Dylan Songs for Non-Dylan Fans! Exploring the Christian Years!
They show me to the door They say don't come back no more 'Cause I don't be like they'd like me to And I, I walk out on my own A thousand miles from home But I don't feel alone 'Cause I believe in you I Believe In You-Slow Train Coming 1979
My introduction to Bob Dylan-disregarding all the times I had heard Blowing In The Wind by street artists-happened with Slow Train Coming. Dylan had just entered the most controversial phase of his career since going electric by embracing the word of God and becoming a born again Christian. He would turn his back on his secular past, embrace his new found faith with ferocity and conviction, and release a trilogy of overtly religious gospel-rock albums. His conversion would bewilder and astound music critics and fans alike. Yet, as the heathens scoffed many a faithful rejoiced, unexpectedly having a guiding voice of their generation join into their fold.
Slow Train Coming pulled into the station with me around eight years of age and my Father preaching the Gospel at a fellowship named Agape in Munich. We belonged to the Charismatic Christian movement that emphasized the work of the Holy Spirit, spiritual gifts, and modern-day miracles as an everyday part of a believer’s life. Our specific branch originated in the Jesus Freak scene of the late 60s and early 70s, yet had begun a transition from its origins in the counterculture embrace of Pentecostalism to its more modern form of Neo-Charismatic Evangelicalism. Dylan had immersed himself in a three month bible study during his conversion sponsored by the Vineyard Fellowship, which also had its roots firmly in Charismatic Christianity. You can hear the influence of this faith structure throughout most songs from Bob’s Christian trilogy. My folks, along with many other ex-hippies in Agape, were absolutely enthralled about his conversion. They had many years prior also turned their backs on their secular past and ceremoniously tossed all their worldly music in some garbage bin. Dylan delivered them with these three recordings a collection of very powerful, high qualitative songs they could finally enjoy – free of guilt. To this day the emergence of these recordings remains one of my strongest childhood memories.
I had absolutely no relation to this peculiar voiced bard and sat there mesmerized as the adults around me reacted ecstatically to every word he sang. Most had been in one way or another either part of, or directly affected, by the turmoil of the hippy counterculture. They couldn’t believe that Bob Dylan, of all people, had come unto the Lord. “If Dylan can see the light anyone can see the light“, I remember my father saying. Suddenly, nothing in faith seemed impossible anymore. I, on the other hand, was absolutely annoyed by his nasal vocal style and couldn’t figure out why anyone would want to listen to him. The music itself intrigued me but his voice sounded like fingernails on a chalk board – ok, not quite that bad, but I do remember it being somewhat vexing. However, his lyrics somehow rang true. The message sounded all too familiar, seemingly having been snatched straight from my Father’s sermons. When Bob finally came to Munich, I believe on the Shot of Love tour, it seemed our whole congregation went. My folks would offer me numerous times to come along, but I would refuse – no way I would sit through that nasal torture. Unfortunately, this turned out to be a decision I would soon regret, myself joining the millions of Dylan fans just a couple years later upon hearing two of his tracks from Infidels. Some of my most memorable concert experiences happened seeing Bob live. I am sure that show would have been one to remember.
Gotta Serve Somebody
You might be a rock 'n' roll addict prancing on the stage You might have drugs at your command, women in a cage You may be a business man or some high-degree thief They may call you doctor or they may call you chief But you're gonna have to serve somebody, yes you are You're gonna have to serve somebody Well, it may be the devil or it may be the Lord But you're gonna have to serve somebody Gotta Serve Somebody - Slow Train Coming 1979
Years later I found myself in my own little counterculture environment in the north of Virginia. I remember having an argument with an old freak at a little hippy gathering celebrating the birthday of a dear friend. Both like-minded when it came to the musicianship, we could not agree on the lyrics of Gotta Serve Somebody, the unambiguous opener from Slow Train Coming. He, as a free spirit, didn’t like the black and white message that anyone would ever have to serve anybody. I, on the other hand, still heavily influenced by my upbringing, defended the idea that you have no choice but to make a choice. Currently somewhere near the age of that gentleman then, his viewpoint seems much more in line with my present-day one. The implications Dylan’s viewpoint has on free will combined with his implacable wording can seem a little contentious.
You may be a preacher with your spiritual pride You may be a city councilman taking bribes on the side You may be workin' in a barbershop, you may know how to cut hair You may be somebody's mistress, may be somebody's heir But you're gonna have to serve somebody, yes You're gonna have to serve somebody Well, it may be the devil or it may be the Lord But you're gonna have to serve somebody Gotta Serve Somebody - Slow Train Coming 1979
Natalie Cole’s version, on the other hand, is less commanding and more diplomatic, while being no less convincing. She keeps the funky groove of the original, yet pushes the flow up a notch with an energetic rhythm section, increases the volume on the heavy organ sound, and boosts the background vocals to a full-fledged gospel choir. Her soulful, jazzy voice suits this song perfectly, exerting a kind of gracious authority in her interpretation. The production adds more power, transforming it to a danceable cross between funky R&B and energetic Gospel. You can see the congregation in their best Sunday dress, singing and swaying along emphatically to the rhythm, with hands and arms raised to the sky in praise, and hear the amen and hallelujah shouts in between each declaration of faith.
Jamey Johnson, Willie Nelson, Chris Stapleton & Lee Ann Womack slow the same song down and give it a country blues grit. This ain’t happenin’ in no church and these ain’t necessarily even words of faith. More the words of a life long lived, scarred through trials and tribulations, passing down wisdom to a young hell bent mind in hope of guiding it from the wrong path. A country dirt road appears, a 1971 Ford F100 pick up truck with gun rack kicking up its dust as it passes an old blues man on his front porch playing his mouth harp, and a gospel choir resounding through the thin walls of a white wood paneled church further on down the hill. On a bright sunny Sunday, Natalie Cole transports you to the midst of a baptist congregation in Harlem, while Jamey, Willie, Chris and Lee place you into a small country town in the backwoods of Alabama, all with the magic of the same words and song.
Solid Rock
For me, He was chastised, for me, He was hated For me, he was rejected by a world that He created Nations are angry, cursed are some People are expecting a false peace to come Solid Rock - Saved 1980
The second in Dylan’s trilogy of Christian recordings, Saved would shine as his most overtly religious, incorporating Gospel arrangements and open declarations of his faith. Bob underscores the Gospel vocal arrangement with a soulful bluesy rhythm section, at times reminiscent of the most energetic performances in the Blues Brothers. Aretha Franklin comes to mind singing in the diner of her Freedom, or James Brown praising the Lord in See The Light. Ironically, both Saved and the Blues Brothers would come out the same year. Solid Rock combines that energy with the albums overall Gospel core and adds a good dose of Rock’n’Roll making it probably the most suitable for secular rock radio.
I imagine that is why Widespread Panic decided they couldn’t leave this one hidden in the shadows and selected Solid Rock to spice up their 2006 release Earth to America. They pick up the rolling pace of Dylan’s original and slap a harder edge on it, giving John Bell a perfect vehicle for his energetic yet gritty voice. He has a very distinct Rock’n’Roll vocal style, suitable for anything from southern rock to west coast spaced out hippy jams. He delivers the Gospel message with a rocking exuberance that would get the most ardent atheist to dance along. JoJo Hermanns keyboards substitute for the gospel choir and give it a swirling background groove while interchanging solos with the blistering lead guitar of George McConnell. A pleasant surprise from Earth to America and an absolute highlight and fun rocking joy ride.
It's the ways of the flesh to war against the spirit Twenty-four hours a day, you can feel it and you can hear it Using every angle under the sun And He never give up 'til the battle's lost or won Solid Rock - Saved 1980
The Sound of Blackness also keeps the groove of the original Solid Rock but puts the gospel choir center stage. Their version appears on the exquisite Gospel covers collection Gotta Serve Somebody. Solid Rock is at its heart a rock song and they don’t try to change that, even adding space for a bluesy southern slide guitar solo reminiscent of Duane Allman’s work for the Muscle Shoals Recording Studio. The vocals remain the star, though. Gospel singing at its finest, multilayered and fascinating.
Pressing On
Many try to stop me, shake me up in my mind, Say, "Prove to me that He is Lord, show me a sign." What kind of sign they need when it all come from within, When what's lost has been found, what's to come has already been? Pressing On - Saved 1980
Shortly after my birth my parents found their calling in the gospel of Christ and made the word of God the centerpiece of our existence. When Bob Dylan’s Christian work appeared every word of the Bible was as true to me as the color of the sky and the air that I breathed, and the spirit of the Lord was ever present. As strange as Bob’s singing style sounded to me at the time, the intensity of his message still had a great impact. The most powerful of all these songs had to be Pressing on, a bare bones gospel declaration of perseverance and dedication in the calling of his and our Lord. This era of Bob’s has often been dismissed, and basically disregarded when contemplating the overall importance of Dylan’s legacy.
Shake the dust off of your feet, don't look back. Nothing now can hold you down, nothing that you lack. Temptation's not an easy thing, Adam given the devil reign Because he sinned I got no choice, it run in my vein. Pressing On - Saved 1979
Much to my surprise filmmaker Todd Haynes felt the same way and incorporated Bob’s Christian phase in I’m Not There, a brilliant fragmented biopic of Dylan’s varying personas over time. Christian Bale plays Jack Rollins, Bob’s hedonistic yet disillusioned alter ego who finds his calling as an ordained minister. His segment culminates in a compelling performance of Pressing On. Music was such an important factor in our bible studies and this scene really emphasizes that aspect of a Charismatic Christian sermon. John Doe of punk band X fame sings these lyrics with vigour and conviction. His primal gritty style captures wonderfully the original spirit of Bob’s version. The backing music echoes the sound of The Band, with a pedal steel guitar adding a distinct country flavor. The gospel choir sounds more like a back up vocal group would in a small Christian congregation. This, combined with John Doe’s raw feel, lends it an air of authenticity.
I literally feel transplanted back to the fellowship of my childhood, gathered in the basement of a Lutheran church in Munich on any given Friday night. The congregation, not looking much different than in the movie, would hold their hands high in praise as they sang along with the chorus. I can still see my father, bible in hand, preparing to lead in to a fiery sermon when the music and crowd settled down.
There are many more impressive version of this song and the message seems to inspire each interpreter to new heights – be it Alicia Keys with her Muscle Shoals take, or Regina McReary and the Chicago Mass Choir with their full on Gospel assault.
Slow Train Coming
Man's ego is inflated, his laws are outdated, they don't apply no more You can't rely no more to be standin' around waitin' In the home of the brave, Jefferson turnin' over in his grave Fools glorifying themselves, trying to manipulate Satan And there's a slow, slow train comin' up around the bend Slow Train Coming - Slow Train Coming 1979
Probably the most iconic song from this era next to Gotta Serve Somebody has to be the title track from Slow Train Coming – a critical dissection of the modern state of man and society, trapped somewhere between secular admonishment and fundamental evangelicalism. This is definitely the hardest rocking song from the album, with precise yet intense lead guitar, a heavy driving beat, and pounding keys adding boogie fills in between the verses. The production gives the song the feel of a steam engine train pulling through an imaginary american landscape, with the guitar and keyboard providing the fuel that drives this beast of a machine.
Surprised at not to finding any notable covers of this song, I finally stumbled upon a vocal rehearsal by the cast of Conor McPherson’s GIRL FROM THE NORTH COUNTRY. And holy cow, did I discover a sweet one! The musical troupe injects Slow Train Coming with soulful spirituality and transforms the song into Urban Contemporary Gospel. The two lead singers give the verses a sense of urgency with the choir adding emotional power to the chorus. They segue into License to Kill, a lamentation on humanities violent spirit, from Dylan’s phenomenal post Christian trilogy release Infidels. The choir then returns to the chorus of Slow Train Coming with spiritual exuberance. Wendy Darling in her comment on youtube wrote “Saw this tonight. Still in a daze. And this was one of the most exciting musical numbers I’ve ever seen in a show. It was all I could do to stay seated. What a joy it must be to sing these arrangements every night.” I can only imagine. I had never even heard of this play until researching this piece and am amazed at the intensity of this rehearsal. Hope to see the actual theatrical performance someday.
When You Gonna Wake Up
Adulterers in churches and pornography in the schools You got gangsters in power and lawbreakers making rules. When you gonna wake up, when you gonna wake up When you gonna wake up strengthen the things that remain? When You Gonna Wake Up - Slow Train Coming 1979
A catchy keyboard groove gets things shuffling with When You Gonna Wake Up, a slow bluesy earworm with snappy lyrics. You might not agree with the meaning, but the inventiveness of its messaging can’t be denied. At the top of his game, Bob throws one witty phrase after another at you in between each chorus. Lee Williams & the Spiritual QC’s slow it down a bit but keep the keyboard groove. Lee Williams transforms this into a pure Gospel song with the QC’s delivering some of the best male gospel harmonizing I have ever heard. The choir manages to give the confrontational message an amiable sound, opening the door to the Word with a feeling of homecoming and comfort.
Man Gave Names To All The Animals
He saw an animal that liked to growl, Big furry paws and he liked to howl, Great big furry back and furry hair. "Ah, think I'll call it a bear." Man Gave Name To All The Animals - Slow Train Coming 1979
One of the most fun songs on Slow Train coming has to be Man Gave Name To All The Animals, a slow reggae tune with playful lyrics and amusing imagery. Bob reenacts how Adam came about to name all the different creatures God had just set about the earth. The word play ends with a creature slithering through the grass by a lake, think I’ll call it a … Johnny Cash fuses various styles with his entertaining interpretation. The production gives the song a sound like it had been recorded 30 years prior. Johnny layers his version with a country and western rhythm section, Balkan style accentuations, and 50’s crooner era string and vocal arrangements, all while maintaining his very distinct early country feel. Have no clue where or when this came about but well worth a listen. A truly hidden gem.
Every Grain Of Sand
In the time of my confession, in the hour of my deepest need When the pool of tears beneath my feet floods every newborn seed There's a dying voice within me reaching out somewhere Toiling in the danger and the morals of despair Don't have the inclination to look back on any mistake Like Cain, I now behold this chain of events that I must break In the fury of the moment I can see the master's hand In every leaf that trembles, in every grain of sand Every Grain Of Sand - Shot Of Love 1981
Dylan ended his Christian phase with Shot of Love, which remains a somewhat uneven effort. It sounds like he was not sure if he should remain firmly in the grip of God’s word or move back to more secular terrain. However, Every Grain of Sand continues his spiritual introspection, one of the few outstanding tracks from this album. My parents raised me with the belief that God keeps count of every hair along with every grain of sand, something that might seem metaphorical to most. I personally do not believe Bob meant it as an allegory himself when he wrote Then onward in my journey I come to understand That every hair is numbered like every grain of sand. I really have no doubt he meant it literal in every way.
Bob’s vocals on the original are a bit challenging, though, and that includes his harmonica play. Thank God ( pun intended ) we have the likes of Emmylou Harris and Lizz Wright to redeem the beauty of this song. Emmylou offers us a stripped down version on her brilliant Wrecking Ball album. She keeps the music barely audible. Her soulful voice takes center stage, adding her sense of pain and suffering while underscoring the lyrics with a sense of hope. Emmylou creates a very personal song, making it her own when she reflects on her spiritual journey deep within her soul.
I gaze into the doorway of temptation's angry flame And every time I pass that way I'll always hear my name Then onward in my journey I come to understand That every hair is numbered like every grain of sand Every Grain Of Sand - Shot Of Love 1981
Jazz and Gospel singer Lizz Wright steeps her version deep in Americana with acoustic instrumentation and a simple beat. She evokes the ghost of many a traditional spiritual. The soul searching becomes communal as she embraces us with her voice.
Bob Dylan’s influence on Gospel goes back much further than this brief period. His music, after all, has always had an air of spirituality and quite often used biblical imagery. There is a wonderful collection of Gospel versions of his early secular work from 1969 by a collaboration called Dylan’s Gospel / The Brothers and Sisters, all songs of which are well worth a listen. Another inspiring collection of his devout period can be found on Gotta Serve Somebody / The Gospel Songs of Bob Dylan. There are many a more hidden gems of this era including Robert Randolph with Shot of Love, Rod Stewart’s Groom Still Waiting At the Altar, or the Little Mo McCoury with a bluegrass not-just-for-kids-version of Man Gave Names To All The Animals.
Please let me know what you think of this little selection, tell me about your favorite Dylan covers, if you have any favorites from his Christian phase, and if you do or don’t like his own versions. And if you get a chance check out my social media, like and subscribe, and don’t forget to keep on rockin’! Cheers!
Shout out to my editor-at-large S-Cube