Artist: Bob Dylan
Title: Tell Me That It Isn’t True
Description: album track, Nashville Skyline
Release date: 1969
First heard: 1995
In 2013, I recognised that I was playing with the big boys. Any subjective 143 best-songs-limited-to-one-entry-per-artist might include the Beatles, the Stones, Roxy Music, David Bowie, Neil Young, Marvin Gaye, Kevin Coyne, Michael Jackson and Bob Dylan. And some of these giants indeed turned up before we hit the finishing line. The truth is: I don’t have an intimate relationship with Dylan. I am patently not a disciple of his music. But neither do I have a problem with him, as some do. I like his honking voice. He’s self-evidently a keystone artist of the 60s and his influence is unfathomable. Without him, folk music may never have turned into rock music. And, like Bowie, who wrote a song for – and about him – his staying power and ability to change hats has never been in doubt.
But I don’t have a snap answer to the question, “What’s the greatest Bob Dylan album?” or its woollier twin, “What’s your favourite Bob Dylan album?” (I have stock answers to the same question with the Beatles and the Stones substituted, but not Dylan.) When I worked at Q magazine between 1993 and 1997 and passed the big three-oh, I acted accordingly, and opened myself up to all sorts of “classic” music.
Our office was almost on top of the flagship HMV on London’s busy Oxford Street, and – in full-time employment, with pension and shares scheme, remember – I would often avail myself of the 3-for-2 offers on non-chart CDs. My intention was to fill the gaps in my record collection with important LPs with which I was not acquainted. I remember snapping up a couple of Dylan standards during that consumer flurry – Freewheelin’, Blood On The Tracks, Desire – and gave them a few spins. But if I’m honest, I never really truly got beyond the hits.
The permanent office CD collection at Q was motley. We had a battered CD single of Showgirl by the Auteurs (that went on a lot when the lagers came in), an album by Jackie Leven, something by Strangelove, and Nashville Skyline by Bob Dylan. I found myself putting this on more than once during the working day, but it was not a single that grabbed me – the more familiar, singalong likes of Lay Lady Lay or the Johnny Cash duet on Girl From The North Country – but track three, side two, Tell Me That It Isn’t True.
Due to a rare lapse in journalistic instinct, I know for a fact that I took my touchstone track Tell Me That It Isn’t True to be Nashville Skyline Rag, which is track two, side one. Not 100% sure why. But when I’d left Q – and left full-time employment; the shares were almost sarcastic – and invested in my own copy, I jumped ahead to Skyline Rag and was deeply disappointed. Not a Proustian peep. However, as soon as I picked up the first line, “I have heard rumours …” followed by that resonant Dobro (I’ve looked this up; don’t finger-wag me if I’m wrong, guitar freaks, it could be Pete Drake’s pedal steel …), I was back in love.
Historically, the 1969 album – a number one hit in the UK – was an evolution from the acoustic-leaning John Wesley Harding, also recorded in Nashville, and showcased a new, smoother “crooning” style of vocal from Dylan. As I’ve picked up on his albums in the wrong order, I don’t hear them chronologically, but I shared an office with a man who not only did, he did so religiously. He was John Bauldie, one of the UK’s foremost Dylanologists and Q’s part-time production guru. (As editor, I once took John out for a lunchtime pint to encourage him to apply for the full-time post, but he was happier with the freedom to pursue his Dylanology when he wasn’t at his post. You had to respect that.)
The dedicated publisher, editor and chief scribe of Dylan fanzine The Telegraph, John – or “the Great Bauldini” as Danny Kelly playfully christened him – was our font of all Dylan knowledge. A lovably grumpy soul, capable of long-running feuds where Dylan was concerned, we all admired him, which is why we so affectionately but constantly took the rise out of him, stuck in his ways and reliably mistaking a techno record for the noise of the fax machine for comic effect.
So, this song reminds me of working at Q, and working with the legendary John Bauldie, who was cruelly killed in a helicopter crash in 1996, which was a bad day at the office for all of us. It’s only right that a Dylan tune should help us remember, and remember fondly.
It’s a lovely, lilting lament from a spurned lover to another (“They say that you’re planning to put me down … they say that you’ve been seen with some other man”), less than three minutes long but lifted by an enthusiastic drum part from Kenneth Buttrey, twinkling with all those guitars, enhanced with a bit of honky tonk piano and made airborne by Dylan’s almost cheekily accessible vocal. He doesn’t know it, but he’s prefiguring the life’s work of David Gedge, with his imagination running paranoid riot (“I know that some other man is holding you tight/It hurts me all over/It doesn’t seem right”).
Why have I illustrated above with the back sleeve of the CD of Nashville Skyline? Because I’m pretty sure the inner booklet had been lost in the ravages of office life and the CD sat in a coverless jewel case. I recognise the back more than the front as a result. It’s such quirks that make our lifelong relationship with music more vivid.
There is another song I associate with Dylan and John Bauldie in The 143, recorded by another artist. See if you can guess what it is, and tell me that it isn’t true.
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