Back Home. As the title of Another Side (apparently Tom Wilson's choice) not so subtly suggests, this is Dylan doing a quick side-step to escape the label of protest singer that he brought upon himself with his two previous LPs. That said, bearing in mind what was about to come, this isn't any great departure. It's a straightforward folk album, almost a throwback to his first release; just Dylan alone with a mixture of styles including a couple of lighthearted diversions.
Just like the first album Another Side was recorded in a hurry; finished in a day and sometimes it shows. Timings fall off on occasions, Dylan laughs at points (although that is endearing) and on Motorpsycho Nightmare there are hints that he hasn't quite worked out how the lyrics fit with the tune yet. Actually, at points in the recording he sounds a bit pissed (to our American friends, I mean drunk - which is not beyond the realms of possibility given an all day recording session and a fondness for cheap red wine) especially on the ale-house piano based Black Crow Blues.
Unlike on his previous LP, Dylan gives us a couple of humorous numbers. Both Motorpsycho Nightmare and I Shall Be Free No. 10 are amusing but, ultimately, inconsequential songs with the odd political wisecrack thrown in for good measure. Neither have the quality or consistency of some of his talking blues but they are decent enough and, essentially, funny. And yes, yes, I know I criticised the last LP for not having any lighter moments - I'm just saying, that's all.
There is also the first appearance of Dylan's venomous streak. He'd been no shrinking violet before - see Masters of War - but then it was political; this time it's personal. In Ballad In Plain D Dylan gives a gloves off account of his breakup with Suze Rotolo that ended with a spectacular row with her sister:
Of the two sisters, I loved the young
With sensitive instincts, she was the creative one
The constant scapegoat, she was easily undone
By the jealousy of others around her
For her parasite sister, I had no respect
Bound by her boredom, her pride to protect
Countless visions of the other she’d reflect
As a crutch for her scenes and her society
It's warts and all and a precursor to spleen vents like Idiot Wind and Positively 4th Street. Uncomfortable listening but a damn fine song.
This might sound like a bit of whinge but it's not. Though this LP appears somewhat of a brain-dump before moving on to the next stage of his career, there are many extraordinary songs here. Chimes of Freedom, To Ramona - especially To Ramona - My Back Pages, I Don't Believe You (She Acts Like We Never Have Met), Ballad in Plain D and It Ain't Me Babe. Now those are songs. As a song writer, the quality that Dylan is, seemingly, churning out at this stage is something quite incredible.
[I particularly like the ending of the album, It Ain't Me, which has a killer last verse. After imploring the woman to go away from his door because he's not worthy he finally admits it's because he's with someone else.
Go melt back into the night, babe
Everything inside is made of stone
There’s nothing in here moving
An’ anyway I’m not alone.
Genius.]
I stand by my opinion that this LP as a whole has an odd feel both in its rushed sound and its place in the evolution of Dylan as a recording artist but, my, there is some quality songwriting. This is going to get four and a half stars in a line's time or so but only in the context that we're moving onto Bringing It All Back Home and Highway 61 next. For any other artist this would be an album to be jealous of. And knocked out in one day.
Just like the first album Another Side was recorded in a hurry; finished in a day and sometimes it shows. Timings fall off on occasions, Dylan laughs at points (although that is endearing) and on Motorpsycho Nightmare there are hints that he hasn't quite worked out how the lyrics fit with the tune yet. Actually, at points in the recording he sounds a bit pissed (to our American friends, I mean drunk - which is not beyond the realms of possibility given an all day recording session and a fondness for cheap red wine) especially on the ale-house piano based Black Crow Blues.
Unlike on his previous LP, Dylan gives us a couple of humorous numbers. Both Motorpsycho Nightmare and I Shall Be Free No. 10 are amusing but, ultimately, inconsequential songs with the odd political wisecrack thrown in for good measure. Neither have the quality or consistency of some of his talking blues but they are decent enough and, essentially, funny. And yes, yes, I know I criticised the last LP for not having any lighter moments - I'm just saying, that's all.
There is also the first appearance of Dylan's venomous streak. He'd been no shrinking violet before - see Masters of War - but then it was political; this time it's personal. In Ballad In Plain D Dylan gives a gloves off account of his breakup with Suze Rotolo that ended with a spectacular row with her sister:
Of the two sisters, I loved the young
With sensitive instincts, she was the creative one
The constant scapegoat, she was easily undone
By the jealousy of others around her
For her parasite sister, I had no respect
Bound by her boredom, her pride to protect
Countless visions of the other she’d reflect
As a crutch for her scenes and her society
It's warts and all and a precursor to spleen vents like Idiot Wind and Positively 4th Street. Uncomfortable listening but a damn fine song.
This might sound like a bit of whinge but it's not. Though this LP appears somewhat of a brain-dump before moving on to the next stage of his career, there are many extraordinary songs here. Chimes of Freedom, To Ramona - especially To Ramona - My Back Pages, I Don't Believe You (She Acts Like We Never Have Met), Ballad in Plain D and It Ain't Me Babe. Now those are songs. As a song writer, the quality that Dylan is, seemingly, churning out at this stage is something quite incredible.
[I particularly like the ending of the album, It Ain't Me, which has a killer last verse. After imploring the woman to go away from his door because he's not worthy he finally admits it's because he's with someone else.
Go melt back into the night, babe
Everything inside is made of stone
There’s nothing in here moving
An’ anyway I’m not alone.
Genius.]
I stand by my opinion that this LP as a whole has an odd feel both in its rushed sound and its place in the evolution of Dylan as a recording artist but, my, there is some quality songwriting. This is going to get four and a half stars in a line's time or so but only in the context that we're moving onto Bringing It All Back Home and Highway 61 next. For any other artist this would be an album to be jealous of. And knocked out in one day.
Out of five?
Four and a half.
Favourite track?
To Ramona
Next up?
Bringing It All Back Home.
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