A month or so ago, I heard a strange version of “Nothing Was Delivered,” which I knew as a Byrds song, and was immediately transfixed by the simple boogie-woogie piano riff and the all-around lackadaisical style — not to mention the bizarre and earnest lyrics (“Nothing was delivered/And I tell this truth to you/Not out of spite nor anger/But simply because it’s true.”). When listening to the Byrd’s version I’d always assumed there was some religious angle, and never quite realized, as I did now, that it was really just a song about somebody who ripped a bunch of people off and how he had better come up with the money fast.
I did a little research and figured out that it was on “The Basement Tapes,” something I had always imagined to be a giant, many-disc compilation of bootleg Dylan stuff — I think my brother had one of the later, larger bootleg sets, and I had never realized that there was this separate double-album released in 1975.
There are a million theories about how these songs came to be recorded (and then not released for eight years while bootlegs proliferated, during which Rolling Stone published a demand that they be released). My favorite “origin story” for what is probably the most heavily-mythologized recording session in American musical history is the following: in the summer of 1967, Dylan owed Columbia Records fourteen more songs, and recorded these songs (and many more) with the Band (minus Levon Helm) on the cheap, in the basement of a house that became famous as “Big Pink,” to fulfill his contractual obligation (and while he recovered from a pretty serious motorcycle accident). Then, when he ended up signing an extension with Columbia, he no longer wanted to release these unpolished and off-the-cuff recordings, so instead he distributed them to various other artists, who recorded and released the songs. Hence the Byrds’ versions of “Nothing Was Delivered” and “You Ain’t Going Nowhere,” Peter Paul & Mary’s “Too Much of Nothing,” multiple versions of “This Wheel’s On Fire,” (including one that became the theme song for “Absolutely Fabulous”!) etc.
Of course, these deliberately stripped-down and rustic tunes turned out to be some of Dylan’s (and The Band’s) best work. I am utterly blown away, and more than a little ashamed that it took me this long to catch on. Right now I can’t think of a more consistently great record, let alone a double album. The songs that first seemed like filler now, on the 30th listening or whatever I’m at, seem just as great as the more immediately-accessible ones. I was initially drawn in by the “going to seed” and general dissolution themes (on songs such as “Goin to Acapulco,” “Too Much of Nothing” or “Tears of Rage”). But I am now just as enthralled by some of the less weighty songs, such as the hilarious “Clothesline Saga” which is a shaggy-dog tale about a family hanging up some clothes to dry. I’ve always had a slight resistance to what I saw as Dylan’s santimonious tone, and these songs are completely free of it.
Without getting any deeper into a track-by-track “golly they’re great!” post (which has been done many times before), I’ll just note that the songs all have an amazing, hymn-like simplicity that stands in stark contrast to a lot of the music, good and bad, that was coming out in 1967.
I love the thought of Dylan and The Band holing up and playing cover after cover of American traditionals, until they got to the point where they were just writing their own versions of these songs. I’m now reading Greil Marcus’ book “The Old, Weird America” which is largely about this record, where he ties the songs to the America captured in Harry Smith’s Folkways anthology — the weird mythic world of misfits, con men and murderers. It makes a lot of music I’ve loved for years seem strangely brittle and two-dimensional.
Finally, there is great appeal to me in the idea (which may or may not actually be true) that it was exactly because Dylan thought he was just banging out some stuff to fulfill a contract that let him realize his full potential (and perhaps avoid the sanctimony). I can’t wait to sink my teeth into the 5-disc sets with little song fragments and covers of “People Get Ready” and Johnny Cash and Hank Williams songs!
As my friend who accompanied me pointed out, “Both the band and everybody in the audience want to pretend it’s 1989.” It was very redemptive to see them deliver a completely amazing performance of all of their old hits, and get the adoring crowd response they deserved, as they were relegated to opening for the Throwing Muses or U2 back when the material was new, despite the fact that it would be largely responsible for chart-toppers like “Smells Like Teen Spirit” and many more. It was weird, though, to realize that it isn’t just the baby boomers who are aging rock fans anymore – there is now a whole new generation of aging indie scenesters to pay the $60 cover charge to a show like this to transport them back to the halcyon days of 1989.
Although the film did eventually succumb to the criticism that I, and doubtless many others, thought of even before we saw it – “Is this 20-sentence book really going to lead to a satisfying feature-length film?” – it was nevertheless very powerful at times, especially in the opening scenes where we see how isolated Max is in his childhood world, and also, to a somewhat lesser extent, when we see how the petty jealousies and resentments from which he is fleeing exist even in his new wild kingdom, leading him to sail away back home to his still-warm supper.
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I loved Tarantino’s Inglorious Basterds — I think it was the first movie I’ve seen since Pulp Fiction where I immediately wanted to go see it again. Not surprisingly, it is proving somewhat controversial — one friend reported that he and his mother walked out when they “realized that we were in for two-something hours of Hogan’s Heroes II,” and a number of people have noted that there is something a little uncomfortable about watching a blatantly cartoonish and unrealistic story of rampaging American soldiers capturing, torturing and murdering prisoners of war, even if they’re Nazis. During Hitler’s big scene, I couldn’t help but think of all the frivolous Youtube homages that we’d soon be seeing based on it.