CK Retro Review: The Basement Tapes by Bob Dylan & The Band

Coming on the heels of the triumphant Blood On The Tracks, the release of The Basement Tapes of 1975 was a double-whammy of brilliance for Bob Dylan. These mythic recordings had been bootlegged for years, but the official release confirmed that the music that Dylan and The Band made in Woodstock in 1967 sounded timeless and ahead of its time all at once, summing up everything good about American music in the 20th century. Here is a song-by-song review. (Just the Dylan-performed tunes, since he seems to have only a tenuous connection on The Band-led songs at best.)


16. “Tiny Montgomery”- All of the whimsy of the lyrics falls a bit flat without a little musical spark. I’m not sure if we should welcome Tiny’s arrival or fear it. Gas that dog, indeed!

15. “Yea! Heavy And A Bottle Of Bread”- I know this one has its defenders, but there’s no real tune on which Dylan can hang the Mad-Lib lyrics. It’s only funny the first time really, and then all you’re left with is silliness.


14. “Please, Mrs. Henry”- A drunken plea for some kind of mercy from the titular missus, this track has so many double-entendres that even Dylan has to laugh at song’s end about it. The stop-and-start nature of the recording is comical in its own way.

13. “Lo And Behold”- A round trip from San Antonio to Pittsburgh featuring Ferris Wheel taxis and flying moose? On The Basement Tapes, it somehow all makes perfect sense. Richard Manuel gives the song just the right bit of locomotive energy on piano, chugging it along like a rickety old train.

12. “Apple Suckling Tree”- The Band was known for shuffling instruments between themselves; on this track, Robbie Robertson plays drums and provides a crazed, hiccupping beat. The real star is Garth Hudson, whose organ solo at the end is worth the price of admission alone. “Underneath that tree” sounds like the funkiest place in the world to be.

11. “Crash On The Levee”- When they tackled it in concert years later, Dylan and The Band turned this one into a real barn-burner. On The Basement Tapes, it’s more of a relaxed stroll that fits into a long line of Dylan songs about ominous floods. The matter-of-fact way in which he delivers the news suggests that he knows “Mama” is doomed, so she might as well dance her way into the deluge.

10. “You Ain’t Goin’ Nowhere”- The gentility of the music, a sweet country lope that wouldn’t have sounded out of place on Nashville Skyline, belies the harshness of the wintertime setting that Dylan suggests. Everything sounds just fine once Dylan gets into nonsensical ramblings about Genghis Khan, especially when Rick Danko and Richard Manuel join in on the memorable chorus.

9. “Clothes Line Saga”- One of the funniest songs Dylan has ever delivered was allegedly a parody of Bobbie Gentry’s huge smash hit “Ode To Billie Joe.” What Bob really seems to be satirizing is a kind of linear approach to folk-song writing which, when taken to its extreme as it is here, can make the most trivial occurrences, like washing and drying clothes, sound strangely riveting. Meanwhile, the insanity of the vice president can’t compare to the necessity of getting those damn clothes off the line.


8. “Too Much Of Nothing”- Robbie Robertson had precious few leads on The Basement Tapes tracks, but he made the most of his chance here, delivering efficient, stinging licks. This is one of the more serious tracks on the collection, with Dylan warning of the dangers of wanting things that ultimately lack substance. An overload of such nothingness can lead to disastrous results, Bob suggests, and the intensity of the tune shows he’s not kidding around. Plus, one of my favorite rhymes in the Dylan canon: “Vivian” and “oblivion.”

7. “Open The Door, Homer”- The off-kilter wisdom that Dylan spins in this lilting track featuring Hudson’s swirling organ may not seem to make much sense on first listen, but it has a way of sinking into your consciousness if you let it. No word on when Homer got replaced with Richard in Bob’s refrains, but who cares when things turn out as charming as this one does.

6. “Nothing Was Delivered”- Richard Manuel delivers for sure on this one, in terms of the Fats Domino-inspired piano that leads the way and great backing vocals with Rick Danko. Dylan sings woefully throughout, a tear in his voice as he expresses indignation at the person who hasn’t come through. As with so much of the Basement Tapes, there is a bit of mystery to the proceedings, making this one worthy of revisiting again and again.

5. “Odds And Ends”- For all of its wild wonder, there aren’t too many times when The Basement Tapes truly rocks. The album-opener is a rollicking good time though, with The Band sinking into a Chuck Berry groove so that Dylan can cut loose with a tirade against his loose-juiced lover. The refrain’s profound warning that “Lost time is not found again” sort of sneaks into the craziness, adding a touch of weight to the inspired lightness around it.

4. “This Wheel’s On Fire”- I’ve always felt like this song was too much of a loner to truly corral, so that both The Basement Tapes version and that the one knocked out by The Band on their debut album come up just short of its true potential. The portent is practically stifling as the titular wheel prepares to blow and take all of the participants with it. Another one with layers upon layers of mystery, it’s still fantastic even if it hasn’t quite been solved by any of its performances.


3. “Goin’ To Acapulco”- Perhaps the greatest example of the mystical qualities of The Basement Tapes, this song reads a bit silly on the page. When Dylan sings it against the backdrop of Garth Hudson’s mournful organ and Robbie Robertson’s soulful licks, “Goin’ To Acapulco” practically oozes import. It’s a fantastic melody sung beautifully by Bob as The Band’s rhythm section of Danko on bass and Manuel on drums suspends the song in midair. Calling it haunting doesn’t do it justice, but there are really are no words for what went down in Big Pink anyway.

2. “Million Dollar Bash”- The singular achievement of The Basement Tapes might be the way Dylan and The Band made light-hearted music that still managed to have lasting impact. For example, “Million Dollar Bash” is at heart a surreal depiction of a wild party full of suspect characters. Yet the chorus provides an irresistible hook to keep the events from spinning too far out of control, the “whoo-wee” vocals of Dylan, Manuel, and Danko bringing a flash of beauty to the lunacy. You’d be a fool to sit out this bash.

1. “Tears Of Rage”- Richard Manuel didn’t write too often, but the songs he did write were always beautiful in undeniably sad ways. Dylan took Manuel’s wistful chords and delivered lyrics of understated, aching tenderness, telling a gut-wrenching tale of a father estranged from his daughter. The hurt and the anger are there in the verses, but those gorgeous refrains, abetted by Manuel and Danko’s ethereal backing vocals, clearly long for reconciliation. “Life Is brief” are the last words uttered, an urgent reminder that the generational gap shouldn’t be left to widen for too long a time.

(E-mail me at or follow me on Twitter @JimBeviglia. For more on Bob Dylan, check out the link below to my upcoming book Counting Down Bob Dylan: His 100 Finest Songs.)


10 Comments on “CK Retro Review: The Basement Tapes by Bob Dylan & The Band”

  1. Tiny says:

    I’ve enjoyed your series of posts. Even if we often disagree, the methodical approach is insightful. Give Tiny Montgomery another chance, it’s like a 19th century Paul Bunyan barroom boast, and one of my favorites.

  2. Baggy says:

    Another great list – I agree the 5 star songs, and just look at the quality of the four stars – Open the Door Richard, Too Much Of nothing…great , timeless, odd, weird , like nothing else, I love it.

    But really CK…Yea heavy – “what is left is just silliness”. Hah – Monty Python and the Goons were just silliness..i can hear Terry Jones saying ” This is just silly!”. Maybe it is an English thing…we worship silliness, we aspire to it. I love Paul Simon, but can he write a silly song?? Can Joni Mitchell, Leonard Cohen, Brooce write a silly song. ?? ” Just silliness” – tchah !

    • countdownkid says:

      As someone who has large swaths of The Holy Grail and Life Of Brian, I can say that I do love silliness on most occasions. Maybe my problem with “Yea Heavy” is that its silliness without a lot of inspiration, or melody, behind it.

      I would say Bruce can write hambone or even dorky songs when put to the test, and Cohen definitely writes funny ones. But you might have a point about the silly.

  3. Tom says:

    I’m really enjoying this series of reviews. Have you ever written on “Sign on the Cross”? It strikes me as an outrageously good and powerful song, one of my Dylan favorites — and I’d be interested in your take on it. I think it was discussed in “Weird Republic” — but I’ve not seen other commentary. Care to have a go at it? Hope so.

    • countdownkid says:

      Thanks for the kind words. I’d have to listen to “Sign On The Cross” again; it’s been a while. Off the top of my heard, it’s a pretty powerful song, a lot like “I’m Not There” in how what seems to be improvisational gibberish turns into something more meaningful somehow. It seems to fit in with the whole Basement Tapes vibe which runs counter to the counterculture. I’ll get back to you when I give it another listen.

      • Tom says:

        I’ve been away for a while. Have you had any chance yet to delve into “Sign on the Cross”? May be I missed it.

      • countdownkid says:

        I haven’t yet, Tom, but remind me again in a little bit if I forget. I promise to take the CK scalpel to it at some point.

  4. Tom says:

    Mr. CK,

    I see you’ve moved on to another artist. If you ever get the time, please take a look back at “Sign on the Cross.” I’d still be interested in your commentary.

  5. […] Other Opinions Are Available.  What did these people have to say about The Basement Tapes? Paste Magazine Consequence of Sound Countdown Kid […]

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