Lester Bangs called it a “crying towel” for people recovering from a breakup. Jakob Dylan says that while Nashville Skyline is the sound of his parents falling in love, this album reminds him of his parents fighting. Even the man himself, shortly after its release, expressed confusion as to how anyone could enjoy listening to something that was so obviously so rooted in pain. The facts are these: Dylan was back home on Columbia, and with Blood On The Tracks he had an album full of the lyrical twists and turns worthy of a man at the peak of his powers.
A brief rundown of the tunes: “Tangled Up In Blue” is a perfect opener, and “Simple Twist Of Fate” follows nicely in a different atmosphere. “You’re A Big Girl Now” lacks the ache of the New York version (more about that later), but “Idiot Wind” is a nasty epic. “You’re Gonna Make Me Lonesome When You Go” turns out to be happier than it seems on the surface.
“Meet Me In The Morning” is a pretty different sound from the others, and is rare for its simpler blues structure. “Lily, Rosemary And The Jack Of Hearts” is an enticing story, but the carnival atmosphere can be distracting. “If You See Her, Say Hello” is a sad lament, if a bit overdone. “Shelter From The Storm” takes us back to the stark territory, and it’s welcome by this time. “Buckets Of Rain” is one of the oddest yet most effective ends to any album, much less Dylan’s. Each of the ten parts fits, not quite perfectly—but there’s more to the story.
Dylan recorded the album over four days in New York City, then went to visit his brother in Minnesota for Christmas. There it was suggested that the album was too low-key, that all the songs sounded too much alike, so he hired a local pickup band and redid six of the songs, drastically changing the lyrics of three. So the album as released was a mix of the upbeat sound of the (revised) “Tangled Up In Blue” and the mellower sound of “Simple Twist Of Fate”. (“Meet Me In The Morning” was from the New York sessions, though it too had an alternate set of lyrics.)
That would be fine, except a test pressing of the original lineup made the rounds, leading to countless bootlegs and speculation on what should have been released. (Indeed, when the authorized Bootleg Series box came out in 1991, it included four tracks from the New York sessions, but three of those were different takes from the ones on the acetate. Luckily, the original “You’re A Big Girl Now” had already appeared on Biograph, but we’re getting ahead of ourselves.) To hear these after you’ve inhaled the album proper is a revelation; in the New York versions of these forlorn songs of unrequited or lost love, the hurt is more subdued, yet just as real.
According to Columbia’s reissue division, Blood On The Tracks is due for a “Legacy Edition”, so it’s possible we’ll soon get a package that contains “both” versions of this album. It would also be a good way to convert those who can’t stand Dylan’s voice, since his delivery here isn’t as easily parodied. And if they’re nursing a broken heart, all the better. To this day Blood On The Tracks still features in arguments over which is Dylan’s best album. It’s up there.
Bob Dylan Blood On The Tracks (1975)—4½