
The year 1967 saw yet another reinvention of Bob Dylan.
After his early days as a protest singer, Dylan morphed into a folk-pop artist, moving from “Blowin’ in the Wind” to “Mr. Tambourine Man,” and sparking the kind of mixed reactions he has garnered for five decades. Then in the mid-60s, he plugged in and started playing rock-n-roll to concert crowds that lauded and booed him in equal measure. Dylan became an international rock star that people both loved and hated, who produced spectacular music and lived large at a drug-fueled frenetic pace, his every move in the spotlight.
Then in late July of 1966, Bob Dylan had a motorcycle accident near his home in Woodstock, NY. In an article about the accident and its aftermath, Tony Scherman wrote:
The accident was Dylan’s means of escape from an unendurably fast-paced, pressurized life. As he said in a 1984 interview, “When I had that motorcycle accident . . . I woke up and caught my senses, I realized that I was just workin’ for all these leeches. And I really didn’t want to do that.” At some point during his convalescence he realized that he wanted a much more tranquil, family-centered life.
The singer remained out of the public’s eye, shut up in Woodstock for a year and a half, recuperating and reorienting his life and career. During that period, several important things happened for Bob Dylan. He had married at the end of 1965 and his first child was born in January of 1966. His wife Sara had their second child in July of 1967, about a year after the accident. Dylan was becoming a family man.
Bob Dylan was also reading the Bible more regularly during this season of his life. In Clinton Heylin’s biography, he quotes Dylan’s mother as saying: “In his house in Woodstock today, there’s a huge Bible open on a stand in the middle of his study. Of all the books that crowd his house, overflow from his house, that Bible gets the most attention. He’s continuously getting up and going over to refer to something.” Biblical themes and language became a significant influence on the music he was making at that time.
In 1967 he and his backup band, The Hawks (later, The Band), jammed together in secluded Woodstock. These sessions would become known as The Basement Tapes, and The Band’s first album, Music from Big Pink featured many of the songs they had worked on together. Key to our discussion here today is that there was a big shift in the kind of music Bob Dylan and his friends were playing. They were returning to a more basic, rootsy sound, leading the way for a host of performers in the 1970s who would take up folk-rock and Americana styles. Dylan again was ahead of the curve. For 1967 was the year of “psychedelic rock,” the “summer of love,” the Beatles’ Sgt. Pepper album, and the emergence of “hard rock” groups such as Cream and the Jimi Hendrix Experience. The music Dylan was about to release could not have been more different and so again he went against the grain.
Another event in 1967 which had an effect on Bob Dylan was the death of Woody Guthrie in October. Early in his career, Dylan had called Guthrie, “the true voice of the American spirit,” and committed himself to becoming “Guthrie’s greatest disciple.” Later that year, Dylan would come out of his self-imposed exile and release an album that exemplified that commitment.
The album, released on December 27, 1967, was called John Wesley Harding
. It featured, once more, a completely reinvented Bob Dylan.
No one knows exactly when he wrote the songs for JWH, but in the fall of 1967, he carried them down to Nashville, met with producer Bob Johnston in the Ramada Inn, played the songs for him and suggested that they use only bass, guitar, and drums to accompany his voice and harmonica. (Later, they would add a bit of steel guitar to a couple of the songs.)
So, with Kenneth Buttrey on drums and Charlie McCoy on bass, Bob Dylan recorded John Wesley Harding, requiring only three stints in the studio and about nine hours of recording time.
After he had begun listening to the record, Ralph J. Gleason of Rolling Stone called JWH “a warm, loving collection of myths, prophecies, allegories, love songs and good times.” The record couldn’t have been more different than Dylan’s previous release, the riotous Blonde on Blonde. John Wesley Harding was a complete, unexpected departure in its music and attitude:
- Its songs have a narrative structure, with characters that have faces and names. Many of these characters are outsiders and outcasts, who offer lessons or examples for the listener.
- Its lyrics as well as the music and accompaniment are more spare, shorter, and direct. Surrealism is absent, replaced by stories, sentiments, and even moral lessons.
- It reflects biblical passages and themes. One author found 61 biblical allusions on the record. All Along the Watchtower is based specifically on Isaiah 21:5-9. It is said that Dylan himself called this record, “the first biblical rock album.”
- It translates these themes through language and situations that reflect Americana.
The Bob Dylan who sang the songs on John Wesley Harding looked different. Gone was the wild hair, the sunglasses, the thin, wasted look of debauchery. Instead, his face appeared fuller, his eyes clear, his demeanor relaxed and at peace.
Bob Dylan would not tour again for seven more years. After John Wesley Harding, he would continue to confound his followers by releasing, of all things, a country record called Nashville Skyline
.
I’ve lost track of how many times Bob Dylan has reinvented himself, but amazingly, he remains a person and artist who still garners interest in 2014. The changes that took place in him back in 1967 tell a remarkable tale of an artist who found strength to go against the crowd and even the person he had himself become so that his life and art might grow and develop.
* * *
Well, what has this all got to do with Lent? you ask.
- I think it shows the possibility we all have to “reinvent” ourselves, or in Christian terms, to be remade and re-formed — a classic Lenten theme.
- It also shows that what it sometimes takes for that to happen is an intentional withdrawal from the life we know so that we can discover the life we are meant to have. Lenten practices are designed to help in this process.
- It speaks to the power of the Bible to reshape our thinking, our language, our work. Bob Dylan may not have “become a Christian” through these experiences, but the Bible definitely had a profound effect on him. One can see how its stories and words utterly transformed his lyrics, music, and entire songwriting approach at this time in his life. Lent can be a time to let the Bible work change in us.
Guess what I’m listening to during these days of Lent?